Museum News

The Imp of the Poeverse

Which story does Poe scholar Thomas Ollive Mabbott deem as one of Poe’s “great stories, although not one of the most popular?” There may be many obscure stories coming to mind; however, this particular story falls under the category of Horror and may give us insight into the development of the psychological thriller sub-genre, as well as allow us to further study the psychology of Poe’s mind, if even briefly.

“Imp” as it appeared in Graham’s Magazine.

In July of 1845, Poe’s horrific tale, “The Imp of the Perverse,” was published in Graham’s Magazine. According to American critic Benjamin De Casseres, “We’ve all got that ‘imp’ in us…What or who is this Imp of the Perverse? Poe doesn’t tell us for he cannot…Why should Nature, which does everything to cause us to fight for self-survival, put a voice-or an imp-in our soul that deliberately advises us to destroy ourselves?…You-and I-know that imp” (Mabbott 1217).

If we draw context from Poe’s story, the imp represents a lingering conscious of doubt and guilt, which ultimately brings the narrator to his psychological demise. The imp also represents contradiction, which Mabbott compares with an inscription in Poe’s early album of verses for “Elizabeth,” stating, “he wrote of his ‘innate love of contradiction'” (1217). Not only was this an early primary source representing this contradiction and the rearing of Poe’s own imp’s head; but there are examples in “The Black Cat” that represent the psychological stress the narrator carries, showing how he contradicts his actions and ultimately indirectly leads the police to the spot of his own crime. This is also comparable to “The Tell-Tale Heart,” which also consequently ends with the narrator revealing his crimes.

According to Christopher Benfey in his article, “Poe and the Unreadable: ‘The Black Cat’ and ‘The Tell-Tale Heart’, “‘The Tell-Tale Heart,’ ‘The Black Cat,’ and ‘The Imp’ all record a confession-a perverse confession since the crimes would otherwise have been undetected…These killers need to confess to the perverse act of having confessed. The fear of the criminals is not the fear of being caught, it is the fear of being cut off, of being misunderstood” (Silverman 37). This is further exemplified by a passage in “Imp”: “Had I not been thus prolix, you might either have misunderstood me altogether, or, with the rabble, have fancied me mad.”

According to Benfey, “Poe’s fascination with the idea of a crime without a clear motive has proved to be one of his richest bequests to later writers,” including Fyodor Dostoevsky with his novel, Crime and Punishment. Benfey concludes his article with a prominent statement, “Poe’s narratives can be read as cautionary tales…These fears are always with us-the fear of love and the fear of isolation. Taken to extremes, they both lead to disaster…To declare oneself safe-as the imp of the perverse tempts us to do-is to be lost” (43).

Perhaps when Poe was writing this “cautionary tale,” he was cautioning not only the reader, but also himself. Drawing perspective from his life in 1845, his career was starting to look up with the success of his poem, “The Raven”; he was attending prominent literary salons; he was described by James Russell Lowell as being “…at once the most discriminating, philosophical, and fearless critic upon imaginative works who has written in America”; and Poe joined the editorial staff of Charles Briggs’ The Broadway Journal (The Poe Log, Thomas, Jackson, 490, 505). This half of the year did not lack hardships for Poe, however, with harsh critics and satirists cracking down on and mocking “The Raven,” Poe’s direct involvement with the infamous Poe/Longfellow/”Outis” scandal; and, without doubt, Virginia’s unsteady health affected Poe psychologically. Although Poe may not have had an “imp” on his shoulder or a “voice” in his head, to our knowledge, the contradicting thoughts he may have had, such as seeing his arguably greatest work be both praised and slandered, as well as seeing the rise and fall of his wife’s health, may have thrown Edgar psychologically off-balance; thus presenting to the public examples of the contradictions he referred to even a decade or so prior with “Elizabeth.”

Over all, what is unique about “The Imp of the Perverse” is the seeming lack of acknowledgment of the story, despite being published just three years after “The Black Cat” and “The Tell-Tale Heart.” The themes of guilt and contradiction appearing in the story were undoubtedly carried over from “The Black Cat” and “The Tell-Tale Heart,” thus showing the evolvement of Poe’s psychological approach between the inner voice and conscious breaking down a wrongful character, consuming the character with contradiction, and ultimately driving the character to unwillingly reveal their torturous actions to a higher authority. Based on evaluating Poe’s psychological approach in “Imp”, we may thus be able to evaluate Poe’s mind, as we discussed earlier regarding his personal life. These significant evaluations of the story and linking it to Poe, as well as the fact that the literary devices Poe used in his story influenced later writers, again, such as Dostoevsky, makes “The Imp of the Perverse” a significant short story in the Poe canon.

Third Anniversary of the Positively Poe Conference at the University of Virginia


Poe was in the second class of students who attended the University of Virginia, in Charlottesville. According to the UVA Website(, “Edgar Allan Poe enrolled at the University on February 14, 1826, the 136th of 177 students registering for the second session. He attended classes in the Schools of Ancient and Modern Languages, under Professors Long and Blaetterman respectively. Although not known for spending long hours at his lessons, Poe was already remarkable for his brooding, lonely genius. His excellent memory allowed him to read ahead in class and recite correctly even when utterly unprepared. In his final examinations, he took top honors in French and Latin and was cited for excellence by both professors.” Chris Semtner, Poe Richmond Museum Curator, noted that Poe often watched the construction of Jefferson’s Rotunda as it was being built and that he attended Jefferson’s funeral. Although Poe’s stay at the college was short, it is still notably marked around campus with a bust in the library and the preservation and public display of his college dorm room. During my three days of attendance at the Positively Poe Conference at the University, in July 2013, Poe’s Room, right across the street from where the conference was held, appeared to be the most visited site on campus.

Poe attended UVa in 1826.

Poe attended UVa in 1826.

As July is nearing an end this year, I fondly remember back to my first immersion at a major Poe conference with many of the top Poe scholars of the world. It was organized by the Richmond Poe Museum and it’s Board President Harry Lee (Hal) Poe and by Gorky Institute of Moscow Professor, Alexandra Urakova. As I was beginning my Master’s Thesis on Poe’s book, Eureka: A Prose Poem, I was accepted to deliver a workshop proposal on that topic. It was a most inspiring immersion experienced for me, as it initiated me into the modern world Poe community.

The program began on Monday evening, July 24, 2013, in the Rotunda Room, which was undergoing extensive renovation. The main speaker was the scholar, Ben Fisher, and a “Poe Performance” of the “Imp of the Perverse,” by Rob Velella.  I offer a summary of the program that was offered below. In my subsequent Blog, I will discuss what I presented during my electrifying workshop.

From the Positively Poe Program Brochure:

About the Conference

Over the last few years, we have seen several notable additions to the number of film and television adaptations of Poe and his works. They are notable for having large enough budgets to have no excuse for doing such a bad job of treating Poe. In this dreary cultural context, the idea for this conference grew. We wondered what would happen if scholars were invited to reflect on the positive aspects of Poe and his work. Poe’s reputation as a tortured, tragic figure, melancholic poet and the “master of the macabre” has fueled his popularity for over a century and a half, while debunking stereotypes and myths associated with that reputation has always been an essential part of Poe criticism. Going beyond the debunking of the popular caricature, we would like to discover the “positive” side of Poe’s life and work. Just as his life had its ups and downs, his writing, too, reflects a wide range of experience, not exclusively the dark and dismal. We have been gratified by the response to this little boutique gathering set at Poe’s university at the edge of the Blue Ridge Mountains he so loved. In planning this conference, we considered the setting to be of major importance, and we hope the conferees can find the time to enjoy Mr. Jefferson’s university and the mountains around it.

The Poe Museum

For over ninety years the Poe Museum has strived to preserve and advance the legacy of Edgar Allan Poe. Located in the Old Stone House, the oldest residence in Richmond, the museum stands in the midst of the neighborhood where Poe lived as a child before his foster father came into his fortune. The museum preserves the largest collection of Poe artifacts and memorabilia in the world which includes such items as Poe’s childhood bed, the walking stick he left behind in Richmond on his last fatal trip, the chair he used at The Southern Literary Messenger, his trunk, and many items from his boyhood home. In addition to a collection of first editions of Poe’s books and first appearances of his stories, poems, and articles, the museum also has a large collection of rare and unique images related to Poe, as well as a large library of secondary works on Poe. The museum hopes that Poe scholars will find its holdings useful to scholars as they continue to explore the body of his work in the third century since his birth.

Workshops Offered

Tuesday, July 25, 2013

9:00    a.m.       Session One – Poe Makes Friends

Chair – Stephen Railton, University of Virginia

Richard Kopley

 “Edgar Makes a Friend”

Chris Semtner

“A Young Girl’s Recollections of Edgar Allan Poe”

Philip Phillips

“Yankee Neal and Edgar Poe: The Fruits of a Literary Friendship”

John Gruesser

“Poe, Whitman, and Melville in New York and Beyond”

11:15  a.m.        Session Two – POEtic Effect

                  Chair – Jerome McGann, University of Virginia

Jerome McGann,

“Poe’s ‘The Bells’ as a Musical Mirror of a Discordant Age”

Stephen Rachman

“From “Al Aaraaf” to the Universe of Stars: Poe, the Arabesque, and Cosmology”

Emron Esplin and Margarida Vale de Gato

“‘Excellent system(s) of positive translation(s)’: Why Poe’s Translators Have Neither Been Invisible nor Ephemeral”

1:45   p.m.       Session Three – Poe and Art

                  Chair – Bonnie Shannon McMullen,  Independent Scholar, Oxford (UK)

Scott Peeples

“Poe in Love”

Sonya Isaak

“‘When Music Affects Us to Tears’:  Poe’s Silent Music – Divine Aspiration and Lasting Inspiration”

Anne Margaret Daniel

“Bob Dylan: ‘like being in an Edgar Allan Poe story’”

Tuesday, June 25, 2013 (cont.)

