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152. “The Unknown Poetry of Edgar Poe,” by John H. Ingram, Belgravia Magazine, 29 (June 1876), 502-13
The Unknown Poetry of Edgar Poe
John H. Ingram
THE MENTAL STRUGGLES which frequently beset the editor of a deceased writer's unknown works in the present instance, fortunately, could not arise. The desire of making public the literary remains of one whose name and fame have become the world's property does not, in this case, conflict with that duty to the dead which should restrain from publication posthumous writings calculated to detract from their author's reputation. Apart from the belief that a portion at least of the unknown poetry of Poe, now first brought to light, is as meritorious as some of the known pieces, there is the fact to rely on that it was printed for publication by its author, and only suppressed through circumstances of a private nature — through private circumstances which can no longer affect anyone. The 1845 edition of Poe's poems was the last collection published during their author's lifetime, and, although many of his early pieces were omitted from it, there does not appear to be any reason for supposing that he would have objected to the republication of the remainder, as long as they were circulated as they were written, and devoid of the “improvements” which some of his compositions were subjected to whilst going “the rounds of the press.” The appearance, moreover, of the following verse will have the advantage of confuting one of those reckless charges made by a follower of Griswold, that it was “mendacious” of Poe to assert that he had printed the volume whence it is now extracted.
This — Edgar Poe's first book — was printed, although not published, in Boston in 1827. It is entitled “Tamerlane and Other Poems,” and contains only forty pages. The title-page is graced by a couplet from Cowper:
Young heads are giddy and young hearts are warm,
And make mistakes for manhood to reform.
From the preface to the little volume thus modestly heralded is learned that its contents were chiefly written in the years 1821-2, when the author had not completed his fourteenth year. “They were not, of course,” he remarks, “intended for publication, and why they are now published concerns no one but himself.” He deems that “the smaller pieces, perhaps, savor too much of egotism; but they were written,” he adds, “by one too young to have any knowledge of the world but from his own breast.” “In ‘Tamerlane,”’ the boy-poet tells us, “he has endeavoured to [page 425:] expose the folly of even risking the best feelings of the heart at the shrine of Ambition. He is conscious that in this there are many faults, (besides that of the general character of the poem), which he flatters himself he could, with little trouble, have corrected, but, unlike many of his predecessors, has been too fond of his early productions to amend them in his old age.” In conclusion, “he will not say that he is indifferent as to the success of these poems — it might stimulate him to other attempts — but he can safely assert that failure will not at all influence him in a resolution already adopted. This is challenging criticism,” he confesses; but adds, “let it be so. Nos haec novimus esse nihil.” An assertion, it may be remarked, he lived to prove the falsity of.
Besides “Tamerlane,” which occupies seventeen pages of this booklet, there are nine “Fugitive Pieces”: three of these are reprinted, nearly verbatim, in the current collections, and another, in a somewhat altered style, reappeared in the rare edition of 1829. As even the revised copy of this poem is almost unknown to general readers, the original version of it is given here, together with the remaining five pieces, which will be quite new to the world, the little volume containing them having hitherto escaped the most diligent search of bibliographists and admirers of Poe. At that period of his life in which these poems were written, their youthful author was strongly influenced by Byronism, and “Tamerlane,” as, indeed, Hannay pointed out, shows traces of it. This influence is even more marked in the little book before us than in the 1829 volume, of which all the later editions, save that of 1831, are reprints. This unknown original is, indeed, very different in many respects from the later “Tamerlane,” into which several new passages have been interpolated, and from which many other passages have been omitted. The variations between the two copies are so numerous and so lengthy that little less than the entire republication of the first draft would suffice to show them all, and as that is, of course, out of the question here, we purpose to cite only the most interesting of the omissions. Different in structure, and explaining some things which, in later copies, are left to the imagination, the “Tamerlane” of 1827, is, however, in many parts quite equal to the present poem. Eleven explanatory notes, suppressed in all subsequent editions, are given to the chief poem, but only the first and fifth of them call for notice. In the first note, Poe says that very little is really known of Tamerlane's history, “and with that little I have taken the full liberty of a poet. ... How shall I account for giving him ‘a friar’ as a death-bed confessor, I cannot exactly determine. He wanted someone to listen to his tale — and why not a friar? It does not pass the bounds of possibility — quite sufficient for my purpose — and I have, at least, good authority on my side for such innovation.”
