∞∞∞∞∞∞∞
NOTES
——
CHAPTER I
[1] Killis Campbell in Cambridge History of American Literature, II, 55.
[2] Susan Archer Weiss, The Home Life of Poe, p. 117.
[3] John H. Hewitt, Shadows on the Wall, p. 155.
[4] Susan Archer Talley Weiss, “Last Days of Edgar A. Poe,” Scribner's, XV (March, 1878), 711.
[5] Mrs. Clarke of Richmond; reported by Mrs. Weiss in Home Life, p. 160.
[6] “Exordium,” Graham's Magazine, January, 1842. See The Complete Works of Edgar Allan Poe, Virginia Edition, edited by James A. Harrison, New York, 1902, XI, 2, herein after referred to as Works.
[7] John Macy, The Spirit of American Literature, p. 126.
[8] Eugene L. Didier, The Poe Cult, p. 8.
[9] Letter from White to Nathaniel Beverley Tucker, dated December 27, 1836. Quoted by Quinn, Edgar Allan Poe, p. 259.
[10] Weiss, Home Life, p. 223.
[11] Joseph Wood Krutch, Edgar Allan Poe, pp. 51-62.
[12] Quinn, Poe, p. 768.
[13] Ibid., p. 219.
[14] See Frederick W. Coburn, “Poe as Seen by the Brother of Annie,’” New England Quarterly, XVI (September, 1943), p. 471.
[15] Quinn, op. cit., 479-498. Some authorities, however, believe that Mrs. Clemm, perturbed by her “Eddie's” infatuation with Mrs. Osgood, confidingly showed the letter to Mrs. Ellet.
[16] Ibid., p. 592. [page 256:]
[17] George E. Woodberry, Life of Edgar Allan Poe, I, 185.
[18] See Augustus Van Cleef, “Poe's Mary,” Harper's New Monthly Magazine, LXXVIII (March, 1899), 634-640.
[19] Mary E. Phillips, Edgar Allan Poe the Man, I, 421-423.
[20] Quinn, op. cit., p. 594.
[21] Poe (American Men of Letters Edition), p. 322.
[22] Weiss, Home Life, p. 171.
[23] Op. cit., p. 578.
[24] Works, I, 314.
[25] Op. cit., II, 1089.
[26] Poe (AML ed.), p. 26.
[27] Richard Henry Stoddard, “Mrs. Botta and Her Friends,” Independent, XLVI (February 1, 1894), 145.
[28] Romanticism and the Modern Ego, Boston, 1943, p. 109.
[29] The Shock of Recognition, p. 84.
[30] Quinn, op. cit., 83.
[31] Didier, The Life and Poems of Edgar Allan Poe, p. 31.
[32] Bailey Millard, “Precocity and Genius,” The Bookman, XLII (November, 1915), 342.
[33] See American Notes & Queries, III (June, 1943), 36; also Quinn, Poe, p. 118, and Weiss, Home Life, p. 63.
[34] Letter to F. W. Thomas, dated February 14, 1849. In Griswold Collection, Boston Public Library. Also quoted, in its entirety, by Quinn, pp. 601-603, and Ostrom, Letters, II, 426-428.
[35] Complete Poems, Whitty ed., p. 184.
[36] This comment is part of a letter, dated January 26, 1830, written by Neilson Poe. A Ms. copy of this letter (in the handwriting of Amelia F. Poe) is in the Enoch Pratt Free Library in Baltimore.
[37] Poe (AML ed.), p. 61.
[38] John Paul Pritchard, Return to the Fountains, p. 43.
[39] Fred Lewis Pattee, The Development of the American Short Story, p. 134.
[40] Frederick W. Coburn, op. cit., p. 475.
[41] While the point is not very important, scholarly differences deserve recording; seven miles, says Harrison (Works, I, 25); six miles, says Quinn (Poe, p. 84). [page 257:]
[42] Edward Shanks, Edgar Allan Poe, p. 29.
[43] French Poets and Novelists, London, 1878, p. 76.
[44] Edgar Allan Poe, p. 51.
[45] See The Book of the Poe Centenary, edited by Kent and Patton, p. 192.
[46] “Poe not as Black as He Was Painted,” Critic, XLII, 499.
[47] Edgar Allan Poe Letters Till Now Unpublished, in the Valentine Museum, Richmond, Virginia, p. 63.
[48] Ibid., 77.
[49] Ibid., 88.
[50] Ibid., 267.
[51] Ibid., 279-280.
[52] Ibid., 291.
[53] Quinn, op. cit., 190; see also Valentine Letters, p. 287.
[54] Quinn, pp. 589-592. From a copy made by Mrs. Richmond, in the Library of the University of Virginia.
[55] Edgar A. Poe, a Psychopathic Study, p. 92.
[56] John H. Ingram, Edgar Allan Poe, His Life, Letters, and Opinions, I, 216.
[57] Works, I, 180-181.
[58] “The Mystery of Poe,” Nation, CXXII (March 17, 1926), 289.
[59] Works, I, 160. The letter was first published in the Baltimore American, April, 1881.
[60] Weiss, “Last Days of Edgar A. Poe,” Scribner's Monthly, XV (March, 1878), 712.
