[page 139:]

[page 141:]

THE sources of the text for Poe's poems are the four editions published by him, 1827, 1829, 1831, 1845, and the newspapers, journals, and magazines to which he contributed poems; viz., the Baltimore “Saturday Visiter,” “Southern Literary Messenger,” “Burton's Gentleman's Magazine,” Baltimore “American Museum,” Philadelphia “Saturday Evening Post,” “Graham's Magazine,” Philadelphia “Saturday Museum,” “Broadway Journal,” “American Whig Review,” “Union Magazine,” “Sartain's Union Magazine,” “Flag of our Union.” In one or two instances in which the first issue of a poem is either unknown or not found, the text of Griswold, 1850, is the sole authority. The only MS. source, superior to these texts, is the Lorimer Graham copy of the 1845 edition, which contains marginal corrections in Poe's hand. The Wilmer MS. (see Preface) affords new early readings. The collation of the several editions is as follows:

1827.

TAMERLANE | AND | OTHER POEMS | By a Bostonian | Young heads are giddy and young hearts are warm | And make mistakes for manhood to reform. | [page 142:] COWPER | Boston | Calvin F. S. Thomas, Printer | 1827.

Collation [6 3/8 x 4 1/3 inches]. Title (with blank verso), pp. 1-2; Preface, pp. 3-4; Tamerlane, pp. 5-21; Blank verso, p. 22; Half-title, Fugitive Pieces (with blank verso), pp. 23-24; Fugitive Pieces, pp. 25-34; Half-title, Notes (with blank verso), pp. 35-36; Notes, pp. 37-40.

Issued as a pamphlet, in yellow covers. Three copies are known. The text follows the Reprint by R. H. Shepard, London, 1884, which corrects printer's errors, but gives them in a list by themselves in the Preface.

1829.

AL AARAAF | TAMERLANE | AND | MINOR POEMS | By Edgar A. Poe. | Baltimore: | Hatch & Dunning | 1829.

Collation: Octavo. Title (with copyright and imprint on verso), pp. 1-2; Motto: — Entiendes, etc. (with blank verso), pp. 3-4; Half-title, Al Aaraaf (with motto What has Night, etc. on verso), pp. 5-6; Dedication. | Who Drinks the deepest? — here's to him. | Cleveland (with blank verso), pp. 7-8; Motto, “A star was discovered,” etc. (with blank verso), pp. 9-10; Sonnet, “Science,” etc. (with blank verso), pp. 11-12; Al Aaraaf | Part 1, pp. 13-21; Blank verso, p. 22; Half-title, Al Aaraaf (with blank verso), pp. 23-24; Al Aaraaf | Part 2, pp. 25-38; Half-title, Tamerlane (with Advertisement | This poem was printed for publication in Boston, in the year | 1827, but suppressed through circumstances of a private nature, on verso), pp. 39-40; Dedication, To | John Neal | This Poem | is | respectfully dedicated (with blank verso), [page 143:] pp. 41-42: Tamerlane, pp. 43-54: Half-title, Miscellaneous Poems (with motto: My nothingness, etc., on verso), pp. 55-56; Poems (no title), pp. 57-71. Issued in blue boards.

1831.

POEMS | By | Edgar A. Poe | Tout le Monde a Raison. — Rochefoucault. | Second Edition | New York. | Published by Elam Bliss | 1831.

Collation: Duodecimo. Half-title, Poems (with blank verso), pp. 1-2; Title (with imprint on verso), pp. 3-4. Dedication, To | The U. S, Corps of Cadets | This Volume | is Respectfully Dedicated (with blank verso), pp. 5-6; Contents (with blank verso), pp. 7-8; Half-title, Letter (with blank verso), pp. 9-10; Motto, “Tell wit,” etc. (with blank verso), pp. 11-12; Letter to Mr. —— —— (with blank verso), pp. 13-30; Half-title, Introduction (with blank verso), pp. 31-32; Introduction, pp. 33-30: Half-title, Helen (with blank verso), pp. 37-38; To Helen (with blank verso), pp. 39-40; Half-title, Israfel (with blank verso), pp. 41-42; Israfel (with blank verso), pp. 43-46; Half-title, The Doomed City (with blank verso), pp. 47-48; The Doomed City (with blank verso), pp. 49-52; Half-title, Fairyland (with blank verso), pp. 53-54: Fairy Land, pp. 55-58; Half-title, Irene (with blank verso), 59-60; Irene, pp. 61-64; Half-title, A Pæan (with blank verso), pp. 65-66; A Pæan, pp. 67-70; Half-title, Valley Nis (with blank verso), pp. 71-72; The Valley Nis (with blank verso), pp. 73-76; Half-title, Al Aaraaf, p. 77; Motto, “What has Night to do with Sleep?” — Comus, p. 78; “A Star was discovered,” etc. (with blank verso), pp. 79-80; Sonnet, “Science” (with blank verso), pp. 81-82; Al Aaraaf | Part First | [page 144:] pp.’ 83-92; Half-title, Al Aaraaf (with blank verso), pp. 93-94: Al Aaraaf | Part Second, pp. 95-108; Half-title, Tamerlane (with blank verso), pp. 109-110; Tamerlane, pp. 111-124, Issued in green boards.

The prefatory “Letter to Mr. —— ——” was republished, slightly revised, in the “Southern Literary Messenger,” July, 1836, with the following note: “These detached passages form part of the preface to a small volume printed some years ago for private circulation. They have vigor and much originality — but of course we shall not be called upon to indorse all the writer's opinions.”

In the original form, 1831, the letter is as follows: —

LETTER TO MR. —— ——

WEST POINT, ——, 1831.

DEAR B——

Believing only a portion of my former volume to be worthy a second edition, — that small portion I thought it as well to include in the present book as to republish by itself. I have therefore herein combined “Al Aaraaf” and “Tamerlane” with other Poems hitherto unprinted. Nor have I hesitated to insert from the “Minor Poems” now omitted whole lines, and even passages, to the end that, being placed in a fairer light and the trash shaken from them in which they were embedded, they may have some chance of being seen by posterity.

It has been said that a good critique on a poem may be written by one who is no poet himself. This, according to your idea and mine of poetry, I feel to be false — the less poetical the critic, the less just the [page 145:] critique, and the converse. On this account, and because there are but few B——'s in the world, I would be as much ashamed of the world's good opinion as proud of your own. Another than yourself might here observe, “Shakespeare is in possession of the world's good opinion, and yet Shakespeare is the greatest of poets. It appears then that the world judge correctly, why should you be ashamed of their favorable judgment?” The difficulty lies in the interpretation of the word “judgment” or “opinion.” The opinion is the world's, truly, but it may be called theirs as a man would call a book his, having bought it; he did not write the book, but it is his; they did not originate the opinion, but it is theirs. A fool, for example, thinks Shakespeare a great poet — yet the fool has never read Shakespeare. But the fool's neighbor, who is a step higher on the Andes of the mind, whose head (that is to say, his more exalted thought) is too far above the fool to be seen or understood, but whose feet (by which I mean his every-day actions) are sufficiently near to be discerned, and by means of which that superiority is ascertained, which but for them would never have been discovered, — this neighbor asserts that Shakespeare is a great poet, — the fool believes him, and it is henceforward his opinion. This neighbor's own opinion has, in like manner, been adopted from one above him, and so, ascendingly, to a few gifted individuals, who kneel around the summit, beholding, face to face, the master-spirit who stands upon the pinnacle.