Details of the slight plot of this poem are almost needless. Tamerlane, [page 426:] lord of half the known world, is on his death-bed. Before his troubled spirit can pass away he longs to disburden his mind of its weight of woe, and, accordingly, sends for a friar, and confesses to him the story of his life. Now, when the world is at his feet, he forgets all his projects of empire and visions of glory, and has but for
“Memory's eye
One object — and but one” —
the ideal of his bygone boyhood:
“ ’Tis not to thee that I should name —
Thou can'st not, would'st not dare to think
The magic empire of a flame
Which even upon this perilous brink
Hath fixed my soul, though unforgiven
By what it lost for passion — Heaven!
I loved.
·····
I loved her as an angel might
With ray of the all-living light
Which blazes upon Edis’ shrine.
It is not surely sin to name,
With such as mine — that mystic flame —
I had no being but in thee!
The world with all its train of bright
And happy beauty (for to me
All was an undefined delight),
The world — its joys — its share of pain,
Which I felt not, its bodied forms
Of varied being, which contain
The bodiless spirits of the storms,
The sunshine and the calm — the ideal
And fleeting vanities of dreams,
Fearfully beautiful! The real
Nothings of mid-day waking life —
Of an enchanted life, which seems,
Now as I look back, the strife
Of some ill demon, with a power
Which left me in an evil hour,
All that I felt, or saw, or thought,
Crowding, confused became
(With thine unearthly beauty fraught)
Thou — and the nothing of a name ...
The passionate spirit which hath known,
And deeply felt the silent tone
Of its own self-supremacy —
(I speak thus openly to thee, [page 427:]
’Twere folly now to veil a thought
With which this aching breast is fraught)
The soul which feels its innate right —
The mystic empire and high power
Given by the energetic might
Of Genius at its natal hour;
Which knows (believe me at this time,
When falsehood were a tenfold crime,
There is a power in the high spirit
To know the fate it will inherit),
The soul, which knows such power, will still
Find Pride the ruler of its will.
Yes! I was proud — and ye who know
The magic of that meaning word,
So oft perverted, will bestow
Your scorn, perhaps, when ye have heard
That the proud spirit had been broken,
The proud heart burst in agony
At one upbraiding word or token
Of her, that heart's idolatry.
I was ambitious.
·····
In her eyes
I read (perhaps too carelessly)
A mingled feeling with my own;
The flush on her bright cheek, to me,
Seemed to become a queenly throne. ...
Then — in that hour — a thought came o’er
My mind it had not known before:
To leave her while we both were young —
To follow my high fate among
The strife of nations, and redeem
The idle words which, as a dream,
Now sounded to her heedless ear —
I held no doubt — I knew no fear
Of peril in my wild career;
To gain an empire and throw down —
As nuptial dowry — a queen's crown.
The only feeling which possest,
With her own image my fond breast —
Who, that had known the secret thought
Of a young peasant's bosom then,
Had deemed him, in compassion, aught
But one whom fantasy had led
Astray from reason. Among men
Ambition is chained down — nor fed
(As in the desert, where the grand, [page 428:]
The wild, the beautiful conspire
With their own breath to fan its fire)
With thoughts such feeling can command;
Unchecked by sarcasm and scorn
Of those, who hardly will conceive
That any should become ‘great,’ born
In their own sphere — will not believe
That they shall stoop in life to one
Whom daily they are wont to see
Familiarly — whom Fortune's sun
Hath ne’er shone dazzlingly upon,
Lowly — and of their own degree.”
The idea which Poe here enuciates in verse, of those
“who hardly will conceive
That any should become ‘great,’ born
In their own sphere,”
he explains still further in a very characteristic note; it is too idiosyncratic of its author to be ignored. He remarks that “it is a matter of the greatest difficulty to make the generality of mankind believe that one with whom they are upon terms of intimacy should be called in the world a ‘great man.’ The reason is evident. There are few great men. Their actions are constantly viewed by the mass of people through the medium of distance. The prominent parts of their character are alone noted, and those properties which are minute and common to every one, not being observed, seem to have no connection with a great character. Who ever read the private memorials, correspondence, &c., which have become so common in our time,” demands the astute lad, “without wondering that ‘great men’ should act and think ‘so abominably?’”
Returning to “Tamerlane,” the suppressed edition continues:
“I pictured to my fancy's eye
Her silent, deep astonishment,
When, a few fleeting years gone by
(For short the time my high hope lent
To its most desperate intent),
She might recall in him whom fame
Had gilded with a conqueror's name
(With glory — such as might inspire,
Perforce, a passing thought of one
Whom she had deemed in his own fire
Withered and blasted; who had gone
A traitor, violate of the truth
So plighted in his early youth),
Her own Alexis, who should plight
The love he plighted then — again, [page 429:]
And raise his infancy's delight
The bride and queen of Tamerlane.