3:30  p.m.         Session Four: Collecting Poe

Susan Jaffe Tane and Harry Lee Poe

6:00 p.m.      Picnic – The Ragged Mountain

Beth Sweeney: Readers’ Theatre Boston:

Reader's Theatre

Wednesday, June 26, 2013

All paper sessions in the Harrison Institute/Small Special Collections Library auditorium

9:00   a.m.        Session One – The Comic Side of Poe

                  Chair – Richard Kopley, Penn State University

  1. Barbara Cantalupo

“‘A little China man having a large stomach’:  Poe’s Homely Details in ‘The Devil in the Belfry’”

  1. Alexandra Urakova

“‘Shreds and patches’: Poe, Fashion, and Godey’s Lady’s Book

  1. Elina Absalyamova

“A Comic Poe: European Success Story”

11:00  a.m.       Session Two – Tales: Rethinking the Gothic

Chair – Margarida Vale de Gato, University of Lisbon

Bonnie Shannon McMullen

“The ‘Sob from the ebony bed’: The Reanimation of the Gothic Tale in ‘Ligeia’”

Susan Elizabeth Sweeney

“Positive Images: Poe and the Daguerreotype”

William E. Engel

“Jaunty dialogs with the non-human: a Closer Look at Dogs in the Works of E.A. Poe”

1:30 p.m.           Session Three – Poe and Ethics

                        Chair – Bill Engel, University of the South

Gero Guttzeit

“‘Constructive Power’: Poe’s Mythology and Ethics of Authorship”

Katherine Rose Keenan,

“You Can’t Escape Yourself”: Poe’s Use of Moral Doppelgangers”

Shawn McAvoy and

Heather Myrick Stocker

“Selective Symbolism: Poe’s Romantic Theology”

Wednesday, June 26, 2013 (cont.)

3.30 p.m.     Session Four – Poetry, Science, and Eureka

Panel Chair – Harry Lee Poe, Union University

René van Slooten

“The Facts in the Case of Eureka”

Murray Ellison

“Judging Edgar Allan Poe’s Eureka after the Author’s Death”

Diffusion Diagram from Poe's, Eureka: A Prose Poem

Diffusion Diagram from Eureka: A Prose Poem

Ironically, as I began my final presentation of the conference on Poe’s strangest and most enigmatic work, Eureka: A Prose Poem, the lights in the University of Virginia’s Special Collections Library began to flicker. This show from Nature was followed by some of the most powerful lightning and thunderclaps I ever remember experiencing. Not surprisingly after these impressive  events, our lights were lost and flickered to the minimum backup generator dim-strength. Our Power, which was to illuminate my elaborate Power Point presentation on the difficulties of evaluating Poe’s, Eureka, left the building! If scientists at the University of Virginia would have argued that the power failure was caused by the energy of the Poe enthusiasts in the room, I would not have disagreed with them! I will explain how I handled the situation and what I said about what I thought would be needed to conduct a proper evaluation of Eureka in my next Blog.


 Murray Ellison received a Master’s in Education at Temple University (1973), a Master’s of Arts in English Literature at VCU (2015), and  a Doctorate in Education at Virginia Tech in 1987. He is married and has three adult employed daughters. He retired as the Virginia Director of Community Corrections for the Department of Correctional Education in 2009. Currently, he serves as a literature teacher, board member, and curriculum advisor for the Lifelong Learning Institute in Chesterfield, Virginia, and is the founder and chief editor of the literary blog, He is an editor for the “Correctional Education Magazine,” and editing a book of poetry written by an Indian mystic. He also serves as a board member, volunteer tour guide, poetry judge, and all-around helper at the Edgar Allan Poe Museum in Richmond Virginia. You can write to Murray by leaving a Comment or at [email protected]

Murray Ellison at the Richmond Poe Museum

Murray  at the Poe Museum


Poe, Lynch, and the Literary Salon Scene

Many who have visited the museum may have recognized the striking portrait of a mysterious woman in the Memorial Building, just above Maria Clemm’s socks and cornered to Samuel Osgood’s Poe portrait. Her eyes follow no matter where you step in the room, her inquisitive gaze and smirk presenting an air of grace, affluence, intelligence, and perhaps suspicion. She was not unknowing when it came to her guests; Poe, a short-time regular guest, was no exception. This stark woman was Anne Charlotte Lynch Botta, hostess of one of New York’s prominent literary salons, and dictator of who was “in” and who was “out” of the literary scene.

Anna Charlotte Lynch

According to Maggie MacLean, author of the Women History Blog, Lynch was a poet, sculptor, and teacher, who made her bearings in Philadelphia in the early 1840s. She was introduced to popular actress Fanny Kemble, who then opened Lynch to a world of artists and writers. In 1845, she moved to New York City, where she taught English composition at the Brooklyn Academy for Young Ladies. She also published poems, stories, and contributed to periodicals such as The Gift and the Democratic Review. (Source.)

It was this year, in 1845, when Edgar Allan Poe swept the nation with his popular poem, “The Raven.” In fact, most likely because of this he was given the privilege to attend Lynch’s events. According to Elizabeth Oakes Smith, a prominent literary figure, rights activist and Poe contemporary,

To be invited to the reception of Miss Lynch was an evidence of distinction, and one in itself, for she was strict in drawing the moral as well as the intellectual line. Perhaps no one received any more marked attention than Edgar A. Poe. His slender form, pale, intellectual face and weird expression of eye never failed to arrest the attention of even the least observant…women fell under his fascination and listened in silence (Elizabeth Oakes Smith, Wyman, 88).

Elizabeth Oakes Smith.

Elizabeth Oakes Smith.

It is said that these women, including Frances Osgood, would sit at his feet to hear him speak his eloquent, poetical topics of various discussion. In this same memoir, Oakes Smith recalled,

At that time, at the houses of Rev. Orville Dewey, Miss Anna C. Lynch (now Mrs. Botta)…Edgar Poe was an accepted and honored guest. His manners were refined, and the scope of his conversation that of the gentleman and the scholar. His wife, being an invalid, dared not encounter the night air, but he spoke of her tenderly, and often (121).

Lynch seemed to be an intelligent, respected hostess, and Edgar was now up to celebrity standards amongst his peers. However, this would not last for long. Amidst the Frances Osgood scandal, in which he swapped numerous flirtatious poems with Frances Sargent Osgood, he found himself surrounded by other vindictive women, including Ann Stephens, Margaret Fuller, and Elizabeth Ellet. According to Frederick Frank and Anthony Magistrale, authors of The Poe Encyclopedia, Poe was “‘soon off her [Lynch’s] guest list because of her disapproval of Poe’s contemptuous treatment of Elizabeth Fries Ellet'” (214).

Thus came Poe’s rise and fall with the prestigious literary scene led by the eminent Anne Lynch. As one views the portraits next to one another, they cannot help but wonder if Lynch is keeping an eye on Edgar’s antics indefinitely. What we do know is that her portrait deserves the prominence it has received hanging in the Poe Museum. To close, we will leave our readers with Poe’s own words regarding Lynch in his “Literati of New York City,”

In character Miss Lynch is enthusiastic, chivalric, self-sacrificing, “equal to any fate,” capable of even martyrdom in whatever should seem to her a holy cause-a most exemplary daughter…In person she is rather above the usual height, somewhat slender, with dark hair and eyes-the whole countenance at times full of intelligent expression. Her demeanor is dignified, graceful, and noticeable for repose.

The Critic Who Burned “Fairy-Land”

Editor Nathaniel Parker Willis once burned a manuscript of Poe’s “Fairy-Land.” That seems like pretty harsh treatment from a literary editor; and we wonder why such atmospheric lines as “Dim vales-and shadowy floods- / And cloudy-looking woods” might receive such severe critical feedback? The answer lies in comparing the poem we commonly know with its alternative publishing in Poe’s anthology of poems in 1831.

Poems, 1831

Poems, 1831

It was no secret that Poe was always at work altering lines and switching words-“Fairy-Land” was no exception.

Our readers may be familiar with the classic verse, which reads,

Dim vales—and shadowy floods—

And cloudy-looking woods,

Whose forms we can’t discover

For the tears that drip all over:

Huge moons there wax and wane—


Every moment of the night—

Forever changing places—

And they put out the star-light

With the breath from their pale faces.

About twelve by the moon-dial,

One more filmy than the rest

(A kind which, upon trial,

They have found to be the best)

Comes down—still down—and down

With its centre on the crown

Of a mountain’s eminence,

While its wide circumference

In easy drapery falls

Over hamlets, over halls,

Wherever they may be—

O’er the strange woods—o’er the sea—

Over spirits on the wing—

Over every drowsy thing—

And buries them up quite

In a labyrinth of light—

And then, how, deep! —O, deep,

Is the passion of their sleep.

In the morning they arise,

And their moony covering

Is soaring in the skies,

With the tempests as they toss,

Like—almost any thing—

Or a yellow Albatross.

They use that moon no more

For the same end as before,

Videlicet, a tent—

Which I think extravagant:

Its atomies, however,

Into a shower dissever,

Of which those butterflies

Of Earth, who seek the skies,

And so come down again

(Never-contented things!)

Have brought a specimen

Upon their quivering wings.

The following is what N. P. Willis had to say about this version of the poem:

It is quite exciting to lean over eagerly as the flame eats in upon the letters, and make out the imperfect sentences and trace the faint strokes in the tinder as it trembles in the ascending air of the chimney. There, for instance, goes a gilt-edged sheet which we remember was covered with some sickly rhymes on Fairy-land….Now it [the flame] flashes up in a broad blaze, and now it reaches a marked verse-let us see-the fire devours as we read:
“They use that moon no more,
For the same end as before-
Videlicet, a tent,
Which I think extravagant.”
Burn on, good fire!
(From The Editor’s Table’ of the American Monthly for November, here found in The Poe Log, 99).

