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TO F—— (Page 18)
Appeared in 1835 under the title "To Mary," and in 1842 and 1843, "To One Departed." It is not known to whom these forms were addressed. In 1845 it again appeared with the above title, which is believed to refer to Mrs. Frances Sargent Osgood, a poet of the time, whom Poe greatly admired.
TO F——S S. O——D (Page 18)
First appeared in the Southern Literary Messenger(1835) as "Lines Written in an Album," addressed to Eliza White, a young daughter of the editor of the Messenger; in 1839 the same lines were addressed "To ——," whose name is unknown; and in 1845 they were addressed under the above title to Mrs. Osgood (see note on the preceding poem).
TO ZANTE (Page 18)
Published in 1837, 1843, and 1845. In form this is a regular Shakespearean sonnet. Zante is one of the principal Ionian islands, in ancient times called Zacynthus. Again the poet writes of a fair isle in the sea; point out other instances. Note the fondness for "no more," and find examples in other poems. As usual with Poe, the thread of thought is slight and indefinite; apparently the beautiful island has become "accursed ground" because of the death there of the "maiden that is no more."
1. fairest of all flowers. There is a zantewood, or satinwood, but it does not take its name from this island. Poe associated the name of the island with the hyacinth, but there is no etymological connection. He probably derived his fancy from a passage in Chateaubriand's "Itineraire de Paris a Jerusalem," page 53.
13. hyacinthine isle: a reference to the flowers of the island (see preceding note).
14. "Isola d'oro! Fior di Levante!" "Golden Isle! Flower of the Levant!" These are Italian terms for Zante; they occur in the passage in Chateaubriand referred to in the note on line 1.
BRIDAL BALLAD (Page 19)
Published in 1837, 1841, 1845, and greatly improved in revision. The bride remembers her dead lover who died in battle, and wonders fearfully whether "the dead who is forsaken" knows and is unhappy.
SILENCE (Page 20)
Published in 1840, 1843, and 1845.
THE CONQUEROR WORM (Page 21)
Published in 1843 and 1845. The repulsive imagery recurs in several of the tales and poems, and shows one of the most morbid phases of Poe's imagination (see Introduction, page xxiv). It would hardly meet Poe's own test of beauty, but the grim power of this terrible picture is palpable enough.
9. Mimes: actors, who in this case are men; mankind.
13. vast formless things: doubtless the Fates (consult Gayley's "Classic Myths"); at any rate beings who exercise the same powers.
15. condor wings. The condor is a great vulture of South America; the word here suggests the Fates preying on human happiness, health, and life.
18. Phantom: happiness, or perhaps any object of human desire or ambition.
DREAM-LAND (Page 22)
Published in 1844 and 1845. The poem paints another of Poe's extraordinary landscapes.
3. Eidolon: phantom, specter, shade.
6. ultimate dim Thule. "Thule" was used by the ancients to indicate extreme northern regions; the Romans used the phrase "Ultima Thule" to denote the most remote, unknown land. What does the allusion signify here?
THE RAVEN (Page 24)
Published in 1845 in various magazines, first in the New York Evening Mirror of January 29. This is the most famous if not the best of Poe's poems. There is a clear thread of narrative and greater dramatic interest than in any other of the author's poems. If possible, read "The Philosophy of Composition," in which Poe gives a remarkable account of the composition of this poem, an account which is to be accepted, however, as explaining only the mechanical side of the work. This essay is included in Cody's "Best Poems and Essays" (see Bibliography, page xxxi). Read the comment in the Introduction, page xxiv. Note the numerous alliterations.
34. thereat is. Was the idea phrased this way for any other purpose than to make a rhyme? Is it artistic?
38. Raven. Read an account of the bird in a natural history or an encyclopedia; it is frequently mentioned in English literature as a bird of ill omen.
41. Pallas: Minerva, goddess of wisdom. Consult Gayley's "Classic Myths." Is a bust of Pallas appropriate for a library?
47. Plutonian: from Pluto, god of the underworld.
64, 65. burden: thought or theme.
76-77. gloated ... gloating. It is impossible to say just what is suggested. It is characteristically vague. Find other examples in this poem.
80. tinkled on the tufted floor. Not very easy to imagine. In "Ligeia," Poe speaks of "carpets of tufted gold," apparently meaning fabrics of very thick and rich material. Perhaps we may think of the tinkling as proceeding from tiny bells.
