Essential Tales And Poems Of Edgar Allan Poe Part 27

57 (p. 393) (p. 393) pandemonium pandemonium in petto: That is, chaos in secrecy in petto: That is, chaos in secrecy (in petto (in petto is Italian for "in the breast"). The lunatics give way to their deranged emotions within the walls of the remote asylum, where n.o.body is likely to discover them. Pandemonium, in English poet John Milton's epic poem, is Italian for "in the breast"). The lunatics give way to their deranged emotions within the walls of the remote asylum, where n.o.body is likely to discover them. Pandemonium, in English poet John Milton's epic poem, Paradise Lost Paradise Lost (1667), is the palace of Satan in h.e.l.l, a natural locale for uproar and confusion. Pandemonium does indeed ensue, once the real keepers break in upon the mad revelers. (1667), is the palace of Satan in h.e.l.l, a natural locale for uproar and confusion. Pandemonium does indeed ensue, once the real keepers break in upon the mad revelers.

58 (p. 396) (p. 396) "Yankee Doodle," which they performed, if not exactly in tune, at least with an energy superhuman, during the whole of the uproar: "Yankee Doodle," which they performed, if not exactly in tune, at least with an energy superhuman, during the whole of the uproar: Frenchmen playing "Yankee Doodle," once America's most widely popular national song, may signal another example of the craziness occurring before the unwitting narrator. Frenchmen playing "Yankee Doodle," once America's most widely popular national song, may signal another example of the craziness occurring before the unwitting narrator.

59 (p.399) (p.399) "Old Charley Goodfellow": "Old Charley Goodfellow": This is another example of Poe's wordplay: Charley is anything but good; as a colloquialism, This is another example of Poe's wordplay: Charley is anything but good; as a colloquialism, fellow fellow defines a person as a lowlife. defines a person as a lowlife.

60 (p. 404) (p. 404) crack novels ... Ainsworth: crack novels ... Ainsworth: "Crack novels" are excellent, superior novels; Poe uses the phrase ironically, as the subsequent remarks and names demonstrate. Catherine Gore was the English author of "Crack novels" are excellent, superior novels; Poe uses the phrase ironically, as the subsequent remarks and names demonstrate. Catherine Gore was the English author of Cecil Cecil (1841), a fashionable novel that she was accused of pilfering from (1841), a fashionable novel that she was accused of pilfering from vathek vathek (see note 43 of (see note 43 of Tales). Tales). Three popular English novelists in Poe's day (and well beyond) were Edward Bulwer-Lytton (1803-1873), Charles d.i.c.kens (1812-1870), and William Harrison Ainsworth (1805-1882). Three popular English novelists in Poe's day (and well beyond) were Edward Bulwer-Lytton (1803-1873), Charles d.i.c.kens (1812-1870), and William Harrison Ainsworth (1805-1882). Turnapenny Turnapenny is Poe's comic name for one who writes princ.i.p.ally for money. is Poe's comic name for one who writes princ.i.p.ally for money.

61 (p. 413) In (p. 413) In looking around me for some subject ... resembling those of John Randolph: looking around me for some subject ... resembling those of John Randolph: Poe invented most of the names or situations mentioned in this paragraph-for example, M. Ernest Valdemar, "Bibliotheca Forensica," and Issachar Marx. Poe invented most of the names or situations mentioned in this paragraph-for example, M. Ernest Valdemar, "Bibliotheca Forensica," and Issachar Marx. Wallenstein Wallenstein ( 1798-1799) is a play by German author J. C. F. von Schiller. ( 1798-1799) is a play by German author J. C. F. von Schiller. Gargantua Gargantua (1532) is a book of legends about a giant by French author Francois Rabelais. John Randolph (1773-1833) was a gaunt Virginia politician from Roanoke. (1532) is a book of legends about a giant by French author Francois Rabelais. John Randolph (1773-1833) was a gaunt Virginia politician from Roanoke.

62 (p. 423) (p. 423) But the chief peculiarity of this horrible thing was the representation of a But the chief peculiarity of this horrible thing was the representation of a Death's Head, ... Death's Head, ... as if it had been there carefully designed by an artist: as if it had been there carefully designed by an artist: This insect resembles the imaginary beetle in "The Gold-Bug." This insect resembles the imaginary beetle in "The Gold-Bug."

63 (p. 424) (p. 424) one of the ordinary synopses of Natural History: A Synopsis of Natural History, one of the ordinary synopses of Natural History: A Synopsis of Natural History, by Thomas Wyatt (based on a work by Ceron Lemonnier), was published in Philadelphia in 1839; some thought that Poe himself had written the work. The description of the insect that follows unmistakably comes from Wyatt's book. by Thomas Wyatt (based on a work by Ceron Lemonnier), was published in Philadelphia in 1839; some thought that Poe himself had written the work. The description of the insect that follows unmistakably comes from Wyatt's book.

64 (p. 426) (p. 426) The thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult, I vowed revenge: The thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult, I vowed revenge: We never learn the precise nature for Montresor's animosity, although if he is a devout Roman Catholic and Fortunato is a Mason, there would be sufficient ground for his feelings. The Free and Accepted Masons, known as Freemasons or Masons, is a secret fraternal society that originated in fourteenth-century England. During the later eighteenth century, when the type of cloak known as a roquelaure came into fashion, animosities developed between the Roman Catholic Church and the Masons. For We never learn the precise nature for Montresor's animosity, although if he is a devout Roman Catholic and Fortunato is a Mason, there would be sufficient ground for his feelings. The Free and Accepted Masons, known as Freemasons or Masons, is a secret fraternal society that originated in fourteenth-century England. During the later eighteenth century, when the type of cloak known as a roquelaure came into fashion, animosities developed between the Roman Catholic Church and the Masons. Fortunato is Italian for "fortunate" or "fated." Each or both may apply here, given the outcome of the story. is Italian for "fortunate" or "fated." Each or both may apply here, given the outcome of the story.

65 (p. 427) (p. 427) "Luchesi cannot tell Amontillado from Sherry": "Luchesi cannot tell Amontillado from Sherry": Interestingly, Amontillado is a variety of sherry. Perhaps Montresor implies that Luchesi cannot distinguish Amontillado from lower-grade sherry. Just as interesting, the name Luchesi may sound in English as "look hazy," thus characterizing Fortunato's perceptions. For that matter, despite his seeming thinking to the contrary, Montresor likewise has misperceptions. That is, later in the story, when he has nearly completed the walling up of Fortunato, he appears to be almost on the verge of admitting that the task sickens him; second, his later boast that for fifty years n.o.body has discovered his crime may be no genuine boast after all, but rather a confession that this long-past episode has attained a fixity in his life-that is, that it bothers his conscience. Interestingly, Amontillado is a variety of sherry. Perhaps Montresor implies that Luchesi cannot distinguish Amontillado from lower-grade sherry. Just as interesting, the name Luchesi may sound in English as "look hazy," thus characterizing Fortunato's perceptions. For that matter, despite his seeming thinking to the contrary, Montresor likewise has misperceptions. That is, later in the story, when he has nearly completed the walling up of Fortunato, he appears to be almost on the verge of admitting that the task sickens him; second, his later boast that for fifty years n.o.body has discovered his crime may be no genuine boast after all, but rather a confession that this long-past episode has attained a fixity in his life-that is, that it bothers his conscience.

