Text: Edgar Allan Poe, The Signora Zenobia” (Study Text), Phantasy Pieces, 1842, 1:213-227


Texts Represented:

  • 1840-01 - Tales of the Grotesque and Arabesque (1840)
  • 1842-02 - Phantasy Pieces (1842)


[page 213:]




How to write a Blackwood Article

“In the name of the Prophet — figs!!”

Cry of the Turkish fig-pedler.


I PRESUME every body has heard of me. My name is the Signora Psyche Zenobia. This I know to be a fact. Nobody but my enemies ever calls me Suky Snobbs. I have been assured that Suky is but a vulgar corruption of Psyche, which is good Greek, and means “the soul” {{1840-01:}} (that's me, I’m all soul) {{1840-01:}} and sometimes “a butterfly,” which latter meaning alludes to my appearance in my new crimson satin dress, with the sky-blue Arabian mantelet, and the trimmings of green agraffas, and the seven flounces of orange-colored auriculas. As for Snobbs — any person who should look at me would be instantly aware that my name was'nt Snobbs. Miss Tabitha Turnip propagated that report through sheer envy. Tabitha Turnip indeed! Oh the little wretch! But what can we expect from a turnip? Wonder if she remembers the old adage about “blood out of a turnip, &c.” [Mem: put her in mind of it the first opportunity.] [Mem again — pull her nose.] Where was I? Ah! I have been assured that Snobbs is a mere corruption of Zenobia, and that Zenobia was a queen (So am I. Dr. Moneypenny, always calls me [page 214:] the Queen of Hearts) and that Zenobia, as well as Psyche, is good Greek, and that my father was “a Greek,” and that consequently I have a right to our original patronymic, which is Zenobia, and not by any means Snobbs. Nobody but Tabitha Turnip calls me Suky Snobbs. I am the Signora Psyche Zenobia.

As I said before, every body has heard of me. I am that very Signora Psyche Zenobia, so justly celebrated as corresponding secretary to the “Philadelphia, Regular-Exchange, Tea-Total, Young, Belles-Lettres, Universal, Experimental, Bibliographical[[,]] Association[[,]] To[[,]] Civilize[[,]] Humanity.” Dr. Moneypenny made the title for us, and says he chose it because it sounded big like an empty rum-puncheon. (A vulgar man that sometimes — but he's deep.) We all sign the initials of the society after our names, in the fashion of the R.S.A., Royal Society of Arts — the S.D.U.K., Society for the Diffusion of Useful Knowledge, &c., &c. Dr. Moneypenny says that S stands for stale, and that D. U. K. spells duck, (but it don’t,) and that S.D.U.K. stands for Stale Duck, and not for Lord Brougham's society — but then Dr. Moneypenny is such a queer man that I am never sure when he is telling me the truth. At any rate we always add to our names the initials P.R.E.T.T.Y[[.]]B.L.U.E.B.A.T.C.H. — that is to say, Philadelphia[[,]] {{1840-01: Regular-Exchange //1842-02: Regular, Exchange }} , {{1840-01: Tea-Total //1842-02: Tea, Total }} , Young, {{1840-01: Belles-Lettres //1842-02: Belles, Lettres }} , Universal, Experimental, Bibliographical, Association, To, Civilize, Humanity — one letter for each word, which is a decided improvement upon Lord [page 215:] Brougham. Dr. Moneypenny will have it that our initials give our true character — but for my life I can’t see what he means.

Notwithstanding the good offices of {{1840-01: Dr. Moneypenny //1842-02: the Doctor }} , and the strenuous exertions of the association to get itself into notice, it met with no very great success until I joined it. The truth is, members indulged in too flippant a tone of discussion. The papers read every Saturday evening were characterized less by depth than buffoonery. They were all whipped syllabub. There was no investigation of first causes, first principles. There was no investigation of anything at all. There was no attention paid to that great point the “fitness of things.” In short, there was no fine writing like this. It was all low — very! No profundity, no reading, no metaphysics — nothing which the learned call spirituality, and which the unlearned choose to stigmatise as cant. [Dr. M. says I ought to spell “cant” with a capital K — but I know better.]

