"To MLS---" Published 1847

To M. L. S——

by Edgar Allan Poe

This poem was dedicated to Mrs. Marie Louise Shew:

Of all who hail thy presence as the morning-
Of all to whom thine absence is the night-
The blotting utterly from out high heaven
The sacred sun- of all who, weeping, bless thee
Hourly for hope- for life- ah! above all,
For the resurrection of deep-buried faith
In Truth- in Virtue- in Humanity-
Of all who, on Despair's unhallowed bed
Lying down to die, have suddenly arisen
At thy soft-murmured words, "Let there be light!"
At the soft-murmured words that were fulfilled
In the seraphic glancing of thine eyes-
Of all who owe thee most- whose gratitude
Nearest resembles worship- oh, remember
The truest- the most fervently devoted,
And think that these weak lines are written by him-
By him who, as he pens them, thrills to think
His spirit is communing with an angel's.

To M. L. S—— (1847)

Poe wrote this poem to Marie Louise Shew, who helped Poe's wife Virginia as she was dying. The original manuscript was sent directly to her, dated February 14, 1847. A revised version was printed in Home Journal's March 13, 1847, issue.

Deathday: Poe's Mother Elizabeth Arnold Poe 1811

Elizabeth Arnold Hopkins Poe (1787 – December 8, 1811) was an English-born American actress and the mother of the American author Edgar Allan Poe.

Life and career

Eliza Arnold was born to Henry and Elizabeth Arnold in London in the spring of 1787.[1] Her mother was a stage actress in London from 1791 to 1795. Henry died in 1789 and, in November 1795, only mother and daughter sailed from England to the United States, arriving in Boston, Massachusetts on January 3, 1796.[1]

Eliza debuted on the Boston stage at the age of nine, only three months after her arrival in the United States.[2] She played a character named Biddy Blair in a farce called Miss in Her Teens by David Garrick and was praised in the Portland Herald:[1] "Miss Arnold, in Miss Biddy, exceeded all praise.. Although a miss of only nine years old, her powers as an Actress will do credit to any of her sex of maturer age".[2] Later that year, Elizabeth married a musician named Charles Tubbs, a man who had sailed with the Arnolds from England. The small family joined with a manager named Mr. Edgar to form a theater troupe called the Charleston Comedians. Elizabeth, Eliza's mother, died sometime while this troupe was traveling through North Carolina.[3] Little is known about her death but she disappears from theatrical records in 1798 and it is presumed she died shortly after.[2]

After her mother's death, Eliza stayed with the theater troupe. She followed the tradition at the time for actors to travel from city to city to perform for as long as several months before moving on. The actors, theaters, and audiences had a wide range of sophistication. One of the most impressive venues at which Eliza performed was the Chestnut Street Theater near Independence Hall in Philadelphia, Pennsylvania, which seated two thousand.[3] Over the course of her career, Eliza played some 300 parts, as well as choral and dancing roles, including William Shakespeare characters Juliet Capulet and Ophelia.[2]

In the summer of 1802, at the age of fifteen, Eliza married Charles Hopkins.[2] Hopkins died three years later in October 1805, possibly due to yellow fever, leaving Eliza an eighteen-year old widow.[4] The Baltimore-born David Poe, Jr. saw Eliza performing in Norfolk, Virginia and decided to join her acting troupe, abandoning his family's plans for him to study law.[5] Poe married Eliza only six months after Hopkins's death in 1806.[6]

The couple traveled throughout New England and the rest of the northeast, playing in various towns such as Richmond, Philadelphia, and at an outdoor summer theater in New York City before finally settling in Boston. They stayed in Boston for three consecutive seasons of thirty weeks each in a theater that fit an audience of about one thousand.[4] Reviews at the time often remarked on Eliza's "interesting figure" and "sweetly melodious voice".[5] Though times were difficult, the couple had two sons; William Henry Leonard was born in January 1807 (nine months after their wedding)[6] and Edgar was born on January 19, 1809, at a boarding-house near Boston Common, close from where their troupe was performing.[7] Eliza performed until 10 days before Edgar's birth and may have named her second son after the Mr. Edgar who led the Charleston Comedians.[8]

The family relocated to New York in the summer of 1809. Eliza had often been praised for her acting ability while David's performances were routinely criticized harshly, possibly due to his own stage fright.[4] David, hot-headed and an alcoholic,[6] abandoned the stage and his family about six weeks after moving to New York.[9] Though David's fate is unknown, there is some evidence to suggest he died in Norfolk on December 11, 1811.[10] In his absence, Eliza gave birth to a third child, a daughter she called Rosalie, in December 1810. Rosalie was later described as "backward" and she may have been mentally retarded. Eliza continued traveling as she performed.