66 (p. 429) (p. 429) He laughed and threw the bottle upward with a gesticulation I did not understand. I looked at him in surprise. He repeated the movement-a grotesque one: He laughed and threw the bottle upward with a gesticulation I did not understand. I looked at him in surprise. He repeated the movement-a grotesque one: Here and in the following short sentences are allusions to the fraternal brotherhood of Masons, whose rituals and symbols have typically been surrounded with mystery. Neither Fortunato's nor Montresor's actions are of genuine Masonic origins. If a Roman Catholic-Masonic opposition is a primary motif in this tale, then Montresor's method of executing Fortunato represents a devout Roman Catholic's ironic meting out of justice to a heretic. Such an att.i.tude would make the "love of G.o.d" interchanges toward the end of this tale highly ironic-because Montresor felt that he was acting for the love of G.o.d, and that his ridding the world of a heretic demonstrated such love. Here and in the following short sentences are allusions to the fraternal brotherhood of Masons, whose rituals and symbols have typically been surrounded with mystery. Neither Fortunato's nor Montresor's actions are of genuine Masonic origins. If a Roman Catholic-Masonic opposition is a primary motif in this tale, then Montresor's method of executing Fortunato represents a devout Roman Catholic's ironic meting out of justice to a heretic. Such an att.i.tude would make the "love of G.o.d" interchanges toward the end of this tale highly ironic-because Montresor felt that he was acting for the love of G.o.d, and that his ridding the world of a heretic demonstrated such love.

67 (p. 430) (p. 430) "He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels: "He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels: Montresor's phrasing recalls the design on his crest of arms-a foot crushing a serpent whose fangs are embedded in the heel; in this case, ironically, he is the serpent at the heels of his enemy, and the attention he devotes to detailing his story of these long-past events represents his being emotionally "crushed" by such "heels," in these circ.u.mstances the emotional effects occasioned by his subsequent murder of Fortunato, such that he cannot forget them. Montresor's phrasing recalls the design on his crest of arms-a foot crushing a serpent whose fangs are embedded in the heel; in this case, ironically, he is the serpent at the heels of his enemy, and the attention he devotes to detailing his story of these long-past events represents his being emotionally "crushed" by such "heels," in these circ.u.mstances the emotional effects occasioned by his subsequent murder of Fortunato, such that he cannot forget them.

68 (p. 432) In pace requiescat!: "May he rest in peace!" (Latin). We are left thus with a final irony; for whom does Montresor invoke peaceful rest: Fortunato (whose remains have rested in peace for fifty years) or Montresor, whose guilt has dogged him for that same number of years? The open-endedness of this tale makes it a forerunner to much that subsequently has been called "modernist" or "postmodernist" literature. (p. 432) In pace requiescat!: "May he rest in peace!" (Latin). We are left thus with a final irony; for whom does Montresor invoke peaceful rest: Fortunato (whose remains have rested in peace for fifty years) or Montresor, whose guilt has dogged him for that same number of years? The open-endedness of this tale makes it a forerunner to much that subsequently has been called "modernist" or "postmodernist" literature.

69 (p. 433) (p. 433) He would have preferred Rabelais' "Gargantua" to the "Zadig" of Voltaire; and, upon the whole, practical jokes suited his taste far better than verbal ones: Gargantua He would have preferred Rabelais' "Gargantua" to the "Zadig" of Voltaire; and, upon the whole, practical jokes suited his taste far better than verbal ones: Gargantua (1534), by the French humorist Francois Rabelais, is a satirical narrative about a giant, peace-loving prince; Zadig (1748), by French satirist Voltaire (Francois-Marie Arouet), is a witty but nevertheless savage satire. The point made in this paragraph is that the king is coa.r.s.e and bawdy (as Rabelais's writings often were thought to be), and that anything refined was unlikely to suit him. Thus, in this tale, Hop-Frog's gruesome "joke" partakes of flagrancy, albeit it is "practical" from his point of view-after all, the king "loved his practical jokes," and the dwarf takes him at his word. Hop-Frog's jester's costume suggests that of the hapless Fortunato in "The Cask of Amontillado," but his final method of treating his antagonists reminds us more of Montresor, the protagonist in that same tale. Hop-Frog may be the court "fool," but such figures were often thought to be endowed with more genuine perception than their masters. (1534), by the French humorist Francois Rabelais, is a satirical narrative about a giant, peace-loving prince; Zadig (1748), by French satirist Voltaire (Francois-Marie Arouet), is a witty but nevertheless savage satire. The point made in this paragraph is that the king is coa.r.s.e and bawdy (as Rabelais's writings often were thought to be), and that anything refined was unlikely to suit him. Thus, in this tale, Hop-Frog's gruesome "joke" partakes of flagrancy, albeit it is "practical" from his point of view-after all, the king "loved his practical jokes," and the dwarf takes him at his word. Hop-Frog's jester's costume suggests that of the hapless Fortunato in "The Cask of Amontillado," but his final method of treating his antagonists reminds us more of Montresor, the protagonist in that same tale. Hop-Frog may be the court "fool," but such figures were often thought to be endowed with more genuine perception than their masters.

70 (p.436) (p.436) "we stand in need of characters": "we stand in need of characters": That the king and his ministers need "characters," or, as a dictionary would cite as one definition, "moral excellence and firmness," is obvious. Hop-Frog's ultimate joke indeed casts them as the very sorts of beings they are, as manifested in the descriptions of them and in the blurring of seriousness and joking. That the king and his ministers need "characters," or, as a dictionary would cite as one definition, "moral excellence and firmness," is obvious. Hop-Frog's ultimate joke indeed casts them as the very sorts of beings they are, as manifested in the descriptions of them and in the blurring of seriousness and joking.

71 (p. 436) (p. 436) "Endeavoring!" cried the tyrant.... "Drink, I say!" shouted the monster, "or by the fiends- "Endeavoring!" cried the tyrant.... "Drink, I say!" shouted the monster, "or by the fiends-": The king's being a "tyrant" and a "monster," who invokes "the fiends" reveals his dehumanized state, and it aligns him with the narrator in "The Black Cat," whose emotional makeup is similar. In both tales, too, a disdain for the feminine is evident among those destined to come to bad ends.

72 (p. 438) (p. 438) "the company of masqueraders will take you for real beasts "the company of masqueraders will take you for real beasts-and of course, they will be as as much terrified as astonished": much terrified as astonished": The masquerade motif will, of course, enhance the understandable confusion over who is human and who animal, but Hop-Frog is sure about the "real beasts" nature of the king and ministers, an understanding borne out in a following paragraph, where the "beast-like," "hideous" qualities of the eight orangutan masqueraders bear out "their truthfulness to nature." The masquerade motif will, of course, enhance the understandable confusion over who is human and who animal, but Hop-Frog is sure about the "real beasts" nature of the king and ministers, an understanding borne out in a following paragraph, where the "beast-like," "hideous" qualities of the eight orangutan masqueraders bear out "their truthfulness to nature."

