and now more vigorously than before. The hues of life flushed up with unwonted energy into the countenance—the limbs relaxed—and, save that the eyelids were yet pressed heavily together, and that the bandages and draperies of the grave still imparted their charnel character to the figure, I might have dreamed that Rowena had indeed shaken off, utterly, the fetters of Death. But if this idea was not, even then, altogether adopted, I could at least doubt no longer, when, arising from the bed, tottering, with feeble steps, with closed eyes, and with the manner of one bewildered in a dream, the thing that was enshrouded advanced bodily and palpably into the middle of the apartment.
I trembled not—I stirred not—for a crowd of unutterable fancies connected with the air, the stature, the demeanor of the figure, rushing hurriedly through my brain, had paralyzed—had chilled me into stone. I stirred not—but gazed upon the apparition. ·330· There was a mad disorder in my thoughts—a tumult unappeasable. Could it, indeed, be the living Rowena who confronted me? Could it indeed be Rowena at all—the fair-haired, the blue-eyed Lady Rowena Trevanion of Tremaine? Why, why should I doubt it? The bandage lay heavily about the mouth—but then might it not be the mouth of the breathing Lady of Tremaine? And the cheeks—there were the roses as in her noon of life—yes, these might indeed be the fair cheeks of the living Lady of Tremaine. And the chin, with its dimples, as in health, might it not be hers?—but had she then grown taller since her malady? What inexpressible madness seized me with that thought? One bound, and I had reached her feet! Shrinking from my touch, she let fall from her head the ghastly cerements which had confined it, and there streamed forth, into the rushing atmosphere of the chamber, huge masses of long and dishevelled hair; it was blacker than the wings of the midnight! And now slowly opened the eyes of the figure which stood before me. “Here then, at least,” I shrieked aloud, “can I never—can I never be mistaken—these are the full, and the black, and the wild eyes—of my lost love—of the lady—of the Lady Ligeia!”
[1st pub.: Baltimore American Museum, Sep 1838; copy-text: Broadway Journal, Sep 27, 1845, Poe’s revised copy]
·336· HOW TO WRITE A BLACKWOOD ARTICLE.
“In the name of the Prophet—figs!!”
Cry of the Turkish fig-pedler.
I presume everybody has heard of me. My name is the Signora Psyche Zenobia. This I know to be a fact. Nobody but my enemies ever calls me Suky Snobbs. I have been assured that Suky is but a vulgar corruption of Psyche, which is good Greek, and means “the soul” (that’s me, I’m all soul) and sometimes “a butterfly,” which latter meaning undoubtedly alludes to my appearance in my new crimson satin dress, with the sky-blue Arabian mantelet, and the trimmings of green agraffas, and the seven flounces of orange-colored auriculas. As for Snobbs—any person who should look at me would be instantly aware that my name wasn’t Snobbs. Miss Tabitha Turnip propagated that report through sheer envy. Tabitha Turnip indeed! Oh the little wretch! But what can we expect from a turnip? Wonder if she remembers the old adage ·337· about ‘blood [E: “blood] out of a turnip, &c.” [Mem: put her in mind of it the first opportunity.] [Mem again—pull her nose.] Where was I? Ah! I have been assured that Snobbs is a mere corruption of Zenobia, and that Zenobia was a queen—(So am I. Dr. Moneypenny, always calls me the Queen of Hearts)—and that Zenobia, as well as Psyche, is good Greek, and that my father was “a Greek,” and that consequently I have a right to our patronymic, which is Zenobia, and not by any means Snobbs. Nobody but Tabitha Turnip calls me Suky Snobbs. I am the Signora Psyche Zenobia.
