Text: Burton R. Pollin, “The Broadway Journal: Notes (April 1845),” The Collected Writings of Edgar Allan Poe — Vol. IV: Broadway Journal (Annotations) (1986), pp. 53-81 (This material is protected by copyright)


[page 53, continued:]

69/31} M 180 is derived largely from this article, q.v. for collations with the book of Wm. Newnham, and for full notes on Newnham (1780-1865). For Poe’s changing views on hypnotism, or mesmerism, see M 180a-b.

70/26} For Townshend (1798-1868), English priest and friend of Dickens, see M 180d.

70/31} See M 180a.

70/40} Poe dropped, from M 180, this ref. to Harriet Martineau (1806-76), celebrated miscellaneous writer of philosophical bent and friend of many literary celebrities, who visited America, 1834-6, and wrote on it. She became ill after a trip to Venice from which she recovered, so she claimed, through mesmerism (1844). Newnham gives her own account in App. A and alludes to her on p. 138.

70/47} Poe cites an American reprint of this prominent British journal on 71/5 [facsimile text].

70/50} 400 p. + lvi.

70/57-8} This is verbatim from p. vi.

70/61} Publishers of Poe’s poems and tales in 1845. 70/64) Vol. 57, no. 358, 369-400.

71/4} Poe is surprisingly mild toward John Wilson [page 54:] (“Christopher North”) here, q.v. in Br. (SM 1, 7) and PD, p. 99 (7 loci). See BJ 2.406 for English’s squib on Kit North.

71/9} Burgess and Stringer.

71/10} Poe uses this for 70/45 [facsimile text].

71/20} Pub. 1845, no preface, 252 p.

71/22} For John Henry Mancur (1774-1850) see M 129.

71/23} For the prolific historical novelist George Payne Rainesford James (1801-60), see FS 6, SM 5a, the second of which points at Poe’s 10/36 rev. of James’ Lives (including that of Mazarin).

71/27} Both names are mentioned in the introductory first chapter. The setting is Paris, 1650.

71/30} Thomas Low Nichols (1815-1901), journalist, hydrotherapist, pioneer dietician.

71/34} 32 p., double column.

71/35-38} David Lee Child (1794-1874), lawyer, journalist, anti-slave reformer.

Naboth’s Vineyard: The possession of another coveted by one who will use any means to acquire it (Kings, 1.21). Child’s name was associated with Texas through one of his previous books, The Texas Revolution, Washington, D.C., 1843.

71/40} Pub. 1845, 125 p., double column.

71/44} H. Didimus: pseud. of Edward Henry Durell (181087), a linguist and jurist who practiced in New Orleans. As a federal judge, he was active on behalf of the Republican party in Louisiana (DAB).

72/9} Pub. 1846 (1845), 446 p.

72/12} Poe knew Frost, editor and high school teacher in Phila., and speaks well of him in the “Autography” of 12/41 (H 15.242-3). Cf. Letters, pp. 125, 148; TOM, 921, for his tale as a source of Poe’s “Oblong Box.” [page 55:]

73/6} Lane, publisher, 1842, (v)-viii, 9-344 p.

Thomas H. Lane was to become co-pub. of the BJ with the departure of Bisco.

73/10} Pub. 1845, x, 7-121 p. These elementary texts in many sciences have virtually disappeared from all libraries.

73/12} This appears on the cover.

73/13} “from the text of Milne Edwards and Achille Comte” (sic; quoted from the title page).

73/15} Pub. 1845, vi, 8-143 p.

73/18} Poe claimed that the increasing “namby-pambyism” of Graham’s spurred his departure (see Pollin, AL, 40.164-78).

73/20} Sarah Josepha Hale (1788-1879), author, editor. Edited the Ladies’ Magazine in Boston from 1827. When Godey bought it in 1837, she became literary editor of his Lady’s Book. She was a leader in the movement for women’s education, and an arbiter of American female tastes, however, she is best known as the author of Mary’s Lamb (1830). She figures largely in the works of Poe (H 8.117-8; BJ of 11/1), who always tactfully praised the editor of Godey’s.

73/26} Pub. 1845, xxii, 394 p.

73/27} Poe usually notes format details of books under review but rarely so exclusively.

74/2} Poe’s coinage (from French and English forms) often used through the Eureka period (see PCW, p. 37).

74/22} The interrupting comma must be purely rhetorical.

74/30} Perhaps from John, 3.3: “1 say unto thee, Except a man be born again, he cannot see the kingdom of God.”

74/39} Poe’s rather casuistical exoneration of true poets who unconsciously plagiarize is belied by most of his charges against the “arrant” borrowings of Longfellow and Aldrich earlier. In the BJ of 9/20 (pp. 252-53) is Poe’s editorial against Whittier for “pick-pocketism” from Bulwer, implicitly conscious. The heart of his attack became SM Il; see Index for numerous other attacks [page 56:] against plagiarists in the Br. for wilful theft. Poe’s campaign against Longfellow continued throughout his life and greatly harmed his reputation (see Moss, Poe’s Lit. Battles, ch. 5, and Pollin, Mi Q, 1984, 475-82). There were many good reasons for dropping the “War” at this point: the increasing distress of Briggs, who had reluctantly agreed to the series for publicity value, Lowell’s objections to the treatment of Longfellow, sent in letters to Briggs (see Woodberry, 2.125-31), the exhaustion of the topic itself, plus admonitions even from such friends as Duyckinck that he was exaggerating and overdoing the basically sound cautions about imitating (see the Democratic Review, “Plagiarism,” 4/45, 16.413-15).

75/1-9} Surely the BJ ed. who wrote this headnote is Poe alone, using a sentimental suggestiveness of phrasing that is derived from the Della Cruscan verses of Robert Merry and his followers. This is one of several exchanges between Poe and Frances Osgood (“Kate Carol”), succinctly discussed in TOM, Poems, 556-58 (for other BJ items see 78, 105, 118, 209, 328-32 et al., in Index).

It is likely that Kate Carol deliberately borrowed ideas and even words from poems of Poe, such as “Evening Star,” (Poems, 74-75), “A Dream” 79-80, “To the River” 134-35, “Fairy Land” 161-62 and especially “Israfel” 173-75. The poem’s title and subtitle obviously show Poe’s personal knowledge of its source; in Mrs. Osgood’s Poems (1850) it was collected (pp. 449-50) solely under its first line as title. We wonder what was the alternate last line that Kate Carol vouchsafed to Poe, who was playing the starry “Israfel” to her lowly “rill.” We must note TOM’s conviction of the affair’s Platonic nature after his considerable study of it, despite this exchange and many flirtatious meetings, 1845-47, approved by Virginia.

75/38} Note Frances Osgood’s popular book, A Wreath of Wild Flowers from New England (1839), first pub. in London, and reviewed by Poe (H 13.105-25, and mentioned in 13.186-7, 15.96-100). Poe loved to dwell on Fanny’s “grace,” charm, and affinity to “dance“ — all of which play a role in this poem as in many others (st. 3-4).

76/4} For Poe’s BJ rev. of that opening night, see 65 ff.

