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Index
Addison, Joseph: 70
Alazon: 11. See also Eiron, eironeia
Alchemy: See “The Gold-Bug”
Alciphron (verse tale by Thomas Moore): Poe on, 11
Allen, Ethan: Reason the Only Oracle of Man, 56; “treasonable” correspondence, 220-21 n34
Animal magnetism: See Mesmerism
Apollo Belvedere: 127
Arabesque: geometrical design in Kant, 24, 123; “Arabic” style of Gothic architecture, 69-70, 73, 80-81, 114, 122; as a deceptive and confusing pattern, 69-70, 102-3, 105-6, 131, 132, 134; complex interior design, 121, 123-25, 130; related to exterior and landscape design, 131, 229 n11; style sanctioned by the Koran, 227 n2
—: as a “madman's rhapsody,” 103; as the influence of setting on an overwrought mind, 120, 130-34 passim; as writhing light geometrically patterned, 121, 124-25, 129, 130, 134; as delirious dream-visions, 121-22, 130-31, 134
—: as irony of narrative design, 13, 68, 105-6, 108-9, 137; associated with Quixotic tradition, 27, 108-9, 209-10 n10; related to the grotesque, 105-6, 109, 114-15; related to Romantic Irony, 108-9, 212 n18; associated with the burlesque, 137
—: critical and historical studies, 223 n5, 227-28 n2. See also Cervantes; Gothic; Grotesque; Irony; Poe
Ariosto, Ludovico: 37, 108, 113
Aristotle: Nicomachean Ethics, 11
Arnim, Achim von: 161
“Assignation, The” (“The Visionary”): discussed, 126-30; Benton on, 127-28; grotesque and arabesque decor in, 128-30; criticism on, 229 n11; mentioned, 6, 40, 42, 104, 124, 168
Banter: and verisimilitude, 77, 158, 160
“Bargain Lost, The”: See “Bon-Bon”
Barrett, Elizabeth: See Browning
Baudelaire, Charles: 4
Bell, Henry Glassford: “The Dead Daughter” as a source of “Morella,” 236 n5
“Berenice”: Southern Literary Messenger on the “German horror” in, 19; Poe on the “ludicrous heightened into the grotesque” in, 43; discussed, 168; criticism on, 236 n4; mentioned, 6, 42, 66
Black, John: translator of A. W. Schlegel's Lectures on Dramatic Art and Literature, 30
“Black Cat, The”: discussed, 172; criticism on, 237 n12; mentioned, 13
“Bon-Bon” (“The Bargain Lost”): discussed, 47; mentioned, 6, 40, 44, 54, 217 n13, 220 n31
Bosch, Hieronymous: 107
Brentano, Clemans: Godwi indirectly alluded to, 12; mentioned, 161
Brown, Charles Brockden: Wieland, 76, 103; Edgar Huntly, 103, 151-52, 232 n11; mentioned, 75, 148
Browning, Elizabeth Barrett: 34
Brueghel, Pieter the Elder (1520?-1569): 107
Brueghel, Pieter the Younger (1564?-1638):107
Buckingham, Edwin, and Joseph: publishers of the New England Magazine, 39, 137
Bulwer-Lytton, Edward George Earle Lytton, Lord Lytton: “Manuscript Found in a Madhouse,” 235 n3; mentioned, 48, 50, 169, 215 n3
Burke, Edmund: Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, 71
Bush, George: 233 n12
Bussy D’Ambois: See Chapman, George
Butler, Samuel: 41
Byron, George Gordon Noel Byron, Lord: and the Countess Guiccioli, 127; Childe Harold, 127; Letters and Journals, ed. Thomas Moore, 127-28; as the mysterious stranger in “The Assignation,” 127-30; mentioned, 5, 29
Callot, Jacques: 113, 114, 121
Carlyle, Thomas: German Romance, 21, 208 n4, 209 n7, 214 n28, 219 n28; essay on “Humour” in, 234 n22; on German writers in Critical and Miscellaneous Essays, 206 n2, 210 n13; on Fichte, Lessing, Goethe, Schiller, the Schlegels, Winckelmann, 210 n13; Kant, Fichte, Schelling compared to Blair, Johnson, Karnes, 210 n13; on Hoffmann's “literary club” frame tale, 219 n28; on Tieck, 21, 208 n4, 214 n28, 234 n; on Jean Paul, the Schlegels, Novalis, Kant, 234 n22; Poe's references to, 209 n7; mentioned, 10, 20, 45, 125
“Cask of Amontillado, The”: discussed, 13-14, 174; criticism on, 203 n10; mentioned, 6, 58, 109
Cervantes: Don Quixote, German admiration of, 22; as an arabesque, 27, 209-10 n10; mentioned, 22, 23, 37, 107, 108
Chamisso, Adelbert: “Peter Schlemiel,” 48; mentioned, 114, 204 n2
Chapman, George: Bussy D’Ambois, 127
Chapman, J. G.: “Lake of the Dismal Swamp,” 124
Chivers, Thomas Holley: 232-33 n12
“Christopher North”: See Wilson, John
Cicero: on Socratic irony, 11
Coleridge, H. N.: 236 n5
Coleridge, Samuel Taylor: review of The Mysteries of Udolpho, 75; thought by Poe to be author of Confessions of an English Opium-Eater, 83; mentioned, 5, 20, 45, 48, 50, 51, 86, 87, 125, 212 n19, 218 n20, 224 n15
“Colloquy of Monos and Una, The”: discussed, 184-87; theme of nothingness in, 187; mentioned, 28, 166, 168, 175, 238 n19
Commedia dell’arte: 113, 121. See also Callot, Jacques
Conrad, Joseph: Heart of Darkness, 87-88, 225 n28; mentioned, 14
“Conversation of Eiros and Charmion, The”: 6, 42, 175
Cooke, Philip P.: correspondence with Poe on the publication of “Ligeia,” 77-80; on an “improved version,” 98; mentioned, 118, 137, 224 n20
Coterie audience: 16-17, 213 n21