You are aware of the great barrier in the path of an American writer. He is read, if at all, in preference to the combined and established wit of the world. I [page 146:] say established; for it is with literature as with law or empire — an established name is an estate in tenure, or a throne in possession. Besides, one might suppose that books, like their authors, improve by travel — their having crossed the sea is, with us, so great a distinction. Our antiquaries abandon time for distance; our very fops glance from the binding to the bottom of the titlepage, where the mystic characters which spell London, Paris, or Genoa, are precisely so many letters of recommendation.

I mentioned just now a vulgar error as regards criticism. I think the notion that no poet can form a correct estimate of his own writings is another. I remarked before, that in proportion to the poetical talent, would be the justice of a critique upon poetry. Therefore, a bad poet would, I grant, make a false critique, and his self-love would infallibly bias his little judgment in his favor; but a poet, who is indeed a poet, could not, I think, fail of making a just critique. Whatever should be deducted on the score of self-love, might be replaced on account of his intimate acquaintance with the subject; in short, we have more instances of false criticism than of just, where one's own writings are the test, simply because we have more bad poets than good. There are of course many objections to what I say: Milton is a great example of the contrary; but his opinion with respect to the “Paradise Regained” is by no means fairly ascertained. By what trivial circumstances men are often led to assert what they do not really believe! Perhaps an inadvertent word has descended to posterity. But, in fact, the “Paradise Regained” is little, if at all, inferior to the “Paradise Lost,” and is only supposed so to be, [page 147:] because men do not like epics, whatever they may say to the contrary, and reading those of Milton in their natural order, are too much wearied with the first to derive any pleasure from the second.

I dare say Milton preferred “Comus” to either — if so — justly.

As I am speaking of poetry, it will not be amiss to touch slightly upon the most singular heresy in its modern history — the heresy of what is called, very foolishly, the Lake School. Some years ago I might have been induced, by an occasion like the present, to attempt a formal refutation of their doctrine; at present it would be a work of supererogation. The wise must bow to the wisdom of such men as Coleridge and Southey, but being wise, have laughed at poetical theories so prosaically exemplified.

Aristotle, with singular assurance, has declared poetry the most philosophical of all writings; but it required a Wordsworth to pronounce it the most metaphysical. He seems to think that the end of poetry is, or should be, instruction — yet it is a truism that the end of our existence is happiness; if so, the end of every separate part of our existence — everything connected with our existence should be still happiness. Therefore the end of instruction should be happiness; and happiness is another name for pleasure; — therefore the end of instruction should be pleasure: yet we see the above-mentioned opinion implies precisely the reverse.

To proceed: ceteris paribus, he who pleases is of more importance to his fellow-men than he who instructs, since utility is happiness, and pleasure is the [page 148:] end already obtained which instruction is merely the means of obtaining.

I see no reason, then, why our metaphysical poets should plume themselves so much on the utility of their works, unless indeed they refer to instruction with eternity in view: in which case, sincere respect for their piety would not allow me to express my contempt for their judgment; contempt which it would be difficult to conceal, since their writings are professedly to be understood by the few, and it is the many who stand in need of salvation. In such case I should no doubt be tempted to think of the devil in “Melmoth,” who labors indefatigably through three octavo volumes to accomplish the destruction of one or two souls, while any common devil would have demolished one or two thousand.

Against the subtleties which would make poetry a study — not a passion — it becomes the metaphysician to reason — but the poet to protest. Yet Wordsworth and Coleridge are men in years; the one imbued in contemplation from his childhood, the other a giant in intellect and learning. The diffidence, then, with which I venture to dispute their authority, would be overwhelming, did I not feel, from the bottom of my heart, that learning has little to do with the imagination — intellect with the passions — or age with poetry.

are lines which have done much mischief. As regards the greater truths, men oftener err by seeking them at the bottom than at the top; the depth lies in the huge [page 149:] abysses where wisdom is sought — not in the palpable palaces where she is found. The ancients were not always right in hiding the goddess in a well: witness the light which Bacon has thrown upon philosophy; witness the principles of our divine faith — that moral mechanism by which the simplicity of a child may overbalance the wisdom of a man. Poetry above all things is a beautiful painting whose tints to minute inspection are confusion worse confounded, but start boldly out to the cursory glance of the connoisseur.

We see an instance of Coleridge's liability to err, in his “Biographia Literaria” — professedly his literary life and opinions, but, in fact, a treatise de omni scibili et quibusdam aliis. He goes wrong by reason of his very profundity, and of his error we have a natural type in the contemplation of a star. He who regards it directly and intensely sees, it is true, the star, but it is the star without a ray — while he who surveys it less inquisitively is conscious of all for which the star is useful to us below — its brilliancy and its beauty.

As to Wordsworth, I have no faith in him. That he had, in youth, the feelings of a poet I believe — for there are glimpses of extreme delicacy in his writings — (and delicacy is the poet's own kingdom — his El Dorado) — but they have the appearance of a better day recollected; and glimpses, at best, are little evidence of present poetic fire — we know that a few straggling flowers spring up daily in the crevices of the avalanche.

He was to blame in wearing away his youth in contemplation with the end of poetizing in his manhood. With the increase of his judgment the light which should make it apparent has faded away. His judgment [page 150:] consequently is too correct. This may not be understood, — but the old Goths of Germany would have understood it, who used to debate matters of importance to their State twice, once when drunk, and once when sober — sober that they might not be deficient in formality — drunk lest they should be destitute of vigor.

The long wordy discussions by which he tries to reason us into admiration of his poetry, speak very little in his favor: they are full of such assertions as this — (I have opened one of his volumes at random) “Of genius the only proof is the act of doing well what is worthy to be done, and what was never done before” — indeed! then it follows that in doing what is unworthy to be done, or what has been done before, no genius can be evinced; yet the picking of pockets is an unworthy act, pockets have been picked time immemorial, and Harrington, the pickpocket, in point of genius, would have thought hard of a comparison with William Wordsworth, the poet.

Again — in estimating the merit of certain poems, whether they be Ossian's or M’Pherson's, can surely be of little consequence, yet, in order to prove their worthlessness, Mr. W—— has expended many pages in the controversy. Tantæne animis? Can great minds descend to such absurdity? But worse still: that he may bear down every argument in favor of these poems, he triumphantly drags forward a passage, in his abomination of which he expects the reader to sympathize. It is the beginning of the epic poem “Temora.” the “blue waves of Ullin roll in light; the green hills are covered with day; trees shake their dusky heads in the breeze.” And this — this gorgeous, yet simple imagery, where all is alive and panting with [page 151:] immortality — this, William Wordsworth, the author of “Peter Bell,” has selected to dignify with his imperial contempt. We shall see what better he, in his own person, has to offer. Imprimis: —

Secondly: —

Now, we have no doubt this is all true; we will believe it, indeed, we will, Mr. W——. Is it sympathy for the sheep you wish to excite? I love a sheep from the bottom of my heart.

But there are occasions, dear B——, there are occasions when even Wordsworth is reasonable. Even Stamboul, it is said, shall have an end, and the most unlucky blunders must come to a conclusion. Here is an extract from his preface: —

“Those who have been accustomed to the phraseology of modern writers, if they persist in reading this book to a conclusion (impossible!), will, no doubt, have to struggle with feelings of awkwardness; (ha,! ha! ha!) they will look round for poetry (ha! ha! ha! ha!) and will be induced to inquire by what species of courtesy these attempts [page 152:] have been permitted to assume that title. Ha! ha! ha! ha! ha!”

Yet, let not Mr. W—— despair; he has given immortality to a wagon, and the bee Sophocles has eternalized a sore toe, and dignified a tragedy with a chorus of turkeys.