[61] Bishop O. P. Fitzgerald, “The Night I Saw and Heard Edgar Allan Poe,” in Fifty Years, p. 192.
[62] Autobiography of an Actress, pp. 139, 445.
[63] Works, XII, 185-186; originally published in the Broadway Journal, July 19, 1845.
[64] Albert Parry, Garrets and Pretenders, p. 5.
[65] Weiss, Home Life, p. 34.
[66] Op. cit., p. 138.
[67] Poe, p. 85.
[68] Woodberry, Life of Poe, I, 18-19.
[69] Works, I, 14.
[70] Ibid., I, 24. [page 258:]
[71] Woodberry, I, 1.
[72] Weiss, Home Life, pp. 25-26. Other references to this episode are Harrison, Works, I, 28-29; Phillips, I, 201-202; Quinn, 87; and “ Poe's Footsteps around Richmond,” by Alice M. Tyler, in The Times-Dispatch, January 17, 1909.
[73] Ms. in the Valentine Collection in Richmond.
[74] Quinn, pp. 118-119.
[75] Una Pope-Hennessy, Edgar Allan Poe, pp. 30-31. For another description of Poe parading in the uniform of the Junior Morgan Riflemen, see Harrison, Works, I, 25-26.
[76] Works, I, 196.
[77] Weiss, Home Life, p. 21.
[78] Works, I, 25.
[79] The source is Col. Ellis, but see Phillips, I, 209.
[80] T. W. Gibson, “ Poe at West Point,” Harper's, XXXV (November, 1867), 754-756.
[81] Works, I, 198.
[82] The whole of this review is reprinted by Dr. Robertson in his Poe. The passage appears on p. 244. [[Also see Works, XI, pp. 220-243.]]
[83] James Southall Wilson, “The Young Man Poe,” Virginia Quarterly Review, II (April, 1926), 239.
[84] Phillips, II, 926-927. Woodberry (II, 422-423) gives the name as “Perley.” Both accounts are based on Gabriel Harrison's articles. It seems that Mr. Harrison confused the name between one article (published in 1875) and another (published in 1899).
[85] Selections from Poe, p. xxi.
[86] Op. cit., p. 314.
[87] Letter dated September 18, 1849, in Edgar Allan Poe Letters and Documents in the Enoch Pratt Library, edited by A. H. Quinn and R. H. Hart, p. 25.
[88] Hervey Allen, Israfel, II, 855.
[89] Ibid., I, 98.
[90] Quinn, Poe, p. 274.
[91] Phillips, I, 351.
[92] Quinn, p. 197.
[93] Ms. of a long article in the William H. Koester Collection in Baltimore. The article apparently was published in an unnamed “paper” in June, 1885. [page 259:]
[94] Dictionary of American Biography, VIII, 606-607. See also Maryland Historical Magazine, XXXII (June, 1937), 105 107.
[95] Willys Rede, “Edgar A. Poe: Citizen of Baltimore,” Baltimore Sun, January 17, 1932.
[96] Emile Lauvriere, The Strange Life and the Strange Loves of Edgar Allan Poe, pp. 187, 316, 400; Phillips, II, 1183.
[97] Poe, p. 276.
[98] Israfel, II, 455.
[99] Una Pope-Hennessy, op. cit., p. 199.
[100] Horace W. Smith, Life and Correspondence of Reverend William Smith, Philadelphia, 1879-1880, II, 529. (See Quinn, p. 344).
[101] Allen, Israfel, II, 574. See also Killis Campbell, Mind of Poe, pp. 11-12, and Woodberry, II, 421.
[102] Phillips, II, 1102.
[103] Pope-Hennessy, op. cit., p. 244.
[104] Phillips, II, 1003, and Allen II, 639; both biographers base their accounts on articles by Alexander Taylor Crane published in newspapers (New York Times Review, Nov. 27, 1909; Sunday World-Herald, Omaha, Nebraska, July 19, 1902).
[105] Phillips, II, 772.
[106] Dictionary of American Biography, VIII, 339-340.
[107] See letter from “Gabriel” to Mrs. Clemm, dated December 27, 1865, in Poe Letters and Documents (Quinn and Hart), p. 73.
[108] Thomas Ollive Mabbott, “The First Book Publication of Poe's Raven,’” Bulletin of the New York Public Library, XLVII (August, 1943), 583.
[109] Old Friends, p. 35.
[110] See sketch in DAB, III, 95-96, by Walter Pritchard Eaton.
[111] See sketch in DAB, XX, 512-513, by Nelson F. Adkins.
[112] See sketch in DAB, XIII, 207-209, by Roy W. Sellars.
[113] Pope-Hennessy, op. cit., p. 244. For the appearances of Mr. and Mrs. David Poe at the Park Theatre see Quinn, pp. 719-722.
[114] Works, I, 301. [page 260:]
[115] Quinn, pp. 611-612.
[116] David M. Robinson, Sappho and Her Influence, Boston, 1924, p. 218.
[117] “The Wizard in the Street,” (1911), in Selected Poems, New York, 1931.