Death

In 1811, while staying at a boarding house in Richmond, Virginia for a performance, Eliza began spitting blood.[11] Her performances became less frequent until October 1811 when she stopped appearing altogether.[12] Her last performance was on October 11, 1811, as Countess Wintersen in a play called The Stranger.[13]

Friends and fellow actors Mr. and Mrs. Luke Usher (the name may have inspired Poe's tale "The Fall of the House of Usher"[14]) took care of the children during Eliza's illness and many in the Richmond area took an interest in her health. On November 29 of that year, the Richmond Theater announced a benefit performance on her behalf. A local publication, the Enquirer, reported her need for help: "On this night, Mrs. Poe, lingering on the bed of disease and surrounded by her children, asks your assistance and asks it perhaps for the last time".[10]

Eliza finally died on Sunday morning, December 8, 1811, at the age of twenty-four[12] surrounded by her children.[7] It is generally assumed that Eliza Poe died of tuberculosis.[1][15] She is buried at St. John's Episcopal Church in Richmond. Though her actual burying place is unknown, a memorial marks the general area.

After her death, her three children were split up. William Henry Leonard Poe lived with his paternal grandparents in Baltimore, Edgar Poe was taken in by John and Frances Allan in Richmond, and Rosalie Poe was adopted by William and Jane Scott Mackenzie in Richmond.

Influence

Though he was young when she died, Edgar Poe was heavily impacted by Eliza Poe's death and many of his works reflect her influence. His first published work "Metzengerstein" features a fire burning down a large home, possibly reflecting the fire that destroyed the Richmond Theatre, where she had performed. The fire occurred in December 1811, only three weeks after her death.[16] The early loss of his mother and other women, including his wife Virginia, may also have inspired Edgar Poe's often-used literary theme of dying women.[17] This theme is readily present in works like "The Raven".[18]

Notes

1.^ Sova, 192
2.^ Meyers, 2
3.^ Silverman, 2
4.^ Silverman, 3
5.^ Stashower, 34
6.^ Meyers, 3
7.^ Stashower, 35
8.^ Silverman, 5–6
9.^ Silverman, 7
10.^ Meyers, 6
11.^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972: 25. ISBN 0807123218
12.^ Silverman, 8
13.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe 1809-1849. New York: G. K. Hall and Co., 1987: 12. ISBN 0783814011
14.^ Allen, Hervey. Israfel: The Life and Times of Edgar Allan Poe. New York: Farrar & Rinehart, Inc., 1934: 683.
15.^ Stashower, 7
16.^ Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005: 38. ISBN 1-57806-721-9
17.^ Weekes, Karen. "Poe's feminine ideal", collected in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. Cambridge University Press, 2002: 149. ISBN 0521797276
18.^ Kopley, Richard and Kevin J. Hayes. "Two verse masterworks: 'The Raven' and 'Ulalume'", collected in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. New York: Cambridge University Press, 2002: 194. ISBN 0521797276

Sources

Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7.
Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991. ISBN 0-06-092331-8.
Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. ISBN 0-8160-4161-X.
Stashower, Daniel. The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder. New York: Dutton, 2006. ISBN 0-525-94981-X.

Further reading

Smith, Geddeth. The Brief Career of Eliza Poe. Fairleigh Dickinson University Press: April 1988.

"The Facts in the Case of M. Valdemar" Published 1845

"The Facts in the Case of M. Valdemar" is a short story by American author Edgar Allan Poe about a mesmerist who puts a man in a suspended hypnotic state at the moment of death. An example of a tale of suspense and horror, it is also, to a certain degree, a hoax as it was published without claiming to be fictional, and many at the time of publication (1845) took it to be a factual account. Poe toyed with this for a while before admitting it was a work of pure fiction in his "Marginalia."

Plot summary

The narrator presents the facts of the extraordinary case of Valdemar which have incited public discussion. He is interested in Mesmerism, a pseudoscience involving bringing a patient into a hypnogogic state by the influence of magnetism, a process which later developed into hypnotism. He points out that, as far as he knows, no one has ever been mesmerized at the point of death, and he is curious to see what effects mesmerism would have on a dying person. He considers experimenting on his friend Ernest Valdemar, an author whom he had previously mesmerized, and who has recently been diagnosed with phthisis (tuberculosis).