Of Coleridge, I cannot speak but with reverence. His towering intellect! his gigantic power! To use an author quoted by himself, “J’ai trouvé* souvent que la plupart des sectes ont raison dans une bonne partie de ce qu’elles avancent, mais non pas en ce qu’elles nient,” and to employ his own language, he has imprisoned his own conceptions by the barrier he has erected against those of others. It is lamentable to think that such a mind should be buried in metaphysics, and, like the Nyctanthes, waste its perfume upon the night alone. In reading that man's poetry, I tremble, like one who stands upon a volcano, conscious, from the very darkness bursting from the crater, of the fire and the light that are weltering below.

What is Poetry? — Poetry! that Proteus-like idea, with as many appellations as the nine-titled Corcyra! “Give me,” I demanded of a scholar some time ago, “give me a definition of poetry.” “Très-volontiers;” and he proceeded to his library, brought me a Dr. Johnson, and overwhelmed me with a definition. Shade of the immortal Shakespeare! I imagine to myself the scowl of your spiritual eye upon the profanity of that scurrilous Ursa Major. Think of poetry, dear B——, think of poetry, and then think of Dr. Samuel Johnson! Think of all that is airy and fairy-like, [page 153:] and then of all that is hideous and unwieldy; think of his huge bulk, the Elephant! and then — and then think of the “Tempest” — the “Midsummer Night's Dream” — Prospero — Oberon — and Titania!

A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with indefinite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.

What was meant by the invective against him who had no music in his soul?

To sum up this long rigmarole, I have, dear B——, what you, no doubt, perceive, for the metaphysical poets, as poets, the most sovereign contempt. That they have followers proves nothing —

 

1845.

THE RAVEN | AND | OTHER POEMS. | By | Edgar A. Poe, | New York: | Wiley and Putnam, 161 Broadway. | 1845.

Collation: Duodecimo. Fly-title, Wiley and Putnam's | Library of | American Books. | The Raven and Other Poems. — Title (with copyright and imprint [page 154:] on verso), pp. i-ii; Dedication (with blank verso), pp. iii-iv; Preface (with Contents on verso), pp. v-vi; The Raven and Other Poems, pp. 1-51; Blank verso, p. 52; Half-title, Poems Written in Youth (with blank verso), pp. 53-54: Poems Written in Youth, pp. 55-91. Issued in paper covers.

 

THE RAVEN

The Raven. The “Evening Mirror,” Jan. 29, 1845; The “American Whig Review,” February, 1845 (by “Quarles”); “Broadway Journal,” i. 6; 1845.

TEXT. 1845, Lorimer Graham copy. Other readings: [[—]]

II.		3		sought | tried Am. W. R.; B. J.
V.		3		stillness | darkness Am. W. R.; B. J.; 1845.
VI.		1		Back | Then Am. W. R.; B. J.
		2		again I heard | I heard again; something | somewhat Am. W. R.; B. J.; 1845.
VII.		3		minute | instant Am. W. R.; B. J.; 1845; moment Poe's “Philosophy of Composition.”
IX.		3		living human | sublunary Am. W. R.; B. J.; 1845.
X.		1		that | the Am. W. R.; B. J.; 1845.
		6		Then the bird said | Quoth the raven Am. W. R.
XI.		1		Startled | Wondering Am. W. R.
		4-6		till ... nevermore.’ ” | so when Hope he would adjure Stern Despair returned, instead of the sweet Hope he dared adjure, That sad answer, ‘Nevermore.’ ” Am. W. R. [page 155:]
		5		that | the B. J.
		6		Of ‘Nevermore’ — of ‘Nevermore.’ ” B.J.
XIV.		2		Seraphim whose | angels whose faint Am. W. R.; B. J.; 1845.
		5		Quaff, oh | Let me Am. W. R.
XVIII.		3		demons | demon Am. W. R.; B. J.

NOTES. “Evening Mirror,” Jan. 24, 1845: —

“American Whig Review,” February, 1845: —

Inspection of the above readings shows the poem in four states: first, as originally issued, Jan. 29, 1845; second, as revised in the “Broadway Journal,” i. 6, Feb. 8, 1845; third, as revised in the edition of 1845; fourth, as revised in the Lorimer Graham copy of that edition, in Poe's MS.

The earliest date assigned to the composition or draft of the poem is the summer of 1842. Dr. William Elliot Griffis, in the “Home Journal,” Nov. 5, 1884, says that Poe was, in the summer of 1842, at the Barhyte trout-ponds, Saratoga Springs, New York, and mentioned the poem “to be called ‘The Raven’ ” to Mrs. Barhyte, who was a contributor to the New York “Mirror.” The next summer Poe was again at the [page 157:] same resort; and a conversation between him and a lad about the bird in the poem is reported by Dr. Griftis, who adds that Mrs. Barhyte was shown the draft. This lady died in April, 1844. These statements seem to be derived from Mr. Barhyte's recollection of what his wife said. Dr. Griffis sent this account in manuscript to the present writer; but it was not embodied in the biography of Poe, then being prepared, because it was thought best to admit into that volume only such new facts as were supported by contemporary documents. The next earliest date for the poem is given by Mr. Rosenbach in the “American,” Feb. 26, 1887, “I read ‘The Raven’ long before it was published, and was in Mr. George R. Graham's office when the poem was offered to him. Poe said that his wife and Mrs. Clemm were starving, and that he was in very pressing need of the money. I carried him fifteen dollars contributed by Mr. Graham, Mr. Godey, Mr. McMichael, and others, who condemned the poem, but gave the money as a charity.” This was before Poe's removal to New York, and places the date of composition certainly as early as the winter of 1843-44. Other accounts of the poem, before publication, were given by F. G. Fairfield in the “Scribner's,” October, 1875, as follows: —

Poe was in the habit of declaiming his compositions, when intoxicated, in liquor saloons.

An unimportant account of his offering the poem to Mr. Holley of the “American Whig Review” is given in the “South,” November, 1875, quoted in Ingram, the “Raven,” p. 24. Mr. Ingram also quotes from what is clearly a hoax, a letter signed J. Shaver, dated [page 159:] New Orleans, July 29, 1870, and quoting from an alleged letter. Poe to Daniels, Sept. 29, 1849, in which Poe is made to confess that the poem was written by Samuel Fenwick, and that he signed his own name to it and sent it for publication when intoxicated, Mr. Fenwick being then dead. The present writer would not have thought it necessary to include this story, if it had not already found its way into books. The letter, which was published in the “New Orleans Times,” and now lies before us, there is no occasion to reprint.

The commentary on the poem by Poe, in the “Philosophy of Composition” and passim, in the critical papers, need only be referred to. The obligation to Mrs. Browning's “Lady Geraldine's Courtship” is obvious, but does not affect the true originality of the poem; that to Pike's “Isadore” is wholly illusory, there being a dozen poems by contemporaneous minor authors in respect to which an equally good case can be made out. Indeed, some of them really thought that Poe had “plagiarized” fame from their verses. A monograph, the “Raven,” London, 1885, by Mr. J. H. Ingram, to which reference has been made above, contains several translations, parodies, etc., and gives an account of the genesis, history, and bibliography of the poem.

 

THE BRIDAL BALLAD

The Bridal Ballad. “Southern Literary Messenger,” January, 1837; Philadelphia “Saturday Evening Post,” July 31, 1841; 1845; “Broadway Journal,” ii. 4.

