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Browsing named entities in a specific section of Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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Milton (search for this): chapter 1.4
dgar Allan Poe. p. XIX; J. M. Robertson, New essays towards a critical method, p. 117. His most distinctive gifts as critic were clearness of intellect and a faculty for analysis. Few Americans of his time had finer intellectual endowments. He also had the poet's faculty of ideality, on which he laid great stress in his judgments of others. And he was the most independent and fearless of critics, disdaining not to attack either high or low. He had not read very widely; but he knew his Milton well, and probably his Shakespeare and his Pope, and he was familiar with the chief Romantic poets of the age immediately preceding his own; while as editor and magazinist he kept in close touch with contemporary literature. On the other hand, he was prone to exaggerate technical blemishes and to underestimate ethical and philosophical significance. And his taste was not always impeccable. By his contemporaries he was thought of as inexcusably harsh in his criticisms: by one of them he i
Bon (search for this): chapter 1.4
nted the detective story, and more than any other he gave to the short story its vogue in America. Like his poems, his tales are notably unequal. Some of his earlier efforts—especially his satirical and humorous extravaganzas, as Lionizing and Bon-Bon—are properly to be characterized as rubbish; and he was capable in his later years of descending to such inferior work as The Sphinx, Mellonta Tauta, and X-ing a Paragrab. One feels, indeed, that Lowell's famous characterization of him: ThBon—are properly to be characterized as rubbish; and he was capable in his later years of descending to such inferior work as The Sphinx, Mellonta Tauta, and X-ing a Paragrab. One feels, indeed, that Lowell's famous characterization of him: Three fifths of him genius and two fifths sheer fudge, applies with entire justice to him as a maker of short stories. The best of his narrative work is to be found in his analytical tales, as The gold Bug or The descent into the Maelstrom, in certain stories in which he combines his analytical gift with the imaginative and inventive gift, as The Cask of Amontillado and William Wilson, or in certain studies of the pure imagination, as The fall of the House of Usher and The Masque of the red dea<
Woodberry (search for this): chapter 1.4
eason of their sombreness of tone. Poe's tales, which exceed in number his fully authenticated poems, have been held by some of the most judicious of his critics to constitute his chief claim to our attention. E. C. Stedman in the Stedman-Woodberry edition of Poe, Vol. x, p. XIII; and Robertson,l.c., p. 75. There are those who will not subscribe to this view, but it is plain that he was the most important figure in the history of the short story during his half-century. Hawthorne alone hat he knew the German romancer, E. T. A. Hoffmann, if not in the original, at least in translation, and that he caught his manner and appropriated his themes. Palmer Cobb, The Influence of E. T. A. Hoffmann on the Tales of Edgar Allan Poe. Woodberry, Life of Poe, vol. I, pp. 379-381, and passim. For the rest, he drew for his materials largely on the magazines and newspapers of his day, finding in a famous newspaper sensation of the forties the suggestion of his Mystery of Marie Roget (as
De Quincey (search for this): chapter 1.4
lado and William Wilson, or in certain studies of the pure imagination, as The fall of the House of Usher and The Masque of the red death. In all of these he displays a skill of construction and of condensation surpassed by few if any other workers in his field. In some—as in The Masque of the red death, or in Eleonora, or in his landscape studies—he shows himself a master of English style; and in two of his briefer studies— Shadow and Silence—he approaches the eloquence and splendour of De Quincey. His main limitations as a writer of the short story are to be found in the feebleness and flimsiness of his poorer work; in his all but complete lack of healthy humour; in his incapacity to create or to depict character; in his morbidness of mood and grotesqueness of situation. His friend, P. P. Cooke, wrote of him in 1847: For my individual part, having the seventy or more tales, analytic, mystic, grotesque, arabesque, always wonderful, often great, which his industry and fertilit
Saturday Courier (search for this): chapter 1.4
quence, and 6 March, 1831, was formally expelled. In April a third volume of his poems appeared, containing some of the best work that he ever did, but in a state much inferior to that in which he ultimately left it. During the ensuing four years Poe seems to have made his home in Baltimore, though it is impossible to trace his history with complete certainty throughout this period. Much of his time, no doubt, was given to his prose tales, five of which appeared in the Philadelphia Saturday Courier, in 1832, These stories were originally submitted in competition for a prize—won, as it happens, by Delia Bacon. and a sixth—for which he won a prize of a hundred dollars—in the Baltimore Saturday Visiter in October, 1833; and he also worked at intervals during these years on a play, Politian, which, though published in part, was never completed. That he lived in poverty and in much obscurity is evident from the reminiscences of John Pendleton Kennedy, the novelist, Tuckerman, L<