[118] The Poe Cult, pp. 241-242.
[119] Pope-Hennessy, p. 264.
[120] Julius Bab, Das Theater der Gegenwart, Leipzig, 1928, p. 130.
[121] Testimony of Mrs. Sarah Heywood Trumbull (“Annie's’” sister) in William F. Gill, The Life of Edgar Allan Poe, p. 210. See also Phillips, II, 1292, and Works (Harrison), I, 303.
[122] The Works of the Late Edgar Allan Poe with a Memoir, I, liv.
[123] Phillips, II, 1126.
[124] Pope-Hennessy, p. 266.
[125] Phillips, II, 954-955.
[126] Sarah Helen Whitman, Edgar Poe and his Critics, p. 210.
[127] Phillips, II, 1310.
[128] See Spannuth and Mabbott, eds., Doings of Gotham, p. 101.
[129] Works, I, 60.
[130] George Tucker, a fellow-student; quoted by Harrison in Works, I, 42.
[131] Letter of Mary I. Dixon, dated September 11, 1872, in “Poeana,” at the New York City Authors’ Club. See Phillips, I, 120, and II, 1623.
[132] Works, I, 108-109.
[133] Ibid., I, 222-223.
[134] Anonymous letter addressed to Mrs. Whitman, dated January 7, 1846. See Didier, Life and Poems, p. 13.
[135] Munsey's Magazine, VII, 557.
[136] Didier, The Poe Cult, p. 62.
[137] Weekly Mirror, March 12, 1845. Quoted in Phillips, II, 950-951.
[138] W. T. Scott, “New England's Newspaper World,” Saturday Review of Literature, May 22, 1943, p. 20. [page 261:]
[139] Phillips, II, 1055.
[140] Ibid., II, 1350.
[141] Weiss, “Last Days of Edgar A. Poe,” Scribner's, XV, 713.
[142] Fifty Years, p. 196. (143)
[143] Works, I, 316.
[144] For a complete transcript of the Examiner article see Whitty's Memoir in his edition of The Complete Poems of Edgar Allan Poe, pp. lxxiv-lxxvi.
[145] See report by Mrs. Clarke in Weiss, Home Life, p. 163.
[146] Poe as a Literary Critic. Ms. in the Koester Collection, Baltimore. Published by the Johns Hopkins Press, 1946.
[147] Broadway Journal, I (March 29, 1845), 205.
[148] William Fearing Gill, The Life of Edgar Allan Poe, p. 210.
[149] Karl Mantzius, A History of Theatrical Art, London, 1921, vol. VI, p. 288.
[150] Sat. Rev. of Lit., April 3, 1937. PP- 41-42.
[151] “Edgar Poe's Significance,” The Critic, II (June 3, 1882), 147.
[152] “The Satanic Streak in Poe's Genius,” Current Literature, XLVIII, 93.
[153] James S. Wilson, Virginia Quarterly Review, II, 238.
[154] Home Life, p. 132.
[155] Works, I, 316.
[156] Ibid., I, 132.
[157] See Samuel Longfellow, Life of Longfellow, Boston and New York, 1891, vol. II, p. 150.
[158] Many scholars have attempted to explore his social and political ideas and ideals. Two of the best studies are: Killis Campbell, “The Relation of Poe to His Times,” Studies in Philology, XX (July, 1923), 293-301, and Ernest Marchand, “Poe as Social Critic,” American Literature, VI (March, 1934), 28-43.
[159] Vernon Louis Parrington, The Romantic Revolution in America, 1800-1860, p. 59.
[160] Phillips, II, 1130.
[161] Op. cit., p. 59. [page 262:]
[162] Letter from Margaret Fuller to Elizabeth Barrett Browning, December 6, 1849; in the Abernethy Library of American Literature at Middleberry College. See American Literature, IX (March, 1937), 70-71.
[163] American Prose Masters (Modern Student's Library), p. 215.
[164] Testimony of F. W. Thomas, in Whitty's Memoir (Complete Poems), p. xxi.
[165] Didier, The Poe Cult, p. 192.
[166] William Winter, Life and Art of Edwin Booth, p. 281.
CHAPTER II
[1] Letter from Kennedy to Poe, dated September 19, 1835, in the Griswold Manuscripts, Boston Public Library. Reprinted in Quinn, p. 227.
[2] Kennedy to T. W. White, April 13, 1835. See Mabbott, Politian, p. 58.
[3] Letters ... in the Valentine Museum, p. 265.
[4] See Quinn, A History of the American Drama from the Beginning to the Civil War, Second Edition (1943), pp. 225 237.
[5] Howard Paul, “Recollections of Edgar Allen [sic!] Poe,” Munsey's Magazine, VII (August, 1892), 557. Woodberry lists Mr. Paul's article as having appeared in the “Sept. 1892” number of Munsey's. Hervey Allen repeats the error (Israfel, II, 573).
[6] Killis Campbell, who does not hesitate to reject other attributions of authorship to Poe, does not exclude the possibility of this scenario from “The Poe Canon” (PMLA, XXVII, 350).
[7] Mabbott, Politian, p. iv. M. William Little Hughes's translation is in Contes inedits d’Edgar Poe, Paris, 1862, pp. 249-281.
