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    The History of Caliph Vathek
    The History of Caliph Vathek
    The History of Caliph Vathek
    Ebook129 pages1 hour

    The History of Caliph Vathek

    By William Beckford

    3/5

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    The History of Caliph Vathek was written in the year 1887 by William Beckford. This book is one of the most popular novels of William Beckford, and has been translated into several other languages around the world.

    This book is published by Booklassic which brings young readers closer to classic literature globally.

    LanguageEnglish
    PublisherBooklassic
    Release dateJul 7, 2015
    ISBN9789635249398
    Author

    William Beckford

    William Thomas Beckford (1760–1844) was a novelist, an art collector, a critic, a composer, a travel writer, and a politician. Born the son of a lord mayor of London, Beckford was extremely wealthy from a young age, and was once the wealthiest commoner in England. Beckford wrote Vathek, his most well-known work, in 1786. He later gained fame for his impressive art collection, with pieces that are still on display in the world’s greatest museums today.

    Read more from William Beckford

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    Reviews for The History of Caliph Vathek

    3/5

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    • 2/5
      Vathek is an Arabian Caliph whose kingdom is marked by violence, even though Vathek has lived for many years in his 5 palaces; one for each of the senses. Of course, Vathek can not be happy for what he has, and he goes in search of the "dark" treasure; which is knowledge. One of the things he has to do to obtain this is to sacrifice 50 children. He does this and his people turn against him. Vathek finds out that he can not outrun his eternal damnation. This really is one of the most boring books I have read! Why did I read it? It was short and on the 1001 books list. Not recommended. 141 pages
    • 4/5
      Good story. For the time it was written in, it could be a story right out of The Arabian Nights. Vathek is despicable as is his mother.
    • 1/5
      The best part was the last 2 chapters. Just couldn't get into this one. The imagery is wonderful, but all I got from this was a bit of preaching at the end and a seemingly endless feast of food, which was fine but made me hungry.
    • 3/5
      A very Gothic late 18th century book. Caliph Vathek and his mother Catharis rule a middle eastern caliphate (?). They want power and riches, and the Genie Giaour promises it to them. There is clearly something evil going on, as Vathek gives some of the best children of his ruling to the Giaour. He then meets and falls for Nouronihar (and she for him), an emir's daughter, on a trip. He separates her from her dear cousin Gulchenrouz.Nouronihar follows Vathek. They get what they want, and so does Catharis, but it is not what they were expecting. A story about what unrestrained passions, atrocious actions, and blind ambition get you in the end.
    • 3/5
      Certainly one the odder books I've had the pleasure of reading, I can say that for it. Mostly just didn't manage to keep my interest very well, but there were some brief moments that shone through. The introduction in the edition I read, by Roger Lonsdale, was quite good, but I disliked how the annotations were handled.
    • 1/5
      After reading this book, I have to question why it was selected as one of the 1001 books to read before you die. I read this in online installments - maybe it would have been better in audio or paper... I could see how the whole plot was farcical, but unlike other books of that genre like Candide, I didn't see the point. Definitely could have used some Cliff Notes to accompany this one...
    • 1/5
      Almost works as a self-parody. Almost. And it's clear that this wasn't intentional on the part of Beckford.
    • 4/5
      William Beckford wrote "The History of Caliph Vathek" in French in 1784, but it was first published in an English translation by Samuel Henley in 1786. Widely regarded as one of the seminal works of Gothic literature, this strange, unclassifiable novel recounts its eponymous protagonist's quest for esoteric knowledge and carnal pleasure, a quest which ultimately leads to his damnation. "Vathek" combines exotic descriptions of the Orient with passages of grotesque comedy and a dollop of supernatural derring-do. Indeed, one of the challenges for modern sensibilities (and possibly its original readers as well) is to determine when Beckford should is being earnest and when he ventures into self-parody. Even allowing for the genre's excesses, episodes such as that of a wizard being turned into a ball and being kicked over Vathek's kingdom are clearly intended as black comedy. But what about Vathek's damnation, described in language of poetic intensity? Is the moralistic ending to be taken at face value or is Beckford being ironic? The author's letters suggest the former to be the case - which is rather surprising considering the atmosphere of decadence which permeates the novel.If read purely for narrative pleasure, Vathek might disappoint. The plot is episodic, there are too many changes of gear, and the novel's ultimate message - if it does have one - is elusive and unclear. Yet, for anybody interested in early Romanticism, Orientalism, supernatural fiction or, for that matter, unusual literary fare, this is a must-read.The Oxford World Classics text follows the 1816 English language version, prepared by Beckford himself. It includes an informative introduction by Roger Lonsdale which, interestingly, makes the case for *not* considering Vathek a Gothic novel. Also included are the erudite endnotes which Beckford included in the 1816 edition of Vathek (although first-time readers might prefer just reading through it and then consulting the notes on subsequent readings).