73 (p. 441) (p. 441) The cripple hurled his torch at them, clambered leisurely to the ceiling, and disappeared through the sky-light: The cripple hurled his torch at them, clambered leisurely to the ceiling, and disappeared through the sky-light: The climactic scene, in which the "brilliance" of Hop-Frog's jest concludes, represents the ending of his enduring the garish artificial lights of the king's "world" in which masquerading is all. The escape of Hop-Frog and Tripetta through the skylight symbolizes their removal to the freedom of their own, natural world. The climactic scene, in which the "brilliance" of Hop-Frog's jest concludes, represents the ending of his enduring the garish artificial lights of the king's "world" in which masquerading is all. The escape of Hop-Frog and Tripetta through the skylight symbolizes their removal to the freedom of their own, natural world.

The Narrative of Arthur Gordon Pym 1 (p. 445) (p. 445) The Narrative... To Which that Distressing Calamity Gave Rise: The Narrative... To Which that Distressing Calamity Gave Rise: Within the t.i.tle of Poe's novel we may sense a deft shift from Within the t.i.tle of Poe's novel we may sense a deft shift from Narrative, Narrative, which term may be part factual, part imaginative, on through terms like which term may be part factual, part imaginative, on through terms like Details Details and and Account, to Incredible Adventures Account, to Incredible Adventures and and Gave Rise. Gave Rise. This shift signals a gradual movement from everyday realism or credibility to increasingly fantastic experience, which may parallel a dream-nightmare structure, which begins in reality and moves on into nonrationality. The "Preface" and the text of the narrative proper continue the counterpointing of truth versus fiction and appearance versus reality. The ironies in such discrepancies are thus early established, and they continue throughout. This shift signals a gradual movement from everyday realism or credibility to increasingly fantastic experience, which may parallel a dream-nightmare structure, which begins in reality and moves on into nonrationality. The "Preface" and the text of the narrative proper continue the counterpointing of truth versus fiction and appearance versus reality. The ironies in such discrepancies are thus early established, and they continue throughout.

2 (p. 447) (p. 447) detailing events which have had powerful influence in exciting the imaginative faculties: detailing events which have had powerful influence in exciting the imaginative faculties: Poe seems here to employ a pattern, also used in "The Purloined Letter," of placing clues to alternations of realism and fantasy directly before readers, along with suggesting that such alternations may trigger imagination-which stimulation in turn may account for the increasing fantastic qualities in Pym's adventures. Poe seems here to employ a pattern, also used in "The Purloined Letter," of placing clues to alternations of realism and fantasy directly before readers, along with suggesting that such alternations may trigger imagination-which stimulation in turn may account for the increasing fantastic qualities in Pym's adventures.

3 (p. 449) (p. 449) My name is Arthur Gordon Pym.... Edgarton New Bank, as it was formerly called: My name is Arthur Gordon Pym.... Edgarton New Bank, as it was formerly called: Pym's full name has suggested, to many, a similarity to that of Edgar Allan Poe, a suggestion presumably supported by using Edgarton for Edgartown, an actual town on the island of Martha's Vineyard, Ma.s.sachusetts. Some readers have also discerned Pym's full name has suggested, to many, a similarity to that of Edgar Allan Poe, a suggestion presumably supported by using Edgarton for Edgartown, an actual town on the island of Martha's Vineyard, Ma.s.sachusetts. Some readers have also discerned imp imp in a transposition of in a transposition of Pym, Pym, a suggestion that may carry more significance than some have thought, as a suggestion that may carry more significance than some have thought, as imp imp derives from word roots that mean "graft," "scion," or "growth" (see also note 49, below). Pym's own immaturity may be indicated in the name of his friend Augustus, introduced later in this paragraph. However much young Barnard may act to the contrary at times, his first name hints of neocla.s.sical reason and order, in that it has the same root as "Augustan," which is often a synonym for "neocla.s.sic" or "cla.s.sic"; the name thus connotes balance, reason, order-all of which eventually vanish in this book. Once he is gone, the situations in the novel become more and more incredible. derives from word roots that mean "graft," "scion," or "growth" (see also note 49, below). Pym's own immaturity may be indicated in the name of his friend Augustus, introduced later in this paragraph. However much young Barnard may act to the contrary at times, his first name hints of neocla.s.sical reason and order, in that it has the same root as "Augustan," which is often a synonym for "neocla.s.sic" or "cla.s.sic"; the name thus connotes balance, reason, order-all of which eventually vanish in this book. Once he is gone, the situations in the novel become more and more incredible.

4 (p.450) (p.450) thinking that the wines and liquors he had drunk had set him entirely beside thinking that the wines and liquors he had drunk had set him entirely beside himself: himself: Intoxication as precursor to fantastic adventure links Intoxication as precursor to fantastic adventure links Pym Pym to "Tales of the Folio Club" and to some of Poe's later tales. The late October night also creates affinities with works like "Ulalume: A Ballad," "King Pest," "The Fall of the House of Usher," "The Gold-Bug," "A Tale of the Ragged Mountains," "The Purloined Letter," and "The System of Doctor Tarr and Professor Fether." Like "King Pest" and "Tarr and Fether," a decided liquor-ish atmosphere pervades to "Tales of the Folio Club" and to some of Poe's later tales. The late October night also creates affinities with works like "Ulalume: A Ballad," "King Pest," "The Fall of the House of Usher," "The Gold-Bug," "A Tale of the Ragged Mountains," "The Purloined Letter," and "The System of Doctor Tarr and Professor Fether." Like "King Pest" and "Tarr and Fether," a decided liquor-ish atmosphere pervades Pym. Pym.

5 (p. 453) (p. 453) I tumbled headlong and insensible upon the body of my fallen companion: I tumbled headlong and insensible upon the body of my fallen companion: This is the first of a series of incidents in which what seems to be a supernatural visitation is soon revealed to have natural, if unusual, causes. The demonic theme, for example, recurs when the mutineer cook is likened to a demon or other supernatural being; nevertheless, his human, if not humane, ident.i.ty cannot be ignored. Poe was nothing if not adept in creating such ambiguities, offering apparent supernaturalism to entice readers eager for horrifics, but offering as well a reasonable psychological underpinning for the horrors, to appeal to more sophisticated readers. "The Murders in the Rue Morgue," "The Gold-Bug," and "The Black Cat" exemplify similar techniques. This is the first of a series of incidents in which what seems to be a supernatural visitation is soon revealed to have natural, if unusual, causes. The demonic theme, for example, recurs when the mutineer cook is likened to a demon or other supernatural being; nevertheless, his human, if not humane, ident.i.ty cannot be ignored. Poe was nothing if not adept in creating such ambiguities, offering apparent supernaturalism to entice readers eager for horrifics, but offering as well a reasonable psychological underpinning for the horrors, to appeal to more sophisticated readers. "The Murders in the Rue Morgue," "The Gold-Bug," and "The Black Cat" exemplify similar techniques.