Crabbe, George (philologist, 1778-1851): Dictionary of English Synonyms, indirectly alluded to, 48, 50
Dana, Richard Henry, Sr. (editor of the North American Review): “The Buccaneer,” 54; Paul Felton, 76, 103
Dante Alighieri: 106
Davis, Andrew Jackson (the “Poughkeepsie Clairvoyant”): The Magic Staff, 156-57; Poe on, 157; mentioned, 184
Death's-head imagery: See “The Fall of the House of Usher”; Jean Paul; “Ligeia”; “William Wilson”
“Decided Loss, A”: See “Loss of Breath”
De La Motte Fouqué, Friedrich de: Undine, 146; Poe on, 146; mentioned, 21, 204 n2
De Quincey, Thomas: Confessions of an English Opium-Eater, 83; mentioned, 169, 234 n22
“Descent into the Maelström, A”: discussed, 170-71; theme of nothingness in, 192; possible early date of, 215 n2; criticism on, 237 n9; mentioned, 40, 174, 189, 194, 235 n3
“Devil in the Belfry, The”: 6, 42
Dickens, Charles: “Drunkard's Death,” “Gin Shops,” in Sketches by Boz, 170
Diogenes Laertius: 51
Disraeli, Benjamin: as a favorite satiric target of Poe, 45, 54, 79, 224 n22; The Young Duke burlesqued in “The Due de L’Omelette,” 45, 216-17 n9; Vivian Grey burlesqued in “Loss of Breath,” 50, 54, 224 n29., in “Bon-Bon,” 54, 220 n31, in “Lionizing,” 216 n3, 224 n22, in “King Pest,” 220 n31, 224 n22; mentioned, 50, 54; Contarini Fleming. A Psychological Autobiography burlesqued in “Silence,” 169, 224 n22; mentioned, 48
Doctor, The (anonymous prose tale): Poe on, 101-2; mentioned, 120
“Domain of Arnheim, The”: the arabesque in, 130-32; criticism on, 229 n11; mentioned, 28, 175
Doppelganger: See “The Fall of the House of Usher”; Jean Paul; “Ligeia”; “William Wilson”
Drake, Joseph Rodman: 28
Drake, Nathan: on regular, vulgar, terrible, and sportive Gothic, 74; “On Gothic Superstitions,” in Literary Hours, 223 n12
Dream motifs: as a Romantic mode of insight, 104, 106, 139ff.; distinguished from delusion and sleep-waking, 14041; Jean Paul on, 161; in “Ligeia,” 81-82; in “The Fall of the House of Usher,” 94-95; in “The Masque of the Red Death,” 121; in “The Assignation,” 130; connected with the arabesque, 130; in the landscape tales, 131-32; in “The Oval Portrait,” 13436 passim; in “Eleonora,” 144; in “A Tale of the Ragged Mountains,” 147, 148-49; in “Mesmeric Revelation,” 153; in “The Facts in the Case of M. Valdemar,” 158; in The Narrative of Arthur Gordon Pym, 183. See also Sleep-waking
“Dreams of the painters” (“sogni dei pittori”): as a synonym for grotesque, 106
“Duc [Duke] de L’Omelette, The”: discussed, 44-45; Willis and Disraeli in, 216-17 n9; criticism on, 216-17 n9; mentioned, 6, 40, 43, 46, 124, 224 n
Duyckinck, Evert: Poe's letter to on “The Facts in the Case of M. Val-demar,” 160
Edrisi: See Nubian geographer
Eiron, eironeia: 11. See also Alazon
“Eleonora”: discussed, 143-46; biographical interpretation of, 230 n6; criticism on, 229 n11, 230 n6, 236 n5; mentioned, 104, 141, 163, 170, 182
“Eleven Tales of the Arabesque”: 39, 40, 137
Eliot, T. S.: 3, 98, 189, 193-94, 199 n1, 239 n27
Emerson, Ralph Waldo: 218 n20
“Epimanes”: See “Four Beasts in One”
Epimenides: 51
Eureka: discussed, 187-91, 193-95; aesthetic pattern in, 188-91; theme of nothingness in, 188-91; Romantic skepticism of, 189-91, 193-95; criticism on, 238 n19, 239 nn20,23; mentioned, 6, 7, 24-25, 28, 90, 131, 139, 147, 153, 156, 157, 165, 167, 175, 184, 192
Euripides: Poe on a translation of, 213 n24
Eveleth, George W.: Poe's letter to on “The Raven,” 98-99
Evelyn, John: Account of Architects and Architecture, 69; on the Gothic, 69-70
“Exordium to Critical Notices”: 26
“Facts in the Case of M. Valdemar, The”: discussed, 157-60; parallels with Kerner's Seeress of Prevorst, 233 n17; mentioned, 6, 141, 174
“Fall of the House of Usher, The”: discussed, 87-98; death's-head in, 87, 89-90, 95-96; parallels with Conrad's Heart of Darkness, 87-88, 225 n28; interpenetrating structures of, 88-89, 96-97; the double in, 89, 95-96; simultaneous supernaturalism and realism, 89, 96-97; simultaneous detachment and involvement, 89, 97, 104; theme of nothingness, 90, 96-97, 104, 189; dual hallucination, 90-94; dream imagery, 94-95; parallels with Hoffmann's “The Entail,” 111; parallels with Scott's essay on the supernatural, 111, 220 n28; Roderick Usher's library, 215 n28; criticism on, 225 n29-227 n32; mentioned, 4, 6, 14, 16, 32, 38, 42, 52, 66-67, 68, 77, 103, 109, 113, 115, 119, 125, 127, 137, 139, 141, 162, 163, 169
Fantasy: as a mode of writing according to Scott, 114; according to Poe, 115-16
Featherstonhaugh translation of Manzoni's The Betrothed: See Manzoni
Fichte, Johann Gottlieb: discussed, 25; translations available to Poe, 210-11 n13; Poe's references to, 211 n13; mentioned, 24, 27, 30, 34, 48, 50, 140, 162, 204 n2
Fielding, Henry: German admiration of “sportiveness” in, 22; Joseph Andrews, 49
“Fifty Suggestions”: No. 11 (on Andrew Jackson Davis), 157; No. 30 (on irony), 10