    • 4/5
      Rating 3.6Vathek : An Arabian Tale by William Beckford, written when he was just 21 in 1782. It is a combination of a Gothic novel and Orientalism. The 18/19century was noted for an obsession of all things Oriental. Vathek is the 9th Caliph of Abassides and is addicted to the pursuit of pleasures for all his senses. His major sin is gluttony. Carathis is his evil mother who is knowledgeable in science and occult. Vathek meets up with a Indian merchant called Giaour who is really a Jinn. From that point Vathek engages in all kinds of horrors and eventually goes on a quest of of the throne of Soliman. During this quest he mistreats a host, Emir Fakreddin by taking his daughter Nouronihar. They finally arrive and find that the quest has led them to a place of great loss -- the loss of hope. A quick read that is strongly influenced by literature such as Paradise Lost and has also influence other works of literature.
    • 2/5
      Vathek is an Arabian Caliph whose kingdom is marked by violence, even though Vathek has lived for many years in his 5 palaces; one for each of the senses. Of course, Vathek can not be happy for what he has, and he goes in search of the "dark" treasure; which is knowledge. One of the things he has to do to obtain this is to sacrifice 50 children. He does this and his people turn against him. Vathek finds out that he can not outrun his eternal damnation. This really is one of the most boring books I have read! Why did I read it? It was short and on the 1001 books list. Not recommended. 141 pages
    • 4/5
      Vathek does a credible job of capturing the Arabian Nights tone and lush descriptive passages, based on my faint recollection. Anything mixing this and the Gothic is liable to turn incredible in places - and it does - testing a reader's patience if it's taken too seriously. But the story is still very determined to take itself seriously, notwithstanding. It never descends into comedy, and the drama can take some very dark turns as Vathek seeks out power above and beyond what he already enjoys as caliph. Given that he already has it all, and yet he's still tempted by infernal means of acquiring more, it's practically impossible to find any sympathy for him. His intermittent episodes of remorse are so impromptu and brief, and his chances to recant so many, he can't even be viewed as a victim of irresistible circumstance (or of his mother). Beckford was writing at the height (circa 1790 to 1800) of the gothic period, while Anne Radcliffe was enjoying her throne as England's pre-eminent author before modern fiction began to take over. Even so, Vathek arguably does not fit completely into the gothic genre. It's more clearly bent towards adopting an Oriental storytelling tradition, which it is said to do remarkably well. It's an oddity among English literature and it continues to stand out today accordingly. Whether it's actually still enjoyable to read without knowing this context is another question given its preposterous plotting, unlikely events and too-plain moral. I had to drag myself through it, but I'd still take this over Radcliffe any day.
    • 1/5
      Four years have passed since I read “Vathek” and I remember very little about it.What I do recall is that it was slow, tedious, and neither characters nor plot engaged me at all.
    • 3/5
      William Beckford, the author of “Vathek,” led a rather remarkable life – so remarkable, in fact, that reviewers and critics are left baffled at how to interpret it other than reading it as a sort of fantastic confabulation of his life. He was born in 1760, son of the two-time Lord Mayor of London; at the tender age of ten years, his father died and left him one of the richest men in the entire country. This allowed him to pursue his interests in art, architecture, and travel, all of which he did on grand scales. His tastes were just as spectacular as his wealth, acquiring over the course of his life Giovanni Bellini’s “Agony in the Garden,” Raphael’s “Saint Catherine of Alexandria,” and Velazquez’s “Philip IV in Brown and Silver.” He took music lessons from Mozart. After very possibly having an affair with his cousin’s wife, as well as another with a boy who just happened to be the son of William Courtenay, Ninth Earl of Devon, he exiled himself to the Continent, where he lived most of his life. Vathek was written in 1781 or 1782, while Beckford was in his early twenties. It has heavy Gothic influences, but is very recognizable as one of the “Oriental tales” of which the English reading public could hardly get enough of at the end of the eighteenth and beginning of the nineteenth centuries. Beckford originally wrote the book in French, only later to have it translated into English by Samuel Henley in 1786 and published by Oxford World Classics. However grotesque and bizarre the story, two of its central characters are historical. Vathek is based on al-Wathiq, an Abbasid caliph and grandson of Harun al-Rashid, and his mother Carathis is based on al-Wathiq’s mother, Qaratis. That’s where all historical resemblances end, however. Goaded on by his mother, Vathek seeks out occult learning in the sciences, astronomy, and other “black arts” that shock some of his