6 (p.456) (p.456) The wound in my neck, although of an ugly appearance, proved of little real consequence, and I soon recovered from its effects: The wound in my neck, although of an ugly appearance, proved of little real consequence, and I soon recovered from its effects: The circ.u.mstances of the two youths, especially those affecting Pym, are of sufficient incredibility to test readers' ac.u.men in distinguishing fiction from fact or reliability from unreliability. The circ.u.mstances of the two youths, especially those affecting Pym, are of sufficient incredibility to test readers' ac.u.men in distinguishing fiction from fact or reliability from unreliability.

7 (p.457) (p.457) my own enthusiastic temperament and somewhat gloomy although glowing imagination: my own enthusiastic temperament and somewhat gloomy although glowing imagination: In sketching his own manic-depressive state, Pym gives another example of the pervasive themes in the novel. In sketching his own manic-depressive state, Pym gives another example of the pervasive themes in the novel.

8 (p. 457) a (p. 457) a partial interchange of character: partial interchange of character: The merging of characteristics makes Pym and Augustus, and subseqeuently Pym and Peters, doubles after the manner of the two William Wilson's, the Usher twins, Dupin and Minister D__ (in "The Purloined Letter"), and many other characters in the Poe canon. The merging of characteristics makes Pym and Augustus, and subseqeuently Pym and Peters, doubles after the manner of the two William Wilson's, the Usher twins, Dupin and Minister D__ (in "The Purloined Letter"), and many other characters in the Poe canon.

9 (p. 458) (p. 458) indulging my desire of travel: indulging my desire of travel: Pym's eagerness to "travel" may involve mental-emotional voyaging as well as literal traversing of sea and land. That his travels take him to remote regions represents journeying into increasingly fantastic regions in his mind. Pym's eagerness to "travel" may involve mental-emotional voyaging as well as literal traversing of sea and land. That his travels take him to remote regions represents journeying into increasingly fantastic regions in his mind.

10 (p. 462) (p. 462) "I suppose you can't tell how long you have been buried": "I suppose you can't tell how long you have been buried": Beginning here, we find recurrent allusions to or motifs of live burial, a favorite theme with Poe. Premature burials in many of his tales and poems symbolize descents into depths of the self. Beginning here, we find recurrent allusions to or motifs of live burial, a favorite theme with Poe. Premature burials in many of his tales and poems symbolize descents into depths of the self.

11 (p. 462) (p. 462) the expedition of Lewis and Clark to the mouth of the Columbia: the expedition of Lewis and Clark to the mouth of the Columbia: Amer ican explorers Meriwether Lewis (1774-1809) and William Clark (1770-1838) led an expedition westward to the Columbia River. Poe might have known various published chronicles of these explorations. These would naturally have provided him knowledge of travel-book methods, as would another account by renowned American writer Washington Irving, Amer ican explorers Meriwether Lewis (1774-1809) and William Clark (1770-1838) led an expedition westward to the Columbia River. Poe might have known various published chronicles of these explorations. These would naturally have provided him knowledge of travel-book methods, as would another account by renowned American writer Washington Irving, Astoria; Or, Anecdotes of an Enterprise Beyond the Rocky Mountains Astoria; Or, Anecdotes of an Enterprise Beyond the Rocky Mountains (1836), which Poe reviewed in the (1836), which Poe reviewed in the Southern Literary Messenger Southern Literary Messenger (January 1837); the first two serial installments of (January 1837); the first two serial installments of Pym Pym also appeared in that magazine. The t.i.tle of Irving's book-with also appeared in that magazine. The t.i.tle of Irving's book-with Anecdotes, Enterprise, Anecdotes, Enterprise, and and Beyond- Beyond-allows for as open-ended a work as Pym Pym turns out to be. Many other travel books in Poe's day were similarly structured. turns out to be. Many other travel books in Poe's day were similarly structured.

12 (p. 463) (p. 463) I was oppressed with a mult.i.tude of gloomy feelings: I was oppressed with a mult.i.tude of gloomy feelings: This paragraph and the more extended one that follows contribute to Pym's dreams or fantasies about death and decay, horror, gloom, and solitude, which intermittently are actualized in some one or another episode. When, over the next few paragraphs, Tiger's ident.i.ty is revealed, however, we are treated to a vignette of time-honored "explained supernaturalism," so to speak, featured in many earlier Gothic novels. Pym's melancholy outlook antic.i.p.ates that of another popular boy-hero in American fiction, Huckleberry Finn. This paragraph and the more extended one that follows contribute to Pym's dreams or fantasies about death and decay, horror, gloom, and solitude, which intermittently are actualized in some one or another episode. When, over the next few paragraphs, Tiger's ident.i.ty is revealed, however, we are treated to a vignette of time-honored "explained supernaturalism," so to speak, featured in many earlier Gothic novels. Pym's melancholy outlook antic.i.p.ates that of another popular boy-hero in American fiction, Huckleberry Finn.

13 (p. 464) (p. 464) I stood, naked and alone, amid the burning sand-plains of Zahara: I stood, naked and alone, amid the burning sand-plains of Zahara: Scenic effects in this paragraph may be likened to those in "Silence-A Fable" or "The Valley of Unrest." The barrenness of the Sahara Desert mirrors the bleakness of Pym's emotions. Scenic effects in this paragraph may be likened to those in "Silence-A Fable" or "The Valley of Unrest." The barrenness of the Sahara Desert mirrors the bleakness of Pym's emotions.

14 (p. 466) (p. 466) I should swoon amid the narrow and intricate windings of the lumber: I should swoon amid the narrow and intricate windings of the lumber: "Lumber" in this context means any stored articles, whether or not they consist of actual wood. Pym's crawling through this troublesome pathway to find Augustus symbolizes an attempt to reestablish ident.i.ty, since both youths in this early portion of the novel form a composite self. "Lumber" in this context means any stored articles, whether or not they consist of actual wood. Pym's crawling through this troublesome pathway to find Augustus symbolizes an attempt to reestablish ident.i.ty, since both youths in this early portion of the novel form a composite self.

15 (p.468) (p.468) Upon a closer scrutiny, I came across a small slip of what had the feeling of letter paper: Upon a closer scrutiny, I came across a small slip of what had the feeling of letter paper: Discovery of the note parallels the technique in many older Gothic novels of finding an old ma.n.u.script or of distinguishing handwriting on a wall. The information found often acts as a catalyst to additional anxieties or physical dangers for the protagonist(s), or it may relieve their terrors. Discovery of the note parallels the technique in many older Gothic novels of finding an old ma.n.u.script or of distinguishing handwriting on a wall. The information found often acts as a catalyst to additional anxieties or physical dangers for the protagonist(s), or it may relieve their terrors.

16 (p. 474) (p. 474) I felt myself actuated by one of those fits of perverseness which might be supposed to influence a spoiled child: I felt myself actuated by one of those fits of perverseness which might be supposed to influence a spoiled child: Pym's perverseness aligns him with many other Poe characters, notably, perhaps, the narrator in "The Black Cat," although these are by no means the only perverse characters in the Poe canon. Pym's perverseness aligns him with many other Poe characters, notably, perhaps, the narrator in "The Black Cat," although these are by no means the only perverse characters in the Poe canon.

