He could forget his deep, earnest love of order in things intellectual, in every excess of disorder in things material, and his passionate love of the beautiful could be profaned by frequent grovelling amid the hideous deformities of vice. Poe, in his reverence for Art (his only reverence), seemed generally to set greater store on the elaborate and artistic perfection of his works, than in the spontaneity of genius therein displayed. So it would seem, at least, in his voluntarily exposing the skeleton design of his greatest poem, 'The Raven,' and the various processes by which this grand shadow attained its final harmonious and terrible proportions. This may be a noble sacrifice to the principles of Art, intended as a warning to rash novices against the sin of slovenliness in composition; but the poem must be of solid fibre to resist this disenchanting test. The unveiling of hidden mysteries, the disclosure of trap doors, ropes, and pulleys, may assist in the general dissemination of knowledge; but in behalf of those who prefer to be ignorant that they may be happy, we protest against the innovation. In this dangerous experiment of Poe's, however, we are forced to do what he would have us do--admire the ingenuity of the poet, together with his knowledge of effect, rhythmical and dramatic, his flexibility and strength of versification, and marvellous faculty of word painting. This propensity to make all things subservient to the advancement of Art is not always productive of present good to one's fellow beings, whatever may be the results to posterity, as the luckless women who cross the path of such men cannot unfrequently testify--oftentimes assiduously wooed, won, and lightly discarded, to furnish an artistic study of the female capacity for suffering, as well as to supply renewed inspiration for further poetic bemoanings. In the prose narrations of Edgar Poe, the same skilful handling of mystery, and the turning to account of any incident susceptible of dramatic effect, are always apparent as in his poems. But the want of extended sympathy with mankind, the artist egotism, which looks inwardly for all material, and in truth scorns the approval of the masses, must naturally fail to secure the interest of a large class of readers. His compositions, on the contrary, which give full scope to his keen, subtle powers of analysis, and vigorous handling of the subject in question, are more widely understood and appreciated. Since the days when Poe dealt with contemporaneous literature, and literary men, in not the most temperate mood of criticism, poetic fire in America, with few exceptions, seems to have sunk into a dead, smouldering condition, and to have yielded to its sister art of painting the task of grappling with the New-World monster of utilitarianism and practical reform. The demands for indigenous painters in America being constantly greater, the result is necessarily a vast increase and improvement in this branch of Art.