fellow Muslims, including his counselor-vizier Morakanabad and the eunuch Bababalouk. He is tempted by a demon named Giaour who promises him riches beyond belief in a Palace of Subterranean Fire, and does a number of heinous things to please Giaour, including tossing fifty beautiful boys to appease its bloodlust. Vathek then meets the kind, pious Emir Fakreddin, and quickly falls in love with his daughter Nouronihar, who is already betrothed to her young cousin Gulchenrouz. Vathek’s infatuation excites Nouronihar, however, and seems equally greedy for the treasures in the Palace of Subterranean Fire. They eventually reach the Palace, ruled by Iblis (the Devil of Islamic mythology), but it turns out to be something that more resembles Dante than any kind of heavenly reward. Carathis soon joys them there, explicitly having abandoned all Hope, one assumes for eternity.Because of all the action that takes place in an extremely short novel (this version clocks in right at 120 pages), its pace can seem hurried, confused, and frantic. This is understandable since, in several places, Beckford cites having written it in either two or three days. “Vathek” mostly seems to be a vehicle for Beckford to bandy about his criticisms of middle-class English mores and sexual morality (Nouronihar’s love interest, Gulchenrouz, is often referred to as “feminine” and “effete.”) It can just as easily be read as a very young Beckford trying to come to terms with how he sees himself and his ambitions in relation to those of society less forgiving of thoroughgoing aesthetes. Because of its length, I would recommend this for anyone interested in the ever-popular Georgian-era Oriental tale mixed with high Gothic romance. I don’t think anyone has ever accused Beckford of being a great writer – but it is not without interest, even if it is only the interest of the fascinating eccentric who wrote it.
    • 3/5
      This book is considered to be the 1,002 fable in the Arabian Nights Tales. It was interesting but fantasy is not one of my favorite genres. The narrative of Vathek uses a third person, omniscient, in the sense that he knows what is happening everywhere. The novel, while it may lend itself to be divided into chapters, is one complete manuscript without pause. It's humor is entertaining in some parts but it does drag in the middle. If you like fantasy type fables then I would recommend this book for you.
    • 3/5
      What an unusual book. One of the first Gothic novels. Very orientalist.
    • 2/5
      Imagine a Heironymous Bosch painting with Caliphs and harem girls instead of the usual tortured Christians. Imagine this painting is a cautionary tale about how a debauched Caliph follows riches all the way to Castle Eblis (the devil). Yup, you've got Vathek - but Vathek isn't a painting, and it wasn't written by Bosch. It doesn't have the Bosch spark of genius that makes us wanted to look at the tortured freaks being tortured freakishly.
    • 5/5
      Surely few stranger works of fiction exist in the annals of Romantic literature than William Beckford’s dreamy, opulent, and hypnotically weird Vathek. An undeniable and outrageous breed of almost slapstick comedy mingles like wine in water with scenes of utter blasphemy and perversion. Our eponymous Caliph Vathek, tempted by the sprawling subterranean riches of Eblis (the Islamic demon par excellence), wanders a one-way path to absolute damnation in one of the most meandering and scandalous journeys of self-destruction ever penned. Supreme destination: a climax of hearts exploding into smokeless fire. A parade of phantasmagoria smatters the narrative with strange and delightful diversions: pious dwarves bearing baskets of fruit and chirping incessantly, to the great annoyance of our Caliph, their Qur’anic verses; saucy women tricking eunuchs into flinging about on swings in a perfumed harem; great feasts, examined in exacting detail, of everything from roasted wolves and boiled thistles to pistachio-stuffed lamb and drugged sherbets; an entire city kicking about a goblin who has curled into a ball and taken to rolling about through the streets of Samarra and eventually over a cliff; a woman burning bits and pieces of mummies, rhinoceros horns, and human beings on a pyre atop a dizzyingly high tower to placate the forces of evil; divining fish; one-eyed deaf mutes getting lusty with ghouls who have risen drowsily from the grave to feast on fresh corpses. This is definitely not Aladdin.Like so many other curiosities in literature, from Byron to Melmoth the Wanderer, Vathek is all the more entrancing when its unique and sometimes uncomfortably personal relationship with its author is taken into account. Its influence on the Gothic genre as a whole is evident from the first paragraph, where we are introduced to our naughty Caliph’s ability to strike men dead with a single ‘terrible’ gaze. This absurd and yet ultimately captivating sense of wonder pervades Vathek like the cloying, and yet rapturous, odor of heady rosewater. A treat for reflective minds and those interested in literary theatrics both, I count myself an ardent admirer.(A brief note on translations: Vathek was originally written, despite Beckford’s English heritage, in French. Quite fitting, really. As it stands, this is not Les Miserables, and translations of Vathek are not dramatically varying in terms of quality. That said, the translation widely available in paperback from Penguin or Oxford is admirable and a great read, but if you can track down a copy of The Folio Society’s reprint of the 1929 Grimsditch translation, you will do yourself even better. The differences are quite subtle, but they might be the difference between appreciating the novel and ‘not getting it.’ Best not to take any chances, because, and I’ll say it one last time, this is gloriously weird stuff and well worth your time.)
