Museum News

April 24 Poe and Other 19th Century Writers at VCU

Murray’s Bio:

Dr. Murray Ellison “retired” a few years ago after enjoying more than a thirty year career as a special education teacher, school principal, and a special education director for several school districts in Virginia. During his last ten full-time working years, he served as the Virginia State Director of Community Corrections Programs for the Virginia Department of Correctional Education. Since then, he has continued to be an active editor for the International Journal of Correctional Education. In 2012, he began pursuing a slow but thorough graduate study of fiction, poetry, and non-fiction at VCU. At present, he is working on his MA thesis on Edgar Allan Poe and Nineteenth-Century Science, which he is hoping to defend in the fall of 2015. He is also presently serving as a volunteer tour guide at the Poe Museum in Richmond and a literature teacher at the Lifelong Learning Center of Chesterfield.

Title: “Edgar Allan Poe and Nineteenth-Century Science: The Art of the Science Hoax.”
Panel on Nineteenth-Century Literature by Four VCU Masters’ of Arts Candidates
Date: Friday, April 24, 2015 at 11:45 a.m. in Hibbs Hall, Room 402—next to the Cabel VCU Library
The Author: Edgar A. Poe grew up in Richmond in the early nineteenth century and took his first full-time job in 1835 as a writer and editor for the Richmond-based Southern Literary Messenger.

Abstract: Edgar Allan Poe (1809-49) lived at the perfect time to observe and to write about several of the most dramatic technological developments recorded in history. In 1898, renowned scientist Sir Alfred Russell Wallace called the “marvelous inventions and discoveries” of the previous one hundred years, “immensely superior to anything that had been developed up until that time.” Within a few decades, the introduction of new Industrial Age technologies such as electricity, telegraphic communications, railroads, photography, balloon-travel, astronomy, and high-speed printing presses, dramatically altered the lifestyles of the American public in ways that few could ever have anticipated.
While employed as an editor and writer at the Southern Literary Messenger, Poe worked to increase its circulation from about 500 to over 3500 paid subscribers and helped make it one of the most important literary journals in America. In 1837, he moved on to write for several of the other important newspapers in America (in Baltimore, Philadelphia, New York, and Boston). Most readers are familiar with his classic poems like, “The Raven” and Anabelle Lee; and his chilling works of fiction, like, “The Tell-Tale-Heart,” and “The Fall of the House of Usher.” However, fewer are familiar with the important works he produced about science as a journalist.
This workshop focuses on the ways that Poe’s early career journalistic article for the Southern Literary Messenger, “Maelzel’s Automated Chess Player,” reflected the uncertainties of science during the Industrial Age. Poe uncovered the hidden secrets of the “automated” chess player when it toured Richmond, and broke down the illusion that Maelzel had been trying to create with as much skill as Poe later used to create his own fictional hoaxes. He also concluded, through his journalistic investigations, that the public could be deceived by almost any spectacular false notion supported by circumstantial facts. As his career advanced, Poe also became known as the master hoaxer of his generation— both for his non-fiction and fictional narratives. This topic has increased relevance today because many modern science historians and literary scholars have concluded that they could learn more about nineteenth-century culture and science by reading works by authors like Poe, than by scrutinizing the works of professional scientists of that time-period.
Contact Murray at [email protected] for comments.

Love Is in the Air

Poe was known for being quite the ladies’ man in his day. Women including Sarah Helen Whitman, Frances Sargent Osgood, Sarah Elmira Royster, Mary Starr, and especially his wife, were known for having romantic feelings for the writer. He did not woo only these women, however. Continue reading to find out who else Poe left swooning, as well as letters displaying their adoration, if not infatuation, with him.

If you recall a previous blog post, Elizabeth Ellet was notorious for revealing Osgood and Poe’s correspondence, causing a publicity scandal and the end of their friendship (at least, in the public eye). Ellet did not do this because her character was vindictive, however; she may have had romantic feelings for Poe.

Elizabeth Ellet

Elizabeth Ellet

According to World of Poe online, “There are hints from Charles F. Briggs, Elizabeth Oakes Smith, and Poe himself that the attractive young Mrs. Ellet had made some sort of unreciprocated amorous advances towards him. ” However, according to Undine, the author of the blog, we do not know whether this was the case or not. Undine explains that Sarah Helen Whitman is the only source stating that Poe exclaimed that Ellet “…had better look out for her own correspondences.”  Charles Briggs described Poe as displaying Ellet’s letters in his novel, The Trippings of Tom Pepper. According to Undine, “Elizabeth Oakes Smith wrote Whitman a letter in the mid-1870s saying nothing about immodest correspondence, but suggesting that certain ladies who had greatly admired Poe fell into a jealous feud as a result.” A familiar scene includes Ellet discovering Osgood and Virginia laughing at her letters, rousing her into anger. She retrieves her brother and threatens a duel, which ultimately does not occur.

But what became of those letters? According to Undine, it is a bit of a he said/she said situation. Ellet claimed that her letters never existed, where Poe claims that he did, and did not, keep them. What became of these letters is unknown; however, we do have evidence from a few other letters, which display words of affection.

The first letter from Ellet, from around December 15, 1845, according to EAPoe online, ends with a portion of the letter in German, which translates as, “I have a letter for you. Will you not most kindly pick it up or have it sent for after seven o’clock this evening. / O, what a rent you have made in my heart / The senses are still in your bonds / Though the bleeding soul has freed itself.”

This letter is followed by one dated December 16, 1845, which states, “Do not use in any way the memorandum about the So. Ca. College. Excuse the repeated injunction – but as you would not decipher my German manuscript – I am fearful of some other mistake” (EAPoe). Could Ellet have been making her feelings known and then covering it up as a “mistake” afterwards? Their reciprocated or unreciprocated relationship remains unknown.

Another woman whose heart was stolen by the dashing Poe was Mary Elizabeth Hewitt. According to Library Company online, Hewitt was a writer, composing such works as The Songs of Our Land, and Other Poems and The Gem of the Western World. She was notable for editing a memorial of her close friend, Frances Sargent Osgood, after Osgood’s death.

Mary Elizabeth Hewitt

Mary Elizabeth Hewitt

Hewitt and Poe’s acquaintance with one another wasn’t made until 1845, when she wrote a letter to Poe in regard to his poem, “The Raven.” Below are extracts from the letter showing her respect for Poe:

“Dear Sir,

Mr Gillespie tells me that he has mentioned to you the singular coincidence that I related to him, of the simultaneous appearance of your admirable poem, ‘The Raven’, and the receipt of a letter by myself, from a very dear brother resident in Manilla, containing a marvelous history of a ‘white bird’, the which, although the very opposite of the ‘raven,’ struck me as being so singularly like it in ground work as to constitute a ‘remarkable coincidence’.

Mr Gillespie tells me that you would like to see the paraphrase which I have endeavoured to frame out of my subject…”

“…Pray pardon the liberty I have taken in addressing you thus uncerimoniously [sic], and oblige me by returning the letter to my address.

Very respectfully
And truly yours
M. E. Hewitt” (EAPoe).

The letter, which was written March 15, 1845, was replied to promptly by Poe, who responded with the following full text:

“Dear Madam,

I have the honor to acknowledge the receipt of your little package and note.

The coincidence to which you call my attention is certainly remarkable, and the story as narrated by your brother is full of rich interest, no particle of which, most assuredly, is lost in your truly admirable paraphrase. I fear, indeed, that my enthusiasm for all that I feel to be poetry, has hurried me into some indiscretion touching the “Tale of Luzon”. Immediately upon reading it, I took it to the printer, and it is now in type for the “Broadway Journal” of this week. As I re-peruse your note, however, (before depositing it among my most valued autographs) I find no positive warrant for the act — I am by no means sure that you designed the poem for our paper. If I have erred, then, I have to beg that you will point out the penance.

Very respectfully and admiringly

Edgar A Poe” (EAPoe).

Edgar’s reply to Mary seems charming and warm. Whether it is admiration, which she shows for him, or flirtation, she has caught Edgar’s attention, regardless, and is reciprocated with this attention.

He went on to take more notice of her works and, in 1848, for example, he reviewed and critiqued her writing in Literary America (EAPoe). Another example includes a manuscript in which he begins by stating, “I am not aware that Mrs. Hewitt has written any prose; but her poems have been many, and occasionally excellent.” He states that a collection of her poems, “…evince poetic fervor, classicism, and keen appreciation of both moral and physical beauty.” Although he goes on to state that they, “…lack unity, totality [and] ultimate effect,” he praises her sonnets. At the end of his critique, he states,

In character, she is sincere, fervent, benevolent — sensitive to praise and to blame; in temperament melancholy; in manner subdued; converses earnestly yet quietly.  In person she is tall and slender, with black hair and large gray eyes; complexion dark; general expression of the countenance singularly interesting and agreeable (EAPoe).

An alternative and very similar form of this same compliment, as written by Poe, according to Library Company, found in the 1846 edition of Godey’s Lady’s Book, states,

In character she is sincere, fervent, benevolent, with a heart full of the truest charity— sensitive to praise and to blame; in temperament, melancholy (although this is not precisely the term); in manner, subdued, gentle, yet with grace and dignity; converses impressively, earnestly, yet quietly and in a low tone. In person she is tall and slender, with black hair and large gray eyes; complexion also dark; the general expression of the countenance singularly interesting and agreeable.

