International Miscellany of Literature, Art and Science, Vol. 1

"Were these 'misrepresentations' (is that the name for them?) made for any less serious a purpose than that of branding my book as 'impious' and myself as a 'pantheist,' a 'polytheist,' a Pagan, or a God knows what (and indeed I care very little so it be not a 'Student of Theology'), I would have permitted their dishonesty to pass unnoticed, through pure contempt of the boyishness—for the turn-down-shirt-collar-ness of their tone:—but, as it is, you will pardon me, Mr. Editor, that I have been compelled to expose a 'critic' who courageously preserving his own anonymosity, takes advantage of my absence from the city to misrepresent, and thus vilify me, by name. EDGAR A. POE.

"Fordham, September 20, 1848."

From this time Poe did not write much; he had quarreled with the conductors of the chief magazines for which he had previously written, and they no longer sought his assistance. In a letter to a friend, he laments the improbabilities of an income from literary labor, saying:

"I have represented – to you as merely an ambitious simpleton, anxious to get into society with the reputation of conducting a magazine which somebody behind the curtain always prevents him from quite damning with his stupidity; he is a knave and a beast. I cannot write any more for the Milliner's Book, where T–n prints his feeble and very quietly made Dilutions of other people's reviews; and you know that – can afford to pay but little, though I am glad to do anything for a good fellow like –. In this emergency I sell articles to the vulgar and trashy –, for $5 a piece. I inclose my last, cut out, lest you should see by my sending the paper in what company I am forced to appear."

His name was now frequently associated with that of one of the most brilliant women of New England, and it was publicly announced that they were to be married. He had first seen her on his way from Boston, when he visited that city to deliver a poem before the Lyceum there. Restless, near the midnight, he wandered from, his hotel near where she lived, until he saw her walking in a garden. He related the incident afterward in one of his most exquisite poems, worthy of himself, of her, and of the most exalted passion.

  "I saw thee—once only—years ago;  I must not say how many—but not many.  It was a July midnight; and from out  A full-orbed moon, that, like thine own soul, soaring,  Sought a precipitate pathway up through heaven,  There fell a silvery-silken vail of light,  With quietude, and sultriness and slumber,  Upon the upturn'd faces of a thousand  Roses that grew in an enchanted garden,  Where no wind dared to stir, unless on tiptoe—  Fell on upturn'd faces of these roses  That gave out, in return for the love-light,  Their odorous souls in an estatic death—  Fell on upturn'd faces of these roses  That smiled and died in this parterre, enchanted  By thee, and by the poetry of thy presence.  "Clad all in white, upon a violet bank  I saw thee half reclining; while the moon  Fell on upturn'd faces of these roses,  And on thine own, upturn'd—alas, in sorrow!  "Was it not Fate, that, on this July midnight—  Was it not Fate, (whose name is also Sorrow,)  That bade me pause before the garden-gate,  To breathe the incense of those Slumbering roses?  No footstep stirred; the hated world all slept,  Save only thee and me. (Oh, Heaven!—oh, God!  How my heart beats in coupling those two words!)  Save only thee and me. I paused—I looked—  And in an instant all things disappeared.  (Ah, bear in mind this garden was enchanted!)  The pearly luster of the moon went out:  The mossy banks and the meandering paths,  The happy flowers and the repining trees,  Were seen no more: the very roses' odors  Died in the arms of the adoring airs,  All—all expired save thee—save less than thou:  Save only the divine light in thine eyes—  Save but the soul in thine uplifted eyes.  I saw but them—they were the world to me.  I saw but them—saw only them for hours—  Saw only them until the moon went down.  What wild heart histories seemed to lie enwritten  Upon those crystalline celestial spheres!  How dark a woe! yet how sublime a hope!  How silently serene a sea of pride!  How daring an ambition! Yet how deep—  How fathomless a capacity for love!  "But now, at length, dear Dian sank from sight  Into a western couch of thunder-cloud;  And thou, a ghost, amid the entombing trees  Didst glide away. Only thine eyes remained.  They would not go—they never yet have gone.  Lighting my lonely pathway home that night,  They have not left me (as my hopes have) since.  They follow me—they lead me through the years  They are my ministers—yet I their slave.  Their office is to illumine and enkindle—  My duty, to be saved by their bright light,  And purified in their electric fire,  And sanctified in their elysian fire.  They fill my soul with Beauty (which is Hope,)  And are far up in Heaven—the stars I kneel to  In the sad, silent watches of my night;  While even in the meridian glare of day  I see them still—two sweetly scintillant  Venuses, unextinguished by the sun!"

