Early American Literature

lecture notes

Edgar Huntly




cave interior—inside the depths of the unconscious mind?

 

CT & EH as history of novel

22.2 letter to mother

 

true story or fiction?

 

both have considerable backstories re previous generation or old country

novel form less streamlined by practice

also reading habits less intolerant of length (cf. miniseries?)

 

 

Discussion Questions: 1. Edgar Huntly was never popular like Charlotte Temple. Why not? How does Edgar Huntly seem more like "classic literature" than Charlotte Temple?  What distinctions between popular and classic literature? What balance is struck between "instruction" and "entertainment?"

CT as popular

plainspoken, dialogue, heterosexual love interest

 

 

 

 

 

2. How can both be classified as Romantic (or occasionally anti-Romantic)?

CT romantic

Charlotte follows dream, breaks out of limiting structures from past

love-interest as romance

 

CT anti-romantic

[6.12] Oh my dear girls—for to such only am I writing—listen not to the voice of love, unless sanctioned by paternal approbation [approval]: be assured, it is now past the days of romance: no woman can be run away with contrary to her own inclination: then kneel down each morning, and request kind heaven to keep you free from temptation, or, should it please to suffer you to be tried, pray for fortitude to resist the impulse of inclination when it runs counter to the precepts of religion and virtue.

Montraville as false ideal, boy in a uniform rather than real situation

 

EH romantic

 

 

gothic and sublime

 

EH anti-romantic

watch what concluding letters reveal about how wrong Edgar has been--how has he been wrong?

 

 

3. Examples of the gothic and sublime in Edgar Huntly?  How and why is American gothic attached to the wilderness rather than gothic castles, etc.? What is the significance of the gothic? Why does it keep returning? How does it keep working?

gothic + maze / labyrinth

1.19 craggy and obscure path

1.21 something indistinguishable

1.22 apparition

1.24 gothic lighting

[1.25] A figure, robust and strange, and half naked, to be thus employed, at this hour and place . . . .was it a grave he was digging?

 

2.2 What did he seek, or what [did he] endeavour [try] to conceal, in this fatal spot? The incapacity of sound sleep denotes a mind sorely wounded. . . . some dreadful secret.

2..2 psychological analysis

2.31 gloom deepened

 

3.1 bury himself alive?

3.1 limestone rifts and cavities

3.1 correspondence b/w landscape and unconscious

 

4.14 twinning

5.1 more twinning

7.36 dark, crooked, and narrow lane

7.39 the rays of a distant lamp, which glistened on the blade

8.21 My fancy [imagination] began to be infected with the errors of my understanding.

8.21 gothic internalized

8.23 linked together by a sympathy whose influence was independent of sensible communication?

8.25 winding passages; note correspondence to Clithero’s thoughts

8.27 [sleepwalking description?]

 

10.3 bottomless pit

10.7 intensest dark parent of fears

10.9 maze

 

12.1-2 spring touched, box opens

12.3 numerous compartments

 

 

sublime

3.51 imagination, sublime

 

9.21 sublime

9.21 imagine a space, somewhat circular, about six miles in diameter, and exhibiting a perpetual and intricate variety of craggy eminences and deep dells?

9.22 hollows, cascades, subterranean channels

10.13 rapture as sublime [L rapere to take away or snatch out: extreme pleasure, happiness, excitement]

10.16 the resemblance of an immense hall, lighted from a rift which some convulsion of nature had made in the roof

10.17-18 sublime

10.19 irregularities of the sublime

10.2 romantic hyperbole

10.19 sublimity

10.23 sublime

 

 

 

 

 

 

 

4. Edgar Huntly is the first serious American attempt at serious or literary fiction. What does the author get right and wrong? What can you learn about fiction from these successes and errors, or from early attempts at fiction generally? What do you want more or less of?

Gets right:

makes the reader work, commit to exploring

8.21 My fancy [imagination] began to be infected with the errors of my understanding.

attempts to explain what cannot entirely be understood

8.23 linked together by a sympathy whose influence was independent of sensible communication?

