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The Murders in the Rue Morgue

Part of Modern Library Classics

Author Edgar Allan Poe
Introduction by Matthew Pearl
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Paperback
$13.00 US
Random House Group | Modern Library
5.2"W x 8"H x 0.3"D  
On sale May 23, 2006 | 160 Pages | 978-0-679-64342-5
| Grades 9-12 + AP/IB
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  • English Language Arts > Genre: Fiction > Horror > Gothic
  • English Language Arts > Genre: Fiction > Mystery, Crime, and Suspense > Law & Crime
  • English Language Arts > Genre: Fiction > Mystery, Crime, and Suspense > Mystery & Detective Stories
  • English Language Arts > Literature: American > Pre-20th Century
  • About
  • Author
  • Excerpt
Includes The Murders in the Rue Morgue, The Mystery of Marie Rogêt, and The Purloined Letter

Between 1841 and 1844, Edgar Allan Poe invented the genre of detective fiction with three mesmerizing stories of a young French eccentric named C. Auguste Dupin. Introducing to literature the concept of applying reason to solving crime, these tales brought Poe fame and fortune to live on. Years later, Dorothy Sayers would describe “The Murders in the Rue Morgue” as “almost a complete manual of detective theory and practice.” Indeed, Poe’s short mysteries inspired the creation of countless literary sleuths, among them Sherlock Holmes. Today, the Dupin stories still stand out as unique, utterly engrossing page-turners.
This Modern Library edition reproduces the definitive texts of the three tales. It includes an enlightening Introduction by novelist Matthew Pearl and an Appendix, “The Earliest Detectives.”

Praise for The Murders in the Rue Morgue:

“The modern detective story starts here, and Matthew Pearl's introduction offers us new ways of thinking about the Dupin tales' place in nineteenth-century culture as well as their lasting literary value.” 
-- Scott Peeples, Department of English, College of Charleston, and President of the Poe Studies Association


“What a gift–Poe’s Dupin tales introduced and edited by the most sophisticated writer of literary mysteries today! Pearl’s decision to reprint these three luminous stories as a sequence is revelatory: this, indeed, is the second novel Poe never published, with an unforgettable protagonist whose obsession with questions of truth and authenticity becomes our own. Poe’s elusive detective is our contemporary.”
-- Christoph Irmscher, Professor of English, University of Maryland Baltimore County, author of Longfellow Redux

“As is clear from Matthew Pearl’s introduction to this collection, any study of the detective story genre must begin with the Dupin trilogy contained in The Murders in the Rue Morgue: The Dupin Tales. Not only will readers find the unfolding mysteries in these stories intriguing in themselves, they will likely also develop theories of their own about Poe’s role in the evolution of the detective story based on rich materials included in the volume’s appendix....For students and first-time readers of Poe, this little volume is an Aladdin’s cave; for those who are already Poe devotees it is a fitting tribute to his genius in the form of what Pearl aptly calls a 'self-contained novella.'”
— Bryant Mangum, Professor of English, Virginia Commonwealth University
Edgar Allan Poe was born in Boston, USA, in 1809. Poe, short story writer, editor and critic, he is best known for his macabre tales and as the progenitor of the detective story. He died in 1849, in mysterious circumstances, at the age of forty.

J. Gerald Kennedy is Boyd Professor of English Emeritus at Louisiana State University and a past president of the Poe Studies Association. His books on Poe include Poe, Death, and the Life of Writing (1987), “The Narrative of Arthur Gordon Pym” and the Abyss of Interpretation (1995), and several edited volumes including A Historical Guide to Edgar Allan Poe (2001), Romancing the Shadow: Poe and Race (2001; with Liliane Weissberg), and Poe and the Remapping of Antebellum Print Culture (2012; with Jerome McGann). His major contribution to American literary studies is Strange Nation: Literary Nationalism and Cultural Conflict in the Age of Poe (2016), written with the support of fellowships by the John Simon Guggenheim Memorial Foundation and the National Endowment for the Humanities. He has also published Imagining Paris: Exile, Writing, and American Identity (1993), and he edited the Penguin Classics edition of The Life of Black Hawk (2008). He has appeared in many Poe documentary films, including The Mystery of Edgar Allan Poe(1994) for the A&E Biography series and Eric Stange’s film for the PBS American Masterpiece series, Edgar A. Poe: Buried Alive (2017). View titles by Edgar Allan Poe
The Murders in the Rue Morgue

What song the Syrens sang, or what name Achilles assumed when he hid himself among women, although puzzling questions, are not beyond all conjecture.

Sir Thomas Browne The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis. We appreciate them only in their effects. We know of them, among other things, that they are always to their possessor, when inordinately possessed, a source of the liveliest enjoyment. As the strong man exults in his physical ability, delighting in such exercises as call his muscles into action, so glories the analyst in that moral activity which disentangles. He derives pleasure from even the most trivial occupations bringing his talent into play. He is fond of enigmas, of conundrums, of hieroglyphics; exhibiting in his solutions of each a degree of acumen which appears to the ordinary apprehension præternatural. His results, brought about by the very soul and essence of method, have, in truth, the whole air of intuition.