They were not married, and the breaking of the engagement affords a striking illustration of his character. He said to an acquaintance in New York, who congratulated with him upon the prospect of his union with a person of so much genius and so many virtues—"It is a mistake: I am not going to be married." "Why, Mr. Poe, I understand that the bans have been published." "I cannot help what you have heard, my dear Madam: but mark me, I shall not marry her." He left town the same evening, and the next day was reeling through the streets of the city which was the lady's home, and in the evening—that should have been the evening before the bridal—in his drunkenness he committed at her house such outrages as made necessary a summons of the police. Here was no insanity leading to indulgence: he went from New York with a determination thus to induce an ending of the engagement; and he succeeded.

Sometime in August, 1849, Mr. Poe left New York for Virginia. In Philadelphia he encountered persons who had been his associates in dissipations while he lived there, and for several days he abandoned himself entirely to the control of his worst appetites. When his money was all spent, and the disorder of his dress evinced the extremity of his recent intoxication, he asked in charity means for the prosecution of his journey to Richmond. There, after a few days, he joined a temperance society, and his conduct showed the earnestness of his determination to reform his life. He delivered in some of the principal towns of Virginia two lectures, which were well attended, and renewing his acquaintance with a lady whom he had known in his youth, he was engaged to marry her, and wrote to his friends that he should pass the remainder of his days among the scenes endeared by all his pleasantest recollections of youth.

On Thursday, the 4th of October, he set out for New York, to fulfill a literary engagement, and to prepare for his marriage. Arriving in Baltimore he gave his trunk to a porter, with directions to convey it to the cars which were to leave in an hour or two for Philadelphia, and went into a tavern to obtain some refreshment. Here he met acquaintances who invited him to drink; all his resolutions and duties were soon forgotten; in a few hours he was in such a state as is commonly induced only by long-continued intoxication; after a night of insanity and exposure, he was carried to a hospital; and there, on the evening of Sunday, the 7th of October, 1849, he died, at the age of thirty-eight years.

It is a melancholy history. No author of as much genius had ever in this country as much unhappiness; but Poe's unhappiness was in an unusual degree the result of infirmities of nature, or of voluntary faults in conduct. A writer who evidently knew him well, and who comes before us in the "Southern Literary Messenger" as his defender, is "compelled to admit that the blemishes in his life were effects of character rather than of circumstances."7 How this character might have been modified by a judicious education of all his faculties I leave for the decision of others, but it will be evident to those who read this biography that the unchecked freedom of his earlier years was as unwise as its results were unfortunate.

It is contended that the higher intelligences, in the scrutiny to which they appeal, are not to be judged by the common laws; but I apprehend that this doctrine, as it is likely to be understood, is entirely wrong. All men are amenable to the same principles, to the extent of the parallelism of these principles with their experience; and the line of duty becomes only more severe as it extends into the clearer atmosphere of truth and beauty which is the life of genius. De mortuis nil nisi bonum is a common and an honorable sentiment, but its proper application would lead to the suppression of the histories of half of the most conspicuous of mankind; in this case it is impossible on account of the notoriety of Mr. Poe's faults; and it would be unjust to the living against whom his hands were always raided and who had no resort but in his outlawry from their sympathies. Moreover, his career is full of instruction and warning, and it has always been made a portion of the penalty of wrong that its anatomy should be displayed for the common study and advantage.

