Poe Forward's POE FUNERAL Commemoration 1999

To commemorate the 150th anniversary of the Death of Edgar Allan Poe (1809-1849) Poe Forward presented POE FUNERAL at the Midnight Special Bookstore in Santa Monica on Halloween 1999. The FUNERAL DIRECTOR was Brian Aldrich and the FUNERAL PRODUCER was David Delgado. The audience was SRO. The full program listing is on our website at www.poeforward.com. This is the funeral Poe never had.

Richard Heft Recites Edgar Allan Poe's "Ulalume"

Richard Heft recites Edgar Allan Poe's "Ulalume" at POE FUNERAL.

PoeForward.com presented POE FUNERAL on October 31, 1999 at the Midnight Special Bookstore in Santa Monica, California.
(C)1999/2011 Brian Aldrich

Deathday: Elizabeth Short, the BLACK DAHLIA

Elizabeth Short (July 29, 1924 – ca. January 15, 1947) was an American woman who was the victim of a gruesome and much-publicized murder. She acquired the nickname Black Dahlia after moving to California. Short was found mutilated, her body severed, on January 15, 1947 in Leimert Park, Los Angeles, California. The murder, which remains unsolved, has been the source of widespread speculation as well as several books and film adaptations.

Early life

Elizabeth Short was born in the Hyde Park neighborhood of Boston, Massachusetts, as the third of five daughters to Cleo Short and Phoebe Mae. Her father built miniature golf courses until the 1929 stock market crash in which he lost much of the family's assets. In 1930, he parked his car on a bridge and vanished,[1] leading some to believe he had committed suicide. Later Short discovered that her father was alive and was living in California. Her mother, Phoebe Mae, moved the family to a small apartment in Medford and found work as a bookkeeper.

Troubled by asthma and bronchitis, Elizabeth was sent to live in Florida for the winter at the age of 16, and spent the following three years living there during the cold months and in Medford the rest of the year. At the age of 19, she went to Vallejo, California, to live with her father, who was working at Mare Island Naval Shipyard. The two moved to Los Angeles in early 1943, however an altercation resulted in her leaving and being employed at a post exchange at Camp Cooke (now Vandenberg Air Force Base), near Lompoc, California. She then moved to Santa Barbara, where she was arrested on September 23, 1943, for underage drinking and was sent back to Medford by juvenile authorities. During the following three years, she lived in Florida, with occasional visits back to Massachusetts.

In Florida, Short met Major Matthew Michael Gordon Jr., part of the 2nd Air Commandos and training for deployment in the China Burma India theater of operations. Short told friends that Gordon wrote a letter from India proposing marriage while recovering from an airplane crash he was in while trying to rescue a downed flier. According to Gordon's obituary in the Pueblo, Colorado newspaper, he was awarded a Silver Star, Distinguished Flying Cross, Bronze Star, the Air Medal with 15 oak leaf clusters, and Purple Heart during his service. She accepted his proposal, however he died in an airplane crash on August 10, 1945, before he could return to the United States. She later exaggerated this story, saying that they were married and had a child who died. Although Gordon's friends in the air commandos confirmed that Gordon and Short were engaged, his family denied any connection after Short's murder.

Elizabeth Short returned to Los Angeles in July 1946 to visit an old boyfriend she met in Florida during the war, Lt. Gordon Fickling, who was stationed in Long Beach. For the six months prior to her death, she remained in Southern California, mainly in the Los Angeles area. During this time, she lived in several hotels, apartment buildings, rooming houses, and private homes, never staying anywhere for more than two weeks.

 

Murder and aftermath

The body of Elizabeth Short was found on January 15, 1947, in a vacant lot in Leimert Park, Los Angeles, severely mutilated, cut in two, and drained of blood. Her face was slashed from the corners of her mouth toward her ears, and she was posed with her hands over her head and her elbows bent at right angles.[1] The autopsy indicated she was 5′ 5″ and 115 pounds, with badly decayed teeth, light blue eyes and brown hair.[2]

 

Short was buried at the Mountain View Cemetery in Oakland, California. After her other sisters had grown and married, her mother moved to Oakland to be near her daughter's grave. Her mother finally returned to the East in the 1970s, and lived into her 90s.[1]

Rumors and popular misconceptions

According to newspaper reports shortly after the murder, Elizabeth Short received the nickname "Black Dahlia" at a Long Beach drugstore in the summer of 1946, as a word play on the then-current movie The Blue Dahlia. However, Los Angeles County district attorney investigators' reports state the nickname was invented by newspaper reporters covering the murder. Los Angeles Herald-Express reporter Bevo Means, who interviewed Short's acquaintances at the drug store, is credited with first using the "Black Dahlia" name.