The faculty of re-solution is possibly much invigorated by mathematical study, and especially by that highest branch of it which, unjustly, and merely on account of its retrograde operations, has been called, as if par excellence, analysis. Yet to calculate is not in itself to analyse. A chess-player, for example, does the one without effort at the other. It follows that the game of chess, in its effects upon mental character, is greatly misunderstood. I am not now writing a treatise, but simply prefacing a somewhat peculiar narrative by observations very much at random; I will, therefore, take occasion to assert that the higher powers of the reflective intellect are more decidedly and more usefully tasked by the unostentatious game of draughts than by all the elaborate frivolity of chess. In this latter, where the pieces have different and bizarre motions, with various and variable values, what is only complex is mistaken (a not unusual error) for what is profound. The attention is here called powerfully into play. If it flag for an instant, an oversight is committed, resulting in injury or defeat. The possible moves being not only manifold but involute, the chances of such oversights are multiplied; and in nine cases out of ten it is the more concentrative rather than the more acute player who conquers. In draughts, on the contrary, where the moves are unique and have but little variation, the probabilities of inadvertence are diminished, and the mere attention being left comparatively unemployed, what advantages are obtained by either party are obtained by superior acumen. To be less abstract—Let us suppose a game of draughts where the pieces are reduced to four kings, and where, of course, no oversight is to be expected. It is obvious that here the victory can be decided (the players being at all equal) only by some recherché movement, the result of some strong exertion of the intellect. Deprived of ordinary resources, the analyst throws himself into the spirit of his opponent, identifies himself therewith, and not unfrequently sees thus, at a glance, the sole methods (sometimes indeed absurdly simple ones) by which he may seduce into error or hurry into miscalculation.

Whist has long been noted for its influence upon what is termed the calculating power; and men of the highest order of intellect have been known to take an apparently unaccountable delight in it, while eschewing chess as frivolous. Beyond doubt there is nothing of a similar nature so greatly tasking the faculty of analysis. The best chess-player in Christendom may be little more than the best player of chess; but proficiency in whist implies capacity for success in all those more important undertakings where mind struggles with mind. When I say proficiency, I mean that perfection in the game which includes a comprehension of all the sources whence legitimate advantage may be derived. These are not only manifold but multiform, and lie frequently among recesses of thought altogether inaccessible to the ordinary understanding. To observe attentively is to remember distinctly; and, so far, the concentrative chess-player will do very well at whist; while the rules of Hoyle (themselves based upon the mere mechanism of the game) are sufficiently and generally comprehensible. Thus to have a retentive memory, and to proceed by “the book,” are points commonly regarded as the sum total of good playing. But it is in matters beyond the limits of mere rule that the skill of the analyst is evinced. He makes, in silence, a host of observations and inferences. So, perhaps, do his companions; and the difference in the extent of the information obtained, lies not so much in the validity of the inference as in the quality of the observation. The necessary knowledge is that of what to observe. Our player confines himself not at all; nor, because the game is the object, does he reject deductions from things external to the game. He examines the countenance of his partner, comparing it carefully with that of each of his opponents. He considers the mode of assorting the cards in each hand; often counting trump by trump, and honor by honor, through the glances bestowed by their holders upon each. He notes every variation of face as the play progresses, gathering a fund of thought from the differences in the expression of certainty, of surprise, of triumph, or of chagrin. From the manner of gathering up a trick he judges whether the person taking it can make another in the suit. He recognises what is played through feint, by the air with which it is thrown upon the table. A casual or inadvertent word; the accidental dropping or turning of a card, with the accompanying anxiety or carelessness in regard to its concealment; the counting of the tricks, with the order of their arrangement; embarrassment, hesitation, eagerness or trepidation—all afford, to his apparently intuitive perception, indications of the true state of affairs. The first two or three rounds having been played, he is in full possession of the contents of each hand, and thenceforward puts down his cards with as absolute a precision of purpose as if the rest of the party had turned outward the faces of their own.

The analytical power should not be confounded with simple ingenuity; for while the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis. The constructive or combining power, by which ingenuity is usually manifested, and to which the phrenologists (I believe erroneously) have assigned a separate organ, supposing it a primitive faculty, has been so frequently seen in those whose intellect bordered otherwise upon idiocy, as to have attracted general observation among writers on morals. Between ingenuity and the analytic ability there exists a difference far greater, indeed, than that between the fancy and the imagination, but of a character very strictly analogous. It will be found, in fact, that the ingenious are always fanciful, and the truly imaginative never otherwise than analytic.

The narrative which follows will appear to the reader somewhat in the light of a commentary upon the propositions just advanced.