[8] For Quinn's discussion of “Monos and Una” see his Poe, pp. 324-325, [page 263:]
[9] The Works of Edgar Allan Poe, edited by E. C. Stedman and G. E. Woodberry, vol. IV, p. 295.
[10] See American Literature, II (November, 1930), 232-235, “The Sources of Poe's Three Sundays in a Week,’” by Fannye N. Cherry.
[11] Poe, p. 233.
[12] Works, XIII, 73.
[13] James Southall Wilson, “About ‘Politian.’” In the Politian Papers at the Enoch Pratt Free Library, Baltimore.
[14] Doings of Gotham (eds., Spannuth and Mabbott), P 97
[15] “The American Drama,” Works, XIII, 36.
[16] Thus Quinn, p. 231. Mabbott claims that the wife was acquitted. For my purposes, however, this detail is not of the slightest value.
[17] Works, XV, 119.
[18] Graham's Magazine, May, 1842.
[19] Broadway Journal, October 4, 1845 (vol. II, no. 13, p. 190).
[20] For the sources of Poe's names in Politian, see Mabbott, pp. 59-61 of his edition.
[21] “Last Days of Edgar Allan Poe,” Scribner's Monthly, XV (March, 1878), 709.
[22] Works, XIII, 51.
[23] Politian, II, 38-48.
[24] Ibid., II, 52-58.
[25] Ibid., II, 66-68.
[26] Works, XIII, 37.
[27] See Mabbott's Politian, “Commentary,” pp. 59-79.
[28] Poe, p. 251.
[29] Works, X, 117.
[30] “Une Tragedie Inedite d’Edgar Poe,” La Revue de France, LIV (Paris, 1925), 5. Introduction by H. R. Woestyn.
[31] Poe, p. 89.
[32] Postal card in Politian Papers (Enoch Pratt Free Library, Baltimore).
[33] Partisan Review, November-December, 1942, p. 460.
[34] Works, XI, 142. (Poe's reference was to Rufus Dawes). [page 264:]
[35] Scene III, 36 ff.
[36] Israfel, II, 445-446.
[37] Politian, pp. 63-64.
[38] “A Dreamer of Things Impossible,” The Academy, LXI (September 28, 1901), 263.
[39] H. W. Wells, The American Way of Poetry, p. 26.
[40] Scene XI, 33-39.
[41] Valentine letters, p. 55.
[42] La Nuova Europa, April 15, 1945.
[43] Contes inedits d’Edgar Poe, pp. 263-264.
[44] See Una Pope-Hennessy, Poe, pp. 232-233.
[45] Studies in Classic American Literature, p. 100.
[46] Quoted by H. R. Woestyn in his introduction to Politienne. See note 30.
[47] The Works of Lord Macaulay, London, 1871, vol. V, pp. 10-11.
[48] See “Critical and Miscellaneous Essays. By T. Babington Macaulay,” Works, X; “About Critics and Criticism “ and “ Peter Snook,” XIV. For a study of Macaulay's influence on Poe, see “Edgar Poe et Macaulay,” by Maurice Le Breton, in Revue Anglo-Americaine, XIII (October, 1935), 38-42.
[49] Promenades Litteraires, Premiere Serie (Paris, 1904), p. 361.
CHAPTER III
[1] Frances Aymar Mathews, Bachelor of Arts, III (August September, 1896), 328-337.
[2] Agnes M. Bondurant, Poe's Richmond, p. 149.
[3] Ibid., p. 131.
[4] See Martin Staples Shockley, “American Plays in the Richmond Theatre, 1819-1838,” Studies in Philology, XXXVII (January, 1940), 100-119.
[5] Howard Paul, Munsey's, August, 1892.
[6] The Mind of Poe, pp. 1-33. See also Campbell's “Poe's Reading,” University of Texas Studies in English, V (1925), 166-196.
[7] Selections from the Critical Writings of Edgar Allan Poe, Introduction, p. xxxi. [page 265:]
[8] Works, XIII, 43. Also note: “Most persons think of [plot] as a simple complexity; and into this error even so fine a critic as Augustus William Schlegel has obviously fallen. ...” — Works, X, 116.
[9] Poe, p. 116.
[10] Burton's Gentleman's Magazine, Vol. V, p. 282 (November, 1839).
[11] Broadway Journal, August 16, 1845; Works, XII, 226 228.
[12] Now in the Koester Collection in Baltimore. The title page reads: “Hamlet, Prince of Denmark: A Tragedy in Five Acts by William Shakespear. As Performed at the Theatre in Boston. Boston: Printed for David West and John West April, 1704.”
[13] In “Metzengerstein,” “The Masque of the Red Death,” and “William Wilson.”
[14] See Mabbott's notes to Politian, p. 63.
[15] “The American Drama,” Works, XIII, 52.
[16] Review of Poems by William W. Lord, Broadway Journal, May 24, 1845; Works, XII, 148.
[17] Spannuth and Mabbott, Doings of Gotham, p. 97.
[18] Works, XVI, 100.