 

 

 

 

5. What is the overall effect on a reader from reading Edgar Huntly? How does this effect or purpose differ from that of previous texts in Early American Literature? 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Last week, Romanticism as the gothic

Austin's second post

 

Romanticism:

9.18 Thou knowest my devotion to the spirit that breathes its inspiration in the gloom of forests and on the verge of streams. cf. Jn Edwards, Personal Narrative 4

17.23 [sublime experience on exiting from cave]

8.76 I can still weep over the untimely fall of youth and worth.

19.44 Horror, and compassion, and remorse, were mingled into one sentiment, and took possession of my heart.

 

3.1 [gothic correspondence between outer or submerged landscape and mental or unconscious interior]

1.26-27 grief, sympathy, compassion

ch. 10.16, 10.22 cave as mental interior, where he finds Clithero

[21.15] a rift, somewhat resembling a coffin in shape, and not much larger in dimensions. [<gothic]

[27.36] "He that could meditate a deed like this was no longer man. An agent from hell had mastered his faculties.

27.45 Edgar himself a sleep-walker

27.58 Indian killed Waldegrave but didn't scalp to hide Indian agency

27.60 Indian who killed Waldegrave probably one of the Indians Edgar killed

 

L2.29 If she be alive, then am I reserved for the performance of a new crime. My evil destiny will have it so.

L2.31 Clithero is a maniac

[L2.34] I cannot forget that my unfortunate temerity [boldness] has created this evil. Yet who could foresee this consequence of my intelligence? I imagined . . .

L3.15 at the moment when his flight was overtaken, he forced himself beneath the surface, and was seen no more.

 

 

 

 

[22.2] There is no one to whom I would yield the superiority in swimming [cf. Poe & Romantic rhetoric]

10.7 intense darkness

Edgar Allan Poe, The Narrative of Arthur Gordon Pym (1838) chapters 2 & 3

 

 

 

 

 

 

 

 

Whitefield

Protestant Reformation never ends, always new denominations being born, always trying to return to "original" or "primitive church"

1.1-2 family values under siege

1.4 early, primitive Christians    [cf. William Bradford, Of Plymouth Plantation 1.1] [nostalgia]

1.6 paranoia, conspiracy? cf. Salem Witch Trials

1.10 the great importance of Family Religion

1.11 you are fallen creatures--contrast Romanticism

1.11 by nature lost and estranged from God; and that you can never be restored to your primitive* [original] happiness, till by being born again of the Holy Ghost, you arrive at your primitive* state of purity

1.11 deep sense of God's free grace

 

2.1 a fallen world [theologically, fallen from union with divine into state of sin and separation > Romanticism: fallen from childhood innocence into world of adulthood, experience, civilization]

2.2 egalitarian?

2.4 worldliness

2.9 new-birth cf. Emerson

2.10 hidden, powerful presence of Christ

2.10 feeling, sweet [Romanticism as feeling, emotion over logic, reason] Jn Edwards, Personal Narrative 4

2.10 natural state as hell

2.10 millennium, judgment day

 

3.3 Apostolic generation

3.5 partaker of the Divine Nature [cf. Emerson Nature 13]

3.5 had he continued holy

3.5 partaker of the devil's nature

 

3.13 cf. Puritan covenant

3.18 x-worldliness, worldy status

3.21 life hidden; cf. Romantic inside

3.21 although your bodies are on earth, yet your souls and hearts are in heaven

 

 

 

Examples of the gothic and sublime? How is the gothic attached to the American wilderness rather than gothic castles, etc.?

Edgar Huntly was never popular like Charlotte Temple. Why not? What distinctions between popular and classic literature?

Edgar Huntly is the first serious American attempt at serious or literary fiction. What does he get right and wrong? What can you learn about fiction from his successes and errors? What do you want more or less of?

What is the significance of the gothic? Why does it keep returning? How does it keep working?