According to Netherlands Poe scholar, Ton Fafianie, “Poe thought Mary a very attractive woman, and she was a nice and talented lady, but she took advantage of him in an effort to promote her poems while he was connected to the Broadway Journal.” In my conversation with him, he continued to explain, “He [Poe] was patient with her as a poetess, and there was one famous woman in educated society who noticed this: Margaret Fuller. Hewitt helped Poe and his family during the dreadful winter of 1846-47. They entertained a spiritual connection but were not ‘in love.’”

Was their connection spiritual, or was there more blossoming between the two?

Finally, another woman made such an impression on Poe, he wrote a poem just for her titled, “For Annie.” But just who was Poe’s “Annie”?

Nancy "Annie" Locke Heywood Richmond

Nancy "Annie" Locke Heywood Richmond

According to World of Poe’s Undine, Nancy Locke Heywood Richmond was the wife of Charles Richmond. She and Poe first met July 1848, and then met again in October of that year and in the spring of the next. According to Undine, however, “…intimates believed the two were no more than friendly acquaintances.” Letters written by her brother indicate no romantic interest between the two, however, Richmond told John H. Ingram, a Poe biographer, that Poe had been deeply in love with her, Undine goes on to explain. The only evidence of this is through copies of letters Poe allegedly had written her.

According to Undine,

These strange, hysterical, poorly-written letters depict Poe as consumed by an unbalanced, obsessive passion for the woman he, for reasons unknown, rechristened “Annie.” This passion, according to the letters, persisted throughout his brief, ill-fated 1848 relationship with Sarah Helen Whitman–who was simultaneously receiving similar letters expressing Poe’s undying love for her. “Annie” apparently was either oblivious or indifferent to the fact that by revealing these letters, she was making Poe look not just like a horribly untalented letter-writer, but an insincere, disloyal human being.

According to the Poe Museum website, Richmond legally changed her name from Nancy to Annie, after the death of her husband in 1873.

Below is the poem, “For Annie,” which portrays Poe’s romantic feelings for her.

Thank Heaven! the crisis,

The danger, is past,

And the lingering illness

Is over at last—

And the fever called “Living”

Is conquered at last.

Sadly, I know

I am shorn of my strength,

And no muscle I move

As I lie at full length—

But no matter!—I feel

I am better at length.

And I rest so composedly,

Now, in my bed,

That any beholder

Might fancy me dead—

Might start at beholding me,

Thinking me dead.

The moaning and groaning,

The sighing and sobbing,

Are quieted now,

With that horrible throbbing

At heart:—ah, that horrible,

Horrible throbbing!

The sickness—the nausea—

The pitiless pain—

Have ceased, with the fever

That maddened my brain—

With the fever called “Living”

That burned in my brain.

And oh! of all tortures

That torture the worst

Has abated—the terrible

Torture of thirst

For the naphthaline river

Of Passion accurst:—

I have drank of a water

That quenches all thirst:—

Of a water that flows,

With a lullaby sound,

From a spring but a very few

Feet under ground—

From a cavern not very far

Down under ground.

And ah! let it never

Be foolishly said

That my room it is gloomy

And narrow my bed;

For man never slept

In a different bed—

And, to sleep, you must slumber

In just such a bed.

My tantalized spirit

Here blandly reposes,

Forgetting, or never

Regretting, its roses—

Its old agitations

Of myrtles and roses:

For now, while so quietly

Lying, it fancies

A holier odor

About it, of pansies—

A rosemary odor,

Commingled with pansies—

With rue and the beautiful

Puritan pansies.

And so it lies happily,

Bathing in many

A dream of the truth

And the beauty of Annie—

Drowned in a bath

Of the tresses of Annie.

She tenderly kissed me,

She fondly caressed,

And then I fell gently

To sleep on her breast—

Deeply to sleep

From the heaven of her breast.

When the light was extinguished,

She covered me warm,

And she prayed to the angels

To keep me from harm—

To the queen of the angels

To shield me from harm.

And I lie so composedly,

Now, in my bed,

(Knowing her love)

That you fancy me dead—

And I rest so contentedly,

Now in my bed

(With her love at my breast).

That you fancy me dead—

That you shudder to look at me,

Thinking me dead:—

But my heart it is brighter

Than all of the many

Stars in the sky,

For it sparkles with Annie—

It glows with the light

Of the love of my Annie—

With the thought of the light

Of the eyes of my Annie.

(Source: Poetry Foundation.)

Ultimately, what do you think? Were Poe’s feelings sincere for these three distinctive women, or were their feelings sincere towards him?

Feel free to comment below and share your ideas!

Nevermore Opens January 14

His Darkest Story Was His Own…

Now in performances in the heart of Broadway at New World Stages!

Following Sold Out Runs at London’s Barbican Center
and The New Victory Theatre

Previews Begin Wednesday, January 14, 2015
Opening Night Set for Sunday, January 25, 2015

November 19, 2014 (New York, NY) – NEVERMORE – The Imaginary Life and Mysterious Death of Edgar Allan Poe, a unique theatrical experience combining haunting music, poetic storytelling, and stunning stagecraft to tell the fascinating and moving life story of iconic American writer Edgar Allan Poe (1809-1849), will begin performances at New World Stages (340 West 50th Street between 8th and 9th Avenues) on Wednesday, January 14, 2015, with an official opening night scheduled for Sunday, January 25, 2015.

Beautiful and bizarre, playful and perverse, NEVERMORE- The Imaginary Life and Mysterious Death of Edgar Allan Poe is a whimsical and chilling musical play about the enigmatic writer who has fascinated the world for more than a century. A literary rock star in his day, Poe struggled with tragedy and addiction, poverty and loss, yet produced some of the world’s most original, visionary and enduring literature before dying in mysterious circumstances at the age of 40. At once gorgeous and grotesque, NEVERMORE blurs the line between fact and fiction, exploring the events that shaped Poe’s character and career and giving powerful expression to Poe’s words “all that we see or seem is but a dream within a dream.”

NEVERMORE is written, composed, and directed by Catalyst Theatre’s (Edmonton, Canada) Artistic Director, Jonathan Christenson. The physical world of NEVERMORE – including sets, costumes, and lighting – is designed by Bretta Gerecke. The production features choreography by Laura Krewski and sound design is by Wade Staples.

Originally produced by Catalyst Theatre of Edmonton, Canada in 2009 to commemorate the bicentennial of Poe’s birth (January 19, 1809), NEVERMORE has toured extensively, including sold out limited engagements at London’s Barbican Center and New York’s New Victory Theatre in 2010. NEVERMORE has been expanded since its first New York appearance in 2010, with several new songs added and structural revisions made to the original script.

Six of the seven original NEVERMORE cast members will return for this engagement – Gaelan Beatty, Shannon Blanchett, Beth Graham, Ryan Parker, Garett Ross, and Scott Shpeley. Casting for the seventh and final role will be announced in the coming weeks.

NEVERMORE is produced by Radio Mouse Entertainment (M. Kilburg Reedy and Jason E. Grossman), Martin Hummel, Caiola Productions, Terry Schnuck, Susan Jaffe Tane, and Hernreich-Horvath Productions in association with Catalyst Theatre. The associate producers include Fireboat Productions, Carol L. Bixler, and Deepa Desai.

NEVERMORE – The Imaginary Life and Mysterious Death of Edgar Allan Poe will be performed on the following schedule at New World Stages (340 West 50th street, between 8th and 9th avenues): Monday at 7:00pm, Wednesday at 8:00pm, Thursday at 2:30pm and 8:00pm, Friday at 8:00pm, Saturday at 2:30pm and 8:00pm, and Sunday at 3:00pm.

Tickets, priced $75 – $95, can be purchased at or by calling 212-239-6200. A limited number of $30 rush tickets for each performance will be available for purchase by audience members under 30 years old (valid ID required at box office) two hours prior to each performance while supplies last.


JONATHAN CHRISTENSON — Writer/ Composer/ Lyricist/ Director – Jonathan is a director, playwright and composer and the artistic director of Canada’s Catalyst Theatre. His plays – Vigilante, The Soul Collector, Nevermore – The Imaginary Life & Mysterious Death of Edgar Allan Poe, The Blue Orphan, and The House of Pootsie Plunket, to name a few – have appeared at theatres throughout England, Scotland, Wales, Australia, the U.S. and Canada and at such festivals as the London International Festival of Theatre, Luminato, Le Carrefour, The High Performance Rodeo, The PuSh Festival, and Magnetic North. His work as a writer, director and composer has been honoured by Canada’s Sterling, Betty Mitchell and SAT Awards, Scotland’s Fringe First and Herald Angel Awards, and the City of Edmonton’s Salute to Excellence Awards. He has also received multiple nominations for the UK’s Stage Awards, the Dora Awards, and the Alberta Book Awards. In 2011, Venture Magazine named him one of “Alberta’s Fifty Most Influential People” and Alberta Playwrights Network chose him as one of Alberta’s one hundred most significant theatre artists of the past one hundred years. His plays have been published by Playwrights Canada Press and Newest Press and his work has been featured in American Theatre, Canadian Theatre Review, PRISM International, Canada World View and All Stages Magazine. Last year Bayeux Arts published his first children’s book, Maximilian’s Mistake.