81. "Wretch," etc. The lover addresses himself.
82. nepenthe: a name given in Homer's "Odyssey" to a drug offered to Helen in Egypt, the effect of which was to banish all grief and pain. Later the term was sometimes used for opium.
89. balm in Gilead. Gilead is a district on the banks of the Jordan and the "balm" an herb of reputed medicinal value. The allusion here is to Jeremiah viii.22: "Is there no balm in Gilead? is there no physician there?" The lover means to ask if there is any remedy for his sorrow, any consolation. Perhaps he means, "Is there any solace after death?" or "Is there any solace either in this world or the next?"
93. Aidenn: Eden, Paradise, from the Arabic form Adn; coined by Poe for the rhyme.
101. This line, Poe said in "The Philosophy of Composition," first betrays clearly the allegorical nature of the poem.
106. the lamp-light o'er him streaming. In answer to criticism on this line, Poe explained, "My conception was that of the bracket candelabrum affixed against the wall, high up above the door and bust, as is often seen in the English palaces, and even in some of the better houses of New York."
107, 108. In these last lines the allegory is fully revealed.
EULALIE (Page 29)
Published in 1845 with the subtitle, "A Song."
19. Astarte. See note on line 37 of "Ulalume," page 189.
TO M.L. S——- (Page 30)
Published March 13, 1847, and addressed to Mrs. Marie Louise Shew, who had been a veritable angel of mercy in the Poe home. She relieved the poverty and helped to care for Virginia (who died January 29), and afterward nursed Poe himself during his severe illness. Mrs. Shew had had some medical training and probably saved Poe's life. This brief poem is instinct with a gratitude and reverence easy to understand, and is, for Poe, unusually spontaneous.
ULALUME (Page 30)
Published in December, 1847, and in January, 1848. The earlier form contained an additional stanza, afterward wisely omitted. Read the comment on the poem in the Introduction, pages xxiv-xxv.
5. Immemorial: properly means extending indefinitely into the past. Poe may mean that the year has seemed endless to him, but apparently he uses the word in the sense of memorable.
6, 7. Auber rhymes with October, Weir with year; the names were coined by Poe for rhyme and tone color. Note the resemblance of "Weir" to "weird."
8. tarn: a small mountain lake. It is used provincially in England to mean a boggy or marshy tract. Poe used the word to signify a dark, stagnant pool. Cf. "The Fall of the House of Usher," page 49.
11. cypress. What is its significance?
12. Psyche: soul. Cf. note on line 14 of "To Helen," page 183.
14. scoriac: a very rare word, from scoria (lava).
16. Yaanek: another specially coined word.
35. crescent: suggesting hope.
37, 39. Astarte: a Phoenician goddess, as the deity of love corresponding to Venus (Aphrodite), and as moon goddess to Dian, or Diana (Artemis). But Diana was chaste and cold to the advances of lovers, which explains "she (Astarte) is warmer than Dian."
43. where the worm never dies: implies the gnawing of unending grief. Cf. Isaiah lxvi. 24, and Mark ix. 44, 46, 48.
44. The Lion: the constellation Leo.
64. sibyllic: usually "sibylline," prophetic; from "sibyl." Consult Gayley's "Classic Myths."
179. legended tomb: having on it an inscription.
TO —— —— (Page 33)
Published in March, 1848, and is another tribute to Mrs. Shew. See note on "To M.L. S——-," page 188.
9-10. The quotation is from George Peele's "David and Bethsabe," an English drama published in 1599:
Or let the dew be sweeter far than that That hangs, like chains of pearl, on Hermon hill.
14-15. Cf. the poem "Israfel," and the notes on it.
AN ENIGMA (Page 34)
Published in March, 1848. To find the name, read the first letter of the first line, the second letter of the second line, and so on. In form this is a sonnet irregular in rhyme scheme.
1. Solomon Don Dunce: a fanciful name for a stupid person.
6. Petrarchan stuff: of or by Petrarch (1304-1374), a famous Italian writer of sonnets.
10. tuckermanities: a contemptuous allusion to the poetic efforts of Henry T. Tuckerman, a New England writer of the day.
