[540]Poe to Biddle, Jan. 6, 1841, in Ostrom, 1:254.
[541]Ostrom, 1:255.
[542]Poe，“Prospectus of the Penn.”
[543]Abijah M.Ide,Jr.to Poe,Nov.2,1843,inTPL,440.
[544]Poe to Lewis J.Cist,Dec.30,1840,in Ostrom,1:251,inTPL,312-13;notice postponing the Penn in theDaily Chronicle,Dec.29,1840,inTPL,312.
[545]Poe to Wyatt,April 1,1841,in Ostrom,1:267,inTPL,316.
[546]Saturday Evening Post,Feb.20,1841,inTPL,318.
[547]George Graham,Saturday Evening Post,Feb.20,1841,inTPL,318.
[548]TPL,309,312.
[549]Saturday Evening Post,Dec.19,1840,inTPL,312.
[550]Graham,Saturday Evening Post,Feb.20,1841,inTPL,319.
[551]Inside front cover ofGraham's,April 1841,inTPL,320.
[552]Poe,“A Descent into the Maelstr?m, ”Graham's Magazine,18,no.5,May 1841,235-41.
[553]Henri Justin,“Le vortex:Raison et vertige, ”Les Cahiers du CERLI 2(1993):60-77.
[554]Burke,A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful; Kent Ljungquist，“Poe and the Sublime: His Two Short Sea Tales in the Context of an Aesthetic Tradition, ”Criticism 17,no.2(1975):131-51.
[555]On the sources for Poe's scientific knowledge in “Maelstr?m, ” see Aldo Corcella，“A New Poe Source:Thomas Thomson's‘Sketch of the Progress of Physical Science, '”EAPR 20, no. 2 (2019): 173-99. Barbara Cantalupo writes，“The narrator's ability to tell his tale depends not on the grace of God but on his power to save himself from demise by using induction and peripheral vision, ”inPoe and the Visual Arts, 120.Limon contrasts the observation in“Crowd”and“Maelstr?m”inPlace of Fiction,79.The artists Sandrine Teixido and Aurélien Gamboni have led a multi-year art project in which “Maelstr?m” serves as allegory and instrument for coping with climate change; see Teixido and Gamboni，“A Tale as a Tool:Enquête sur le maelstr?m et le‘devenir-ab?me'des mondes, ”Techniques et Culture 75(2021).
[556]Poe,review ofThe Quacks of Helicon,by Lambert A.Wilmer,Graham's,Aug.1841,90-93;Cohen,Fabrication of American Literature,24.
[557]Poe,review ofThe Critical and Miscellaneous Writings, by Henry Lord Brougham,Graham's, March 1842, 190.
[558]Roswell Park,Pantology; or, A Systematic Survey of Human Knowledge (Philadelphia: Hogan &Thompson, 1841).
[559]James A.Secord,Visions of Science: Books and Readers at the Dawn of the Victorian Age (Chicago:University of Chicago Press, 2015).
[560]Poe to Frederick W.Thomas,Oct.27,1841,in Ostrom,1:313,andTPL,345.
[561]Benjamin to Graham,Oct.19,1841,inTPL,344.
[562]Poe,“A Chapter on Autography, ”pt.1,Graham's,Nov.1841,224-34.
[563]同上，231。
[564]同上，229。
[565]Edwin P.Whipple,Boston Daily Times,Dec.1841,inTPL,354.
[566]Boston Notion,Dec.14,1839,TPL,282.
[567]Ralph Waldo Emerson,“Circles”(1841),inEssays and Lectures(New York:Library of America,1983), 401-4,414;Ralph Waldo Emerson,Nature(Boston:James Munroe,1836).
[568]见Levin,Power of Blackness,34-35；就爱默生和坡的扩张主义宇宙观(expansionist cosmologies)之间的对比，见Jennifer Rae Greeson,“Poe's 1848:Eureka,the Southern Margin,and the Expanding U[niverse] of S[tars], ”in Kennedy and McGann,Remapping of Antebellum Print Culture, 123-40;for useful comparison of Emerson, Poe, and Hawthorne，见Van Leer，“Nature's Book, ” 307-21; on Thoreau's comparable“heterogeneous holism, ”见Jane Bennett,Thoreau's Nature:Ethics,Politics,and the Wild(Lanham:Rowman&Littlefield Publishers,2002),72。
[569]Poe,review ofTwice-Told Tales,by Nathaniel Hawthorne,Graham's,May 1842,298-300.