Critic Nathaniel Parker Willis

Critic Nathaniel Parker Willis

Whether Willis truly burned the manuscript the twenty-year-old Poe poured his heart into, or whether he figuratively made this claim to prove a striking point, we may infer that the notice may have burned Poe so severely that it caused him to turn the memorable piece into a less than memorable one. Here is the following revised version found in his 1831, Poems, just two years after Willis’ scathing review,
Sit down beside me, Isabel,

Here, dearest, where the moonbeam fell

Just now so fairy-like and well.

Now thou art dress’d for paradise!

I am star-stricken with thine eyes!

My soul is lolling on thy sighs!

Thy hair is lifted by the moon

Like flowers by the low breath of June!

Sit down, sit down — how came we here?

Or is it all but a dream, my dear?


You know that most enormous flower —

That rose — that what d’ye call it — that hung

Up like a dog-star in this bower —

To-day (the wind blew, and) it swung

So impudently in my face,

So like a thing alive you know,

I tore it from its pride of place

And shook it into pieces — so

Be all ingratitude requited.

The winds ran off with it delighted,

And, thro’ the opening left, as soon

As she threw off her cloak, yon moon

Has sent a ray down with a tune.


And this ray is a fairy ray —

Did you not say so, Isabel?

How fantastically it fell

With a spiral twist and a swell,

And over the wet grass rippled away

With a tinkling like a bell!

In my own country all the way

We can discover a moon ray

Which thro’ some tatter’d curtain pries

Into the darkness of a room,

Is by (the very source of gloom)

The motes, and dust, and flies,

On which it trembles and lies

Like joy upon sorrow!

O, when will come the morrow?

Isabel! do you not fear

The night and the wonders here?

Dim vales! and shadowy floods!

And cloudy-looking woods

Whose forms we can’t discover

For the tears that drip all over!


Huge moons — see! wax and wane

Again — again — again —

Every moment of the night —

Forever changing places!

How they put out the starlight

With the breath from their pale faces!


Lo! one is coming down

With its centre on the crown

Of a mountain’s eminence!

Down — still down —   and down —

Now deep shall be — O deep!

The passion of our sleep!

For that wide circumference

In easy drapery falls

Drowsily over halls —

Over ruin’d walls —

Over waterfalls,

(Silent waterfalls!)

O’re the strange woods — o’er the sea —

Alas! over the sea! (Taken from here).

We question Poe’s motives in changing the poem, causing it to become so lengthy and awkward; even a fellow Poe enthusiast was left shaking their head in confusion, stating, “I don’t even recognize that poem. Isabel-?!” Perhaps this alternate “Fairy Land” is truly that-an alternate “Fairy Land.” Thus, shouldn’t it be treated as its own poem and published, perhaps, alongside our final version of “Fairy-Land?” It is noted in Mabbott’s Complete Poems that Poe never republished “Fairy Land” (which is noted here as “Fairy Land [II]”). He may have been ashamed of his lengthy alternative and thus stuck with his original, scathed “Fairy-Land,” pushing its popularity and thus allowing it to be the one contemporary audiences may be more familiar with. This is not to say that both poems have not been published side-by-side, in some cases, since; however, the author of this post would like to point out that two of her own Poe volumes do not contain “Fairy Land” from 1831 Poems.

What do you think about the alternate piece? Do you think both versions should be, or continue to be, published in future Poe anthologies? Which version do you prefer?


Poe as America’s Unabashed Critic


Poe was notorious for being a harsh critic-he was nicknamed the “Tomahawk Man,” after all. But are you familiar with these particular criticisms?

Check these out:

1) Poe once told a guy to shoot himself. According to Poe scholar Chris Semtner in his book Edgar Allan Poe’s Richmond, Poe wrote a review of author Langston Osbourne’s book, Confessions of a Poet in an 1835 issue of the Southern Literary Messenger. First off, let us explain that the author had included a couple of sentences in his preface explaining that he’d had a gun on standby so he could shoot himself upon the book’s completion. Poe, knowing this, stated,

The author avers upon his word of honor that in commencing this work he loads a pistol, and places it upon the table. He farther 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.


2) In an introductory article for The Lady’s Book, entitled “The Literati: Of Criticism-Public and Private,” Poe proceeded to explain the premise of a series of articles he would be releasing. He then commenced, giving us a glimpse to prepare us for the potentially scathing reviews to follow:

Again, of Mr. Longfellow, who, although a little quacky per se, has, through his social and literary position as a man of property and a professor at Harvard, a whole legion of active quacks at his control-of him what is the apparent popular opinion? Of course, that he is a poetical phenomenon, as entirely without fault, as is the luxurious paper upon which his poems are invariably borne to the public eye (40-41).

Not only does Poe call Longfellow a “quack,” a pretty bold move to make, but he also sarcastically implies that Longfellow does entirely have faults, is not a poetical phenomenon, and he mocks the “luxurious paper upon which [Longfellow’s] poems are” written on. Keep in mind that this wasn’t the beginning, nor was it the end, of the “Poe-Longfellow War.” We will allude to this again later in this post.

3) Aside from literary critiques, Poe also went the mile and decided to critique include physical appearances and attributes at the end of some articles. Here’s one of our favorites regarding Margaret Fuller’s appearance in Poe’s eyes:

She is of the medium height; nothing remarkable about the figure; a profusion of lustrous light hair; eyes a bluish gray, full of fire; capacious forehead; the mouth when in repose indicates profound sensibility…but the upper lip, as if impelled by the action of involuntary muscles, habitually uplifts itself, conveying the impression of a sneer” (122).

How flattering.

4) Charles Fenno Hoffman was a common name back in Poe’s time. Hoffman was especially, personally known to Poe through a harsh published review of “Eureka” in The Literary World, for which Hoffman was the editor. Although it may have seemed to Poe that Hoffman was unfair to publish this review of Poe’s allegedly great masterpiece, we feel he had every right to his actions as editor, especially considering what Poe wrote regarding one of Hoffman’s own works, Greyslaer,

“Greyslaer” followed, a romance based on the well known murder of Sharp, the Solicitor-General of Kentucky, by Beauchampe[sic]. W[illam] Gilmore Simms, (who has far more power, more passion, more movement, more skill than Mr. Hoffman) has treated the same subject more effectively in his novel “Beauchampe,” but the fact is that both gentlemen have positively failed, as might have been expected (173)

Poe has effectively disrespected both Hoffman and Simms in a few short lines, making this a double-whammy critique. And, apparently Poe felt the need to mention in a review about Hoffman that even though Hoffman and Simms failed to provide a good novel, Hoffman failed harder than Simms. We say this statement was completely uncalled for.

5) In our same book of Poe criticisms, we found a curious man by the name of William W. Lord. Poe didn’t know who he was either, as his article opens by explaining, “Of Mr. Lord we known nothing-although we believe that he is a student at Princeton College-or perhaps a graduate, or perhaps a Professor of that institution.” (256). This anonymity seems to pull the worst out in Poe, perhaps because if he isn’t acquainted with them, he’ll never see the victim.

A curious passage arises in this critique, as he quotes the following lines from a poem of Lord’s, “And the aged beldames napping,/ Dreamed of gently rapping, rapping, / With a hammer gently tapping, / Tapping on an infant’s skull” (266). Poe goes on to imply that this is a theft of his “The Raven,” as he provides the following stanza for example, “While I pondered nearly napping, / Suddenly there came a rapping, / As of someone gently tapping, / Tapping at my chamber door” (266). He then attacks,

But it is folly to pursue these thefts. As to any property of our own, Mr. Lord is very cordially welcome to whatever use he can make of it. But others may not be so pacifically disposed, and the book before us might be very materially thinned and reduced in cost, by discarding from it all that belongs to Miss Barrett, Tennyson, Keats, Shelley, Proctor, Longfellow and Lowell-the very class of poets, by the way, whom Mr. William W. Lord, in his ‘New Castalia’ the most especially affects to satirize and to contemn (266).

This is how he ends his critique of Mr. Lord,

Invariably Mr. Lord writes didst did’st; couldst could’st, &c. The fact is he is absurdly ignorant of the commonest principles of grammar-and the only excuse we can make to our readers for annoying them with specifications in this respect is that, without the specifications we should never have been believed.

But enough of this folly. We are heartily tired of the book, and thoroughly disgusted with the impudence of the parties who have been aiding and abetting in thrusting it before the public. To the poet himself we have only to say-from any farther specimens of your stupidity, good Lord deliver us! (269).

As for Mr. Lord, whether he was a student or professor, we can guess he did not come out to see the light of day again after reading Poe’s article about him.

6) In regard to Rufus Griswold’s anthology, The Poets and Poetry of America, (you know, the man who attempted to destroy Poe’s reputation), Poe had this to say:

He has omitted from the body of his book, some one or two whom we should have been tempted to introduce. On the other hand, he has scarcely made us amends by introducing some one or two dozen whom we should have treated with contempt. We might complain too of a prepossession, evidently unperceived by himself, for the writers of New England. We might hint also, that in two or three cases, he has rendered himself liable to the charge of personal partiality…(103).

Perhaps he is referring to Charles Hoffman in this case, who had had 45 of his poems featured in the anthology. Poe even points this out in a separate, but relevant criticism and article about Hoffman,

Whatever may be the merits of Mr. Hoffman as a poet, it may be easily seen that these merits have been put in the worst possible light by the indiscriminate and lavish approbation bestowed on them by Dr. Griswold in his ‘Poets and Poetry of America.’ The editor can find no blemish in Mr. H., agrees with everything and copies everything said in his praise-worse than all, gives him more space in the book than any two, or perhaps three, of our poets combined (175).

In Griswold’s anthology, Poe only had three poems featured. Perhaps he was harboring ill feelings?

7) Lewis Gaylord Clark was known for being the editor of The Knickerbocker for many years, as well as another victim held under Poe’s scrutiny-we might also mention that Poe and Clark had quite a rocky relationship. Sometimes Edgar could be downright harsh to those he critiqued, and Gaylord wasn’t an exception, as seen in the following example, “Mr. Clark once did me the honor to review my poems, and-I forgive him…He is noticeable for nothing in the world except for the markedness by which he is noticeable for nothing” (Quinn 502). All we can say is that this critique didn’t go unnoticed by us in the least.