TEXT. 1845. Lorimer Graham copy. Other readings: — [page 160:]

I.		3		Insert after:
				and many a road of land S. L. M.
II.		1		He has loved me long and well S. L. M.
		2		But | And; first | omit S. L. M.
		4		as | like B. J. rang as a knell | were his who fell S. L. M. rang like a knell B. J.
		5		omit S. L. M.
III.		1		But | And S. L. M.
		3		While | But S. L. M.
		6		omit S. L. M.
		7		Insert after: — And thus they said I plighted An irrevocable vow — And my friends are all delighted That his love I have requited — And my mind is much benighted If I am not happy now.   Lo! the ring is on my hand, And the wreath is on my brow — Satins and jewels grand, And many a rood of land, Are all at my command, And I must be happy now. S. L. M.
IV.		1-2		I have spoken, I have spoken They have registered the vow. S. L. M.   It was spoken — it was spoken — Quick they registered the vow. S. E. P.
		5		Here is a ring as | Behold the golden all other editions. [page 161:]
		6		I am | proves me all other editions.
V.		5		Lest | And S. L. M.

NOTES. In connection with this, and also the poem “Lenore,” the following, from the “Southern Literary Messenger,” August, 1835, is of interest: —

 

THE SLEEPER

The Sleeper. Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” i, 18 | Irene. 1831; “Southern Literary Messenger,” May, 1836.

TEXT. 1845. Lorimer Graham copy. Other readings: —

The first version is 1831, as follows, other early readings being noted below: —

IRENE

 

 

 

 

 

 

 

 

 

 

 

 

 

LENORE

Lenore. The “Pioneer,” February, 1843; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. 6 | A Pæan. 1831; “Southern Literary Messenger,’ January, 1836.

TEXT 1845, Lorimer Graham copy. Other readings: —

IV.

[[1]]

“Avaunt! to-night my heart is light. No dirge will I upraise, “But waft the angel on her flight with a Pæan of old days! “Let no bell toll! — lest her sweet soul, amid its hallowed mirth, “Should catch the note, as it doth float — up from the damnéd Earth. “To friends above, from fiends below, the indignant ghost is riven — “From Hell unto a high estate far up within the Heaven — [[v]] “From grief and groan, to a golden throne, beside the King of Heaven.” 1845: B. J. (except 7 grief | moan).

The Lorimer Graham text seems supported by Poe's letter to Griswold, no date, 1849: “As regards ‘Lenore’ I would prefer the concluding stanza to run as here written.” Poe enclosed copy for the new edition of Griswold's “Poets and Poetry of America,” and it might be inferred that the correction was of the 1845 text, but it may have been a copy of that text, which, in fact, Griswold followed. The Lorimer Graham text is later [page 167:] than that of 1845, and it will be observed that in one instance only did Poe return to an earlier version, when he had once struck out something new.

The first version is 1831, as follows, the readings of the “Southern Literary Messenger” being noted below: —

A PÆAN

 

 

 

II.

4

Dead | Her   S. L. M. [page 168:]

 

 

 

 

VII.		1		dead who | dead who   S. L. M.
		2		perfumed there | motionless   S. L. M.
		4		her hair | each tress   S. L. M.
VIII.				omit   S.L.M.
IX.		1, 2		In June she died in June Of life beloved, and fair   S. L. M.
		3		Thou didst | But she did   S. L. M.
X.		2		Thy life and love are | Helen, thy soul is   S. L. M.
		3		untainted | all-hallowed   S. L. M. [page 169:]

 

The “Pioneer” version, 1843, is as follows, the readings of the “Saturday Museum” being noted below:

LENORE

 

 

 

I.

4

Glides down | Floats on   S. M. [page 170:]

 

 

DREAMLAND [[DREAM-LAND]]

Dreamland. “Graham's Magazine,” June, 1844; 1845; “Broadway Journal,” i. 26.

TEXT. 1845. Lorimer Graham copy. Other readings: —

 

THE VALLEY OF UNREST

The Valley of Unrest. “American Whig Review,” April, 1845; 1845; “Broadway Journal,” ii. 9 | The Valley Nis. 1831; “Southern Literary Messenger,” February, 1836.

TEXT. 1845. Other readings: —

The first version is 1831, as follows, other early readings being noted below: [page 172:]

THE VALLEY NIS

 

 

 

 

 

 

 

 

[page 174:]

THE CITY IN THE SEA

The City in the Sea. “American Whig Review” (subtitle, A Prophecy), April, 1845; 1845; “Broadway Journal,” ii. 8 | The Doomed City. 1831; The City of Sin. “Southern Literary Messenger,” August, 1836.

TEXT. 1845. Other readings: —

The first version is 1831, as follows, other early readings being noted below:

THE DOOMED CITY

 

 

 

 

 

 

 

 

 

 

 

 

TO ZANTE

To Zante. “Southern Literary Messenger,” January, 1837; Philadelphia “Saturday Museum,” March 4, 1843; 1845 “Broadway Journal,” 11. 2.

TEXT. “Southern Literary Messenger.”

NOTE. CHATEAUBRIAND. Itinéraire de Paris à Jerusalem, p. 15. Je souseris à ses noms d’ Isola [page 177:] d’oro, de Fior di Levante. Ce nom de fleur me rappelle que l’hyacinthe étoit originaire de Pile de Zante, et que cette He reçut son nom de la plante qu’elle avoit portée.

 

SILENCE

Silence. “Burton's Gentleman's Magazine,” April, 1840; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. 3.

TEXT. 1845. Other readings: —

 

THE COLISEUM

The Coliseum. The Baltimore “Saturday Visiter,” 1833; “Southern Literary Messenger,” August, 1835; Philadelphia “Saturday Evening Post,” June 12, 1841; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. i.

TEXT. 1845. No copy of the first issue is known. Other readings: —

NOTES. This was the poem offered for the Baltimore prize. See Memoir.

 

HYMN

Hymn. “Southern Literary Magazine,” April, 1835 [Morella]; “Burton's Gentleman's Magazine,” November, 1839 [Morella]; “Tales of the Arabesque and Grotesque” 1840 [Morella]; 1845; “Broadway Journal,” i. 25 [Morella], ii. 6.

TEXT. 1845. Other readings: —

 

ISRAFEL

Israfel. 1831; “Southern Literary Messenger,” August, 1836; “Graham's Magazine,” October, 1841; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. 3. [page 179:]

TEXT. 1845. Other readings:

iv.		3		Where | And   S. M.; B. J.
iv.		4		Where | And   S. M.; B. J.
v.		1		Thou art not, therefore   S. M.; B. J.

The first version is 1831, as follows, other early readings being noted below: —

ISRAFEL (1)

 

 

 

III.

4

owing to | due unto   G. M.

l And the angel Israfel, who has the sweetest voice of all God's creatures. Koran. [page 180:]

 

 

 

IV.

5

omit   S. L. M.; G. M. [page 181:]

NOTES. The motto of the poem was derived by Poe from Moore's “Lalla Rookh,” where it is correctly attributed to Sale (Preliminary Discourse, iv. 71). The phrase, “whose heart-strings are a lute,” was interpolated by Poe, as in the text.

 

THE HAUNTED PALACE

The Haunted Palace. Baltimore “Museum,” April, 1839; “Burton's Gentleman's Magazine” [The Fall of the House of Usher]; September, 1839; Tales [the same] 1840; Philadelphia “Saturday Museum,” March 4, 1843; 1845; Tales, 1845 [The Fall of the House of Usher].

TEXT. Philadelphia “Saturday Museum.” Other readings: —

I.		4		radiant | snow-white   B. M.; 1840; B.G.M.
III.		1		all wanderers   B. M.
		8		ruler | sovereign   B. M.; B. G. M.
IV.		5		sweet | sole   B. G. M.
VI.		5		ghastly rapid | rapid ghastly;   B. M.; B. G. M.; 1840; Tales, 1845.