    • 3/5
      Although fascinating as a document of its time and British preoccupations with fantasies of the orient, I don't think this can be considered great literature. The prose is, at its best, serviceable.
    • 4/5
      Strange Arabian fantasia that tells the story of a caliph who overthrows all that is sacred in the pursuit of dark powers and entry into the underworld. Basic morality tale told with beautiful passages and great imagination.
    • 4/5
      The novel Vatek was an 18th century "cult classic," revered by Byron and later Poe, Mallarme, and Swinburne. It is a fantastical tale originally written in French by William Beckford -- "England's wealthiest son" -- at the age of twenty-one.Beckforth, inspired by the Arabian Nights and the idea of oriental exoticism, created Vatkek as an homage to Persian folk tales and as a self-indulgent escapist fantasy.Filled with splendid palaces, treasures beyond price, vengeful demons, dark magic, eroticism, and wild adventure, "Vatek" is an over-wrought confection. It's long description passages and jumbled plot make it a dizzying read -- inducing both confusion and enchantment. Whether pleasure or frustration takes the upper hand for you will depend on your personal taste.
    • 4/5
      What? This novel is enchantingly bizarre, and the episodes in hell are brilliant, but too much of the first part of the novel is wrapped up in over descriptive paragraphs of the sublime, which quickly bored me. It is however, an at times outlandishly evocative novel, and one that I enjoyed.
    • 5/5
      Vathek was Caliph in the area of approximately present-day Iraq, at some unknown time in the past. He was generally a fair person, but woe unto him who got Vathek angry. He lived in an immense castle, with the absolute finest of everything. One day, a very strange, and very ugly, man stood before his throne. He had a hideous laugh, but didn’t speak. He showed Vathek all manner of rare and exotic items, including sabers inscribed in an unknown language, inscriptions which kept changing from day to day. The stranger was thrown in prison for his unwillingness to speak. The next morning, finding the stranger gone, Vathek totally blows his top.Finding himself outside the castle, at the foot of the nearby mountains, Vathek hears a voice coming out of a huge crevasse. It is the stranger, called a giaour, who promises Vathek all the powers of heaven in exchange for the blood of fifty young boys. Vathek provides the boys, through the guise of a sporting competition, then the giaour reneges on its part of the deal. When the people, especially the parents, understand what’s happened, Vathek has to get back to the castle and lock the doors, until the anger subsides.Later, Vathek commands the creation of a great caravan to a place called Rocnabad, home of famous springs. For various reasons, he needs to get away from the castle for a while. This is going to be the biggest, and grandest, caravan ever. On the journey, the caravan is attacked by wild animals, with a number of casualties. Vathek, his wives and senior advisers, can no longer be carried the rest of the way, because of lack of personnel, but actually have to walk to Rocnabad.At Rocnabad, there is a castle as big or bigger than the one that Vathek left behind. He meets a young woman named Nouronihar, who he wants as one of his wives (as Caliph, what Vathek wants, Vathek gets). She is promised to a man named Gulchenrouz. The lovers drink a potion that will make them look dead for several days, then, the idea is that they go and live somewhere else, away from Vathek.This is one of the very few novels set in the world of the Arabian Nights, a world of eunuchs, slaves and harem girls. It was first published over 200 years ago (in the 1780s), so the style of writing is very different than what is normal for a modern reader. Therefore, it will take some patience on the part of the reader. If you can find a copy, it is time, and money, very well spent.
    • 4/5
      Before there was Clark Ashton Smith, there was William Beckford. Without him, Oscar Wilde would have been nothing...Even Byron rode on Beckford's coat-tails. (Well--maybe)
    • 3/5
      The other stories were better than the original Vathek. It's hard to get into a story where you hate the main character. But it was very colorful and exotic. The writing was a bit purple but I like that.
    • 4/5
      An interesting tale, Vathek is the story of the Caliph of the same name, who is tempted by a demon named the Giaour. Vathek had been well liked by his subjects and left the occult dabbling to his mother up until this time. The Giaour came to Vathek's palace one day promising him wealth & power & secret talismans by which to rule the world. All of this temptation was too much for the poor Caliph; with his mother offering agreement, Vathek is told to travel to a place called Istakar where he would receive his reward. Along the way he picks up a young woman named Nouronihar, whose greed & desire for power matches his own. This book tells of their adventures.A very moralistic tale, and one for which many others have made comments since its writing, I thought it was quite good. A very brief read (this edition, the Oxford World's Classics, tells the tale in 120 pages), it is a classic.