14. dear names: Sarah Anna Lewis, a verse writer of the day, whom Poe admired.
TO HELEN (Page 35)
Published in November, 1848; addressed to Mrs. Sarah Helen Whitman (see Introduction, page xvii). Although her engagement to marry Poe was broken off, she continued to admire him and was faithful to his memory after his death. The poem was written before Poe met Mrs. Whitman, and is said to have been suggested by the poet's having caught a glimpse of the lady walking in a garden by moonlight.
48. Dian: Diana, the moon goddess.
66. Venuses: refers at once to the planet Venus and to Venus, goddess of love.
A VALENTINE (Page 37)
Published in 1849. The name is found as in "An Enigma," by reading the first letter of the first line, the second of the second, and so on.
2. twins of Leda: Castor and Pollux, two stars in the constellation Gemini. For the myth consult Gayley's "Classic Myths."
3. her own sweet name: Frances Sargent Osgood. See note on the lines "To F—— ," page 185.
10. Gordian knot. Explain this; consult an encyclopedia.
14. perdus: lost, a French word introduced to rhyme with "too."
17. lying: used in a double sense.
18. Mendez Ferdinando Pinto, a Portuguese traveler (1509-1583), was said to have been the first white man to visit Japan. He wrote an account of his travels, which at the time was considered mere romancing.
FOR ANNIE (Page 37)
Published in 1849, and addressed to Mrs. Richmond of Lowell, Massachusetts. This is the "Annie" so frequently referred to in biographies of Poe, who also figures in his correspondence. Of all the women associated with Poe's later years (see Introduction, pages ), "Annie" was the object of his most sincere and ardent friendship, and was his confidant in all his troubles,—including the courtship of Mrs. Whitman. Poe and Mrs. Clemm were frequent visitors at her home, and the latter found shelter there for a time after her "Eddie's" death.
This poem is usually regarded as one of the author's poorest, though it has a distinctly individual character that must be recognized. Thus Professor C.F. Richardson, in his "American Literature," quoting several stanzas, remarks, "This is doggerel, but it is Poe's special doggerel." Some of the lines really deserve this severe epithet, but hardly the entire poem. Its theme seems to be peace in death through the affection of Annie, following a life of passion and sorrow, and so regarded, it has some strength.
THE BELLS (Page 41)
Published in 1849. Read the comment on this poem in the Introduction, page xxv. Though not especially characteristic of him, this is one of Poe's most remarkable poems, as well as one of the most popular. A very interesting account of its composition may be found in Woodberry's biography, pages 302-304, or in Harrison's biography, pages 286-288, or in the Stedman-Woodberry edition of Poe's Works, Vol. X, pages 183-186.
10. Runic. Runes are the characters of the alphabet of the early Germanic peoples. The allusion is intended to suggest mystery and magic. Consult an unabridged dictionary or an encyclopedia.
23. gloats. What does the word mean here? Cf. line 76 of "The Raven," and corresponding notes.
ANNABEL LEE (Page 44)
Published in the New York Tribune, October 9, 1849, two days after the poet's death. Read the comment in the Introduction, page xxv. Note the mid-rhymes in line 26, "chilling and killing," and in line 32, "ever dissever"; point out other examples in "The Raven" and other poems.
TO MY MOTHER (Page 46)
Published in 1849; in form, a regular Shakespearean sonnet. It is a sincere tribute addressed to Mrs. Clemm, mother of Poe's girl wife, Virginia, a woman who was more than worthy of it. The tenderest affection existed between the two, and Mrs. Clemm cared for him after Virginia's death and grieved profoundly at his own. She lived until 1871.
ELDORADO (Page 46)
This first appeared in the Griswold edition of 1850; no earlier publication is known. It was probably Poe's last composition, and this story of the knight's quest, its failure, and his gaze turned to "the Valley of the Shadow," is a fitting finale for the ill-starred poet (see comment in the Introduction, page xxv).
Eldorado: a fabled city or country abounding in gold and precious stones, and afterward any place of great wealth. The word is often used figuratively. In a preface to an early volume of his poetry, Poe alludes quite incidentally to "the poet's own kingdom—his El Dorado," and in this sense the metaphor may be accepted here.