76/6} Fashion was the most important imaginative work of Anna Cora Ogden Mowatt Ritchie (cl.v. in 65-69 [facsimile text]), who wrote it following an aborted career as a public reader of [page 57:] poetry (1841-42), when she had turned to journalism. Subtitled Life in New York, it was a farce ridiculing the nouveaux riches of the period. The play was published in 1850.

Fashion was published in London in 1850, and was reprinted, with Armand, in Boston, in 1855. The present edition is based upon a collation of these two texts, which differ very slightly. The play was revived at the Provincetown Theatre, New York, Feb. 3, 1924, and after moving successively to the Greenwich Village and Cort Theatres, ran for 235 consecutive performances, until August 30.” From Representative American Plays, A.H. Quinn (1938, 5th ed. of 1917 ed.), p. 280.

76/11} See 65-69 above.

77/6} In Sheridan’s Rivals.

77/9} See 67/67.

77/21} At the end of Act 5, p. 311.

77/37} Sir Philip Sidney, Astrophel and Stella, Sonnet 1: “Look, then, into thine heart and write.” See PD for other Sidney refs.

77/40-78/20} Poe’s ideas on drama having been aired in the EM, are here (and on p. 68) further developed and will be repeated in MM 131, 171, 186; q.v. for details and other texts.

77/45} Poe’s coinage.

77/66} See 19-20 [facsimile text] above and M 177.

78/9} Goldsmith’s Vicar of Wakefield (1766), ch. 9: “They would talk of nothing but . . . Shakespeare and the musical glasses.”

For Poe’s views on Shakespeare see N.B. Fagin and Pollin, SAR 1985, a comprehensive survey.

78/25} See M 186.

78/27} 1 Cor., 15.28: “That God may be all in all.” 78/40-53) The cast is the same as on p. 68.

78/57} Although unsigned by Poe, this long series of Poe’s [page 58:] revs. is full of the names of his friends, with characteristic Poe commendations (see especially Osgood, R. Morris and G.P. Morris, and S.J. Hale).

78/59} For Mrs. Osgood, see note, 75/5 and 78/62. Her poem “The Fan” is on p. 166 of this issue.

Lydia Howard Hunt Sigourney (1791-1865), poet and essayist. Although conventional and imitative, she was held in high regard in her own day. The primary theme of her 67 books is death (DAB). Her poem “Sudden Death” is on p. 167.

Emma Catherine Embury (1806-63), author, conducted a literary salon. Her work was characterized by vagueness and conventionality. Poe knew her from Graham’s as an assistant ed. (see Pollin, AL, 1968, 40.164-78). Her “True Love a Hundred Years Ago” is on p. 171.

Seba Smith (1792-1868), journalist, political satirist. His wife, Elizabeth Oakes Prince Smith (1806-93), a novelist, Lyceum lecturer and women’s rights reformer, was known through her contributions to the popular periodicals (DAB). See loci in PD, 86. Her “The Rustic” is on p. 156.

78/60} “Fanny Forrester”: pseud. of Emily Judson (1817-54), wife of Baptist minister Adoniram Judson. Wrote several popular moralistic works. Her “Nickie Ben” is on p. 151.

Francis Joseph Griind (1798-1863), Austrian journalist, traveller, politician, acquaintance of Poe (cf. Quinn, 399). His “Monologues Among the Mountains by ‘A Cosmopolite“’ is on p. 168.

“Wm. Landor”: pseud. of Horace Binney Wallace (1817-52), brilliant lawyer and misc. writer from whom Poe borrowed greatly (see Index of Br. and refs. in M 10b). His piece, “The Masquerade,” is on p. 176.

Robert Morris was highly praised as a poet in “Autography” (H 15.211) and also by R.W. Griswold (Boston Notion, 8/7/41). Cf. 270c.

78/62} Hull notes Poe’s use of “grace” in every rev. kerning Mrs. Osgood, specifically “Literati,” Godey’s, 9/46, and irginalia,” SLM, 4/49. See M 209 for more on Mrs. O’s “grace.”

78/64} “The Toilers,” p. 156, note before poem: ‘I saw a widow who was yet young — perhaps forty — but whose form, once fresh and healthful had become exactly the reverse. It was now nothing but skin, sinew, bones and no flesh. She had three sons nt wnrk in the mills. and althoueh they toiled incessantly, they [page 59:] could scarce earn enough to keep the fiends of famine from the door.‘ — English Factory Report

“Again — the bell rings out / Upon the morning breeze — / And see the toilers rushing forth / Like startled human bees — / Like startled human bees, alas! / The honey of the hive / Is often rung from youthful hearts / That wither as they strive.” (Excerpt from middle.)

79/4} See Letters, 179, referring to “contemptible pictures, fashion-plates, music and love tales” in Graham’s.

79/7-50} For Poe’s regard for Morris, co-ed. of the Mirror, as a song-writer, see M 202 and note k; also Pollin, Prairie Schooner, 1973, 46.223-35.

79/8} On pp. 145-50.

79/28-44}) On p. 149.

79/45} On p. 148.

79/46} “Woodman” not copied, mentioned p. 147.

79/47} The actual title is simply “Near the Lake,” p. 149.

79/52} Engraved by Welch and Walters, artist’s name looks like “Bagg” or “Hagg.”

79/61} Drawn by Smillie from a sketch by T. Addison Richards.

79/66} Louis Antoine Godey (1804-78), founded it in 1830, and Sara Josepha Hale (q.v.) was editor 1837-77. In 1898 it was absorbed by another magazine. Its appeal to wealthy ladies was through fashion, sentimentality, moralism, and illustrations.

79/72-76} Leslie — p. 149; Hale — p, 163; Embury — p. 164; Anna Mowatt — “Helen Berkley; or, the Mercenary Marriage“ — p. 170.

80/1-7} A. Mowatt — p. 184; S. Smith — p. 145; Gould — p. 181.

80/6} See 78/60 for Francis Griind.

80/10} The artist was H. Corbould, the engraver, A.L. Dick. [page 60:]

80/17-21} There seems to be no trace of this publication.

80/22} See Mott, American Literary Periodicals, 672, for an earlier (but still published) Ladies’ Garland, Devoted to Lit. etc. (1837-47 and 48-49 under a new name).

80/25} The first may have been the last, for no data on this is available.

80/26} See 55-56 [facsimile text] for the start.

80/27} See 56/7 for Field.

80/28} For Hoffman (1806-84), varied author and ed., see M 202k. For Schoolcraft (1793-1864), eminent ethnologist, especially of Indian lore, see “Rodman” 1.18A. His article on Indian names is in BJ of 3/1, 1.138.

80/30} “National Nomenclature“ — Report of the Committee of the New-York Historical Society, 3/31/45, 8 p., offered by a resolution of 3/4/45 on the subject.

Pp. 4-5: “We‘ll quote a letter of W. Irving of some years ago, ‘We want a national name. We want it politically and poetically.“’ (This followed by 3 full paras.)

P. 6: “Duly proposed: Apalachia or Alleghania.”

P. 8: “Favored name: Allegania [sic]”

signed: “David Dudley Field, Henry R. Schoolcraft, Charles Fenno Hoffman, NY 3/31/45”

80/37} The joke? James Harper (1795-1865), reform mayor of 1844, was head of the firm J. & J. Harper, John being one of four brothers. Poe felt little gratitude to the firm after the 1838 Pym was issued.