BRETTA GERECKE – Production Designer (Costumes, Lighting, Set) – graduated from the University of Manitoba with a Bachelor of Interior Design and from the University of Alberta with a Master of Fine Arts in Theatre Design. She is the resident designer at Catalyst Theatre, where she has designed world premieres that have toured internationally to Great Britain, Australia, and the U.S. and across Canada. Bretta also works at The Citadel Theatre, Canadian Stage, Edmonton Opera, Calgary Opera, Theatre Calgary, The Globe Theatre, The Stratford Festival and Cirque du Soleil. She is the recipient of over twenty Elizabeth Sterling Haynes Awards, Jessie Richardson Awards, Betty Mitchell Awards and SAT Awards for Outstanding Achievement in Set, Lighting and Costume Design; The Enbridge Award for Best Emerging Artist; The Global Women of Vision Award; Edmonton’s Top 40 Under 40. She designed a summer home on Devil’s Lake, Alberta, is a marathon runner and continues her work as an Archaeological Illustrator.
LAURA KREWSKI – Choreographer – has choreographed original musicals Frankenstein, Hunchback and Vigilante for Catalyst Theatre. She recently choreographed Enron (National Arts Centre), Spamalot (Citadel Theatre), Next to Normal (Citadel Theatre/Theatre Calgary), Chicago and Footloose (The Mayfield), The 25th Annual Putnam County Spelling Bee (Belfry Theatre and Vancouver Arts Club), Pirates of Penzance and HMS Pinafore (Edmonton Opera), The Forbidden Phoenix and As You Like It (Citadel Theatre), and new musicals RICH and Rapa Nui (Manitoba Theatre for Young People). Laura also produced and choreographed FreeFall and Jazz Playground and is currently developing a new work as an independent artist. She is involved with Orchesis Dance Group at the University of Alberta, the Citadel/Banff Professional Theatre Program and the Canadian College of Performing Arts. Laura has received the YWCA Woman of Distinction Award in Arts and Culture, three Elizabeth Sterling Haynes Awards and a Betty Mitchell Award for Outstanding Choreography.
RADIO MOUSE ENTERTAINMENT – Lead Producer – Founded by M. Kilburg Reedy and Jason E. Grossman, Radio Mouse Entertainment’s theater credits include the Broadway production of Vanya and Sonia and Masha and Spike (winner of the 2013 Tony, Drama Desk, NY Drama Critics, Drama League, and Outer Critics Circle Awards for Best Play), the Broadway and National Tour productions of Peter and the Starcatcher (nominated for 9 Tony Awards; winner of 5 Tony Awards) and The Pee-wee Herman Show on Broadway. In London, Jason and Kilburg co-produced the Olivier Award nominated West End production of Lend Me A Tenor, The Musical.


GAELAN BEATTY first encountered Catalyst Theatre through Nevermore several years ago and was immediately struck with a desire to join the team. A graduate of Studio 58 in Vancouver, he has toured the country from Whitehorse to Montreal and performed in musicals and Shakespearian plays as well as on TV and in commercials. He’s worked with Bard on the Beach, Electric Company Theatre, Arts Club Theatre, Gateway Theatre, Globe Theatre, Carousel Theatre, and Green Thumb Theatre, and appeared in Man of La Mancha at the Globe Theatre (directed by Max Rieme), among others.
SHANNON BLANCHET – A graduate of the University of Alberta’s BFA Acting program, select credits include: Whiplash Weekend (Teatro la Quindicina), A Picasso (Chorus Productions), Shatter (The Maggie Tree), Love’s Labour’s Lost (Freewill Shakespeare Festival), PopTart (Pony Productions), and Von Mitterbrink’s Second (ACME Theatre). She is a two-time Sterling Award winner for her performances on Edmonton stages and was named one of 2014′s Top 40 under 40 by Avenue Magazine. She is an Artistic Associate with Teatro La Quincidina and a member of the Canadian Comedy award-winning improv troupe, Die Nasty.
BETH GRAHAM – Catalyst credits: Nevermore (UK Lift Festival, Luminato, Magnetic North, New Victory Theatre, Vertigo Theatre, and Persephone Theatre), Hunchback (Vancouver Playhouse), The Blue Orphan, Twelve, Fusion: Let There Be Light and Sticky Shoes. Other selected theatre credits include: The Penelopiad, The Drowning Girls, Death of a Salesman, A Christmas Carol (Citadel Theatre), The Wizard of Oz, Strawberries In January (Globe Theatre), Victor and Victoria’s Terrifying Tale of Terrible Things (Kill Your Television), Cause and Effect (Teatro la Quindicina). Beth is a graduate from the University of Alberta’s BFA acting program. She is the co-creator of several plays including: The Drowning Girls (national tour) and Mules. Her most recent play, The Gravitational Pull of Bernice Trimble, has been produced in Edmonton (Theatre Network) and Toronto (Factory Theatre).
RYAN PARKER – Ryan is a graduate of the Grant MacEwan Theatre Arts Program and has a Bachelor of Fine Arts in Drama from the University of Alberta. Selected credits include Three Sisters (Broken Toys Theatre), Eros and The Itchy Ant, East of My Usual Brain (Teatro La Quindicina), Mesa (Globe Theatre), Buddy, …Spelling Bee (The Mayfield Theatre), Hamlet, Taming of the Shrew (Free Will Players), and What the Butler Saw (Studio Theatre). Ryan is a co-creator/member of the ukulele comedy band The Be Arthurs and a Gemini/Canadian Screen Award nominated writer for the sketch comedy television series Caution: May Contain Nuts. Most recently he’s been seen in Barefoot in the Park for Teatro La Quindicina, The Craze/Musical Direction in One Man, Two Guvnors for Citadel Theatre.
GARETT ROSS – Garett is a graduate of the Grant MacEwan Theatre Arts Program and has a Bachelor of Fine Arts in Drama from the University of Alberta. Garett has been with the Nevermore company since the show began six years ago. He has also worked with Catalyst Theatre on Soul Collector and Vigilante. Some of the other shows in which he’s performed include Liberation Days (Theatre Calgary), Jack Goes Boating (Sage Theatre/Shadow Theatre), Hamlet, Romeo and Juliet (The Citadel Theatre), Hairspray, Shear Madness, Chicago, The Wizard of Oz (Mayfield Dinner Theatre), A Year in Winter, That Darn Plot, Beginning of August (Shadow Theatre), Uncle Van, and The Old Curiosity Shop (TheatRepublic/ Poorman’s classic Co-op). Garett has been nominated for Sterling Awards for his work in Jack Goes Boating (Sage Theatre), That Darn Plot (Shadow Theatre), The Old Curiosity Shop (Poor Man’s Classic Co-op), and The Raven and the Writing Desk (Acme Theatre).
SCOTT SHPELEY – Scott is an actor, singer, and multi-instrumentalist with a Bachelor of Fine Arts in acting from the University of Alberta. He has been with Nevermore since 2008, and has performed with the show across Canada and in London. Scott was part of the first two Canadian productions of One Man, Two Guvnors as the drummer/washboard player in Calgary, Alberta, and the bassist in Edmonton, Alberta. Other credits include You’re a Good Man, Charlie Brown (Alberta Theatre Projects); Sweeney Todd and Rope (Vertigo Theatre); Peril in Paris (Lunchbox Theatre). Scott is the lead singer and bassist in the electro-dance band The Play Plays.

For more information, please visit WWW.NEVERMORESHOW.COM

Poe as a Popularizer of 19th-Century Sceince

During the Industrial Revolution of the early nineteenth century, there was a need for a new class of writers who could write about emerging scientific information in a way that the new consumers of science information could understand. The emerging class of professional scientists in the United States was neither equipped nor interested in communicating about science with the public. Lightman refers to the nineteenth century literary writers who did attempt to communicate to the public as the “popularizers of science.” He also suggests that “Their success was partially due to their ability to present the huge mass of scientific fact in the form of compelling stories” (188). He contends, therefore, that it is essential for our current understanding of nineteenth-century culture to explore writers like Edgar Allan Poe, who skillfully and prolifically commented on many of the most significant scientific trends of his lifetime. Many other scholars (Gewirtz, Hoffman, Willis, and Tresch) acknowledge that Poe was one of the most important leaders in developing both the genres of science fiction and detective fiction. Similarly, John Limon writes that Poe engaged in literary “negotiation with science,” asserting that his works both foreshadowed and critiqued several emerging scientific developments and trends of the future (19). As such, Paul Faytor argues that “there was a two-way traffic between science and science-writers in the nineteenth century. He notes that many of the inventions and writings of professional scientists helped to shape science fiction and that many ideas imagined by science fiction writers found their way into actual scientific inventions. (256). His works in those areas provide abundant example that he anticipated forecasted future developments in technical areas such as exploration of the Poles, astronomy, physics, space travel, photography, electronic communications, and the forensic sciences.  Limon argues that lay writers like Poe and Hawthorne, or those without “letters” who were interested in writing about science, struggled with professional scientists to establish their authority to speak about the newly emerging scientific issues (19).  Poe had not received much formal training as a scientist but had considerable exposure to technical subjects in his early education, in his technical experiences in the military, and through his exposure to science news as a journalist. He believed that an observant and skilled writer did not need professional science training or to be sanctioned by an official science accreditation organizations before writing about science.

Poe,however, looked not only to the events of his era to inform his view of truth in his science writing, but he was also inspired and informed by several of the most renown philosophers and science writers of antiquity. In his 1848 culminating science narrative, Eureka: A Prose Poem, he outlined the development of scientific thinking from antiquity through his era. A list of the ancient writers of science and the philosophy of science he commented on in Eureka includes Archimedes, Aristotle, Descartes, Kant, Newton, Kepler, and Francis Bacon. Also in Eureka, he discussed the works of philosophers and scientists closer to Poe’s lifetime such as Auguste Comte, Sir John Herschel, John Stuart Mill, Pierre Simon La Place, and Friedrich Heinrich Humboldt – to whom Poe dedicated Eureka. This culminating work of Poe’s science narratives will be discussed in a blog that will be written in the future.  However, there are several important contextual influences pertaining to science and literature that were in place by the early nineteenth century that likely influenced Poe’s choice to embark on a career that focused on science narrative writing. These influences will be discussed in the upcoming monthly Poe in Science Blogs.