The character of Mr. Poe's genius has been so recently and so admirably discussed by Mr. Lowell, with whose opinions on the subject I for the most part agree, that I shall say but little of it here, having already extended this notice beyond the limits at first designed. There is a singular harmony between his personal and his literary qualities. St. Pierre, who seemed to be without any nobility in his own nature, in his writings appeared to be moved only by the finest and highest impulses. Poe exhibits scarcely any virtue in either his life or his writings. Probably there is not another instance in the literature of our language in which so much has been accomplished without a recognition or a manifestation of conscience. Seated behind the intelligence, and directing it, according to its capacities, Conscience is the parent of whatever is absolutely and unquestionably beautiful in art as well as in conduct. It touches the creations of the mind and they have life; without it they have never, in the range of its just action, the truth and naturalness which are approved by universal taste or in enduring reputation. In Poe's works there is constantly displayed the most touching melancholy, the most extreme and terrible despair, but never reverence or remorse.

His genius was peculiar, and not, as he himself thought, various. He remarks in one of his letters:

"There is one particular in which I have had wrong done me, and it may not be indecorous in me to call your attention to it. The last selection of my tales was made from about seventy by one of our great little cliquists and claquers, Wiley Putnam's reader, Duyckinck. He has what he thinks a taste for ratiocination, and has accordingly made up the book mostly of analytic stories. But this is not representing my mind in its various phases—it is not giving me fair play. In writing these tales one by one, at long intervals. I have kept the book unity always in mind—that is, each has been composed with reference to its effect as part of a whole. In this view, one of my chief aims has been the widest diversity of subject, thought, and especially tone and manner of handling. Were all my tales now before me in a large volume, and as the composition of another, the merit which would principally arrest my attention would be their wide diversity and variety. You will be surprised to hear me say that, (omitting one or two of my first efforts,) I do not consider any one of my stories better than another. There is a vast variety of kinds, and, in degree of value, these kinds vary-but each tale is equally good of its kind. The loftiest kind is that of the highest imagination—and for this reason only 'Ligeia' may be called my best tale."

But it seems to me that this selection of his tales was altogether judicious. Had it been submitted to me I might indeed have changed it in one or two instances, but I should not have replaced any tale by one of a different tone. One of the qualities upon which Poe prides himself was his humor, and he has left us a large number of compositions in this department, but except a few paragraphs in his "Marginalia," scarcely anything which it would not have been injurious to his reputation to republish. His realm was on the shadowy confines of human experience, among the abodes of crime, gloom, and horror, and there he delighted to surround himself with images of beauty and of terror, to raise his solemn palaces and towers and spires in a night upon which should rise no sun. His minuteness of detail, refinement of reasoning, and propriety and power of language—the perfect keeping (to borrow a phrase from another domain of art) and apparent good faith with which he managed the evocation and exhibition of his strange and spectral and revolting creations—gave him an astonishing mastery over his readers, so that his books were closed as one would lay aside the nightmare or the spells of opium. The analytical subtlety evinced in his works has frequently been overestimated, as I have before observed, because it has not been sufficiently considered that his mysteries were composed with the express design of being dissolved. When Poe attempted the illustration of the profounder operations of the mind, as displayed in written reason or in real action, he frequently failed entirely.

In poetry, as in prose, he was eminently successful in the metaphysical treatment of the passions. Hia poems are constructed with wonderful ingenuity, and finished with consummate art. They display a somber and weird imagination, and a taste almost faultless in the apprehension of that sort of beauty which was most agreeable to his temper. But they evince little genuine feeling, and less of that spontaneous ecstasy which gives its freedom, smoothness and naturalness to immortal verse. His own account of the composition of "The Raven," discloses his methods—the absence of all impulse, and the absolute control of calculation and mechanism. That curious analysis of the processes by which he wrought would be incredible if from another hand.