    Book preview

    The History of Caliph Vathek - William Beckford

    978-963-524-939-8

    Introduction

    William Beckford, born in 1759, the year before the accession of King George the Third, was the son of an Alderman who became twice Lord Mayor of London. His family, originally of Gloucestershire, had thriven by the plantations in Jamaica; and his father, sent to school in England, and forming a school friendship at Westminster with Lord Mansfield, began the world in this country as a merchant, with inheritance of an enormous West India fortune. William Beckford the elder became Magistrate, Member of Parliament, Alderman. Four years before the birth of William Beckford the younger he became one of the Sheriffs of London, and three years after his son's birth he was Lord Mayor. As Mayor he gave very sumptuous dinners that made epochs in the lives of feeding men. His son's famous History of the Caliph Vathek looks as if it had been planned for an Alderman's dream after a very heavy dinner at the Mansion House. There is devotion in it to the senses, emphasis on heavy dining. Vathek piqued himself on being the greatest eater alive; but when the Indian dined with him, though the tables were thirty times covered, there was still want of more food for the voracious guest. There is thirst: for at one part of the dream, when Vathek's mother, his wives, and some eunuchs assiduously employed themselves in filling bowls of rock crystal, and emulously presented them to him, it frequently happened that his avidity exceeded their zeal, insomuch that he would prostrate himself upon the ground to lap up the water, of which he could never have enough. And the nightmare incidents of the Arabian tale all culminate in a most terrible heartburn. Could the conception of Vathek have first come to the son after a City dinner?

