[13] So Godfrey Wallace’s Esmeralda, Atlantic Souvenir for 1829.
[14] Miss Sedgwick’s Chivalric Sailor (1835) is essentially like our current historical romances. A typical instance is Dana’s Paul Felton (1822).
[15] This tendency was confirmed, of course, by the predominance of Scott.
[16] Brander Matthews, The Philosophy of the Short-Story, page 15.
[17] Poetics, chapter x.
[18] Poe’s review of Hawthorne’s tales (1842) begins by remarking that they are not all tales (Stedman and Woodberry edition of Poe, vol. vii, page 28).
[19] Poe’s tales were translated into French, German, Italian, and Spanish. He was reviewed in the Revue des Deux Mondes, Oct. 15, 1846 (new series, vol. xvi, page 341).
[20] See Aristotle’s Poetics, chapters vii and viii. The “classical” French drama deduced from Aristotle’s general principle of unity of action a strict system of practice. Of Poe’s adherence to this system a good instance is The Cask of Amontillado.
[21] In a review of Mrs. Sigourney, Southern Literary Messenger, volume ii, page 113 (January, 1836); quoted in Woodberry’s Life of Poe, page 94.
[22] In a review of Hawthorne, Graham’s Magazine, May, 1842; Stedman and Woodberry’s edition of Poe, volume vii, page 30; quoted in the appendix to Brander Matthews’s Philosophy of the Short-Story.