Contact Murray Ellison at [email protected] or at [email protected] for comments or questions.

Partial List of Sources:

Faytor, Paul. “Strange New Worlds of Space and Time: Late Victorian Science and Science Fiction.” Victorian Science in Context. Ed. Barnard A. Lightman. Chicago: University of Chicago Press, 1997.

Gewirtz, Isaac. Edgar Allan Poe: Terror of the Soul. New York: New York Public Library, 2013.

Lightman, Bernard. Victorian Science in Context. Ed.  Chicago: The University of Chicago Press, 1997.19C Printing Press

Limon, John. The Place of Fiction in the Time of Science. Cambridge: Cambridge Press, 1990

Tresch, John. The Romantic Machine. Chicago: The University of Chicago Press, 2012.

Poe’s Actress Mother-Part One

“For my little son Edgar, who should ever love Boston, the place of his birth, and where his mother found her best and most sympathetic friends.”

This line was written on a watercolor painting of Boston, painted by Eliza Poe in 1808, which was gifted to Edgar on her deathbed (Poe Boston). Although Edgar was not able to know his mother extensively, and despite his mother dying when he was just the age of two, he gathered information from relatives and friends who knew Eliza, and felt she was very much a part of him. To Edgar, his mother was an esteemed actress, who he was proud of and stated in his Broadway Journal, “The writer of this article is himself the son of an actress – has invariably made it his boast – and no earl was ever prouder of his earldom than he of his descent from a woman who, although well-born, hesitated not to consecrate to the drama her brief career of genius and of beauty” (EAPoe).

But who was Edgar’s mother? Who was this woman who most likely inspired her son with his writing and instilled a kind, gentle and empathetic character in him?

Elizabeth Arnold

Elizabeth Arnold, born in England, sailed to America with her mother in 1796 at the age of nine. Her mother, also Elizabeth Arnold, an actress, had been given an opportunity to perform in Boston under Charles Powell at the Federal Street Theater. Powell, suddenly out of a job, abandoned the elder Elizabeth and her young daughter, along with their pianist, Charles Tubbs, and left them in the new and unknown city of Boston. They, fortunately, were able to find work at the Federal Street Theater, hired almost immediately into a prestigious group. It is here that young “Eliza” made her first appearance in theater, singing “The Market Lass.” Thus began young Eliza’s apprenticeship, according to Geddeth Smith (15-20).

Federal Street Theatre

After the season closed, Eliza and her mother performed a week later in the theater’s ballroom, with Eliza singing “The Market Lass” and adding “Henry’s Cottage Maid.” Young Eliza was a success among the theater goers, and she was proclaimed an actress. In order to advance her daughter’s career, Elizabeth took her and Mr. Tubbs, now their manager, to Portsmouth. Upon arriving, they performed in a concert on August 3, and that September, Mrs. Arnold arranged to put on a production. By November, young Eliza impressively played twelve different roles. In the meantime, her mother had begun planning to build her own theater, and the three set off for Portland, Maine. After a successful period there, and Mrs. Arnold now married to Mr. Tubbs, the trio set back for Portsmouth, where they reunited with Joseph Harper and opened in the “Assembly Room” on February 1, 1797. Eliza played every night that their Assembly Room was opened. Her notable roles included Little Pickle from The Spoiled Child and Prince Edward in Margaret of Anjou (20-31).

A year after her debut, now ten years old, Eliza had performed successfully in a plethora of roles and was working under the direction of Louisa Fontenelle Williamson, who had taken Eliza’s role as Little Pickle, while Eliza performed as Little Pickle’s sister. Williamson had been praised by Robert Merry and Robert Burns, who wrote several poems for her, so Eliza was under someone with great influence. Despite her previous success as Little Pickle, Eliza considered it an honor working under Williamson, and she received a good amount of her training this way (33).

Leaving Hartford, where Eliza had worked with Williamson, Eliza and her parents moved to Charleston, South Carolina. She was met with disappointment; however, because Sollee, the gentleman who had been leading the group of actors from city to city during this time, chose another actress over Eliza to play the role of Little Pickle. Eliza did not debut in Charleston until a week later singing “The Market Lass.” Her last appearance with Sollee’s group was as Julia in Henry Siddon’s The Sicilian Romance.

A bitter dispute had occurred between Eliza’s step-father who claimed he, his wife, and Eliza were not being paid enough for their performances, among other dissatisfactions. Sollee eventually gave under pressure. That and other circumstances forced him to resign; and he handed the company over to three of his trusted actors.

Eliza and her parents, after a brief string of performances in Wilmington, North Carolina, returned to join the “Charleston Comedians”, which had been formed by the former actors and actresses who had rebelled and left Sollee’s company. The leader of this group was an Edgar, who cast Eliza in significant roles and most likely later inspired the name of her second son.  Now eleven years old, Eliza ended the season just before May, by performing alongside her mother in Rosina. According to Geddeth Smith, Eliza’s biographer, “She had stepped squarely into the professional world” (38-42).

Elizabeth Arnold Portrait, owned by the Harry Ransom Center

In 1798, eleven-year old Eliza and her parents set out for Richmond to find acting roles. By mid-July, however, in Halifax, North Carolina, Eliza’s mother had fallen ill. Elizabeth’s last recorded performance was Maria in The Citizen. That summer, Eliza lost her mother to what is believed to be a yellow-fever and came under the supervision of her step-father, Charles Tubbs, who was described as being temperamental (43-44).

In 1798, Eliza made her debut in Richmond, and it is said, “Eliza was able to find a place for herself very quickly in the Virginia Company’s repertory,” based on the guidance her mother had given her. Eliza soon landed what is said to be the most important opportunity yet to have come her way (45-46).

By 1799, the yellow-fever epidemic had subsided and Thomas Wignell, manager of the Chestnut Street Theatre in Philadelphia, had noticed Eliza’s expertise as a young actress. Geddeth explains she had a repertoire of twenty-five parts and would prove to be an asset to Wignell, who hired her immediately. She now was playing with one of the most prestigious companies in the country, marking her independence from Tubbs.

Chestnut Street Theatre

In January 1799, Eliza arrived in Philadelphia, what was often called the “Athens of America” (47-49). She did not debut in Wignell’s company until March 18, however, when she played as Biddy Belair in Miss in Her Teens. This required Eliza to perform as a comedienne rather than a singing actress, however she took on the role of a sixteen-year old character swimmingly (49-50). At this time, Eliza was now completely on her own, having left Tubbs behind and with her mother deceased. Wignell took care of her, however, and guided her as an actress, offering for her to return for the following season in his company, which she accepted (51).

According to Geddeth,

When Eliza began her second season at the Chestnut Street Theatre, she was barely thirteen, and she was beginning to blossom into a very beautiful young woman with delicate features, abundant curling hair, and large, brown, glowing eyes. Her figure was small and graceful, as it was to remain for the rest of her life, and this was to prove an advantage for her, because it meant that she could continue to play children’s parts while she was growing into an ingénue and young leading lady (51-52).

During the middle of Eliza’s second season with the company, a young man, named Charles Hopkins, joined the company and would soon debut onstage. Hopkins played one of the most famous comedic roles, Tony Lumpkin in She Stoops to Conquer, and was very successful. He and Eliza soon began performing in productions together and the troop traveled to Washington in the summer of 1800. Their opening night was August 22, where they performed Thomas Otway’s tragedy Venice Preserved, in an historic event, the opening of Washington’s first theatre. Following the performance in the tragedy, Eliza again played the lead role of Little Pickle. The season ended in mid-September and the company returned to Philadelphia (52-54).

Eliza and Charles grew extremely fond of one another, frequently working beside each other in complimentary roles. Their company moved to Baltimore from late April to early June (55). Growing tired of feeling restricted with his current company, Charles accepted an offer with the Virginia Company for the 1801-2 season, which meant that he and Eliza would be separated. Charles left for Virginia and Eliza left for Philadelphia, in low spirits. The couple were separated for over a year until Eliza decided to leave her current group; and after four seasons of performing for Wignell, she joined Charles that summer in Virginia (57-58).

Southwark Theatre

Before joining Charles, Eliza performed briefly for Southwark Theatre in Philadelphia, which comprised of a majority of her fellow actors from the Chestnut Street Theatre (59). Due to a reported break out of yellow fever, Eliza immediately left immediately after two weeks of performing and joined Charles in Alexandria, Virginia. Eliza almost immediately married Charles; fifteen-year-old Eliza had become Mrs. Hopkins (59).

Follow Eliza’s adventure with her first husband, discover her second, and well known husband, and, finally, read about her three children, particularly Edgar, in the next installment! Meanwhile, you can visit the following links to learn more about Eliza Poe from the Poe Museum:

Poe as a Popularizer of Nineteenth-Century Sceince

Sir Isaac Newton Working on Geometric Problem – 1795 Ink and Water Color by William Blake (Public Domain Image from www.blake.archive)

Poe as a Popularizer of Nineteenth-Century Science

Several important modern-day science historians have conceded that their present understanding of how Industrial Age technologies affected society is limited, and some have started to focus their research on this period. Bernard Lightman argues “Scholars have barely scratched the surface in their attempts to understand the popularization of Victorian [nineteenth century] science” (206). He writes, “As scientists became professionalized [during the nineteenth century] and professional scientists began to pursue specialized research highly, the need arose for non-professionals, who could convey the broader significance of many new discoveries to a rapidly growing…reading public” (187). He proposes that the nineteenth century “popularizers of science” may have been more important than that of Huxley or the Tyndall [important nineteenth-century scientists] in shaping the understanding [of science] in the minds of the reading public…” (188).