80/40} For Porter see 19/50 [facsimile text] and M 221.

80/44} Joel Tanner Hart (1810-77), self-taught portrait sculptor.

80/48} Shobal Vail Clevenger (1812-43), self-taught Ohio sculptor, who took Hart as his inspiration. The word “ideal” means imaginative, as here.

81/1} After leaving the SLM in 1836, there appeared no revs. from Poe until 5/45. In that issue, there appeared a rev. of [page 61:] the Dictionary of . . . Antiquities which incorporated the following notice in the BJ:

“The SLM rev. contains two introductory paras. of background material (characteristic of Poe in revs. of this sort) not found below. Hull notes occasional verbal parallelism, and believes that the changes wrought in the SLM serve to improve the piece.”

Elements of the two revs. appear in the Anthon articles of “Autography,” Graham’s, 11/41 (H 15.179-82), and “Literati,” Godey’s, 6/46 (H 15.34-6).

81/6} Pub. 1845, lx + 1124 p. (NY). Sir Wm. Smith (London), 1842, 1st ed.

81/8} John Potter (1674?-1747), Regius Prof. at Oxford, ed. of classic texts, pub. Archeologica Graeca (1647-98).

Alexander Adam (proper spelling, 1741-1809), teacher and writer on classics and for schools. The sentence is adapted from line 8 of Anthon’s preface.

81/11} There are 11 headings.

81/18} Charles Anthon (1797-1867), most influential classical Am. scholar of the century. See MM 115, 168, 175.

81/20} E.g., botany, minerology, and zoology.

81/22} See Preface, p. v.

81/30} For revs. of Anthon’s other classical texts see 23, 110, etc. (in Index), and PD, 4. Poe relied much on Anthon’s translation of a Hebrew passage (MM 115, 175) and was helped on the NY Rev. The hue and cry over Anthon’s “adaptations” of classical, edited texts and compendia enters the Anthon discussions of Poe, often facing the same issue.

81/41} Is Poe facetious in the notion of such an application of the term?

82/4} This second ed. of the 1845 “reader” had the distinction of including “The Raven” before its appearance in Poe’s book, as TOM noted in Notes & Queries, 1943, 185,225; Bulletin of the New York Public Library, 1943, 47.581-84; Poems, 556. George Vandenhoff (1813-85) was a transplanted English actor, lawyer and public reader (see p. 90 for his acting). For [page 62:] details of his life to 1839, when he came to America, see BGM, 2/40, 6.59-62, an article by Burton, during Poe’s editorship. His System was well advertised in the BJ, 1.240, 256, 272, 398, 415; 2.16, 32, 48. In the collective rev. in the 9/15 Aristidean, 240, Poe again revs. the book and says “Mr. Poe’s ‘Raven’ is shamefully mangled” through typographical “blunders.”

82/13} This demonstrates Poe’s deep interest in good voice projection and fine reading of poetry, often shown in his own lectures and private readings (see TOM Poems, 559), although there were many dissidents about his “sing-song” style. Note the objective of recitation as the inspiration of “Ulalume” (Poems, 409-10), under the stimulus of Prof. Bronson.

82/18} This was a pamphlet (Phila.: Lyceum Press, 1843; not extant) of John Tomlin (1806-50). See discussion of Elizabeth C. Phillips, U. of Kentucky. Poe exchanged several letters with Tomlin (see Letters, Index); see Tomlin’s close imitation of “To One in Paradise,” in his “To Helen” in the 12/43 SLM, and, was involved in a case of ill-will at Jackson, Tenn., 1840-47, and figured in Holden’s Dollar Magazine, 1848, 2.644. See “Autography” (H 15.231) for Poe’s sketch. N.B.: Tomlin is listed in the advertisements of BJ 10/11-1/3/46 (2.218-412) as local agent for the magazine.

In the 6/21 BJ, on 1.398, is printed Poe’s note, which includes acknowledgment to “J.T.” and also to Chivers (“T.H.C.”), as follows:

TO CORRESPONDENTS. — We are greatly indebted to the author of the Correspondence between a Mother and Governess — also to A.M.J. — to J.T. of Jackson — to T.H.C. — and to F.W.C. of Boston. We are forced to decline “The Heart Unshared.” We are anxious to hear from Ellen of N., in D.

82/33} For Poe’s adulation of Shelley, see M 213 and especially note c; also p. 14 [facsimile text].

83/2} Gerardus Johannes Mulder (1802-80).

83/6} James Finley Weir Johnson.

83/7} Benjamin Silliman (1779-1864), prominent chemist, geologist, naturalist, at Yale, founded and directed the foremost Am. Journal of Science and Arts, mentioned in “Von Kempelen” (see TOM, 1355; Pollin, Discoveries in Poe, 186). The London ed. had 184 p. [page 63:]

83/15} For Anthon see 81/18.

83/17} Pub. 1844, xii + 536 p.; the same for the 1845 ed.

83/19} Raphael Kuhner (1802-78), pub. many eds. of Greek grammar. “Compend” is an accepted variant of “compendium.”

83/29} See p. 101 for notes and a variant review, and 111 for a long quotation.

83/34} Pub. 1845, [7]-566 p. Poe is wrong about the pages here, on p. 101, and in the SLM rev.

83/35} This notice and the one on page 101 (April 19) correspond to a rev. in the SLM, 5/45 (362-28). Hull suggests that, pressed for time, Poe met the May deadline by combining the BJ notices into a two and one-half column rev. for the Messenger. Tone, matter, and attitude show no discordance.

83/42} Poe’s usual wording (sans “of”). For this phrase, probably derived from Stanley, see M 160c.

83/52} This far-sighted essay of enlightened views, although derivative in its data, was first reprinted by Harrison (14.153-9) and, as a separate edition (badly printed “limited” ed., 150 copies) by the Silver Quoin Press, Chicago, 1946, 5 p. (said to be “completed” Jan. 1947). Its brief Intro. asserts: “It is, perhaps, a little unkind to revive an article such as this; for the author might now be somewhat embarrassed by his enthusiasm and his optimistic predictions for a method of printing which is now so completely obsolete.” Others, such as Briggs, shared this fervor. See note to 84/29 for a modern study of the topic.

83/54} The process was discussed on 24/31-36 [facsimile text], 2/22. See also insertion in “Varieties” by Briggs of a description from the London Art Union in BJ, 1/11, p. 29 and 2/8, p. 88 (neither reprinted here); and also a technical description quoted below, pp. 135-36 [facsimile text].

84/1} This misquotation from Francis Bacon’s Essays, no. 43, “Of Beauty,” was a Poe favorite (see MM 147c, 213e).

84/20} Poe’s heroine, unfortunately, forgot this human tendency in the tale of this period, “Scheherazade” (TOM 1149 [page 64:] f f.).

84/24} OED: Anastatic (from Gr. for resurrection, or causing to stand). Of the nature of revival; specifically applied to a printing process in which facsimiles of writing, drawings, or letter-press are produced by a transfer process from zinc plates.