Note the varying sense of the recurring rhyme, shadow. In the first stanza it is simply contrasted with the "sunshine" or happiness of life, in the second it implies the coming of discouragement and despair, in the third it is the shadow of death cast before, in the fourth the Valley of the Shadow of Death.
THE HAUNTED PALACE (Page 59)
Published in the Baltimore Museum in April, 1839, and in September of the same year in Burton's Gentleman's Magazine as part of the tale "The Fall of the House of Usher"; afterwards published in 1840, 1843, and 1845. It was altered very slightly in revision. Lowell wrote that he knew of no modern poet who might not justly be proud of it (see Introduction, pages xxiii-xxiv).
59. 24. Porphyrogene: from Greek words meaning "purple" and "begotten," hence, born in the purple, royal. This term, or "porphyrogenitus," was applied in the Byzantine empire to children of the monarch born after his accession to the throne. It is not clear whether the word is used here as a descriptive adjective or as the name of the monarch.
TALES
THE FALL OF THE HOUSE OF USHER (Page 49)
Published first in 1839, and several times reprinted with revisions. Read the comment in the Introduction, page xxvii. Lowell said of this story: "Had its author written nothing else, it would alone have been enough to stamp him as a man of genius, and a master of a classic style."
This tale is one of the best to study as an example of the application of Poe's critical theory of the short story (see Introduction, page xxvi). What is the "effect" sought? Is the main incident of the tale well adapted to produce this effect? Are the parts skillfully related to one another and to the whole? Is the setting suitable to the theme? What is the effect of the first sentence? Pick out a number of rather unusual words which Poe seems particularly to like; observe their effect. The adjectives are especially worth study; in the first sentence try the effect of substituting for "soundless," "quiet," or "silent," or "noiseless."
49. Quotation: "His heart is a suspended lute; as soon as it is touched it resounds." P.J. Beranger (1780-1857), a popular French lyric poet.
50. 12. black and lurid tarn: see note to line 8 of "Ulalume," page 189. Tarn is one of several words Poe particularly liked.
58. 10. low cunning. See if the reason for this encounter appears later.
58 31. ennuye: a French word meaning "wearied," "bored."
54. 5-24. The description of Usher is in the main a remarkably good portrait of Poe himself.
55. 20-30. Observe the extreme to which Poe goes in this study of terror; it is the fear of fear that oppresses Usher.
56. 2. too shadowy here to be re-stated. Note the effect of making this weird suggestion instead of a clear statement.
57. 26. Von Weber (1786-1826), a famous German composer.
58. 5. Henry Fuseli, or Fuesli (1742-1825), as he was known in England, was born in Zurich, Switzerland, and named Johann Heinrich Fuessli. He was a professor in the Royal Academy and painted a series of highly imaginative pictures illustrating Shakespeare and Milton.
59. The Haunted Palace. For notes see page 192.
60. 30-31. Richard Watson (1737-1816), Bishop of Llandaff, was for a time professor of chemistry at Cambridge University and wrote popular essays on that subject. James Gates Percival (1795-1856) was an American poet, musician, linguist, surgeon, and scientist; it is possible the reference is to Thomas Percival (1740-1804), an English physician. Lazzaro Spallanzani (1729-1799) was an Italian naturalist, distinguished in experimental physiology.
61. 22-31. All of these titles have been traced, except the last, which Poe either invented, or, in quoting, altered. Some of the works named he apparently had not read, since their character is not suited to his purpose. Jean Baptiste Louis Gresset (1709-1777) was a French poet and playwright; the two works mentioned are poems,—the first, a tale of an escaped parrot who stopped at a convent and shocked the nuns by his profanity. Niccolo Machiavelli (1469-1527) was a famous Italian historian and statesman, who wrote a celebrated treatise called "The Prince"; "Belphegor" is a satire on marriage. Emanuel Swedenborg (1688-1772) was an eminent Swedish theologian and religious mystic. Ludvig Holberg (1684-1754) was a great Danish poet and novelist; the work mentioned is one of his best known poems and has been translated into the principal languages of Europe. Flud, Robert Fludd (1574-1637), was an English physician, inventor, and mystic philosopher. Jean D'Indagine (flourished in the first half of the sixteenth century) was a priest of Steinheim, Germany, who wrote on palmistry and similar subjects. Marin Cureau de la Chambre (1594-1675), physician to Louis XIV, who was an adept in physiognomy, and wrote a work on "The Art of Judging Men." Ludwig Tieck (1773-1853) was a German romantic novelist. Tommaso Campanella (1568-1639) was an Italian monk and philosopher, who suffered persecution by the Inquisition. Eymeric, Nicolas Eymericus (1320-1399), was a native of Gerona, Spain, who entered the Dominican order and rose to the rank of chaplain to the Pope and Grand Inquisitor; his famous "Directorium Inquisitorum" is an elaborate account of the Inquisition. Pomponius Mela was a Latin writer of the first century A.D., who wrote a famous work on geography "De Situ Orbis" (Concerning the Plan of the Earth).
