The Works of Edgar Allan Poe — Volume 1

By Edgar Allan Poe

Page 126

call your attention to three points.
The voice is termed by one witness 'harsh rather than shrill.' It
is represented by two others to have been 'quick and _unequal._' No
words--no sounds resembling words--were by any witness mentioned as

"I know not," continued Dupin, "what impression I may have made, so
far, upon your own understanding; but I do not hesitate to say that
legitimate deductions even from this portion of the testimony--the
portion respecting the gruff and shrill voices--are in themselves
sufficient to engender a suspicion which should give direction to all
farther progress in the investigation of the mystery. I said 'legitimate
deductions;' but my meaning is not thus fully expressed. I designed
to imply that the deductions are the _sole_ proper ones, and that the
suspicion arises _inevitably_ from them as the single result. What the
suspicion is, however, I will not say just yet. I merely wish you to
bear in mind that, with myself, it was sufficiently forcible to give a
definite form--a certain tendency--to my inquiries in the chamber.

"Let us now transport ourselves, in fancy, to this chamber. What shall
we first seek here? The means of egress employed by the murderers. It is
not too much to say that neither of us believe in præternatural events.
Madame and Mademoiselle L'Espanaye were not destroyed by spirits. The
doers of the deed were material, and escaped materially. Then how?
Fortunately, there is but one mode of reasoning upon the point, and that
mode _must_ lead us to a definite decision.--Let us examine, each by
each, the possible means of egress. It is clear that the assassins were
in the room where Mademoiselle L'Espanaye was found, or at least in the
room adjoining, when the party ascended the stairs. It is then only from
these two apartments that we have to seek issues. The police have laid
bare the floors, the ceilings, and the masonry of the walls, in every
direction. No _secret_ issues could have escaped their vigilance. But,
not trusting to _their_ eyes, I examined with my own. There were, then,
no secret issues. Both doors leading from the rooms into the passage
were securely locked, with the keys inside. Let us turn to the chimneys.
These, although of ordinary width for some eight or ten feet above the
hearths, will not admit, throughout their extent, the body of a large
cat. The impossibility of egress, by means already stated, being thus
absolute, we are reduced to the windows. Through those of the front room
no one could have escaped without notice from the crowd in the street.
The murderers

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Text Comparison with The Raven and The Philosophy of Composition

Page 0
Perrett The Decorations by Will Jenkins [Illustration] Paul Elder and Company San Francisco and New York Contents Foreword .
Page 1
If they be again correct, Poe’s genius as seen in the creation of “The Philosophy of Composition” is far more startling than it has otherwise appeared; and “robbed of his bay leaves in the realm of poetry,” he is to be “crowned with a double wreath of berried holly for his prose.
Page 2
Dickens’ idea—but the author of “Caleb Williams” was too good an artist not to perceive the advantage derivable from at least a somewhat similar process.
Page 3
We commence, then, with this intention.
Page 4
It is, in fact, a hundred and eight.
Page 5
which is experienced in consequence of contemplating “the beautiful.
Page 6
That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt; and these considerations inevitably led me to the long “o” as the most sonorous vowel, in connection with “r” as the most producible consonant.
Page 7
Perceiving the opportunity thus afforded me—or, more strictly, thus forced upon me in the progress of the construction—I first established in mind the climax, or concluding query—that query to which “Nevermore” should be in the last place an answer—that in reply to which this word “Nevermore” should involve.
Page 8
Admitting that there is little possibility of variety in mere rhythm, it is still clear that the possible varieties of meter and stanza are absolutely infinite—and yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing.
Page 9
The room is represented as richly furnished—this, in mere pursuance of the ideas I have already explained on the subject of beauty as the sole true poetical thesis.
Page 10
He comes in “with many a flirt and flutter.
Page 11
The under-current of meaning is rendered first apparent in the lines: “Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven, “Nevermore.
Page 12
“’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.
Page 13
” [Illustration] But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour.
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” .
Page 15
The punctuation for some lines in The Raven differs from other published versions, i.