Residing in Paris during the spring and part of the summer of 18—, I there became acquainted with a Monsieur C. Auguste Dupin. This young gentleman was of an excellent—indeed of an illustrious family, but, by a variety of untoward events, had been reduced to such poverty that the energy of his character succumbed beneath it, and he ceased to bestir himself in the world, or to care for the retrieval of his fortunes. By courtesy of his creditors, there still remained in his possession a small remnant of his patrimony; and, upon the income arising from this, he managed, by means of a rigorous economy, to procure the necessaries of life, without troubling himself about its superfluities. Books, indeed, were his sole luxuries, and in Paris these are easily obtained.

Our first meeting was at an obscure library in the Rue Montmartre, where the accident of our both being in search of the same very rare and very remarkable volume, brought us into closer communion. We saw each other again and again. I was deeply interested in the little family history which he detailed to me with all that candor which a Frenchman indulges whenever mere self is his theme. I was astonished, too, at the vast extent of his reading; and, above all, I felt my soul enkindled within me by the wild fervor, and the vivid freshness of his imagination. Seeking in Paris the objects I then sought, I felt that the society of such a man would be to me a treasure beyond price; and this feeling I frankly confided to him. It was at length arranged that we should live together during my stay in the city; and as my worldly circumstances were somewhat less embarrassed than his own, I was permitted to be at the expense of renting, and furnishing in a style which suited the rather fantastic gloom of our common temper, a time-eaten and grotesque mansion, long deserted through superstitions into which we did not inquire, and tottering to its fall in a retired and desolate portion of the Faubourg St. Germain.

Had the routine of our life at this place been known to the world, we should have been regarded as madmen—although, perhaps, as madmen of a harmless nature. Our seclusion was perfect. We admitted no visitors. Indeed the locality of our retirement had been carefully kept a secret from my own former associates; and it had been many years since Dupin had ceased to know or be known in Paris. We existed within ourselves alone.

It was a freak of fancy in my friend (for what else shall I call it?) to be enamored of the Night for her own sake; and into this bizarrerie, as into all his others, I quietly fell; giving myself up to his wild whims with a perfect abandon. The sable divinity would not herself dwell with us always; but we could counterfeit her presence. At the first dawn of the morning we closed all the massy shutters of our old building; lighting a couple of tapers which, strongly perfumed, threw out only the ghastliest and feeblest of rays. By the aid of these we then busied our souls in dreams—reading, writing, or conversing, until warned by the clock of the advent of the true Darkness. Then we sallied forth into the streets, arm in arm, continuing the topics of the day, or roaming far and wide until a late hour, seeking, amid the wild lights and shadows of the populous city, that infinity of mental excitement which quiet observation can afford.

At such times I could not help remarking and admiring (although from his rich ideality I had been prepared to expect it) a peculiar analytic ability in Dupin. He seemed, too, to take an eager delight in its exercise—if not exactly in its display—and did not hesitate to confess the pleasure thus derived. He boasted to me, with a low chuckling laugh, that most men, in respect to himself, wore windows in their bosoms, and was wont to follow up such assertions by direct and very startling proofs of his intimate knowledge of my own. His manner at these moments was frigid and abstract; his eyes were vacant in expression; while his voice, usually a rich tenor, rose into a treble which would have sounded petulantly but for the deliberateness and entire distinctness of the enunciation. Observing him in these moods, I often dwelt meditatively upon the old philosophy of the Bi-Part Soul, and amused myself with the fancy of a double Dupin—the creative and the resolvent.

Let it not be supposed, from what I have just said, that I am detailing any mystery, or penning any romance. What I have described in the Frenchman, was merely the result of an excited, or perhaps of a diseased intelligence. But of the character of his remarks at the periods in question an example will best convey the idea.

We were strolling one night down a long dirty street, in the vicinity of the Palais Royal. Being both, apparently, occupied with thought, neither of us had spoken a syllable for fifteen minutes at least. All at once Dupin broke forth with these words:

“He is a very little fellow, that’s true, and would do better for the Théâtre des Variétés.”

“There can be no doubt of that,” I replied unwittingly, and not at first observing (so much had I been absorbed in reflection) the extraordinary manner in which the speaker had chimed in with my meditations. In an instant afterward I recollected myself, and my astonishment was profound.

“Dupin,” said I, gravely, “this is beyond my comprehension. I do not hesitate to say that I am amazed, and can scarcely credit my senses. How was it possible you should know I was thinking of ———?” Here I paused, to ascertain beyond a doubt whether he really knew of whom I thought.

———“of Chantilly,” said he, “why do you pause? You were remarking to yourself that his diminutive figure unfitted him for tragedy.”

This was precisely what had formed the subject of my reflections. Chantilly was a quondam cobbler of the Rue St. Denis, who, becoming stage-mad, had attempted the rôle of Xerxes, in Crébillon’s tragedy so called, and been notoriously Pasquinaded for his pains.

“Tell me, for Heaven’s sake,” I exclaimed, “the method—if method there is—by which you have been enabled to fathom my soul in this matter.” In fact I was even more startled than I would have been willing to express.

“It was the fruiterer,” replied my friend, “who brought you to the conclusion that the mender of soles was not of sufficient height for Xerxes et id genus omne.”

“The fruiterer!—you astonish me—I know no fruiterer whomsoever.”