[570]Poe,“Exordium, ”Graham's,Jan.1842,68-69.On this article,and Poe's engagement with post-Kantian criticism，见Paul Hurh,American Terror: The Feeling of Thinking in Edwards, Poe, and Melville (Stanford, CA: Stanford University Press, 2015), 75-118。
[571]同上。
[572]Poe,“An Appendix of Autographs, ”Graham's,Jan.1842,48.
[573]Poe，“Exordium, ” 68.
[574]John Wilcox,“The Beginnings of l'Art pour l'Art, ”Journal of Aesthetics and Art Criticism 11,no.4(1953):360-77;Peter Galison,“Objectivity Is Romantic, ”American Council of Learned Societies Occasional Paper 47(1999).
[575]Poe,“Notes upon English Verse, ”Pioneer,March 1843,102-12;the later revision was“The Rationale of Verse”in two parts inSLM 14,no.10(Oct.1848):577-85 and 14,no.11(Nov.1848):673-82；论诗律分析在当时诗歌批评中的广泛重要性，见Jason David Hall,Nineteenth-Century Verse and Technology:Machines of Meter(Cham,Switzerland:Springer,2017)。
[576]托马斯·布朗爵士的这段解读大致内容为：“塞壬唱的是什么歌，阿喀琉斯又是如何混在姑娘堆中？虽然这些都是未解之谜，但也并不是完全无法推测。”本书作者或许是在效仿爱伦·坡的做法，同样在本书献词中引用了托马斯·布朗爵士的作品。——编者注
[577]Poe,“The Murders in the Rue Morgue, ”Graham's 8,no.4,April 1841,166-79.
[578]这段开场没有出现在1841年版本的故事中，该版本的手稿(MS)保存在费城自由图书馆，于1843年收藏入馆，而坡则在1845年放弃了在开头提到颅相学(eapoe.org on successive versions)。
[579]Simon Schaffer,“The Nebular Hypothesis and the Science of Progress, ”inHistory, Humanity, and Evolution:Essays for John C.Greene,ed.James R.Moore(Cambridge,U.K.:Cambridge University Press, 1989), 131-64.
[580]Lawrence Frank，“ ‘The Murders in the Rue Morgue': Edgar Allan Poe's Evolutionary Reverie, ”Nineteenth-Century Literature 50,no.2(1995):168-88.
[581]关于解决方案及其与种族主义想象颇有争议的关系，见Elise Lemire，“ ‘The Murders in the Rue Morgue': Amalgamation Discourses and the Race Riots of 1838 in Poe's Philadelphia, ” in Kennedy and Weissberg,Romancing the Shadow,177-204;Kopley,Dupin Mysteries,27-44；有关自然历史的资源，见Robert Mitchell,“The Natural History of Poe's Orangutan, ”Poe Studies/Dark Romanticism 29, no.1(1996):32-34;Meyers,Life and Legacy,123,on the Masonic Hall of Philadelphia's display of an orange-haired orangutan.Plate 6 of Wyatt'sSynoposis of Natural History,reviewed by Poe inBurton's (July 1839), featured a distinctly human like, bearded, and expressive“head of the Orang-Outang”。
[582]例如，通过排除窗户以外的所有其他入口，发现是松了的钉子使其关闭，以及通过排除证人所听到的语言来推断“尖锐的声音”之来源。
[583]Horace Greeley,New-Yorker,March 27,1841,inTPL,321.
[584]Poe,“A Few Words on Secret Writing, ”Graham's,July 1841,33-38.
[585]Jesse E.Dow,review of the NovemberGraham's,Washington Index,Nov.2,1841,inTPL,346.
[586]Poe,“Eleanora:A Fable, ”The Gift for 1842(Philadelphia:Carey and Hart,1841),154-62.
[587]Eric Carlson,Introduction to Poe:A Thematic Reader(Glenview,Ill.:Scott,Foresman,1967),563.