17 (p. 475) (p. 475) He had brought with him a light in a dark lantern: He had brought with him a light in a dark lantern: A dark lantern has metal walls, with slides that can be opened or closed, depending on the need for light. Here such a lantern also symbolizes Pym's as yet incomplete knowledge of the situation on the ship. The murderer in "The Tell-Tale Heart" uses a dark lantern to aid in his wicked activities. A dark lantern has metal walls, with slides that can be opened or closed, depending on the need for light. Here such a lantern also symbolizes Pym's as yet incomplete knowledge of the situation on the ship. The murderer in "The Tell-Tale Heart" uses a dark lantern to aid in his wicked activities.

18 (p. 480) (p. 480) Dirk Peters Dirk Peters... of the tribe of Upsarokas.... I have been thus particular in speaking of Dirk Peters: of the tribe of Upsarokas.... I have been thus particular in speaking of Dirk Peters: Many hypotheses have been offered regarding Peters's significance. His name combines "knife" (a dirk is a long, straight dagger) and "rock" (from the Latin word Many hypotheses have been offered regarding Peters's significance. His name combines "knife" (a dirk is a long, straight dagger) and "rock" (from the Latin word petra), petra), as well as s.e.x (the dirk suggests an erect p.e.n.i.s) and Saint Peter, and he proves to be the savior of Augustus and Arthur in more than one situation. His tribe would actually be Absaroka (a Native American tribe also known as the Crow). In his features and actions he antic.i.p.ates the t.i.tle character in "Hop-Frog." Like much else in as well as s.e.x (the dirk suggests an erect p.e.n.i.s) and Saint Peter, and he proves to be the savior of Augustus and Arthur in more than one situation. His tribe would actually be Absaroka (a Native American tribe also known as the Crow). In his features and actions he antic.i.p.ates the t.i.tle character in "Hop-Frog." Like much else in Pym, Pym, Peters seems at times to change abruptly from gentle to savage. Consistent with such shiftings, Peters also seems to embody supernaturalism. His headpiece, which merges the hair of a type of spaniel with that of a grizzly, emphasizes the uncertainties of domestication and wildness in his makeup. Peters seems at times to change abruptly from gentle to savage. Consistent with such shiftings, Peters also seems to embody supernaturalism. His headpiece, which merges the hair of a type of spaniel with that of a grizzly, emphasizes the uncertainties of domestication and wildness in his makeup.

19 (p. 486) (p. 486) Many years elapsed, however, before I was aware of this fact: Many years elapsed, however, before I was aware of this fact: A question arises: How did Pym gain this information long after the incident? Peters may have enlightened him, but the indefiniteness is another ambiguity in the novel. A question arises: How did Pym gain this information long after the incident? Peters may have enlightened him, but the indefiniteness is another ambiguity in the novel.

20 (pp. 489-491 ) A (pp. 489-491 ) A proper stowage cannot be accomplished in a careless manner.... I found myself comfortably situated for the present: proper stowage cannot be accomplished in a careless manner.... I found myself comfortably situated for the present: The lengthy attention given to stowage as chapter VI opens may be in part Poe's attempt to create an air of realism after the sensationalism that precedes the pa.s.sage. Since the description incorporates inaccuracies-for example, that casks are screwed so firmly that they lose their ordinary shape-Poe may have been insinuating a joke into apparent factuality. The lengthy attention given to stowage as chapter VI opens may be in part Poe's attempt to create an air of realism after the sensationalism that precedes the pa.s.sage. Since the description incorporates inaccuracies-for example, that casks are screwed so firmly that they lose their ordinary shape-Poe may have been insinuating a joke into apparent factuality.

21 (p. 494) (p. 494) Simms ... Augustus and myself: Simms ... Augustus and myself: These names may connect to actual persons Poe knew or knew about-for example, William Gilmore Simms (1806-1870), a Southern author; Horace Greeley (1811-1872), a well-known New York newspaperman; and Richard Parker, a notorious eighteenth-century mutineer. About others one may only conjecture. Interestingly, the cook's name, Seymour ("see more"), may again impart a hint of supernaturalism to his demonic character. These names may connect to actual persons Poe knew or knew about-for example, William Gilmore Simms (1806-1870), a Southern author; Horace Greeley (1811-1872), a well-known New York newspaperman; and Richard Parker, a notorious eighteenth-century mutineer. About others one may only conjecture. Interestingly, the cook's name, Seymour ("see more"), may again impart a hint of supernaturalism to his demonic character.

22 (p. 501) (p. 501) The streak across the eye was not forgotten, and presented a most shocking appearance: The streak across the eye was not forgotten, and presented a most shocking appearance: Since Pym earlier had felt as if he were buried alive, his return as a simulated corpse deftly maintains motifs of deception, apparent supernaturalism, and death-all of which will resurface. Pym's gruesome masquerading is reworked in " 'Thou Art the Man."' Since Pym earlier had felt as if he were buried alive, his return as a simulated corpse deftly maintains motifs of deception, apparent supernaturalism, and death-all of which will resurface. Pym's gruesome masquerading is reworked in " 'Thou Art the Man."'

23 (p. 516) (p. 516) any of the thousand chances which afterward befell me in nine long years: any of the thousand chances which afterward befell me in nine long years: The "nine long years" may bring the time from 1827, when Pym's adventures commenced, to 1836, just before publication of the two installments of The "nine long years" may bring the time from 1827, when Pym's adventures commenced, to 1836, just before publication of the two installments of Pym Pym in the in the Southern Literary Messenger. Southern Literary Messenger. Poe as author may be creating his own kind of deception, or he may simply have had an attention lapse when he composed the "Note" that concludes the book. Poe as author may be creating his own kind of deception, or he may simply have had an attention lapse when he composed the "Note" that concludes the book.

24 (p. 516) (p. 516) The vessel in sight was a large hermaphrodite brig, of a Dutch build, and painted black, with a tawdry gilt figure-head: Hermaphrodite brig The vessel in sight was a large hermaphrodite brig, of a Dutch build, and painted black, with a tawdry gilt figure-head: Hermaphrodite brig is an actual nautical term for a two-masted vessel with a square-rigged foremast and fore and-aft-rigged mainmast. However, is an actual nautical term for a two-masted vessel with a square-rigged foremast and fore and-aft-rigged mainmast. However, hermaphrodite hermaphrodite also refers to plants or ani mals with both male and female reproductive organs, and such dualism may fit well with Pym's own psycho-physical const.i.tution. Male though he is, he rep eatedly gives way to an emotionalism ordinarily considered a feminine trait in Poe's era. What seems to be his maturing or adventuring in fantasy to a point where he can merge with a female force, depicted at the conclusion of the novel, may also be antic.i.p.ated in this term. Thus also refers to plants or ani mals with both male and female reproductive organs, and such dualism may fit well with Pym's own psycho-physical const.i.tution. Male though he is, he rep eatedly gives way to an emotionalism ordinarily considered a feminine trait in Poe's era. What seems to be his maturing or adventuring in fantasy to a point where he can merge with a female force, depicted at the conclusion of the novel, may also be antic.i.p.ated in this term. Thus Pym Pym takes rank with such works as Poe's tales about women, most notably "The Fall of the House of Usher"-where the narrator's entering the house that looks like a head and confronting the Usher twins may symbolize facets of masculinity and femininity in his self-or the poems "To Helen," "The Raven," and "Ulalume," which highlight similar combinations. takes rank with such works as Poe's tales about women, most notably "The Fall of the House of Usher"-where the narrator's entering the house that looks like a head and confronting the Usher twins may symbolize facets of masculinity and femininity in his self-or the poems "To Helen," "The Raven," and "Ulalume," which highlight similar combinations.