“The man who ran up against you as we entered the street—it may have been fifteen minutes ago.”

I now remembered that, in fact, a fruiterer, carrying upon his head a large basket of apples, had nearly thrown me down, by accident, as we passed from the Rue C——— into the thoroughfare where we stood; but what this had to do with Chantilly I could not possibly understand.

There was not a particle of charlatânerie about Dupin. “I will explain,” he said, “and that you may comprehend all clearly, we will first retrace the course of your meditations, from the moment in which I spoke to you until that of the rencontre with the fruiterer in question. The larger links of the chain run thus—Chantilly, Orion, Dr. Nichols, Epicurus, Stereotomy, the street stones, the fruiterer.”
Copyright © 2006 by Edgar Allan Poe. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

About

Includes The Murders in the Rue Morgue, The Mystery of Marie Rogêt, and The Purloined Letter

Between 1841 and 1844, Edgar Allan Poe invented the genre of detective fiction with three mesmerizing stories of a young French eccentric named C. Auguste Dupin. Introducing to literature the concept of applying reason to solving crime, these tales brought Poe fame and fortune to live on. Years later, Dorothy Sayers would describe “The Murders in the Rue Morgue” as “almost a complete manual of detective theory and practice.” Indeed, Poe’s short mysteries inspired the creation of countless literary sleuths, among them Sherlock Holmes. Today, the Dupin stories still stand out as unique, utterly engrossing page-turners.
This Modern Library edition reproduces the definitive texts of the three tales. It includes an enlightening Introduction by novelist Matthew Pearl and an Appendix, “The Earliest Detectives.”

Praise for The Murders in the Rue Morgue:

“The modern detective story starts here, and Matthew Pearl's introduction offers us new ways of thinking about the Dupin tales' place in nineteenth-century culture as well as their lasting literary value.” 
-- Scott Peeples, Department of English, College of Charleston, and President of the Poe Studies Association


“What a gift–Poe’s Dupin tales introduced and edited by the most sophisticated writer of literary mysteries today! Pearl’s decision to reprint these three luminous stories as a sequence is revelatory: this, indeed, is the second novel Poe never published, with an unforgettable protagonist whose obsession with questions of truth and authenticity becomes our own. Poe’s elusive detective is our contemporary.”
-- Christoph Irmscher, Professor of English, University of Maryland Baltimore County, author of Longfellow Redux

“As is clear from Matthew Pearl’s introduction to this collection, any study of the detective story genre must begin with the Dupin trilogy contained in The Murders in the Rue Morgue: The Dupin Tales. Not only will readers find the unfolding mysteries in these stories intriguing in themselves, they will likely also develop theories of their own about Poe’s role in the evolution of the detective story based on rich materials included in the volume’s appendix....For students and first-time readers of Poe, this little volume is an Aladdin’s cave; for those who are already Poe devotees it is a fitting tribute to his genius in the form of what Pearl aptly calls a 'self-contained novella.'”
— Bryant Mangum, Professor of English, Virginia Commonwealth University

Author

Edgar Allan Poe was born in Boston, USA, in 1809. Poe, short story writer, editor and critic, he is best known for his macabre tales and as the progenitor of the detective story. He died in 1849, in mysterious circumstances, at the age of forty.

J. Gerald Kennedy is Boyd Professor of English Emeritus at Louisiana State University and a past president of the Poe Studies Association. His books on Poe include Poe, Death, and the Life of Writing (1987), “The Narrative of Arthur Gordon Pym” and the Abyss of Interpretation (1995), and several edited volumes including A Historical Guide to Edgar Allan Poe (2001), Romancing the Shadow: Poe and Race (2001; with Liliane Weissberg), and Poe and the Remapping of Antebellum Print Culture (2012; with Jerome McGann). His major contribution to American literary studies is Strange Nation: Literary Nationalism and Cultural Conflict in the Age of Poe (2016), written with the support of fellowships by the John Simon Guggenheim Memorial Foundation and the National Endowment for the Humanities. He has also published Imagining Paris: Exile, Writing, and American Identity (1993), and he edited the Penguin Classics edition of The Life of Black Hawk (2008). He has appeared in many Poe documentary films, including The Mystery of Edgar Allan Poe(1994) for the A&E Biography series and Eric Stange’s film for the PBS American Masterpiece series, Edgar A. Poe: Buried Alive (2017). View titles by Edgar Allan Poe

Excerpt

The Murders in the Rue Morgue

What song the Syrens sang, or what name Achilles assumed when he hid himself among women, although puzzling questions, are not beyond all conjecture.

Sir Thomas Browne The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis. We appreciate them only in their effects. We know of them, among other things, that they are always to their possessor, when inordinately possessed, a source of the liveliest enjoyment. As the strong man exults in his physical ability, delighting in such exercises as call his muscles into action, so glories the analyst in that moral activity which disentangles. He derives pleasure from even the most trivial occupations bringing his talent into play. He is fond of enigmas, of conundrums, of hieroglyphics; exhibiting in his solutions of each a degree of acumen which appears to the ordinary apprehension præternatural. His results, brought about by the very soul and essence of method, have, in truth, the whole air of intuition.

