The Works of Edgar Allan Poe — Volume 3

By Edgar Allan Poe

Page 191

cold and fever were contracted, attended with
great determination of blood to the head. To relieve this, Dr. Templeton
resorted to topical bleeding. Leeches were applied to the temples. In
a fearfully brief period the patient died, when it appeared that in the
jar containing the leeches, had been introduced, by accident, one of
the venomous vermicular sangsues which are now and then found in the
neighboring ponds. This creature fastened itself upon a small artery in
the right temple. Its close resemblance to the medicinal leech caused
the mistake to be overlooked until too late.

“N. B. The poisonous sangsue of Charlottesville may always be
distinguished from the medicinal leech by its blackness, and especially
by its writhing or vermicular motions, which very nearly resemble those
of a snake.”

I was speaking with the editor of the paper in question, upon the
topic of this remarkable accident, when it occurred to me to ask how it
happened that the name of the deceased had been given as Bedlo.

“I presume,” I said, “you have authority for this spelling, but I have
always supposed the name to be written with an e at the end.”

“Authority?--no,” he replied. “It is a mere typographical error. The
name is Bedlo with an e, all the world over, and I never knew it to be
spelt otherwise in my life.”

“Then,” said I mutteringly, as I turned upon my heel, “then indeed has
it come to pass that one truth is stranger than any fiction--for Bedloe,
without the e, what is it but Oldeb conversed! And this man tells me
that it is a typographical error.”




THE SPECTACLES

MANY years ago, it was the fashion to ridicule the idea of “love at
first sight;” but those who think, not less than those who feel deeply,
have always advocated its existence. Modern discoveries, indeed, in what
may be termed ethical magnetism or magnetoesthetics, render it probable
that the most natural, and, consequently, the truest and most intense
of the human affections are those which arise in the heart as if by
electric sympathy--in a word, that the brightest and most enduring
of the psychal fetters are those which are riveted by a glance. The
confession I am about to make will add another to the already almost
innumerable instances of the truth of the position.

My story requires that I should be somewhat minute. I am still a very
young man--not yet twenty-two years of age. My name, at present, is a
very usual and rather plebeian one--Simpson. I say “at present;” for it
is only lately that I have been so called--having

Last Page Next Page

Text Comparison with The Raven and The Philosophy of Composition

Page 0
_ _Lenore_ ] [Illustration] The Raven and The Philosophy of Composition By Edgar Allan Poe Quarto Photogravure Edition Illustrated from Paintings by Galen J.
Page 1
It is felt that no other introduction could be more happily conceived or executed.
Page 2
first, cast about him for some mode of accounting for what had been done.
Page 3
The initial consideration was that of extent.
Page 4
When, indeed, men speak of Beauty, they mean, precisely, not a quality, as is supposed, but an effect; they refer, in short, just to that intense and pure elevation of soul—not of intellect, or of heart—upon which I have commented, and.
Page 5
Truth, in fact, demands a precision, and Passion a homeliness (the truly passionate will comprehend me) which are absolutely antagonistic to that Beauty which, I maintain, is the excitement, or pleasurable elevation, of the soul.
Page 6
” In fact, it was the very first which presented itself.
Page 7
” I had to combine these, bearing in mind my design of varying, at every turn, the application of the word repeated; but the only intelligible mode of such combination is that of imagining the Raven employing the word in answer to the queries of the lover.
Page 8
Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect.
Page 9
It has an indisputable moral power in keeping concentrated the attention, and, of course, must not be confounded with mere unity of place.
Page 10
” Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door.
Page 11
But in subjects so handled, however skilfully, or with however vivid an array of incident, there is always a certain hardness or nakedness which repels the artistical eye.
Page 12
seek a moral in all that has been previously narrated.
Page 13
Nothing further then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me,.
Page 14
_] [Illustration] This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! [Illustration] Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor.
Page 15
.