A number of people, none of whom knew Short, contacted police and the newspapers, claiming to have seen her during her so-called "missing week" between the time of her disappearance January 9 and the time her body was found on January 15. Police and district attorney investigators ruled out each of these alleged sightings, sometimes identifying other women that witnesses had mistaken for Short.[3]

Many "true crime" books claim that Short lived in or visited Los Angeles at various times in the mid-1940s; these claims have never been substantiated, and are refuted by the findings of law enforcement officers who investigated the case. A document in the Los Angeles County district attorney's files titled "Movements of Elizabeth Short Prior to June 1, 1946" states that Short was in Florida and Massachusetts from September 1943 through the early months of 1946, and gives a detailed account of her living and working arrangements during this period.

Although popular belief as well as many true crime books portrayed Short as a call girl, a report by the district attorney's grand jury states there is no existing evidence that she was ever a prostitute.

Another widely circulated rumor holds that Short was unable to have sexual intercourse because of some genetic defect that left her with "infantile genitalia." Los Angeles County district attorney's files state the investigators had questioned three men with whom Short had sex,[4] including a Chicago police officer who was a suspect in the case.[5] The FBI files on the case also contain a statement from one of Short's alleged lovers. According to the Los Angeles Police Department's summary of the case, in the district attorney's files, the autopsy describes Short's reproductive organs as anatomically normal. The autopsy also states that Short was not and had never been pregnant, contrary to what is sometimes claimed.[4]

The D.A.'s files contain the following:

Doctor Schwartz last stated that he studied surgery and that victim was on the make for him but that she was the patient of Doctor Arthur McGinnis Faught who was treating victim for trouble with her bartholin gland and that he wanted nothing to do with her. He stated that the bartholin gland was the lubricating gland in the vagina and that Doctor Faught had lanced it on several occasions and it could account for the fact that she had not been having intercourse with men.[6]

Suspects

The Black Dahlia murder investigation by the LAPD was the largest since the murder of Marion Parker in 1927, and involved hundreds of officers borrowed from other law enforcement agencies. Because of the complexity of the case, the original investigators treated every person who knew Short as a suspect who had to be eliminated. Hundreds of people were considered suspects and thousands were interviewed by police. Sensational and sometimes inaccurate press coverage, as well as the nature of the crime, focused intense public attention on the case. About 60 people confessed to the murder, mostly men, as well as a few women. As the case continues to command public attention, many more people have been proposed as Short's killer.

Possible related murders

Some crime authors have speculated on a link between the Short murder and the Cleveland Torso Murders, also known as the Kingsbury Run Murders, which took place in Cleveland between 1934 and 1938.[7] The original LAPD investigators examined this case in 1947 and discounted any relationship between the two, as they did with a large number of killings that occurred before and afterward, well into the 1950s.

Other crime authors, such as blackdahliasolution.org and Steve Hodel, have suggested a link between the Short murder and the 1946 murder and dismemberment of six-year-old Suzanne Degnan in Chicago. These authors cite the fact that Elizabeth Short's body was found on Norton Avenue, three blocks west of Degnan Boulevard, the last name of the girl from Chicago. William Heirens is currently serving time for Degnan's murder. He was 17 when police arrested him for breaking into a residence close to that of Suzanne Degnan. However, he claims he was tortured by police, forced to confess, and has been merely blamed for the murder.

Books, films, and other media

Adaptations

A 1975 TV movie about the case, Who Is the Black Dahlia by Robert Lenski and starring Lucie Arnaz, is a highly fictionalized version of the murder. Many details were changed because several people, including Short's mother and Red Manley, who brought Short from San Diego to Los Angeles, refused to sign releases for the studio.

Take 2 Interactive published the computer game, Black Dahlia, in 1998. The puzzle-based adventure game tied Elizabeth Short's murder to Nazis and occult rituals which the player had to investigate. The game features Dennis Hopper, whose son-in-law was one of the company's owners, and Teri Garr. It also ties the murder to the infamous Cleveland Torso Murderer, though the torso murders' case was altered to fit into the storyline.

A film by Brian De Palma, The Black Dahlia, based on the James Ellroy novel described below, stars Josh Hartnett, Aaron Eckhart, Scarlett Johansson, Hilary Swank, Rose McGowan and Mia Kirshner as Elizabeth Short, and was released in September 2006.

Selected references in other media

Literature

The Joyce Carol Oates novel Blonde, a fictional biography of Marilyn Monroe, has a recurring character named Elizabeth Short. In the book it is implied that a studio mogul raped Short, and later there is a small reference to Short being killed.

John Gregory Dunne used the murder as a point of departure in his 1977 novel True Confessions, which was made into the 1981 film of the same name starring Robert Duvall and Robert De Niro with a screenplay by Dunne and his wife, Joan Didion.

Neo-noir author James Ellroy based his 1987 book, The Black Dahlia on the crime.