[19] Phillips, II, 1492. Quoted on the authority of Edward M. Alfriend, at one time editor of the Southern Literary Messenger.
[20] Karl J. Arndt, “Poe's Politian and Goethe's Mignon,” Modern Language Notes, XLIX (February, 1934), 101-104. Note, however, the surmise of William Bryan Gates that the indebtedness to Goethe may have come through Byron (“Poe's Politian Again,” MLN, XLVIV, 561).
[21] May, 1836; Works, VIII, 322.
[22] “Fifty Suggestions,” Graham's Magazine, May and June, 1845; Works, XIV, 183.
[23] Works, XVI, 174-175.
[24] T. O. Mabbott, “The First Book Publication of Poe's Raven,’” Bulletin of the New York Public Library, XLVII (1843 [[1943]]), 581-584.
[25] The review appears in Works, XII, 130-135; Dinneford's protest and Poe's reply follow, pp. 135-139. [page 266:]
[26] “Poe and Journalism,” English Journal, XXI (May, 1932), 350
[27] Graham's, February, 1845.
[28] Heartman and Rede, A Census of First Editions and Source Materials by Edgar Allan Poe in American Collections, I, 24.
[29] Broadway Journal, March 29, 1845; Works, XII, 112 121.
[30] Review of Bulwer-Lytton's Night and Morning, Works, X, 117.
[31] Works, XIII, 44-45.
[32] Works, XII, 112-121.
[33] Broadway Journal, April 5, 1845; Works, XII, 124-129.
[34] August, 1845; Works, XIII, 38-54.
[35] “Marginalia,” Works, XVI, 172.
[36] Works, XIII, 54-73.
[37] Ostrom, Letters of Poe, II, 311.
[38] Works, Griswold ed., vol. Ill, p. 203.
[39] Godey's Lady's Book, March, 1846; Works, XIII, 105 125.
[40] “Marginalia,” Works, XVI, 109-110.
[41] New York Evening Mirror, January 9, 1845. Also in the Weekly Mirror, I (January 18, 1845), 229. Reprinted with slight revision in “Marginalia,” The United States Magazine, and Democratic Review, July, 1846 (vol. XIX, pp. 30-31).
[42] “The New Comedy by Mrs. Mowatt,” Broadway Journal, March 29, 1845; Works, XII, 119.
[43] Godeys Lady's Book, August, 1845; Works, XVI, 68.
[44] See N. Bryllion Fagin, “Herman Melville and the Interior Monologue,” American Literature, VI (January, 1935), 433-434
[45] Works, XII, 120.
[46] Review of Fashion, Works, XII, 118-119.
[47] Review of Barnaby Rudge, Works, XI, 39; also see Alterton and Craig, Representative Selections, pp. 533-534, note.
[48] George C. D. Odell, Annals of the New York Stage, vol. V, p. 100.
[49] Works, XII, 211. [page 267:]
[50] Broadway Journal, August 2, 1845; Works, XII, 211.
[51] Works, XIV, pp. 42 and 62.
[52] Article on Robert T. Conrad in Spannuth and Mabbott, Doings of Gotham, p. 97.
[53] Works, XII, 185-186.
[54] Ibid., XII, 211.
[55] Ibid., XII, 212.
[56] Ibid., XII, 187.
[57] Ibid., XII, 129.
[58] William Doyle Hull II, A Canon of the Critical Works of Edgar Allan Poe, with a Study of Poe as Editor and Reviewer. Unpublished dissertation at the University of Virginia, p. 595. See also Broadway Journal, I (April 26, 1845), 271.
[59] Works, XII, 211.
[60] Works, XV, 17.
[61] Works, XII, 190.
[62] Ibid., XII, 212.
[63] Ibid., XII, 212.
[64] Broadway Journal, II (July 19, 1845), 31.
[65] Works, XIV, 179.
[66] Broadway Journal, August 2, 1845; Works, XII, 212.
[67] William Doyle Hull II, op. cit., pp. 489 and 497.
[68] Works, XII, 212.
[69] Burton's Magazine, May, 1840; Works, X, 91-96.
[70] See “Marginalia,” Works, XVI, pp. 29 and 138.
[71] “Marginalia,” Democratic Review, November, 1844; Works, XVI, 8.
[72] “Marginalia,” Southern Literary Messenger, July, 1849; Works, XVI, 171. The De Meyer referred to was Leopold de Meyer, who at his American debut in 1845 was billed as “Imperial and Royal Pianist to the Emperors of Austria and Russia.” See Odell, Annals of the New York Stage, V, 168.
[73] See opening paragraph of “The Island of the Fay.”
[74] “Marginalia,” Works (Griswold ed.), V, 594.
[75] “Marginalia,” Graham's Magazine, January, 1848; Works, XVI, 126-127.
[76] Arnold Mulder, “American Criticism for American [page 268:] Readers,” Essay Annual 1937 (Erich Walter, ed.), p. 124.
[77] Works, I, 190.
[78] George E. De Mille, Literary Criticism in America, p. 105.
[79] “The American Drama,” American Whig Review, August, 1845; Works, XIII, 37.
[80] Works, XVI, 172.
