The discovery I mentioned in yesterday's entry turned out to be a bigger deal than I thought it was. Long story short (the longer story is now added to my sequel), those five unsigned letters from New York City, to the editor of the Portland "Transcript," are almost certainly from Mathew Franklin Whittier. It means that he was definitely in New York when "The Raven" was published. There is also an essay in the "Transcript" about this time, reprinted from Mathew's paper, the New York "Tribune," which has his style-stamp on it. But I wasn't able to find it in the Daily edition of the "Tribune," which means it was probably published either in the Weekly edition, or a supplement. I don't have access to those editions, but I know they were being published at the same time.
But all that pales in comparison with something I found while I was looking for the essay. There's a poem which appears on the 4th page of the "Daily Tribune," in their usual poetry corner, which is also Mathew's. It appears about a month before "The Raven" was published; it's signed with his first initial, "M."; it's precisely in his style (as is "The Raven"); he returns to the same theme, briefly, in 1852; and it was written in a town about 75 miles south of his birthplace, in Massachussetts, over the Christmas holiday, when he would have been visiting friends and family.
Here, I'll give you a flavor of the poem:
THE MIGHT OF WORDS.
What to man his greatness giveth
O'er the creeping things and birds,
But the soul that in him liveth
And the glory of his words?
In his voice were blent the rushing
Of the storm-winds o'er the seas,
With the fountain's peaceful gushing
And the music of the breeze:
And the murmur of the breaking
Of the billows on the shore,
With the whirlwind's harsh awaking
In the forest dark and hoar.
Words are weapons better, truer,
Sharper than the battle-sword!
Strong against the evil-doer
With the server of the Lord!
By the words of truth and terror
Are the works of wrong revealed;
So the old and cherished error
To the Weak and True shall yield.
Words have shaken the foundations
Of old empires wide and strong,
And cast down the kings of nations
From the thrones of pride and wrong.
Earnest words for Freedom spoken
Make the blind and bondman brave,
And the might of words hath broken
E'en the fetters of the Slave!
There is no question of Mathew's authorship. I can show you a dozen of his poems which read like this--and fortunately for us, he chose to sign this one with his first initial. Given that signature, if you want to deny that this is Mathew, you will have an uphill statistical battle trying to show who else it could be.
For the purposes of comparison, you may remember how "The Raven" begins:
Once upon a midnight dreary,
While I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping,
suddenly there came a tapping,
As of some one gently rapping
rapping at my chamber door.
"Tis some visitor," I muttered,
"tapping at my chamber door—
Only this and nothing more."
I've broken the lines for more ready comparison. "The Raven" is a bit more complex in its rhythm, but Mathew was also fully capable of doing that, as I could show in numerous examples. Note the tone of the third stanza in Mathew's poem, as compared with what we associate with Edgar Allan Poe's style. "The Raven" was never in Edgar Allan Poe's style. It was in Mathew's.
We now have Mathew praising a poem by Francis Quarles, and publishing a poem in a similar meter in the New York "Tribune," roughly one month before "The Raven" was published there in New York City, under "---- Quarles."
I've presented all the evidence that Mathew was the real author of "The Raven" in my sequel. I don't have a letter in Poe's hand admitting it. But I might as well have.
This afternoon, I was watching a young Graham Hancock on YouTube, giving the evidence for advanced ancient civilizations--in particular, that in the 1500's, someone created a map using still-older maps, which shows Antarctica in accurate detail, as it was before the ice engulfed it. That's impossible according to mainstream geologists and historians. As he says, the implications are very interesting.
(Sorry, just goofing around with the timeline...I'm actually finding this video fascinating.)
For what it may be worth, my evidence that Mathew, not Poe, wrote "The Raven," is just as strong as Hancock's evidence for ancient advanced civilizations. But then, so is my evidence for being Mathew's reincarnation.
When, actually, is somebody going to wake up and realize that I have made a significant contribution, and that my work deserves as much attention as the work done by these other folks?
Stephen Sakellarios, M.S.
Music opening this page: "Surfin' Bird," by The Trashmen