 

 

 

VIII.		4		as | so   G. M.
		6		While a stormier | And a loftier   S. L. M.; G. M. [page 182:]

 

THE CONQUEROR WORM

The Conqueror Worm. “Graham's Magazine,” January, 1843; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” i. 21; il 12 [Ligeia].

TEXT. 1845. Lorimer Graham copy. Other readings:

I.		3		An angel | A mystic   G. M.; S. M.; B. J.
II.		5		formless | shadowy   G. M.
IV.		7		seraphs | the angels all other editions.
V.		2		quivering | dying   G. M.; B. J.
		5		While | And   all editions;   angels | seraphs  G. M,;   pallid | haggard   G. M.
		8		And omit   G. M.; S. M.; B. J.

 

ELDORADO

Eldorado. Griswold, 1850.

TEXT. Griswold. No earlier publication is known,

 

EULALIE

Eulalie. “American Whig Review” (sub-title, A Song) July, 1845; “Broadway Journal,” ii. 5.

TEXT. “Broadway Journal.” Other readings: —

II.		6		morn-tints   A. W. R.
III.		4		And | While   A. W. R.
		9 [[7]]		While | And   A. W. R.
		10 [[8]]		While | And   A. W. R.

 

THE BELLS

The Bells. “Sartain's Union Magazine,” November, 1849.

TEXT. “Sartain's Union Magazine.” An account of a draft and a manuscript is given below. [page 183:]

NOTES. “Sartain's Union Magazine,” December, 1849.

Gill, “Life of Poe,” p. 207:

Ingram, “Life of Poe,” ii. 155-156: —

Chateaubriand. Génie du Christianisme, ii. 261.

“Il nous semble que si nous étions poëte, nous ne dédaignerions point cette cloche agitée par les fantômes [page 186:] dans la vieille chapelle de la fort, ni celle qu’une religieuse frayeur balangoit dans nos campagnes pour gcarter le tonnerre, ni celle qu’on sonnoit la nuit, dans certains ports de mer, pour diriger le pilote a travers les dcueils. Les carillons des cloches, au milieu de nos ftes, sembloient augmenter Fallgresse publique; dans des calamitds, au contraire, ces mmes bruits devenoient terribles. Les cheveux dressent encore sur la te”te au souvenir de ces jours de meurtre et de feu, retentissant des clameurs du tocsin. Qui de nous a perdu la me’moire de ces hurlements, de ces cris aigus, entrecoupe*s de silences, durant lesquels on distinguoit de rares coups de fusil, quelque voix lamentable et solitaire, et surtout le bourdonnement de la cloche d’alarme, ou le son de Phorologe qui frappoit tranquillement l’heure écoulée?”

 

ANNABEL LEE

Annabel Lee. New York “Tribune,” Oct. 9, 1849; “Southern Literary Messenger,” November, 1849; “Sartain's Union Magazine,” January, 1850.

TEXT. “Tribune.” Other readings: —

II.		1		I ... she | She ... I   S. L. M.; S. U. M.
III.		5.		kinsman   S. U. M.
VI.		8		sounding | side of the   S. L. M.

 

ULALUME

Ulalume. “American Whig Review” (sub-title, To ), December, 1847; “Home Journal,” Jan. 1, 1848; Griswold, 1850.

TEXT. Griswold, 1850. Other readings: —

III.		9		We remembered   Am. W. R.; H. J.
VIII.		5		But | And   Am. W. R.; H. J.
IX.		13		This | In the   Am. W. R.; H. J. [page 187:]

Insert after: —

NOTES. “Home Journal,” Jan. 1, 1848.

“We do not know how many readers we have who will enjoy, as we do, the following exquisitely piquant and skilful exercise of variety and niceness of language. It is a poem which we find in the ‘American Review,’ full of beauty and oddity in sentiment and versification, but a curiosity (and a delicious one we think) in philologic flavor. Who is the author?” Poe had requested Willis to ask the question (Poe to Willis. Dec. 8, 1847).

SCENES FROM POLITIAN

Scenes from Politian. “Southern Literary Messenger,” December, 1835, January, 1836; 1845.

TEXT. 1845. Other readings, S. L. M.:

II.		99		This sacred | A vow a
III.		6 [[7]]		Surely | I live
		57 [[67]]		Eloquent | voice that
		58 [[68]]		I surely
		63		it | that lattice
		101		Believe me | Baldazzar! Oh! [page 188:]
IV.		5		sob | weep
		6		mourn | weep
		9		turn here thine eyes | and listen to me
		30		to me | speak not
V.		7		Paradisal Hope | hopes — give me to live
		44		Insert after: — If that we meet at all it were as well That I should meet him in the Vatican — In the Vatican — within the holy walls Of the Vatican.
		58		then at once | — have at thee then
		62		thy sacred | hold off thy
		63		indeed I dare not | I dare not, dare not.
		65		Insert after: — exceeding well! — thou darest not fight with me?
		70		Insert after: — Thou darest not!
		71		my lord | alas!
		73		the veriest | — I am — a
		92		Thou liest | By God; indeed | — now this

 

TO HELEN

To Helen. 1831; “Southern Literary Messenger,” March, 1836; “Graham's Magazine,” September, 1841; Philadelphia “Saturday Museum,” March 4, 1843; 1845.

TEXT. Philadelphia “Saturday Museum.” Other readings: —

II.		4		glory that was | beauty of fair   1831; S. L. M.
		5		that was | of old   1831; S. L. M. [page 189:]
III.		1		yon brilliant | that little   1831; S. L. M.; shadowy   G. M.
		3		agate lamp | folded scroll   1831; S. L. M.; G. M.
		4		Ah | A   1831.

 

TO F——

To F——. 1845. “Broadway Journal,” i. 17 | To Mary, “Southern Literary Messenger,” July, 1835. To One Departed. “Graham's Magazine,” March, 1842; Philadelphia “Saturday Museum,” March 4, 1843.

TEXT. 1845. Other readings: —

I.		1		Mary amid the cares the woes   S. L. M.   For 'mid the earnest cares and woes   G. M.; S. M.
		2		That crowd | crowding   S. L. M.
		3		Drear | Sad   S. L. M.; G. M.; S. M.
		7		bland | sweet   S. L. M.
II.		1		And thus | Seraph   G. M.; S. M.
		4		Some lake beset as lake can be   S. L. M.   throbbing far and free | vexed as it may be   G. M.; S. M.

G. M. and S. M. reverse the order of the stanzas.

NOTES. “F——” is, presumably, Mrs. Frances Sargent Osgood. See Memoir.

 

TO ONE IN PARADISE

To One in Paradise. Philadelphia “Saturday Museum,” March 4, 1843; 1845; | “[Godey's] Lady's Book” [The Visionary], January, 1834; “Southern Literary Messenger” [The Visionary], July, 1835; “Tales of the Arabesque and Grotesque” [page 190:] [The Visionary], 1840; “Broadway Journal,” i. 19, i. 23 [The Assignation]. | To lanthe in Heaven. “Burton's Gentleman's Magazine,” July, 1839

TEXT. 1845. Lorimer Graham copy.