He was not remarkably original in invention. Indeed some of his plagiarisms are scarcely paralleled for their audacity in all literary history: For instance, in his tale of "The Pit and the Pendulum," the complicate machinery upon which the interest depends is borrowed from a story entitled "Vivenzio, or Italian Vengeance," by the author of "The First and Last Dinner," in "Blackwood's Magazine." And I remember having been shown by Mr. Longfellow, several years ago, a series of papers which constitute a demonstration that Mr. Poe was indebted to him for the idea of "The Haunted Palace," one of the most admirable of his poems, which he so pertinaciously asserted had been used by Mr. Longfellow in the production of his "Beleaguered City." Mr. Longfellow's poem was written two or three years before the first publication of that by Poe, and it was during a portion of this time in Poe's possession; but it was not printed, I believe, until a few weeks after the appearance of "The Haunted Palace." "It would be absurd," as Poe himself said many times, "to believe the similarity of these pieces entirely accidental." This was the first cause of all that malignant criticism which for so many years he carried on against Mr. Longfellow. In his "Marginalia" he borrowed largely, especially from Coleridge, and I have omitted in the republication of these papers, numerous paragraphs which were rather compiled than borrowed from one of the profoundest and wisest of our own scholars.8

In criticism, as Mr. Lowell justly remarks, Mr. Poe had "a scientific precision and coherence of logic;" he had remarkable dexterity in the dissection of sentences; but he rarely ascended from the particular to the general, from subjects to principles; he was familiar with the microscope but never looked through the telescope. His criticisms are of value to the degree in which they are demonstrative, but his unsupported assertions and opinions were so apt to be influenced by friendship or enmity, by the desire to please or the fear to offend, or by his constant ambition to surprise, or produce a sensation, that they should be received in all cases with distrust of their fairness. A volume might be filled with literary judgments by him as antagonistical and inconsistent as the sharpest antitheses. For example, when Mr. Laughton Osborn's romance, "The Confessions of a Poet," came out, he reviewed it in "The Southern Literary Messenger," saying:

"There is nothing of the vates about the author. He is no poet-and most positively he is no prophet. He avers upon his word of honor that in commencing this work he loads a pistol and places it upon the table. He further states that, upon coming to a conclusion, it is his intention to blow out what he supposes to be his brains. Now this is excellent. But, even with so rapid a writer as the poet must undoubtedly be, there would be some little difficulty in completing the book under thirty days or thereabouts. The best of powder is apt to sustain injury by lying so long 'in the load.' We sincerely hope the gentleman took the precaution to examine his priming before attempting the rash act. A flash in the pan—and in such a case—were a thing to be lamented. Indeed there would be no answering for the consequences. We might even have a second series of the 'Confessions.'"—Southern Literary Messenger, i. 459.

This review was attacked, particularly in the Richmond "Compiler," and Mr. Poe felt himself called upon to vindicate it to the proprietor of the magazine, to whom he wrote:

"There is no necessity of giving the 'Compiler' a reply. The book is silly enough of itself, without the aid of any controversy concerning it. I have read it, from beginning to end, and was very much amused at it. My opinion of it is pretty nearly the opinion of the press at large. I have heard no person offer one serious word in its defense."—Letter to T.W. White

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1

This statement was first printed during Mr. Poe's lifetime, and its truth being questioned in some of the journals, the following certificate was published by a distinguished gentleman of Virginia:

"I was one of several who witnessed this swimming feat. We accompanied Mr. Poe in boats. Messrs. Robert Stannard, John Lyle, (since dead) Robert Saunders, John Munford, I think, and one or two others, were also of the party. Mr. P. did not seem at all fatigued, and walked back to Richmond immediately after the feat—which was undertaken for a wager.

"ROBERT G. CABELL."

2

The writer of an eulogium upon the life and genius of Mr. Poe, in the Southern Literary Messenger, for March, 1850, thus refers to this point in his history:

"The story of the other side is different: and if true, throws a dark shade upon the quarrel, and a very ugly light upon Poe's character. We shall not insert it, because it is one of those relations, which we think, with Sir Thomas Browne, should never be recorded,—being 'verities whose truth we fear and heartily wish there were no truth therein … whose relations honest minds do deprecate. For of sins heteroclital, and such as want name or precedent, there is ofttimes a sin even in their history. We do desire no record of enormities: sins should he accounted new. They omit of their monstrosity as they fall from their rarity; for men count it venial to err with their forefathers, and foolishly conceive they divide a sin in its society…. In things of this nature, silence commendeth history: 'tis the veniable part of things lost; wherein there must never arise a Pancirollus, nor remain any register but that of hell.'"