61. 31. Satyrs and Aegipans: in classic mythology the satyrs and minor deities of wood and field, with the body of a man and the feet, hair, and horns of a goat; Aegipans is practically equivalent to, and is also an epithet of Pan, the satyr-like rural god.
61. 33-34. curious book in quarto Gothic: printed in the black-faced letters of mediaeval times.
61. 35. The Latin title, which has not been found, means "Vigils for the Dead according to the Choir of the Church of Mayence."
66. 1-2. The "Mad Trist" of Sir Launcelot Canning has not been found; undoubtedly the title was coined and the quotations invented to fit the text, as they do perfectly.
69. 24-25. It was the work of the rushing gust. Note the fine effect of the momentary suspense, the instant's disappointment carried by this clause.
WILLIAM WILSON
First published in a magazine in 1840 (see comment in the Introduction, page xxvii).
71. Quotation. William Chamberlayne, an English poet and physician (1619-1689), who in 1659 published "Pharronida, a Heroic Poem."
71. 18. Elah-Gabalus: usually Elagabulus, emperor of Rome from 218-222, who indulged in the wildest debaucheries.
72. 26-73 2. The description here is based on fact, apparently being a true picture of the English school attended by Poe himself (see Introduction, page xii).
73. 31. Draconian Laws: Draco was an Athenian legislator, who codified the laws of his city in 621 B.C. The penalty for every offense was death, and the laws were, therefore, said to be written in blood, not ink.
75. 5. peine forte et dure: "punishment severe and merciless"; a penalty formerly imposed by Enlish law upon persons who refused to plead on being arraigned for felony. It consisted in laying the accused on his back on a bare floor and placing a great iron weight on his chest until he consented to plead or died. There is one instance of the infliction of this punishment in American colonial history: Giles Cory, accused of witchcraft, was pressed to death in Salem, Massachusetts, in 1692.
75. 33. exergues: the exergue is a term in numismatics to signify the space under the principal figure on the reverse of a coin, usually containing the date or place of coining.
76. 7. "Oh, le bon temps, que ce siecle de fer!" "Oh! the good time, the age of iron."
86. 11. Herodes Atticus: a Greek born about A.D. 101, who inherited from his father, of the same name, great wealth, to which he added by marriage. He was a noted teacher of rhetoric and became a Roman consul.
A DESCENT INTO THE MAELSTROM (Page 94)
First published in a magazine in 1841 (see comment in the Introduction, pages xxvii-xxviii).
94. Quotation. Joseph Glanville, or Glanvill (1636-1680), an English clergyman and author of several works on philosophy and religion. The quotation has been found in the writings of Glanvill by Professor Woodberry, but Poe quoted rather carelessly, and his extract varies slightly from the original. The Democritus referred to was a famous Greek philosopher, born about 470 B.C., who taught the atomic theory.
94. 1-3. Note the effect of the opening sentences in seizing attention and arousing interest at once.
95. 21. Nubian geographer ... Mare Tenebrarum. The same allusion occurs in "Eleonora," and in "Eureka" Poe speaks of "the Mare Tenebrarum,—an ocean well described by the Nubian geographer, Ptolemy Hephestion." Apparently he refers to Claudius Ptolemy, a celebrated philosopher who flourished in Alexandria in the second century A.D.
His theory, known as the Ptolemaic System, remained the standard authority in astronomy to the end of the Middle Ages, while his geography was accepted until the era of the great discoveries opened in the fifteenth century. Ptolemy is thought to have been born in Egypt, and it is impossible to say what grounds Poe had for calling him Nubian. Mare Tenebrarum means "sea of darkness," the Atlantic.