[81] “Prospects of the Drama,” Broadway Journal, April 5, 1845; Works, XII, 127.
[82] Works, XII, 185.
[83] Ibid., XII, 188.
[84] Works, XVI, 81.
CHAPTER IV
[1] George Moore, An Anthology of Pure Poetry, p. 34.
[2] James Hannay, ed., The Poetical Works of Edgar Allan Poe, p. xxxiv.
[3] A. E. Housman, The Name and Meaning of Poetry, New York, 1933, pp. 8 and 36.
[4] For a convincing refutation of this claim see Killis Campbell's edition of the Poems, p. 171.
[5] Especially Lemonnier's Edgar Poe et les Poetes Frangais, 1932, and “L’influence d’Edgar Poe sur les conteurs Frangais symbolistes et decadents,” Revue de litterature comparee, XIII (1933), 102-133; Camille Mauclair, Le Genie d’Edgar Poe; la legende et la verite la methode la pensee l’influence en France, 1925.
[6] John C. French, ed., Poe In Foreign Lands and Tongues, Baltimore, 1941. Contains: “Poe in France,” by Dr. Jeanne Roselet; “Poe in Russia,” by Dr. Lubov Keefer; “Poe in Germany,” by Dr. Herbert Schaumann; “Poe in Spain and Spanish America,” by Dr. Pedro Salinas. An earlier symposium, held in 1909 at the University of Virginia, and recorded in The Book of the Poe Centenary (Charlottesville, 1909), contains two excellent papers on the same subject: Dr. Alcee Fortier's summary (in French) of Poe's influence on French literature and Dr. Georg Edward's resume of Poe's influence in Germany. [page 269:] Two other studies on the same subject are P. Wachter's Edgar Allan Poe und die deutsche Romantik (Leipzig, 1911) and J. E. Englekirk's Edgar Allan Poe in Hispanic Literature (New York, 1934).
[7] John C. French, op. cit., pp. 8 and 18.
[8] Robert Magidoff, “American Literature in Russia,” Saturday Review of Literature, November 2, 1946, p. 10.
[9] French, op. cit., p. 30.
[10] Expression in America, pp. 156 and 167.
[11] “The Laggard Art of Criticism,” College English, VI (February, 1945), 245. For another discussion of Poe's notation of “super-rational sensation,” see Edmund Wilson, Axel's Castle, pp. 13-19.
[12] “A Note on Poe's Method,” Studies in Philology, XX (July, 1923), pp. 309, 304, 305.
[13] “Edgar Poe's Significance,” Critic, II (June 3, 1882), 147
[14] Op. cit., p. 306.
[15] “Edgar Allan Poe,” in Classic Americans, pp. 277 and 274.
[16] Works, XIV, 194-195.
[17] Both quotations are from Man and Mask by Feodor Chaliapin, Garden City, N. Y., 1932, p. 114.
[18] “The Philosophy of Composition,” Works, XIV, 195.
[19] “Marginalia,” Works, XVI, 67.
[20] Works, XIV, 204.
[21] Susan Archer Talley Weiss, “Last Days of Edgar A. Poe,” Scribner's, XV (March, 1878), 715.
[22] H. W. Wells, The American Way of Poetry, p. 23.
[23] American Prose Masters, p. 179.
[24] The Works of Edgar Allan Poe, with an Introduction and a Memoir by Richard Henry Stoddard, I, 172.
[25] Works, I, 287.
[26] Wightman F. Melton, “Poe's Mechanical Poem,” Texas Review, III (1917-1918), 135-137.
[27] For a summary of all these possible sources see Campbell, Poems, pp. 280-281.
[28] Preface, 1845; Works, VII, xlvii.
[29] “The Rationale of Verse”; Works, XIV, 220. [page 270:]
[30] Ostrom, The Letters of Poe, I, 78.
[31] “The Poetic Principle”; Works, XIV, 275.
[32] Music and Edgar Allan Poe: A Bibliographical Study, p. 82.
[33] Music Lovers Encyclopedia, Compiled by Rupert Hughes. Completely Revised and Newly Edited by Deems Taylor and Russell Kerr. New York, 1939, p. 515.
[34] “Last Days of Edgar A. Poe,” Scribner's, p. 713.
[35] See The Oxford Anthology of American Literature, New York, 1938, p. 1647.
[36] “Pen Portraits and Reviews,” in The Collected Works (Ayot St. Lawrence Edition), XXIX, 235.
[37] John Phelps Fruit, The Mind and Art of Poes Poetry, pp. 100-101.
[38] The text of both versions is that given by Campbell in Poems, pp. 68-69.
[39] Arthur Du Bois, “The Jazz Bells of Poe,” College English, II (December, 1940), 244.
[40] Works, XII, 21.
[41] Essay on Rime, New York, 1945, p. 65.
[42] Professor Kent was the first to observe this correspondence. See The Complete Poetical Works with Introduction by Charles W. Kent, p. 204.
[43] “Marginalia,” Works, XVI, 137.
[44] Ibid., p. 28.
[45] Ibid., pp. 138-140.
[46] See Campbell, Poems, p. 105.