8) Many men did not go unobserved by Poe, and Charles F. Briggs was no exception. Briggs was Poe’s coworker at the Broadway Journal; in fact, Briggs was its founder. However, Poe remained merciless in his installment of “The Literati of New York City,” when he proclaimed that Briggs “has never composed in his life three consecutive sentences of grammatical English. He is grossly uneducated” (EAPoe).

9) Our ninth author sacrificed under the mercilessness of Poe is Joel T. Headley. This reverend, historian, and author was torn apart from first sentence to last under Poe’s evaluation. For example, Poe writes about Headley’s “Sacred Mountains,” stating,

We say that a book is a “funny” book, and nothing else, when it spreads over two hundred pages an amount of matter which could be conveniently presented in twenty of a magazine…that a book is a”funny” book, and nothing but a funny book, whenever it happens to be penned by Mr. Headley (47).

Sufficed it to say that Headley wasn’t going for a comical bent in his “Sacred Mountains.” We might also note that in this same editorial, Poe calls Headley a “quack”-does this sound familiar? (The author of this post would also like to note that she read the book that Poe grossly attacked and can say that she disagrees with Poe’s claims.)

10) Finally, Longfellow was, once more, analyzed under Poe’s seething Tomahawk gaze in an article titled “Mr. Longfellow and Other Plagiarists: A Discussion With ‘Outis’.” As you might recall, an intern at the museum wrote an article last summer about the Poe-Longfellow War, which you can check out here. That being said, we will not go too in depth into the ordeal. However, in this last section of our list, we will discuss this mysterious Outis mentioned in the title.

Have any of our readers heard of this mysterious Outis? Where did he come from, and what were his intentions? Whomever took the title of Outis was most likely trying to play a trick on Longfellow and other readers, we surmise, as it has even been speculated that this Outis was Poe himself.

Outis is Greek for “Nobody” or “No One,” which seems befitting if one were to take on a pseudonym. But why might Poe be this mysterious Outis? We will explain in a blog post soon to come. Meanwhile, we are left with the “Mr. Longfellow…” critique, which is more or less a battle against Longfellow and other plagiarists (just as the title suggests), as well as Poe’s battle against this other mysterious writer who took it upon himself to publish a letter in Longfellow’s defense, all the while mocking Poe. He or she even compares a poem, “The Bird of the Dream” (which, we cannot currently find any records of this ever having existed) to “The Raven.” The point is daft, regardless, as the two poems aren’t even comparable.

“Sweet bird from realms of light, oh! come again to-night, / Come to my window-perch upon my chair- / Come give me back again that deep impassioned strain
/ That tells me thou hast seen and loved my CLARE,” the last stanza quotes, as provided in Outis’ article (EAPoe). However, Outis continues by explaining that he dares not to charge Poe with plagiarism, but proceeds to provide fifteen points explaining what “identities” make this poem comparable to “The Bird of the Dream.”

How does Poe respond? “What I admire in this letter is the gentlemanly grace of its manner, and the chivalry which has prompted its composition. What I do not admire is all the rest. In especial, I do not admire the desperation of the effort to make out a case” (EAPoe).

Why did we choose this article for our last choice? Considering the potential that Outis might be Poe himself, it is comical. We are presented not only with Outis’ criticism of Poe’s works, but also Poe’s rebuttal to Outis. Essentially, Poe is rebuking himself! Perhaps Poe wanted an opponent worthy of himself, so he took up the challenge? Or, perhaps he invented Outis in the hopes that Longfellow would respond to his accusations? There is no denying that it takes someone with great confidence and a sense of humor to critique themselves.

Which was your favorite selection? Were there any critiques that didn’t make it in our list? Feel free to comment below!

Poe the “Punny” Poet

It was recently brought to my attention that Poe was once a comedian.

I recall first hearing this statement claimed a few years ago-after all, he has written more satire and humorous stories combined than horror-but who would believe that this “miserable” and “melancholy” writer was once a comedian?

If you still remain skeptical, do not worry-so do I. Upon reading Poe’s satires, including “Lionizing” and “The Devil in the Belfry,” one can see jabs at humor here and there, especially jabs which mock the social life of nineteenth century America; unfortunately, it is just that point that leaves readers scratching their heads. Poe’s humor was catered to his time and is not catered to our contemporary readers. In fact, Poe still leaves me desperately searching for an annotated edition so that I may understand what his Latin sentences mean, what his made up words are equivalent to, and even what the statements that are assumedly supposed to be funny mean.

In fact, the editor of the Emporia Gazette in 1911 commented:

If there is anything in the world more gloomy and heartrending than Poe’s tragic tales, it is Poe’s humorous work. He hadn’t the first qualification of a humorist. There was nothing buoyant or effervescent in his make-up. His “humorous” stories are such labored things as to make the reader weep. The fact that he constantly uses italics to identify and emphasize his alleged jests is enough for any reasonable man (EAPoe).

Not only did Poe write satire and make an attempt to make his readers laugh, but he also liked to throw out the occasional pun. Let us not forget the gentleman whom Poe chastised for using a pun in the writer’s “Best Conundrum Yet”:

With this heading we find the following in the New York Signal: — “Why may Prince Albert be considered a saving and frugal personage?” [[“]]Answer — because he lays by a sovereign every night.” Mr. [Park?] Benjamin, we have a very high respect for you, but not for your opinion about your own puns. Do you seriously think that conundrum a good one — we don’t. To be good, a double entendre should be at least good English when viewed on either side. Now we may lay by a piece of money — but we lie by a wife (EAPoe). (Note, this was attributed to Poe in 1943 by Clarence Brigham.)

In short, Poe was a tad hypocritical when it came between his own writing and critiquing others works. But we digress.

The Poe enthusiast who spurred this post reached out to me with an article from EAPoe’s website. This article, full of Poe’s puns, is both a joy and also upsetting-what was Poe thinking when he wrote these jokes?

We will provide a few examples of our favorites below:

“I have a table needing repairs; why must the cabinet-maker who comes for it be in good circumstances?

Because he is comfortable. — come for table.” We think Poe should reflect on the previous criticism regarding Mr. Benjamin’s pun. Poe’s grammar is just as, if not more, poor here than Benjamin’s.

“Why is his last new novel sleep itself?
Because it’s so poor. — sopor.”

“Why is a chain like the feline race?
Because it’s a catenation. — a catty nation.”

“When you called the dock a wharf, why was it a deed of writing? Because it was a dock you meant. — a document.”

“Why does a lady in tight corsets never need comfort?”

“Because she’s already so laced. — solaced.”

Lastly, we cannot forget the pun where Poe mentions himself,

“Why ought the author of the ‘Grotesque and Arabesque’ to be a good writer of verses?
Because he’s a poet to a t. Add t to Poe makes it Poet.”

We will point out that these puns were so bad, Poe had to even write out the answers himself.

You can read more of Poe’s terrible puns by following this link.

Although we may snicker and sneer at Poe’s jokes, or lack thereof, it must be noted that he was aware of his bad humor. In fact, he made this statement in regard to justifying his bad puns,

“Why is a bad wife better than a good one? — Because bad is the best.” This somewhat ungallant old query, with its horrible answer, is an embodiment of the true genius of the whole race to which it belongs — the race of the conundrums. Bad is the best. There is nothing better settled in the minds of people who know any thing at all, than the plain truth that if a conundrum is decent it wo’nt do — that if it is fit for anything it is not worth twopence — in a word that its real value is in exact proportion to the extent of its demerit, and that it is only positively good when it is outrageously and scandalously absurd. In this clear view of the case we offer the annexed. They have at least the merit of originality — a merit apart from that of which we have just spoken. At all events if they are not ours, we have just made them, and they ought to be (EAPoe).

If Poe was self-aware, then why did he proceed to torture his readers?

Do you think you would go to Poe’s show if he were hosting at a comedy club? Would you cheer him on or jeer and throw tomatoes at the poor man? If we were able to give him advice during the time he wrote these puns, we would advise he not quit his day job.

However, to support and enlighten Edgar’s comedic voice, we will end this with another of his own:

“Why are these conundrums like a song for one voice?
“Because they’re so low.”[solo]-Just like Poe’s puns.

2016 Young Writers’ Conference

The Edgar Allan Poe Museum presents


June 19-23, 2016


The Edgar Allan Poe Museum, located in Poe’s hometown of Richmond, Virginia, is proud to announce its 2016 Young Writers’ Conference, to be held June 19-23, 2016.  The Young Writers’ Conference is a five-day residency program for high school students who would like to hone their writing skills in a stimulating environment with other like-minded young writers.

Designed to encourage and develop the writing skills of all participants, the conference will feature a variety of experiences, including lectures from visiting writers across a range of genres, intensive workshops, discussion of craft and the artistic process, a focus on Poe through lectures and field trips to places he knew, and much more.  The conference concludes with a reading in which students will share the work they’ve produced throughout the week.

As the conference is sponsored by the Poe Museum, one of its goals is to further the legacy of Poe, who was not only a short story writer but also a poet, journalist, editor and critic.  Poe grew up in Richmond and began his literary career here, but he also returned to this city throughout his life. The Poe Museum contains the world’s largest collection of Poe’s manuscripts, letters, first editions, artifacts and memorabilia, making it a rich place to study both Poe and the craft of writing.

DAILY SCHEDULE: Each morning of the Young Writers’ Conference begins with breakfast followed by a keynote speaker who would give an hour-long presentation centering on his or her writing specialty.  That lecture would be succeeded by an intensive workshop focusing on the presentation topic.  After lunch, the afternoon schedule varies from day-to-day and might include a walking tour of Poe’s old neighborhoods, a talk from the Poe Museum’s curator about Poe’s life and work, a trip to Charlottesville where Poe studied at the University of Virginia, visits to historic sites in Richmond such as Monumental Church and Shockoe Hill Cemetery, or a movie night at the famous Byrd Theatre.  Every afternoon would include dinner and time for the students to write.