During this period, there was a need for a new class of writers who could write about emerging scientific information in a way the new consumers of science information could understand, and in ways that was relevant to their daily experiences. The newly emerging class of professional scientists in the United was neither equipped nor interested in communicating with the public. Lightman refers to those writers who did attempt to communicate to the public about science as the “popularizers of science,” and suggests that “Their success… was partially due to their ability to present the huge mass of scientific fact in the form of compelling stories…” (188). Therefore, he suggests that it is essential for our present understanding of nineteenth-century culture to explore writers like Edgar Allan Poe, who skillfully and prolifically commented on many of the important popular scientific trends of his lifetime. John Tresch asserts, “Poe’s writings force us to reconsider the relationship between science and literature” (The British Journal of Science, 275-276). Also, in Between Science and Literature, Peter Swirski argues that Poe’s “writing may be a suitable barometer of the role that science and philosophy had on nineteenth-century society… and that he threw “literary bridges over to the scientific mainland,” These bridges, he concludes, were just as important in helping is to understand how scientific changes influenced society as they are in helping us to understand how literature started to change to reflect scientific developments (X-XI). John Limon, writing in The Place of Fiction in the Time of Science writes that Poe engaged in literary “negotiation with science,” asserting that his works both foreshadowed and critiqued several emerging scientific developments and trends of the future (19). Faytor also argues “there was a two-way traffic between science and science-writers in the nineteenth century. He notes that many of the inventions and writings of professional scientists helped to shape science fiction and that many ideas imagined by science fiction writers found their way into actual scientific inventions. (256). Most scholars acknowledge that Poe was one of the most important leaders in developing both the genres of science fiction and detective fiction. His works in those areas provide abundant examples that he anticipated and forecasted future developments which are accepted today in a variety of technical areas such as exploration of the Poles, astronomy, physics, space travel, photography, electronic communications, replacement of body parts, and the forensic sciences.

During Poe’s lifetime, lay writers or those without “letters” who were interested in writing about science struggled with professional scientists to establish their authority to speak about the newly emerging scientific issues. Poe had not received much formal training as a scientist but had considerable exposure to science ideas in his early education, in his technical experiences in the military, and through his exposure to science news stories as a journalist. He believed that an observant and skilled writer (like himself) was more qualified to interpret and discuss the meaning and impact of the newly emerging sciences and technologies than most professional scientists.

Poe looked not only to the events of his era to inform his view of truth in his science writing, but he was also inspired and informed by several of the most renown philosophers and science writers of antiquity. In his 1848 culminating science narrative, Eureka A Prose Poem, he outlined the development of scientific thinking from antiquity through his era, and provided his own unique theories about the creation, operations, and destiny of humanity and the Universe. A list of the ancient writers of science and the philosophy of science he commented on in Eureka includes Archimedes, Aristotle, Descartes, Kant, Kepler, Francis Bacon, and Sir Isaac Newton. Also in Eureka, he discussed the works of philosophers and scientists closer to Poe’s lifetime such as Auguste Comte, Sir John Herschel, John Stuart Mill, Pierre Simon Laplace, and Friedrich Heinrich Humboldt – to whom Poe dedicated Eureka. Several contextual influences in the areas of literature and technology likely influenced Poe’s subsequent choice to embark on a career that emphasized science narrative writing. These will be discussed in the November 2014 posting. For comments, contact [email protected] or [email protected]

Faytor, Paul. “Strange New Worlds of Space and Time: Late Victorian Science and Science Fiction.” Victorian Science in Context. Ed. Barnard A. Lightman. Chicago: Univ. of Chicago Press, 1997.
Limon, John. The Place of Fiction in the Time of Science. Cambridge: Cambridge University Press, 1990.
Lightman, Bernard. Victorian Science in Context. Ed. University of Chicago Press, 1997.
Swirski, Peter. Between Literature and Science: Poe, Lem, and Explorations in Aesthetics, Cognitive Science, and Literary Knowledge. Montreal: McGill-Queens University Press, 2000.
Tresch, John. “The Potent Magic of Verisimilitude: Edgar Allan Poe and the Mechanical Age.” The British Journal of Science 3.3 (1997): 275-90. Web. 15 Mar. 2013.
_______. The Romantic Machine. Chicago: The University of Chicago Press, 2012.
Sir Isaac Newton Working on Geometric Problem

Did Poe Really Say That?

There are many popular Poe quotes circulating the Internet, quotes that are even printed on merchandise. Unfortunately, a majority of Poe quotes are falsely attributed to the literary genius. Some quotes are so bad Poe would be rolling in his grave! Take a look at our list and see which quotes you recognize as being falsely attributed to Poe.

1) “I wish I could write as mysterious as a cat.” This is, frustratingly, one of the most misattributed quotes. If you look at the context, the grammar, the style of the quote, it most definitely is not “Poe-esque.”

2) “Believe only half of what you see and nothing that you hear.” This quote is a Poe quote, just not as he stated it. Found in his short story “The System of Dr. Tarr and Prof. Fether,” in the November 1845 issue of Graham’s Magazine, the statement is,  “Believe nothing you hear, and only one half that you see.” It is surprising the quote needed to be simplified to the form it is in today, when it was already quite simple to begin with. One definitely should pay attention to what Poe is saying. And it is probably best when reading supposed “Poe” quotes, to believe only half of what you see.

3) “Sometimes I’m terrified of my heart; of its constant hunger for whatever it is it wants. The way it stops and starts.” This came from a song written by the singer Poe. Confusing, yes; however, they are two distinctly different people. You can hear the song here.

4) “Sleep, those little slices of death—how I loathe them.” I have not been able to trace the origin of this quote, however the quote was attributed to Poe in Nightmare On Elm Street III. Another resource, the World of Poe, suggests it may have been derived from a line from the 1959 film, “Journey to the Center of the Earth,” which states, “I don’t sleep. I hate those little slices of death.” Regardless of where it came from, this most definitely is not a Poe quote.

5) “All religion, my friend, is simply evolved out of fraud, fear, greed, imagination, and poetry.” According to the World of Poe, this quote derived from a Poe biographer, John Alexander Joyce, who also came up with such fallacies as “The Raven” being a copied work of an 1809 poem, “The Parrot.”

6) “The best things in life make you sweaty.” I found this little gem on Goodreads, while scanning through the list of misattributed quotes. I am not sure what to say about this, except that it quite obviously is not a Poe statement. You can see an article regarding why this isn’t here.

7) “I do not suffer from insanity, I enjoy every minute of it.” After heavy research, I sourced this quote to a few books—first making its debut in 1996.  This quote is often attributed to Poe, however I could only source this quote to the following books:
Leon Schuster’s Lekker, Thick South African Joke Book
He’s gonna toot and I’m gonna scoot: waiting for Gabriel’s horn
Uncle John’s Big Great Big Bathroom Reader
Crackers for Your Soup!
Toward Healthy Living: A Wellness Journal
More Modems for Dummies

There is no evidence of its appearing before the later half of the twentieth century.

8 ) “The past is a pebble in my shoe.” According to the World of Poe blog, this quote derives from one of the singer Poe’s songs, “Today.”

9) “I remained too much inside my head and ended up losing my mind.” There is not sufficient evidence to say Poe did not say this, however there is not sufficient evidence to say he did.

10) For some reason, the words in the “Come Little Children” song from Hocus Pocus have been attributed to Poe. The words do not match his style, and the lyrics are simplistic compared to his writing. The lyrics were written for the 1993 Halloween film, Hocus Pocus, by Brock Walsh, with James Horner composing the music. Sarah Jessica Parker, a star of the film, only wishes she were singing Poe’s words!

11) “If you run out of ideas follow the road; you’ll get there.” A search for this only brought me to Goodreads and Flickr. Either it is not well sourced, or he did not say it. Hint: He did not say it.

12) “Fill with mingled cream and amber,
I will drain that glass again.
Such hilarious visions clamber
Through the chamber of my brain —
Quaintest thoughts — queerest fancies
Come to life and fade away;
What care I how time advances?
I am drinking ale today.”

Although this poem, “Lines on Ale,” has been attributed to Poe for a long, long while, recently it has been debated whether it actually is his or not. You can follow this link for the controversy.

13) “No one should brave the underworld alone.” This line is from the singer Poe’s song, “Hello.”

14) “Every poem should remind the reader they are going to die.” I found this quote on Goodreads, which is the only website/source where I have been able to properly find it. I am going to have a hunch and say Poe did not make this statement.

15) “Art is to look at not criticize.” The only place I have found this quote is in online links back to Goodreads. I am going to guess this, like the former, is not a Poe quote.

16) “If you are ever drowned or hung, be sure and make a note of your sensations.” Once again, while Goodreads proves to be a fantastic source of information regarding book titles, suggestions, and endless lists of quotes, sometimes quotes such as this one slip past the editors and are falsely attributed. Edit: According to an outside source, this is a paraphrased quote of, “Should you ever be drowned or hung, be sure and make a note of your sensations — they will be worth to you ten guineas a sheet,” as seen in Poe’s “How to Write a Blackwood Article.”