84/26} Alois Senefelder — the correct spelling — (1771-1834), accidentally invented lithography or printing from a stone “plate.” His handsome pension proves it was not a “frivolous invention” despite the circumstances. Senefelder wrote a full account of his discovery in Vollständiges Lehrbuch der Steindruckerei (1818).

84/27} Poe is using an obsolete sense (“innovation”) for the noun “novel” if the definite article is intended and not a blunder.

84/29} The topic has been studied and presented by Geoffrey Wakeman, Aspects of Victorian Lithography: Anastatic Printing and Photozincography (Wymondham: Brewhouse Press, 1970; 63 p.). He traces it from its “discovery” by M. Baldermus of Erfurt, its exploitation in England by the German steam engineer Wm. Siemens and by Joseph Woods, who named it, through its publicity in various journals including the Art-Union, and through Faraday’s lecture-demonstrations, into its various commercial applications for antiquarian journals and books, map-copying, and limited reproductions of graphic sketches. By 1895 it had lost favor because of the need for better quantity-duplication, the advances of photographic printing processes, and the unreliability of the chemical processes involved.

84/52-58} The Art-Union of London, 2/1845, 7.39-40, contains, on both the ample leaves (2 columns), illustrations done by the anastatic printing method, with a text about the process interspersed. Illustrations include “The Nurse” and “The Revelry,” woodcuts from The Book of British Ballads, plus new amateur drawings. Poe’s facts, details, and explanations are taken or closely adapted from the tiny print of the magazine article.

84/58} Actually two leaves, entirely set anastatically.

85/6} Poe’s enthusiasm for this soon outmoded process was excessive, but how social-minded it was! [page 65:]

85/19} Poe’s “circular letter of 11/1845,” inviting subscription to the BJ, exists in the LC, and Morgan and Huntington Libraries (Letters, Check List 587-90). In a rev. of Putnam’s Am. Facts in Aristidean, p. 239, Poe notes that the plates “are produced anastatically.”

85/24-30} The points about one remaining copy and warehousing expenses are in the Art-Union (p. 40).

85/55} Poe’s writing is outstandingly neat, elegant, and legible, and often miniscule (see MS. of “Hans Pfaall” reproduced in Imaginary Voyages between 386 and 387). This is Poe’s original point, not in the magazine.

85/58} Poe objected to typographical blunders, especially when the author was deprived of proof-reading. See his 1842 letter to R. Hamilton of Snowden’s in Moldenhauer, Poe MSS., 55.

86/1-19} All these points are Poe’s, including the relegation of women to the post of scribe.

86/29} Poe’s animus against these gentlemen was often thus expressed although the Griswold source seems to be an error (see M 158a).

86/31} Poe applies “poor-devil” hyphenated to “authors” elsewhere: “Thingum Bob” and “Magazine Prison-House” (TOM, 1140/31, 1207/26); also an uncollected rev. of Mathew’s Memoirs, BGM, 6.57.

86/46} For Poe’s keen interest as an author, see 23, 103, and M 103c. See also BGM, 1840, 6.202, for five paragraphs by Burton on the link of mammoth papers to international copyright.

87/4} Daniel Webster, Mass.; John Berrien, Georgia; Willie Mangum, N. Carolina; George Evans, Maine; James Morehead, Kentucky; John Crittenden, Kentucky; William Archer, Virginia; John Clayton, Del.

87/7} For the political orientation of the Whig Review by George H. Colton, ed. ‘45-‘47, see Mott, 750-1.

87/14-20} The respective pages are: 341-61, 371-83, 413-23, 424-32. [page 66:]

87/21} Pp. 363-70. This magazine also printed “The Raven” and “Valdemar.”

87/25} Pp. 405-12.

87/27} The adjective for “savans” also (TOM, 1312/26). 87/30) The critics are not “asses” but “apes” (p. 407). 87/31) This is on p. 405.

87/32} Kilkenny Cats: The phrase “To fight like Kilkenny cats” comes from the practice of Hessian soldiers occupying Kilkenny during the rebellion of 1798. They would tie the tails of two cats together, then drape them over a clothes-line. The cats fought until one or both died (OCEL). Cf. N and Q, series V, 3.433. The expression was used by Poe in “Why the Little Frenchman. . .” (TOM, 468). Also in Ostrom, Letters, 212.

87/35} Poor form of “nosce to ipsum” (Latin, “know thyself”).

87/40-53 ff.} On p. 412.

87/53} Poe omits: “the third, the Great Traitor;“.

88/40} The famous Washington, D.C. “chit-chat” mag. of Mrs. Anne Royall running from 1831 for 5 years (see Mott, 356).

88/46} SLM, pp. 202-11.

88/52} L. and NY, Wiley & Putnam, 1841, viii + 266 p. On p. 221 of this number of the BJ Briggs cites Catlin’s Indian sketches as the historical model.

George Catlin (1796-1872), painter of NY notables, successively portrayed Indians and their customs.

88/54} Last sentence of “Vindication” article: “For our humble selves, we frankly declare we have no respect for a philanthropy confined to only one color, and which embraces every country but its own. Whether eagle, or cormorant, jack daw, or owl, we hold to the old proverb, It is a base bird that befowls its own nest.” [page 67:]

88/56} Pp. 235-43. Poe says this on 14/15-24.

88/60} On pp. 281-87.

88/64} On 252-53. Interesting is the announcement on p. 256 of SLM under “Literary criticism: E. A. Poe, Esq.” that he will contribute monthly “a critique raisonnee” of the most important new works. Perhaps it was his awareness of the new burdens of the BJ that caused him to omit mention of this abortive plan.

88/67} P.201.

88/68} “The Poet,” pp. 212-3.

88/69-71} Pp. 253-56, “Holgazan.”

88/71-74} SLM, p. 255. For example see Eureka, H 16.222-3, and 297-8, for favor toward Nichol. (Poe usually drops “of” after “worthy.”) J.P. Nichol (1804-59) wrote Views of the Architecture of the Heavens (1837); see Eureka, para. 156. The anonymous author was Robert Chambers (1802-71), author of many books on Scottish history and literature, and a partner in the publishing firm of W. & R. Chambers of Edinburgh. Vestiges came out in 1844.

In a letter to George E. Isbell, dated 2/29/48 (H 1.277), Poe wrote, “‘The Vestiges of Creation’ I have not yet seen; and it is always unsafe and unwise to form opinions of books from reviews of them.” However, this comes almost three years after the remarks here in the BJ, which imply a knowledge of the work. This not being definite proof of previous familiarity, one may look to Carol Madison’s article (Texas Studies in Literature and Language, 1960, 2.350-67) positively identifying Vestiges as an important source for Eureka, especially n. 17, p. 365, and n. 5, p. 352. See also three revs. of Eureka: Decius (New World, 2/12/48, p. 2) on the lecture; the Boston Transcript (6/20/48) and Willis’ Home Journal (8/12/48) on the prose poem, all of which mention Vestiges as a likely influence. In the 3/45 Aristidean, ed. by T.D. English (q.v.), Poe again attributes the work to Nichol in the column (probably his) “In Our Bookshelves” (specifically 82-84).