Max Allan Collins combined the Black Dahlia and Cleveland Torso Murder in his Shamus Award-winning 2002 novel, Angel in Black, featuring his character, private investigator Nathan Heller.

William Randolph Fowler, a reporter at the scene of the crime, included the Black Dahlia case in his 1991 autobiography, Reporters: Memoirs of a Young Newspaperman.

The book Exquisite Corpse: Surrealism And The Black Dahlia Murder compares the Black Dahlia murder to surrealist art.

Lynda La Plante's novel The Red Dahlia details a fictional story about a modern-day killer who is copying the Black Dahlia case.

In Jack Webb's novel, The Badge, an entire section is devoted to the case of the Black Dahlia.

Television and film

The case inspired the 1953 noir film The Blue Gardenia, including a title song sung by Nat King Cole.

In the thirteenth episode of season 4 of the television series Hunter, Sgt. Rick Hunter (Fred Dryer) investigates the case of The Black Dahlia.

References

1.^ Harnisch, Larry. "A Slaying Cloaked in Mystery and Myths." Los Angeles Times. January 6, 1997.
2.^ Coroner's Inquest Transcript, January 22, 1947.
3.^ Excerpts From Grand Jury Summary BlackDahlia.info. Access date: 4 November 2007.
4.^ Fact Versus Fiction BlackDahlia.info.
5.^ District Attorney Suspects BlackDahlia.info.
6.^ Black Dahlia - News 2
7.^ The Cleveland Torso Murders aka Kingsbury Run Murders - Eliot Ness Case - Crime Library on truTV.com

Further reading

Daniel, Jacque (2004). The Curse of the Black Dahlia. Los Angeles: Digital Data Werks. ISBN 0-9651604-2-4.
Fowler, Will (1991). Reporters: Memoirs of a Young Newspaperman. Minneapolis: Roundtable Publishing. ISBN 0-915677-61-X.
Gilmore, John (2006) [1994]. Severed: The True Story of the Black Dahlia. Los Angeles: Amok Books. ISBN 1-878923-17-X.
Hodel, Steve (2003). Black Dahlia Avenger: A Genius for Murder. New York: Arcade Publishing. ISBN 1-55970-664-3.
Knowlton, Janice; Newton, Michael (1995). Daddy Was the Black Dahlia Killer: The Identity of America's Most Notorious Serial Murderer – Revealed at Last. New York: Pocket Books. ISBN 0-671-88084-5.
Nelson, Mark; Sarah Hudson Bayliss (2006). Exquisite Corpse: Surrealism and the Black Dahlia Murder. New York: Bulfinch Press. ISBN ISBN 0-8212-5819-2.
Pacios, Mary (1999). Childhood Shadows: The Hidden Story of the Black Dahlia Murder. Bloomington, IN: Authorhouse. ISBN 1-58500-484-7.
Rasmussen, William T. (2005). Corroborating Evidence: The Black Dahlia Murder. Santa Fe, NM: Sunstone Press. ISBN 0-86534-536-8.
Richardson, James (1954). For the Life of Me: Memoirs of a City Editor. New York: G.P. Putnam's Sons. (ISBN unavailable).
Smith, Jack (1981). Jack Smith's L.A. New York: Pinnacle Books. ISBN 0-523-41493-5.
Underwood, Agness (1949). Newspaperwoman. New York: Harper and Brothers. (ISBN unavailable).
Wagner, Rob Leicester (2000). Red Ink, White Lies: The Rise and Fall of Los Angeles Newspapers, 1920-1962. Upland, Calif.: Dragonflyer Press. (ISBN ISBN 0-944933-80-7).
Webb, Jack (1958). The Badge: The Inside Story of One of America's Great Police Departments. Upper Saddle River, NJ: Prentice-Hall. ISBN 0-09-949973-8.
Wolfe, Donald H. (2005). The Black Dahlia Files: The Mob, the Mogul, and the Murder That Transfixed Los Angeles. New York: ReganBooks. ISBN 0-06-058249-9.

-- wiki

10th Anniversary of Poe Funeral

"The Raven"

THE RAVEN

Edgar Allan Poe

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore —
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
" ’Tis some visiter," I muttered, "tapping at my chamber door —
Only this and nothing more."

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow ; — vainly I had sought to borrow
From my books surcease of sorrow — sorrow for the lost Lenore —
For the rare and radiant maiden whom the angels name Lenore —
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me — filled me with fantastic terrors never felt before ;
So that now, to still the beating of my heart, I stood repeating
" ’Tis some visiter entreating entrance at my chamber door —
Some late visiter entreating entrance at my chamber door ;
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore ;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you" — here I opened wide the door ; ——
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, "Lenore !"
This I whispered, and an echo murmured back the word, "Lenore !" —
Merely this, and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon I heard again a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice ;
Let me see, then, what thereat is, and this mystery explore —
Let my heart be still a moment and this mystery explore;—
"Tis the wind and nothing more !"

