Concordance to the Poetry of Edgar Allan Poe, (1989), title page and table of contents


∞∞∞∞∞∞∞



Title page:

Concordance to the
Poetry
of Edgar Allan Poe

Elizabeth Wiley

Selingsgrove: Susquehanna University Press
London and Toronto: Associated University Presses

[[1989]]



∞∞∞∞∞∞∞


Table of Contents

Contents

                             PAGE
Acknowledgments    6
Introduction    7
Concordance to the Poetry of Edgar Allan Poe    11
[Concordance — numbers, and ABANDON’D through ALIVE]    13
[Concordance — ALL through ANGELS]    23
[Concordance — ANGER through AS]    34
[Concordance — ASCEND through BEAMS]    44
[Concordance — BEAR through BIER]    55
[Concordance — BIG through BROIDER’D]    67
[Concordance — BROKE through CANNOT]    80
[Concordance — CANOPIES through COLUMNS]    91
[Concordance — COMBINE through CYPRESS]    104
[Concordance — DACTYLIC through DESERTS]    118
[Concordance — DESIGN through DOMES]    130
[Concordance — DOMINION through DUST]    143
[Concordance — DUTIES through ETERNALLY]    154
[Concordance — ETERNITY through FAITHFUL]    169
[Concordance — FALL through FIRE-FLY]    180
[Concordance — FIRES through FOOTSTEPS]    192
[Concordance — FOR through FROG-POND]    201
[Concordance — FROM through GHOUL-HAUNTED]    212
[Concordance — GHOULS through GREECE]    223
[Concordance — GREEK through HATRED]    235
[Concordance — HATH through HEIRDOM]    245
[Concordance — HEIRS through HOUSE]    256
[Concordance — HOVER through INTIMATE]    267
[Concordance — INTO through KNOWS]    280
[Concordance — LA through LEST]    291
[Concordance — LET through LIQUESCENT]    302
[Concordance — LIQUID through LOVE]    313
[Concordance — LOVED through MAY]    324
[Concordance — MAZE through MOON]    336
[Concordance — MOONBEAM through NAMES]    348
[Concordance — NAPLES through NODDING]    360
[Concordance — NODS through NOTES]    371
[Concordance — NOTHING through OMINOUS]    380
[Concordance — ON through OR]    391
[Concordance — ORB through PATIENT]    402
[Concordance — PATRONAGE through PRAY]    414
[Concordance — PRAYED through REEDY]    428
[Concordance — REEL through RULES]    442
[Concordance — RUMOUR through SEE]    456
[Concordance — SEEING through SHOUTING]    468
[Concordance — SHOUTINGLY through SNOWY]    481
[Concordance — SO through SOUL]    493
[Concordance — SOUL-LIFE through STIFF]    504
[Concordance — STILL through SWEEPING]    517
[Concordance — SWEET through THANK]    529
[Concordance — THAT through THAT]    541
[Concordance — THAT’S through THINE]    551
[Concordance — THING through THOU]    561
[Concordance — THOUGH through THY]    570
[Concordance — THYSELF through TITTLE]    582
[Concordance — TO through TO]    586
[Concordance — TOAD through TURNS]    597
[Concordance — TURRET through UPON]    611
[Concordance — UPPER through WANDERERS]    624
[Concordance — WANDERING through WHEN]    637
[Concordance — WHENCE through WHOSE]    649
[Concordance — WHY through WITCHING]    660
[Concordance — WITH through WOES]    669
[Concordance — WOLDS through ZONE]    678
Appendix A: Incidence of Words Found Only in the Variant Texts    693
Appendix B: Incidence of Words in the Concordance: Base and Variant Texts    697
[Incidence of Words — with frequency of 2141 - 3]    697
[Incidence of Words — with frequency of 2]    697
[Incidence of Words — with frequency of 1]    697
Key to Titles of Poems and Their Variants    727
[Additional: “Toward a Concordance of Edgar Allan Poe” by Deborah Bernhisel, Susquehanna Alumnus (Susquehanna University, Selinsgrove, PA), vol 49, no. 2, Spring 1980]   


∞∞∞∞∞∞∞


Notes:

All material in this edition is protected by copyright. Permission has been obtained by the Poe Society of Baltimore from Julien Yoseloff of the Associated University Presses, to provide this electronic edition for academic and research purposes only. The Poe Society of Baltimore asks all users of this material to respect these copyrights, and not to exceed what would typically be considered as fair use (generally interpreted as selective quotations and/or paraphrasing of only a small percentage of the total material, and with the appropriate attribution and citation). Although Poe’s writings are essentially in the public domain, the concordance presented here embodies often painstaking editorial work by the author, and that editorial work is protected by copyright. The article by Deborah Bernhisel is presented by the Poe Society with permission of the author and Betsy Robertson, the Director of Digital Print Communications for Susquehanna University.