17) “The idea of God, infinity, or spirit stands for the possible attempt at an impossible conception.” According to the World of Poe, this is a paraphrased quote from a passage out of Poe’s “Eureka.” Better watch out for those paraphrases.

18) “The pioneers and missionaries of religion have been the real cause of more trouble and war than all other classes of mankind.” According to World of Poe, this is another fabricated quote attributed to Poe by John Alexander Joyce.

21) “I don’t believe in ghosts but they have been chasing me my whole life.” This was only sourced back to a Wikipedia article, which even questioned the authenticity of it.

22) “If a poem hasn’t ripped apart your soul, you haven’t experienced poetry.” Just because it appears on popular media sites like Tumblr and Pinterest doesn’t mean it is an authentic quote. I am firmly putting my foot down when I say Poe did not say this.

And there you have it. By the way, while we’re at it, “Allan” is not spelled with an “e.”

After reading through these, which falsely attributed Poe quote is your favorite? Which correctly attributed Poe quote is your favorite? Personally, my favorite Poe quote is, “And Darkness and Decay and the Red Death held illimitable dominion over all,” from Poe’s “The Masque of the Red Death.”

If you have any questions whether a quote is truly a Poe quote, feel free to comment and I will try my best to prove, correct or debunk it.

Rufus Wilmot Griswold-Poe’s Literary Executor

Many may be familiar with the recent Drunk History episode featuring Edgar Allan Poe and a “Mr. Griswold.” But how many actually know who Griswold is? Yes, Drunk History, the popular Comedy Central show, portrayed him, but was he accurately portrayed?

It is true that many of the popular misconceptions about Poe derive directly from Griswold, the “defamer” of the poet. This editor and enemy of Poe was the source of many fallacies about Edgar’s alcohol and drug addictions, among other things. But why did Griswold go to such great lengths to destroy Edgar’s reputation? Who was this man and what did he have against Poe?

Rufus W. Griswold

Born February 13, 1815, in Benson, Vermont, Rufus Wilmot Griswold was one of the youngest siblings of fourteen children, son of Deborah Griswold and Rufus Griswold. After briefly moving out at the age of fifteen, and then at seventeen once more, he left for Syracuse, where he started The Porcupine, a newspaper. Under the pseudonym Toby Trinculo, he attacked the local citizenry. He then left for New York City in 1836, where he met, and later married in 1837, his first wife Caroline. Later that year, Griswold became a reverend.

Griswold and Caroline had three children, but he lost Caroline just three days after the death of their third child, a son, in the fall of 1842. Widowed at twenty-seven, the heartbroken Griswold occupied his time by creating numerous anthologies. He eventually married Charlotte Meyers but divorced her and remarried a woman named Harriet McCrillis.

It was in 1839, before the death of his beloved Caroline, that he first crossed paths with Edgar Poe. One of the first—if not the first—time Griswold mentioned Poe was when he ridiculed him in his July 19 issue of The Tattler, which stated,

Edgar A. Poe, Esq., Editor of the Baltimore Chronicle, and Brantz Mayer, Esq., of the same city, have been for several days exhibiting premonitory symptoms of blood-letting. The friends of the parties have brought about a settlement, however, and both gentlemen have concluded to live as long as the Lord will let them (Bayless 30).

It is said, however, that Griswold and Park Benjamin, who was coeditor of the paper with Griswold, should have aimed their attack at Neilson Poe, and the statement was corrected (30). Not too long after, Poe, who was working as an editor for Lady’s and Gentleman’s Magazine in Philadelphia, heard of Griswold when an announcement was made that Griswold was working on publishing an anthology of poetry by American writers. The budding poet, Poe, was interested and requested to see Griswold. The two men met and spoke for several hours discussing literature. It is said the “interview was mutually agreeable,” and Poe, shortly after, sent several poems and a memoir for Rufus’ book (35-36).

On April 18, 1842, the anthology, The Poets and Poetry of America, was published—Edgar was not pleased. Rufus had only included three of Poe’s poems, with comments that were described as “lukewarm praise of his poetry,” and an inaccurate memorandum (45). This was the first strike between Griswold and Poe.

Earlier that month, on the first, Poe had resigned from his position as Graham’s Magazine’s editor, and was replaced by the twenty-seven year old Rufus Griswold by the middle of May. This was the second strike (49-50). Not only was Griswold now being paid more than Edgar was paid, with his $800 yearly salary, but according to Joy Bayless,

There was a softness, a suavity, in the manner of the new editor which would ingratiate him with the writers whom Graham wanted to enlist. There was a pronounced contrast between this helper [Griswold] and the proud, scornful Edgar Poe, who had contributed the products of his creative mind to the magazine but who had been unable and unwilling to bend the knee to popular contributors. Griswold would be a better henchman. He was not obsessed with literary ideals; he was able to make friends easily; and he was eager to widen his acquaintance with writers (55).

Despite the warm regards first given to the exciting new editor, Griswold eventually burned important bridges, which would bite him in the end. By 1843, his mistakes included talking about Graham’s assistant, Ann Stephens, who already held great disdain for Rufus. It is said, “Years later when she had an opportunity to avenge herself of the real or fancied injury she took full advantage of it” (69).

Having been hurt by Griswold, Poe resented the editor and in June circulated the following after asking Dr. J. Evans Snodgrass, “Have you seen Griswold’s Book of Poetry? It is a most outrageous humbug, and I sincerely wish you would ‘use it up’” (69). It is said Poe hid his resentment for Griswold behind a friendly façade (70)

During the summer of 1842, Poe was paid to write a review of Griswold’s anthology. Despite his anger against Griswold, he wrote a rather complimentary review, regarding the book as, “…the most important addition which our literature has for many years received” (71). However, he objected to about two-dozen authors included in the anthology. Both men were at a standstill.

By the end of June, the two men were on friendly terms again, and Poe wrote to Griswold,

Dear Griswold: –Can you not send me $5. I am sick, and Virginia is almost gone. Come and see me. Peterson says you suspect me of a curious anonymous letter. I did not write it, but bring it along with you when you make the visit you promised to Mrs. Clemm. I will try to fix that matter soon. Could you do anything with my note? (74).*

Griswold’s “natural generosity” allowed him to accept Poe’s invitation to visit his house, and Griswold called on him. Mrs. Clemm brought the two enemies together as friends in summer of 1843, and Griswold wrote about Poe later,

It was while he resided in Philadelphia that I became acquainted with him. His manner, except during his fits of intoxication, was very quiet and gentlemanly; he was usually dressed with simplicity and elegance; and when once he sent for me to visit him, during a period of illness caused by protracted and anxious watching at the side of his sick wife, I was impressed by the singular neatness and the air of refinement of his home. It was in a small house, in one of the pleasant and silent neighborhoods far from the centre [sic] of the town, and though slightly and cheaply furnished, everything in it was so tasteful and so fitly disposed that it seemed altogether suitable for a man of genius. For this and for most of the comforts he enjoyed in his brightest as in his darkest years, he was chiefly indebted to his mother-in-law, who loved him with more than maternal devotion and constancy (75).

That fall, however, Edgar would scorn Griswold once more during a lecture tour of America in which he openly attacked the renewed enemy. Griswold retaliated and resigned from Graham’s Magazine in October 1843. He continued to assist Graham, however, and contributed to the magazine as late as 1848 (76).

In the fall of 1845, Poe had written a complimentary piece about Griswold in the Broadway Journal, which prompted Griswold to reconcile with the older poet. The following January marked a renewal of friendship, which would last for several months (96-97). In fact, Griswold even loaned Poe twenty-five dollars, in answer to Poe’s request for fifty dollars to support the Broadway Journal that he had taken over temporarily (99). Things seemed to be going well for the two. In the Prose Writers of America, Griswold exhibited his well-mannered feelings and had only positive things to say about Poe (120).

October 7, 1849 marked a shocking day for Griswold, when word reached him in New York that Edgar Poe was dead. Almost immediately, he started to write Poe’s obituary for the next morning’s Tribune, and signed it with his pen name, “Ludwig.” Horace Greeley, a fellow editor, admittedly would not have let the obituary run in the Tribune if he had known the trouble it would bring Edgar in the end (161).

By this time, Griswold, it is said, respected Poe’s literary genius, but the poet had scorned the editor, and Griswold would not forgive him—it was time to take revenge. Griswold’s memoir, which you can read here, is full of fabricated lies, and was largely pieced together using his previously written memoirs and a passage taken from Bulwer’s, The Caxtons, which he used because, “Francis Vivian [the character]…[seemed] to resemble Poe so closely that instead of spending time himself to characterize Poe he took Bulwer’s descriptions of his fictional character and used them in the sketch” (162-163).

Not too long after, Edgar’s mother-in-law and aunt, Maria Clemm, approached Griswold asking him to produce an edition of Poe’s works. It is unclear whether Clemm knew Griswold had written the infamous “Ludwig” obituary, but regardless, six days after Poe’s death, she had chosen him for the job. The works, which included memoirs written by N.P. Willis and James Russell Lowell, was, according to an announcement for the book printed in The New York Tribune on October 17, “among the last requests of Mr. Poe that Dr. Griswold should be his Editor…” (166). There is no evidence that proves whether or not this is the case, and the editor even went back and forth between stating he was indeed chosen by Poe for the job and that he took the opportunity only because of his revengeful plans.