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 ;
Not the least obeisance made he; not an instant stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door —
Perched upon a bust of Pallas just above my chamber door —
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient raven wandering from the Nightly shore —
Tell me what thy lordly name is on the Night’s Plutonian shore !"
Quoth the Raven "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning — little relevancy bore ;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door —
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

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.
Nothing farther then he uttered — not a feather then he fluttered —
Till I scarcely more than muttered "Other friends have flown before —
On the morrow he will leave me, as my hopes have flown before."
Then the bird said "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore —
Till the dirges of his Hope that melancholy burden bore
Of "Never — nevermore."

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore —
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
Meant in croaking "Nevermore."

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 lamplght gloated o’er,
But whose velvet violet lining with the lamplight gloating o’er,
She shall press, ah, nevermore !

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Angels whose faint foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee —
by these angels he hath sent thee
Respite — respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore !"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil! — prophet still, if bird or devil! —
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted —
On this home by Horror haunted — tell me truly, I implore —
Is there — is there balm in Gilead ? — tell me — tell me, I implore !"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil — prophet still, if bird or devil !
By that Heaven that bends above us — by that God we both adore —
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore —
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting —
"Get thee back into the tempest and the Night’s Plutonian shore !
Leave no black plume as a token of that lie thy soul hath spoken !
Leave my loneliness unbroken! — quit the bust above my door !
Take thy beak from out my heart, and take thy form from off my door !"
Quoth the Raven, "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming,
And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted — nevermore !

Poe Funeral - Part Twelve

Sarah Helen Whitman's Defense

SARAH HELEN WHITMAN’S DEFENSE

Dr. Griswold’s Memoir of Edgar Poe has been extensively read and circulated. Its perverted facts and baseless assumptions have been adopted into every subsequent memoir and notice of the poet, and have been translated into many languages. For ten years this great wrong to the dead has passed unchallenged and unrebuked.

It is not our purpose to present specially to review Dr. Griswold’s numerous misrepresentations, and misstatements. Some of the more injurious of these anecdotes were disproved, during the life of Dr. Griswold, in the New York Tribune, and other leading journals, without eliciting from him any public statement in explanation or apology.

We have the authority for stating that many of the disgraceful anecdotes, so industriously collected by Dr. Griswold, are utterly fabulous, while others are perversions of the truth, more injurious in their effects than unmitigated fiction.

We propose simply to point out some unformed critical estimates which have obtained currency among readers who have had but a partial acquaintance with Mr. Poe’s more imaginative writings, and to record our own impressions of the character and genius of the poet, as derived from personal observation and from the testimony of those who knew him.

The peculiar character of Poe’s intellect seemed without a prototype in literature. He had more than De Quincey’s power of analysis, with a constructive unity and completeness of which the great English essayist has given no indication. His pre-eminence in constructive and analytical skill was beginning to be universally admitted, and the fame and prestige of his genius were rapidly increasing.

A recent and not too lenient critic tells us that "it was his sensitiveness to artistic imperfections, rather than any malignity of feeling, that made his criticisms so severe, and procured him a host of enemies among persons towards whom he entertained no personal ill-will."

It is not to be questioned that Poe was a consummate master of language, that he had sounded all the secrets of rhythm, that he understood and availed himself of all its resources. Yet this consummate art was in him united with a rare simplicity. He was the most genuine of enthusiasts. His genius would follow no leadings but those of his own imperial intellect. With all his vast mental resources he could never write an occasional poem, or adapt himself to the taste of a popular audience. His graver narratives and fantasies are often related with an earnest simplicity, solemnity, and apparent fidelity, attributable, not so much to a deliberate artistic purpose, as to that power of vivid and intense conception that made his dreams realities, and his life a dream.

His works are, as if unconsciously, filled with an overwhelming sense of the power and majesty of Deity. They are even dark with reverential awe. His proud intellectual assumption of the supremacy of the individual soul was but an expression of its imperious longings for immortality and its recoil from the haunting phantasms of death and annihilation. The theme of all his more imaginative writings is, as we have said, a love that survives the dissolution of the mortal body and oversweeps the grave. His mental and temperamental idiosyncrasies fitted him to come readily into rapport with psychic and spiritual influences. Many of his strange narratives had a degree of truth in them which he was unwilling to avow. In one of his stories, he makes the narrator say, "I cannot even now regard these experiences as a dream, yet it is difficult to say how otherwise they should be termed. Let us suppose only that the soul of man, today, is on the brink of stupendous psychic discoveries."

Having recorded our earnest protest against the misapprehension of his critics and the misstatements of his biographists, we leave the subject for the present, in the belief that a more impartial memoir of the poet will yet be given to the world, and the story of his sad strange life, when contemplated from a new point of view, will be found to present, at least, a silver lining.