The faculty of re-solution is possibly much invigorated by mathematical study, and especially by that highest branch of it which, unjustly, and merely on account of its retrograde operations, has been called, as if par excellence, analysis. Yet to calculate is not in itself to analyse. A chess-player, for example, does the one without effort at the other. It follows that the game of chess, in its effects upon mental character, is greatly misunderstood. I am not now writing a treatise, but simply prefacing a somewhat peculiar narrative by observations very much at random; I will, therefore, take occasion to assert that the higher powers of the reflective intellect are more decidedly and more usefully tasked by the unostentatious game of draughts than by all the elaborate frivolity of chess. In this latter, where the pieces have different and bizarre motions, with various and variable values, what is only complex is mistaken (a not unusual error) for what is profound. The attention is here called powerfully into play. If it flag for an instant, an oversight is committed, resulting in injury or defeat. The possible moves being not only manifold but involute, the chances of such oversights are multiplied; and in nine cases out of ten it is the more concentrative rather than the more acute player who conquers. In draughts, on the contrary, where the moves are unique and have but little variation, the probabilities of inadvertence are diminished, and the mere attention being left comparatively unemployed, what advantages are obtained by either party are obtained by superior acumen. To be less abstract—Let us suppose a game of draughts where the pieces are reduced to four kings, and where, of course, no oversight is to be expected. It is obvious that here the victory can be decided (the players being at all equal) only by some recherché movement, the result of some strong exertion of the intellect. Deprived of ordinary resources, the analyst throws himself into the spirit of his opponent, identifies himself therewith, and not unfrequently sees thus, at a glance, the sole methods (sometimes indeed absurdly simple ones) by which he may seduce into error or hurry into miscalculation.

Whist has long been noted for its influence upon what is termed the calculating power; and men of the highest order of intellect have been known to take an apparently unaccountable delight in it, while eschewing chess as frivolous. Beyond doubt there is nothing of a similar nature so greatly tasking the faculty of analysis. The best chess-player in Christendom may be little more than the best player of chess; but proficiency in whist implies capacity for success in all those more important undertakings where mind struggles with mind. When I say proficiency, I mean that perfection in the game which includes a comprehension of all the sources whence legitimate advantage may be derived. These are not only manifold but multiform, and lie frequently among recesses of thought altogether inaccessible to the ordinary understanding. To observe attentively is to remember distinctly; and, so far, the concentrative chess-player will do very well at whist; while the rules of Hoyle (themselves based upon the mere mechanism of the game) are sufficiently and generally comprehensible. Thus to have a retentive memory, and to proceed by “the book,” are points commonly regarded as the sum total of good playing. But it is in matters beyond the limits of mere rule that the skill of the analyst is evinced. He makes, in silence, a host of observations and inferences. So, perhaps, do his companions; and the difference in the extent of the information obtained, lies not so much in the validity of the inference as in the quality of the observation. The necessary knowledge is that of what to observe. Our player confines himself not at all; nor, because the game is the object, does he reject deductions from things external to the game. He examines the countenance of his partner, comparing it carefully with that of each of his opponents. He considers the mode of assorting the cards in each hand; often counting trump by trump, and honor by honor, through the glances bestowed by their holders upon each. He notes every variation of face as the play progresses, gathering a fund of thought from the differences in the expression of certainty, of surprise, of triumph, or of chagrin. From the manner of gathering up a trick he judges whether the person taking it can make another in the suit. He recognises what is played through feint, by the air with which it is thrown upon the table. A casual or inadvertent word; the accidental dropping or turning of a card, with the accompanying anxiety or carelessness in regard to its concealment; the counting of the tricks, with the order of their arrangement; embarrassment, hesitation, eagerness or trepidation—all afford, to his apparently intuitive perception, indications of the true state of affairs. The first two or three rounds having been played, he is in full possession of the contents of each hand, and thenceforward puts down his cards with as absolute a precision of purpose as if the rest of the party had turned outward the faces of their own.

The analytical power should not be confounded with simple ingenuity; for while the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis. The constructive or combining power, by which ingenuity is usually manifested, and to which the phrenologists (I believe erroneously) have assigned a separate organ, supposing it a primitive faculty, has been so frequently seen in those whose intellect bordered otherwise upon idiocy, as to have attracted general observation among writers on morals. Between ingenuity and the analytic ability there exists a difference far greater, indeed, than that between the fancy and the imagination, but of a character very strictly analogous. It will be found, in fact, that the ingenious are always fanciful, and the truly imaginative never otherwise than analytic.

The narrative which follows will appear to the reader somewhat in the light of a commentary upon the propositions just advanced.

