Text: James H. Whitty, “Remarkable Find of New Poe Poems and Manuscripts,” The Sun (New York, NY), vol. LXXXIII, no. 82, November 21, 1915, sixth section, p. 3

THERE are few readers over whom the weird writings and checkered career of Edgar Allan Poe lave not exercised! some peculiar or fascinating charm. If Poe's popularity was estimated on the number of his published works and biographies as well as the varied things written about him in and magazines no other American author could equal him in this particular.

Yet the complete story of Poe's life has never been clearly told, while sone of his writings even at this day are only to be found scattered in the byways and hedges of nearly forgotten literary past. The fact is that no other American writer has needed so much study as well as fair and candid observation as Poe. Of the lives of all the poets that have puzzled the world none nas been more difficult to fathom than his.

It was R. H. Stoddard, one of Poe's editors, who wrote many years ago that a now and well authenticated poem by Poe “will never be possible at this date to find.” That forecast for a long while proved right. But discoveries were made later on, and among others, the writer unearthed eight new poems, which were published during the year 1911.

It was then confidently asserted that the limit of Poe's unknown writings had been reached, but the contrary proved to the case.

Three more new and hitherto unknown poems are now added to what former Poe writers have called the small body of his metrical works.

These make the present number of Poe's poems total sixty-two — a startling increase of over one-fourth in the last four years.

One of the latest new poems consists of four stanzas and is entirely in Poe's handwriting. It is called “Life's Vital Stream” from the contest. Sufficient time has not elapsed in which to make further search into its history, which may not only reveal Poe's own title but his actual motives in writing the poem.

The two other new poems are “The Divine of Kings,” and “Stanzas,” both discovered in Graham's Magazine for 1845.

These new poems from Graham's are more mature efforts and seem to have been intended especially for the eye of Mrs. Frances Sargent Osgood, the poetess, with whom portions of fierce romance with Poe are recorded.

Besides the new poems hitherto known Poe documents have been discovered which are likely to lead to important finds and to throw much needed light on dark passages in his early history. Like the new autograph poem, these new found manuscripts are entirely in Poe's handwriting, and while not dated the circumstantial, evidence shows that they were written during the early part of the year 1827, after his return from college.

The late found manuscripts. besides. the original poem. and dating prior to 1828 are called “Hope,” “Ally Croaker,” “Soldier's Burial” and “Burial of Sir John Moore” and “Extract from Byron's Dream.”

In addition to these an important manuscript poem called “Elizabeth” has been found, dating about 1831, with unpublished manuscripts of his later and well known poems of “The Haunted, Palace.” “The Conqueror Worm” and early lines to Mrs. Shew. A manuscript reconstructed version of Poe’ poem “To One in Paradise” is now also first published.

Poe was unquestionably precocious, like Shelley and some other well known poets. His earliest lines to “Helen” have excited unbounded admiration, and in all likelihood have been quoted oftener than Bryant's well known early poem “Thanatopsis.”

While many of Poe's juvenile pieces show faulty conception and diction, yet they contain shapeless germs witch he afterward remodelled with a master's hand into faultless gems. The new found manuscripts of Poe are important aside from the fact of being new and unpublished poetry written in Poe's minority. In fact they confirm what some persons have doubted: that Poe ever worked in the counting house of Ellis & Allan Richmond. Va.

The documents were discovered among a huge mass of manuscripts belonging to that old firm which are now deposited in the Library of Congress at Washington. The thick writing paper on which they are written has browned by age but looks very similar to other paper used by the firm in the course of their business transactions.

A letter addressed to Poe by a college companion and dated March 25, 1827, is among these papers. It is apparent that Poe never received this letter, having left the city prior to the time it reached Richmond. The documents and the paper they are written upon would go toward fixing the period of Poe's time spent at the Ellis & Allan warehouse as from January, 1827, to the early part of March of the same year, something over two months. As it was near the Christmas of 1826 when Poe turned from the University of Virginia is not presumed that he started to work during the holidays. From the handwriting and characteristics of the new found verses it is evident that the lines on “Hope” and “Ally Croaker” were the earliest written. Those on the “Burial of Sir John Moore” and Dream” make it quite clear that Poe had begun about this time, if not sooner, to send communications to newspapers and magazines.

One of his new poems published in 1911, taken from Burton's Philadelphia Gentleman's Magazine for May, 1840, and styled “An Enigma,” was first published in the Philadelphia Casket for May, 1827. As at the present day, poetry was then often held back by periodicals for several months. There is no telling now when he sent these lies [[lines]] to the Casket or what other lines he forwarded to the came magazine, or elsewhere.