“One noon of a bright summer's day
I passed from out the matted bower
Where in a deep still slumber lay
My Ada. In that peaceful hour,
A silent gaze was my farewell,
I had no other solace — then
T’awake her, and a falsehood tell
Of a feigned journey, were again
To trust the weakness of my heart
To her soft thrilling voice. To part
Thus, haply, while in sleep she dreamed
Of long delight, nor yet had deemed,
Awake, that I held a thought
Of parting, were with madness fraught;
I knew not woman's heart, alas!
Though loved and loving — let it pass
I went from out the matted bower
And hurried madly on my way,
And felt with every flying hour
That bore me from my home more gay;
There is of earth an agony
Which, ideal, still may be
The worst ill of mortality.
’Tis bliss, in its own reality.
Too real, to his breast, who lives
Not within himself, but gives
A portion of his willing soul
To God, and to the great whole —
To him, whose loving spirit will dwell
With Nature, in her wild paths; tell
Of her wondrous ways and telling, bless
Her overpowering loveliness!
A more than agony to him
Whose failing sight will grow dim
With its own living gaze upon
That loveliness around: the sun —
The blue sky — the misty light
Of the pale cloud therein, whose hue
Is grace to its heavenly bed of blue;
Dim! though looking on all bright!
O God! when thoughts that may not pass
Will burst upon him, and, alas!
For the flight on earth to fancy given
There are no words — unless of Heaven.
····· [page 430:]
When Fortune marked me for her own,
And my proud heart had reached a throne
(It boots me not, good friar, to tell
A tale the world but knows too well,
How by what hidden deeds of might
I clambered to the tottering height),
I still was young; and well I ween
My spirit what it e’er had been.
My eyes still were on pomp and power,
My wildered heart was far away,
In valleys of the wild Taglay,
In mine own Ada's matted bower.
I dwelt not long in Samarcand
Ere, in a peasant's lowly guise,
I sought my long abandoned land:
In sunset did its mountains rise
In dusky grandeur to my eyes.
I reached my home — my home no more —
For all was flown that made it so —
I passed from out its mossy door
In vacant idleness of woe.
There met me on its threshold stone
A mountain hunter I had known,
In childhood, but he knew me not.
Something he spoke of the old cot:
It had seen better days, he said;
There rose a fountain once, and there
Full many a fair flower raised its head:
But she who reared them was long dead,
And in such follies had no part.
What was there left me now? despair —
A kingdom for a broken heart.”
The “Fugitive Pieces” which follow “Tamerlane” call for little comment. They are all more or less strongly tinged with the same cast of thought which from first to last distinguished their author. The verses entitled “Evening Star,” and the lines beginning “The happiest day,” are perhaps too indicative of the influence of the boy's contemporaries, and too crude to be of any remarkable value; but the attention of Poe's admirers may be confidently claimed for the other four as not only illustrative of his mental history, but as poems of real worth. These are they:
Dreams
Oh! that my young life were a lasting dream!
My spirit not awakened till the beam
Of an eternity should bring the morrow. [page 431:]
Yes! though that long dream were of hopeless sorrow,
’Twere better than the cold reality
Of waking life to him whose heart must be
And hath been still upon the lovely earth,
A chaos of deep passion from his birth.
But should it be — that dream eternally
Continuing — as dreams have been to me
In my young boyhood — should it thus be given,
’Twere folly still to hope for higher heaven.
For I have revelled, when the sun was bright
I’ the summer sky, in dreams of living light
And loveliness — have left my very heart
In climes of mine imagining apart
From mine own home, with beings that have been
Of mine own thought — what more could I have seen?
’Twas once — and only once — and the wild hour
From my remembrance shall not pass — some power
Or spell had bound me — ’twas the chilly wind
Came o’er me in the night, and left behind
Its image on my spirit; or the moon
Shone on my slumbers in her lofty noon
Too coldly, or the stars; however it was,
That dream was at that night wind — let it pass.
I have been happy, though in a dream.
I have been happy, and I love the theme:
Dreams! in their vivid coloring of life
As in that fleeting, shadowy, misty strife
Of semblance with reality, which brings
To the delirious eye more lovely things
Of Paradise and Love — and all our own! —
Than young Hope in his sunniest days hath known.