Sarah Helen Whitman,
Providence poet and former fiancée of Poe.

Poe Funeral - Part Eleven

Poe Funeral - Part Ten B

"The Cask of Amontillado"

THE CASK OF AMONTILLADO

Edgar A. Poe

THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my to smile now was at the thought of his immolation.

He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit.

For the most part their enthusiasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."

"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"

"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."

"Amontillado!"

"I have my doubts."

"Amontillado!"

"And I must satisfy them."

"Amontillado!"

"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"

"Luchresi cannot tell Amontillado from Sherry."

"And yet some fools will have it that his taste is a match for your own.

"Come, let us go."

"Whither?"

"To your vaults."

"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"

"I have no engagement; --come."

"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre."

"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."

Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.

I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.

"The pipe," he said.

"It is farther on," said I; "but observe the white web-work which gleams from these cavern walls."

He turned towards me, and looked into my eves with two filmy orbs that distilled the rheum of intoxication.

"Nitre?" he asked, at length.

"Nitre," I replied. "How long have you had that cough?"

"Ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!"

My poor friend found it impossible to reply for many minutes.

"It is nothing," he said, at last.

"Come," I said, with decision, "we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi --"

"Enough," he said; "the cough's a mere nothing; it will not kill me. I shall not die of a cough."

"True --true," I replied; "and, indeed, I had no intention of alarming you unnecessarily --but you should use all proper caution. A draught of this Medoc will defend us from the damps. Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

"Drink," I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

"I drink," he said, "to the buried that repose around us."

"And I to your long life."

He again took my arm, and we proceeded.

"These vaults," he said, "are extensive."

"The Montresors," I replied, "were a great and numerous family."

"I forget your arms."

"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel."

"And the motto?"

"Nemo me impune lacessit."

"Good!" he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

"The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are below the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough --"

"It is nothing," he said; "let us go on. But first, another draught of the Medoc."

I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.

I looked at him in surprise. He repeated the movement --a grotesque one.

"You do not comprehend?" he said.

"Not I," I replied.

"Then you are not of the brotherhood."

"How?"

"You are not of the masons."

"Yes, yes," I said; "yes, yes."

"You? Impossible! A mason?"

"A mason," I replied.

"A sign," he said, "a sign."

"It is this," I answered, producing from beneath the folds of my roquelaire a trowel.

"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado."

"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. We continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris.

Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see.

"Proceed," I said; "herein is the Amontillado. As for Luchresi --"

"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In niche, and finding an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess.

"Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed, it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power."

"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.

"True," I replied; "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man.

There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones.

When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still. It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato. The voice said--

"Ha! ha! ha! --he! he! he! --a very good joke, indeed --an excellent jest. We will have many a rich laugh about it at the palazzo --he! he! he! --over our wine --he! he! he!"

"The Amontillado!" I said.

"He! he! he! --he! he! he! --yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."

"Yes," I said, "let us be gone."

"For the love of God, Montresor!"

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud --

"Fortunato!"

No answer. I called again --

"Fortunato!"

No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones.

For the half of a century no mortal has disturbed them.

In pace requiescat!

-THE END-

Poe Funeral - Part Ten A

George Graham's Defense

GEORGE GRAHAM'S DEFENSE

Graham’s Magazine, 1850

My Dear Willis,

In an article of yours which accompanies the two beautiful volumes of the writings of Edgar Allan Poe, you have spoken with so much truth and delicacy of the deceased, and, with the magical touch of genius, have called so warmly up before me the memory of our lost friend as you and I both seem to have known him, that I feel warranted in addressing to you the few plain words I have to say in defense of his character as set down by Mr. Griswold.

I now purpose to take exception to it in the most public manner. I knew Mr. Poe well, far better than Mr. Griswold. And by the memory of old times, when he was an editor of "Graham’s Magazine", I pronounce this exceedingly ill-timed and unappreciative estimate of the character of our lost friend, unfair and untrue.

It is Mr. Poe as seen by the writer while laboring under a fit of the nightmare, but so dark a picture has no resemblance to the living man.

The only relief we feel is in knowing that it is not true, that it is a fancy sketch of a perverted, jaundiced vision.

The man who could deliberately say of Edgar Allan Poe, in a notice of his life and writings prefacing the volumes which were to become a priceless souvenir to all who loved him, that his death might startle many, "but that few would be grieved by it," and blast the whole fame of the man by such a paragraph as follows, is a judge dishonored.

He is not Mr. Poe’s peer, and I challenge him before the country even as a juror in the case.

Now, this depiction of Poe is dastardly, and, what is worse, it is false.

It is very adroitly done, with phrases very well turned, and with gleams of truth shining out from a setting so dusky as to look devilish.