 

Edgar Huntly

division of early American literature as novels

women's sentimental romances

men's gothic romances

(of course they cross)

 

somnambulism as interest in unconscious

 

2.6 Our scheme [social system] was, for the most part, a patriarchal* one.

6.11 passage to America (colony like Ireland and India)

20.29 moves into cottage abandoned by Scottish emigrant

 

 

periods

2.8 I was to gain all the knowledge [empirical]

10.1 detective retraces criminal’s steps

27.41 Consciousness itself is the malady, the pest, of which he only is cured who ceases to think

27.47 How little cognizance have men over the actions and motives of each other!

 

 

 

 

 

Romanticism

8.76 I can still weep over the untimely fall of youth and worth.

1.26 such mighty anguish, such heart-bursting grief.

1.27 tears . . . . instead of one whom it was duty to persecute, I beheld, in this man, nothing but an object of compassion.

9.18 Romantic: Thou knowest my devotion to the spirit that breathes its inspiration in the gloom of forests and on the verge of streams. I love to immerse myself in shades and dells [obscure retreats and valleys], and hold converse with the solemnities and secrecies of nature in the rude [undeveloped] retreats of Norwalk.

19.44 Horror, and compassion, and remorse, were mingled into one sentiment, and took possession of my heart.

23.16 his son, a man fraught with envy and malignity, who always testified a mortal hatred to us

27.41 Consciousness itself is the malady, the pest, of which he only is cured who ceases to think

 

 

sublime

3.51 imagination, sublime

 

9.21 sublime

9.21 imagine a space, somewhat circular, about six miles in diameter, and exhibiting a perpetual and intricate variety of craggy eminences and deep dells?

9.22 hollows, cascades, subterranean channels

10.13 rapture as sublime [L rapere to take away or snatch out: extreme pleasure, happiness, excitement]

10.16 the resemblance of an immense hall, lighted from a rift which some convulsion of nature had made in the roof

10.17-18 sublime

10.19 irregularities of the sublime

11.2 romantic hyperbole

12.19 sublimity

12.23 sublime

 

17.23 The sensations inspired by the dangers which environed me, added to my recent horrors, and the influence of the moon, which had now gained the zenith, and whose lustre dazzled my long-benighted senses, cannot be adequately described.

17.24 sublime landscape

17.34 the hatchet buried itself

17.35 Never before had I taken the life of a human creature.

 

21.6 sublime mountain nature

 

 

 

 

 

 

gothic

1.19 craggy and obscure path

1.21 something indistinguishable

1.22 apparition

1.24 gothic lighting

[1.25] A figure, robust and strange, and half naked, to be thus employed, at this hour and place . . . .was it a grave he was digging?

2.2 What did he seek, or what [did he] endeavour [try] to conceal, in this fatal spot? The incapacity of sound sleep denotes a mind sorely wounded. . . . some dreadful secret.

2.2 psychological analysis

2.31 gloom deepened

 

3.1 bury himself alive?

3.1 limestone rifts and cavities

3.1 correspondence b/w landscape and unconscious

 

4.14 twinning

5.1 more twinning

7.36 dark, crooked, and narrow lane

7.39 the rays of a distant lamp, which glistened on the blade

8.21 My fancy [imagination] began to be infected with the errors of my understanding.

8.21 gothic internalized

8.23 linked together by a sympathy whose influence was independent of sensible communication?

8.25 winding passages; note correspondence to Clithero’s thoughts

8.27 [sleepwalking description?]

 

10.3 bottomless pit

10.7 intensest dark parent of fears

10.9 maze

 

12.1-2 spring touched, box opens

12.3 numerous compartments

 

13.15-16 another secret box, mini-gothic

 

16.16 waking dream

16.17 buried alive

16.19-20 echoes

16.20 pit

16.29 reason: reach top of pit?

16.34-35 darkness, eyes of panther

16.56 a gleam, infinitely faint

21.15 shelter as coffin

27.36 an agent from hell had mastered his faculties

L3.15 he forced himself beneath the surface, and was seen no more.