Valdemar consents to the experiment and informs the narrator by letter that he will probably die in twenty-four hours. Valdemar's two physicians inform the narrator of their patient's poor condition. After confirming again that Valdemar is willing to be part of the experiment, the narrator comes back the next night with two nurses and a medical student as witnesses. Again, Valdemar insists he is willing to take part and asks the narrator to hurry, for fear he has "deferred it for too long". Valdemar is quickly mesmerized, just as the two physicians return and serve as additional witnesses. In a trance, he reports first that he is dying - then that he is dead. The narrator leaves him in a mesmeric state for seven months, checking on him daily. During this time Valdemar is without pulse, heartbeat or perceptible breathing, his skin cold and pale.

Finally, the narrator makes attempts to awaken Valdemar, asking questions which are answered with difficulty, his voice seemingly coming from his swollen, blackened tongue. In between trance and wakefulness, Valdemar's tongue begs to quickly either put him back to sleep or to wake him. As Valdemar's voice shouts "dead! dead!" repeatedly, the narrator takes Valdemar out of his trance; in the process, Valdemar's entire body immediately decays into a "nearly liquid mass of loathsome—of detestable putrescence."

 

Analysis

Poe uses particularly detailed descriptions and relatively high levels of gore in "The Facts in the Case of M. Valdemar," suggesting Poe deeply studied medical texts.[1] Valdemar's eyes at one point leak a "profuse outflowing of a yellowish ichor," for example, though Poe's imagery in the story is best summed up in its final lines: "...his whole frame at once — within the space of a single minute, or even less, shrunk—crumbled—absolutely rotted away beneath my hands. Upon the bed, before that whole company, there lay a nearly liquid mass of loathsome—of detestable putrescence." The disgusting imagery almost certainly inspired later fiction including that of H. P. Lovecraft.[2] Those final lines make up one of the most powerfully effective moments in Poe's work, incorporating shock, disgust, and uneasiness into one moment.[3] This ending shows that attempts to appropriate power over death will have hideous results[4] and, therefore, ultimately be unsuccessful.[5]

In Spanish, "Valdemar" roughly translates to "valley of the sea." The name suggests both solid and liquid states; this meaning is emphasized in the imagery in the story as Valdemar's body goes from its normal solid state to liquid in the final climactic lines.[6] Poe also uses teeth as a symbol; he typically uses teeth in his works to symbolize mortality. Other uses include the "sepulchral and disgusting" horse's teeth in "Metzengerstein," obsessing over teeth in "Berenice," and the sound of grating teeth in "Hop-Frog."[7]

Valdemar's death by tuberculosis, and attempts to postpone his death, may have been influenced by Poe's wife, Virginia.[2] At the time of this story's publication, she had been suffering from tuberculosis for four years.[1] Poe's extreme detail in "The Facts in the Case of M. Valdemar" may have been based on Virginia's actual suffering.[6] Additionally, Poe may have been inspired by Andrew Jackson Davis, whose lectures on mesmerism he had attended.[8] Valdemar's death, however, is not portrayed sentimentally as Poe's typical theme of "the death of a beautiful woman" portrayed in other works such as "Ligeia" and "Morella." The death of this male character contrasts as brutal and sensational.[9]

Reception and critical response

Many readers thought the story to be a scientific report. Robert Collyer, an English magnetic healer visiting Boston, wrote to Poe saying that he himself had performed a similar act to revive a man who had been pronounced dead (in truth, the man was actually a drunk sailor who was revived by a hot bath). Another Englishman, Thomas South, used the story as a case study in his book Early Magnetism in its Higher Relations to Humanity in 1846.[10] Medical student George C. Eveleth wrote to Poe: "I have strenuously held that it was true. But I tell you that I strongly suspect it for a hoax."[11] A Scottish reader named Archibald Ramsay wrote to Poe "as a believer in Mesmerism" asking about the story. "It details... most extraordinary circumstances", he wrote, concerned that it had been labeled a hoax. "For the sake of... Science and of truth", he requested an answer from Poe himself. Poe's response: "Hoax is precisely the word suited... Some few persons believe it—but I do not—and don't you."[12] He received many similar letters, replying to one such letter from a friend, he added the succinct postscript: "P.S. The 'Valdemar Case' was a hoax, of course."[13] In the Daily Tribune, editor Horace Greeley noted "that several good matter-of-fact citizens" were tricked by it but "whoever thought it a veracious recital must have the bump of Faith large, very large indeed."[14]

