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nydus/Short FictionPublic

A collection of Edgar Allan Poe’s short fiction, ordered by date of publication.

Page 868 of 1087
Table of Contents

The Literary Life of Thingum Bob, Esq.

I assured my patron that, if this was all, I was perfectly resigned to the task of playing Thomas Hawk. Hereupon Mr. Crab desired me to use up the editor of the Gad-Fly forthwith, in the fiercest style within the scope of my ability, and as a specimen of my powers. This I did, upon the spot, in a review of the original “Oil-of-Bob,” occupying thirty-six pages of the Lollipop . I found playing Thomas Hawk, indeed, a far less onerous occupation than poetizing; for I went upon system altogether, and thus it was easy to do the thing thoroughly and well. My practice was this. I bought auction copies (cheap) of Lord Brougham’s Speeches , Cobbett’s Complete Works , the New Slang-Syllabus , the Whole Art of Snubbing , Prentice’s Billingsgate (folio edition), and Lewis G. Clarke on Tongue . These works I cut up thoroughly with a currycomb, and then, throwing the shreds into a sieve, sifted out carefully all that might be thought decent (a mere trifle); reserving the hard phrases, which I threw into a large tin pepper-castor with longitudinal holes, so that an entire sentence could get through without material injury. The mixture was then ready for use. When called upon to play Thomas Hawk, I anointed a sheet of foolscap with the white of a gander’s egg; then, shredding the thing to be reviewed as I had previously shredded the books⁠—only with more care, so as to get every word separate⁠—I threw the latter shreds in with the former, screwed on the lid of the castor, gave it a shake, and so dusted out the mixture upon the egged foolscap; where it stuck. The effect was beautiful to behold. It was captivating. Indeed, the reviews I brought to pass by this simple expedient have never been approached, and were the wonder of the world. At first, through bashfulness⁠—the result of inexperience⁠—I was a little put out by a certain inconsistency⁠—a certain air of the bizarre (as we say in France), worn by the composition as a whole. All the phrases did not fit (as we say in the Anglo-Saxon). Many

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