MORNING PRESENTATIONS:  The talks in the morning will focus on different kinds of writing each day.  Authors who specialize in fiction, poetry, drama, journalism, non-fiction and other genres combine theory and practice to tell the students about the challenges, techniques and rewards of their various fields.

WORKSHOPS:  Every morning following the lecture the students participate in a workshop in which they will read from their own work; receive critique, instruction and support from their workshop leader and peers; and engage in exercises and writing prompts that will serve to develop their skills.

HONING THE CRAFT OF WRITING:  Time will be set aside each afternoon for the students to practice their writing—often by experimenting with the things they have learned in the morning and on previous days.  An essential part of the program, this independent creative time  concentrates writing activity and allows students to develop a piece to read aloud on the last evening of the conference.

FOCUS ON POE:  Taking advantage of the staff and resources of the Poe Museum and its location in the historic neighborhood of Shockoe Bottom in Poe’s hometown of Richmond. The conference will provide students with several chances to engage closely with Poe’s life and work through lectures, tours, presentations, and activities.

ELIGIBILITY:  The 2016 Young Writers’ Conference is open to anyone who is enrolled in the 9th, 10th, 11th or 12th grade at the time of application.

LOCATION AND RESIDENCE:  The 2016 Young Writers’ Conference is centered at the Linden Row Inn, at 100 East Franklin Street, Richmond VA 23219.  Students will reside at the Inn throughout their stay; some meals and many activities will be there as well.  This is a residential program, which involves the students living together as a community of writers wherein the participants encourage and creatively engage each another through conversation, reading each other’s work and sharing a common routine and schedule.

COST:  The 2016 Young Writers’ Conference is $750 per participant.  This fee includes four nights’ lodging at the Linden Row Inn and three meals a day for the four full days of the conference, plus dinner on the first night after arrival.

RULES:  Those who apply to the 2016 Young Writers’ Conference should be high school students who are actively engaged in writing and serious about improving their skills and contributing to a residential writing community.  Attendees are not allowed to bring or use tobacco products or alcohol.  The residence is gender segregated and visits to the rooms of members of the opposite gender are prohibited.

TO APPLY:  Those interested in participating in the 2016 Young Writers’ Conference must submit their application by MAY 1, 2016.  The application process is open to anyone enrolled in high school in the spring of 2016; those applying should demonstrate a serious interest in writing and the ability to live in a residential writing community for five days.  All applicants will receive notice of the result of their application by May 6, 2016.  Those accepted will be expected to send a deposit of $100 to secure their spot by May 27, 2016.  The remainder of the fee will be due in full before or upon arrival at the Conference.

APPLICATION FORM:  2016 Young Writers’ Conference Application

What Type of Beauty Could Move Poe’s Sensitive Soul to Tears This Valentine’s Day?

[The Poet] feels it in the beauty of woman — in the grace of her step — in the lustre of her eye — in the melody of her voice — in her soft laughter — in her sigh — in the harmony of the rustling of her robes. He deeply feels it in her winning endearments — in her burning enthusiasms — in her gentle charities — in her meek and devotional endurances — but above all — ah, far above all — he kneels to it — he worships it in the faith, in the purity, in the strength, in the altogether divine majesty — of her love.-Poe, the Poetic Principle Poe was deeply touched by woman’s beauty throughout his life, and many such women became muses for his works. Not only does he dwell on the beauty of “woman” in the passage stated, but he also states in “The Philosophy of Composition”, “Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears.” We see Poe being touched, nay, moved to the point of tears by woman’s beauty. But what kind of beauty could evoke such strong emotion in Poe to bring him to tears? In this same article, which is arguably one of his most well known quotes, he states, “I asked myself-‘Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy’? Death-was the obvious reply. ‘And when,’ I said, ‘is this most melancholy of topics most poetical?’ From what I have already explained at some length, the answer, here also, is obvious-‘When it most closely allies itself to Beauty : the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world…”(165).

As explained, Poe saw beauty through death, and subsequently death through beauty. He was often moved by woman’s beauty, to the point, as the previous quote infers, to tears. From what we can ascertain, Poe found love for the women he admired not only through their physical beauty, which we will provide description examples of below, but also through their ability to inspire his writing. And perhaps we may receive a glimpse of the beauty that so moved Poe.

Jane Stanard
Jane Stanard was the mother of Poe’s childhood friend, Robert Craig Stanard. Poe would often visit Robert just to be able to spend time with Jane, whom he’d developed boyish feelings for. She treated him like a son and provided him with the maternal love that he craved, not to mention that she was described as being “a woman of great beauty and of a somewhat classic countenance…Her family and relatives have preserved into modern times the memory of one unusual for her warmth of heart and graciousness in an age of gracious manners. In short, Mrs. Stanard is known to have been a beautiful woman, a splendid hostess, and possessed of a peculiarly radiant and extraordinary and memorable personality”(Allen 88).

Jane Stanard, painted by artist Chris Semtner

Not only did Poe find, according to Hervey Allen, “the chivalrous ideal of a young boy’s first idolatry and the material comfort of sympathy and appreciation,” but he also found arguably his first muse. Stanard, if at all known, is recognized as being the inspiration of Poe’s poem “To Helen.” The passion Poe expressed at such a young age indicates that not only did he appreciate the outward beauty of women, but as indicative of Stanard’s personality and his poem dedicated to her, he found a familial and transcendent love. He placed his “Helen” on the pedestal that Helen of Troy would have been placed upon, and he raised her image above his eye to admire from afar, despite being so close.

Her death in April, 1824 marked a difficult time in Edgar’s life, and, according to Allen, “There is an immortal story that Poe haunted the spot” (90). There is no doubt that many may have heard this tale, and, yes, it is widely told that Poe and Robert would often visit Jane’s grave to morn and weep-Robert, for his mother and also perhaps mentor and great friend, and Poe, for his first love, his “Helen,” and one of, if not his first, ideal forms of beauty.

Elmira Royster
When Poe was just sixteen, he met his first fiancée, Sarah Elmira Royster. She would also become his last fiancée and love before his death in 1849. According to Poe biographer Hervey Allen, “…she was about fifteen and dowered with a trim little figure, an appealing mouth, large black eyes, and long, dark chestnut hair” (110). We emphasize that this was when Edgar first came to know her, amidst the beauty of childhood bliss and blooming love that happens at that tender age. She would have been the second significant female figure in his life to romantically interest him, and we see, from this description, that she held the characteristic dark eyes and hair that may have made her appear pale in complexion-at least, to Poe and his romantic eye.

Forged Drawing of Young Elmira Royster

As many may know the tale, Poe went off to college, Elmira’s father destroyed all of the letters that Edgar sent to her, and she became engaged to Alexander Shelton. When Poe returned, he learned of the unfortunate fate that had befallen their love, thus inspiring of a few of his poems including “I Saw Thee On Thy Bridal Day….” and “To [Elmira],” which even alludes to her eyes, “in Heaven of heart enshrined,” falling unto his “funereal mind,” thus displaying the connection of beauty with death.

Not only do we have a copy drawing of a portrait of Elmira sketched by Poe here at the museum, which showcases her beauty and allows us to see the beauty Poe saw in her, but we also have other numerous quotes regarding her appearance later in life. You can read more about Elmira and her character and appearance in the post for this month’s “Museum Object of the Month,” here.

Virginia Poe
Many are familiar with Virginia Poe, for she was the youthful wife of Edgar Poe. It may be argued that she was the main inspiration for many of his works, including “Annabel Lee,” “Ulalume,” and “Eleonora.” In the following passages, we receive a glimpse of her outward appearance.

“She was rather small for her age, ‘pump, pretty, but not especially so, with sweet and gentle manners and the simplicity of a child,'” she was described as being during the year of 1835, when she and Poe married. It was also said, according to Hervey Allen, that “When she [Virginia] was twenty-odd it was noticed by competent persons that she did not appear to be over fifteen. Her mind developed more normally that her cousin’s [Rosalie Poe], but her body was never wholly mature…it was remarked that the otherwise childish prettiness of Virginia was marred by a chalky-white complexion…” (311-312).

Virginia Poe-drawing after her “Death Portrait”

According to Allen, in accordance with Poe’s statement initially quoted at the beginning of this post, “For Poe the ‘delicacy’ which the advancing stages of the dread, but then fashionable and romantic, disease, conferred on his wife-the strange, chalky pallor tinged with a faint febrile rouge, the large, haunted liquid eyes-gradually acquired a peculiar fascination” (312). Although this is simply painted by Allen, who would not have seen Virginia personally during her decline before her death, his description is certainly romantic and promotes the ideal beauty of death to Poe.

Finally, “Mrs. Poe looked very young; she had large black eyes, and a pearly whiteness of complexion, which was a perfect pallor. Her pale face, her brilliant eyes, and her raven hair gave her an unearthly look. One felt that she was almost a disrobed spirit, and when she coughed it was made certain that she was rapidly passing away” (Mrs. Mary Gove Nichols, “Reminiscences of Edgar Allan Poe,” reprint, p. 8).

Concluding this section with Virginia, we can see that she most resembles the ideal figure of beauty quoted by Poe-she may have perhaps even influenced Poe’s famous quote, as she would have been the closest embodiment of death while he remained by her side until her finale repose.

Frances Osgood
Frances Osgood was notorious for arresting Poe with her lucid gaze and poise, not to mention the secretive romantic poems that she exchanged with him, albeit publicly. In the following descriptions, however, not only will we see Frances’ outer beauty, but also the inward beauty she held.

In character she is ardent, sensitive, impulsive-the very soul of truth and honor; a worshipper of the beautiful, with a heart so radically artless as to seem abundant in art; unusually admired, respected and beloved. In person she is about the medium height, slender even to fragility, graceful whether in action or repose; complexion usually pale, hair black and glossy; eyes a clear, luminous grey, large, and with singular capacity for expression (Poe 129, Godey’s Lady’s Book).