Mr. Griswold does not feel the worth of the man he has undervalued. He had no sympathies in common with him, and has allowed old prejudices and old enmities to steal, insensibly perhaps, into the coloring of his picture.

They were for years totally uncongenial, if not enemies. It almost seems as if the present hacking at the cold remains of Poe is a sort of compensation for duty long delayed, for reprisal long desired, but deferred.

Nor do I consider Mr. Griswold competent, with all the opportunities he may have cultivated or acquired, to act as his judge, to dissect that subtle and singularly fine intellect, to probe the motives and weigh the actions of that proud heart.

Poe’s whole nature eludes the rude grasp of a mind so warped and uncongenial as Mr. Griswold’s.

Among the true friends of Poe in this city, and he had some such here, that he did not class among villains; nor do they feel easy when they see their old friend dressed out, in his grave, in the habiliments of a scoundrel.

Poe’s friends had all of them looked upon our departed friend as singularly indifferent to wealth for its own sake, but as very positive in his opinions that the scale of social merit was not of the highest; that the mind, somehow, was apt to be left out of the estimate altogether.

As to his "quick choler" when he was contradicted, it depended a good deal upon the party denying, as well as upon the subject discussed.

He was quick, it is true, to perceive mere quacks in literature, and somewhat apt to be hasty when pestered with them. But upon most other questions his natural amiability was not easily disturbed.

Upon a subject that he understood thoroughly, he felt some right to be positive, if not arrogant, when addressing pretenders.

Literature with him was religion; and he, its high priest, with a whip of scorpions, scourged the money-changers from the temple.

In all else, he had the docility and kind-heartedness of a child. No man was more quickly touched by a kindness, none more prompt to return for an injury.

For three and four years I knew him intimately, and for eighteen months saw him almost daily, much of the time writing or conversing at the same desk, knowing all his hopes, his fears, and little annoyances of life, as well as his high-hearted struggle with adverse fate. Yet he was always the same polished gentleman, the quiet, unobtrusive, thoughtful scholar, the devoted husband, frugal in his personal expenses, punctual and unwearied in his industry—and the soul of honor in all his transactions.

It is true, that later in life Poe had much of those morbid feelings which a life of poverty and disappointment is so apt to engender in the heart of man, the sense of having been ill-used, misunderstood, and put aside by men of far less ability, which preys upon the heart and clouds the brain of many a child of song.

We must remember, too, that the very organization of such a mind as that of Poe—the very tension and tone of his exquisitely strung nerves, the passionate yearnings of his soul for the beautiful and true, utterly unfitted him for the rude jostlings and fierce competitorship of trade.
His views of the duty of the critic were stern, and he felt that in praising an unworthy writer he committed dishonor. His pen was regulated by the highest sense of duty.

By a keen analysis he separated and studied each piece, which the skillful mechanist had put together. No part, however insignificant or apparently unimportant, escaped the rigid and patient scrutiny of his sagacious mind.

He had the finest touch of soul for beauty, a delicate and hearty appreciation of worth.

It was in the world of mind that he was king.

He was a worshipper of intellect, an expectant archangel of that high order of intellect, stepping out of himself, as it were, and interpreting the time he revelled in delicious luxury in a world beyond, with an audacity which we fear in madmen, but in genius worship as the inspiration of heaven.

I think I am warranted in saying to Mr. Griswold that he must review his decision. It will not stand the calm scrutiny of his own judgement, or of time, while it must be regarded by all the friends of Mr. Poe as an ill-judged and misplaced slander upon that gifted son of genius.

Yours truly,

George R. Graham,
Publisher of Graham’s Magazine

Poe Funeral - Part Nine

Poe's Marginalia - Part Two

MARGINALIA 2

I have sometimes amused myself by endeavouring to fancy what would be the fate of an individual gifted, or rather accursed, with an intellect very far superior to that of his race. Of course, he would be conscious of his superiority; nor could he help manifesting his consciousness. Thus he would make himself enemies at all points. And since his opinions and speculations would widely differ from those of all mankind – that he would be considered a madman is evident. How horrible painful such a condition! Hell could invent no greater torture than that of being charged with abnormal weakness on account of being abnormally strong.

This subject is a painful one indeed. That individuals have so soared above the plane of their race is scarcely to be questioned; but, in looking back through history for traces of their existence, we should pass over all biographies of "the good and the great," while we search carefully the slight records of wretches who died in prison, in Bedlam, or upon the gallows.

If any ambitious man have a fancy to revolutionize, at one effort, the universal world of human thought, human opinion, and human sentiment, the opportunity is his own – the road to immortal renown lies straight, open, and unencumbered before him. All that he has to do is to write and publish a very little book. Its title should be simple – a few plain words – "My Heart Laid Bare." But, this little book must be true to its title.