In Griswold’s production of the books, N.P. Willis’ memoir opposes Griswold’s view, including Willis ultimately drawing the conclusion that Edgar actually had goodness in him. Henry Hirst, a friend of Poe, refuted Griswold in the Saturday Courier on October 20, saying that Poe did have many friends, in response to Griswold’s statement that Poe did not.

Griswold even confessed in a letter written to Sarah Helen Whitman, Poe’s ex-fiancée and a Rhode Island poetess, “I wrote—as you suppose—the notice of P. [Poe] in the Tribune—but very hastily. I was not his friend, nor was he mine, as I remember to have told you; but I endeavored always to do him justice; and though the sketch has deemed harsh, I did not mean that it should be so” (173). Whether this was truly the case, we do not know. Interestingly enough, Griswold also admitted he had seen little of Poe during the last years of Poe’s life; therefore it is debatable whether Griswold should have let the matter go and spare Poe’s reputation (173).

The first volumes of Poe’s writings were published about January 10, 1850, according to Joy Bayless, and contained many memoirs, articles about Poe, and a majority of Poe’s short stories and poems (175-176) You can view the editions here. Griswold soon published a third volume in September, 1850 (180).

After the third volume was published, Griswold made plans for a fourth volume, which was published in 1856. During the process of collecting information for this fourth book, however, Charles Godfrey Leland, a close friend of Griswold’s, threw out all of Griswold’s original material “to Poe’s discredit,” and then scolded the Reverend.  According to Joy Bayless, Griswold then lost interest in Poe until his fourth book release. By 1858, the book had become the standard anthology of Poe’s works and had undergone seventeen editions (196-197). Griswold admitted, according to Bayless, that he “…attempted to prepare several volumes which would attract buyers and do justice to Poe’s reputation” (197).

The last criticism Griswold gave regarding Poe was in the sixteenth edition of The Poets and Poetry of America, which states,

Unquestionably he was a man of genius, and those who are familiar with his melancholy history will not doubt that his genius was in a singular degree wasted or misapplied. His rank as a poet is with the first class of his times. “The Raven,” “Ulalume,” “The Bells,” and several of his other pieces, will be remembered as among the finest monuments of the capacities of the English language (200).

With Poe deceased and after successfully defaming the poet (or so he thought), Griswold continued to work on anthologies until his death by tuberculosis on August 27, 1857.

During his life, Griswold published numerous poems and anthologies, as well as provided sermons and editorial pieces. Some of his most notable works include The Poets and Poetry of America, The Poets and Poetry of England, and an important poem, “Five Days,” which can be viewed here, written for his first wife, Caroline, after her death.

It is ironic that Griswold made such great attempts to defame Poe, because his attacking memoirs and obituary only brought Edgar more fame and recognition, making him a notable literary figure for all time; whereas Griswold now is often forgotten or unknown. Perhaps if Griswold had not defamed the poet after his death, Griswold would now have a greater legacy in the literary world.

Today the Poe Museum owns several of Poe’s letters and manuscripts once owned by Griswold and given to the Museum by his grandchildren. The Museum also owns two letters written by Griswold, which you can see here and here.

*There is speculation as to whether this was actually written by Poe. Griswold was notorious for forging letters after Poe’s death, and this particular piece was challenged by John Ward Ostrom in his book, The Letters of Edgar Allan Poe – Vol. II: 1846-1849, which you can view here.

Mary Allan’s 1920s Debut

The portrait of Mary Allan, which currently hangs in the Old Stone House, is a significant work of art purchased by the Poe Museum in 1928. The following recounts the history of this portrait, as well as its subject and the artist.

Mary Allan

Mary Allan was the older sister of Edgar Poe’s foster father, John Allan, and the eldest daughter of William and Elizabeth Galt Allan. Mary lived in the Allan Bridgegate home until her death in 1850 (Phillips 99).

Although Mary’s childhood and adulthood remain mysteries, we do have an interesting correspondence between a descendent of hers and the Poe Museum. On October 12, 1927, the museum was approached by a relative of the Allan family, who mentioned that her distant cousin was interested in selling a portrait of Mary Allan. This cousin was Sophie E. D. (whose name is not fully disclosed to protect her prvacy), of Fertshire, Scotland. Mary Allan, who Miss D. referred to as “Aunt Mary,” was Miss D’s great aunt. Upon contacting the museum, Sophie and the Poe Museum began what would be a year long process of organizing the painting’s shipment, payment, and display.

According to the April 26, 1928, “Board of Directors Minutes of the Annual Meeting”, there was a statement explaining that the same artist who painted John Allan’s portrait, also painted Mary’s, which hung on the wall of the Allan home in Ayrshire when the young Poe visited there.

This painter was James Tannock, a native of Kilmarnock. According to the Dictionary of National Biography, 1885-1900, Tannock was a distinguished artist who had success at Glasgow and Greenock as a painter of portraits and miniatures. He then moved to London and is notable for contributing forty-four portraits to the Royal Academy exhibitions between 1813 and 1841 (Armstrong). Tannock’s rich oil painting style can be seen in the Mary Allan painting.

On June 2, 1928, the portrait was purchased for seventy-five pounds, stirling [sic]. At that time, this would have been equal to $125.98. Today, the purchase price is estimated to be $1,755.93. On August 2, the portrait of Mary arrived. Martha R. Ford, the secretary of the Poe Museum at the time, stated in an August 10 letter,

I think she is lovely [Aunt Mary]. She must have been a very interesting person to know. She is very like her brother in feature; but oh so different in expression! I am no artist, and my opinion as to the merits of the portrait form an artistic point of view would be worthless. But from my plain human standpoint, I find the picture beautiful and interesting. Everybody who has seen it seems much pleased.

According to a September 14 letter, the Museum buildings were being renovated and “Aunt Mary” was waiting to be hung. Martha R. Ford relates, “’Aunt Mary’ is to come into the new building as soon as the workmen shall have provided for her adequate support.” The next day, everything was in place, and the sale was official. The Consular Invoice was produced, the official charge papers were found to be in order, the transaction was duly closed, and “Aunt Mary” was warmly welcomed into her new home.

Mary Allan

Now, thanks to the Poe Museum’s past employees and the gracious willingness of Sophie D. to sell her “Aunt Mary” to the museum, you can view the lovely painting, which gives insight into John Allan’s Scottish family, and, ultimately, into Poe’s world in Scotland.

To view the painting, please visit the following link:

Edgar’s Scottish Roots

Not only does the Edgar Poe’s family history contain an abundance of interesting details and accounts, but also does his foster father’s family, the Allan family. A family history enriched with a Scottish background, John Allan and family influenced young Edgar, as well as the Poe Museum, in many ways. In the following post, we will follow accounts of Edgar Poe and his foster family in Europe, visiting with Allan’s Scottish family members, learn about an uncovered Allan family gravestone in Scotland found in the late 1990s, and learn about the family’s descendants’ correspondences with the Poe Museum in the early twentieth century (in part two, soon to follow).

Edgar Poe traveled to many places during his life, between Baltimore, Philadelphia, Richmond, New York, and Boston. However, in his childhood, he lived in Europe for about five years. This is the account of the Allan family’s move to England and their life there with a brief biographical account of their time in Europe, and a year-by-year, nearly month-by-month account of their stay.
John Allan, born in Ayrshire in 1780, would not see his native land until two decades after leaving Scotland when he was fifteen years old.

John Allan

After working for his uncle for five years while living in the States, Allan started a firm, Ellis & Allan, which dealt mainly in tobacco that was immensely profitable and grew increasingly popular (Celtic Life). In 1815, the Allan family embarked for Europe potentially to better help John Allan and Charles Ellis’ business. Arriving in Irvine, Scotland, where, according to Ayrshire Roots Online, most of the Allan relatives lived, including the Galts, Allans, and Fowlds. The family was spread throughout Irvine, Kilmarnock, and other nearby areas around Ayrshire. John and his family traveled to Glasgow, Edinburgh, Greenock, and London later that Fall of 1815. Young Edgar attended school in Irvine, at the Kailyard Grammar School at Kirkgatehead. He did not remain there very long, however, because the school was closed and replaced by a new academy that next July.

While in Irvine, young Edgar stayed with John’s sister, Mary, in a two-story house owned by the Allan Family. It is said Edgar shared a room with James Galt, a cousin, who also attended the Grammar School. James, approximately nine years older than Edgar, was said to have watched over Edgar because he had made threats to run back to America. Edgar, however, was back in London with his foster-family in 1816.

John Allan, his foster father, was trying to build a branch of his Richmond firm there, trading tobacco and other general merchandise. Young Edgar was sent to a boarding school, where he remained until the summer of 1817. This school, at 146 Sloane Street, in Chelsea was ran by the Misses Dubourgs. In the fall of 1817, Edgar was admitted to the Manor House School of the Rev. Mr. John Bransby, at Stoke Newington. He remained there until his withdrawal and then departure back to the United States in the spring of 1820 (Ayrshire Roots). The family returned to Richmond due to the fall of Ellis & Allan’s business, to which Allan was required to pay back debt and loans he had accumulated.