Residing in Paris during the spring and part of the summer of 18—, I there became acquainted with a Monsieur C. Auguste Dupin. This young gentleman was of an excellent—indeed of an illustrious family, but, by a variety of untoward events, had been reduced to such poverty that the energy of his character succumbed beneath it, and he ceased to bestir himself in the world, or to care for the retrieval of his fortunes. By courtesy of his creditors, there still remained in his possession a small remnant of his patrimony; and, upon the income arising from this, he managed, by means of a rigorous economy, to procure the necessaries of life, without troubling himself about its superfluities. Books, indeed, were his sole luxuries, and in Paris these are easily obtained.

Our first meeting was at an obscure library in the Rue Montmartre, where the accident of our both being in search of the same very rare and very remarkable volume, brought us into closer communion. We saw each other again and again. I was deeply interested in the little family history which he detailed to me with all that candor which a Frenchman indulges whenever mere self is his theme. I was astonished, too, at the vast extent of his reading; and, above all, I felt my soul enkindled within me by the wild fervor, and the vivid freshness of his imagination. Seeking in Paris the objects I then sought, I felt that the society of such a man would be to me a treasure beyond price; and this feeling I frankly confided to him. It was at length arranged that we should live together during my stay in the city; and as my worldly circumstances were somewhat less embarrassed than his own, I was permitted to be at the expense of renting, and furnishing in a style which suited the rather fantastic gloom of our common temper, a time-eaten and grotesque mansion, long deserted through superstitions into which we did not inquire, and tottering to its fall in a retired and desolate portion of the Faubourg St. Germain.

Had the routine of our life at this place been known to the world, we should have been regarded as madmen—although, perhaps, as madmen of a harmless nature. Our seclusion was perfect. We admitted no visitors. Indeed the locality of our retirement had been carefully kept a secret from my own former associates; and it had been many years since Dupin had ceased to know or be known in Paris. We existed within ourselves alone.

It was a freak of fancy in my friend (for what else shall I call it?) to be enamored of the Night for her own sake; and into this bizarrerie, as into all his others, I quietly fell; giving myself up to his wild whims with a perfect abandon. The sable divinity would not herself dwell with us always; but we could counterfeit her presence. At the first dawn of the morning we closed all the massy shutters of our old building; lighting a couple of tapers which, strongly perfumed, threw out only the ghastliest and feeblest of rays. By the aid of these we then busied our souls in dreams—reading, writing, or conversing, until warned by the clock of the advent of the true Darkness. Then we sallied forth into the streets, arm in arm, continuing the topics of the day, or roaming far and wide until a late hour, seeking, amid the wild lights and shadows of the populous city, that infinity of mental excitement which quiet observation can afford.

At such times I could not help remarking and admiring (although from his rich ideality I had been prepared to expect it) a peculiar analytic ability in Dupin. He seemed, too, to take an eager delight in its exercise—if not exactly in its display—and did not hesitate to confess the pleasure thus derived. He boasted to me, with a low chuckling laugh, that most men, in respect to himself, wore windows in their bosoms, and was wont to follow up such assertions by direct and very startling proofs of his intimate knowledge of my own. His manner at these moments was frigid and abstract; his eyes were vacant in expression; while his voice, usually a rich tenor, rose into a treble which would have sounded petulantly but for the deliberateness and entire distinctness of the enunciation. Observing him in these moods, I often dwelt meditatively upon the old philosophy of the Bi-Part Soul, and amused myself with the fancy of a double Dupin—the creative and the resolvent.

Let it not be supposed, from what I have just said, that I am detailing any mystery, or penning any romance. What I have described in the Frenchman, was merely the result of an excited, or perhaps of a diseased intelligence. But of the character of his remarks at the periods in question an example will best convey the idea.

We were strolling one night down a long dirty street, in the vicinity of the Palais Royal. Being both, apparently, occupied with thought, neither of us had spoken a syllable for fifteen minutes at least. All at once Dupin broke forth with these words:

“He is a very little fellow, that’s true, and would do better for the Théâtre des Variétés.”

“There can be no doubt of that,” I replied unwittingly, and not at first observing (so much had I been absorbed in reflection) the extraordinary manner in which the speaker had chimed in with my meditations. In an instant afterward I recollected myself, and my astonishment was profound.

“Dupin,” said I, gravely, “this is beyond my comprehension. I do not hesitate to say that I am amazed, and can scarcely credit my senses. How was it possible you should know I was thinking of ———?” Here I paused, to ascertain beyond a doubt whether he really knew of whom I thought.

———“of Chantilly,” said he, “why do you pause? You were remarking to yourself that his diminutive figure unfitted him for tragedy.”

This was precisely what had formed the subject of my reflections. Chantilly was a quondam cobbler of the Rue St. Denis, who, becoming stage-mad, had attempted the rôle of Xerxes, in Crébillon’s tragedy so called, and been notoriously Pasquinaded for his pains.

“Tell me, for Heaven’s sake,” I exclaimed, “the method—if method there is—by which you have been enabled to fathom my soul in this matter.” In fact I was even more startled than I would have been willing to express.

“It was the fruiterer,” replied my friend, “who brought you to the conclusion that the mender of soles was not of sufficient height for Xerxes et id genus omne.”