Now, is it not very singular that, with the rabid thirst for notoriety which distinguishes so many of mankind, so many, too, who care not a fig what is thought of them after death, there should not be found one man having sufficient hardihood to write this little book? To write, I say. There are ten thousand men who, if the book were once written, would laugh at the notion of being disturbed by its publication during their life, and who could not even conceive why they should object to its being published after their death. But to write it – there is the rub. No man dare write it. No man will ever dare write it. No man could write it, even if he dared. The paper would shrivel and blaze at every touch of the fiery pen.

N.P. Willis' Response

N. P. WILLIS’ RESPONSE

The ancient fable of two antagonistic spirits imprisoned in one body equally powerful and having the complete mastery by turns of one man, that is to say, inhabited by both a devil and an angel, seems to have been realized, if all we hear is true, in the character of the extraordinary man whose name we have written above.

Our own impression of the nature of Edgar A. Poe differs in some important degree, however, from that which has been generally conveyed in the notices of his death.

Some four or five years since, when editing a daily paper in this city, Mr. Poe was employed by us, for several months, as critic and sub-editor. With the highest admiration for his genius, and a willingness to let it atone for more than ordinary irregularity, we were led by common report to expect a very capricious attention to his duties, and occasionally a scene of violence and difficulty. Time went on, however, and he was invariable punctual and industrious. With his pale, beautiful, and intellectual face as a reminder of what genius was in him, it was impossible, of course, not to treat him always with deferential courtesy. And to our occasional request that he would not probe too deep in a criticism, or that he would erase a passage colored too highly with his resentments against society and mankind, he readily and courteously assented—far more yielding than most men, we thought, on points so excusably sensitive.

With a prospect of taking the lead in another periodical, he at last voluntarily gave up his employment with us, and through all this considerable period we had seen but one presentment of the man—a quiet, patient, industrious, and most gentlemanly person, commanding the utmost respect and good feeling by his unvarying deportment and ability.

It was by rumor only, up to the day of his death, that we knew of any other development of manner or character. We heard, from one who knew him well, that with a single glass of wine, his whole nature was reversed, the demon became uppermost, and, though none of the usual signs of intoxication were visible, his will was palpably insane.

Possessing his reasoning faculties in excited activity at such times, and seeking his acquaintances with his wonted look and memory, he easily seemed personating only another phase of his natural character, and was accused, accordingly, of insulting arrogance and bad-heartedness. In this reversed character, we repeat, it was never our chance to see him. We know it from hearsay, and we mention it in connection with this sad infirmity of physical constitution, which puts it upon very nearly the ground of a temporary and almost irresponsible insanity.

The arrogance, vanity, and depravity of heart of which Mr. Poe was generally accused seem to us referable altogether to this reversed phase of his character. Under that degree of intoxication, which only acted upon him by demonizing his sense of truth and right, he doubtless said and did much that was wholly irreconcilable with his better nature. But when himself, and as we knew him only, his modesty and unaffected humility, as to his own deservings, were a constant charm to his character.

His letters sufficiently prove the existence of the very qualities denied to Mr. Poe—humility, willingness to persevere, belief in another’s kindness, and capability of cordial and grateful friendship! Such he assuredly was when sane. Such only he has invariably seemed to us, in all we have happened personally to know of him, through a friendship of five or six years.

And so much easier it is to believe what we have seen and known than what we hear of only.

That we remember him but with admiration and respect, these descriptions of him, when morally insane, seeming to us like portraits, painted in sickness, of a man we have only known in health.

N. P. Willis,
Editor of the New York Evening Mirror
The Home Journal, October 13, 1849
"The Death of Edgar A. Poe"
By N.P. Willis

Poe Funeral - Part Eight

Poe's Marginalia - Part One

MARGINALIA 1

Literature is the most noble of professions. In fact, it is about the only one fit for a man. For my own part, there is no seducing me from the path. I shall be a litterateur, at least, all my life; not would I abandon the hopes which still lead me on for all the gold in California. Talking of gold, and of the temptations at present held out to "poor-devil authors," did it ever strike you that all which is really valuable to a man of letters, to a poet especially, is absolutely unpurchaseable? Love, fame, the dominion of intellect, the consciousness of power, the thrilling sense of beauty, the free air of Heaven, exercise of body and mind, with the physical and moral health which result, these and such as these are really all that a poet cares for. Then answer me this: why should he go to California?

That poets, including artists in general, are a genus irritable is well understood, but the why seems not to be commonly seen. An artist is an artist only by dint of his exquisite sense of Beauty – a sense affording him rapturous enjoyment, but at the same time implying, or involving, an equally exquisite sense of Deformity or disproportion. Thus a wrong – an injustice – done a poet who is really a poet, excites him to a degree which, to ordinary apprehension, appears disproportionate with the wrong. Poets see injustice – never where it does not exist – but very often where the unpoetic see no injustice whatever. Thus the poetical irritability has no reference to "temper" in the vulgar sense, but merely to a more than usual clear-sightedness in respect to Wrong, this clearsightedness being nothing more than a corollary from the vivid perception of Right, of justice, of proportion. But one thing is clear -–that the man who is not "irritable" is no poet.