Folio Club: See “Tales of the Folio Club”
Fouqué, Friedrich De La Motte: See De La Motte Fouqué
“Four Beasts in One-the Homocameleopard” (“Epimanes”): 6, 40, 42
Fullerton, Georgianna: Ellen Middleton, 218 n17
Gall, Franz Joseph: See Phrenology
“Germanism”: Poe's comment on, 19-20; as horror and terror, 43, 54, 103
German literature in English: translated prose collections available to Poe, 205-7 n2; studies of German literature as known in Britain and America, 207 n2
Giotto (Giotto di Bondone): 106
Glanvill, Joseph: 171
Gleig, G. R.: Memoirs of the Life of Warren Hastings, 152
Godwin, William: Mandeville, 48; Lives of the Necromancers, 97; mentioned, 50
Goethe, Johann Wolfgang von: Wilhelm Meister's Apprenticeship, 23; definition of irony in Poetry and Truth, 23; The Sorrows of Werther, 23, 111; On Arabesques, 108; mentioned, 27, 140, 210 n13
“Gold-Bug, The”: discussed, 175; mentioned, 174, 237 n14
Gothic: as an architectural term, 69-71, 222 n2-223 n6; arabesque or “Arabic” style of, 70; grotesque scrollwork in, 70; element of confusion, deception, and irregularity in, 70-71; associated with the complicated designs of landscape gardens, 70-71; associated with the gloom and awe of Medieval churches, 70-71
—: related to the grotesque and arabesque, 68, 70-71, 73, 80, 105, 106, 114; as a literary term, 69, 71-77, 222-23 n2; Walpole's usage, 71-73; devices of, 73
—: subtypes: Poe's mode, 14, 17, 69, 77, 103-4, 115, 119, 226 n29, et passim; German modes, 54, 74-75, 160; terrible, explained, ambiguous, 68, 69, 7475 (Tompkins), 75-77; regular, vulgar, terrible, sportive (Drake), 73-74; British mode, 74-75; American mode, 75-77
—: satires on, 73, 224 n18; the comic in, 113, 114
—: critical and historical studies, 219 n28, 221-22 n1, 223 nn3-9, 224 n16
Grimm, Jakob Ludwig Karl, and Wilhelm Karl: Scott's discussion of the supernatural in German fairy tales, 113-14
Grotesque: general historical definitions, 13, 23, 105, 106-8, 109-10; element of hysteria and humor in, 43, 120-22; Poe on the “ludicrous heightened into the grotesque,” 43; as a configuration of disharmonious or opposed elements, 73, 105-6; as an “estranged world,” 73, 112-13, 114, 118-19; as a psychological effect, 105-6, 117-19
—: related to irony, 13, 23, 68, 105-6, 107-10; related to the Gothic, 70-71, 73; related to the arabesque, 73, 105-6, 107-10
—: critical and historical studies, 223 nn10, 11, 227-28 n1
—: See also Dream motifs; Dreams of the painters; Grotto-painting; Hugo; Poe
Grotto-paintings: derivation of the term grotesque, 106. See also Grotesque
Guiccioli, the Countess Teresa: See Byron
Hall, Harrison: Poe's letter to, on “Tales of the Folio Club,” 42
Halleck, Fitz-Greene: 28
Hamilton, Count Anthony: 112
Hammer-Purgstall, Joseph von: History of the Assassins, 112
“Hans Phaal” (“Hans Pfaall”): criticism on, 215 n2; mentioned, 6, 12
Hardenberg, Friedrich von: See Novalis
Harper Bros. (publishers): rejection of “Tales of the Folio Club,” 44
“Haunted Palace, The”: 90, 95, 101
Hawthorne, Nathaniel: Twice-Told Tales, Poe's 1842 review of, 5, 101, 227 n34; Poe's 1847 review of, 35; “Young Goodman Brown,” 77, 103; “The Minister's Black Veil,” 101, 103; The Scarlet Letter, 103; The Marble Faun, 103; “My Kinsman, Major Molineux,” 103; “Roger Malvin's Burial,” 103; “Wakefield,” 170; mentioned, 3, 76
Hazlitt, William: on “Wit and Humour” in Lectures on the Comic Writers of Great Britain, 162; and Jean Paul, 162; “My First Acquaintance with Poets,” 218 n20; mentioned, 20, 234 n22
Hedge, F. H.: 87
Hegel, Georg Wilhelm Friedrich: on the irony of Tieck and Solger, 30; Poe's references to, 214 n26
Herder, Johann Gottfried: 27
Hoax: literary distinguished from other forms, 10; relation to parody and irony, 53; Poe's comments on The Doctor, and “Facts in the Case of M. Valdemar,” 160
Hoffmann, Ernst Theodor Amadeus [Wilhelm]: Scott on fictional techniques of, 110-16; Kayser on fictional techniques of, 112-13; Phantasiestücke in Callots Manier, 20, 114; praise of irony in, 113; “The Entail,” Scott on, 111, 112; resemblances to “Metzengerstein” and “The Fall of the House of Usher,” 111, 219 n28; “The Sandman,” 112, 113; “Life of a Well-Known Man,” 112; Poe's reading of Hoffmann, 110-12; translations available, 219-20 n28; studies of Hoffmann's influence on Poe, 219-20 n28; Poe's reference to, 220 n28; mentioned, 12, 21, 121, 161, 228 n6
Hogarth, William: 114
Hood, Thomas: 120
Home, R. H.: Poe on the translation of Euripides, 213 n24
“How to Write a Blackwood Article”: parody of literary styles discussed, 36-38; mentioned, 6, 42, 47, 64, 73, 82-83
Hugo, Victor: definition of the grotesque in the preface to Cromwell, 109-10; Cromwell reviewed in the Foreign Quarterly Review, 110; Poe's reading of, 110, 228 n4; Poe's reference to Hernani, 121; mentioned, 122, 232 n11