25 (p. 523) (p. 523) the good effect of the shower-bath in a case where the patient was suffering from the good effect of the shower-bath in a case where the patient was suffering from mania a potu: Mania a mania a potu: Mania a potu potu is a Latin phrase referring to madness resulting from overindulging in alcohol. Pym's a.n.a.logy maintains the liquor-ish aura of the novel. We might ask at this point: Is this novel a drunkard's fabrication? The visions that affect the sailors suggest such possibilities, although they may also signal that Pym is journeying further into the interior of his self. Perhaps the repeated murders that kill the physical bodies of many characters deepen this context. is a Latin phrase referring to madness resulting from overindulging in alcohol. Pym's a.n.a.logy maintains the liquor-ish aura of the novel. We might ask at this point: Is this novel a drunkard's fabrication? The visions that affect the sailors suggest such possibilities, although they may also signal that Pym is journeying further into the interior of his self. Perhaps the repeated murders that kill the physical bodies of many characters deepen this context.

26 (p. 531) (p. 531) a carboy containing nearly three gallons of excellent Cape Madeira wine ... a small tortoise of the Gallipago breed: a carboy containing nearly three gallons of excellent Cape Madeira wine ... a small tortoise of the Gallipago breed: A carboy is a special container for holding liquids that is cushioned within another container. The Galapagos giant tortoise derives its name from its habitat on the Galapagos Islands, west of Ecuador. The ensuing description of the tortoises serves as another example of Poe's returning his situations and characters to mundane, calm levels once a sensational vignette has concluded. Additional sensational events follow hard upon this pa.s.sage. A carboy is a special container for holding liquids that is cushioned within another container. The Galapagos giant tortoise derives its name from its habitat on the Galapagos Islands, west of Ecuador. The ensuing description of the tortoises serves as another example of Poe's returning his situations and characters to mundane, calm levels once a sensational vignette has concluded. Additional sensational events follow hard upon this pa.s.sage.

27 (p. 535) (p. 535) Augustus' wounded arm began to evince symptoms of mortification: Augustus' wounded arm began to evince symptoms of mortification: That is, gangrene, or necrosis, was setting in, a condition in which the local soft tissue around a wound dies and decays. Significantly, Augustus' death from this condition occurs at midpoint in the novel. Reason and order, represented by his first name (see note 3), yield thereafter to ever-increasing fantasy. That is, gangrene, or necrosis, was setting in, a condition in which the local soft tissue around a wound dies and decays. Significantly, Augustus' death from this condition occurs at midpoint in the novel. Reason and order, represented by his first name (see note 3), yield thereafter to ever-increasing fantasy.

28 (p. 540) (p. 540) She proved to be the Jane Guy, of Liverpool, Captain Guy, bound on a sealing and trading voyage to the South Seas and Pacific: She proved to be the Jane Guy, of Liverpool, Captain Guy, bound on a sealing and trading voyage to the South Seas and Pacific: This ship is also hermaphroditic (see note 24), in that it has a female and a male name. This ship is also hermaphroditic (see note 24), in that it has a female and a male name. Guy Guy may also imply making fun of someone or mocking a person; oncoming events strengthen such a context. may also imply making fun of someone or mocking a person; oncoming events strengthen such a context.

29 (p. 545) (p. 545) Navigators have agreed in calling an a.s.semblage of such encampments a Navigators have agreed in calling an a.s.semblage of such encampments a rookery: Although rookery may refer to a nesting area for birds, it may also mean a dilapidated tenement. As a verb, rookery: Although rookery may refer to a nesting area for birds, it may also mean a dilapidated tenement. As a verb, rook rook means "to cheat or defraud," and so Poe again plants clues to deceit and deception, which course through the novel. Upon leaving the rookery, Pym symbolically begins to shed his adolescence. means "to cheat or defraud," and so Poe again plants clues to deceit and deception, which course through the novel. Upon leaving the rookery, Pym symbolically begins to shed his adolescence.

30 (p. 548) (p. 548) Chapter XV: Chapter XV: Most of the details in this chapter derive from Benjamin Morrell's Most of the details in this chapter derive from Benjamin Morrell's A Narrative of Four Voyages A Narrative of Four Voyages (1832), just one of the several travel-exploration publications that Poe pilfered for use in (1832), just one of the several travel-exploration publications that Poe pilfered for use in Pym Pym (see note 11, above). (see note 11, above).

31 (p. 552) (p. 552) Chapter XVI: Chapter XVI: This chapter is largely derivative from Jeremiah N. Reynolds's This chapter is largely derivative from Jeremiah N. Reynolds's Address on the Subject of a Surveying and Exploring Expedition to the Pacific Ocean and South Seas Address on the Subject of a Surveying and Exploring Expedition to the Pacific Ocean and South Seas (1836), which Poe favorably reviewed in the (1836), which Poe favorably reviewed in the Southern Literary Messenger Southern Literary Messenger (January 1837). Henceforth, Antarctic exploration rather than mercantile enterprise becomes the mainstay in travel literature. These explorations were hot-topic current events, so Poe attempted to capitalize on such best-seller material. (January 1837). Henceforth, Antarctic exploration rather than mercantile enterprise becomes the mainstay in travel literature. These explorations were hot-topic current events, so Poe attempted to capitalize on such best-seller material.

32 (p. 557) Chapter (p. 557) Chapter XVII: XVII: Much in this chapter derives from Morrell's Much in this chapter derives from Morrell's Narrative Narrative (see note 30, above). Again we encounter a section of the novel in which the fairly realistic details serve as dramatic relief for high-pitched sensationalism that follows. The chapter's closing sentence, hinting of a contribution to science, only reinforces the air of realism. (see note 30, above). Again we encounter a section of the novel in which the fairly realistic details serve as dramatic relief for high-pitched sensationalism that follows. The chapter's closing sentence, hinting of a contribution to science, only reinforces the air of realism.