 

 

 

 

 

 

1.3 emotions, psychology

1.6 tumult and dismay of soul

1.8 nocturnal journey in districts so romantic and wild as these; congenial to my temper (correspondence)

1.11 his inexplicable obstinacy

1.12 violent murder by night; no traces of the slayer

1.15 The impulse was gradually awakened that bade me once more to seek the elm

1.19 craggy and obscure path

1.21 something indistinguishable

1.22 apparition

1.24 gothic lighting

1.25 A figure, robust and strange, and half naked, to be thus employed, at this hour and place . . . .was it a grave he was digging?

1.26 such mighty anguish, such heart-bursting grief.

1.27 tears . . . . instead of one whom it was duty to persecute, I beheld, in this man, nothing but an object of compassion.

1.31 acted as if he saw nothing

1.32 weeping and sighs and more vehemence

1.33 his imperfect dress, the dimness of the light, and the confusion of my own thoughts, hindered me from discerning his features.

1.34 this person was asleep (somnambulism as gimmick)

 

 

2.2 What did he seek, or what [did he] endeavour [try] to conceal, in this fatal spot? The incapacity of sound sleep denotes a mind sorely wounded. . . . some dreadful secret.

2.2 psychological analysis

2.3 some fantastic drama in which his mind was busy. To comprehend it demands penetration into the recesses of his soul.

2.6 Our scheme [social system] was, for the most part, a patriarchal* one.

2.8 I was to gain all the knowledge [empirical]

2.9 it seemed as if the maze were no longer inscrutable

2.10 impulses of vengeance

2.13 curiosity, virtue, knowledge, pleasure, complex and fiery sentiments

2.17 two modes of drawing forth the secrets of another,—by open and direct means and by circuitous and indirect

2.18 deepest shade

2.22 made his way, seemingly at random [maze]

2.24 perpetually changing his direction

2.27 this scene reminded me of my situation [correspondence, twinning]

2.31 gloom deepened

 

 

many observations and inductions; reports from Inglefield, Ambrose, housekeeper

3.1 bury himself alive?

3.1 limestone rifts and cavities

3.1 correspondence b/w landscape and unconscious

3.1 youthful imagination, romantic structure

3.3 maze

3.3 sublime

3.6 no other than Clithero Edny

3.11 wanderings of my reason and my freaks of passion

3.11 thy brother [addressing W’s sister]

3.13-14 Inglefield, housekeeper on Clithero

3.15 talking in his sleep

3.20 someone on horseback stopped at the gate

3.23 neatness of his workmanship

3.27 elm, mechanical influence on me

3.29-35 dialogue!

3.43 Clithero recoils from Edgar as if from a spectre

3.45 "I am no stranger to your gnawing cares; to the deep and incurable despair that haunts you

3.47 embrace the assassin as my best friend

3.51 imagination, sublime

3.51 restore this unhappy man to purity and to peace

3.53 bold invitation

3.54 his countenance betokened a violent internal struggle

 

4.4 a tissue of destructive errors

4.10 duty x dissipation

4.14 twinning

4.20 she proposed to me to become a member of her own family

4.26 her maternal regard for me

 

5.1 more twinning

5.2 no two persons were less alike.

5.7 husband imposed on her [cf. Charlotte Temple]

5.8 Adam > Arthur Wiatte

5.9 a daughter (Clarice)

5.11 possibility of a union between her son and niece

5.17 slept, visions

5.24 almost dialogue

5.28 dialogue!

 

6.5 I hasten to the crisis [crucial event] of my tale

6.6 previews Sarsefield

6.9-10 exotic orientalism

6.11 passage to America (colony like Ireland and India)

 

7.2 Sarsefield roused me from a deep sleep

7.7, 7.12 return of Arthur Wiatte

7.17 The same sullen and atrocious passions were written in his visage.

7.21 Against an evil like this, no legal provision had been made.

7.23 haunts = hiding places; scheme to follow, acquire more information

7.26 That Sarsefield should be so quickly followed by his arch-foe; that they started anew into existence, without any previous intimation, in a manner wholly unexpected, and at the same period,—it seemed as if there lurked, under those appearances, a tremendous significance

7.27 I passed the night in continual motion. I strode, without ceasing, across the floor of my apartment. My mind was wrought to a higher pitch than I had ever before experienced. [sleepwalking developing?]

