First appeared in the _Southern Literary Messenger_(1835) as "Lines Written in an Album," addressed to Eliza White, a young daughter of the editor of the _Messenger_; in 1839 the same lines were addressed "To ----," whose name is unknown; and in 1845 they were addressed under the above title to Mrs. Osgood (see note on the preceding poem). TO ZANTE (Page 18) Published in 1837, 1843, and 1845. In form this is a regular Shakespearean sonnet. Zante is one of the principal Ionian islands, in ancient times called Zacynthus. Again the poet writes of a fair isle in the sea; point out other instances. Note the fondness for "no more," and find examples in other poems. As usual with Poe, the thread of thought is slight and indefinite; apparently the beautiful island has become "accursed ground" because of the death there of the "maiden that is no more." 1. fairest of all flowers. There is a zantewood, or satinwood, but it does not take its name from this island. Poe associated the name of the island with the hyacinth, but there is no etymological connection. He probably derived his fancy from a passage in Chateaubriand's "Itinéraire de Paris à Jérusalem," page 53. 13. hyacinthine isle: a reference to the flowers of the island (see preceding note). 14. "Isola d'oro! Fior di Levante!" "Golden Isle! Flower of the Levant!" These are Italian terms for Zante; they occur in the passage in Chateaubriand referred to in the note on line 1. BRIDAL BALLAD (Page 19) Published in 1837, 1841, 1845, and greatly improved in revision. The bride remembers her dead lover who died in battle, and wonders fearfully whether "the dead who is forsaken" knows and is unhappy. SILENCE (Page 20) Published in 1840, 1843, and 1845. THE CONQUEROR WORM (Page 21) Published in 1843 and 1845. The repulsive imagery recurs in several of the tales and poems, and shows one of the most morbid phases of Poe's imagination (see Introduction, page xxiv). It would hardly meet Poe's own test of beauty, but the grim power of this terrible picture is palpable enough. 9. Mimes: actors, who in this case are men; mankind. 13. vast formless things: doubtless the Fates (consult Gayley's "Classic Myths"); at any rate beings who exercise the same powers. 15. condor wings. The condor is a great vulture of South America; the word here suggests the Fates preying on human happiness, health, and life. 18. Phantom: happiness, or perhaps any object of human desire or ambition. DREAM-LAND (Page 22) Published in 1844 and 1845. The poem paints another of Poe's extraordinary landscapes. 3. Eidolon: phantom, specter, shade. 6. ultimate dim Thule. "Thule" was used by the ancients to indicate extreme northern regions; the Romans used the phrase "Ultima Thule" to denote the most remote, unknown land. What does the allusion signify here? THE RAVEN (Page 24)