Visit of the Dead
Thy soul shall find itself alone —
Alone of all on earth — unknown
The cause; but none are near to pry
Into thine hour of secrecy.
Be silent in that solitude,
Which is not loneliness — for then
The spirits of the dead who stood
In life before thee are again
In death around thee, and their will
Shall then o’ershadow thee — be still:
For the night, though clear, shall frown,
And the stars shall not look down [page 432:]
From their thrones in the dark heaven
With light like hope to mortals given;
But their red orbs without beam
To thy withering heart shall seem
As a burning, and a fever
Which would cling to thee forever.
But ’twill leave thee, as each star
In the morning light afar
Will fly thee — and vanish:
But its thought thou canst not banish,
The breath of God will be still;
And the mist upon the hill
By that summer breeze unbroken
Shall charm thee — as a token
And a symbol which shall be
Secrecy in thee.
Evening Star
’Twas noontide of summer,
And midtime of night;
And stars, in their orbits,
Shone pale through the light
Of the brighter pale moon.
’Mid planets her slaves,
Herself in the heavens,
Her beam on the waves.
I gazed awhile
On her cold smile;
Too cold — too cold for me
There passed, as a shroud,
A fleecy cloud,
And I turned away to thee,
Proud Evening Star,
In thy glory afar,
And dearer thy beam shall be;
For joy to my heart
Is the proud part
Thou bearest in heaven at night,
And more I admire
Thy distant fire,
Than the colder, lowly light.
Imitation
A dark unfathomed tide
Of interminable pride —
A mystery and a dream
Should my early life seem; [page 433:]
I should say that dream was fraught
With a wild and waking thought
Of beings that have been
Which my spirit hath not seen,
Had I let them pass me by,
With a dreaming eye!
Let none of earth inherit
That vision on my spirit;
Those thoughts I would control
As a spell upon his soul;
For that bright hope at last
And that light time have past.
And my worldly rest bath gone
With a sigh as it passed on:
I care not though it perish
With a thought I then did cherish.
[Stanzas]
How often we forget all time, when lone
Admiring Nature's universal throne;
Her woods — her wiles — her mountains — the intense
Reply of HERS to OUR intelligence!
1.
In youth I have known one with whom the earth
In secret communing held — as he with it,
In daylight, and in beauty, from his birth:
Whose fervid flickering torch of life was lit
From the sun and stars, whence he had drawn forth
A passionate light such for his spirit was fit;
And yet that spirit knew — not in the hour
Of its own fervor — what had o’er it power.
2.
Perhaps it may be that my mind is wrought
To a fever by the moonbeam that hangs o’er,
But I will half believe that wild light fraught
With more of Sov’reignty than ancient lore
Hath ever told — or is it of a thought
The unembodied essence, and no more,
That with a quickening spell doth o’er us pass
As dew of the night time o’er the summer grass?
3.
Doth o’er us pass, when, as th’ expanding eve
To the loved object — so the tear to the lid [page 434:]
Will start, which lately slept in apathy?
And yet it need not be — (that object) hid
From us in life — but common — which doth lie
Each hour before us — but then only bid
With a strange sound, as a harp-string broken
T’ awake us — ’tis a symbol and a token
4.
Of what in other worlds shall be — and given
In beauty by our God, to those alone
Who otherwise would fall from life and heaven
Drawn by their heart's passion, and that tone,
That high tone of the spirit which hath striven
Though not with Faith — with godliness — whose throne
With desperate energy ‘t hath beaten down;
Wearing its own deep feeling as a crown.
————
The happiest day — the happiest hour
My seared and blighted heart hath known.
The highest hope of pride and power,
I feel hath flown.
Of power! said I? yes! such I ween;
But they have vanished long, alas!
The visions of my youth have been —
But let them pass.
And, pride, what have I now with thee?
Another brow may ev’n inherit
The venom thou hast poured on me —
Be still, my spirit.
The happiest day — the happiest hour
Mine eyes shall see — have even seen,
The brightest glance of pride and power
I feel — have been:
But were that hope of pride and power
Now offered, with the pain
Ev’n then I felt — that brightest hour
I would not live again:
For on its wing was dark alloy,
And as it fluttered fell
An essence powerful to destroy
A soul that knew it well.
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Notes:
None.
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[S:0 - PHR, 1979] - Edgar Allan Poe Society of Baltimore - Bookshelf - Poe's Helen Remembers (J. C. Miller) (Entry 152)