Frances Osgood

In the poem, “Stanzas [To F.S.O],” Poe writes, “The gladness of a pure heart/ Pure as the wishes breathed in prayer…/ The fullness of a cultured mind, Stored with the wealth of bard and sage…/ The grandeur of a guileless soul, / With wisdom, virtue feeling fraught, / Gliding serenely to its goal, / Beneath the eternal sky of Thought:- / These should be thine…” (Mabbott 386)

Poe comments on the purity of her heart and her “cultured mind,” almost proving that she has a transcended beauty about her. She, without question, inspired many other poems, which Poe dedicated to her, including “A Valentine.”

Sarah Helen Whitman:
Finally, Whitman can be considered as one of the more eccentric love interests of Poe. This maiden of the occult cast her spell on Poe, bewitching him with only her vague figure from afar.

Below is the following account of when Poe first saw the spectral poetess.

“At a late hour, however, on this summer night, Poe became restless and left the hotel. He strolled past Mrs. Whitman’s house at the corner of Benefit and Church Streets. There was moonlight, and Mrs. Whitman happened to be standing in the street door taking the air” (Allen 528).

Sarah Helen Whitman

Our next piece of evidence lies in the lines of Poe’s poem, “To Helen,” written solely for Whitman.

“To Helen”

I saw thee once-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 veil 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 the upturn’d faces of these roses
That gave out, in return for the love-light,
Their odorous souls in an ecstatic death-
Fell on the 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 the upturn’d faces of the roses,
And on thine own, upturn’d -alas, in sorrow! (Mabbott 445)

Throughout this lengthy poem, Poe alludes to her eyes,

…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 unwritten
Upon those crystalline, celestial spheres!
How dark a wo! 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!” (446).

The ethereal and “divine” qualities of Whitman-almost spiritual qualities-seemed to have invoked in Poe a mature form of love.

Although Poe saw his Helen “once-once only years ago,” according to this poem, he and the poet continued to keep in touch through numerous letters thereafter, which display their evolving love for one another. They would eventually meet again in person and, that same night, Poe would propose to her in a graveyard. This impulsive gesture showcases the themes of death and beauty and love colliding through the morbid act. Although she did not agree initially, she finally accepted Poe’s proposal at a later date; however, their marriage would be called off for numerous reasons.

As we have gathered insight into these five individual women who influenced Poe not only through their beauty but also through their character, we also see that they influenced his writing. The writings chosen for most of these women seem to have an air of melancholy about them, thus proving that although their beauty and muse could bring him happiness, loving a woman could also bring despair, whether it be through the literal deaths of his wife and first love, or the figurative deaths of his other relationships. It should come as no surprise then that Poe felt that “[a] certain taint of sadness is inseparably connected with all the higher manifestations of true Beauty” (The Poetic Principle).

A Gentleman, If Not a Christian: the Life of Rufus Griswold

In August of 2014, we covered the scandal between Poe and Rufus Griswold, Poe’s defamer. We went in depth into the situation and analyzed the happenstances leading up to Griswold’s scheme. However, it should be recognized that Griswold was more than just a villainous character in the life of Poe.

Rufus Griswold

Rufus Wilmot Griswold was born February 13, 1815, in Benson, Vermont. He and his ten siblings lived on a small farm with their parents, Deborah and Rufus Griswold. According to biographer Jacob Neu in his article, “Rufus Wilmot Griswold,” not a lot of information is known about his childhood. Neu paints Rufus’ modest childhood:

…no doubt [Rufus] performed such chores as are incident to the duties of a boy on a small farm. Very likely he took a boy’s part in the husking-bees, the sugar-making, and the fur-trapping. He attended such church services as were held in the church of his parents. His diversions he found in the companionship of other boys at the ‘bees’ of the neighborhood, in occasional visits to the banks of the Hudson or to Benson’s Landing, both but a few miles…from his home, or to the lumbering camps near the Westhaven settlement south of his home (102). 

 According to his son, William, in Passages from the Correspondence and Other Papers of Rufus W. Griswold, Rufus attended the Rensselaer school at Troy, thanks to the graciousness of his brother, Heman, who was a well known business man in that town. Just fifteen, he was kicked out of the school because of a school prank, and was sent to live in Heman’s counting-room (7). According to William, Rufus became acquainted with George G. Foster, writer of New-York by Gaslight, and abandoned his family to move in with Foster in Albany, New York.

Although it is believed that Griswold spent his later teenage years voyaging the world, according to Neu for example, many modern biographers since have discovered the fallacy in this part of his biography. What is known is that, according to the Vergennes Vermonter, he spent time in the South during this time (Neu 104).

In October of 1834, he began working for the office of the Constitutionalist in Syracuse, New York. After his brother, Silas, brought to his attention another job, it is presumed that Rufus began editing for the Chautauqua Whig, officially establishing himself as an editor (104). His success continued with the editorships of both the Western Democrat and Literary Inquirer in 1835 and the Olean Advocate in 1836 (105). It was just before he took the Olean Advocate job when he found his first love and future wife, Caroline Searles.

According to Joy Bayless in her book, Rufus Wilmot Griswold, Griswold was walking with a friend when a downpour occurred sending the two men to take shelter in a home at 51 1/2 Clinton Street. Griswold’s friend, Butler, was well known by the owner of that home, Mrs. Angell, who was the mother of Hamilton Randolph Searles and Caroline Searles, who was then nineteen (15). According to Bayless, “This beautiful girl, with her dark, shy eyes and her glossy auburn hair, immediately became the center of Griswold’s world; and he learned later that from the moment she saw him her heart was his” (15).

Caroline Searles Griswold

The two were separated for a time when Griswold accepted a job as editor for the Olean Advocate in Olean, New York, however he left the paper Christmas 1836, and rejoined Caroline. The two married March 20, 1837, and, according to Bayless, “…[he], romanticizing himself into the rôle of tragic outcast rescued from his exile by a good angel, was happier than he had ever been in his life” (20).

Griswold’s life was improving and seemed promising with his new wife. According to Bayless,

He was smooth and suave as if he had lived in metropolitan cities all his twenty-two years. His slender physique carried his fashionable dress gracefully; and his glib tongue discoursed easily of books he had read, of sights he had seen, and of literary and political happenings of the day….He was intelligent looking, with a high broad forehead and large gray eyes, sharp, trenchant nose, and an expression of cocksure defiance…Griswold’s best asset, however, was his ability to attract friends…(22).

It may have been this charming demeanor which gained him a friend, Horace Greeley, founder of The New-Yorker. Greeley became Griswold’s mentor and sponsored the young man as he endeavored to become a successful literary historian.

Horace Greeley

In 1837, Griswold become a Baptist preacher, which must have been a contradiction with his religious stance, as he was not devout at this point in his life. It is possible that Caroline influenced him to become a preacher (24). By late 1837 to early 1838, Caroline was expecting their first child, and Griswold left for work in Vergennes, Vermont, to work for The Vergennes Vermonter (25).

According to Bayless, Griswold’s first daughter, Emily Elizabeth, was born four days after he began publishing for this paper. Caroline joined her husband three months later, and the three lived in a rented house (25). However, the family moved back to New York in 1839, where he rejoined Greeley to work for his Daily Whig paper (28).

Park Benjamin

By July, he was acquainted with both Park Benjamin, editor of The New England Magazine, and Charles Fenno Hoffman, founder of The Knickerbocker (28). Griswold and Benjamin began working together for the Evening Tattler, which featured Edgar Allan Poe as the butt of a joke in their July 19, 1839 issue (29-30). Greeley did not see any promise or true benefit for Griswold working with Benjamin, and he attempted to obtain a position for him with Thomas W. White, publisher of The Southern Literary Messenger; however, he was not given the position and looked for work in Boston. He was unable to find work there and accepted an assistant editorship position for The New-Yorker (32).

During this time, another daughter was born, Caroline, and Emily was two-years-old. He became closer to Hoffman, whom he greatly admired, and “fairly worshipped,” according to Bayless. He also began working on his first gift book, The Biographical Annual (33). The book was printed and, unfortunately, flopped. His next anthology was entitled The Poets and Poetry of America, and would be one of his most successful volumes.

By 1840, Griswold was in Boston, and his family remained in New York (36).

He worked for the Boston Notion, where he demonstrated his enthusiastic support of Hoffman’s poetry by publishing thirty-six of his poems. He would print these and nine more in his anthology, The Poets and Poetry of America, which was published by Carey and Hart on April 18, 1842 (44). The anthology features ninety-one writers, selected verses, and brief biographical sketches of each writer. Edgar Allan Poe was given an inaccurate portrayal and only had three of his poems featured (45). Regardless, the book was given a fair and positive critique, considered as, “…the best collection of American poetry that has yet been made,” although, “…the author, without being aware of it himself, has unduly favored the writers of New England.” Another editor agreed with the latter statement by stating, “We protest against this injustice. The Southern states will be degraded in the eyes of the foreigners, by the course which this partial and prejudiced compiler has pursued” (46).

The volume did wonders for Griswold’s career and aided him in receiving an editorship job for Graham’s Magazine, taking Edgar Allan Poe’s place (49). By May 1842, he was in Philadelphia (50). In November 1842, however, his world seemingly ended. On the ninth of November, while staying in a hotel in Philadelphia, he received word that his wife, who had just given birth to their third child, a son, had died from an unknown cause. His son passed as well (64).

Bayless describes the scene after Griswold heard the news powerfully,

Hysterically he rushed on the night train to New York, where he took a seat near Caroline’s coffin and for thirty hours refused to leave her side. The watchers urged him to try to sleep, but he answered them by kissing the cold lips of his dead wife and embracing her. His two little children came to him, clung to him, and cried for their mother; and he, as much a motherless child as they, showed them ‘her soulless clay’ (64-65).