Hume, David: 68
Humor: as related to the grotesque and arabesque, 109; Jean Paul on, 109, 161-64; as related to fantasy, 116; Poe on, 116, 120
“Imp of the Perverse, The”: discussed, 173-74; perversity codified, 217-18 n17, 237 n13; criticism on, 237 n13; mentioned, 13
“Intensities”: See “Sensation tales”
interior design: related to arabesque, 123-25, 130; related to landscape aesthetics, 229 n11; studies of in Poe's tales, 229 n11
Irony: defined, 9-12; modes, 9-12; earliest English meaning, 10; relation to mystic, 11-12, 203 n9; Thirwall on, 203 n9; critical studies of, 201-2 n7. See also “Mystification”
—: Romantic Irony: defined, 12-13, 2021, 21-23; Immerwahr on, 20-21, 108-9; historical discussion, 20-34; historical development from the 1760s to the 1820s, 20-26; in Tieck, 21-22; in Wieland, 22-23; in Goethe, 23; relation to Leibnitz and Kant, 23-25; in Fichte, Schiller, Schnelling, 25-26; Friedrich Schlegel's concept of, 2629; A. W. Schlegel's concept of, 29-34; relation to grotesque and arabesque, 105-6; relation to arabesque, 108-9; relation to the grotesque in Hugo, 110; parallels in American literature, 202-3 n8; critical and historical studies of, 202-3 n8, 207-8 n3; related to Negative Romanticism, 239 n27
—: Socratic irony: Friedrich Schlegel on, 29; A. W. Schlegel on, 31-32
—: Sophoclean irony, 203 n9
—: See also Arabesque; Fantasy; Grotesque; Hoax; Humor; Mystic; Romantic skepticism; Satire
Irving, Washington: “Adventure of the German Student,” 76, 103; praise of “The Fall of the House of Usher,” 80; “The Spectre Bridegroom,” 103; “The Legend of Sleepy Hollow,” 103
“Island of the Fay”: theme of nothingness in, 131; criticism on, 229 n11; mentioned, 28, 175
James, Henry: 3, 14, 76, 77, 199 n1
Jean Paul (Jean Paul Friedrich Richter): Introduction to Aesthetics, 109, 162, 163, 234 n22; on the subconscious, 161; on the duality of the sublime and terrible, 161; theories discussed, 16164; influence on Hazlitt, 162; on satanic and annihilating humor, 162; on the Doppelganger, 162-64; theories compared to Friedrich Schlegel's concept of irony, 163, 164; emotion followed by satire, 167; Poe's references to, 229 n8; “Review of Madame de Stael's ‘Allemange; “ 234 n22; theory of humor derived from English “humours,” 234 n22; translations available, 234 n22; mentioned, 21, 24, 108, 116, 230 n8
Johnson, Andrew: as a satiric target in “The Man That Was Used Up,” 83
Johnson, Samuel: 210 n13
Jonah, Book of: Poe's reference to, 233 n18
Jung, Carl: 161
Kafka, Franz: 8
Kames, Henry Home, Lord: 210 n13
Kant, Immanuel: “Critiques” of Pure Reason, Practical Reason, Judgment, 23-24, 37; Metaphysiche Aufangsgründe der Naturwissenschaft, satirical reference by Poe, 37; translations available to Poe, 210 n1l; Poe's references to, 210 n11; mentioned, 25, 34, 48, 50, 68, 161, 204 n2, 234 n22
Keats, John: 45
Kennedy, John P.: Horse-Shoe Robinson, Poe on, 36; criticism of Poe's early satires, 44; mentioned, 216 n5
Kerner, Justinus: and the nightside, 141, 157; The Seeress of Prevorst similar to “The Facts in the Case of M. Valde-mar,” 233 n17; translations available to Poe, 233 n17
Kierkegaard, Soren: on A. W. Schlegel and irony, 30; on irony, 213 n25, 214 n6
King, Henry, Bishop of Chichester: Poe's allusion to the Exequy, 126-27
“King Pest”: 6, 42, 220 n31, 224 n22
Klinger, F. M. von: Confusion, or Storm and Stress, 107; mentioned, 108
Koran, The: and the arabesque, 227 n2
Korner, Theodor: 204 n2
Kotzebue, A. F. von: 21
Laertius: See Diogenes Laertius “Landor's Cottage,” 124, 175, 229 n1l
Landscape aesthetics: related to interior design, 229 n11; studies of, 229 n11
“Landscape Garden, The”: 28, 175, 132, 229 n11
Latrobe, John: 215 n2
Lea and Blanchard: publishers of The Tales of the Grotesque and Arabesque, 79
Leibnitz, Gottfried Wilhelm, Baron von: translations available to Poe, 210 n11; Poe's references to, 210 n11; mentioned, 23, 161
Lenz, J. M. R.: The New Minoza, 107
Lessing, Gotthold Ephraim: 210 n13
Letters of Poe: See Poe
“Letter to B —— ”: on the “old Goths of Germany,” 224 n18
Lewis, Matthew G.: The Monk, 54, 74, 76, 205 n2; Tales of Terror & Wonder, Romantic Tales, 205 n2
“Life in Death”: See “The Oval Portrait”
“Ligeia”: abnormal narrator characteristic of Poe's fiction, 16; Wagenknecht's objection, 16; discussed, 77-87; Cooke's criticism of and Poe's reply, 78, 79; Poe's double revision, 79; arabesque in, 80-81; ironic structures of 80-83; opium-dream motif, 81-82; burlesque element in, 82-83; comic parallels with “The Man That Was Used Up,” 83-85; phrenology and death's-head symbolism, 85-87; similarities to “The Fall of the House of Usher,” 88-89, 96-97, 104; simultaneous detachment and involvement, 89, 104; letter to Cooke on an “improved” version, 98; theme of nothingness, 104, 189; resemblance of Ligeia to a character in Disraeli, 217 n9; criticism of, 224-25 n24; mentioned, 6, 13, 14, 42, 66, 68, 77, 95, 103, 109, 113, 119, 124, 125, 129, 137, 141, 145, 163, 169
