From Even The Greatest Of Horrors Irony

The Unknown ... Became For Our Primitive Forefathers A Terrible And Omnipotent Source Of Boons And Calamities Visited Upon Mankind For Cryptic And Wholly Extra-terrestrial Reasons, And Thus Clearly Belonging To Spheres Of Existence Whereof We Know Nothing And Wherein We Have No Part.

The Poetical Tendency Of The Present And Of The Preceding Century Has Been Divided In A Manner Singularly Curious. One Loud And Conspicuous Faction Of Bards, Giving Way To The Corrupt Influences Of A Decaying General Culture, Seems To Have Abandoned All The Properties Of Versification And Reason In Its Mad Scramble After Sensational Novelty; Whilst The Other And Quieter School Constituting A More Logical Evolution From The Poesy Of The Georgian Period, Demands An Accuracy Of Rhyme And Metre Unknown Even To The Polished Artists Of The Age Of Pope.

No New Horror Can Be More Terrible Than The Daily Torture Of The Commonplace.

Slowly But Inexorably Crawling Upon My Consciousness And Rising Above Every Other Impression, Came A Dizzying Fear Of The Unknown; A Fear All The Greater Because I Could Not Analyse It, And Seeming To Concern A Stealthily Approaching Menace; Not Death, But Some Nameless, Unheard-of Thing Inexpressibly More Ghastly And Abhorrent.

My Opinion Of My Whole Experience Varies From Time To Time. In Broad Daylight, And At Most Seasons I Am Apt To Think The Greater Part Of It A Mere Dream; But Sometimes In The Autumn, About Two In The Morning When Winds And Animals Howl Dismally, There Comes From Inconceivable Depths Below A Damnable Suggestions Of Rhythmical Throbbing ... And I Feel That The Transition Of Juan Romero Was A Terrible One Indeed.