Elizabeth Barrett Browning wrote to Poe about the story to commend him on his ability of "making horrible improbabilities seem near and familiar."[15] Virginia poet Philip Pendleton Cooke also wrote to Poe, calling the story "the most damnable, vraisemblable, horrible, hair-lifting, shocking, ingenious chapter of fiction that any brain ever conceived or hand traced. That gelatinous, viscous sound of man's voice! there never was such an idea before."[16] Literary critic and professor George Edward Woodberry said that the story "for mere physical disgust and foul horror, has no rival in literature."[17] Scholar James M. Hutchisson refers to the story as "probably Poe's most gruesome tale."[18]

Rudyard Kipling, an admirer of Poe, references "The Facts in the Case of M. Valdemar" in his story "In the House of Suddhoo." The story suggests the disastrous results of sorcery in trying to save his sick son's life. One spell requires the head of a dead baby, which seems to speak. The narrator says, "Read Poe's account of the voice that came from the mesmerised dying man, and you will realise less than one half of the horror of that head's voice."[19]

Publication history

While editor of The Broadway Journal, Poe printed a letter from a New York physician named Dr. A. Sidney Doane which recounted a surgical operation performed while a patient was "in a magnetic sleep"; the letter served as inspiration for Poe's tale.[20] "The Facts in the Case of M. Valdemar" was published simultaneously in the December 20, 1845, issue of the Broadway Journal and the December 1845 issue of American Review: A Whig Journal[8]—the latter journal used the title "The Facts in M. Valdemar's Case."[21] It was also republished in England, first as a pamphlet edition as "Mesmerism in Articulo Mortis" and later as "The Last Days of M. Valdemar."[22]

Adaptations

"The Facts in the Case of M. Valdemar" was adapted into film in Argentina in 1960 as a segment of Masterpieces of Horror, first shown in the United States in 1965. It was also one of three Poe-inspired segments in the 1962 film Roger Corman-directed Tales of Terror.[8] It was later adapted by George A. Romero in Two Evil Eyes (1990). The radio drama series Radio Tales produced an adaptation of the story entitled "Edgar Allan Poe's Valdemar" (2000) for National Public Radio. The story was also loosely adapted into the black comedy The Mesmerist (2002).

References

1.^ Stashower, Daniel. The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder. New York: Dutton, 2006: 275. ISBN 052594981X
2.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991: 294. ISBN 0060923318
3.^ Elmer, Jonathan. "Terminate or Liquidate? Poe Sensationalism, and the Sentimental Tradition" collected in The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman. Baltimore: The Johns Hopkins University Press, 1995: 116. ISBN 0801850258
4.^ Selley, April. "Poe and the Will" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990: 97. ISBN 0961644923
5.^ Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005: 158. ISBN 1-57806-721-9
6.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992: 179. ISBN 0815410387
7.^ Kennedy, J. Gerald. Poe, Death, and the Life of Writing. New Haven, CT: Yale University Press, 1987: 79. ISBN 0300037732
8.^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 85. ISBN 081604161X
9.^ Elmer, Jonathan. "Terminate or Liquidate? Poe Sensationalism, and the Sentimental Tradition" collected in The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman. Baltimore: The Johns Hopkins University Press, 1995: 108. ISBN 0801850258
10.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991. ISBN 0060923318 p. 294–295
11.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1189.
12.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1188–1189.
13.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 529. ISBN 0801857309
14.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. Boston: G. K. Hall and Co., 1987: 603. ISBN 0816187347
15.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 484. ISBN 0801857309
16.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992: 179-180. ISBN 0815410387
17.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1075.
18.^ Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005: 157. ISBN 1-57806-721-9
19.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992: 291. ISBN 0815410387
20.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. Boston: G. K. Hall and Co., 1987: 498. ISBN 0816187347
21.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 470. ISBN 0801857309
22.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 516. ISBN 0801857309

Maria Tucker Reads "The Bells" at Poe Funeral

Maria Tucker reads "The Bells" at Poe Forward's POE FUNERAL.

"The Bells" Published 1849

The Bells (1849)

by Edgar Allan Poe

"The Bells" is a heavily onomatopoeic poem by Edgar Allan Poe which was not published until after his death in 1849. It is perhaps best known for the diacopic repetition of the word "bells." The poem has four parts to it; each part becomes darker and darker as the poem progresses from "the jingling and the tinkling" of the bells in part 1 to the "moaning and the groaning" of the bells in part 4.

I

Hear the sledges with the bells —
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells —
From the jingling and the tinkling of the bells.

II

Hear the mellow wedding bells —
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! — how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells —
To the rhyming and the chiming of the bells!

III

Hear the loud alarum bells —
Brazen bells!
What a tale of terror, now, their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now — now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells —
Of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells —
In the clamor and the clangor of the bells!