Longfellow's Comments on Poe

LONGFELLOW'S COMMENTS

"What a melancholy death is that of Mr. Poe, a man so richly endowed with genius! I never knew him personally, but have always entertained a high appreciation of his powers as a prose-writer and a poet. His prose is remarkably vigorous, direct and yet affluent; and his verse has a particular charm of melody, an atmosphere of true poetry about it, which is very winning. The harshness of his criticisms, I have never attributed to anything but the irritation of a sensitive nature, chafed by some indefinite sense of wrong."

Henry Wadworth Longfellow, poet

Rufus Griswold's Infamous Eulogy

RUFUS GRISWOLD’S EULOGY

"The Ludwig Article"

New York Tribune (Evening Edition), October 9, 1849

Edgar Allan Poe is dead. He died in Baltimore the day before yesterday. This announcement will startle many, but few will be grieved by it. The poet was well known personally or by reputation, in all this country. He had readers in England and in several states of Continental Europe. But he had few or no friends. The regrets for his death will be suggested principally by the consideration that in him literary art lost one of its most brilliant, but erratic stars.

The character of Mr. Poe we cannot attempt to describe in this very hastily written article. We can but allude to some of the more striking phases.

His conversation was at times almost supra-mortal in its eloquence. His voice was modulated with astonishing skill, and his large and variably expressive eyes looked repose or shot fiery tumult into theirs who listened, while his own face glowed or was changeless in pallor, as his imagination quickened his blood, or drew it back frozen to his heart. His imagery was from the worlds, which no mortal can see, but with the vision of genius.

He was at times a dreamer, dwelling in ideal realms, in heaven or hell, peopled with creations and the accidents of his brain. He walked the streets, in madness or melancholy, with lips moving in indistinct curses, or with eyes upturned in passionate prayers for the happiness of those who at that moment were objects of his idolatry, but never for himself, for he felt, or professed to feel, that he was already damned. He seemed, except when some fitful pursuit subjected his will and engrossed his faculties, always to bear the memory of some controlling sorrow.

He had made up his mind upon the numberless complexities of the social world and the whole system was with him an imposture. This conviction gave a direction to his shrewd and naturally unamiable character. Still though, he regarded society as composed of villains, the sharpness of his intellect was not of that kind which enabled him to cope with villainy, while it continually caused him overshots, to fail of the success of honesty.

Passion, in him, comprehended many of the worst emotions, which militate against human happiness. You could not contradict him, but you raised quick choler. You could not speak of wealth, but his cheek paled with gnawing envy. The astonishing natural advantage of this poor boy, his beauty, his readiness, the daring spirit that breathed around him like a fiery atmosphere, had raised his constitutional self-confidence into an arrogance that turned his very claims to admiration into prejudice against him. Irascible, envious, bad enough, but not the worst, for these salient angles were all varnished over with a cold repellant cynicism while his passions vented themselves in sneers. There seemed to him no moral susceptibility. And what was more remarkable in a proud nature, little or nothing of the true point of honor. He had, to a morbid excess, that desire to rise which is vulgarly called ambition, but no wish for the esteem or the love of his species, only the hard wish to succeed, not shine, not serve, but succeed, that he might have the right to despise a world which galled his self-conceit.

We must omit any particular criticism of Mr. Poe’s works. As a writer of tales it will be admitted generally, that he was scarcely surpassed in ingenuity of construction or effective painting.

As a critic, he was more remarkable as a dissector of sentences than as a commenter upon ideas. He was little better than a carping grammarian.
As a poet, he will retain a most honorable rank. Of his "Raven," Mr. Willis observes that in his opinion, "it is the most effective single example of fugitive poetry ever published in this country, and is unsurpassed in English poetry for subtle conceptions, masterly ingenuity of versification, and consistent sustaining of imaginative lift."

In poetry, as in prose, he was most successful in the metaphysical treatment of the passions. His poems are constructed with wonderful ingenuity, and finished with consummate art. They illustrate a morbid sensitiveness of feeling, a shadowy and gloomy imagination, and a taste almost faultless in the apprehension of that sort of beauty most agreeable to his temper.

We have not learned of the circumstance of his death. It was sudden, and from the fact that it occurred in Baltimore, it is presumed that he was on his return to New York.

"After life’s fitful fever, he sleeps well."

LUDWIG,

a.k.a. the Reverend Rufus W. Griswold,
the executor of Poe’s estate and his arch-enemy.

Poe Funeral - Part Seven