7.29 Such was the beginning of a series [of events] ordained to hurry me to swift destruction.

7.31 lady = Mrs. Lorimer? Yes, Clarice is absent

7.33 a large sum

7.36 dark, crooked, and narrow lane

7.39 the rays of a distant lamp, which glistened on the blade

 

8

8.2 The contriver of enormous evil was, in one moment, bereft of the power and the will to injure.

8.4 I was impelled by an unconscious necessity. Had the assailant been my father, the consequence would have been the same. My understanding had been neutral. Could it be?

8.7 I have killed the brother of my patroness, the father of my love."

8.8-8.9 rationalization > He was her brother still

8.10 Mrs. Lorimer’s manuscript, unpublished but widely circulated

8.13 “Touch not my brother.”

8.21 My fancy [imagination] began to be infected with the errors of my understanding.

8.21 gothic internalized

8.23 linked together by a sympathy whose influence was independent of sensible communication?

8.25 winding passages; note correspondence to Clithero’s thoughts

8.27 [sleepwalking description?]

8.40 a dagger

8.42 Was it I that hurried to the deed? No. It was the demon that possessed me.

8.52 The moment of insanity had gone by, and I was once more myself.

8.53 What could I less than turn the dagger's point against my own bosom?

8.66 Oh! cursed chance that hindered thee from killing me also!

8.72 corresponded

8.73 Belfast > America > Philadelphia

8.76 I can still weep over the untimely fall of youth and worth.

 

9.2 The secret which I imagined was about to be disclosed was as inscrutable as ever. [secret = Waldegrave’s murder]

9.2 murder [= attempted murder?]

9.4 romancers and historians

9.5 His conduct was dictated by a motive allied to virtue.

9.6 self-preservation = self-defense

9.9 The crime originated in those limitations which nature has imposed upon human faculties. Proofs of a just intention are all that are requisite to exempt us from blame; he is thus, in consequence of a double mistake.

9.10 How imperfect are the grounds of all our decisions

[9.13] But what chiefly excited my wonder was the connection of this tale with the destiny of Sarsefield.

9.14 epistolary intercourse

9.17 the idea of the wilderness occurred

9.18 Romantic: Thou knowest my devotion to the spirit that breathes its inspiration in the gloom of forests and on the verge of streams. I love to immerse myself in shades and dells [obscure retreats and valleys], and hold converse with the solemnities and secrecies of nature in the rude [undeveloped] retreats of Norwalk.

9.21 sublime

9.21 imagine a space, somewhat circular, about six miles in diameter, and exhibiting a perpetual and intricate variety of craggy eminences and deep dells?

9.22 hollows, cascades, subterranean channels

9.25 a roaming disposition

9.25 picturesque [associated w/ Romanticism, nature tourism]

 

10.1 At a few yards from the mouth the light disappeared, and I found myself immersed in the dunnest [duskiest] obscurity.

10.1 detective retraces criminal’s steps

10.3 bottomless pit

10.7 intensest dark parent of fears

10.9 maze

10.13 rapture as sublime [L rapere to take away or snatch out: extreme pleasure, happiness, excitement]

10.14 maze variation

10.15 cylinder within cylinder

10.16 the resemblance of an immense hall, lighted from a rift which some convulsion of nature had made in the roof

10.17-18 sublime

10.19 irregularities of the sublime

10.19 a human countenance

10.22 the fugitive Clithero!