All through life it was Poe's habit to endeavor to weigh public opinion to the merits of his writings, especially poetry. In sending contributions to magazines he sometimes made no signature, or when he used an assumed name, never reverted to the same name again. After a careful study of a great mass of his handwriting it even appears as if he sometimes endeavored to change the style especially during the earlier periods. There is now under investigation evidence that in his career he sent a magazine [column 2:] several verses, and under another assumed name criticised them in favor of other lines sent in by himself. Some extended criticisms of his own poems and tales published anonymously in a magazine during his life. time have been acknowledged over his signature later on in life. This may have been the cause for these lines. published Graham's Magazine for December, 1846, which have never been reproduced, or alluded to, since Poe's death:

P——— THE VERSIFIER REVIEWING HIS OWN POETRY.

After returning home from college. and much against his inclinations, it is quite certain that Poe went to work in the Ellis Allan counting house, of which firm his patron. John Allan was it partner.

The relations between Poe and Allan about that time were strained, mainly on account of Poe's gambling debts contracted at college. Poe regarded Allan as a close fisted Scotchman and a croaker of the first water. He himself had not only made love and lost with his former sweetheart, but had also while at college both “drank and gam’d.” A clerkship in a humdrum counting room was irksome to his high spirits and he determined to break the chain of what he considered his serfdom to Allan.

It looks as if he might have adopted ths same dilatory tactics in his work at Ellis & Allan's that he pursued in his later conduct at West Point, when he purposely earned his dismissal. Instead of poring over dusty commercial tomes, much of his time probably was devoted to reading and writing poetry. There is reason to believe that a draft of “Tamerlane and Other Poems” was made here, or at least revised for the final publication, which he made at Boston later in the same year.

It is possible that further investigations among the old manuscripts of the firm of Ellis Allan may show some of his routine work there, though the probabilities are that his duties were purely routine and may not have called especially for his penmanship.

The firm kept current files of the newspapers of day and had it a file of the Philadelphia Saturday Evening Post extending over a long period. I handled some of these bulky old volumes years afterward, but only a few numbers of the Post had any notations left in them by Poe.

The poetry columns of that periodical must have been a great consolation to Poe in those dreary and unhappy hours and it would not be surprising if later on he was found to have been, at that early period, among its contributors. A bridal verse, attributed to the “Baltimore Bard,” I believe, attracted Poe's attention at that time and may have inspired his song “I Saw Thee on Thy Bridal Day.” The first lines in both verses are similar.

But he did not linger long about that dingy warehouse. By strange coincidence this building adjoins that of the Southern Literary Messenger at Richmond. on which publication Poe afterward made his first brilliant success in the literary world. Both of these buildings are still standing.

Without advising Mr. Allan of his intentions, Poe wrote to the Mills Nursery Company of Philadelphia, for which concern Ellis Allan were Richmond agents, asking for some kind of employment. That firm returned his letter to Allan, and there was a serious difference between them. which finally ended in Poe with a youthful companion named Ebenezer Burling taking his departure on a vessel at Richmond outward bound for Europe.

This effort of Poe's to go to Philadelphia appears to have been a ruse to reach one of the larger, literary centres, as there is believe that he had even at that period determined upon 11 literary career.

When the documents were first discovered It was thought that all but two of them were original compositions of the poet. The early manuscript lines on “Hope.” however, were recalled as belonging to good natured Goldsmith. They are to be found under the title of his “Song, From the Oratorio of the Captivity.” Poe closely followed the original. The edition of Goldsmith or the copy he must have been of an early date judging from the way he spelled the word “cheer.” The manuscript is chiefly important as showing Poe's trend of thought at the time and the [column 3:] influence of the lines on his later work.

There had been a shimmering ray of sweet hope left within his bosom while at college, but upon his return home that light went quickly out. No verse of his carries such strain. They are all a despairing wail — a lost forlorn hope.

In “Tamerlane” he wrote:

Again, in the drama of Politian, Lalarge, in the mirror scene, was reminded:

During 1835 he inserted in his poem the “Visionary:”

Almost to the very end in the “Raven.” after referring to his “Hopes flown before,” he first wrote:

This he finally changed into the present reading:

But from the grave the youthful Poe seemed to suddenly to the gay. On the “Hope” manuscript he wrote upon the end of the sheet of paper a title of “Ally Croaker.” He then continued the verses on a separate sheet of paper. At a first reading these might indicate something of Poe's later favorite use of the repetend in poetry. The idea of the pawned coat, losing the lady love, with the drinking and gambling episodes, surely show a close parody on Poe's own self about the time they were written.