Let it be noted that just beside the river of Irvine remains the parish church and graveyard, in which the Allan ancestors are buried. According to The Edgar Allan Poe Review, Vol. 1, No. 1 (Spring 2000), p. 80, Mark Strachan, Senior Museum Assistant at the North Ayrshire Museum in Saltcoats, Ayrshire, Scotland, in August 1999, added the Poe-Allan headstone, originally from the church parish grounds-turned-museum, to their collection. The headstone reads as follows, copied from the article exactly as formatted:

In memory of
David Poe late Carrier in Saltcoats
Who died 21st Augt 1799 aged 47 years
And of Ann Allan his wife
Who died 18th July 1828 aged 72 years
And of James their son
Who died abroad in the year 1800
Aged 18 years
And also of three of their children
Who died in infancy
Mary Poe died May 25th 1853
Aged 63 years
And of Janet Poe who died 27th May 1861
Aged 62 years

(And on the reverse-)

David Poe
In memory of his daughter
Mary Ann
Who died on the 24th Feby 1846 aged 15 years
Ann & Thomas
Who died in infancy
And his wife
Margaret Orr
Who died on the 30th Octr 1854 aged 65 years
The above David Poe
Died on the 7th Decr 1878 aged 91 years

1815 marks the year of the Allan family’s plan to move, and their official move to Scotland. On June 15, they left for Norfolk, Virginia, where they “[would] board the Lothair, bound for Liverpool, under Captain Stone, ‘to sail next week.’” They sold a large majority, if not all, of their possessions before the move, and then set sail on the Atlantic Ocean on June 23 (Thomas 24-25). Captain Stone was described as being “penurious,” and John Allan further complained “that his wife and sister-in-law [Ann Valentine, Frances’ sister] [were] ‘denied the privileges of Fire to broil a slice of Bacon’.” John Allan also slept on the floor of the ship, and it was said Frances had terrible seasickness. Despite the rough journey, the family, comprising of Edgar, John Allan, Frances Allan, and Ann Valentine, successfully disembarked on July 28 in Liverpool. The next day, John Allan wrote to Charles Ellis, his business partner from Richmond, “I am now on English ground after an absence of more than 20 years. After a pssage [sic] of 34 days all [is] well—Frances and Nancey very [sic] sick but are now perfectly Hearty. Edgar was a little sick but soon recovered. Capt. good seaman but too close….We got here yesterday at 5 P.M. I took our abode at Mr. Lillymans Hotel today” (Thomas 25).

Presumably, after days of settling down in the new land, the family visited John Allan’s sisters, Mary Allan and Jane Johnston, in Irvine, Scotland on August 11. According to Dwight Thomas of the Poe Log, “Perhaps for a few days Poe attends the Old Grammar School. Here Poe probably sees archers shooting the popinjay on the cathedral. Poe’s playmates are James Anderson and a lad named Gregory.” (Please note that Poe referred to the popinjay in “Romance” and “The Bargain Lost.”) Before August 22, the family also visited John Allan’s younger sister, Mrs. Allan Fowlds (née Agnes Nancy Allan) on Nelson street (25). On the 21st of September, from Greenock, Scotland, John Allan wrote to Charles Ellis,

I arrived here about a half an hour ago . . . finding some American Vessels on the eve of sailing I avail myself of the chance to write a few lines, though I cannot say much about our business. . . . I flatter myself from the small quantity [of tobacco?] in London & the Posture of affairs on the Continent that our sales will be profitable. It would appear that France and the Allies have concluded a Treaty but it has not been promulgated — the Allies will hold the strong posts for a while until the refractory spirit of some of the old adherents of Bonaparte has subsided. . . . Frances says she would like the Land o cakes better if it was warmer and less rain, she bids me say she will write Margaret [Ellis] as soon as she is settled but at present she is so bewildered with wonders that she canna write. Her best Love to Margaret & a thousand kisses to Thos [Ellis]. Nancy says give my love to them all — Edgar says Pa say something for me, say I was not afraid coming across the Sea. Kiss Thos. for him We all unite in best Love to my Uncle Galt & all our old Friends. Edgars love to Rosa & Mrs. Mackenzie (26).

Later on October 7, the family arrived in London, however only three days later Frances felt ill with a bad cold and sore throat. John Allan wrote to Charles Ellis from the Blake’s Hotel they were staying at, “I arrived here on the evening of the 7th, from Kilmarnock by way of Greenock, Glasgow, Edinburg, New Castle [and] Sheffield…” (26). October 30, He wrote,

. . . by a snug fire in a nice little sitting parlour in No. 47 Southampton Row, Russell Square where I have procured Lodgings for the present with Frances and Nancy Sewing and Edgar reading a little Story Book. I feel quite in a comfortable mood for writing. I have no acquaintances that call upon me and none whom as yet I call on. 6 Guineas a week furnished lodgings is what I have agreed to for 6 months until I can find a more convenient and cheaper situation. I have no compting room yet of course. I cannot copy the Letters which I am obliged to write — everything is high it alarms Frances she has become a complete economist and has a most lively appetite. I begin to think London will agree with her (26-27).

That November, John Allan once more wrote that he and his family were sick with colds. These persistent illnesses would occur periodically throughout their five year stay, with Frances being the sickest of all. It is implied by many letters written by John Allan that Frances was quite possibly a hypochondriac. She was ill multiple times; for instance, in 1819, as the family was preparing to return to the States, Frances pleaded not to go back as she thought she would never be able to cross the Atlantic (41).

By November 20, however, Allan decided he and his family would stay two more years than the planned three. He thought this would profit his business with Ellis (27).  The next year, in 1816, the family continued to have a miserable time. John Allan’s Aunt, his father’s sister, Jeannie Bone died, and in early April, young Edgar was sent to the boarding school of the Misses Dubourg (29).

A charming account of John Allan’s correspondence with his family includes giving advice to young William Galt, Jr., before his anticipated departure for America,

Now my good Boy you will soon be ushered into the World where your own exertions and good Sense will be put to the test, never fail to do your Duty to your Creator first, to your Employer next & by all means keep clear of bad company. Mixing with improper characters tends only to make you the slave of vicious Habits which you will avoid as you shun the coiled Serpent (31).

In 1817, John Allan’s business seemingly was thriving. He wrote to William Galt that their property assets would be worth $140,000. Midsummer in London, he rented No. 39 Southampton Row, but did not take possession of the house until September or October. During this time, young Edgar was in school (33-34). That August, John Allan explained to George Dubourg how Frances desired a parrot. According to the Poe Log, as presented on EAPoe online, Frances’ parrot, which was lodged with the Dubourgs, spoke French and,

Whitty (1935), pp. 188-90, thought the following lines from “Romance” were autobiographical: “To me a painted paroquet / Hath been — a most familiar bird — / Taught me my alphabet to say — / To lisp my very earliest word.” Mabbott (1969), 1:128-29, linked “Romance” with the popinjay in Scotland and also called attention to the paroquet in “The Bargain Lost.” In his “Philosophy of Composition” Poe stated that in planning “The Raven” he first considered a parrot, then an owl, and settled for a raven (33-34).

The next year, 1818, proved to be an impressionable year for young Edgar. He was reading Latin pretty well, according to John Allan in late June. According to EAPoe online’s transcription of The Poe Log,

In “William Wilson” (1839), Poe’s fictional account of his experiences at the Manor House School, the schoolmaster was part Bransby and part George Gaskin, rector of St. Mary’s Church. Poe perhaps knew three men named William Wilson: two conducted business with John Allan and a third taught school in Richmond (see Jackson, 1983, p. 13). “I [William Elijah Hunter] spoke to Dr. Bransby about him [Poe] two or three times during my school days. . . . Dr. Bransby seemed rather to shun the topic, I suppose from some feeling with regard to his name being used distastefully in the story of ‘William Wilson.’ In answer to my questions on one occasion, he said, ‘Edgar Allan’ (the name he was known by at school) ‘was a quick and clever boy and would have been a very good boy if he had not been spoilt by his parents,’ meaning the Allans; ‘but they spoilt him, and allowed him an extravagant amount of pocket-money, which enabled him to get into all manner of mischief — still I liked the boy — poor fellow, his parents spoilt him!’ ” (Hunter, p. 497) (36).

Manor House School, Stoke Newington

Mid-August, John Allan planned a trip to Isle of Wight to see if the sea air would help poor Frances’ health. She visited Devonshire not too long after this (37-38). Later that October, Frances visited Tydemouth with, it is believed, Jane Gault, and then rejoined her family in London on, or before, November 28 (39-40).

That next year, 1819, the Allan & Ellis firm began suffering financial difficulties. John Allan began considering returning home. In June of that year, the family attended the wedding of his sister Elizabeth to John Miller in Irvine, Scotland. Edgar was left in Irvine until September (41). Although the family had been planning to return to the States for a while, the family was unable to return to America until they had enough money. Along with the alleged hypochondriac Frances, lack of finances posed problems in returning home. Frances was assuaged, however, because John Allan wrote that December to Ellis that Frances has, “the greatest aversion to the sea and nothing but dire necessity and the prospect of a reunion with her old and dear Friends could induce her to attempt it. Ann [Frances’ sister] submits her wonted good nature and patience” (42).

In the final year of their stay, February was a hard month for the family. Frances appeared to be in a terrible state, and the assassination of Duke Charles Ferdinand of Berry, on February 13, appeared to have an impact on John Allan because he wrote about the troubling incident (43). After making one last trip to Irvine, Scotland to visit his sisters in June, the family departed and arrived in New York on July 21. They returned to Richmond August 2 (44-46).

Despite the hardships that had occurred during their five-year stay, and the crash of Allan and Ellis’ firm, the trip to Europe appeared to have a great impact on Edgar and later influenced his stories. The boarding school experiences inspired certain aspects of later short stories, and it is said, had he stayed in Scotland, he would have made a fine addition to Europe.
Now that we have learned about Poe’s journey in Europe, and the influence of the Scottish Allan family on Edgar, what is the story behind this portrait? Find out here!