    Though a magnificent host, the elder Beckford was no glutton. In the year of his first Mayoralty, 1763, Beckford, stood by the side of Alderman Wilkes, attacked for his No. 45 of The North Briton. As champion of the popular cause, when he had been again elected to the Mayoralty, Beckford, on the 23rd of May, 1770, went up to King George the Third at the head of the Aldermen and Livery with an address which the king snubbed with a short answer. Beckford asked leave to reply, and before His Majesty recovered breath from his astonishment, proceeded to reply in words that remain graven in gold upon his monument in Guildhall. Young Beckford, the author of Vathek, was then a boy not quite eleven years old, an only son; and he was left three years afterwards, by his father's death, heir to an income of a hundred thousand a year, with a million of cash in hand.

    During his minority young Beckford's mother, who was a granddaughter of the sixth Earl of Abercorn, placed him under a private tutor. He was taught music by Mozart; and the Earl of Chatham, who had been his father's friend, thought him so fanciful a boy—all air and fire—that he advised his mother to keep the Arabian Nights out of his way. Happily she could not, for Vathek adds the thousand and second to the thousand and one tales, with the difference that it joins to wild inventions in the spirit of the East touches of playful extravagance that could come only from an English humourist who sometimes laughed at his own tale, and did not mind turning its comic side to the reader. The younger William Beckford had been born at his father's seat in Wiltshire, Fonthill Abbey; and at seventeen amused himself with a caricature History of Extraordinary Painters, encouraging the house-keeper of Fonthill to show the pictures to visitors as works of Og of Basan and other worthies in her usual edifying manner.

    Young Beckford's education was continued for a year and a half at Geneva. He then travelled in Italy and the Low Countries, and it was at this time that he amused himself by writing, at the age of about twenty-two, Vathek in French, at a single sitting; but he gave his mind to it and the sitting lasted three days and two nights. An English version of it was made by a stranger, and published without permission in 1784. Beckford himself published his tale at Paris and Lausanne in 1787, one year after the death of a wife to whom he had been three years married, and who left him with two daughters.

    Beckford went to Portugal and Spain; returned to France, and was present at the storming of the Bastille. He was often abroad; he bought Gibbon's library at Lausanne, and shut himself up with it for a time, having a notion of reading it through. He was occasionally in Parliament, but did not care for that kind of amusement. He wrote pieces of less enduring interest than Vathek, including two burlesques upon the sentimental novel of his time. In 1796 he settled down at Fonthill, and began to spend there abundantly on building and rebuilding. Perhaps he thought of Vathek's tower when he employed workmen day and night to build a tower for himself three hundred feet high, and set them to begin it again when it fell down. He is said to have spent upon Fonthill a quarter of a million, living there in much seclusion during the last twenty years of his life. He died in 1844.

    The happy thought of this William Beckford's life was Vathek. It is a story that paints neither man nor outward nature as they are, but reproduces with happy vivacity the luxuriant imagery and wild incidents of an Arabian tale. There is a ghost of a moral in the story of a sensual Caliph going to the bad, as represented by his final introduction to the Halls of Eblis. But the enjoyment given by the book reflects the real enjoyment that the author had in writing it—enjoyment great enough to cause it to be written at a heat, in one long sitting, without flagging power. Young and lively, he delivered himself up to a free run of fancy, revelled in the piled-up enormities of the Wicked Mother, who had not brought up Vathek properly, and certainly wrote some parts of his nightmare tale as merrily as if he were designing matter for a pantomime.