Poe’s uncertainty was shared by the rest of the literati; cf. The New World, 2/15/45, where the reviewer announces the work to be by Sir Richard Vivian, Baronet, a member of various Natural History societies and a known book collector, and states [page 68:] the thesis in terms close to Eureka’s “argument.” See also 234 and 327 [facsimile text].

88/75-76} “P.’s Correspondence,” pp. 337-45. Hawthorne presents Byron, Moore, Shelley, Keats, etc. plus Willis, Bryant, Neal, et al.

89/5} Pp. 413-5, re Poe’s articles in the BJ.

89/6} Pp. 376-84; pp. 387-400.

89/7} Lewis Cass (1782-1866), statesman and soldier. Engraved by J.B. Forrest, from a daguerreotype miniature.

89/8} For relations of Poe and Hunt, see Pollin, Texas Studies in Literature and Language, 1974, 16.305-13. Modestly, Poe omits Hunt’s high praise of the tone and criticisms of the BJ (q.v. in Poe Log for April ad. init.).

89/13} Rev. of Essays on the Principles of Morality, and on Private and Political Rights and Obligations of Mankind by Jonathan Dymond, NY: Collins, Brother and Co. For several other laudatory revs. of Hunt and his work see the Index and Pollin, Texas Studies in Literature and Language, 1974, 16.305-13. For Poe’s brief notice of Dymond’s book and a note thereon see 115/34-41 and n.

89/15-24} The source of this is an excerpt from the book in review, not given verbatim by Poe.

89/28} This comes from p. 354 of the Merchants’ Mag.

89/35} There is an engraving of the jail opposite page 44 in Henry Dawson, Reminiscences of the Park and its Vicinity (NY, privately pub., 1855). The building was on the N.E. edge of the park next to City Hall, also known as “The Common.” It was built in 1756 and later converted to a hall of records. It was torn down in 1903 to make way for the first subway. (Information from pp. 24-25 of Meyer Berger, The Eight Million [NY, Simon and Schuster, 1942].) Poe’s expressed interest springs from his own condition of perennial indebtedness.

89/40} This article furnished M 186 (see para. 2 below). Note also Dinneford’s irate response to this rev. (96-98). See also the musical background, causing these performances (91/7-25 [page 69:] below).

89/49} Pliny, Natural Hist., XXIII, 77, “with a grain of salt or with reservations.”

89/62} For Schlegel’s Dramatic Lectures (London, Bohn, 1846 ed.), on Antigone, see pp. 100, 101, 104-7, in ch. 1 (first British ed., 1815; Phila., 1833). See Pin 105 for Poe’s use of the book.

90/2-31} These lines, with the para. indentation canceled, comprise M 186, q.v. for fuller glosses and for the minor variations.

90/14} Through a forged Renaissance inscription, he was considered to be sculptor of Venus de Medici (as in “Assignation” and “Ligeia“ — M 186b).

90/18} Hamlet, 4.4.66: “My thoughts . . . be nothing worth.”

90/43} For Dinneford see pp. 96-98 [facsimile text]. Poe’s remark on the size of the Greek theatre is not very clear, since the three dimensional hill-side structure could scarcely have a diameter. According to J. M. Walton, Greek Theatre Practice (1980), pp. 88-89, the circular orchestra space of the Athenian structure under Pericles was reduced from a diameter of 90 to 72 feet, but this did not comprise the hillside seats. All told, 17,000 persons could be accommodated, rendering Poe’s notion of 700 feet tenable, whatever his meaning.

90/48} Wm. Mitchell (1798-1856), who ran the Olympia Theater, 1839-50, devised a topical burlesque entertainment.

90/59} See 82 (a) for Vandenhoff’s book on elocution with “The Raven.”

91/1} The expression for secret derision with both “in and “up” derives from the large, loose sleeves once suitable for concealing the face.

91/7-25} Considering the great stir in Berlin and London caused by Felix Mendelssohn’s music to Antigone for male voices and orchestra, Poe is correct. Recently appointed Kappellmeister to Frederick IV of Prussia, who desired to revive Greek tragedy, Mendelssohn followed Tieck’s advice eagerly. His composition was at once put into production at the royal theatre, 10/28 and [page 70:] 11/6/41, was given again in 1842 (also in Leipzig) to crowded houses (also 1843), and finally was played 45 times at Covent Garden in 1-2/45, while the composer was in London. He enjoyed the write-up and caricature in Punch (1/18/45), and spoke also about the ballet-girls in the Bacchus chorus (see Groves Dictionary of Music, 1927 ed., reissued 1939, 3.410 for an account with the picture). The manager of Covent Garden also sent for his Oedipus, which had come out of the Greek “period” after the Antigone. Poe surely had read some of this critical acclaim in the recent British press — which had led to the American performances. Poe is wrong about the lack of great “success” abroad (89/50 [facsimile text]).

91/13} The spelling of unisonious is acceptable (OED).

91/17} Poe must have meant “though” but the “to” is not impossible.

91/28} Poe did not resume this critique.

91/39} Sir Richard Jebb, The Tragedies of Sophocles, Cambridge U. P., 1912, pp. 153-4:

Chorus: Love, unconquered in the fight, Love, who makest havoc of wealth, who keepest thy vigil on the soft cheek of a maiden; thou roamest over the sea, and among the homes of dwellers in the wilds; no immortal can escape thee, nor any among men whose life is for a day; and he to whom thou hast come is mad.”

91/43} George Loder was highly reputed for his playing on piano and double-bass and his conducting. Odell records many of his performances (see Index, vol. IV) and a lecture on music on 5/26/43 (see pp. 679-81, 685-86). His wife was often featured as a concert singer. For a long rev. by Watson of Mendelssohn’s Lobegesang see BJ of 3/1, 1.140-41.

92/3} Josiah T. Marshall, [title correct] 2nd ed. rev., NY, Appleton, 1845, 492 p. (there is no data for the 1st ed.). The promised rev. was not inserted.

92/5} Henry Hope Reed (1808-54), professor of rhetoric and English literature at the University of Pennsylvania from 1835 until his death. In addition to Arnold’s Lectures he also prepared editions of Wordsworth, Gray’s Poetical Works, George Frederick Graham’s English Synonymes, and other works. His main [page 71:] preoccupation was Wordsworth.

92/6} Translated by Henry Francis Cary, The Vision . . . of Dante Alighieri, 1845, 587 p.; illus. by John Flaxman.

92/7} Protestant Episcopal.

92/8} There is no record of any work of Wordsworth’s being published by Appleton until 1850, when the firm published The Prelude, which was a reprint of the 1850 L. edition.

92/9} Felicia Hemans, The complete works of Mrs. Hemans, 1845, 2 vols.

92/10} J. Liebig, 1845, 546 p. Appleton’s issued Liebig’s letters in 1843 (Mansell) and 1848 (Roorbach).

92/11} Alexander Reid (1802-60), A Dictionary of the English Language . . . with an introduction by Henry Reed, NY, 1845, 564 p.

