By Seares F. H.
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Additional info for Absolute Scales of Photographic and Photovisual Magnitude(en)(7s)
Rice, Thomas J. “Dickens, Poe and the Time Scheme of Barnaby Rudge”. Dickens Studies Newsletter 7 (1976): 34–38. Sucksmith, Harvey Peter. The Narrative Art of Charles Dickens. The Rhetoric of Sympathy and Irony in his Novels. Oxford: Clarendon Press, 1970. ——. “The Secret of Immediacy: Dickens’ Debt to the Tale of Terror in Blackwood’s”. 2 (September 1971): 145–157. Tillotson, Kathleen, ed. The Pilgrim Edition. The Letters of Charles Dickens, vol. 4: 1844–1846. Oxford: Clarendon Press, 1977. Tintner, Adeline R.
However, they did not stop there, adopting passages they liked from other works. They had no second thoughts when they plagiarized the works of others, convinced that their readership would surely not notice. 13 Poe would not have objected to such practices, 30 Sonya Isaak which he himself was all too familiar with. 14 This shows both writers believed they could get away with taking advantage of the gullibility of their readers. The works themselves abound with anti-heroes who either attempt to escape from society, preferring their own company or that of a select few, or else are outcasts, who simply do not “belong”.
From as early as 1836 Poe had been reading Dickens, because Sketches by Boz was pirated by Carey, Lea and Blanchard, in Philadelphia, under the title Watkins Tottle and Other Sketches. Poe wrote about the book for the June issue of the Southern Literary Messenger,14 warmly praising some of the sketches, particularly “The Black Veil”, “The Dancing Academy”, “Watkins Tottle” and “Pawnbroker’s Shop”. As Gerald G. Grubb has written, “Poe was, perhaps, the ﬁrst American editor to evaluate rightly the importance of Dickens” (“Part One” 1).
Absolute Scales of Photographic and Photovisual Magnitude(en)(7s) by Seares F. H.