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" tal que las costumbres de un autor," says Don Thomas De Las Torres, in the preface to his "Amatory Poems" "sean puras y castas, importo muy poco que no sean igualmente severas sus obras"—meaning, in plain English, that, provided the morals of an author are pure, personally, it signifies nothing what are the morals of his books. We presume that Don Thomas is now in Purgatory for the assertion. It would be a clever thing, too, in the way of poetical justice, to keep him there until his "Amatory Poems" get out of print, or are laid definitely upon the shelf through lack of readers. Every fiction should have a moral; and, what is more to the purpose, the critics have discovered that every fiction has. Philip Melancthon, some time ago, wrote a commentary upon the "Batrachomyomachia" and proved that the poet's object was to excite a distaste for sedition. Pierre La Seine, going a step farther, shows that the intention was to recommend to young men temperance in eating and drinking. Just so, too, Jacobus Hugo has satisfied himself that, by Euenis, Homer meant to insinuate John Calvin; by Antinöus, Martin Luther; by the Lotophagi, Protestants in general; and, by the Harpies, the Dutch. Our more modern Scholiasts are equally acute. These fellows demonstrate a hidden meaning in "The Antediluvians," a parable in "Powhatan," new views in "Cock Robin," and transcendentalism in "Hop O' My Thumb." In short, it has been shown that no man can sit down to write without a very profound design. Thus to