Or the sun ray dripp'd all red Now the unhappy shall confess Through the terror-stricken sky, O'er the horizon's fiery wall There the moon doth shine by night With a most unsteady light- "Over the hills and far away." The following are the variations of the Southern Literary Messenger from the above: Line 4 east (cap.) 6 Far away (One and all, too) 10 interpreted. (:) 11 dart- (o. d.) 22 the (th') 22 leaning: (,) 23 sun ray (sun-ray) 24 the (tall) 27-46: Now each visiter shall confess No wind in Heaven, and lo! the trees No wind in Heaven, and clouds do fly, Through the terror-stricken sky, O'er th' horizon's fiery wall And Helen, like thy human eye, Low crouched on Earth, some violets lie, Variations of the American Whig Review from the text. Line 6 flowers, (o. c.) 18 rustle (rustles) 19 Uneasily (Unceasingly). After 27 insert: They wave; they weep; and the tears as they well From the depths of each pallid lily bell, Give a trickle and a tinkle and a knell. The Broadway Journal shows no variations from the text. EDITOR'S NOTE. A lonely grave in a valley of unrest where trees are eternally without wind and where clouds rustle through unquiet heavens. This fantastic lyric has been connected with the Ragged Mountains and has been used as the germ of a story located in that romantic region. THE COLISEUM. Page 56. THE BALTIMORE SATURDAY VISITER, 1833; SOUTHERN LITERARY MESSENGER, AUGUST, 1835; PHILADELPHIA SATURDAY EVENING POST, JUNE 12, 1841; PHILADELPHIA SATURDAY MUSEUM, MARCH 4, 1843; 1845; Broadway JOURNAL, II. 1. Text, 1845. Title in Southern Literary Messenger, The Coliseum A Prize Poem. Variations of Southern Literary Messenger from the text. Line 4 length-at (,) 5 and (, and) 7 and (, and) 11 Silence! (Silence). After 11 insert : Gaunt vestibules! and phantom-peopled aisles ! 12 now (:) 12 strength — (!) 17 falls! (;) 19 bat! (:) 20 gilded (yellow) 21 Waved (Wav'd) 21 thistle! (:). After 21 insert: Here, where on ivory couch the Cæsar sate, 22 lolled (loll'd) 23, spectre-like, (o. c.) 24 hornéd (horned) 26 But stay-these (These crumbling) 26 ivyclad (tottering) 26 arcades (i) 27 plinths (;) 27 sad (sad,) 27 blackened (blacken'd) 27 shafts — (;) 28 entablatures-(;) 28 crumbling (broken) 28 frieze - (;) 29 cornices- (i) 29 wreck (;) 29 ruin ·(3) 30 stones. (3) 30 alas! (!—) 31 famed, (great) 32 Hours (hours) 33 all-(-) 33 Echoes (echoes) 33 me (;) 33 all! (:) 34 sounds (sounds,) 34 forever (for ever) 36 melody (in old days) [omit quotation marks from 1. 34 to end except after glory 1. 46] 36 Sun (sun) 37– -we (. We) 39 impotent (desolate) 40 gone (;) 41 renown — (3) 42 us — (o. c.). (3) 43 lie (i) 40 fame. Variations of Broadway Journal from the text. Line 7 altered (alter'd) 9, gloom, (o. c.) 22 Lolled (loll'd) 24 hornéd (horned) 27 blackened (blacken'd) 29 shattered (shatter'd) 31 famed (fam'd) 32 Hours (Hours,). EDITOR'S NOTE. The weary pilgrim drinks within his soul the grandeur, gloom, and glory of the Coliseum. Its charms are potent. The ruin is well-nigh complete, but the pallid stones are not impotent because associations clothe them in a robe of more than glory. This reflective description in blank verse would have received the second prize in The Baltimore Saturday Visiter if the " Manuscript Found in a Bottle" had not received the first. In this poem is found the second reference to Jesus, the first having been omitted in the revised form of the poem in which it occurred, but the charms of this ruin have greater potency than the spells of the Judean King in Gethsemane. This poem supplements "To Helen." It is probably based upon an indefinite and indistinct memory of childhood. Originally it formed part of the drama of "Politian and was uttered as a monologue by one of the characters. In metrical structure it forms, with the second poem to "Helen,' the poem "To"To M. L. S." and " Politian," an interesting study in Poe's manipulation of the rimeless iambic pentameter blank verse. - HYMN. Page 58. THE SOUTHERN LITERARY MESSENGER, APRIL, 1835 [MORELLA]; BURTON'S GENTLEMAN'S MAGAZINE, NOVEMBER, 1839 [MORELLA]; TALES OF GROTESQUE AND ARABESQUE, 1840 [MORELLA]; 1845; BROADWAY JOURNAL, I. 25 [Morella], II. 6. Text, 1845. Variations of Southern Literary Messenger from the text. Insert before : Line Sancta Maria! turn thine eyes Upon the sinner's sacrifice Of fervent prayer, and humble love, - at (,) I noon - ·() 1 dim. ·() 2 hymn! (·) 3 wo -(,) 3 ill. ·() 4 God, (!) 5 the (my) 5 Hours (hours) 5 brightly (gently) 6 not a cloud obscured (no storms were in) 8 grace (love) 8 thee; (.) 9 storms (clouds) 10 Darkly (All) 10 Present (Present,) 12 thine! (.). For variations of this poem in the tale "Morella," in the various publications, see Notes to the Tales. As it is not considered necessary to repeat all of these here, only the Southern Literary Messenger variations are given in full in this place. It may be observed in general that the verbal variations of Burton's are exactly the same as those of the Southern Literary Messenger above. 1840 has the inserted stanza, and a for the 1. 2; otherwise no verbal variation from the text. The Broadway Journal shows no variation from the text. VOL. VII.-13 |