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By Root 17173 0

occurred. And it is to be regarded as a very peculiar coincidence—as one of those positively remarkable coincidences which set a man to serious thinking—that just such a total revolution of opinion—just such entire bouleversement (as we say in French)—just such thorough topsiturviness (if I may be permitted to employ a rather forcible term of the Choctaws), as happened, pro and con, between myself on the one part, and the "Goosetherumfoodle" on the other, did actually again happen, in a brief period afterwards, and with precisely similar circumstances, in the case of myself and the "Rowdy-Dow," and in the case of myself and the "Hum-Drum."

Thus it was that, by a master-stroke of genius, I at length consummated my triumphs by "putting money in my purse," and thus may be said really and fairly to have commenced that brilliant and eventful career which rendered me illustrious, and which now enables me to say with Chateaubriand: "I have made history"—J'ai fait l'histoire."

I have indeed "made history." From the bright epoch which I now record, my actions—my works—are the property of mankind. They are familiar to the world. It is, then, needless for me to detail how, soaring rapidly, I fell heir to the "Lollipop"—how I merged this journal in the "Hum-Drum"—how again I made purchase of the "Rowdy-Dow," thus combining the three periodicals—how lastly, I effected a bargain for the sole remaining rival, and united all the literature of the country in one magnificent Magazine known everywhere as the-

Rowdy-Dow, Lollipop, Hum-Drum,

and

GOOSETHERUMFOODLE.

Yes, I have made history. My fame is universal. It extends to the uttermost ends of the earth. You cannot take up a common newspaper in which you shall not see some allusion to the immortal Thigum Bob. It is Mr. Thingum Bob said so, and Mr. Thingum Bob wrote this, and Mr. Thingum Bob did that. But I am meek and expire with an humble heart. After all, what is it?—this indescribable something which men will persist in terming "genius"? I agree with Buffon—with Hogarth—it is but diligence after all.

Look at me!—how I labored—how I toiled—how I wrote! Ye Gods, did I not write? I knew not the word "ease." By day I adhered to my desk, and at night, a pale student, I consumed the midnight oil. You should have seen me—you should. I leaned to the right. I leaned to the left. I sat forward. I sat backward. I sat tete baissee (as they have it in the Kickapoo), bowing my head close to the alabaster page. And, through all, I—wrote. Through joy and through sorrow, I—wrote. Through hunger and through thirst, I-wrote. Through good report and through ill report—I wrote. Through sunshine and through moonshine, I-wrote. What I wrote it is unnecessary to say. The style!- that was the thing. I caught it from Fatquack—whizz!—fizz!—and I am giving you a specimen of it now.

THE PURLOINED LETTER

This tale is the third of his three detective stories featuring the fictional C. Auguste Dupin, the other two being "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt". These stories are considered to be important early forerunners of the modern detective story. It first appeared in The Gift for 1845 (1844) and was soon reprinted in numerous journals and newspapers.

An original illustration

THE PURLOINED LETTER.

Nil sapientiae odiosius acumine nimio.

Seneca.

At Paris, just after dark one gusty evening in the autumn of 18—, I was enjoying the twofold luxury of meditation and a meerschaum, in company with my friend C. Auguste Dupin, in his little back library, or book-closet, au troisiême, No. 33, Rue Dunôt, Faubourg St. Germain. For one hour at least we had maintained a profound silence; while each, to any casual observer, might have seemed intently and exclusively occupied with the curling eddies of smoke that oppressed the atmosphere of the chamber. For myself, however, I was mentally discussing certain topics which had formed matter for conversation between us at an earlier period of the evening; I mean the affair of the Rue Morgue, and the mystery attending the murder