Like Byron, Poe is believed to have depicted much of himself in his writings, and all the circumstances lent. color to the belief in originality for the lines. It was recalled, however, that in a little volume by T. W. White, who afterward published the Messenger and who probably printed the book in the building adjoining where Poe wrote the verses, some references had been seen to muste of “Ally Croaker.” An investigation showed an early song by that name, as well as the fact that the songs “The Hunter of Kentucky” and Captain Bold in Halifax” were sung with the name tune. These were popular ballads sung throughout the Southern and Western States by early English comedians. This makes it possible that Poe may have come into possession of the ballad, with others, from his own mother's collection.

No full record of “Ally Croaker” [column 4:] could be found in the South, but after a search in the Library of Congress at Washington a copy was found in the October, 1753. number of the London Universal Magazine of Knowledge and Pleasure.

The fact that Poe left out words in the song, also the letter in fortune, with other characteristics indicate that he must have written this hurriedly. The spelling of some words also looks like the original he copied from was of an early date.

Poe had a fondness of reconstructing his own later poetry, most noticeable in his poem called “Lenore.” As will be seen, he reconstructed “Ally Croaker” to suit his own notions, which is his earliest known effort in this direction. That all may be clear to the reader, the words and arrangement of the song as it originally appeared follow:

ALLY CROAKER

A New Song

The verses on “The Burial of Sir John Moore” and “Byron's Dream’ were found with the other documents. Poe's handwriting is similar on these, and in instances some more closely approximates that of his well known autograph. He wrote the caption: “Lord Byron's Last Poem,” which he afterward erased for extract from “Byron's Dream.”

He commenced the extract from “Byron's Dream” from the beginning of Canto VII., where:

And there he stopped.

It might not be amiss to recall in [column 6:] this connection what an impression this “Dream” poetry made on Poe's youthful mind. It was eighteen years afterward. “Byron when and writing Mary a magazine that he wrote:

“‘The Dream,’ in which the incident of his parting with her when about to travel, and delineated or at least paralleled, has never been excelled (certainly never excelled by him) the blended fervor, delicacy, truthfulness and ethereality which sublime and adorn it.”

While writing the early copy of the “Dream” it is not unlikely that Poe likened his own sad love affairs with Byron's. A singular and sorrowful mood at least seemed to come suddenly over him, and one of those impulsive moments when his thoughts invariably turned to poetry he must have written the new found lines, “Life's Vital Stream.” It is transcribed in A handwriting the Byron verses. White juvenile, still the lines Poesque. supposition is that the lines were written at one sitting and after he had laid aside his copy of Byron. A theory advanced in Washington that these lines may have been intended for the second wife of John Allan is not adhered to. Her name was always called by herself and those who knew her as “Louise.” This theory no doubt has foundation from some writings of Poe's about 1830 resembling that of these verses.

There are indications that this poem might contain the earliest germs of both his later poems of “Lenore” and Bridal Ballad.” He had learned of the deceit practised in his love affairs with Miss Royster upon his return from college, and the lines show his first impulsive poetical resentment.

The use of the name “Louisa” would have no special significance. In the first “Tamerlane” he alluded to “mine own Ada. From the use of the letter “S” at the end he may have had Miss Royster's name “Sarah” in his mind. The following are the verses:

It has been presumed that Poe recall in gained some of his art in the preparation [column 7:]

of his manuscript for the printer in Baltimore, after leaving Richmond in the early days.

From the careful makeup of his copy of “The Burial of Sir John Moore” with his comments it would pear as if Poe prepared his copy for publication at an earlier date and was no novice.

He headed the lines “The Soldier's Burial” and started out with his comments, as he did many years afterward, in a more mature criticism.

It bears the impress, however, of an early effort. He had not read up on literary matters, or he would not have fallen into his error of saying that the verses were “pretty well ascertained to be by Byron.” As is well known, the Rev. Charles Wolf was the author.

In an old leather bound copy of Graham's Magazine containing berg for the years 1845-6, once owned by Mrs. Frances Sargent Ongood, has marked certain poems as Poe's. The additional markings to her own writings therein, with other strong circumstantial evidence, tend to show that the poems are Poe's.

