The Works of Edgar Allan Poe — Volume 1

By Edgar Allan Poe

Page 120

was a four story
one, with garrets (_mansardes._) A trap-door on the roof was nailed down
very securely--did not appear to have been opened for years. The
time elapsing between the hearing of the voices in contention and the
breaking open of the room door, was variously stated by the witnesses.
Some made it as short as three minutes--some as long as five. The door
was opened with difficulty.

"_Alfonzo Garcio_, undertaker, deposes that he resides in the Rue
Morgue. Is a native of Spain. Was one of the party who entered the
house. Did not proceed up stairs. Is nervous, and was apprehensive of
the consequences of agitation. Heard the voices in contention. The gruff
voice was that of a Frenchman. Could not distinguish what was said.
The shrill voice was that of an Englishman--is sure of this. Does not
understand the English language, but judges by the intonation.

"_Alberto Montani_, confectioner, deposes that he was among the first
to ascend the stairs. Heard the voices in question. The gruff voice was
that of a Frenchman. Distinguished several words. The speaker appeared
to be expostulating. Could not make out the words of the shrill voice.
Spoke quick and unevenly. Thinks it the voice of a Russian. Corroborates
the general testimony. Is an Italian. Never conversed with a native of

"Several witnesses, recalled, here testified that the chimneys of all
the rooms on the fourth story were too narrow to admit the passage of a
human being. By 'sweeps' were meant cylindrical sweeping brushes, such
as are employed by those who clean chimneys. These brushes were passed
up and down every flue in the house. There is no back passage by which
any one could have descended while the party proceeded up stairs. The
body of Mademoiselle L'Espanaye was so firmly wedged in the chimney that
it could not be got down until four or five of the party united their

"_Paul Dumas_, physician, deposes that he was called to view the
bodies about day-break. They were both then lying on the sacking of the
bedstead in the chamber where Mademoiselle L. was found. The corpse of
the young lady was much bruised and excoriated. The fact that it
had been thrust up the chimney would sufficiently account for these
appearances. The throat was greatly chafed. There were several deep
scratches just below the chin, together with a series of livid spots
which were evidently the impression of fingers. The face was fearfully
discolored, and the eye-balls protruded. The tongue had been partially
bitten through. A large bruise was discovered upon the pit of the
stomach, produced, apparently,

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Text Comparison with The Raven and The Philosophy of Composition

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Perrett The Decorations by Will Jenkins [Illustration] Paul Elder and Company San Francisco and New York Contents Foreword .
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The Philosophy of Composition The Raven ------------------------------------------------------------------------ Foreword The initial intention of the publishers to present “The Raven” without preface, notes, or other extraneous matter that might detract from an undivided appreciation of the poem, has been somewhat modified by the introduction of Poe’s prose essay, “The Philosophy of Composition.
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I have often thought how interesting a magazine paper might be written by any author who would—that is to say who could—detail, step by step, the processes by which any one of his compositions attained its ultimate point of completion.
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In general, suggestions, having arisen pell-mell, are pursued and forgotten in a similar manner.
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It is, in fact, a hundred and eight.
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Melancholy is thus the most legitimate of all the poetical tones.
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In proportion to the brevity of the sentence, would, of course, be the facility of the variation.
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Now, never losing sight of the object supremeness, or perfection, at all points, I asked myself—“Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy?” Death—was the obvious reply.
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My first object (as usual) was originality.
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About the middle of the poem, also, I have availed myself of the force of contrast, with a view of.
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From this epoch the lover no longer jests—no longer sees anything even of the fantastic in the Raven’s demeanour.
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But in subjects so handled, however skilfully, or with however vivid an array of incident, there is always a certain hardness or nakedness which repels the artistical eye.
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seek a moral in all that has been previously narrated.
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_] [Illustration] Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore.
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_] [Illustration] This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! [Illustration] Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor.
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Retained anachronistic and non-standard spellings as printed.