It must be noted that this concordance is keyed to the Mabbott edition of Poe’s poetry.

The text for this electronic version of the book was taken from an original printed form, revised for XHTML/CSS and to follow our own formatting preferences. Pagination of the original edition has been included only for prefatory material, and not for the concordance sections. (It is presumed that there is no practical reason to refer to the pages within a concordance, and thus no justification for the visual interruption that is inherently necessary for internal page numbers.)

The table of contents is a reasonable representation of the table of contents from the original printing.

Note: Elizabeth D. Wiley, who died on March 14, 2014, was a professor of English at Susquehanna University 1962-1987.

[From the back of the dust wrapper:]

[front flap:]

Concordance
to the Poetry
of Edgar Allan Poe

Compiled by
ELIZABETH WILEY

The first concordance to Poe’s poetry was prepared nearly half a century ago, and in recent years a number of Poe scholars have suggested that a new concordance is needed, one that would take account of recent bibliographic discoveries. Elizabeth Wiley’s compilation is designed to meet that need. Her Concordance to the Poetry of Edgar Allan Poe the primary requirement for a

reference source of this kind: to draw on all available versions of the poems, print or manuscript, from the most authoritative sources. It is based upon The Collected Works of Edgar Allan Poe: Volume I: Poems, edited by the late Thomas Olive Mabbott and published by the Harvard University Press in 1969. Poe scholars consider this the finest edition to date, and it is readily available in colleges and universities, as well as in the personal libraries of scholars in the field.

The format of this work was planned to provide easy access to anyone engaged in Poe research. Poems are listed by individual lines (or half-lines, where the whole line is too long) under each different word in the line, except for words that appear so frequently (and, the, and the like) that their inclusion would result in a concordance too unwieldy to use. The omitted words are listed in the introduction, along with information on the publication history of each poem and suggestions for using the concordance.

The purpose of any concordance is to aid scholars in studying an author’s use of words. Such studies were undertaken, of course, long before concordances [back flap:] were available. Poe is a particularly apt subject not only because of the richness of his language and iterative patina, but also because he himself, in his role as editor-critic, wrote extensively about other authors’ use of language. In his Marginalia he exalted the “power of words,” with which he felt it was “possible to embody even the evanescence of fancies.”

For Poe, the power, of words lay not only in selecting them meticulomily (and, on occasion, creating neologisms to express the formerly inexpressible). They must also be used correctly, following accepted rules of punctuation and syntax. He sharply criticized those poets who neglected punctuation or wrenched syntax, and he argued that the claim of “poetic license” was the source of “an infinity of sins.” The “true artist,” in Poe’s view, would “avail himself of no ‘license’ whatever.”

Having established such stringent standards for judging other authors, Poe has provided scholars with criteria for evaluating his own use of language. Wiley’s concordance is a valuable tool for such study. It also provides information that will enable scholars to draw conclusions about Poe’s literary style, his social and cultural background, influences upon him by other writers, approximate dating of works for which external evidence is unavailable, and a wide range of other issues related to the poet’s life and work.

[From the back of the dust wrapper:]

About the Compiler

Elizabeth Wiley was educated in the Philadelphia public schools and received her undergraduate degree at the University of Pennsylvania in 1950. She had previously studied nursing and practiced in that field for ten years in both this country and Liberia, West Africa. After several years’ experience in the field of public relations, she entered the graduate English program at the University of Pittsburgh, receiving the degrees of Master in Letters (1956) and Doctor of Philosophy (1962). Her college teaching experience included several years at the University of Pittsburgh, two years at the West Virginia Institute of Technology, and twenty-five years at Susquehanna University, from which she retired as Professor of English in 1987. Her area of specialization has been American literature, from colonial times through the nineteenth century.

∞∞∞∞∞∞∞

[S:0 - CPEAP, 1989] - Edgar Allan Poe Society of Baltimore - Works - Editions - Concordance to the Poetry of Edgar Allan Poe (1989)