Griswold heartbreakingly wrote to his friend James T. Fields,

You knew her my friend—she was my good angel—she was the first to lead me from a cheerless, lonely life, to society…She was not only the best of wives, but the best of mothers. You have seen our dear children—she taught them as children are rarely taught, and when she went her way they were left by her at the feet of Christ, at the very gate of heaven…They will bury her then [11:00 that day]—bury my dear Caroline and my child from my sight!…then I must set about tearing up the foundations of my home. Alas for me, I shall never more have a home to fly to in my sorrows—never more a comforter in my afflictions—never more a partner to share in all my woes or to be a source and author of all my pleasures…May God forever keep you from all such sorrow—farewell (65).

The funeral took place on November 11, with the procession moving to Greenwood Cemetery in Brooklyn. According to Bayless, “When the body was placed in the tomb, Griswold uttered a shriek, fell upon the coffin, and burst into agonized weeping” (65).

Those standing by, including Caroline’s brother, Hamilton Randolph Searles, and his wife, gently urged Griswold to leave the tomb. After seeing they couldn’t console the reverend’s throbbing heart, they let him be to make peace with Caroline’s death. Captain Waring, Caroline’s uncle, finally had to pry Rufus from her grave, stating, “In Heaven’s name, Rufus, have done with this nonsense and come along home with me,” to which Rufus obliged and followed (65).
The night after Caroline’s death, Rufus wrote his most heart-wrenching poem, “Five Days,” which was printed anonymously in The New-York Tribune on November 16, 1842. The poem can be found here.

Forty days after Caroline’s death, Griswold went to her tomb, inspiring his account given below:
I could not think that my dear wife was dead. I dreamed night after night of our reunion. In a fit of madness I went to New York. The vault where she is sleeping is nine miles from the city. I went to it: the sexton unclosed it: and I went down alone into that silent chamber. I kneeled by her side and prayed, and then, with my own hand, unfastened the coffin lid, turned aside the drapery that hid her face, and saw the terrible changes made by Death and Time. I kissed for the last time her cold black forehead—I cut off locks of her beautiful hair, damp with the death dews, and sunk down in senseless agony beside the ruin of all that was dearest in the world. In the evening, a friend from the city, who had learned where I was gone, found me there, my face still resting on her own, and my body as lifeless and cold as that before me. In all this I know I have acted against reason; but as I look back upon it it seems that I have been influenced by some power too strong to be opposed. Through the terrible scenes of the week I have been wonderfully calm, and my strength has not failed me, though it is long since I have slept. It is four o’clock in the morning—I am alone—in the house that while my angel was by my side was the scene of happiness too great to be surpassed even in heaven. I go forth today a changed man. I realize at length that she is dead. I turn my gaze from the past to the future (67).
Despite his broken heart, Griswold persevered knowing that he had to take care of his little girls and continue working.

Because of an overblown feud with Poe, Griswold resigned from Graham’s, and remained in Philadelphia (78). He continued compiling and publishing anthological volumes of poetry and stories, compiled from both American and English writers. Ironically, he also became one of the strongest advocates for copyright laws in the 1840s, organizing the American Copyright Club with other writers and friends, including Charles Fenno Hoffman (83).

Charles Fenno Hoffman

Despite keeping busy, Griswold found himself in need of a woman by his side. The emptiness of Caroline’s loss and loneliness of being without a partner may have left him seeking companionship-although it has been said that he enjoyed his bachelorhood for a time. It was in the summer of 1844 when he met his second wife, Charlotte Meyers, a wealthy Jewess from Charleston, South Carolina, according to Bayless (104). Griswold, aged twenty-nine, and Meyers, aged fifty-five, married August 20, 1845 (107).

Unhappy in his new marriage, Griswold left Meyers with the agreement that she keep his little daughter, Caroline, whom she loved and cared for deeply. According to Bayless, “The action which Griswold finally took to terminate this unhappy alliance was to plunge him into the greatest disaster which ever befell him in his eventful, troubled career” (113). His young Caroline was with Meyers and his eight-year-old Emily was with a relative in New York.

Just as things were looking worse, he published another notable volume, The Prose Writers of America, on March 3, 1847 (117). He did not consider this work as being one of his strongest; however, it proved to be positive for Poe who received the greatest praise, along with Nathaniel Hawthorne (119). About Poe, Griswold said, “The tales of Mr. Poe are peculiar and impressive. He has a great deal of imagination and fancy, and his mind is in the highest degree analytical…The reader of Mr. Poe’s tales is compelled almost at the outset to surrender his mind to the author’s control…” (120).

Seventy-two writers were featured in the book; however, only five were women, including Margaret Fuller, who was treated with contempt, according to Bayless (121). Meanwhile, an eighth edition of The Poets and Poetry of America was issued, where he spoke well of Elizabeth Oakes Smith, Poe, and Ralph Waldo Emerson, revising previous statements he had printed in the seventh edition (127-128).

Margaret Fuller

In fall of 1847, he was involved in a controversy with the Reverend Joel T. Headley. Both men were working on books about Washington, causing stress between the rival editors. Griswold published Washington and the Generals of the Revolution under Carey and Hart; whereas, Headley published Washington and His Generals under Baker and Scribner (132). Headley swore revenge against Griswold; the controversy became public and continued for about a month (133). According to Bayless, Headley won the battle by calling Griswold, “such a liar that even his friends replied to his statements with the query, ‘Is that a Griswold or a fact'” (134).

Joel Headley

Headley was not the first person who would cause trouble for Griswold that year, however. During winter of 1847, Elizabeth Ellet, a well-known lady associated with the high circles of literary society, approached Griswold and proposed the idea of a book about American Revolutionary women. She inquired about being granted access to any information Griswold may have, to which he agreed. He gave her permission to enter his private library, of which she took full advantage. Once her book was published, Griswold was shocked to find she had neither thanked nor mentioned him. This was the first mark against her character (143-144). He avenged himself by including the following statement about her book in his own anthology, The Female Poets of America:

Her object was to illustrate the action and influence of her sex in the achievement of our national independence,….and with the assistance of a few gentlemen more familiar than herself with our public and domestic experience, she has made a valuable and interesting work (150-151).

Elizabeth Ellet

This insult was quickly replaced by the kind friendship of Frances Sargent Osgood, whom he greatly admired and said of her, “She is in all things the most admirable woman I ever knew” (144). The two grew close, discussed poetry and prose, attended salons together, and Frances wrote an acrostic for him:

For one, whose being is to mine a star,
Trembling I weave in lines of love and fun
What Fame before has echoed near and far.
A sonnet if you like–I’ll give you one
To be cross-questioned ere it’s truth is solv’d.
Here veiled and hidden in a rhyming wreath
A name is turned with mine in cunning sheath,
And unless by some marvel rare evolved,
Forever folded from all idler eyes
Silent and secret still it treasured lies,
Whilst mine goes winding onward, as a rill
Thro’ a deep wood in unseen joyance dances,
Calling in melody’s bewildering thrill
Whilst thro’ dim leaves its partner dreams and glances (World of Poe).

From top to bottom on the left, the poem spells out Frances Osgood’s name. From top to bottom on the right, the poem spells out Griswold’s name.

Poe’s death on October 7, 1849, affected Griswold deeply, leaving him with conflicting emotions, yet he took full advantage of the writer’s death, and endeavored to destroy Poe’s image. You can read about the controversy here.

During this time, his dearest friend, Fanny Osgood, passed away and he was busy working on her memorial along with Mary Hewitt, while also working on multiple gift books, including Gift Leaves from American Poets (Bayless 202-203).

In 1852, he took steps to divorce Charlotte Myers Griswold, due to his disinterest in her and increasing interest in the poetess, Alice Cary (213). Cary, deeply smitten with Griswold, had been communicating with him long distance through letters, until their first meeting in the summer of 1850. She ultimately left dejected as Griswold found another woman more suitable for a married life, Harriet McCrillis (215-218). According to Bayless, she was domestic, religious, loving, socially important, but most importantly, very wealthy (219). Unfortunately, complications ensued.

Meyers did not want to divorce Griswold. Not only was the divorce denied, but Ellet and Ann Stephens, an ex-coworker of his and enemy, stepped in to plead against McCrillis marrying Griswold, “…telling her that she could be congratulated upon her escape from an illegal marriage, and informing her that she could not expect to be happy with a man who was undecided as to whether he should marry her or another lady,” according to Bayless (220-221).

Finally, there was an ultimatum. Charlotte agreed to the divorce if she could take full custody of little Caroline. After the divorce was finalized, Griswold did not see Charlotte or Caroline ever again (222). He and Harriet married on December 26, 1852.

Once again, Ellet intervened, causing Harriet to leave with Griswold’s daughter, Emily. Unfortunately, the train the two took to go to her brother’s house was in an accident which sent all the cars plunging into the water below. Harriet was slightly injured; however, fifteen-year-old Emily had to be resuscitated back to life after being pronounced dead (224-225). Another accident followed soon after. In October of 1853, a gas fire occurred in Griswold’s house, and he was badly burned while saving a twelve-year-old child’s life (227).

Finally, abandoned by Harriet over the great scandal perpetrated by Ellet and Stephens, Griswold took a small room at 239 Fourth Avenue. In early 1857, he became ill, and Alice Cary returned to make his last days comfortable (252). He attempted to visit the parents he had not seen in many years; however, he was too ill to do so and returned to New York.

Alice Cary

He wrote to Harriet and requested to see her and their little son, William, one more time before he died. According to Bayless, “Harriet hastened to him and remained with him to the end. In the conversation the minister asked him if he had been a Christian. ‘Sir, I may not have been always a Christian, but I am very sure that I have been a gentleman,’ was the answer.” He passed away August 27, 1857.

In an empathetic anonymous obituary, the writer states,

That Rufus W. Griswold was a weak and ill-judging man, no one will deny. As a man, there was much in him to regret; but those who knew something of his last lonely years, his bed of solitary and uncheered suffering, will feel for him only pity, as one who was made to atone deeply for all the mistakes of his life. He left three children, and we much doubt if either of them were with him in his last moments (Emerson’s Magazine and Putnam’s Monthly).