92/12-13} All large catalogues consulted show the English translations (including Appleton’s) to have been executed by Wm. Hazlitt. Michelet’s History, which appeared in Paris, 1832, was translated first in a London ed. of H.G. Bohn’s Standard Library (given as 1846 in British Museum Catalogue, but still Hazlitt’s source, and perhaps actually pub. 1845, early enough for the American piracy). This probably accounts for Poe’s erroneously attributing the translation to a “Victor G. Benne,” but it must also account for the 6/45 SLM’s ascribing this ed. to “Victor G. Benné” (11.391).

92/14} This item by Briggs is in the 3/1 BJ, 1.143, stating that Saul, sketched six or seven years ago and now carefully revised, will soon appear through Wiley and Putnam of NY.

92/15-19} Heinrich Friedrich Theodor Kohlrausch (17801865), A History of Germany, trans. by J.D. Haas (NY, Appleton, 1845), 487 p.

92/20-22} This too is publicity for an advertiser; see 1.256 of the same BJ number, announcing “3340 pages [in 5 volumes] for $2.50” and listing the first eight of the “Waverley” novels (correctly spelled); also see announcement on 150/33-44 [facsimile text]. [page 72:]

92/22-25} The series included: Thomas Macaulay, Archibald Alison, Sydney Smith, John Wilson, Thomas Carlyle, Francis Jeffrey, Sir Thomas Noon Talfourd, Sir James Stephen, Sir James Mackintosh.

92/27} Brougham and Vaux, Henry Brougham, 1st baron. Lives of men of letters and science, who flourished in the time of George III, 1845, 295 p.

92/28} The Historical Essays, published under the title of “Dix Ans d‘etudes historiques,” and Narratives of the Merovingian Era; by Augustin Thierry, 1845, 204 p., double column.

92/31} No. 11 consists of Poe’s Tales (see p. 167). 92/35) Poe’s confirmed opinion; cf. 71(a). 92/37) See Poe’s rev. (H 10.195-96).

92/43} Pp. 428-30, excerpt from 429-30, in the English ed. of 3/45.

93/5} See Poe’s use of a tale in La Belle Assemblée for “The Spectacles” (Pollin, AL, 1965, 38.185-90).

93/16} “battles for them with”

93/35} See Poe’s rev. (H 10.195-96).

93/42-51} For the great popularity of Barbara Hoffland (1770-1844) and her possible influence on Poe, see Imaginary Voyages, p.6.

93/55} See 80 (d) for another squib at J. Harper, the leading publisher.

93/64-86} Of these three paras. (and articles) probably only the first is by Poe, here again in pursuit of an evasion of true “originality” of material. The other two are, first,a statement of Briggs’ insistence upon neutrality in political issues and a response to “R.C.” or Robert Carter, editor of the abolitionist Boston Liberator’s attack on the BJ of 3/28/45, which had ascribed to Briggs, as the author, Poe’s laudation of the SLM (p. 54 above) and attacked Briggs for numerous “sins” against the cause of Abolition. These are briefly indicated by Bette [page 73:] Weidman in the Bulletin of the New York Public Library, 1969, 73.109-110, in her broad argument that the BJ was a “casualty of abolition politics.”

94/1} This essay closely resembles a long editorial in the Mirror entitled “Try a Mineralized Pavement” using much of the same material differently arranged and worded (EM 2/8/45, 2/1; WM, 2/15, p. 296). The Mirror article was the sequel to one called “Wood Pavements” in the 1/31 EM (2/8 WM) issue, but this merely reports on a “scientific English Gentleman’s” description of the widely used wooden blocks of London streets, and bears no traces of Poe’s style. That of 2/8 by contrast introduces the system of “overlapping and riveted roads, called stereotomic,” to which Poe makes prominent ref. in “Murders” (TOM 536; also Pollin, SAR 1977, 235-59). Poe’s interest in the general subject may be linked to his alleged work in 1834 in a brickyard (see Scribner’s Monthly, 1875, 11.142-43 and American Notes & Queries, 1943, 3.36). More significant is his evident interest in technological advance (cf. “Scheherazade,” “Mellonta Tauta” and “Mummy”) and also his sensitivity to the “nuisance of street-noise.” The last five paras., on Kyanizing and wood-preservation, use Poe’s presentation of the topic in Letter 5 of Doings of Gotham, 6/12/44 (1929), 61-3, as well as in four paras. of the EM article (2/8). The data on Roman roads of the first four paras. comes, unquestionably, from an encyclopaedia or “school-boyish” textbook (as Poe hints in para. 3), but skimming through likely articles in Rees’s Cyclopaedia and the Americana (of Lieber) has not revealed the source. Poe’s disavowal of having books before him and being accurate in details (in the last para.) is almost a guarantee of his copying — although carelessly perhaps — large swatches of material, especially in view of the technical material included. Mary Phillips, Poe, (p. 1007) cites the 1/15/1914 Engineering News: “Poe was fairly well informed on at least one branch of engineering.”

94/5} New Yorkers, as in his 1844 letters, “Doings of Gotham.”

94/6} This parallels the germ of “Mellonta Tauta” set in 2848, with Manhattan obliterated and transcontinental railroads showing only faint traces (TOM 1291-1305).

94/13} The fourth road named perhaps is intended to prove Poe’s writing “from memory” since it was not well known and could scarcely ever have been, for Tusculum was a city near [page 74:] Frascati, 15 miles S.E. of Rome, famous for early allegiance to Rome and later as a resort for Romans, not likely to give its name to a road. The Enc. Brit. (11th ed., 23.588) lists the chief roads radiating from Rome, as does the article on “Roads” in the Oxford Classical Dictionary, without mentioning a “Tusculana.” The Via Appia went to Capua and later to Brundisium, the Via Flaminia to Ariminum in the north, and the Valeria to Aternum due east, on the Adriatic.

94/17} This is the basis of the “Mummy’s” argument about non-progress.

94/18-50} The style of this para. is not that of Poe, and the technical information is far beyond his province, in fact, beyond that of Lewis and Short, Latin Dictionary, which does not give these technical meanings of “fistucationes” and “nucleus.” Poe’s informant is correct about the general procedures and materials (cf. “Roads” in En. Brit., 23.388). John L. McAdam (1756-1836) became internationally famous for his advocacy and promotion of compacting into a solid mass a layer of small broken stone on a convex, well-drained earth roadbed (see his Present State of Road-making, 1820).

95/44-7} Poe suggests that baleful “vapor” is ruining the Ushers’ health and home (TOM, 400); see Ian Walker, Modern Language Review, 1966, 61.585-92.

95/48} John Howard Kyan (1774-1850) worked on this process, 1812-28, as reported by Faraday and Birkbeck (see DNB, 11.348). Poe used this for his “Mummy” tale (TOM, 1186 at n. 18). No one seems to question Kyan’s claim, as does Poe, but the DNB calls his process “superseded.”

96/41} A Poe coinage. [page 75:]

95/15} For other loci of this archaic word, see M 2b and letter V of Doings of Gotham, all showing Poe’s hatred of street noises.

95/21} This is Poe’s adjective-coinage derived from the expression, “spare at the spigot and spill at the bung”: To be parsimonious in trifles and wasteful in great matters, like a man who stops his beer-tub at the vent-hole and leaves it running at the bung-hole (Brewer).

