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Index to MARGINALIA (pp. 257-307)
| 257 | The art of marginal annotation | |
| 260 | Male but not female writers should be bluntly criticized if deserving | |
| 261 | A good book must begin with a few vivid sentences | |
| 261 | Repeated vowel sounds in poetry carry “great force” | |
| 262 | Art does not imitate actuality | |
| 262 | Tennyson and indefinitiveness in music and poetry | |
| 264 | The curse of co-consciousness | |
| 264 | Poetry transmutes and subdues passion | |
| 266 | Genius requires both artistic control and the moral powers of concentration, self-reliance, and energy | |
| 267 | Love of novelty is an element in the moral nature of man | |
| 268 | The artist is one who can carry out his subconscious realizations Many acts of plagiarism are of unconscious origin An example of how loose rhythm, even if defective in meter, may be adapted to the tone and matter of the poem | |
| 271 | Negative yet principled criticism will make us better critics | |
| 272 | Good internal rhyme requires some variation or unexpectedness in the line | |
| 275 | Psychal fancies, visions of “the spirit's outer world,” are subject to control | |
| 278 | The true artist chooses and shapes his material to convey an idea or impression | |
| 279 | Poetry demands creation, not mere description [page xxv:] | |
| 279 | Defining poetry is one third a question of semantics and metaphysics, two thirds a question of mathematics or “a Prosody Raisonné.” | |
| 281 | The logical fallacy in a new work on mesmerism: the term “counterfeit” begs the question | |
| 284 | A condescending view of German literature and criticism, including the Schlegels | |
| 286 | Greek drama was overdependent on the concept of external Destiny | |
| 287 | Genius is subject to alternating moods of ambition and depression | |
| 289 | The English Alexandrine can be used to convey either slowness or velocity | |
| 293 | The dash is mainly used to introduce a second thought or emendation | |
| 295 | Song-writing illustrates the power of music to give pleasure through its indefinitiveness | |
| 299 | The ideal poem will combine qualities of Shelley and Tennyson | |
| 302 | Though inversions have their place in poetry, the natural order is better | |
| 303 | By a “chemical combination” the imagination fuses, transforms, and integrates | |
| 304 | Certain quaintnesses of phrase may, through repetition, make for high poetry | |
| 305 | To genius, “the difficult” means simply “the impossible” | |
| 305 | “The highest genius is but the loftiest moral nobility | |
| 306 | To see “through the veil of the soul” is intuitively to perceive with the half-closed eye | |
| 306 | Analyzing a work of art is not the same as enjoying the artist's intention | |
| 306 | The tale requires a strict sense of plot [page xxvi:] |
Index to APPENDIX:
DETACHED PASSAGES (308-322)
| 308 | The power of the older English poetry is traceable to its quaint phraseology, grotesque rhythms, and “glorious abandon” | |
| 310 | Organic plot is to be distinguished from mere narrative complexity and intrigue | |
| 311 | Though plot is not essential, a well-managed plot is desirable | |
| 312 | Unity or totality of effect is to be found in the brief tale but not in long romances | |
| 313 | Dickens' The Old Curiosity Shop praised for its originality and characters | |
| 315 | Macaulay's Essays are marked by a terse, precise style and rigorous logic | |
| 316 | Shakespeare's Hamlet should be understood as a dramatis persona | |
| 318 | Allegory is valid only when used as a form of subtle artistic suggestion | |
| 319 | Intense imaginative consciousness is the mode for glimpsing the supernal | |
| 320 | A good plot, as in Godwin and Bulwer, depends on a defined “intended effect” | |
| 321 | Tales (1845), a highly diverse collection, omits “Ligeia,” Poe's best tale. |
Eric W. Carlson
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Notes:
None.
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[S:0 - FCP09, 1909] - Edgar Allan Poe Society of Baltimore - A Poe Bookshelf - Index for Marginalia Excerpts and Appendix (F. C. Prescott, 1909)