I.		1		all that | that all all other editions.
		5		with fairy fruits and | round with wild   Go. around about with   S. L. M.; B. G. M.; 1840.
		6		all the flowers | the flowers they all   S. L. M.; B. G. M.; 1840.
II.		1		But the dream it could not last   Go.; S. L. M.; B. G. M; 1840.
		2		Young Hope! thou didst arise   Go.; And the star of Hope did rise.   S. L. M.; B. G. M.; 1840.
				Ah | Oh!   S. M.
		5		“On! on” — but | “Onward”   Go.; S. L. M.; B. G. M.; 1840; B. J.; but | while Go.; S. L. M.; B. G. M.; 1840.
III.		2		Ambition — all — is o’er Go.; S. L. M.; B. G. M.; 1840.
IV.		1		days | hours   Go.; S.L. M.; B.G.M.; 1840;   And | Now   B.J.
		3		gray | dark all other editions.
		4		solemn | breaking   Go.
		6		eternal | Italian Go.; S. L. M.; 1840; B. J.; what | far   Go.
Insert after: —
				Alas! for that accursed time They bore thee o’er the billow, [[v]] From Love to titled age and crime And an unholy pillow — [page 191:] [[v]] From me, and from our misty clime Where weeps the silver willow. S. L. M.; 1840; Go. except 3   Love | me 5   me | Love

A correspondent of the London “Spectator,” Jan. 1, 1853, contributed a version from a manuscript long in his possession. It was reprinted in the New York “Literary World,” Feb. 5, 1853. It is the same as that of the “Southern Literary Messenger,” except

I.		1		that   omit
II.		2		And the star of life did rise
		3		But | Only
III.		1-5		Like the murmur of the solemn sea To sands on the sea-shore A voice is whispering unto me “The day is past,” and nevermore
IV.		1		And all mine hours
		2		nightly | nights are
		3		Are | Of
		1-5		In the maze of flashing dances By the slow Italian streams.

The correspondent had supposed the lines to be by Tennyson, and charged Poe with plagiarism. Tennyson, under date of Jan. 20, 1853, wrote to the “Spectator” to correct the statement and cleared Poe of the charge. The incident led an American correspondent to send to the “Literary World” a copy of the first version from “Godey's Lady's Book,” and the text of Godey given above is here printed from that source. [page 192:]

 

TO F——S S. O——D

To F——s S. O——d [Frances S. Osgood]. 1845; | Lines written in an Album. “Southern Literary Messenger,” September, 1835. To ——. “Burton's Gentleman's Magazine,” August, 1839. To F——. “Broadway Journal,” ii. 10, lines 1-4.

TEXT. 1845. Other readings: —

NOTES. “Eliza” was the young daughter of Mr. White, editor of the “Messenger.” For Mrs. Osgood, see Memoir.

 

A VALENTINE

A Valentine. “Sartain's Union Magazine,” March, 1849; “Flag of our Union,” 1849.

TEXT. “Sartain's Union Magazine.”

NOTES. To find the name, read the first letter in the first line, the second in the second, and so on.

 

AN ENIGMA

An Enigma, | Sonnet. “Union Magazine.” March, 1848.

TEXT. “Union Magazine.”

NOTES. To find the name, read as in the preceding poem.

10   Tuckermanities | Petrarchmanities   U. M. [page 193:]

 

TO HELEN

To Helen. | To —— —— —— “Union Magazine,” November, 1848.

TEXT. Griswold.

NOTES. “Helen” was Mrs. Whitman; see Memoir, and compare the “Raven” in her poems.

 

TO ——

To (I heed not that my earthly lot), 1845 | Alone, MS.; To M——, 1829.

TEXT. 1845. Other readings, 1829, the variations from it of the Wilmer MS. being noted.

 

TO M. L. S——

To M. L. S. “Home Journal,” March 13, 1847.

TEXT. “Home Journal.”

NOTES. Introduced in the “Home Journal” by the following editorial note: the “following seems said over a hand clasped in the speaker's two. It is by Edgar A. Poe, and is evidently the pouring out of a very deep feeling of gratitude.” “M. L. S.” was Mrs. Shew; see Memoir.

 

TO ——

To. “Columbian Magazine,” March, 1848.

TEXT. Griswold. Other readings: —

The original publication, which is identified by an index number of the maga2ine only, has not been found. The following manuscript variation exists in facsimile. The first seven lines show no variation. The poem then continues:

TO MARIE LOUISE

NOTES. “Marie Louise” was Mrs. Shew; see Memoir.

 

FOR ANNIE

For Annie. “ Flag of our Union,” 1849; Griswold, 1850.

TEXT. Griswold. No file of the paper is known.

NOTES. “ Annie “ was a lady of Lowell, whose name has not been published; see Memoir.

 

TO MY MOTHER

To My Mother. “ Flag of our Union,” 1849.

TEXT. Griswold. No file of the paper is known.

NOTES. His mother-in-law, Mrs. Clemm. [page 196:]

 

TAMERLANE

Tamerlane. 1827, 1829, 1831, 1845.

TEXT. 1845. Other readings: —

The first version is 1827, as follows, the variations of the Wilmer MS. being noted below:

TAMERLANE

 

 

 

V.		14		breathing | more than   MS.
		15		my | this   MS.
		21		And I have | So have I   MS. [page 200:]

 

 

 

 

VIII.		1 [[2]]		Such as I taught her from the time   MS.
		7-10		There were no holier thoughts than thine   MS.
		11		her | thee   MS.
		21		Which I felt not | Unheeded then   MS. [page 202:]

 

 

 

 

		30		Some | an   MS.
		33		confused | confusedly   MS.
IX.		4-10		omit   MS.
		11		me at this time | for now on me   MS.
		12		Truth flashes thro’ eternity   MS. [page 203:]

 

 

 

 

		15		knows | feels   MS.
		26		Its | The   MS.
X.		6		own fair | magic   MS. [page 204:]

 

 

 

 

		8-10		Of diamond sunshine and sweet spray Two mossy huts of the Taglay
XI.		12-13		The undying hope which now opprest A spirit ne’er to be at rest MS. [page 205:]

 

 

 

 

		14		secret | silent   MS.
		17		led | thrown   MS.
		18		Astray from reason | Her mantle over   MS.
		19		Ambition | Lion Ambition; nor fed | omit   MS. Insert after: — And crouches to a keeper's hand   MS.
		20		As in the desert | Not so in deserts   MS.
		21		beautifies | terrible   MS.
		22		its | his   MS. [page 206:]

 

 

 

 

XV.		6		proudly | ’nobly   MS.
		8		earth hath seen, people saw   MS.
		9-11		Striding o’er empires haughtily, A diademed outlaw, More than the Zinghis in his fame.   MS.
		12		what! | even   MS.
		16		the dying | their parting   MS.
		17		Of | From   MS.
		20		Nothing have I | And I have naught   M S. [page 209:]

 

 

 

NOTES BY POE

NOTE 1, page 196.

OF the history of Tamerlane little is known; and with that little I have taken the full liberty of a poet. That he was descended from the family of Zinghis Khan is more than probable but he is vulgarly supposed to have been the son of a shepherd, and to have raised himself to the throne by his own address. He died in the year 1405, in the time of Pope Innocent VII.

How I shall account for giving him “a friar” as a death-bed confessor I cannot exactly determine. He wanted some one to listen to his tale and why not a friar? It does not pass the bounds of possibility quite sufficient for my purpose and I have at least good authority on my side for such innovations.

NOTE 2, page 197.

The mountains of Belur Taglay are a branch of the Imaus, in the southern part of Independent Tartary. They are celebrated for the singular wildness and beauty of their valleys. [page 214:]

NOTE NOTE 3, page 201.

I must beg the reader's pardon for making Tamerlane, a Tartar of the fourteenth century, speak in the same language as a Boston gentleman of the nineteenth; but of the Tartar mythology we have little information.

NOTE NOTE 4, page 201.

A deity presiding over virtuous love, upon whose imaginary altar a sacred fire was continually blazing.

NOTE NOTE 5, page 205.