“Lionizing” (“Some Passages in the Life of a Lion”): satiric targets in, 21516 n3; criticism on, 215-16 n3; capstone tale for “Tales of the Folio Club,” 216 n3; mentioned, 6, 40, 42, 43, 224 n22
Locke, John: 236 n5
Longfellow, Henry Wadsworth: Ballads, Poe's reviews of, 211 n14; mentioned, 218 n20
“Loss of Breath” (“A Decided Loss”): discussed, 47-51; mentioned, 6, 40, 44, 52, 54, 73, 217 n15, 220 n31, 224 n22
Lowell, James Russell: called “the Ana-charsis Clootz of American Letters” by Poe, 232 n12
Lucan: 38
Lynx, lynxeye: as ironic symbol, 169, 195 Lytton, Edward Bulwer-Lytton, Lord. See Bulwer-Lytton
Macaulay, Thomas Babington: 10, 152, 232 n10
“ ‘Mad Trist’ of Sir Launcelot Canning, The”: discussed, 93, 94-95; mentioned, 4, 32, 38, 88, 111, 119. See also “The Fall of the House of Usher”
Magnetism: See Mesmerism; Nightside
“Man of the Crowd, The”: discussed, 170; criticism on, 237 n8; mentioned, 67
“Man That Was Used Up, The”: comic parallels with “Ligeia,” 83-85; mentioned, 6, 42, 225 n24
Manzoni, Alessandro: The Betrothed, 112
Marginalia: John Wilson compared to Tieck's Old Man of the Mountain, 35; on the dash, 36, 215 n30; on the Gothic and trees, 71; on Thomas Hood's humor, 120; on De La Motte Fouqué, 146; on a review of “Mesmeric Revelation” and “The Facts in the Case of M. Valdemar,” 156; on the “philosophical lynxeye,” 169, 195; on German criticism, 212 n17, 228-29 n8; on Novalis, 231 n7; on Montaigne, 231 n7; mentioned, 11, 20, 35, 36, 214 n28 Mark Twain, 8
“Masque of the Red Death, The”: discussed, 120-22; arabesque in, 125; criticism on, 229 n11; mentioned, 6, 123, 124, 129
“Mellonta Tauta”: relation to Eureka, 11, 239 n20; criticism on, 239 n20; mentioned, 157, 184
Melville, Herman: Moby-Dick, 3, 77, 103; “Benito Cereno,” 103; mentioned, 8, 76
Mesmer, Friedrich [Franz] Anton: and mesmerism, 140, 142
Mesmerism: 140, 156-57; Poe on, 147; in “A Tale of the Ragged Mountains,” 149-50; in “Mesmeric Revelation,” 153; in “The Facts in the Case of M. Valdemar,” 158; studies of, 230 n3. See also Nightside
“Mesmeric Revelation”: discussed, 153-57; British reviews of, 156; letters to Lowell and Chivers on, 232-33 n12; satiric targets of 233 n12; mentioned, 104, 141, 158, 159, 175, 184
Metamora (play by J. A. Stone): 49
Metempsychosis: See Nightside
“Metzengerstein”: discussed, 52-67; themes of absurdity and perversity, 52-67 passim, but esp. 63, and 217 n17; as a satiric hoax, 53-54; absurd narrator of, 55-56, 64-65; ironic structures, 57-64; absurd hero of, 60-61; problems of point of view, 65-66; relation to the Folio Club tales, 66; parallels with Hoffmann's “The Entail,” 111, 219 n28; criticism on, 218 n23, 219 n28, 220 n30; mentioned, 6, 39, 40, 44, 73, 95, 104, 109, 115, 125, 141, 167
Michael Angelo (Michelangelo Buonarroti): 127
Montaigne, Michel Eyquem, Seigneur de: 231 n7
Montesquieu, Charles Louis de Secondat, Baron de la Brede et de: 70
Moore, Thomas: Alciphron reviewed by Poe, 11, 211 n14; as the caricatured narrator of “The Assignation,” 127-28; ed. of Letters and Journals of Lord Byron, 127-28
“Morella”: Poe's comparison with “Ligeia,” 78; discussed, 168; criticism on, 236 n5; mentioned, 6, 42, 66
Morella, Juliana: 168
Moresque: synonym for arabesque, 135
“MS. Found in a Bottle”: discussed, 167-68; theme of nothingness in, 192; criticism on, 235-36 n3; mentioned, 6, 40, 42, 66, 182
“Murders in the Rue Morgue”: “unravelling a web which you yourself have woven,” 98; discussed, 117-19; grotesque in, 117-19; mentioned, 5, 104, 123, 174, 175
Mystery, the mysterious: 113, 228 n
“Mystery of Marie Rogêt, The”: coincidence in, 97-98; criticism on, 227 n33; epigraph from Novalis, 231 n7; mentioned, 5, 174
Mystic, mystical: relation to irony according to A. W. Schlegel and Poe, 11; as an “undercurrent” of meaning, 203 n9, 211 n14
“Mystification” (“Von Jung, the Mystic”): the grotesque in, 119-20; mentioned, 6, 35, 42
Narrative of Arthur Gordon Pym, The: discussed, 176-83; Romantic-Ironic frames, 177; ironic turns of fortune, 177-80; related to human irrationality, 178-79, 180, 181, 182; the perverse, 180-82, 183; dream-motif, burial alive, regressive journey toward unbeing, 181-83; theme of nothingness, 181-84, 192; criticism on, 238 n15; mentioned, 166, 169, 187, 189, 193
“Nature Philosophy” (Naturphilosophie): 70-71
Negative Romanticism: 239 n27
Newnham, William: Human Magnetism, Poe on, 97; mentioned, 146, 156
Nicholson, Margaret (Percy Bysshe Shelley): “The Spectral Horseman,” in Posthumous Fragments, 220 n30
Nightside: 22, 139-41; 143-64 passim. See also Dream motifs; Sleep-waking; Schubert, G. H.