3

THE NARRATIVE OF ARTHUR GORDON PYM, OF NANTUCKET; comprising the Details of a Mutiny and Atrocious Butchery on board the American Brig Grampus, on her way to the South Seas—with an account of the Re-capture of the Vessel by the Survivors; their Shipwreck, and subsequent Horrible Sufferings from Famine; their Deliverance by means of the British schooner Jane Gray; the brief Cruise of this latter Vessel in the Antarctic ocean; her Capture, and the Massacre of the Crew among a Group of Islands in the 84th parallel of southern latitude; together with the incredible Adventures and Discoveries still further South, to which that distressing calamity gave rise.—I vol. 12mo. pp. 198 New-York, Harper & Brothers, 1838.

4

The controversy is wittily described in the following extract from a Parisian journal, L'Entr*ficte, of the 20th of October, 1846:

"Un grand journal accusait l'autre jour M. Old-Nick d'avoir volé un orang-outang. Cet intéressant animal flânait dans le feuilleton de la Quotidienne, lorsque M. Old-Nick le vit, le trouvâ à son goût et s'en empara. Notre confrère avait sans doute besoin d'un groom. On sait que les Anglais ont depuis long-temps colonisé les orangs-outangs, et les ont instruits dans Part de porter bottes. Il paraitrait, toujours suivant le meme grand journal, que M. Old-Nick, après avoir derobé cet orang-outang à la Quotidienne, l'aurait ensuite cédé au Commerce, comme propriété à lui appartenant. Je sais que M. Old-Nick est un garçon plein d'esprit et plein d'honneur, assez riche de son propre fond pour ne pas s'approprier les orangs-outangs des autres; cette accusation me surprit. Aprés tout, me dis-je, il y a éu des monomanies plus extraodinaires que celle-là; le grand Bacon ne pouvait voir un bâton de cire à cacheter sans se l'approprier: dans une conférence avec M. de Metternich aux Tuileries, l'Empereur s'aperçut que le diplomate autrichien glissait des pains a cacheter dans sa poche. M. Old-Nick a une autre manic, il fait les orangs-outangs. Je m'attendais toujours á ce que la Quotidienne jeât feu et flammes et demandat a grads cris son homme des bois. Il faut vous dire ques j'avaís la son histoire dans le Commerce, elle était charmante d'esprit et de style, pleine de rapidité et de desinvolture; la Quotidienne l'avait également publiée, mais en trois feuilletons. L'orang-outang du Commerce n'avait que neuf colonnes. Il s'agissait done d'un autre quadrumane litteraire. Ma foi non! c'etait le même; seulement il n'appartenait ni à la Quotidienne, ni au Commerce. M. Old-Nick l'avait emprunté a un romancier Américan qu'il est en train d'inventer dans la Revue des Deux-Mondes. Ce romancier s'appelle Poë; je ne dis pas contraire. Voilà done un écrivain qui use du droit légitime d'arranger les nouvelles d'un romancier Américan qu'il a inventé, et on l'accuse de plagiat, de vol au feuilleton; on alarme ses amis en leu faisant croire que set ecrivain est possédé de la monomaine des orangs-outangs. Par la Courchamps! voilà qui me parait léger. M. Old Nick a écrit au journal en question une réponse pour rétablir sa moralité, attaquée à l'endroit des orangs-outangs. Cet orang-outang a mis, ces jours derniers, toute la littérature en émoi; personne n'a cru un seul instant à l'accusation qu'on a essayé, de faire peser sur M. Old Nick, d'autant plus qu'il avait pris soin d'indiquer luiméme la cage ou il avait pris son orang-outang. Ceci va fournir de nouvelles armes à la secte qui ereit aux romanciers Américans. Le préjugé de l'existence de Cooper en prendra des nouvelles forces. En attendant que la vérité se decouvre, nous sommes forcés de convenir que ce Poë est un gaillard bien fin, bien spirituel, quand il est arré par M. Old-Nick."

5

Hon. Caleb Cushing, then recently returned from his mission to China.

6

This lady was the late Mrs. Osgood, and a fragment of what she wrote under these circumstances may be found in the last edition of her works under the title of "Lullin, or the Diamond Fay."