[47] Wilson O. Clough, “The Use of Color Words by Edgar Allen [sic!] Poe,” PMLA, XLV, 598-599.
[48] For a discussion of the identity of Annabel Lee see Bradford A. Booth, College English, VII (October, 1945), 17 19. See also Mabbott's suggestion that “Annabel Lee” contains traces of both women (Merlin, by Lambert A. Wilmer. Edited by Thomas Ollive Mabbott, New York, 1941, p. v).
[49] Works, I, 222.
[50] Ibid., p. 12.
[51] Alterton and Craig, Poe, p. 507.
[52] See Oral S. Coad, “The Meaning of Eldorado,” Modern Language Notes, LIX (January, 1944), 59-61. [page 271:]
[53] Godey's Magazine and Lady's Book, XXX (December, 1845), 263.
[54] G. W. Peck, “Mere Music,” The Literary World, L (March 9, 1850), 225-226.
[55] Poe, p. 99.
[56] “Poe's Ulalume,’” Side-Lights on American Literature, pp. 327-342.
[57] See Quinn, Poe, p. 532.
[58] Emile Lauvriere, The Strange Life and the Strange Loves of Edgar Allan Poe, p. 302.
[59] Muse Anthology, p. 56.
[60] “Poe's Verse,” Interpretations of Literature, II, 151.
[61] Op. cit., p. xxxiii.
[62] See Robert Magidoff, op. cit.
[63] Preface to Tales of the Grotesque and the Arabesque (1840).
[64] Studies in Classic American Literature, p. 113.
[65] See Kent, The Book of the Centenary, p. 197.
[66] In the American Grain, p. 221.
[67] Vol. XI (1931), p. 56.
[68] American Literature, VIII, 394-395.
[69] Op. cit., p. 237.
[70] “To Edgar Allan Poe, Esq.,” in Ladies and Gentlemen, p. 258.
[71] The Shock of Recognition, pp. 82 and 83.
CHAPTER V
[1] Poe's Short Stories, p. ix.
[2] Arthur H. Quinn and Edward H. O’Neill, eds., The Complete Poems and Stories of Edgar Allan Poe, with Selections from His Critical Writings, New York, 1946, 2 vols.
[3] The Development of the American Short Story, p. 138.
[4] Forces in American Criticism, pp. 201-202.
[5] American Prose Masters, p. 222.
[6] Works, XVI, 28.
[7] Works, XI, 102-104.
[8] Ibid., 108. [page 272:]
[9] Book of the Poe Centenary, p. 164.
[10] Works, XI, 107.
[11] Works, XIV, 188.
[12] Works, XVI, 152.
[13] Works, XIV, 188-189.
[14] Ibid.
[15] Works, XVI, 171.
[16] Ibid., 170.
[17] The Life and Poems of Edgar Allan Poe, p. 124.
[18] Works, XIV, 188.
[19] Introduction to Little Masterpieces: Edgar Allan Poe, New York, 1905, p. viii.
[20] Works, XVI, 18.
[21] Edward J. O’Brien, The Advance of the American Short Story, p. 75.
[22] The Philosophy of the Short Story, p. 45.
[23] Murder for Pleasure, p. 16.
[24] W. T. Bandy, “A Source of Poe's ‘The Premature Burial,’” American Literature, XIX (May, 1947), 167-168. Also see Joseph S. Schick, “The Origin of ‘The Cask of Amontillado,’” American Literature, VI (March, 1934), 18-21.
[25] See Cornelia Varner, “Notes on Poe's Use of Contemporary Materials in Certain of His Stories,” The Journal of English and Germanic Philology, XXXII (January, 1933), 77-80.
[26] Modern Philology, XXV (August, 1927), 105.
[27] The Philosophy of Literary Form, Baton Rouge, Louisiana, 1941, p. 161.
[28] Quinn, Poe, p. 596.
[29] Edward Shanks, Poe, p. 27.
[30] The Stage Is Set, New York, 1932.
[31] Scenery: A Manual of Scene Design, Stanford University and London, 1931, p- 81.
[32] The Poetical Works of Poe, p. xxxiii.
[33] “Edgar Allan Poe and Architecture,” Sewanee Review, XL (January-March, 1932), 148-160.
[34] Works, X, 112-113.
[35] Classic Americans, p. 273.
[36] Whitty, Complete Poems ..., p. xxvi. [page 273:]
[37] Louis Hartmann, Theatre Lighting, New York and London, 1930. See chapter entitled, “A Ghost Comes In.”
[38] Wilson O. Clough, “The Use of Color Words by Edgar Allen [sic!] Poe,” PMLA, XLV (June, 1930), 598-613.
[39] Ibid., p. 605.
[40] Works, XI, 121.
[41] Works (Stedman and Woodberry ed.), VII, 303.
[42] Review of Zanoni, Works, XI, 122.
[43] Introduction to the Tales; Works (Stedman and Woodberry ), 1, 113.
[44] See Edward Hungerford, “Poe and Phrenology,” American Literature, II (September, 1930), 209-231.
[45] Introduction to Little Masterpieces: Poe, New York, 1905, p. vi.
[46] “The Interpretation of Ligeia,’” College English, V (April, 1944), 365.