96/44} In 1835 wooden pavements had been experimentally laid on Broadway in NY. Poe’s final words come from Daniel 5:27, “Thou art weighed in the balance and found wanting.”

96/48} The Despatch Post was established early in 1842 privately, with thrice daily deliveries of letters and packages. In 8/42 this was expanded and made part of the government Post Office establishment with 100 stations for the deposit of letters, costing three cents for delivery. The spelling of “despatch” was an acceptable variant.

96/54} Poe’s note of 4/2/45 and Dinneford’s reply, here given, of 4/15 should be inserted into the Check List of Ostrom’s Letters, which now lacks it, even in the revised form of SAR 1981. A response communicated to me indicated that he must have thought of it as “outside the friendly letters” category, but there are more formal or professional letters included in the Check List. This should assume the numbers 533a (by implication) and 533b on p. 221.

97/5} Poe facetiously repeats the misspelling at the end.

97/17} This is an obsolescent term for exclamation points.

97/53} Altering contemptuously the letter of a successive name is Poe’s method in “Autography” I (q.v. in TOM, 261-91; also H 11.13ff.).

98/20} Not a typo (caterer), but a “repeat” of Dinneford’s error.

98/22} [Rev. Ralph Hoyt], Night: a poem etc.

98/24-31} “It is men as individuals and not mankind who invent. Each one arrives on earth in his due turn and at his own time, masters the things known to his fathers, embodies them in new combinations, then dies after having added some small particles to the sum of human knowledge. As for the total creation of an entity — I believe it impossible. God himself, when he created man, could not or dared not invent him; he made him in his own image.”

Despite Hull’s wish to assign the rev. to Briggs, this quotation and also the emendation of a poetic line below, plus the stress on plagiarism clearly assign it to Poe. Even in the 4/36 SLM rev. of Drake’s poems, Poe spoke of the distinction between [page 76:] God’s creative power and man’s (H 8.283), as also in the 1/40 BGM rev. of Moore’s Alciphron: “All novel conceptions are merely unusual combinations” etc. (H 10.61-2). Whether or not Dumas contributed language and ideas to Poe, this extensive citation avows Poe’s leading interest.

98/39} As in Edward Young’s Night Thoughts (1742-5), cited by Poe at the end of “Premature Burial” (TOM, 969).

98/53} Poe’s alteration (of a line on p. 10) might entitle it to enter Appendix III, “Collaborations” in Poems, 491 ff.

98/57} Poe devotes two articles to the Rev. Ralph Hoyt (1806-78): a long rev. of his Chaunt of Life in the 7/26 BJ (17982, below) and a “Lit.” sketch closely adapted from the former (H 15.37-38). Amusingly, Poe there also praises the “physique” of the book and individual stanzas and lines, but deprecates poor phrases and wording, citing many excerpts.

99/3, 4, 6} nature / nation; And makes / Need make; others‘.

99/8} This is an 1845 reprint of the 1844 L. ed., 255 p. + viix. See M 179 for Poe on Hunt as critic.

99/13} This alludes to Lockhart’s attack on the “Cockney School of Poetry” in the 10/1817 Blackwood’s.

99/29} Cf. another Poe rev. of Hunt below (230-31) signed “P” and wholly consistent with this, unaccountably unsigned. See also p. 347.

99/49} A Poe habit in criticism (see 11/55-59 and 98/54).

99/52} The Story of Rimini (1816; later revised; xix, 111 p.; L., 1819; 111 p.).

99/55} See “Rationale of Verse” (H 14.220) for Hunt’s floundering in his “Principle of Variety in Uniformity.”

99/67} Surely a plural (times) is intended.

100/13} See CS 11 for Poe’s groundless charge against Thomas B. Macaulay on the Novum Organum. For Poe on Macaulay see Br. Index. Macaulay wrote: “The inductive process is not likely to be better performed merely because men know [page 77:] how they perform it” (rev. in Edinburgh Review of 7/1837).

100/22} For Macaulay’s Lays. . . (1842) see p. 212 [facsimile text].

100/44-77 + 101/1-37} Given as Essays and Letters, I, 16 (on next page).

101/23} Cf. Poe’s coinage of “one-idead” for Eureka (H 16.191).

101/28} See George Colman’s Sylvester Daggerwood (1795): “My father was an eminent button-maker . . . but I had a soul above buttons.”

101/32} Phrase deleted: “It was a nobleman who first thought of this most poetical bit of science.”

101/37} See 83 and 111 [facsimile text] for more on this. Fauvel-Gouraud (he used a hyphen) had coined the word in 1844 from “mnemonics” plus “phreno” (mental) and now explains the “difference” (see line 55). There are six “Lectures” with many inserted tables of varied “learning” to sharpen the memory. In the SLM rev. Poe speaks as though he has met the author, or at least attended a lecture.

101/55} Dr. Richard Grey, Rector in England, pub. Memoria Technica (L. 1730), the basis for Gregor von Feinagle, New Art of Memory (L., 1812) as the author recounts (60-83). Joseph Lalande (1732-1807), eminent astronomer, could have praised the system but not the book.

101/56} Comparison is Hamlet’s, 1.2.140, a Poe favorite.

101/69} 492 p.

101/75} Poe is careless about this; the bread is made from dried and ground beech or other wood without turpentine (pp. 128-29 [facsimile text]).

101/79} See 122/5 for Poe’s satirical ref. to this pamphlet.

101/84} Henry Champion Deming (1815-72), lawyer and politician of Connecticut, translated Sue’s Mysteries of Paris and The Wandering Jew. Mysteries of London is mentioned in passing [page 78:] by Francis Griind in “European Correspondence,” an article in the 5/45 issue of Godey’s, p. 183, as an imitation of Sue, as is Mysteries of Berlin (see 145, 213 [facsimile text]). See Poe’s Letters (316) requesting a Deming autograph.

102/4} 168 p. H.W. Herbert (1807-58), published much sport oriented fiction and essays; also military history. This was one of his first books. See M 116a.

102/14-38} This is Poe’s title for a short section of a long installment poem in the New World of 4/15/45, 10.250, which is significant enough for explanation. The weekly, once a mammoth paper, but still very sizable, had been edited by James Aldrich and Park Benjamin until 3/44, and now by Charles Eames. Poe enjoyed excellent relations with the journal, which reprinted “The Haunted Palace” (2/1/45) and “The Raven” by “Quarles” in the 2/22/45 issue (10.120) parallel to a take-off on the city government in the “Raven” meter, called “The Veto” by “Snarles.” The same pseudonym, with a subtitle “The Corporation Poet,” was used for “Songs of the Suburbs” in the 3/8 issue containing two stanzas in the “Raven” meter with several phrases and ideas therefrom and a footnote alluding to Poe’s poem. This led to a Spenserian mock-epic about the various papers of the city in a nightmare combat, recited for the benefit of Mrs. Snarles, whose apple dumplings have given Snarles dyspepsia. Various meters are used. The title is “The Pressgang,” the subtitle “A Vision”; “Fytte the First” is in the 3/29 issue. “Fytte the Second” of 4/19 (10.250) contains the three stanzas cited by Poe, immediately followed by “Then came a knight / Up through the fight, / With new and shining armor on,” etc. The meter is that of “The Man for Galway” (see Poems, 462-63), often used by “Snarles” with many other suggestions of wording that bear comparison with Poe’s “Eldorado.” To continue — “Fytte the Third” in the 4/26 issue ends the piece, with no further take-off on “The Raven.” Other Poe related items insured Poe’s close reading of this important paper, such as an announcement of his lecture (3/1) and indirect review on 3/8, a reprint of “Ligeia” in the 2/15 issue and an admiring para. on “The Raven” (2/15) a week before the reprint. Only the absorption of the paper by the Emporium in 4/45 precluded many more “gentle puffs” for Poe, one assumes.

