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Early American Literature lecture notes |
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Edgar Huntly
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cave interior—inside the depths of the unconscious mind? |
CT & EH as history of novel
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?
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
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.
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
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
20.29 moves into cottage abandoned by Scottish emigrant
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!
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
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
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
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
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
6.9-10 exotic orientalism
6.11 passage to
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
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
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
13.22 My uncle, in his night-dress, and apparently just risen from his bed, stood before me!
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.