[47] Letter dated August 9, 1846, Works, XVII, 265.
[48] Studies and Appreciations, New York, 1900, pp. 117 118.
[49] Poems of Poe (Stedman and Woodberry), p. xvi.
[50] The Critical Game, p. 198.
[51] Works, XVI, 31.
[52] Lee Simonson, op. cit., p. 317.
[53] The Advance of the American Short Story, p. 85.
[54] Works, XVI, 40.
[55] The Dial Press, 1946.
[56] Op. cit., p. 116.
[57] Works, XIV, 272.
[58] “The Women of Poe's Poems and Tales,” University of Texas Studies in English, V (1925), pp. 208-209.
[59] Charles Allen Smart, “On the Road to Page One,” Yale Review, XXXVII (Winter, 1948), 243.
[60] Expression in America, p. 163.
[61] The American Journal of Psychology, XXXI (October, 1920), 370-402.
[62] “The Stricken Eagle,” in Muse Anthology of Modern Poetry, p. 93.
[63] Ibid., p. 89.
[64] See G. Gruener, “Notes on the Influence of Hoffman upon Poe,” PMLA, XIX (1904), 1-25. 19 [page 274:]
[65] Vladimir Astrov, “Dostoievsky on Edgar Allan Poe,” American Literature, XIV (March, 1942), 73.
[66] Introduction to Tales, Works (Stedman and Wood berry), I, 94.
[67] The Shapers of American Fiction, pp. 54-55.
[68] See his review of The Works of Edgar Allan Poe (John H. Ingram, ed.), in Works of Stevenson (South Seas ed.), New York, 1925, V, 325.
[69] On the Prose of Edgar Poe, Publication of the Irkutsk State Pedagogical Institute, 1937. (In Russian)
[70] The World of Washington Irving, p. 359.
[71] Walter Blair, “Poe's Conception of Incident and Tone in the Tale,” Modern Philology, XLI (May, 1944), 239.
CHAPTER VI
[1] Carrol D. Laverty, “Poe in 1847,” American Literature, XX (May, 1948), 166.
[2] Ibid., pp. 164-168.
[3] Dragonwyck, Philadelphia, 1946, p. 195.
[4] The Saturday Review of Literature, August n, 1945, p. 15.
[5] See the Facsimile Edition with an introduction by Thomas Ollive Mabbott, New York, 1941.
[6] Ibid., p. vi.
[7] See Poe's Brother edited by Hervey Allen and Thomas Ollive Mabbott, p. 32. Also see Ostrom, Letters, I, 44.
[8] Poe's Brother, pp. 53-54.
[9] Southern Literary Messenger, February, 1836; Works, VIII, 234-237.
[10] Frank H. Hosford, “A Booth Plays Poe,” Detroit Free Press, November 24, 1895.
[11] Review in the Baltimore Sun, October 12, 1895.
[12] See Odell, Annals of the New York Stage, XIV, 733.
[13] The Baltimore American, October 13, 1895.
[14] In Semiramis and Other Plays, New York, 1909.
[15] See article by Havilah Babcock in The State, Columbia, S. C., March 12, 1933. [page 275:]
[16] November 15, 1936.
[17] Ford's Theatre program for the week of November 2, 1936.
[18] Phillips, I, 778.
[19] Ibid., I, 841.
[20] See Samuel Montefiore Waxman, Antoine and the Theatre-Libre, Cambridge, Mass., 1926, p. 223.
[21] See May Garretson Evans, Music and Edgar Allan Poe, pp. 39 and 70.
[22] Copy in the New York Public Library.
[23] For examples, see The Bread Loaf Book of Plays (Hortense Moore, ed.), Middleberry, Vt., 1941, and One Hundred Non-Royalty Plays (William Kozlenko, ed.), New York, 1940.
[24] “The Tell-Tale Heart” by Peter West, Boston, 1938; “The Tell-Tale Heart” by Pauline Phelps, Sioux City, Iowa, 1939
[25] The Hugh Lester Offices, Hollywood, California.
[26] Malcolm Cowley, “Aidgarpo,” New Republic, November 5, 1945.
[27] See his review of a poem by Mrs. Welby, Works, XIII, 131.
[28] See Arthur Ransome, Poe, p. 232.
[29] The Critic, II, 147.
[30] Walter Fuller Taylor, “Israfel in Motley,” Sewanee Review, XLII (July-September, 1934), pp. 335, 339, 340.
[31] American Prose Masters, pp. 222-223.
[32] Philip Alexander Bruce, “Background of Poe's University Life,” South Atlantic Quarterly, X, 225.
[33] The Letters of Edgar Allan Poe, edited by John Ward Ostrom, Cambridge, Mass., 1948, 2 vols.
[34] Ibid., I, 22, and n. 23.
[35] Madeleine B. Stern, “The House of the Expanding Doors,” New York History, XXIII (January, 1942), 49.
∞∞∞∞∞∞∞
Notes:
None.
∞∞∞∞∞∞∞
[S:0 - NBF49, 1949] - Edgar Allan Poe Society of Baltimore - Bookshelf - The Histrionic Mr. Poe (Fagin)