“North, Christopher”: See Wilson, John
Nothingness: See Void
Novalis (Friedrich von Hardenberg): Poe's references to, 98, 232 n7; night-side, 139, 140; dream-states, 147; theory of poetry, 231 n7; on irony, 231 n7; translations available to Poe, 23132 n7; mentioned, 24, 204 n2, 234 n22
Nubian geographer (Edrisi): reference in “Eleonora,” 143; comic reference in “Mellonta Tauta,” 157; mentioned, 182
“Oblong Box, The”: 172-73
Oedipus: 145
“Omnipresence of the Deity”: 49
Opium, opium-dreams: See Dream motifs
“Oval Portrait, The” (“Life in Death”): discussed, 132-37; revisions, 132-33, 135-36; arabesque in, 134-35, 137; delirium and opium-dreams in, 13435, 136; criticism on, 229 n16; mentioned, 67, 104, 125, 141, 170
Ovid: 106
Paulding, James K.: early recognition of Poe's satiric intent, 43-44
Perverse, the; perversity: as a major theme in Poe, 165, 166, 170, 175-76, 217-18 n17, 237 n13; Poe's sources for, 218 n17
—: in “Loss of Breath,” 48, 217 n15; in Metzengerstein,” 60, 61, 63; in “William Wilson,” 170; in “The Black Cat,” 172; in “The Tell-Tale Heart,” 172; in “The Imp of the Perverse,” 173-74, 217-18 n17; in Eureka, 175-76; in The Narrative of Arthur Gordon Pym, 180-82, 183, 195. See also Poe
“Phantasy-Pieces” (unpublished): 116
“Philosophy of Composition”: analysis of psychological action in “The Raven,” 99-101; mentioned, 5, 27
“Philosophy of Furniture, The”: discussed, 123-24; criticism on, 229 n11; mentioned, 129
Phrenology: Poe's use of in “Ligeia,” 8586, 87, and “Some Words with a Mummy,” 142; related to transcendentalism, 86-87; Gall and Spurzheim the originators of, 142, 230 n4; Poe's satiric comments on, 217-18 n17, 230 n4; studies of, 225 n25; mentioned, 141
Phrenology, and the Moral Influence of Phrenology: 230 n4
Pinakidia: 112
“Pit and the Pendulum, The”: discussed, 171-72; theme of nothingness, 192-93; criticism on, 235 n3
Plato: Symposium, 31; Platonic theory of love and unity, 236 n5
Poe, Edgar Allan: traditional criticism, 3-7, 16, 199-200 n1; role-playing of, 5, 200 n5; need for new critical perspectives on, 7, 8, 9, 203-4 n11; Freudian approach of, 5, 200 n3, 225 n27; Poe on the “literary historio,” 143; critics of, categorized by Stovall, 199200 n1; Poe in France, 200 n5; Poe in Germany, 200-201 n5; as journalist, editor, reviewer, 201 n5; literary battles of, 201 n5; psychological approaches of, 226 n29
—: studies: of self-parody, 6, 83-85, 163, 174, 204 n27; of three levels of narrative, 14, 17, 19; argument against, 16, 239 n27; humor and satire related to Jean Paul's, 163-64; of humor and satire, 200 n5, 202-3 n8, 204 n12; of irony, 203-4 nil
—: knowledge of German language and literature: 10-11, 12-13, 19-20, 2138 passim; through Carlyle, 21, 209 n7; thefts from A. W. Schlegel, 30, 213 n24; comments on Tieck, 35-36, 214 n28; through Scott, 110-16 passim, 228 n6; studies of, 204-5 n20; collections of prose available, 205-7 n2; Poe on German criticism, 228-29 n8. See also De La Motte Fouqué Fichte; German literature; Jean Paul; Kant; Leibnitz; Novalis; Schelling; Schiller; the Schlegels; Tieck; Wieland
—: on critical terms: banter and verisimilitude, 77; banter and rhapsody, 102; coincidence, 97-98; didacticism, 5, 211 n14; fancy, 115-16; fantasy, 115-16; Gothic, 71, 80, 96, 103, 121, 122, 132, 224 n18; humor, 115-16, 120, 233 n16; imagination, 115-16; -isms, 147; miasmata, 226 n31; mystery, 228 n7; mystic, 11; the occult, 97-98, 146-47, 157; phrenology, 8586, 87, 142, 217-18 n17, 230 n4; psychological realism, 99-101; “richness,” 100; verisimilitude, 77, 102. See also Arabesque; Gothic; Grotesque; Perverse; Phrenology
—: on grotesque and arabesque: in general, 105, 137-38; related to “Germanism,” 117; as terms in “Eleven Tales of the Arabesque” and Tales of the Grotesque and Arabesque, 19-20, 137-38; in “Ligeia,” 80-81; in “Fall of the House of Usher,” 96; in “Murders in the Rue Morgue,” 117-19; in “Mystification,” 119-20; in Marginalia (of Thomas Hood), 120; in “The Masque of the Red Death,” 120-22, 125, 130; in “The Philosophy of Furniture,” 123-24, 125; in “Landor's Cottage,” 124; in “Due de L’Omelette,” 124-25; in “The Assignation,” 125-26, 129, 130; in “The Domain of Arnheim” and other landscape tales, 131-32; in “The Oval Portrait,” 134-35
—: Letters: to George Bush on “Mesmeric Revelation,” 233 n12; to Thomas Holley Chivers on “Mesmeric Revelation,” 232 n12; to Philip P. Cooke, 77-78, 137, on “Morella” and “Ligeia,”; to Cooke on an “improved” version of “Ligeia,” 98; to Cooke on “Murders in the Rue Morgue,” 118; to Cooke on the “book-unity” of his tales, 138; to Evert Duyckinck on “The Facts in the Case of M. Valdemar,” 160; to George W. Eveleth on “The Raven,” 98-99; to Harrison Hall on “Tales of the Folio Club,” 42; to James Russell Lowell on “Mesmeric Revelation,” 232 n12; to Arch Ramsey on “The Facts in the Case of M. Valdemar,” 160; to George Roberts on “The Mystery of Marie Rogêt,” 97-98; to Thomas W. White on “Berenice” and the grotesque, 43, 138
—: Reviews: of Elizabeth Barrett Browning, 34; of The Doctor, 101-2; of Joseph Rodman Drake and Fitz-Greene Halleck, 28; of Euripides, 30; of Featherstonhaugh's translation of Manzoni's The Betrothed (attributed), 112; of Friedrich De La Motte Fouqué's Undine, 146; of William Godwin's Lives of the Necromancers, 97; of Nathaniel Hawthorne's Twice-Told Tales (1842 version), 5, 101; (1847 version), 35; of R. H. Horne's translation of Euripides (derived from A. W. Schlegel), 30; of John P. Kennedy's Horse-Shoe Robinson, 36; of Henry Wadsworth Longfellow's Ballads, 211 n14; of Manzoni, 112; of Thomas Moore's Alciphron, 11, 211 n14; of William Newnham's Human Magnetism, 97; of Algernon Henry Penkins's Ideals and Other Poems, 209 n7; of Phrenology, and the Moral Influence of Phrenology, 230 n4; of William Gilmore Simms's The Partisan, 36; of N. P. Willis's works, 28, 115-16, 211 n14