“The fruiterer!—you astonish me—I know no fruiterer whomsoever.”

“The man who ran up against you as we entered the street—it may have been fifteen minutes ago.”

I now remembered that, in fact, a fruiterer, carrying upon his head a large basket of apples, had nearly thrown me down, by accident, as we passed from the Rue C——— into the thoroughfare where we stood; but what this had to do with Chantilly I could not possibly understand.

There was not a particle of charlatânerie about Dupin. “I will explain,” he said, “and that you may comprehend all clearly, we will first retrace the course of your meditations, from the moment in which I spoke to you until that of the rencontre with the fruiterer in question. The larger links of the chain run thus—Chantilly, Orion, Dr. Nichols, Epicurus, Stereotomy, the street stones, the fruiterer.”
Copyright © 2006 by Edgar Allan Poe. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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    $20.00 US
    Paperback
    Jul 14, 2009
  • The Belly of Paris
    The Belly of Paris
    Emile Zola
    $16.00 US
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    May 12, 2009
  • Antony and Cleopatra
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    William Shakespeare
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    Apr 14, 2009
  • The Winter's Tale
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    William Shakespeare
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  • The Sonnets and Other Poems
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    Charlotte Bronte
    $9.00 US
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    Apr 07, 2009
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    Introduction by Colin Thubron
    Marco Polo
    $32.00 US
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  • The Essential Writings of James Weldon Johnson
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    James Weldon Johnson
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  • Paradise Lost
    Paradise Lost
    John Milton
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    Paperback
    Sep 09, 2008
  • Hamlet
    Hamlet
    William Shakespeare
    $10.00 US
    Paperback
    Aug 12, 2008
  • The Tempest
    The Tempest
    William Shakespeare
    $8.00 US
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    Aug 12, 2008
  • A Midsummer Night's Dream
    A Midsummer Night's Dream
    William Shakespeare
    $8.00 US
    Paperback
    Aug 12, 2008
  • Richard III
    Richard III
    William Shakespeare
    $8.00 US
    Paperback
    Aug 12, 2008
  • Love's Labour's Lost
    Love's Labour's Lost
    William Shakespeare
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    Aug 12, 2008
  • Georges
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    Alexandre Dumas
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    Niccolo Machiavelli
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    Hermann Hesse
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    Sep 18, 2007
  • Emma
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    Jane Austen
    $9.95 US
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    Sep 04, 2007
  • Life on the Mississippi
    Life on the Mississippi
    Mark Twain
    $13.00 US
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    May 29, 2007
  • The Essential Writings of Machiavelli
    The Essential Writings of Machiavelli
    Niccolo Machiavelli
    $20.00 US
    Paperback
    Apr 03, 2007
  • The Dhammapada
    The Dhammapada
    Verses on the Way
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  • The Memoirs of Catherine the Great
    The Memoirs of Catherine the Great
    Catherine the Great
    $16.00 US
    Paperback
    Jun 13, 2006
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    The Gilded Age
    Mark Twain, Charles Dudley Warner
    $16.00 US
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    Mar 14, 2006
  • The Lives of the Most Excellent Painters, Sculptors, and Architects
    The Lives of the Most Excellent Painters, Sculptors, and Architects
    Giorgio Vasari
    $19.00 US
    Paperback
    Feb 14, 2006
  • The American Transcendentalists
    The American Transcendentalists
    Essential Writings
    Ralph Waldo Emerson, Nathaniel Hawthorne, Henry David Thoreau, Margaret Fuller
    $20.00 US
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    Jan 10, 2006
  • The Constitutional Convention
    The Constitutional Convention
    A Narrative History from the Notes of James Madison
    James Madison, Edward J. Larson, Michael P. Winship
    $19.00 US
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    Nov 08, 2005
  • Candide
    Candide
    or, Optimism
    Voltaire
    $13.00 US
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  • The Sport of the Gods
    The Sport of the Gods
    and Other Essential Writings
    Paul Laurence Dunbar
    $23.00 US
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  • The Kill
    The Kill
    Emile Zola
    $18.00 US
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    Jul 12, 2005
  • The Wrong Side of Paris
    The Wrong Side of Paris
    Honoré de Balzac
    $17.00 US
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    Apr 12, 2005
  • The Sorrows of Young Werther
    The Sorrows of Young Werther
    Johann Wolfgang von Goethe
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  • Essential Stories
    Essential Stories
    V. S. Pritchett
    $18.00 US
    Paperback
    Jan 04, 2005
  • I Promise to Be Good
    I Promise to Be Good
    The Letters of Arthur Rimbaud
    Arthur Rimbaud
    $19.00 US
    Paperback
    Nov 09, 2004
  • Peter Pan
    Peter Pan
    J.M. Barrie, F.D. Bedford
    $10.95 US
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    Oct 12, 2004
  • The Haunted House
    The Haunted House
    Charles Dickens
    $14.00 US
    Paperback
    Oct 12, 2004
  • The Life and Opinions of Tristram Shandy, Gentleman
    The Life and Opinions of Tristram Shandy, Gentleman
    Laurence Sterne
    $19.00 US
    Paperback
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  • The Knight of Maison-Rouge
    The Knight of Maison-Rouge
    A Novel of Marie Antoinette
    Alexandre Dumas
    $16.00 US
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  • Jefferson Davis: The Essential Writings
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    Jefferson Davis
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  • The Book of Spies
    The Book of Spies
    An Anthology of Literary Espionage
    Anthony Burgess, John Steinbeck, Rebecca West, John le Carré
    $18.00 US
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    Jun 08, 2004
  • The Importance of Being Earnest
    The Importance of Being Earnest
    And Other Plays
    Oscar Wilde
    $12.00 US
    Paperback
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  • The Interesting Narrative of the Life of Olaudah Equiano
    The Interesting Narrative of the Life of Olaudah Equiano
    or, Gustavus Vassa, the African
    Olaudah Equiano
    $15.00 US
    Paperback
    May 11, 2004
  • The Red and the Black
    The Red and the Black
    Stendhal
    $15.00 US
    Paperback
    May 11, 2004
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    Apr 13, 2004