10.25 thrilled to my inmost heart

10.26 Man! Clithero!

10.29 he was gone

10.33 yet to sit by him in silence, to moisten his hand with tears, to sigh in unison, to offer him the spectacle of sympathy, the solace of believing that his demerits were not estimated by so rigid a standard by others as by himself, that one at least among his fellow-men regarded him with love and pity, could not fail to be of benign influence. [Extravagance of Romanticism]

10.36 I must hasten home, procure an axe, and return

 

 

11

11.2 romantic hyperbole

11.6 buried in profound slumber

11.10 all that I could do was offer him food

11.11 physiognomy as character

11.14 by the elm again

11.16 actions of a sleeper

11.17 resolved to dig

11.20 square box of ingenious workmanship

11.21 no keyhole

11.22 These were joined, not by mortise and tennon, not by nails, not by hinges, but the junction was accurate. The means by which they were made to cohere were invisible. [Wikipedia for illustration]

11.27 intended not a theft [cf. Clithero’s rationalizations]

11.29 Thou knowest that I also am a mechanist. [again Edgar claims a resemblance to Clithero] I had constructed a writing-desk and cabinet, in which I had endeavoured to combine the properties of secrecy, security, and strength, in the highest possible degree. I looked upon this, therefore, with the eye of an artist, and was solicitous to know the principles on which it was formed. I determined to examine, and, if possible, to open it.

 

 

12 Edgar succeeds in opening the box, finds nothing, but then cannot close the box; Edgar returns to the Elm and digs up another mysterious box, returns to the house and sees leaving a figure who might be Clithero. Inside the house Edgar finds the first box smashed to pieces.

12.1-2 spring touched, box opens

12.3 numerous compartments

12.5 I now perceived that Clithero had provided not only against the opening of his cabinet, but likewise against the possibility of concealing that it had been opened.

12.5 belief that my action was without witnesses, and might be forever concealed.

12.10 cabinet [first box]

12.12 second box equally inaccessible

12.13 Mrs. Lorimer’s manuscript, link chapter 8

12.17 Exempt as this lady was from almost every defect, she was indebted for her ruin to absurd opinions of the sacredness of consanguinity

12.19 sublimity

12.23 sublime

12.23 escape route may be lost

12.26 panther

12.29 tomahawk

12.37 bold my hairbreadth escape

12.39 Thus was I again rescued from death.

12.41 back to Huntly farm

12.46 previews second panther

 

13.1-2 project to collect Waldegrave's writings

13.7 different systems of opinion on topics connected with religion and morals

13.9 insensibly resumed the faith which he had relinquished, and became the vehement opponent of all that he had formerly defended

13.10 letters would communicate the poison

13.15-16 another secret box, mini-gothic

13.22 My uncle, in his night-dress, and apparently just risen from his bed, stood before me!

 13.29 some one pacing to and fro

13.32 cedar chest full of old maps and books

13.38 Was not the purloiner of my treasure and the wanderer the same person?

13.39 I struggled to dismiss the images connected with my loss and to think only of Clithero.

14.4 Weymouth

14.6 With his life, my own existence and property [wealth] were, I have reason to think, inseparably united.

14.15 His religious duty compelled him to seek his livelihood by teaching a school of blacks. The labour was disproportioned to his feeble constitution, and the profit was greatly disproportioned to the labour.

14.16 teacher of the negro freeschool when he died.

14.20 bankbook $7500

14.21 Possibly he might have held it in trust for another.

Weymouth's narrative begins

14.23-4 cargo of Madeira wine + money to Waldegrave

14.26 a monk chanced to visit

 

 

16.16 waking dream

16.17 buried alive

16.19-20 echoes

16.20 pit

16.24 hunger

16.25 savagery

16.26  tomahawk . . . terminate my sufferings.

16.29 reason: reach top of pit?

16.34-35 darkness, eyes of panther

16.40 a banquet so detestable

16.56 a gleam, infinitely faint

 

ch 17 begins captivity narrative

17.9 death of parents and child in Indian raid

17.10 psychology: fear of Indians

17.11 injuries and encroachments

17.14 gigantic figure and ornaments

17.17 a captive

17.18 some farmer's daughter

17.23 The sensations inspired by the dangers which environed me, added to my recent horrors, and the influence of the moon, which had now gained the zenith, and whose lustre dazzled my long-benighted senses, cannot be adequately described.

17.24 sublime landscape

17.34 the hatchet buried itself

17.35 Never before had I taken the life of a human creature.

 

 

18.8 cf. Jemison

18.12 small house

18.13 heart leaped with joy

18.23 the musket was mine

18.31 legacy of Sarsefield

18.33 three human figures

18.44-5 heavy blow, shriek

18.47, 49 two shots, two Indians

 

19.17 is this a dream?