33 (p. 563) (p. 563) we could distinguish the word we could distinguish the word Anamoo-moo! Anamoo-moo! and and Lama-Lama!: Although several conjectures about "meanings" in the islanders' language are on record, the words may be only Poe's invention, perhaps calculated to test readers' ac.u.men. This strange language is perhaps natural to people Pym first refers to as "strangers," then, for the most part, "savages," using "natives" seldom. On possible implications in the Tsalalians' language, the most sensible critique is J. V. Ridgely's "The Continuing Puzzle of Lama-Lama!: Although several conjectures about "meanings" in the islanders' language are on record, the words may be only Poe's invention, perhaps calculated to test readers' ac.u.men. This strange language is perhaps natural to people Pym first refers to as "strangers," then, for the most part, "savages," using "natives" seldom. On possible implications in the Tsalalians' language, the most sensible critique is J. V. Ridgely's "The Continuing Puzzle of Arthur Gordon Pym: Arthur Gordon Pym: Some Notes and Queries," Some Notes and Queries," Poe Newsletter Poe Newsletter 3:1 (June 1970), pp. 5-6. That there may have been implications of darkness and shadiness (in the sense of deception) in 3:1 (June 1970), pp. 5-6. That there may have been implications of darkness and shadiness (in the sense of deception) in Tsalemon-Psalemoun Tsalemon-Psalemoun (the king's name) and (the king's name) and Tsalal, Tsalal, in chapter XXV (see p. 603), which may derive from Hebrew or African roots, as well as suggesting the name "Solomon," is remarked by Burton R. Pollin, ed., in in chapter XXV (see p. 603), which may derive from Hebrew or African roots, as well as suggesting the name "Solomon," is remarked by Burton R. Pollin, ed., in Collected Writings of Edgar Allan Poe, Collected Writings of Edgar Allan Poe, Vol. 1: Vol. 1: The Imaginary Voyages, The Imaginary Voyages, pp. 351-352 (see "For Further Reading"). If any implication of Solomon, the king of ancient Israel reputed for great wisdom, was Poe's intent, it may join other ironies in the book: Solomon's wisdom in deciding the matter of a child and the two women who claimed it produced momentarily startling conditions, akin to many in Poe's novel. pp. 351-352 (see "For Further Reading"). If any implication of Solomon, the king of ancient Israel reputed for great wisdom, was Poe's intent, it may join other ironies in the book: Solomon's wisdom in deciding the matter of a child and the two women who claimed it produced momentarily startling conditions, akin to many in Poe's novel.

34 (p. 565) (p. 565) We also saw some We also saw some biche de mer biche de mer in the hands of one of the savages, who was greedily devouring it in its natural state: in the hands of one of the savages, who was greedily devouring it in its natural state: The ocean-dweller known as The ocean-dweller known as beche de mer beche de mer (from the Portuguese (from the Portuguese bicho do mar, bicho do mar, meaning "sea worm") also goes by the names sea slug, sea cuc.u.mber, and trepang. Poe's preference for the less common term (which implies an animal) suggests that the islanders are more carnivorous than vegetarian. These organisms are ordinarily found in Australia and Oriental regions. That such life flourishes in this locale suggests how far behind Pym's travels and adventures have left the civilized, the expected, and the rational. What follows only reinforces such transfers into a strange world-of physical and mental geography. Just so, Pym's symbolic journey into the self may be considered a movement from flesh to spirituality, thereby suggesting why Nu-Nu dies before the merger occurs. meaning "sea worm") also goes by the names sea slug, sea cuc.u.mber, and trepang. Poe's preference for the less common term (which implies an animal) suggests that the islanders are more carnivorous than vegetarian. These organisms are ordinarily found in Australia and Oriental regions. That such life flourishes in this locale suggests how far behind Pym's travels and adventures have left the civilized, the expected, and the rational. What follows only reinforces such transfers into a strange world-of physical and mental geography. Just so, Pym's symbolic journey into the self may be considered a movement from flesh to spirituality, thereby suggesting why Nu-Nu dies before the merger occurs.

35 (p. 567) (p. 567) The phenomena of this water formed the first definite link in that vast chain of apparent miracles with which I was destined to be at length encircled: The phenomena of this water formed the first definite link in that vast chain of apparent miracles with which I was destined to be at length encircled: This strange water may be inspired by certain American springs credited with medicinal qualities, of which Poe was aware. It also reinforces Pym's departure from an everyday world to move deeper into one of nonrationality. His comment that concludes chapter XVIII, regarding the "apparent miracles with which I was destined to be at length encircled," carries along the appearance-reality experiences that indeed ever more firmly surround him. Pym again refers to appearance in the islanders' actions as chapter XIX opens. The circle a.n.a.logy relates to those whirlpools, spirals, and other means of literally and symbolically dizzying a character, which are among Poe's favorite motifs for psychological disorder. This strange water may be inspired by certain American springs credited with medicinal qualities, of which Poe was aware. It also reinforces Pym's departure from an everyday world to move deeper into one of nonrationality. His comment that concludes chapter XVIII, regarding the "apparent miracles with which I was destined to be at length encircled," carries along the appearance-reality experiences that indeed ever more firmly surround him. Pym again refers to appearance in the islanders' actions as chapter XIX opens. The circle a.n.a.logy relates to those whirlpools, spirals, and other means of literally and symbolically dizzying a character, which are among Poe's favorite motifs for psychological disorder.

36 (p. 578) (p. 578) They accordingly turned, and were scrambling back ... the day of universal dissolution was at hand: They accordingly turned, and were scrambling back ... the day of universal dissolution was at hand: The situation that permits Pym and his companions to remain safe while the others are buried alive is paradoxical, to understate. Whether this delivery from death is an example of Poe's carelessness or his calculated creation of incredibility to test readers cannot be determined. The situation that permits Pym and his companions to remain safe while the others are buried alive is paradoxical, to understate. Whether this delivery from death is an example of Poe's carelessness or his calculated creation of incredibility to test readers cannot be determined.

37 (p. 579) (p. 579) As soon as I could collect my scattered senses, I found myself nearly suffocated.... The blackness of darkness which envelops the victim ... never to be conceived: As soon as I could collect my scattered senses, I found myself nearly suffocated.... The blackness of darkness which envelops the victim ... never to be conceived: Another incredibility or irony occurs here; does Pym mean that Peters's head is actually near his own, or does he simply suggest that positioning as an expression of his overwhelming confusion, which would be plausible, given his "scattered senses"? The "blackness of darkness" is biblical (Jude 13, King James Version), and in context it merges physical and psychological upset linked with Poe's ever-popular theme of premature burial. Jude also mentions sea voyaging, which would likewise be relevant here. Another incredibility or irony occurs here; does Pym mean that Peters's head is actually near his own, or does he simply suggest that positioning as an expression of his overwhelming confusion, which would be plausible, given his "scattered senses"? The "blackness of darkness" is biblical (Jude 13, King James Version), and in context it merges physical and psychological upset linked with Poe's ever-popular theme of premature burial. Jude also mentions sea voyaging, which would likewise be relevant here.

38 (p. 580) (p. 580) With sorrowful hearts, therefore, we left the corpse to its fate, and again made our way to the bend: With sorrowful hearts, therefore, we left the corpse to its fate, and again made our way to the bend: That Wilson Allen dies in this avalanche may be symbolic, given that not long after That Wilson Allen dies in this avalanche may be symbolic, given that not long after Pym Pym appeared Poe's renowned tales of the importance of will, "Ligeia" and "William Wilson" in particular, were also published. Some readers think that this character's surname was a variant spelling of Allan, and that Poe was being autobiographical in "burying" his late foster father, John Allan. At this point in the novel, the disappearance of will may point strongly toward the accelerating onset of fantasy. appeared Poe's renowned tales of the importance of will, "Ligeia" and "William Wilson" in particular, were also published. Some readers think that this character's surname was a variant spelling of Allan, and that Poe was being autobiographical in "burying" his late foster father, John Allan. At this point in the novel, the disappearance of will may point strongly toward the accelerating onset of fantasy.