—: Tales: ratiocinative tales, 5-6, 174-75; alternation of comic and Gothic, 6-7; satiric pattern of first twenty-two tales, 42; the “Burlesque of ‘Blackwood”’ (Paulding's comment on “Loss of Breath”), 43; the “Quiz on Willis” (Paulding's comment on either “The Due de L’Omelette” or “Lionizing”), 43; landscape tales, 130-32, 175; on the “book-unity” of his tales, 138; Gothic tales surveyed, 167-76; philosophical dialogs, 175
—: For works of criticism, philosophy, poetry, and fiction, see individual titles
“Poetic Principle, The”: on the “heresy of the Didactic,” 15-16
Pope, Alexander: The Dunciad, 122
Porter, Jane: The Narrative of Sir Edward Seaward, 235 n3
Poughkeepsie Clairvoyant, the Poughkeepsie Seer: See Davis, Andrew Jackson
“Power of Words, The”: 28, 175
“Predicament, A” (“The Scythe of Time”): 6, 38, 42, 73
“Premature Burial, The”: discussed, 1416; mentioned, 6, 23, 55, 73, 108, 119, 172
Psychological autobiographists: 169. See also Disraeli
Ptolemy Hephestion: See Nubian geographer
“Purloined Letter, The”: 5, 128, 174, 175
Quintilian: 11
Quixotic tradition: related to arabesque, 209-10 n10. See also Cervantes
Rabelais, Francois: Gargantua, 158, 159; mentioned, 233 n18
Radcliffe, Mrs. Ann Ward: English mode of Gothic romance, 74; Mysteries of Udolpho, 75; mentioned, 76, 224 n15
Ramblings and Reveries of an Art Student in Europe (anonymous narrative): on the perverse, 218 n17, 233 n17
Ramsey, Arch: Poe's letter to, on “The Facts in the Case of M. Valdemar” as a hoax, 160
Randolph, John: 158
“Raven, The”: Poe's letter to Eveleth, 98-99; analysis of psychological action in “The Philosophy of Composition,” 99-101; mentioned, 5, 103, 111
Rent Guido: Madonna della Pieta, 129
Reviews by Poe: See Poe
Richter, Jean Paul Friedrich: See Jean Paul
Ritter, Johann Wilhelm: 140
Roberts, George: Poe's letter to, on coincidence in “The Mystery of Marie Rogêt,” 97-98. See also Snodgrass, Joseph Evans
Rogers, Mary (real life prototype of Marie Rogêt): 97
Romantic Irony: See Irony
Romantic skepticism: Jean Paul's, 109; related to the grotesque and arabesque, irony and humor, 109; discussed, 16566, 175-76, 182-83, 187, 189-91, 192-95. See also Irony
Ruskin, John: definition of the grotesque, 105
St. Pierre, Jacques Henri Bernadin de: 48, 50
Saracen, Saracenic: in “Metzengerstein,” 61; as a style of Gothic in “Ligeia,” 80; in “Domain of Arnheim,” 132. See also Arabesque
Satire: defined, 9
Schelling, Friedrich Wilhelm Joseph von: Naturphilosophie and higher reason, 25-26; Poe's references to, 26, 212 n16; Philosophy of Art and the “Gothic imagination,” 71; Transcendental Idealism, tragedy, comedy, and the nightside, 211-12 n16; translations available to Poe, 212 n18; mentioned, 24, 27, 34, 48, 50, 139, 140, 204 n2, 210 n13, 236 n5
Schiller, Johann Christoph Friedrich von: Letters of Aesthetic Education, On Naive and Sentimental Poetry, and on satire and irony, 25; “The Ghost-Seer,” 111; Wallenstein, 158, 159; translations available to Poe, 211 n15; Poe's references to, 211 n15; mentioned, 24, 27, 37, 210 n13, 211 n14, 233 n18
Schlegel, the brothers: editors of Athenäum, 29; mentioned, 24, 25, 34, 116, 204 n2, 210 n13, 212-13 n20, 229 n8, 234 n22
Schlegel, August Wilhelm von: use of mystical, 11; Poe's indebtedness to, 11, 29, 213 n24; Poe's references to, 11, 213 n23; unity or totality of effect, 29; theories of irony and Lectures on Dramatic Art and Literature discussed, 29-34; Kierkegaard on, 30; translations available to Poe, 30, 214 n27; “secret irony of composition, 33-34; on the grotesque, 108; Lectures mentioned, 111; Schlegel mentioned, 12, 20, 53, 137
Schlegel, Friedrich von: on “self-parody,” 10; “transcendental irony” and the arabesque, 26-29; on Socratic irony, 29; on the relationship of comedy, tragedy, irony, the grotesque, the arabesque, 107-8; Lectures on Poetry, 107-8; Athenäum fragments on the grotesque and arabesque, 108, 109; on Jean Paul, 109; self-parody compared to Jean Paul's concept of “humor,” 163, 164; Lucinde, 212 n18; translations available to Poe, 212 n18; studies of, 212 n18; mentioned, 12, 21, 140, 162, 208 n5. See also Arabesque; Grotesque
Schubert, G. H. von: Views on the Nightside of Natural Science, 140; The Symbolism of Dreams, 140
Scott, Sir Walter: The Antiquary, 54; The Betrothed, 54; Ivanhoe (parallels with “Ligeia”), 83; evidence of Poe's reading of, 110-12; “On the Supernatural in Fictitious Composition: and Particularly on the Works of Ernest Theodore William Hoffmann,” 110-16; definitions of grotesque and arabesque in, 112, 114-15; on the “fantastic mode” of writing in, 114; on the fairy tale, 114; on German writing, 114; German decor in, 220 n28; mentioned, 120, 228 n6
“Scythe of Time, The”: See “A Predicament”
“Sensation tales”: 16-17, 73; also called “Sensation-papers” and “intensities,” 37-38; as a specialty of Blackwood's, 47
“Shadow”: discussed, 168-69; mentioned, 6, 42
Shakespeare, William: A. W. Schlegel on, 33-34; The Tempest, 122; mentioned, 36, 107
Shelley, Mary: Frankenstein, 76
Shelly, Percy Bysshe: 5, 220 n30
“Silence” (“Siope”): discussed, 168-69; criticism on, 236 n6; mentioned, 6, 40, 41, 42, 82, 83, 195, 224 n22