19.22 swoon mistaken for death

19.27 abandoned?

19.31 satiated and gorged with slaughter

19.44 Horror, and compassion, and remorse, were mingled into one sentiment, and took possession of my heart.

19.46 To kill him outright was the dictate of compassion and of duty.

19.49 Such are the subtle threads on which hang the fate of man and of the universe!

 

20.2 wrong way? 20.3 wisest, however, to proceed.

20.5 A clover-field, and several apple-trees,— sure attendants of man,—were now discovered. From this space I entered a corn-field, and at length, to my inexpressible joy, caught a glimpse of a house.

20.6 Euro-style house

[Instructor's note: 20.12-20.15 = dialogue ± paraphrase]

20.13 He was supposed to have rambled in the mountains, and to have lost his way

20.15 Old Deb. Some people called her Queen Mab

20.22-24 dogs to whom she talks

20.24 She conceived that by remaining behind her countrymen she succeeded to the government and retained the possession of all this region. The English were aliens and sojourners

20.28 Deb visited by Delawares every Autumn

20.29 moves into cottage abandoned by Scottish emigrant

20.34 three days were said to have passed since my disappearance

 

21.3 intricate path

21.6 sublime mountain nature

21.15 shelter as coffin

21.33 a man armed

21.36 fired, leaped

21.38 a shower of bullets

 

22.27 the dwelling of the Selbys

22.28 scalped

22.33 armed man, garb of an Indian, face down

 

23.7-14 again depict a dialogue with and without quotation marks

23.15 That dear home, the scene of my sportive childhood, of my studies, labours, and recreations, was ravaged by fire and the sword,—was reduced to a frightful ruin!

23.16 his son, a man fraught with envy and malignity, who always testified a mortal hatred to us

 

25.3 explanation of Edgar's rifle with Indians, death of uncle

25.6 Edgar's battle w/ Indians at Deb's hut, heard by Sarsefield

25.13 farm girl's account of Edgar

25.21 you had risen from the dead

 

 

26.7 Clithero! Is the madman here?

26.22 Edgar sinks to floor > Walton's house?

26.25 "imagined indignation"

26.28 a musket discharged in room below

26.29 self-preserving instinct

26.30 Indian through the window

26.35 Clithero not dead?

26.39 abandon forever this district

 

27.14 Clithero's quick captivity narrative

27.17 Clithero transferred to Edgar's bed

27.36 an agent from hell had mastered his faculties

27.39 never more will she be happy

27.41 Consciousness itself is the malady, the pest, of which he only is cured who ceases to think

27.42 Edgar's naivete

27.45 both acts had been performed during sleep

27.47 How little cognizance have men over the actions and motives of each other!

27.48 Clithero might recover

27.58 Waldegrave killed by Indian

 

 

Three Letters

I

L1.2 Clithero is alive, is apprized of your wife's arrival and abode in New York, and has set out with mysterious intentions to visit her.

 

L2.2 Clithero in Deb's Hut

L2.22 the woman with whose destruction you charge yourself is not dead."

L2.27 "Perhaps," said he, "thou canst point out the place of her abode?—canst guide me to the city, the street, the very door of her habitation?"

L2.29 Rash and infatuated youth, thou hast ratified, beyond appeal or forgiveness, thy own doom. . . . If she be alive, then am I reserved for the performance of a new crime. My evil destiny will have it so.

L2.31 Clithero is a maniac.

L2.34 my unfortunate temerity [boldness] has created this evil.

 

L3.10 Her own life has been imminently endangered, and an untimely birth has blasted my fondest hope. Her infant, with whose future existence so many pleasures were entwined, is dead.

L3.11 I find it hard to forbear commenting on your rashness in no very mild terms. You acted in direct opposition to my counsel and to the plainest dictates of propriety.

L3.15 he forced himself beneath the surface, and was seen no more.

L3.16 Farewell.