96. 10-15. This is a real description of the geography of the region of the Lofoden islands. Refer to a good map of Norway.
97. 27. Maelstrom: from Norwegian words meaning "grind" and "stream." The swift tidal currents and eddies of the Lofoden islands are very dangerous, but the early accounts are greatly exaggerated, and Poe's description is, aside from being based on these accounts, purely imaginative.
97. 32. Jonas Ramus. Professor Woodberry, whose study of Poe's text has been exhaustive, has an interesting note to this effect: Poe used an article in an early edition of the Encyclopaedia Britannica, in which a passage was taken from Pontoppidan's "The Natural History of Norway" without acknowledgment, this in turn having been taken (with proper acknowledgment) from Ramus. The Britannica, in the ninth edition, after giving Poe credit for "erudition taken solely from a previous edition of this very encyclopedia, which in its turn had stolen the learning from another, quotes the parts that Poe invented out of his own head." See "Whirlpool" in the Britannica.
98. 26-27. Norway mile: a little over four and a half English miles.
99. 19. Phlegethon: a river of Hades in which flowed flames instead of water.
100. 4. Athanasius Kircher (1601-1680) was a learned Roman Catholic writer, a native of Germany. See "Whirlpool" in the Britannica.
105. 2. what a scene it was to light up! Interest in the narrative should not hurry the reader too much to appreciate this scene,—the magnificent setting of the adventure.
109. 10. tottering bridge, etc.: Al Sirat, the bridge from earth over the abyss of hell to the Mohammedan paradise. It is as narrow as a sword's edge, and while the good traverse it in safety, the wicked plunge to torment.
111. 35. Archimedes of Syracuse (i.e. 287—212) was the greatest of ancient mathematicians; the work to which Poe refers deals with floating bodies.
THE MASQUE OF THE RED DEATH (Page 113)
First published in Graham's Magazine for May, 1842 (see comment in the Introduction, page xxvii).
113. The "Red Death" is a product of Poe's own imagination; there is no record of such a disease in medical history.
113. 3. avatar: a word from Hindoo mythology, in which it means an incarnation. The word is used here in its secondary sense,—a visible manifestation.
113. 11. This paragraph suggests the circumstances under which Boccaccio represents the stories of his famous "Decameron." A comparison will be interesting.
116. 3. decora: possibly used as a plural of "decorum," propriety; probably it is intended to suggest ornamentation.
116. 14. Hernani: a well-known tragedy by the great French writer, Victor Hugo (1802-1885).
THE GOLD-BUG (Page 120)
First published in the Dollar Newspaper of Philadelphia in June, 1843, as the $100 prize story (see comment in the Introduction, page xxviii). This is the best and most widely read of the stories regarding Captain Kidd's treasure. Read an account of Captain Kidd in an encyclopedia or dictionary of biography.
Is the main incident of the story the discovery of the treasure or the solution of the cryptogram? Would the first satisfy you without the second? The plot is worthy of careful study. Consider the following points, for example: the significance of the chilly day, how Lieutenant G—— affects the course of events, the incident of the dog rushing in, the effect of introducing the gold-bug and making it the title of the story. If Poe's purpose was to make a story of cryptography, think of some of the innumerable plots he might have used, and see what you think of the effectiveness of the one chosen.
120. Quotation. Arthur Murphy (1727-1805), an English actor and playwright, wrote a comedy called "All in the Wrong," but Professor W.P. Trent, who examined the play, failed to find Poe's quotation.
120. 15. Poe, while serving in the army, was stationed at Fort Moultrie, and should have known the region well, but his description is said to be inaccurate.
121. 11. Jan Swammerdamm (1637-1680), a Dutch naturalist, who devoted most of his time to the study of insects.
122. 7. scarabaeus: Latin for "beetle," and the scientific term in entomology. While there are various golden beetles, Poe's was a creation of his own.
122. 26. This is one of the early attempts to use negro dialect. Poe's efforts are rather clumsy, considering his long residence in the South. The reader will notice a number of improbable expressions of Jupiter's, introduced for humorous effect, but the general character of the old negro is portrayed, in the main, very well.
124. 5. scarabaeus caput bominis: man's-head beetle.
127. 17. brusquerie: brusqueness, abruptness.