Although Tamerlane speaks this, it is not the less true. It is a matter of the greatest difficulty to make the generality of mankind believe that one with whom they are upon terms of intimacy shall be called, in the world, a “great man.” The reason is evident. There are few great men. Their actions are consequently viewed by the mass of the people through the medium of distance. The prominent parts of their characters are alone noted; and those properties, which are minute and common to every one, not being observed, seem to have no connection with a great character.

Who ever read the private memorials, correspondence, etc., which have become so common in our time, without wondering that “great men” should act and think “so abominably”? [page 215:]

NOTE 6, page 206.

That Tamerlane acquired his renown under a feigned name is not entirely a fiction.

NOTE 7, page 207.

I believe it was after the battle of Angora that Tamerlane made Samarcand his residence. It became for a time the seat of learning and the arts.

NOTE 8, page 208.

He was called Timur Bek as well as Tamerlane.

NOTE 9, page 208.

The conquests of Tamerlane far exceeded those of Zinghis Khan. He boasted to have two thirds of the world at his command.

NOTE 10, page 209.

I have often fancied that I could distinctly hear the sound of the darkness, as it steals over the horizon a foolish fancy, perhaps, but not more unintelligible than to see music

the “mind the music oreathing from her face.”

NOTE 11, page 210.

There is a flower (I have never known its botanic name), vulgarly called the day-flower. It blooms [page 216:] beautifully in the daylight, but withers towards evening, and by night its leaves appear totally shrivelled and dead. I have forgotten, however, to mention in the text, that it lives again in the morning. If it will not nourish in Tartary, I must be forgiven for carrying it thither.

NOTES. The History of the poem is given in the Memoir. In the edition of 1845 it was accompanied with the following “Advertisement: This poem was printed for publication in Boston, in the year 1827, but suppressed through circumstances of a private nature.” The “Early Poems” in the same edition were excused by the following note: “Private reasons some of which have reference to the sin of plagiarism, and others to the date of Tennyson's first poems have induced me after some hesitation to republish those, the crude compositions of my earliest boyhood. They are printed verbatim — without alteration from the original edition — the date of which is too remote to be judiciously acknowledged.”

 

TO SCIENCE

To Science. 1829; 1831; “Southern Literary Messenger,” May, 1836; 1845; “Broadway Journal,” ii. 4.

TEXT. Philadelphia “Saturday Museum.” Other readings: —

 

AL AARAAF

Al Aaraaf. 1829, 1831, 1845; lines I. 66-67, 70-79, 82-101; 126-129; 11.20-21, 24-27, 52-59, 68-135; “Philadelphia Saturday Museum,” March 4, 1843.

TEXT. 1845. Other readings: —

[[Part I.]]		1-15		Mysterious star! Thou wert my dream All a long summer night Be now my theme! By this clear stream, Of thee will I write; Meantime from afar Bathe me in light!   Thy world has not the dross of ours, Yet all the beauty all the flowers That list our love, or deck our bowers In dreamy gardens, where do lie Dreamy maidens all the day, While the silver winds of Circassy On violet couches faint away.   Little oh! little dwells in thee Like unto what on, Earth we see. Beauty's eye is here the bluest In the falsest and untruest On the sweetest air doth float The most sad and solemn note If with thee be broken hearts, Joy so peacefully departs, That its echo stiU doth dwell, Like the murmur in the shell. [page 218:] Thou! thy truest type of grief Is the gently falling leaf Thou I thy framing is so holy Sorrow is not melancholy.   1831.
		11		Oh | With   1829
		19		An oasis | a garden-spot   1829, 1831
		43		rear   1831
		95		red   omit   1831
		128		All | Here   1829, 1831
Part II.		33		peeréd | ventured   1829
		99		lead | hang   1829, 1831
		197		the orb of Earth | one constant star   1829, 1831
		213		he | it   1829, 1831

The variations of the “Saturday Museum” show a later revision than the text represents; but it has not been thought desirable to embody them in the text, as Poe himself did not do so on his last publication of it. They are as follows:

I.		88		Which | That
		127		merest | veriest
		128		All | Here
II.		53		cheeks were | cheek was
		56		that | this
		58		fairy | brilliant
		91		wings
		92		Each ... thing | All ... things
		94		would | will
		117		a deep dreamy

Some lines also are transposed from one place to another in the passages from II. 20-59. [page 219:]

NOTES BY POE

p. 107. Al Aaraaf. — A star was discovered by Tycho Brahe, which appeared suddenly in the heavens; attained, in a few days, a brilliancy surpassing that of Jupiter; then as suddenly disappeared, and has never been seen since.

p. 108. Capo Deucato. — On Santa Maria — olim Deucadia OF HER WHO loved. Sappho.

Flower of Trebizond. This flower is much noticed by Lewenhoeck and Tournefort. The bee feeding upon its blossom becomes intoxicated.

p. 109. Clytia. — Clytia, the Chrysanthemum Peruvianum, or, to employ a better-known term, the turnsol, which turns continually toward the sun, covers itself, like Peru, the country from which it comes, with dewy clouds which cool and refresh its flowers during the most violent heat of the day. B. DE ST. PIERRE.

And that aspiring flower. — There is cultivated, in the king's garden at Paris, a species of serpentine aloes without prickles, whose large and beautiful flower exhales a strong odor of the vanilla, during the time of its expansion, which is very short. It does not blow till toward the month of July you then perceive it gradually open its petals expand them — fade and die. — ST. PIERRE.

Valisnerian lotus. — There is found, in the Rhone, a beautiful lily of the Valisnerian kind. Its stem will stretch to the length of three or four feet, thus preserving its head above water in the swellings of the river.

And thy most lovely purple perfume. — The Hyacinth. [page 220:]

Indian Cupid. — It is a fiction of the Indians, that Cupid was first seen floating in one of these down the river Ganges, and that he still loves the cradle of his childhood.

Odors. And golden vials full of odors which are the prayers of the saints. Rev. St. John.

p. 110. A model. — The Humanitarians held that God was to be understood as having really a human form. — Vide CLARKE’ S Sermons, vol. i, page 26, fol. edit.

The drift of Milton's argument leads him to employ language which would appear, at first sight, to verge upon their doctrine; but it will be seen immediately that he guards himself against the charge of having adopted one of the most ignorant errors of the dark ages of the Church. — DR. SUMNER’ S Notes on Milton's Christian Doctrine.

This opinion, in spite of many testimonies to the contrary, could never have been very general. Andeus, a Syrian of Mesopotamia, was condemned for the opinion as heretical. He lived in the beginning of the fourth-century. His disciples were called Anthropomorphites. — Vide DU PIN.

Among Milton's minor poems are these lines:

And afterward: —

p. 111. Sightless. Too small to be seen. — LEGGE.

Fireflies. — I have often noticed a peculiar movement of the fire-flies, they will collect in a body and fly off, from a common centre, into innumerable radii.

p. 112. Therasaean. Therasaea, or Therasea, the island mentioned by Seneca, which, in a moment, arose from the sea to the eyes of astonished mariners.

Of molten stars.

p. 113. Persepolis. — Voltaire, in speaking of Persepolis, says: “Je connois bien Padmiration qu’inspirent ces mines mais un palais e’rigd au pied d’une chaine des rochers sterils peut il etre un chef-d’oeuvre des arts?”

Gomorrah. — “Oh! the wave” — Ula Deguisi is the Turkish appellation; but, on its own shores, it is called Bahar Loth, or Almotanah. There were undoubtedly more than two cities engulfed in the “dead sea.” In the valley of Siddim were five, Adrah, Zeboin, Zoar, Sodom, and Gomorrah. Stephen of Byzantium mentions eight, and Strabo thirteen (en, gulfed), but the last is out of all reason.