When I joined the society it was my endeavor to introduce a better style of thinking and writing, and all the world knows how well I have succeeded. We get up as good papers now in the P.R.E.T.T.Y.B.L.U.E.B.A.T.C.H. as any to be found even in Blackwood. I say, Blackwood, because I have been assured that the finest writing upon every subject, is to be discovered in the pages of that justly celebrated Magazine. We now take it for our model upon all themes, and are getting into rapid notice accordingly. And, after all, it's not so very difficult a matter to {{1840-01: composean //1842-02: compose an }} [page 216:] article of the genuine Blackwood stamp, if one only goes properly about it. Of course I don’t speak of the political articles. Every body knows how they are managed, since Dr. Moneypenny explained it. Mr. Blackwood has a pair of tailor's shears, and three apprentices who stand by him for orders. One hands him the “Times,” another the “Examiner,” and a third a “Gulley's New Compendium of Slang-Whang.” Mr. B. merely cuts out and intersperses. It is soon done — nothing but Examiner, Slang-Whang, and Times — then Times, Slang-Whang, and Examiner — and then Times, Examiner, and Slang-Whang.

But the chief merit of the Magazine lies in its miscellaneous articles; and the best of these come under the head of what Dr. Moneypenny calls the bizarreries (whatever that may mean) and what every body else calls the intensities. This is a species of writing which I have long known how to appreciate, although it is only since my late visit to Mr. Blackwood (deputed by the society) that I have been made aware of the exact method of composition. This method is very simple, but not so much so as the politics. Upon my calling at Mr. B.'s, and making known to him the wishes of the society, he received me with great civility, took me into his study, and gave me a clear explanation of the whole process.

“My dear madam,” said he, evidently struck with my majestic appearance, for I had on the crimson satin, with the green agraffas, and orange-colored auriculas — “My dear madam,” said he, “sit [page 217:] down. The matter stands thus. In the first place, your writer of intensities must have very black ink, and a very big pen, with a very blunt nib. And, mark me, Miss Psyche Zenobia!” he continued, after a pause, with the most impressive energy and solemnity of manner, “mark me! — that pen — must — never be mended! Herein, madam, lies the secret, the soul, of intensity. I assume it upon myself to say, that no individual, of however great genius, ever wrote with a good pen {{1840-01: , //1842-02:}} understand me {{1840-01: , //1842-02:}} a good article. You may take it for granted, madam, that when a manuscript can be read it is never worth reading. This is a leading principle in our faith, to which if you cannot readily assent, our conference is at an end.”

He paused. But, of course, as I had no wish to put an end to the conference, I assented to a proposition so very obvious, and one, too, of whose truth I had all along been sufficiently aware. He seemed pleased, and went on with his instructions.

“It may appear invidious in me, Miss Psyche Zenobia, to refer you to any article, or set of articles, in the way of model or study; yet perhaps I may as well call your attention to a few cases. Let me see. There was ‘The Dead Alive,’ a capital thing! — the record of a gentleman's sensations when entombed before the breath was out of his body — full of tact, taste, terror, sentiment, metaphysics, and erudition. You would have sworn that the writer had been born and brought up in a coffin. Then we had the ‘Confessions of an Opium-eater’ — fine, very fine! — glorious imagination — deep philosophy — acute [page 218:] speculation — plenty of fire and fury, and a good spicing of the decidedly unintelligible. That was a nice bit of flummery, and went down the throats of the people delightfully. They would have it that Coleridge wrote the paper — but not so. It was composed by my pet baboon, Juniper, over a rummer of Hollands and water, hot, without sugar. [This I could scarcely have believed had it been any body but Mr. Blackwood, who assured me of it.] Then there was ‘The Involuntary Experimentalist,’ all about a gentleman who got baked in an oven, and came out alive and well, although certainly done to a turn. And then there was ‘The Diary of a Late Physician,’ where the merit lay in good rant, and indifferent Greek — both of them taking things, with the public. And then there was ‘The Man in the Bell,’ a paper by-the-bye, Miss Zenobia, which I cannot sufficiently recommend to your attention. It is the history of a young person who goes to sleep under the clapper of a church bell, and is awakened by its tolling for a funeral. The sound drives him mad, and, accordingly, pulling out his tablets, he gives a record of his sensations. Sensations are the great things after all. Should you ever be drowned or hung, be sure and make a note of your sensations — they will be worth to you ten guineas a sheet. If you wish to write forcibly, Miss Zenobia, pay minute attention to the sensations.”

“That I certainly will, Mr. Blackwood,” said I.