Rufus Griswold, Poe's most vindictive biographer, in some manner had also gained possession of this old volume. Perhaps with other knowledge of his concerning the romance, this may have aided him in holding the parent warm friendship shown for by Mrs. Osgood after Poe's death. She was anxious to have her romantic fair with Poe fully understood her way, and used the good offices of Griswold in that direction. A full investigation and publication of certain Griswold

documents now in the Boston Public Library, with other matters, may eventually place Poe in a better position with his romantic women friends than the records now show.

The Osgood and other romances were purely platonic, but Poe was often sought after as closely by most of his female admirers as the “Donna Julia eagerly watched over Don,” even to his very lodgings.

Mrs. Osgood in her written statement to Griswold of the affair makes out Poe “indulging in many little romantic poetical episodes, in which the impassioned romance of his temperament impelled him to indulge.” But there remains sufficient evidence to show that she herself heartily joined in these sentimental episodes, and was more affected at the moment than she realized, or at least dared afterward confess. The romance between Poe and Mrs. Osgood started with their introduction, at the Astor House, by Willis about March, 1845, and ended early in 1846.

Mrs. Osgood sent early lines to Poe's Broadway Journal to which Poe responded in April with a few impromptu He is also believed to have intended his published verses of the same time “To F.,” and signed “E.” for Mrs. Osgood.

In Graham's Magazine for August, 1845. Mrs. Osgood published a short story called “Ida Grey.” From the text and markings on this it might readily be taken as the first colored draft of her meeting with Poe at the Astor House, which she afterward toned down little in her letter to Griswold.

Her hero has gray eyes of singular earnestness: minters coldly courteous, with depth to the tone of his voice. His lightning intellect was irresistible. But he had a wife!

In one passage she says “He bids me tell him that I love him, as proudly if he had a right, an unquestionable, an undoubted., a divine right to demand my love. Ah! with what grand and pimple eloquence he writes!”

This was all followed by many stanzas of verse, among them this one:

It was to her reference in this story to the “divine right’ that Poe responded in an impromptu manner in the October number of Graham's Magazine with lines entitled “The Divine Right of Kings” signed “P.” A copy of the verses is given in the box at the top of this page. [column 8:]

There is evidence that Mrs. Osgood, among others. used the pen name of “Ellen.” It was also a family name, and given to one of her children. About this same time Mrs. Osgood had sent lines to Poe's Journal commencing:

It way to this that Poe responded with his poem “To F.,” which he afterward corrected to read: “To F — s S. O — d.”

The earliest draft of this poem recently has been discovered. It was hitherto thought to have been first written in the Southern Literary Messenger during 1835, while Poe was editor, and originally taken from his wife's album. It is now definitely settled that the lines were primarily written in the album of his Baltimore cousin. Elizabeth Herring, to whom Poe also made love. The present owner of this album has also been found. She has told its interesting history and how she came to clip out this leaf with the other two Poe verses which were published in 1911. Mrs. Osgood sent verses to Poe's Journal during November in the character of his lines. In December Poe wrote her the lines appearing in the box above under “Stanzas,” which are new, and appear in Graham's Magazine signed “P.”

There grew some serious misunderstanding between them about this period. or Mrs. Osgood's family interceded in the affair, for she almost ceased to notice him. In the January, 1846, Graham's Magazine Mr. Osgood has her last marked poem, which is cited “Caprice.” It seems that was in answer to a letter from Poe. Some of the lines follow:

It is believed, as Mrs. Osgood has written, “that after this they never met again.” There remained a mutual feeling of tenderness, however. In the last year of his life Poe addressed a “Valentine” to her, and in her latter years she also wrote some lines to Poe's memory.

No Poe manuscript copy of “The Raven” has ever been found except a few verses now in the library of J. P. Morgan. A new letter from Poe to John Thompson has recently come to light in which he states that he takes pleasure in sending a copy of “The Raven.” It is now hoped that this was a manuscript copy and that may come from its hiding place in the near future.

The last manuscript copy of the “Haunted Palace’ written by Poe was sent to Griswold. It was written on two large sheets of paper, and the first part, or one of the sheets, went astray and was considered lost. This has now been found in New England.

It was also thought that no manuscript copy of his poem “The Conqueror Worm” was in existence, but one has been discovered.

One of the most interesting Poe manuscript discoveries made of late is a reconstructed version of his lines “To One In Paradise” published in Godey's Ladies’ [[Lady's]] Book for January 1834. It reads:

A collector has the original manuscript, which is signed by Poe with his full name. Its history has not yet been fully traced.

(Copyright, 1913, by J. H. Whitty.)