Other Books by this Author

  • Tales of Mystery and Imagination
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    Illustrated by Arthur Rackham
    Edgar Allan Poe, Arthur Rackham
    $22.00 US
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    Sep 05, 2017
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    Great Tales and Poems of Edgar Allan Poe
    Edgar Allan Poe
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    Paperback
    Sep 01, 2009
  • The Complete Poetry of Edgar Allan Poe
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    Edgar Allan Poe
    $4.95 US
    Mass Market Paperback
    Oct 07, 2008
  • The Portable Edgar Allan Poe
    The Portable Edgar Allan Poe
    Edgar Allan Poe
    $22.00 US
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    Oct 03, 2006
  • The Fall of the House of Usher and Other Tales
    The Fall of the House of Usher and Other Tales
    Edgar Allan Poe
    $5.95 US
    Mass Market Paperback
    Oct 03, 2006
  • The Fall of the House of Usher and Other Writings
    The Fall of the House of Usher and Other Writings
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    The Narrative of Arthur Gordon Pym of Nantucket
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  • The Raven and the Monkey's Paw
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    Classics of Horror and Suspense from the Modern Library
    Charles Dickens, O. Henry, Edgar Allan Poe, Edith Wharton, Saki
    $15.00 US
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    Sep 29, 1998
  • The Tell-Tale Heart
    The Tell-Tale Heart
    Edgar Allan Poe
    $5.95 US
    Mass Market Paperback
    Feb 01, 1983
  • The Science Fiction of Edgar Allan Poe
    The Science Fiction of Edgar Allan Poe
    Edgar Allan Poe
    $19.00 US
    Paperback
    Dec 09, 1976
  • 18 Best Stories by Edgar Allan Poe
    18 Best Stories by Edgar Allan Poe
    Edgar Allan Poe
    $7.99 US
    Mass Market Paperback
    Apr 15, 1965
  • Tales of Mystery and Imagination
    Tales of Mystery and Imagination
    Illustrated by Arthur Rackham
    Edgar Allan Poe, Arthur Rackham
    $22.00 US
    Hardcover
    Sep 05, 2017
  • Great Tales and Poems of Edgar Allan Poe
    Great Tales and Poems of Edgar Allan Poe
    Edgar Allan Poe
    $14.00 US
    Paperback
    Sep 01, 2009
  • The Complete Poetry of Edgar Allan Poe
    The Complete Poetry of Edgar Allan Poe
    Edgar Allan Poe
    $4.95 US
    Mass Market Paperback
    Oct 07, 2008
  • The Portable Edgar Allan Poe
    The Portable Edgar Allan Poe
    Edgar Allan Poe
    $22.00 US
    Paperback
    Oct 03, 2006
  • The Fall of the House of Usher and Other Tales
    The Fall of the House of Usher and Other Tales
    Edgar Allan Poe
    $5.95 US
    Mass Market Paperback
    Oct 03, 2006
  • The Fall of the House of Usher and Other Writings
    The Fall of the House of Usher and Other Writings
    Poems, Tales, Essays, and Reviews
    Edgar Allan Poe
    $13.00 US
    Paperback
    Apr 29, 2003
  • The Narrative of Arthur Gordon Pym of Nantucket
    The Narrative of Arthur Gordon Pym of Nantucket
    Edgar Allan Poe
    $12.00 US
    Paperback
    May 14, 2002
  • The Raven and the Monkey's Paw
    The Raven and the Monkey's Paw
    Classics of Horror and Suspense from the Modern Library
    Charles Dickens, O. Henry, Edgar Allan Poe, Edith Wharton, Saki
    $15.00 US
    Paperback
    Sep 29, 1998
  • The Tell-Tale Heart
    The Tell-Tale Heart
    Edgar Allan Poe
    $5.95 US
    Mass Market Paperback
    Feb 01, 1983
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    The Science Fiction of Edgar Allan Poe
    Edgar Allan Poe
    $19.00 US
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