“Good!” he replied. “I see you are a pupil after my own heart. But I must put you au fait to the [page 219:] details necessary in composing what may be denominated a genuine Blackwood article of the sensation stamp — the kind which you will understand me to say I consider the best for all purposes.

“The first thing requisite is to get yourself into such a scrape as no one ever got into before. The oven, for instance — that was a good hit. But if you have no oven, or big bell, at hand, and if you cannot conveniently tumble out of a balloon, or be swallowed up in an earthquake, or get stuck fast in a chimney, you will have to be contented with simply imagining some similar misadventure. I should prefer, however, that you have the actual fact to bear you out. Nothing so well assists the fancy, as an experimental knowledge of the matter in hand. ‘Truth is strange,’ you know, ‘stranger than fiction’ — besides being more to the purpose.”

Here I assured him I had an excellent pair of garters, and would go and hang myself forthwith.

“Good!” he replied, “do so — although hanging is somewhat hacknied. Perhaps you might do better. Take a dose of {{1840-01: Morrison's //1842-02: Brandreth's }} pills, and then give us your sensations. However, my instructions will apply equally well to any variety of misadventure, and in your way home you may easily get knocked in the head, or run over by an omnibus, or bitten by a mad dog, or drowned in a gutter. But, to proceed.

“Having determined upon your subject, you must next consider the tone, or manner, of your narration. There is the tone didactic, the tone enthusiastic, the tone sentimental, and the tone natural — all common-place [page 220:] enough. But then there is the tone laconic, or curt, which has lately come much into use. It consists in short sentences. Somehow thus {{1840-01:: //1842-02: . }} Can’t be too brief. Can’t be too snappish. Always a full stop. And never a paragraph.

“Then there is the tone elevated, diffusive, and interjectional. Some of our best novelists patronize this tone. The words must be all in a whirl, like a humming-top, and make a noise very similar, which answers remarkably well instead of meaning. This is the best of all possible styles where the writer is in too great a hurry to think.

“The tone mystic is also a good one — but requires some skill in the handling. The beauty of this lies in a knowledge of innuendo. Hint all, and assert nothing. If you desire to say ‘bread and butter,’ do not by any means say it outright. You may say anything and everything approaching to ‘bread and butter.’ You may hint at ‘buckwheat cake,’ or you may even go as far as to insinuate ‘oatmeal porridge,’ but, if ‘bread and butter’ is your real meaning, be cautious, my dear Miss Psyche, not on any account to say ‘bread and butter.’

I assured him that I would never say it again as long as I lived. He continued:

“There are various other tones of equal celebrity, but I shall only mention two more, the tone metaphysical, and the tone heterogeneous. In the former, the merit consists in seeing into the nature of affairs a very great deal farther than any body else. This second sight is very efficient when properly managed. [page 221:] A little reading of Coleridge's Table-Talk will carry you a great way. If you know any big words this is your chance for them. {{1840-01: Talk of the Academy and the Lyceum, and say something about the Ionic and Italic schools, or about Bossarion, and Kant, and Schelling, and Fitche, and be sure you abuse a man called Locke, and bring in the words a priori and a posteriori. //1842-02: [[on a small clipped piece of paper, attached to this page]] To Printer — Substitute this for what is marked out in pencil. No. ¶ [[new paragraph, but indented to approximately match the beginning of the text in the existing paragraph]] Talk of the Ionic and Eleatic Schools — of Archytas, Gorgias and Alemæon. Say something about objedcts and subjects. Be sure and abuse a man called Locke. Turn up your nose at things in general; and when you let slip anything very unconsionably absurd, you need not be at the trouble of scratching it out, but just put in a foot-note and say you are indebted for the above profound observation to the ‘Kritik der reinen Vermunft’ or to the ‘Metaphysische Anfangsgrunde der Naturwissenschaft’. This will look erudite and at the same time frank. [[followed by a pencilled notation of]] [22 | suppl] }} As for the tone heterogeneous, it is merely a judicious mixture, in equal proportions, of all the other tones in the world, and is consequently made up of everything deep, great, odd, piquant, pertinent, and pretty.

