my friend Vincent Starrett showed me a transcript of Hewitt's clipping of the review, which led to bad feeling between Poe and Hewitt, and, until he denied its authorship, with his coeditor Rufus Dawes. Its interest is now merely biographical. A more 1ntelligent, though very brief review, by Mrs. Hale appeared in the Boston Ladies' Magazine for Janu-_ ary, 1830 (pointed out by J. H. Whitty in the New York Evening Post Book Review, August 13, 1921). Finding some faults with the work of an obviously young author, she recognized a kinship of his work to Shelley's and called the author a fine genius.
A complete commentary on A/ Aaraaf would require a good sized book, and involve a study of all the important prose and verse of Poe. Suffice it here to say that in abandoning the manner of Byron, Poe tried to adopt some of that of Milton and Moore, but actually gave us in the first volume printed with his own name the germs of the mysticism, curious lore, and wholly individual melody that distinguish his later work. In this epyllion, or little epic, is much that reminds one of Callimachus, Catullus, and Landor. And For Annie, The Fall of the House of Usher, and Eureka are here all foreshadowed. Angelo, Poe wrote to Lea, is the spirit of Michelangelo. But the motto, in bad Spanish, on page 3, is