102/10-13} The respective pages are: 1-39, 40-77, 104-148, 149-162, 162-192, 193-227 + appendix; 228-243, and editor’s section — 257. [page 79:]

102/16} Poe was either forgetful or disingenuous here, for “The Raven” occasioned numerous parodies, as he knew; he himself refers to C.C. Cooke’s “The Gazelle” (112) printed in the WM. Earlier the 2/17/45 EM had printed “The Owl” and that of 2/22 “The Craven” by “Poh!” while later the 6/7 WM would print “The Whippoorwill” (ref. in Poems, 352 n. 4).

102/21} A ref. to Col. James Watson Webb (1802-84), diplomat and journalist, ed. of the paper until 1862.

102/28} A large double-edged broadsword, formerly used by Scottish Highlanders.

103/3} Francis GrĂ¼nd (see 78/60 [facsimile text]).

103/6} Cf. Gouraud’s book reviewed above, 83, 101 [facsimile text].

103/14} The customary adj. is “Herodian” for Herod, King of Judaea (40-4 B.C.).

104/13-22} The respective pages are: 197-200 (Eliza Leslie), 178-180, 237 (Hannah F. Gould), 201.

104/18} H.S. Sadd.

104/19} Probably Wm. Sidney Mount (1807-68), genre and portrait painter of honesty and craftsmanship; see his genre pieces on Long Island country life.

104/20} G.B. Ellis.

104/21} “Editor’s Book Table,” p. 239-40.

104/22} “Our Copyright,” p. 240.

104/30} A good example is Poe’s selling “The Raven” to the American Review for 2/45, but arranging for its publication in the 1/29 EM, with Willis (Poems, 360-61).

104/35} For this favorite theme see “Copyright” in Index. In its issue of 6/45, Godey’s acknowledged Poe’s kind words by reprinting the para. (lines 21-35) with a designation of “some very just remarks on the subject” (30.284). [page 80:]

104/37-38} The respective pages are: 205-15 (Edward Preble), 193-200, 236-37.

104/46-47} mois, Français

104/76-78} J. T. Headley, “The Music of Italy,” pp. 202-204; Caroline Butler, “Emma Alton,” pp. 216-218; Henry Tuckerman, “The Profession of Literature,” pp. 220-222; Fanny Forrester, “Blanche de Nouville,” pp. 223-232; and Elizabeth Smith, “The Rustic,” a poem, p. 232.

This magazine number (p. 240) also contains Longfellow’s letter refuting the “Good George Campbell” plagiarism charge.

104/81-84} To the poem, on p. 201, Poe adds the italics and drops a comma after “then:” There is no warrant for the terminal “h” of Hamburgh in Graham’s.

105/2-3} James Smillie (1807-85); C.H. Bodmer (see Mott, 548).

105/3-9} F. Forrester, “Nancy,” pp. 193-98; Tuckerman, “Thoughts on the Poets,” pp. 227-34; Mrs. Ellet, “The Klobotermann,” pp. 205-207; John Brougham, “Takes of Irish Superstition,” pp. 200-204; Miss Brown, “The Musicians’ Adventure,” pp. 235-36; T.S. Arthur, “The True Friend,” pp. 21014; Miss Brawner, “The Truant,” pp. 215-17; E.J. Porter, “The Gipsy Bride,” pp. 219-22; Robert A. West, “I‘ve Thought of Thee, Dearest,” lyrics, pp. 239-40; Mrs. Osgood, “Golden Rules in Rhyme,” pp. 208-209.

105/18} Poe’s correction is verified in Osgood’s Poems (1846), pp. 56-57.

105/19-22} The three plates are at the start of the May number (p. 193), two relating to later articles as follows: “The Wedding” by J. B. Forrest (with no printed ref. to Morton) for Robert A. West’s poem, “The Wedding” (p. 236), “The Idle Servant,” engraved by H.S. Sadd, from a painting by N. Maes, for a prose sketch (p. 226). The two-page song by Herman S. Saroni sets “I‘ve thought of thee, Dearest” by Robert A. West (239-40). Saroni published the Musical Times later (1849-52).

105/23-33} See Mott, 721-24 for this serious, important Charleston monthly, ed. by David K. Whitaker, aided by James [page 81:] DeBow. In the 4/45 issue the articles cover: Union of Races, pp. 372-448; Hoar’s mission, pp. 455-78; S.C. politics, pp. 479-526; general literary interest (rev. of A Drama of Exile), pp. 300-12; rev. of “Spirit of the Age,” pp. 312-49.

105/30} See Poe’s rev. (H 11.266) for more of this laudation.

105/29-31} Poe wrote of “Orion” in Graham’s, 3/44, that it is “one of the noblest, if not the very noblest poetical work of the age” (H 11.275). In fact, it was Poe’s heresy of preferring “Orion” to many classics that partly turned Briggs against him (cf. Woodberry, 2.145-46). Horne was E.B. Barrett’s friend and important in London literary journalism (see PD, 46 for numerous Poe refs.).

105/32-33} Richard H. Horne’s A New Spirit of the Age was published as “edited” by Horne, in the NY reprint of 1844, with no indication of separate authorship beyond this: “It will be sufficiently apparent that several hands are in the work” (p. viii). The biographical sketches are of individuals, such as Dickens, W.S. Landor, Robert Montgomery, and Carlyle or of pairs, such as E.B. Barrett and Mrs. Norton. Poe’s omitting an “of” after “worthy” is characteristic (see note on p. 1 for E.B. Barrett and Horne).

105/36} For Poe’s love of puns see M 87 (and the Br. Index).

105/46} By coincidence, this is the story point of Poe’s 1839 tale of “The Little Frenchman“ — therefore a reason for his choosing this as filler.

105/48} See TOM, Poems, 379-80; and 69/25 above. This is included to fill out editorial material on Mrs. Osgood.

105/52} The implicit pun of the fourth line accords with the Intro. Misc.; it also implies Poe’s pronunciation habits.

105/63} For many items on James Edward Murdoch (181193) see Index and p. 175 for Poe’s rev. of Orthophony: or Vocal Culture in Elocution. Poe, whose lectures often had small audiences, appreciated such ovations. He lectured 2/28 at that place.






[S:0 - BRP4J, 1986] - Edgar Allan Poe Society of Baltimore - Editions - The Collected Writings of Edgar Allan Poe (B. R. Pollin) (April 1845)