, p. 217). Beckford had been taught music by Mozart, and Rogers says (
ibid
.) that "in the evening Beckford would amuse us by reading one of his unpublished works; or he would extemporize on the pianoforte, producing the most novel and charming melodies."
In 1822 his gigantic fortune had dwindled; he was in embarrassed circumstances; Fonthill and most of its contents were sold, and Beckford settled in Lansdowne Terrace, Bath, where he still collected books and works of art, laid out the grounds, and built the tower on Lansdowne Hill, which are now the property of the city. At Bath he died in 1844.
Vathek
is a masterpiece, which, as an Eastern tale, is unrivalled in European literature.
"For correctness of costume," says Byron, in one of his diaries, "beauty of description, and power of imagination, it far surpasses all European imitations; and bears such marks of originality, that those who have visited the East will find some difficulty in believing it to be a translation. As an Eastern tale, even Rasselas must bow before it: his 'Happy Valley' will not bear a comparison with the Hall of Eblis."
Beckford's letters are, in their way, equally masterpieces, and, like
Vathek
, have the appearance of being struck off without labour. Reprinted, as their writer says (Preface to the edition of 1840), because "some justly admired Authors... condescended to glean a few stray thoughts from these letters," they suggest, in some respects, comparison with Byron's own work. There is the same prodigality of power, the same simple nervous style, the same vein of melancholy, the same cynical contempt for mankind. In both writers there is a passionate feeling for the grander aspects of nature, though Beckford was also thrilled, as Byron was not, by the beauties of art. In both there are similar inconsistencies and incongruities of temperament, and the same vein of reckless self-indulgence appears to run by the side of nobler enthusiasms. In both there is a taste for Oriental magnificence, which, in Beckford, was to some degree corrected by his artistic perceptions. Both, finally, described not so much the objects they saw, as the impression which those objects produced on themselves, and thus steeped their pictures, clear and vivid though they are, in an atmosphere of their own personality.