    Whoever, in reading Vathek, takes it altogether seriously, does not read it as it was written. We must have an eye for the vein of caricature that now and then comes to the surface, and invites a laugh without disturbing the sense of Eastern extravagance bent seriously upon the elaboration of a tale crowded with incident and action. Taken altogether seriously, the book has faults of construction. But the faults turn into beauties when we catch the twinkle in the writer's eye.

    H. M.

    The History of Caliph Vathek

    Vathek, ninth Caliph of the race of the Abassides, was the son of Motassem, and the grandson of Haroun Al Raschid. From an early accession to the throne, and the talents he possessed to adorn it, his subjects were induced to expect that his reign would be long and happy. His figure was pleasing and majestic; but when he was angry one of his eyes became so terrible that no person could bear to behold it, and the wretch upon whom it was fixed instantly fell backward, and sometimes expired. For fear, however, of depopulating his dominions and making his palace desolate he but rarely gave way to his anger.

    Being much addicted to women and the pleasures of the table, he sought by his affability to procure agreeable companions; and he succeeded the better as his generosity was unbounded, and his indulgences unrestrained, for he was by no means scrupulous, nor did he think with the Caliph Omar Ben Abdalaziz that it was necessary to make a hell of this world to enjoy Paradise in the next.

    He surpassed in magnificence all his predecessors. The palace of Alkoremmi, which his father Motassem had erected on the hill of Pied Horses, and which commanded the whole city of Samarah, was in his idea far too scanty; he added therefore five wings, or rather other palaces, which he destined for the particular gratification of each of his senses.

    In the first of these were tables continually covered with the most exquisite dainties, which were supplied both by night and by day, according to their constant consumption, whilst the most delicious wines and the choicest cordials flowed forth from a hundred fountains that were never exhausted. This palace was called The Eternal or Unsatiating Banquet.

    The second was styled The Temple of Melody, or the Nectar of the Soul. It was inhabited by the most skilful musicians and admired poets of the time, who not only displayed their talents within, but, dispersing in bands without, caused every surrounding scene to reverberate their songs, which were continually varied in the most delightful succession.

    The palace named The Delight of the Eyes, or the Support of Memory, was one entire enchantment. Rarities collected from every corner of the earth were there found in such profusion as to dazzle and confound, but for the order in which they were arranged. One gallery exhibited the pictures of the celebrated Mani, and statues that seemed to be alive. Here a well-managed perspective attracted the sight; there the magic of optics agreeably deceived it; whilst the naturalist on his part exhibited, in their several classes, the various gifts that Heaven had bestowed on our globe. In a word, Vathek omitted nothing in this palace that might gratify the curiosity of those who resorted to it, although he was not able to satisfy his own, for he was of all men the most curious.

    The Palace of Perfumes, which was termed likewise The Incentive to Pleasure, consisted of various halls, where the different perfumes which the earth produces were kept perpetually burning in censers of gold. Flambeaux and aromatic lamps were here lighted in open day. But the too powerful effects of this agreeable delirium might be avoided by descending into an immense garden, where an assemblage of every fragrant flower diffused through the air the purest odours.

    The fifth palace, denominated The Retreat of Joy, or the Dangerous, was frequented by troops of young females beautiful as the houris, and not less seducing, who never failed to receive with caresses all whom the Caliph allowed to approach them; for he was by no means disposed to be jealous, as his own women were secluded within the palace he inhabited himself.

    Notwithstanding the sensuality in which Vathek indulged, he experienced no abatement in the love of his people, who thought that a sovereign immersed in pleasure was not less tolerable to his subjects than one that employed himself in creating them foes. But the unquiet and impetuous disposition of the Caliph would not allow him to rest there; he had studied so much for his amusement in the life-time of his father as to acquire a great deal of knowledge, though not a sufficiency to

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