[588]Advertisement, Feb. 1, 1840, from McAllister Collection, vol. 19, p. 46, Library Company of Philadelphia.
[589]此段译文运用了熊荣斌、彭贵菊的译本，本书译者进行了部分修改。——译者注
[590]Poe,“The Island of the Fay, ”Graham's,18,no.6,June 1841,253-55.
[591]坡在介绍性段落中呼应了休厄尔的语言，休厄尔讨论了Encke's comet inAstronomy and General Physics,151-56；彗星的旋转轨道越来越短、越来越快，最终会融入太阳；关于行星轨道的稳定性——牛顿否认，拉普拉斯则证明了这一点；见129-33。On “Island of the Fay” and sentient matter，见Douglas Anderson,Pictures of Ascent in the Fiction of Edgar Allan Poe(New York:Palgrave Macmillan, 2009), 143-177。
[592]The first two were Poe,“The Conversation of Eiros and Charmion, ”Burton's,Dec.1839,321-23,and“The Colloquy of Monos and Una, ”Graham's,Aug.1841,52-54.
[593]Mono（单）和Una（一）都带有“一”的意思，故有此言。——译者注
[594]这段话被添加至1845年版《大旋涡历险记》。约瑟夫·格兰维尔是早期皇家学会的发言人，他推广了机械自然哲学的方法，并利用它们来证明鬼魂和恶魔的存在，详见Jonathan I. Israel,Radical Enlightenment:Philosophy and the Making of Modernity,1650-1750(Oxford:Oxford University Press, 2001), 376；坡还在《丽姬娅》的题词中引用了格兰维尔的话：“上帝不过是一个伟大的意志，按其本质而言，渗透到万物之中。人不向天使屈服，也不完全向死亡屈服，只因他意志薄弱”(Poe,“Ligeia, ”American Museum,Sept.1838,1,no.1,Sept.1838,25-37.)；但是，这两段引文似乎都是坡自己创作的。
[595]Writing under the pseudonym Flib,George Lippard,Spirit of the Times,Feb.7,1842,2;Thomas,Poe in Philadelphia,324;David S.Reynolds,George Lippard(Boston:Twayne,1982).
[596]监狱的灵感来自贵格会对沉默无语作为神圣交流媒介的坚持，以及功利主义者杰里米·边沁提出的“圆形监狱”(panopticon)；这样一来，囚犯们会内化来自警卫塔的监视。Charles Dickens,American Notes:For General Circulation,2 vols.(London:Chapman and Hall,1842),1:235-38;Joseph Jackson,Dickens in Philadelphia(Philadelphia:William J.Campbell,1912),1415.
[597]由坡的收藏家理查德·金贝尔购买的保存完好、内容详实的《格里普》(Grip)，现在正在费城自由图书馆珍稀书籍部展出。这本书很好。
[598]Dickens to Poe, March 6, 1842, inThe Letters of Charles Dickens, Volume Three: 1842-1843, ed. Madeline House,Graham Storey,and Kathleen Tillotson(Oxford:Clarendon Press,1974),106-7,inTPL, 362.
[599]Poe to James R.Lowell,July 2,1844,in Ostrom,1:450,inTPL,362.
[600]Letters of Charles Dickens,3:75n11;Thomas,Poe in Philadelphia,346.
[601]这块怀表于2019年6月在佳士得以25万美元的价格售出。这是一个美丽的物体，人们不禁要问：当它被包裹在棉花中时，会发出怎样的声音？
[602]Graham,recalling Poe ca.1842,in“The Late Edgar Allan Poe, ”Graham's,March 1850,225,inTPL,390.
[603]Poe to Washington Irving, June 21, 1841, in Ostrom, 1:274-75; Poe to Joseph E. Snodgrass, Sept. 19, 1841, in Ostrom, 1:309.
[604]Poe to Frederick W. Thomas, Oct. 27, 1841, in Ostrom, 1:313. Poe wrote to James Herron，“Now I feel assured of success, ” on June 30, 1842, in Ostrom, 1:344.