127. 20. solus: Latin for "alone." The Latin word is altogether unnecessary. Poe was often rather affected in the use of foreign words and phrases.
128. 22. empressement: French for "eagerness," cordiality.
132. 31. Liriodendron Tulipifera: the scientific name for the tulip tree, which sometimes attains a height of 140 feet and a diameter of 9 feet.
138. 25-26. curvets and caracoles: rare terms belonging to horsemanship; the first is a low leap, the second a sudden wheel.
142. 13. counters: pieces of money, coins; or the meaning may be imitation coins for reckoning or for counting in games.
142. 16. No American money. Why?
142. 31. Bacchanalian figures: figures dancing and drinking wine at a celebration of the worship of Bacchus, god of wine.
143. 29. parchment. What is the difference?
147. 20. aqua regia: "royal water," so called because it dissolves gold, is a mixture of nitric and hydrochloric acids.
150. 15. Golconda: a ruined city of India, once famous as a place for the cutting and polishing of diamonds; used figuratively in the sense of a mine of wealth.
150. 30. Read Poe's article on "Cryptography," included in his collected works.
151. 13. Spanish main: that part of the Caribbean Sea adjacent to the coast of South America. It was part of the route of Spanish merchant vessels between Spain and her new-world possessions, and was infested with pirates.
THE PURLOINED LETTER (Page 160)
First published in 1845 (see comment on the detective stories in the Introduction, page xxviii). This story is peculiarly original in its incidents and subtle in its reasoning. "The Murders in the Rue Morgue" should certainly be read also, and perhaps it will prove of more sustained interest to the majority of readers.
160. Quotation. Lucius Annaeus Seneca (B.C. 4-A.D. 65) was a celebrated Roman philosopher and tutor of the Emperor Nero. The quotation means: "Nothing is more hateful to wisdom than excessive acumen."
160. 3. Dupin: introduced in "The Murders in the Rue Morgue."
160. 4-5. Au troisieme: French, literally, "on the third," but the meaning is the fourth floor, because the count is begun above the ground floor; Faubourg St. Germain: an aristocratic section of Paris.
160. 15-16. Monsieur G——: introduced in "The Murders in the Rue Morgue."
164. 3. Hotel: in French usage, a dwelling of some pretension,—a mansion.
164. 7. au fait: French for familiar, expert.
168. 26. John Abernethy (1764-1831), an eminent English surgeon, was noted for his brusque manners and his eccentricities.
171. 15-16. Francois, Due de la Rochefoucauld (1613-1680) was a French moralist, author of the famous "Maxims"; Jean de la Bruyere (1645-1696) was a French essayist; see notes on Machiavelli and Campanella under "The Fall of the House of Usher," page 194.
172. 19. recherche: French for "sought after," selected with care.
173. 1. non distributio medii: "undistributed middle," a term in logic for a form of fallacious reasoning. Consult an encyclopedia, articles on "Logic," "Syllogism," and "Fallacy," or the Century Dictionary under "Fallacy."
173. 16. Nicholas Chamfort (1741-1794), a Frenchman, was said to be the best conversationalist of his day, and wrote famous maxims and epigrams. The quotation means, "It is safe to wager that every popular idea, every received convention, is a piece of foolishness, because it has suited the majority."
173. 27-28. ambitus: a going round, illegal striving for office; religio: scrupulousness, conscientiousness; homines honesti: men of distinction.
174. 17. Jacob Bryant (1715-1804), an Englishman; his work on mythology is of no value.
175. 5. intriguant: an intriguer.
176. 3. vis inertiae: force of inertia.
180. 5. facilis descensus Averni: "the descent to Avernus is easy." Virgil's "Aeneid," VI, 126; Cranch's translation, VI, 161-162. Lake Avernus was, in classical mythology, the entrance to Hades. Consult Gayley's "Classic Myths."
180. 6. Angelica Catalani (1780-1849), a famous Italian singer.
180. 9. monstrum horrendum: a dreadful monster.
180. 23-24. "A design so baneful, if not worthy of Atreus, is worthy of Thyestes." Atreus and Thyestes were brothers to whom, in classic story, the most terrible crimes were attributed.
180. 25. Prosper J. de Crebillon (1674-1762), a noted French tragic poet. The quotation is from "Atree et Thyeste."
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