Thomas Dunn English (search for this): chapter 1.4
dle of the year (May to October) he published, in Godey's Lady's Book, his Literati, a series of biographical—critical papers dealing with the chief living writers of Gotham; and the year was further made memorable by the controversy with Thomas Dunn English engendered by the publication of the Literati, and by a scandal growing out of his friendship with the poetess, Mrs. F. S. Osgood. Early in 1847 the poet's wife died, and throughout the year, as indeed during the preceding year, the family altered as to be scarcely recognizable in their final recast. His melody, especially in his later poems, grows in large measure out of his all but unexampled use of parallelism and of the refrain. C. A. Smith, Repetition and parallelism in English Verse, pp. 44 f. Not a little of his charm, moreover, both in his earlier and in his later work, results from his use of symbolism. It is idle to complain that his best verses—as Israfel or The haunted Palace —are superficial; and it is futile<
Bulwer (search for this): chapter 1.4
mancers: he makes constant use of Gothic machinery, of apparitions, cataleptic attacks, premature burial, and life after death. In several of his stories—as also in his long poems, Tamerlane and Al Aaraaf —he follows in the steps of the Orientalists. On the other hand, in some of his tales of incident he achieves a realism and a minuteness of detail that betray unmistakably the influence of Defoe. And it is easy to demonstrate an indebtedness to divers of his contemporaries, as James and Bulwer and Disraeli and Macaulay. It has been proved also that he knew the German romancer, E. T. A. Hoffmann, if not in the original, at least in translation, and that he caught his manner and appropriated his themes. Palmer Cobb, The Influence of E. T. A. Hoffmann on the Tales of Edgar Allan Poe. Woodberry, Life of Poe, vol. I, pp. 379-381, and passim. For the rest, he drew for his materials largely on the magazines and newspapers of his day, finding in a famous newspaper sensation of the f
John Pendleton Kennedy (search for this): chapter 1.4
lay, Politian, which, though published in part, was never completed. That he lived in poverty and in much obscurity is evident from the reminiscences of John Pendleton Kennedy, the novelist, Tuckerman, Life of Kennedy, pp. 373 f. who had been one of the judges in the Visiter's contest in 1833 and who now proved his most helpfKennedy, pp. 373 f. who had been one of the judges in the Visiter's contest in 1833 and who now proved his most helpful friend. In the summer of 1835, Poe went to Richmond to assist in the editing of The Southern literary Messenger, and before the end of the year he had been promoted to be editor-in-chief of that magazine. He was now fairly launched on his career as man of letters. In the columns of the Messenger he republished, with slight man was more quickly touched by a kindness, none more prompt to make return for an injury, and, further, that he was the soul of honour in all his transactions. Kennedy notes that he was irregular, eccentric, and querulous, but adds—as if in set rejoinder to Griswold's charge that he was incapable of gratitude for service done—th
Pope (search for this): chapter 1.4
ys towards a critical method, p. 117. His most distinctive gifts as critic were clearness of intellect and a faculty for analysis. Few Americans of his time had finer intellectual endowments. He also had the poet's faculty of ideality, on which he laid great stress in his judgments of others. And he was the most independent and fearless of critics, disdaining not to attack either high or low. He had not read very widely; but he knew his Milton well, and probably his Shakespeare and his Pope, and he was familiar with the chief Romantic poets of the age immediately preceding his own; while as editor and magazinist he kept in close touch with contemporary literature. On the other hand, he was prone to exaggerate technical blemishes and to underestimate ethical and philosophical significance. And his taste was not always impeccable. By his contemporaries he was thought of as inexcusably harsh in his criticisms: by one of them he is dubbed the tomahawk man, by another the broad-a
Arthur Gordon Pym (search for this): chapter 1.4
was formally announced. From Richmond he went to New York, where he hoped to find employment with The New York review. In October, 1837, he was in Richmond again, posing as editor still of the Messenger, though we cannot be certain that he contributed anything to its columns at this time. At the end of the year he was again in New York; and in the following summer he moved to Philadelphia. In July he published at New York, in book form, the longest of his tales, The narrative of Arthur Gordon Pym. The next six years (1838-1844) he spent in Philadelphia. During the first year he was engaged largely in hack-writing, busying himself with a work on conchology (published in 1839) among other things, though he also composed at this time some of the best of his tales. In May, 1839, he became associate editor of Burton's gentleman's magazine, but a year later he quarrelled with Burton and lost his place. From April, 1841, to May, 1842, he edited Graham's magazine. And in 1843 h
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