et been
adduced, and there is, at present, nothing but internal evidence to
guide us. "Alone" is stated to have been written by Poe in the album of
a Baltimore lady (Mrs. Balderstone?), on March 17th, 1829, and the
'fac-simile' given in 'Scribner's' is alleged to be of his handwriting.
If the caligraphy be Poe's, it is different in all essential respects
from all the many specimens known to us, and strongly resembles that of
the writer of the heading and dating of the manuscript, both of which
the contributor of the poem acknowledges to have been recently added.
The lines, however, if not by Poe, are the most successful imitation of
his early mannerisms yet made public, and, in the opinion of one well
qualified to speak, "are not unworthy on the whole of the parentage
claimed for them."

Whilst Edgar Poe was editor of the 'Broadway Journal', some lines "To
Isadore" appeared therein, and, like several of his known pieces, bore
no signature. They were at once ascribed to Poe, and in order to satisfy
questioners, an editorial paragraph subsequently appeared, saying they
were by "A. Ide, junior." Two previous poems had appeared in the
'Broadway Journal' over the signature of "A. M. Ide," and whoever wrote
them was also the author of the lines "To Isadore." In order, doubtless,
to give a show of variety, Poe was then publishing some of his known
works in his journal over 'noms de plume', and as no other writings
whatever can be traced to any person bearing the name of "A. M. Ide," it
is not impossible that the poems now republished in this collection may
be by the author of "The Raven." Having been published without his usual
elaborate revision, Poe may have wished to hide his hasty work under an
assumed name. The three pieces are included in the present collection,
so the reader can judge for himself what pretensions they possess to be
by the author of "The Raven."

* * * * *

PROSE POEMS.

* * * * *

THE ISLAND OF THE FAY.

"Nullus enim locus sine genio est."

_Servius_.

"_La musique_," says Marmontel, in those "Contes Moraux"[1] which in all
our translations we have insisted upon calling "Moral Tales," as if in
mockery of their spirit--"_la musique est le seul des talens qui jouisse
de lui-meme: tous les autres veulent des temoins_." He here confounds
the pleasure derivable from sweet