[605]The Saturday Evening Post reported thatGraham's intended“opening the new volume in July next withfifty thousand copies, ”which was to be“the regular and standing edition,being as many as any steel line engraving will yield impressions.”Saturday Evening Post,March 5,1842,2,inTPL,361;Thomas,Poe in Philadelphia,339.
[606]Poe to Thomas, July 4, 1841, in Ostrom, 1:292.
[607]Poe to Thomas,Feb.3,1842,in Ostrom,1:324,inTPL,359.
[608]Amanda Bartlett Harris,“Edgar A.Poe, ”Hearth and Home,Jan.9,1875,24,inTPL,358.
[609]Poe to Thomas, Feb. 3, 1842, in Ostrom, 1:324-25.
[610]Poe to George W. Eveleth, Jan. 4, 1848, in Ostrom, 2:641.
[611]Graham,“Late Edgar Allan Poe, ”225,inTPL,390.
[612]Poe to Thomas,May 25,1842,in Ostrom,1:333,inTPL,366-67.
[613]Poe to Daniel Bryan,July 6,1842,in Ostrom,1:347,inTPL,373.
[614]Graham,“Late Edgar Allan Poe, ”225,inTPL,390.
[615]Poe to Bryan,July 6,1842,in Ostrom,1:347,inTPL,373.
[616]Park Benjamin,New York New World,June 4,1842,in TPL,368.
[617]Poe,“Review of New Books, ”Graham's,June 1842,354-56.
[618]Poe to Snodgrass, June 4, 1842, in Ostrom, 1:341.
[619]Graham to Griswold,April 19,1842,inTPL,364.
[620]Graham to Griswold,May 3,1842,inTPL,365.
[621]Dow in theIndex,June 23,1842,inTPL,370.
[622]Letter from“FLASH”(a correspondent in Philadelphia),in theWashington,D.C.,Independent,June 17, 1842,inTPL,370.
[623]Poe to Thomas,Sept.12,1842,in Ostrom,1:358,inTPL,379.
[624]E.T.A.Hoffmann had given the same title(in German)to a collection of tales:Fantasiestücke in Callot's Manier,4 vols.(Bamberg,Germany:Neues Leseinstitut von C.F.Kunz,1814-15).
[625]TPL,371.
[626]Mary Starr's recollections, quoted in Augustus Van Cleef,“Poe's Mary, ”Harper's New Monthly Magazine,March 1889,639.
[627]Poe to J. & H. G. Langley (New York publishers), July 18, 1842, in Ostrom, 1:353.
[628]Poe published the story in three installments in theLadies'Companion,Nov.1842,Dec.1842,and Feb. 1843．见Amy Gilman Srebnick,The Mysterious Death of Mary Rogers:Sex and Culture in Nineteenth-Century New York(New York:Oxford University Press,1995);Daniel Stashower,The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder (New York: Dutton, 2006)．玛丽·罗热死于堕胎的谣言在坡的文本中被“隐晦地提及”，according to Laura Saltz:“ ‘(Horrible to Relate!)':Recovering the Body of Marie Rogêt, ”in Rosenheim and Rachman,American Face of Edgar Allan Poe,237-70；达纳·梅多罗(Dana Medoro)认为所有迪潘故事中都可能涉及终止妊娠，in“The Purloined Letter” (as a consequence of the queen's affair), and“The Murders in the Rue Morgue”(whose female victims were“fortune-tellers, ” a euphemism for abortionists)；见Dana Medoro，“So Very Self-Evident:Adultery and Abortion in‘The Purloined Letter, '”Literature and Medicine 26,no.2(2007):342-63；罗热的名字也可能晗含着爱伦·坡对《罗式词典》及《布里奇沃特论文集》的作者彼得·罗热的致意——从而将迪潘的推理与语言学和自然神学联系起来。
[629]Poe to Robert Hamilton (editor of theLadies'Companion), Oct. 3, 1842, in Ostrom, 1:365, andTPL, 382-3.