Simms, William Gilmore: The Partisan, 36
“Siope”: See “Silence”
“Sleep-waking”: distinguished from delusive dream-states, 140-41; Jean Paul on, 161; in “Eleonora,” 143, 144; in “A Tale of the Ragged Mountains,” 147, 148-49; in “Mesmeric Revelation,” 153; in “The Facts in the Case of M. Valdemar,” 158, 160. See also Dream motifs
Smith, Horace: Zillah, A Tale of the Holy City, 46
Snodgrass, Joseph Evans: Poe's letter to, on coincidence in “The Mystery of Marie Rogêt,” 97-98. See also Roberts, George
Socrates: associated with mystic as irony, 11; Friedrich Schlegel's definition of “Socratic irony,” 29; A. W. Schlegel on, 31-32
“Sogni dei pittori”: See Dreams of the painters; Dream motifs
Solger, K. W. F.: Erwin, 204 n16; mentioned, 18, 24, 30, 214 n2,6
“Some Passages in the Life of A Lion”: See “Lionizing”
“Some Words with a Mummy”: discussed, 141-43; criticism on, 230 n4; mentioned, 6
“Sphinx, The”: 174
Spurzheim, Johann Cristoph: 142. See Phrenology
Stael, Madame Germaine de: See Jean Paul
Sterne, Lawrence: German admiration of “sportiveness” in, 22; Tristram Shandy, 102; mentioned, 108
Stoker, Bram: Dracula, 76
Stone, J. A.: Metamora, 49
“Storm and Stress”: 107
Supernatural: See Gothic; Gothic romance; Scott, Sir Walter
Swedenborg, Emanuel: relation to phrenology and transcendentalism, 86, 87; as a satiric target of “Mesmeric Revelation,” 233 n13; “Swedenborgians” mentioned, 157, 233 n12
Swift, Jonathan: German admiration of “sportiveness” in, 22; mentioned, 108
Symmes, John Cleve: Symzonia, 235 n3
“Tale of Jerusalem, A”: discussed, 4647; mentioned, 6, 40, 44
“Tale of the Ragged Mountains, A”: discussed, 147-52; mentioned, 104, 141, 172
“Tales of the Folio Club” (unpublished): preface, 40-41; membership, 41-42; Paulding's criticism, 43; rejection for publication, 44; criticism on, 215-16 n3; similarity of “plan” to Hoffmann's Serapionsbriider, 219 n28; mentioned, 39, 40, 41-42, 66, 137, 169, 195
Tales of the Grotesque and Arabesque: preface, 19; concept of the arabesque in compared to Schlegel's, 27; unity in, 137-38; mentioned, 7, 13, 40, 42, 79, 80, 103, 109, 112, 123
Tate, Allen: 4, 200 n2, 208 n5
“Tell-Tale Heart, The”: discussed, 172; criticism on, 237 n11; mentioned, 13
Thirwall, Bishop Connop: “On the Irony of Sophocles,” discussed, 203 n9; German criticism in his translation of Tieck's “The Pictures” and “The Betrothing,” 203 n9
“ ‘Thou Art the Man’ ”: 6, 174
Tieck, Ludwig: Romantic Irony in the early plays discussed by Carlyle, 21; the nightside in, 22, 139; Phantasus, 20; Puss in Boots, 21, 208-9 n7; Prince Zerbino, 22, 209 n7; The World Turned Topsy-Turvy, 22, 209 n7; The Old Man of the Mountain, 35; Journey into the Blue Distance, 36, 38, 92, 215 n31; “The Pictures” and “The Betrothing,” 203 n9; “The Old Book” and “The Journey into the Blue Distance,” 215 n31; “Life of Novalis,” 232 n7
—: Poe's comparison with Hawthorne, 35; Poe's references to, 35-36, 214 n28; translations available to Poe, 203 n9, 208-9 n7, 214 n28; 232 n7; critical studies of, 208 n4; Tieck mentioned, 12, 23, 24, 25, 30, 108, 116, 119, 120, 141, 161, 163, 204 n2, 214 n26, 234 n22
Transcendental Club: 86-87 Transcendental irony. See Irony
Uhland, Ludwig: 204 n2
Venus de Medici: 127
Verisimilitude: See Banter
“Visionary, The”: See “The Assignation”
Vitruvius: 106
Void: as a pervasive theme in Poe, 7, 47, 104, 165-66, 170, 175-76, 192, 195, et passim; in “The Fall of the House of Usher” and “Ligeia,” 90, 96-97, 104; in “Island of the Fay,” 131; in “William Wilson,” 170; in The Narrative of Arthur Gordon Pym, 181-84, 187, 192; in “The Colloquy of Monos and Una,” 184, 186-87; in Eureka, 131, 165, 188-91, 193-95; in “MS. Found in a Bottle,” 192; in “A Descent into the Maelström,” 192; in “The Pit and the Pendulum,” 192-93; critical and historical study of, 239 n27. See also Arabesque
Voltaire, Francois Marie Arouet de: Candide, 49; mentioned, 37
“Von Jung, the Mystic”: See “Mystification”
“Von Kemplen and his Discovery”: 175
Walpole, Horace: The Castle of Otranto, 54, 71-73
White, Thomas W.: Poe's letter to, on the grotesque, 43; mentioned, 204 n1
“Why the Little Frenchman Wears His Hand in a Sling”: 6, 42
Wieland, Christoph Martin: imitation of Cervantes in Don Sylvia of Rosalva, 22; Agathon, 22; Peregrinus Proteus, 22, and Poe's quotation from, 23; on grotesque caricature in Conversations with the Parson of * * *, 107; translations available to Poe, 209 n9; Wieland mentioned, 108, 113, 204 n2
Wilbur, Richard: 83, 188, 201 n6
“William Wilson”: discussed, 169-70; criticism on, 236-37 n7; mentioned, 6, 42, 163
Willis, Nathaniel Parker: Poe's 1845 review of, 28, 115; editor of American Monthly Magazine, 45; as satiric target in “The Duc de L’Omelette, 45, 216-17 n9, 224 n2; Poe's “Quiz on Willis,” 216 n7, 216-17 n9; in “Lionizing,” 224 n22; mentioned, 79, 211 n14
Wilson, John (“Christopher North”): Blackwood's editor: Poe's reference to, 35; “The Convict,” 48; mentioned, 218 n20
Winckelmann, Johann Joachim: 204 n2, 210 n13
“Women Celebrated in Spain for the Extraordinary Powers of Mind”: 168
Wolfram von Eschenbach: 108
Wordsworth, William: 48, 51, 218 n20
Wren, Christopher: on The Gothic, 70
Young, Edward: Night-Thoughts, 15
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Notes:
None.
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[S:0 - GRTPF, 1973] - Edgar Allan Poe Society of Baltimore - Bookshelf - Poe's Fiction: Romantic Irony in the Gothic Tales (G. R. Thompson) (Index)