Despite being Poe’s defamer, Griswold lived a varied and interesting life. He was an accomplished anthologist, publishing a great number of works, which you can view here. He was a father, a husband, and a loyal friend to many. Although his attacks on Poe were uncalled for, shameful and hurt Poe’s reputation, perhaps Griswold may also be remembered for his valuable achievements. Thanks to his support and aid, many nineteenth century writers and poets, who might not have been remembered, are remembered today.
You can view objects in the Poe Museum in Richmond by visiting the following links:


All the World’s a Stage for Bill Burton

“Burton not only lies, but deliberately and wilfully lies . . . Were I in your place I would take some summary method of dealing with the scoundrel, whose infamous line of conduct in regard to this whole premium scheme merits, and shall receive exposure.”-Poe to Joseph Snodgrass, June 17, 1840

Many may be familiar with the fact that Poe worked for multiple editors during the 1830s-1840s, including Burton’s Gentleman’s Magazine; however, many may not know that Burton, Poe’s eccentric, conniving manager was a comedic-thespian during his day before becoming owner of his magazine, which would only run for about four years.

So, how did this actor-turned-magazine enthusiast become manager of his own magazine, and why did he and Poe have a strained relationship?

From EAPoe

William E. Burton came to Philadelphia from London in 1834, according to William L. Keese in William E. Burton, and first appeared in September of that year at the Arch Street Theater (4). This was not his first time acting, however, for he, according to his private journal obtained by Keese, wrote while in England, “‘July 19, 1825. Opened at the theater in Southern to only 50 shillings. In Ollapod, eighth time, in the ‘Hunter of the Alps.’ I sang the comic song of ‘Gaby Grundy’s Courtship'” (46). Therefore, he had already made his footing in theater. In fact, his first performance in Philadelphia was as Ollapod (46).

From William E. Burton by Keese

After establishing himself in his new home, he contributed to periodicals with articles that were “sketches of life and character made lively by touches of humor, and not infrequently a story would appear of graver import, often rendered somber by the introduction of a weird element” (5). He later published his own collection of pieces, “Waggeries and Vagaries.” His establishment in the literary and publishing field may have inspired him to start his own magazine, known as The Gentleman’s Magazine, in 1837-this would become known to Poe as Burton’s Gentleman’s Magazine. Burton included his own articles in the magazine, including a notable sketch of his friend, Wallack (6).

Keese explains that Poe was associated with Burton in the conduct of a magazine about this time, however, “though Burton was disposed to be indulgent and friendly towards his associate, the comedian and the poet did not pull well together, and the relationship was severed” (9). This is when the magazine was sold to George Rex Graham, Poe’s future employer at Graham’s Magazine.

In Joseph Jefferson’s autobiography, he states, “Burton’s ambition to succeed in the various tasks he had set himself was strongly fortified by his quick apprehension and great versatility. He was at the same time managing the Arch Street Theater in Philadelphia, the Chambers Street Theater in New-York, acting nightly, and studying new characters as fast as they came out. In addition to these professional duties, he was building a country residence at Glen Cove, writing stories for the magazines, and taking prizes at the horticultural shows for hot-house grapes and flowers” (10). Not only was Burton interested in the theater and writing, but also horticulture, and, later stated, books-he carried with him to New York a library of over twelve-thousand volumes, which then grew to twenty-thousand before his death in 1860 (11).

We have established Burton’s acting career and its launch, as well as mentioned the magazine he managed and hired Poe under. Poe had already worked for the Southern Literary Messenger in his hometown of Richmond, so he had already begun forming and practicing excellent, albeit biased and sometimes very harsh editorship skills. But how did Poe come to know Burton, and why did they have that falling out previously mentioned?

From William E. Burton by Keese

Burton seemed as amiable of a boss as Poe could have had, although Burton’s daughters later recalled that their father “loved his children, but at all times demanded strict obedience…” (20). This implies a rough edge to Burton’s facade of being a comedic, genial gentleman. Would Poe have also had these strict holds on him while working under Burton?

Poe’s works were initially rejected by Burton. However, if we look at some of the material written by Poe published just a few months after being hired, including “The Fall of the House of Usher,” we can infer that Poe’s restrictions were gradually lifted. What appears to be very significant in the publishing of a story like “Usher” is that it was horrific, different, and potentially scarring to Burton’s readers. Burton was taking a risk for his magazine, just as White’s Southern Literary Messenger had done with Poe’s stories. The fact that these stories were being published, if even briefly for Burton’s, seems relatively positive in light of their relationship.

That Poe was an excellent editor wasn’t a question to Burton, who wrote in an announcement of the June, 1839 issue, “William E. Burton, Editor and Proprietor, has much pleasure in stating that he has made arrangements with Edgar A. Poe, Esq., late Editor of the Southern Literary Messenger, to devote his abilities and experience to a portion of the Editorial duties of the Gentleman’s Magazine” (EAPoe). Burton had full confidence in his new editor.

From William E. Burton by Keese

Not only might they have gotten along as colleagues, but also as acquaintances, for Poe might have found common ground with Burton in the fact that Burton was a thespian, just like Poe’s biological parents. With Poe’s appreciation for theater, as well as literature, one might surmise that Burton and Poe would have had well-mannered conversations regarding these subjects.

Unfortunately, these weren’t enough for the proprietor and his assistant’s relationship, and their ultimate falling out occurred. In Edgar Allan Poe: A Critical Biography, Arthur Hobson Quinn explains that Poe wrote all of the reviews between the July and August issues, which were Burton’s responsibility (283). He follows this up with another statement, “Burton began to feature his own name on the front wrappers with larger display type. Yet Poe was acting as Editor during Burton’s absences on the road” (293). Finally, a letter by Charles W. Alexander on October 20, 1850, reminisces,

…I well remember his [Poe’s] connection with the “Gentleman’s Magazine,” of which Mr. Burton was editor, and myself the publisher, at the period referred to in connection with Mr. Poe.
The absence of the principal editor on professional duties left the matter frequently in the hands of Mr. Poe, whose unfortunate failing may have occasioned some disappointment in the preparation of a particular article expected from him, but never interfering with the regular publication of the “Gentleman’s Magazine,” as its monthly issue was never interrupted upon any occasion, either from Mr. Poe’s deficiency, or from any other cause, during my publication of it, embracing the whole time of Mr. Poe’s connection with it. That Mr. Poe had faults seriously detrimental to his own interests, none, of course, will deny. They were unfortunately, too well known in the literary circles of Philadelphia, were there any disposition to conceal them. But he alone was the sufferer, and not those who received the benefit of his pre-eminent talents, however irregular his habits or uncertain his contributions may have occasionally have been

With a fair perspective from a bystander, may we approach more of the happenstance between Burton and Poe. Although a supposed letter from Burton to Poe, to which Poe responded to, is lost, Poe responds to said “ghost” letter with the following,

Sir,-I find myself at leisure this Monday morning, June 1, to notice your very singular letter of Sunday, and you shall now hear what I have to say. In the first place, your attempts to bully me excite in my mind scarcely any other sentiment than mirth. When you address me again, preserve, if you can, the dignity of a gentleman. If by accident you have taken it into your head that I am to be insulted with impunity I can only assume that you are an ass. This one point being distinctly understood I shall feel myself more at liberty to be explicit. As for the rest, you do me gross injustice; and you know it (297-298).

He goes on to chastise Burton for making him write 11 pages per month on average, not the supposed 2 or 3 that were, apparently, asked of Poe in the beginning (299). He then continues,

At first I wrote long articles which you deemed inadmissible, [sic] & never did I suggest any to which you had not some immediate and decided objection. Of course I grew discouraged & could feel no interest in the Journal. I am at a loss to know why you call me selfish. If you mean that I borrowed money of you-you know that you offered it-and you know that I am poor. In what instance has any one ever found me selfish…You first “enforced,” as you say, a deduction of salary…You next spoke disrespectfully of me behind my back…Lastly, you advertised your magazine for sale without saying a word to me about it. I felt no anger at what you did-none in the world (299-300). [Note: Quinn states that this letter may have been a rough draft copy of the one sent to Burton; however, Mrs. Richmond, when enclosing the letter to biographer John Ingram, explained that it was “a perfect copy…precisely like the original” (300).]

Amidst all of this, the rumor of Burton’s getting rid of the magazine to attend to his own prospective theater had gotten to Poe, as well as come true, for Burton’s theatrical project premiered in the opening of the National Theater on Chestnut Street on August 31, 1840. Because of this, any sort of break between the two was inevitable. As for Burton’s managerial skills, and describing the sort of treatment Poe underwent, Francis C. Wemyss, manager of the Walnut Street Theater, states of Burton, “As an actor, Mr. W. E. Burton has no superior on the American Stage-but as a manager, his faults are, first, want of nerve to fight a losing battle; in success he is a great general, but in any sudden reverse, his first thought is not to maintain his position, but to retreat” (301).

Palmo's Opera-House-Afterwards, Burton's Theatre

In the end, Burton’s magazine was sold to Graham, Poe was, for the most part, transferred, and the name William E. Burton left a sour taste in Poe’s mouth. Not only did Poe confide in Snodgrass that he was convinced that it was never Burton’s intention to stay true to the initial offer he had given Poe before taking the job, but in an April 1, 1841 letter to Snodgrass as well, he implied that Burton had spread rumors regarding Poe’s drinking habits (301-303). (Don’t let the date it was written fool you, for Poe was not in the least joking in this letter.)

But who ultimately won in the end? One could argue that Burton won, for he sought his theatrical pursuits free of debt and any nightmarish effects Poe and Burton’s Gentleman’s Magazine may have had on him. As for Poe, he continued working only for nine more years thereafter, consistently impoverished, getting into literary and editorial brawls with writers such as Longfellow and editors such as Griswold, and riding a rollercoaster of slight gain and immense loss.

Ultimately, when the two parted, Burton returned to playing his characters, where as Poe continued writing his own.