[630]John S.Detwiler to E.C.Jellett,n.d.,ca.1842,Joseph Jackson Collection,inTPL,389.Poe was within rambling distance of the recently opened Laurel Hill Cemetery, with its aesthetics of semi-pastoral “deathin-life”; Aaron Wunsch，“Emporia of Eternity: ‘Rural' Cemeteries and Urban Goods in Antebellum Philadelphia, ”Nineteenth Century 28, no. 2 (2008): 14-23; Aaron Sachs,Arcadian America: The Death and Life of an Environmental Tradition(New Haven,Conn.:Yale University Press,2013)；有关19世纪对死亡的痴迷，见Karen Halttunen,Confidence Men and Painted Women:A Study of Middle-Class Culture in America,1830-1870(New Haven,Conn.:Yale University Press,1982),124-52;Gary Laderman,The Sacred Remains:American Attitudes Toward Death,1799-1883(New Haven,Conn.:Yale University Press, 1996)。
[631]Poe to James R. Lowell, July 2, 1844, in Ostrom, 1:448.
[632]Poe,“Morning on the Wissahiccon, ”Opal for 1844(1843):249-56.Poe changed the title to“The Elk”in a letter to Lowell, May 28, 1844 (in Ostrom, 1:441), and it has been republished under both titles.
[633]Thomas to Poe,May 21,1841,inTPL,327.
[634]Poe to Thomas,June 26,1841,in Ostrom,1:287.The June 26,1841,Baltimore Saturday Visiter reports on Thomas's appointment:“我们很高兴地发现，本届政府倾向于奖励文学和政治人才”;TPL,332。
[635]Poe to F.W. Thomas, June 26, 1841, Ostrom 1:170.
[636]Terence Whalen identified Poe's cryptographic overtures to Tyler (and deciphered one of Poe's unsolved codes)in Whalen,Poe and the Masses,195-224;an independent decryption came from John A.Hodgson,“Decoding Poe?Poe,W.B.Tyler,and Cryptography, ”Journal of English and Germanic Philology 92,no.4 (1993): 523-34.
[637]Poe,“Secret Writing(Addendum III)”Graham's 19,no.6,Dec.1841,307.
[638]Poe to Thomas, May 25, 1842, in Ostrom, 1:333.
[639]Poe to Thomas H. Chivers, Sept. 27, 1842, in Ostrom, 1:363.
[640]Spirit of the Times,Sept.10,1842,inTPL,378.
[641]Poe to Thomas,Nov.19,1842,in Ostrom,370-71,inTPL,383-84.
[642]Thomas,recalling Sept.17,1842,quoted in Whitty,“Memoir, ”xliii-xliv,inTPL,381.
[643]Dickens to Poe,Nov.27,1842,inLetters of Charles Dickens,3:384-85;TPL,388．狄更斯对其出版商的要求一贯如此：“请给我写一份这样的答复，我可以把它们寄给这几卷书的作者，让我的良心得到宽恕。”
[644]1842年12月19日，坡在美国费城地区法院申请破产；1843年1月13日，被批准。这份文件是由国家档案馆费城分部的馆员发现的，详见discussion in Ostrom, 1:337-38。
[645]Poe,“The Black Cat, ”United States Saturday Post (Philadelphia), Aug. 19, 1843, 1. Susan Sweeney,“Death,Decay,and the Daguerreotype's Influence on‘The Black Cat, '”EAPR 19,no.2(2018):206-32;David Reynolds，“Black Cats and Delirium Tremens: Temperance and the American Renaissance, ” inThe Serpent in the Cup:Temperance in American Literature,ed.David Reynolds and Debra Rosenthal (Amherst: University of Massachusetts Press, 1997), 22-59.
[646]Poe,“The Mask of the Red Death:A Fantasy, ”Graham's 20,no.5,May 1842,257-59.“Mask”was later changed to “Masque.”
[647]Poe,“The Tell-Tale Heart, ”The Pioneer 1,no.1,Jan.1843,29-31.
[648]更多与银版照相相关的内容，包括摆姿势时的“痛苦”，见Sweeney，“Horror of Taking a Picture”。关于这个故事的结构和中心句“我仿佛是出于本能，就把光线准确地射向了那个该死的地方”，见Richard Kopley,The Threads of“The Scarlet Letter”:A Study of Hawthorne's Transformative Art (Newark: University of Delaware Press, 2003), 105-7。