“Let us suppose now you have determined upon your incidents and tone. The most important portion, in fact the soul of the whole business, is yet to be attended to {{1842-02:; }} — I allude to the filling up. It is not to be supposed that a lady or gentleman either has been leading the life of a bookworm. And yet above all things is it necessary that your article have an air of erudition, or at least afford evidence of extensive general reading. Now I’ll put you in the way of accomplishing this point. See here! (pulling down some three or four ordinary looking volumes, and opening them at random.) By casting your eye down almost any page of any book in the world, you will be able to perceive at once a host of little scraps of either learning or bel-esprit-ism which are the very thing for the spicing of a Blackwood article. You might as well note down a few while I read them to you. I shall make two divisions: first, Piquant Facts for the Manufacture of Similes; and [page 222:] second, Piquant Expressions to be introduced as occasion may require. Write now! — ” and I wrote as he dictated.

“PIQUANT FACTS FOR SIMILES. ‘There were originally but three muses — Melete, Mneme, and Aœde — meditation, memory, and singing.’ You may make a great deal of that little fact if properly worked. You see it is not generally known, and looks recherché. You must be careful and give the thing with a downright improviso air.

“Again. ‘The river Alpheus passed beneath the sea, and emerged without injury to the purity of its waters.’ Rather stale that, to be sure, but, if properly dressed and dished up, will look quite as fresh as ever.

“Here is something better. ‘The Persian Iris appears to some persons to possess a sweet and very powerful perfume, while to others it is perfectly scentless.’ Fine that, and very delicate! Turn it about a little, and it will do wonders. We’ll have something else in the botanical line. There's nothing goes down so well, especially with the help of a little Latin. Write!

“ ‘The Epidendrum Flos Aeris, of Java, bears a very beautiful flower, and will live when pulled up by the roots. The natives suspend it by a cord from the ceiling, and enjoy its fragrance for years.’ That's capital! That will do for the similes. Now for the {{1840-01: Piquant //1842-02: piquant }} expressions.

[[“]]PIQUANT EXPRESSIONS. ‘The venerable Chinese novel Ju-Kiao-Li.’ Good! By introducing these few [page 223:] words with dexterity you will evince your intimate acquaintance with the language and literature of the Chinese. With the aid of this you may possibly get along without either Arabic, or Sanscrit, or Chickasaw. There is no passing muster, however, without French, Spanish, Italian, German, Latin, and Greek. I must look you out a little specimen of each. Any scrap will answer, because you must depend upon your own ingenuity to make it fit into your article. Now write!

“ ‘Aussi tendre que Zaire’ — as tender as Zaire — French. Alludes to the frequent repetition of the phrase, la tendre Zaire, in the French tragedy of that name. Properly introduced, will show not only your knowledge of the language, but your general reading and wit. You can say, for instance, that the chicken you were eating (write an article about being choked to death by a chicken-bone) was not altogether aussi tendre que Zaire. Write!

Van [[Ven]] muerte tan escondida,

Que no te sienta venir,

Porque el plazer del morir

No me torne a dar la vida.

That's Spanish — from Miguel de Cervantes. ‘Come quickly O death! but be sure and don’t let me see you coming, lest the pleasure I shall feel at your appearance should unfortunately bring me back again to life.’ This you may slip in quite à propos when [page 224:] you are struggling in the last agonies with the chicken-bone. Write!

‘I’l pover ‘huomo che non s’en era accorto,

Andava combattendo, e era morto.’

That's Italian, you perceive — from Ariosto. It means that a great hero, in the heat of combat, not perceiving that he had been fairly killed, continued to fight valiantly, dead as he was. The application of this to your own case is obvious — for I trust, Miss Psyche, that you will not neglect to kick for at least an hour and a half after you have been choked to death by that chicken-bone. Please to write!

Und sterb’ich doch, so sterb’ich denn

Durch sie — durch sie!

That's German — from Schiller. ‘And if I die, at least I die — for thee — for thee!’ Here it is clear that you are apostrophising the cause of your disaster, the chicken. Indeed what gentleman (or lady either) of sense, would'nt die, I should like to know, for a well fattened capon of the right Molucca breed, stuffed with capers and mushrooms, and served up in a salad-bowl, with orange-jellies en {{1840-01: mosaiques //1842-02: mosäiques }} . Write! (You can get them that way at Tortoni's,) write, if you please!