IV

Hear the tolling of the bells —
Iron bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people — ah, the people —
They that dwell up in the steeple,
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone —
They are neither man nor woman —
They are neither brute nor human —
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A paean from the bells!
And his merry bosom swells
With the paean of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean of the bells,
Of the bells —
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells,
Of the bells, bells, bells —
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells,
Of the bells, bells, bells —
To the tolling of the bells,
Of the bells, bells, bells, bells,
Bells, bells, bells —
To the moaning and the groaning of the bells.

Analysis

This poem can be interpreted in many different ways, the most basic of which is simply a reflection of the sounds that bells can make, and the emotions evoked from that sound. For example, "From the bells bells bells bells/Bells bells bells!" brings to mind the clamoring of myriad church bells. Several deeper interpretations exist as well. One is that the poem is a representation of life from the nimbleness of youth to the pain of age. Growing despair is emphasized alongside the growing frenzy in the tone of the poem.[1] Another is the passing of the seasons, from spring to winter. The passing of the seasons is often used as a metaphor for life itself. The poem also suggests a Poe theme of mourning over a lost wife, courted in sledge, married and then killed in a fire as the husband looks on. The tolling of the iron bells reflects the final madness of the grief-stricken husband.

The sounds of the verses, specifically the repetitive "bells, bells, bells, bells, bells, bells, bells," lie on a narrow line between sense and nonsense, causing a feeling of instability.[2] Poe uses the word "tintinnabulation", which many critics believe is merely an onomatopoeic nonsense term. Poe biographer Hervey Allen suggests the word is based on an ancient bell-based instrument called "tintinabula."[3] The series of "bells" echo the imagined sounds of the various bells, from the silver bells following the klip-klop of the horses, to the "dong, ding-dong" of the swinging golden and iron bells, to screeching "whee-aaah" of the brazen bells. The series are always four, followed by three, always beginning and ending on a stressed syllable. The meter changes to iambic in the lines with repeated "bells," bringing the reader into their rhythm. Most of the poem is a more hurried anapestic (**/) meter.

The bells of which he writes are thought to be those he heard from Fordham University's bell tower, since Poe resided in the same Bronx neighborhood as that university. He also frequently strolled about Fordham's campus conversing with both the students and the Jesuits.

Critical response

"The Bells" is often criticized for being mechanical and forced.[4]

Publication history

Poe is believed to have written "The Bells" in May 1848 and submitted it three times to Sartrain's Union Magazine, a magazine run by John Sartain, until it was finally accepted.[5] He was paid fifteen dollars for his work, though it was not published until after his death in November 1849.

Inspiration for the poem is often granted to Marie Louise Shew (above), a woman who had helped care for Poe's wife Virginia as she lay dying.[5] One day, as Shew was visiting Poe at his cottage in Fordham, New York, Poe needed to write a poem but had no inspiration. Shew allegedly heard ringing bells from afar and playfully suggested to start there, possibly even writing the first line of each stanza.[6]

Adaptations

Sergei Rachmaninoff (1873–1943) composed a choral symphony The Bells, Op. 35, based on a Russian adaptation of the poem by Konstantin Balmont. The symphony follows classical sonata form: first movement, slow movement, scherzo, and finale, thus honoring the poem's four sections.[7] (The work is sometimes performed in English, using not Poe's original, but a translation of Balmont's adaptation by Fanny S. Copeland.) The Scottish composer Hugh S. Roberton (1874–1947) published "Hear the Tolling of the Bells" (1909), "The Sledge Bells" (1909), and "Hear the Sledges with the Bells" (1919) based on Poe's poem.[8] Josef Holbrooke composed his "The Bells, Prelude, Op. 50" on Poe's poem and Phil Ochs composed a tune to the poem recorded his album All the News That's Fit to Sing. Eric Woolfson, musical partner to Alan Parsons in the Alan Parsons Project, has written two albums based on the writings of Poe. His second, Poe: More Tales of Mystery and Imagination includes a song entitled "The Bells", for which he set Poe's words to music. This album was also the basis for a musical stage production that was performed in England, Austria, and other European countries.

References

1.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991. ISBN 0060923318 p. 403
2.^ Rosenheim, Shawn James. The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet. The Johns Hopkins University Press, 1997. p. 125. ISBN 9780801853326
3.^ Nelson, Randy F. The Almanac of American Letters. Los Altos, California: William Kaufmann, Inc., 1981: 25. ISBN 086576008X
4.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992. p. 223. ISBN 0815410387
5.^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. p. 25. ISBN 081604161X
6.^ E. A. Poe Society of Baltimore
7.^ AmericanSymphony.org
8.^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. p. 212. ISBN 081604161X