As I said before, everybody has heard of me. I am that very Signora Psyche Zenobia, so justly celebrated as corresponding secretary to the “Philadelphia, Regular, Exchange, Tea, Total, Young, Belles, Lettres, Universal, Experimental, Bibliographical, Association, To, Civilize, Humanity.” Dr. Moneypenny made the title for us, and says he chose it because it sounded big like an empty rum-puncheon. (A vulgar man that sometimes—but he’s deep.) We all sign the initials of the society after our names, in the fashion of the R.S.A., Royal Society of Arts—the S.D.U.K., Society for the Diffusion of Useful Knowledge, &c. &c. Dr. Moneypenny says that S stands for stale, and that D.U.K. spells duck, (but it don’t,) and that S.D.U.K. stands for Stale Duck, and not for Lord Brougham’s society—but then Dr. Moneypenny is such a queer man that I am never sure when he is telling me the truth. At any rate we always add to our names the initials P.R.E.T.T.Y.B.L.U.E.B.A.T.C.H.—that is to say, Philadelphia, Regular, Exchange, Tea, Total, Young, Belles, Lettres, Universal, Experimental, Bibliographical, Association, To, Civilize, Humanity—one letter for each word, which is a decided improvement upon Lord Brougham. Dr. Moneypenny will have it that our initials give our true character—but for my life I can’t see what he means.
Notwithstanding the good offices of the Doctor, and the strenuous exertions of the association to get itself into notice, it met with no very great success until I joined it. The truth is, members indulged in too flippant a tone of discussion. The papers read every Saturday evening were characterized less by depth than buffoonery. ·338· They were all whipped syllabub. There was no investigation of first causes, first principles. There was no investigation of anything at all. There was no attention paid to that great point the “fitness of things.” In short there was no fine writing like this. It was all low—very! No profundity, no reading, no metaphysics—nothing which the learned call spirituality, and which the unlearned choose to stigmatise as cant. [Dr. M. says I ought to spell “cant” with a capital K—but I know better.]
When I joined the society it was my endeavour to introduce a better style of thinking and writing, and all the world knows how well I have succeeded. We get up as good papers now in the P.R.E.T.T.Y.B.L.U.E.B.A.T.C.H. as any to be found even in Blackwood. I say, Blackwood, because I have been assured that the finest writing, upon every subject, is to be discovered in the pages of that justly celebrated Magazine. We now take it for our model upon all themes, and are getting into rapid notice accordingly. And, after all, it’s not so very difficult a matter to compose an article of the genuine Blackwood stamp, if one only goes properly about it. Of course I don’t speak of the political articles. Everybody knows how they are managed, since Dr. Moneypenny explained it. Mr. Blackwood has a pair of tailor’s-shears, and three apprentices who stand by him for orders. One hands him the “Times,” another the “Examiner,” and a third a “Gulley’s New Compendium of Slang-Whang.” Mr. B. merely cuts out and intersperses. It is soon done—nothing but Examiner, Slang-Whang, and Times—then Times, Slang-Whang, and Examiner—and then Times, Examiner, and Slang-Whang.
But the chief merit of the Magazine lies in its miscellaneous articles; and the best of these come under the head of what Dr. Moneypenny calls the bizarreries (whatever that may mean) and what everybody else calls the intensities. This is a species of writing which I have long known how to appreciate, although it is only since my late visit to Mr. Blackwood (deputed by the society) that I have been made aware of the exact method of composition. This method is very simple, but not so much so as the politics. Upon my ·339· calling at Mr. B.’s, and making known to him the wishes of the society, he received me with great civility, took me into his study, and gave me a clear explanation of the whole process.
“My dear madam,” said he, evidently struck with my majestic appearance, for I had on the crimson satin, with the green agraffas, and orange-coloured auriculas, “My dear madam,” said he, “sit down. The matter stands thus. In the first place, your writer of intensities must have very black ink, and a very big pen, with a very blunt nib. And, mark me, Miss Psyche Zenobia!” he continued, after a pause, with the most impressive energy and solemnity of manner, “mark me!—that pen—must—never be mended! Herein, madam, lies the secret, the soul, of intensity. I assume it upon myself to say, that no individual, of however great genius, ever wrote with a good pen,—understand me,—a good article. You may take it for granted, that when manuscript can be read it is never worth reading. This is a leading principle in our faith, to which if you cannot readily assent, our conference is at an end.”