“Here is a nice little Latin phrase, and rare too, (one can’t be too recherché or brief in one's Latin, [page 225:] it's getting so common.) Ignoratio elenchi. He has committed an ignoratio elenchi — that is to say, he has understood the words of your proposition, but not the ideas. The man was a fool, you see. Some poor fellow whom you addressed while choking with that chicken-bone, and who therefore did'nt precisely understand what you were talking about. Throw the ignoratio elenchi in his teeth, and, at once, you have him annihilated. If he dares to reply, you can tell him from Lucan (here it is) that his speeches are mere {{1840-01: anemonœ //1842-02: anemonae }} verborum, anemone words. The anemone, with great brillancy [[brilliancy]], has no smell. Or, if he begins to bluster, you may be down upon him with insomnia Jovis, reveries of Jupiter — a phrase which Silius Italicus (see here!) applies to thoughts pompous and inflated. This will be sure and cut him to the heart. He can do nothing but roll over and die. Will you be kind enough to write.

“In Greek we must have something pretty from {{1842-02:}} Demosthenes {{1840-01://1842-02: , }} for example. {{1840-01: Ανερ [[Ανηρ]] //1842-02: Ανηρ }} ο φεογων [[φευγων]] χαι παλιν {{1840-01: μαχεσεται [[μαχησεται]] //1842-02: μαχησεται }} . [Aner o pheogon kai palin makesetai.] There is a tolerably good translation of it in Hudibras —

For he that flies may fight again,

Which he can never do that's slain.

In a Blackwood article nothing makes so fine a show as your Greek. The very letters have an air of profundity about them. Only observe, madam, the acute look of that Epsilon! That Phi ought certainly [page 226:] to be a bishop! Was ever there a smarter fellow than that Omicron? Just twig that Tau! In short, there's nothing like Greek for a genuine sensation-paper. In the present case your application is the most obvious thing in the world. Rap out the sentence, with a huge oath, and by way of ultimatum, at the good-for-nothing dunder-headed villain who couldn’t understand your plain English in relation to the chicken-bone. He’ll take the hint and be off, you may depend upon it.”

These were all the instructions Mr. B. could afford me upon the topic in question, but I felt they would be entirely sufficient. I was, at length, able to write a genuine Blackwood article, and determined to do it forthwith. In taking leave of me, Mr. B. made a proposition for the purchase of the paper when written; but, as he could only offer me fifty guineas a sheet, I thought it better to let our society have it, than sacrifice it for so {{1840-01: trivial //1842-02: paltry }} a sum. Notwithstanding this niggardly spirit, however, the gentleman showed his consideration for me in all other respects, and indeed treated me with the greatest civility. His parting words made a deep impression upon my heart, and I hope I shall always remember them with gratitude.

“My dear Miss Zenobia,” he said, while tears stood in his eyes, “is there any thing else I can do to promote the success of your laudable undertaking? Let me reflect! It is just possible that you may not be able, as soon as convenient, to — to — get yourself drowned, or — choked with a chicken-bone, or [page 227:] — or hung, — or — bitten by a — but stay! Now I think me of it, there are a couple of very excellent bull-dogs in the yard — fine fellows, I assure you — savage, and all that — indeed just the thing for your money — they’ll have you eaten up, auriculas and all, in less than five minutes (here's my watch!) — and then only think of the sensations! Here! I say — Tom! — Peter! — Dick, you villain! — let out those” — but as I was really in a great hurry, and had not another moment to spare, I was reluctantly forced to expedite my departure, and accordingly took {{1840-01: my }} leave at once — somewhat more abruptly, I admit, than strict courtesy would have, otherwise, allowed.

It was my primary object, upon quitting Mr. Blackwood, to get into some immediate difficulty, pursuant to his advice, and with this view I spent a greater part of the day in wandering about Edinburgh, seeking for desperate adventures — adventures adequate to the intensity of my feelings, and adapted to the vast character of the article I intended to write. In this excursion I was attended by my negro-servant Pompey, and my little lap-dog Diana, whom I had brought with me from Philadelphia. It was not, however, until late in the afternoon that I fully succeeded in my arduous undertaking. An important event then happened, of which the following Blackwood article, in the tone heterogeneous, is the substance and result.




For an explanation of the formatting used in this study text, see editorial policies and methods.

Because Poe's changes here are made in a printed copy of Tales of the Grotesque and Arabesque, the pagination of that edition has been retained in the present text.

Poe also changes the running page heading from “THE SIGNORA ZENOBIA” to “A Blackwood Article” on each even-numbered page.



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