39 (p. 585) (p. 585) the cordage, sails, and every thing movable on deck demolished as if by magic: the cordage, sails, and every thing movable on deck demolished as if by magic: The taking and destruction of the Jane Guy, called now only the Jane, harks back to the theme of vicious pursuit of a hapless female, usually with s.e.xual expectations on the villain's part. As is also usually the outcome in such episodes in earlier Gothics, the "taken" female dies, and so here the ship is destroyed by the marauders' actions. It may be significant that males destroy the female at this point, which ploy seems to reverse in the final chapter. Here, too, and in following paragraphs, the notion of magic is introduced; such magic continues to the end of the novel. The taking and destruction of the Jane Guy, called now only the Jane, harks back to the theme of vicious pursuit of a hapless female, usually with s.e.xual expectations on the villain's part. As is also usually the outcome in such episodes in earlier Gothics, the "taken" female dies, and so here the ship is destroyed by the marauders' actions. It may be significant that males destroy the female at this point, which ploy seems to reverse in the final chapter. Here, too, and in following paragraphs, the notion of magic is introduced; such magic continues to the end of the novel.

40 (p. 587) (p. 587) First of all there came a smart shock (which we felt as distinctly where we were as if we had been slightly galvanized), but unattended with any visible signs of an explosion: First of all there came a smart shock (which we felt as distinctly where we were as if we had been slightly galvanized), but unattended with any visible signs of an explosion: Poe uses Poe uses galvanized galvanized in the sense of being shocked with a battery's electric charge. This is one more example of Poe's incorporating timely technology into his fiction: The Galvanic battery, an electric battery invented by Italian physicist Luigi Galvani (1737-1798), had gained attention in popular culture by the 1830s. Thus we find another bit of realism amid the increasingly weird occurrences within the novel. in the sense of being shocked with a battery's electric charge. This is one more example of Poe's incorporating timely technology into his fiction: The Galvanic battery, an electric battery invented by Italian physicist Luigi Galvani (1737-1798), had gained attention in popular culture by the 1830s. Thus we find another bit of realism amid the increasingly weird occurrences within the novel.

41 (p. 589) (p. 589) Chapter XXIII: Chapter XXIII: The first edition of The first edition of Pym Pym contains two chapters numbered XXIII, which stand uncorrected in Griswold's edition of Poe's works (1856). I have changed the chapter numerals to proceed chronologically, and so I number the second "chapter XXIII" as XXIV and the last chapter XXV. contains two chapters numbered XXIII, which stand uncorrected in Griswold's edition of Poe's works (1856). I have changed the chapter numerals to proceed chronologically, and so I number the second "chapter XXIII" as XXIV and the last chapter XXV.

42 (p. 597) (p. 597) a dusky, fiendish, and filmy figure stood immediately beneath me.... At length, seeing me totter, he hastened to ascend to my rescue, and arrived just in time for my preservation: a dusky, fiendish, and filmy figure stood immediately beneath me.... At length, seeing me totter, he hastened to ascend to my rescue, and arrived just in time for my preservation: In this incident, Pym initially supposes that a supernatural figure threatens him, only to regain clear consciousness and realize how faulty his vision was, and that Peters has rescued him; it parallels Pym's supposing that Tiger is some horrendous antagonist, but soon learning the actuality of the situation. In this incident, Pym initially supposes that a supernatural figure threatens him, only to regain clear consciousness and realize how faulty his vision was, and that Peters has rescued him; it parallels Pym's supposing that Tiger is some horrendous antagonist, but soon learning the actuality of the situation.

43 (pp. 597-598) (pp. 597-598) The place was one of singular wildness ... immense scorpions were seen, and various reptiles not elsewhere to be found in the high lat.i.tudes: The place was one of singular wildness ... immense scorpions were seen, and various reptiles not elsewhere to be found in the high lat.i.tudes: The desolation here compares with that in "The Valley of Unrest," "Silence-A Fable," and the opening of "The Fall of the House of Usher." The desolation here compares with that in "The Valley of Unrest," "Silence-A Fable," and the opening of "The Fall of the House of Usher."

44 (p. 601) (p. 601) The ribs were of a tough osier, well adapted to the purpose for which it was used: The ribs were of a tough osier, well adapted to the purpose for which it was used: Osier is a pliable willow twig used in basket and furniture making. This substance may have been mentioned with irony because its frail quality is but one more frailty in the canoe and the characters themselves, they having sustained considerable physical and emotional batterings. Osier is a pliable willow twig used in basket and furniture making. This substance may have been mentioned with irony because its frail quality is but one more frailty in the canoe and the characters themselves, they having sustained considerable physical and emotional batterings.

45 (p. 602) (p. 602) in short, having all the wild variations of the Aurora Borealis: in short, having all the wild variations of the Aurora Borealis: The aurora borealis is a luminous nighttime phenomenon that occurs in the atmosphere of Earth's northern hemisphere; in the southern hemisphere, where Pym is, such a phenomenon is termed the aurora australis. Pym's allusion to its vaporous appearance accelerates his own symbolic journey into visually obscure and emotionally uncertain regions. The aurora borealis is a luminous nighttime phenomenon that occurs in the atmosphere of Earth's northern hemisphere; in the southern hemisphere, where Pym is, such a phenomenon is termed the aurora australis. Pym's allusion to its vaporous appearance accelerates his own symbolic journey into visually obscure and emotionally uncertain regions.

46 (p. 603) (p. 603) they were governed by a common king, named they were governed by a common king, named Tsalemon or Psalemoun, Tsalemon or Psalemoun, who resided in one of the smallest of the islands: who resided in one of the smallest of the islands: Various speculations about the meaning of these names have been offered; but, as with other strange language employed, they may represent Poe's comic intent, or they may be additional signposts that imply a defiance of establishing absolute, exclusive meaning by those within the novel and by readers. See note 33, above, for elaboration on possibilities in Nu-Nu's words. If Nu-Nu's name means "to deny"-as Sydney Kaplan submits in her edition, Various speculations about the meaning of these names have been offered; but, as with other strange language employed, they may represent Poe's comic intent, or they may be additional signposts that imply a defiance of establishing absolute, exclusive meaning by those within the novel and by readers. See note 33, above, for elaboration on possibilities in Nu-Nu's words. If Nu-Nu's name means "to deny"-as Sydney Kaplan submits in her edition, The Narrative of Arthur Gordon Pym, The Narrative of Arthur Gordon Pym, New York: Hill and w.a.n.g, 1960, p. xviii-then his death just before the mysterious white figure looms fittingly concludes one variety of symbolism in the novel. The Tsalalians have destroyed the Jane, as the explorers' ship is termed in that episode,