It is said [Tacitus, Strabo, Josephus, Daniel of St. Saba, Nau, Mundrell, Troilo, D’Arvieux], that after an excessive drought, the vestiges of columns, walls, etc., are seen above the surface. At any season, such remains may be discovered by looking down into the transparent lake, and at such distances as would argue the existence of many settlements in the space now usurped by the “Asphaltites.” [page 222:]

Eyraco. Chaldea.

Who sees the darkness. I have often thought I could distinctly hear the sound of the darkness as it stole over the horizon.

p. 114. Young flowers. Fairies use flowers for their charactery. — Merry Wives of Windsor.

The moonbeam. In Scripture is this passage “The sun shall not harm thee by day, nor the moon by night” It is perhaps not generally known that the moon, in Egypt, has the effect of producing blindness to those who sleep with the face exposed to its rays, to which circumstance the passage evidently alludes.

p. 115. Albatross. — The Albatross is said to sleep on the wing.

p. 116. The murmur that springs. — I met with this idea in an old English tale, which I am now unable to obtain, and quote from memory, the “verie essence and, as it were, springe-heade and origine of all musiche is the verie pleasaunte sounde which the trees of the forest do make when they growe.”

Have slept with the bee. — The wild bee will not sleep in the shade if there be moonlight.

The rhyme in this verse, as in one about sixty lines before, has an appearance of affectation. It is, however, imitated from Sir W. Scott, or rather from Claud Halcro in whose mouth I admired its effect:

p. 117. Apart from Heaven's Eternity. — With the Arabians there is a medium between Heaven and Hell, where men suffer no punishment, but yet do not attain [page 223:]

that tranquil and even happiness which they suppose to be characteriztic of heavenly enjoyment.

Sorrow is not excluded from “Al Aaraaf,” but it is that sorrow which the living love to cherish for the dead, and which, in some minds, resembles the delirium of opium. The passionate excitement of Love and the buoyancy of spirit attendant upon intoxication are its less holy pleasures, the price of which, to those souls who make choice of “Al Aaraaf” as their residence after life, is final death and annihilation.

Tears, of perfect moan

p. 119. Parthenon. It was entire in 1687 the most elevated spot in Athens.

Than even thy glowing bosom.

Pennoned. — Pennon — for pinion. — MILTON.

NOTES. The notes by Poe are partly from Moore's “Lalla Rookh,” Chateaubriand's “Itinéraire,” and other authorities easily traced. In the edition of 1829 the notes are worded, in a few instances, differently. [page 224:]

 

“THE HAPPIEST DAY — THE HAPPIEST HOUR”

“The Happiest Day — The Happiest Hour.” 1827.

TEXT. 1827.

 

STANZAS

“In Youth Have I Known One With Whom the Earth.” 1827.

TEXT. 1827.

 

EVENING STAR

Evening Star. 1827.

TEXT. 1827.

 

DREAMS

Dreams. 1827.

TEXT. 1827. Other readings, from the Wilmer MS., in this instance contemporary, but not autographic.

 

THE LAKE. TO ——

The Lake: To. 1827, 1829, 1831 (in Tamerlane), 1845.

TEXT. 1845. Other readings: —

The first version is 1827, as follows, other early readings, including those of the Wilmer MS., being noted below: [page 225:]

THE LAKE

Compare also “Tamerlane,” 1831, infra, pp. 210-211.

 

 

 

 

SPIRITS OF THE DEAD

Spirits of the Dead, 1829; “Burton's Gentleman's Magazine,” July, 1839; | Visit of the Dead, 1827.

TEXT. “Burton's Gentleman's Magazine,” except as noted. Other readings, including those of the Wilmer MS., in this instance a contemporary, but not autographic copy: —

The first version is 1827, as follows: —

VISIT OF THE DEAD

 

A DREAM WITHIN A DREAM

A Dream within a Dream. Griswold, 1850. | Imitation 1827; To ——, 1829; Tamerlane, 1831.

TEXT. Griswold, 1850. Other readings: — The first version of these lines is 1827, as follows:

IMITATION

This poem was revised in 1829, as follows, the variations of the Wilmer MS. being noted below:

TO ——

 

 

 

I.		6		To | For   MS.
II.		10		therefore | omit   MS. [page 229:]

The lines 13-27, reappear revised in “Tamerlane,” 1831, infra, p. 212.

SONG

Song (I saw thee on thy bridal day). 1827, 1829, 1845; “Broadway Journal,” ii. n. [page 230:]

TEXT. 1845. Other readings, including those of the Wilmer MS.:

I.		1		thy | the   1827
II.		2		Of young passion free   1827
		3		aching | chained   1827; fettered   1829
		4		could | might   1827
		1-4		omit,   MS.
III.		1		perhaps | I ween   1827

 

TO THE RIVER

To the River ——. 1829; “Burton's Gentleman's Magazine,” August, 1839; Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. 9.

TEXT. Philadelphia “Saturday Museum.” Other readings, including those of the Wilmer MS.: —

I.		2		crystal wandering | labyrinth-like   MS. 1829; B. G. M.
II.		4		Her worshipper | Thy pretty self   MS.
		5		His | my   MS. 1829; B. G. M.; B. J.
		7		His | The   MS. 1829; B.G.M.; B. J.;   deeply | lightly   MS.
		8		of her soul-searching | The scrutiny of her   MS. 1829; B. G. M.

 

TO ——

To —— (The bowers whereat in dreams I saw) 1829, 1845; “Broadway Journal,” ii. 11.

TEXT. 1845. Other readings:

III.		3		The | omit   1829.
		4		baubles | trifles   1829. [page 231:]

 

A DREAM

A Dream. 1829, 1845; “Broadway Journal,” ii.6 | no title, 1827.

TEXT. 1845. Other readings: —

I.		[[1]]		Insert before: A wildred being from my birth, My spirit spurned control, But now, abroad on the wide earth,   1827. Where wanderest thou, my soul?
II.		1		Ah | And   1827, 1829
IV.		1		Storm and | misty   1827
		2		Trembled from | dimly shone   1827

 

ROMANCE

Romance. Philadelphia “Saturday Museum,” March 4, 1843; 1845; “Broadway Journal,” ii. 8 | Preface, 1829; Introduction, 1831.

TEXT. 1845. Other readings: —

The version of 1831 is as follows, earlier readings of 1829 being noted below: —

INTRODUCTION

 

 

 

 

 

 

 

FAIRY-LAND

Fairy-land. 1829, 1831, 1845; “Burton's Gentleman's Magazine,” August, 1839; “Broadway Journal,” ii. 13.

TEXT. 1845. Other readings: —

The version of 1831 is as follows, other early readings being noted below: —

FAIRY-LAND

 

 

 

 

 

 

 

 

 

 

49		How | And   1829; B. G. M.
51		About twelve by the moon-dial One, more filmy than the rest [A sort which, upon trial, They have found to be the best] Comes down — still down — and down   1829; B. G. M.
54-63		While its wide circumference In easy drapery falls Over hamlets, and rich halls, Wherever they may be — O’er the strange woods — o’er the sea — Over spirits on the wing Over every drowsy thing — And buries them up quite In a labyrinth of light — [page 237:]

ALONE

Alone. “Scribner's Magazine,” September, 1875.

TEXT. “Scribner's Magazine.”

NOTES. This poem, on its publication, was dated, not in Poe's hand, “Baltimore, March 17, 1829.” The words appear to be unauthorized.

G. E. W.

 

 

 

1 Plagiarism — see the works of Thomas Moore — passim — [Poe's note].