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Edgar Allan Poe

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What are Edgar Allan Poe’s best-known works?

Edgar Allan Poe’s best-known works include the poems “To Helen” (1831), “ The Raven ” (1845), and “ Annabel Lee ” (1849); the short stories of wickedness and crime “ The Tell-Tale Heart ” (1843) and “ The Cask of Amontillado ” (1846); and the supernatural horror story “The Fall of the House of Usher” (1839).

Edgar Allan Poe is credited with initiating the modern detective story , developing the Gothic horror story , and being a significant early forerunner of the science fiction form. Poe’s literary criticism , which put great stress upon correctness of language, metre, and structure and the importance of achieving a unity of mood or effect, shaped literary theory.

Edgar Allan Poe turned up in a tavern in Baltimore, Maryland, on October 3, 1849, in bad shape and nearly unresponsive and was soon admitted to a hospital. He drifted in and out of consciousness, hallucinating and speaking nonsense. On October 7 he died, although whether from drinking ,  heart failure , or other causes remains uncertain .

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Edgar Allan Poe (born January 19, 1809, Boston , Massachusetts , U.S.—died October 7, 1849, Baltimore , Maryland) was an American short-story writer, poet, critic, and editor who is famous for his cultivation of mystery and the macabre . His tale “The Murders in the Rue Morgue” (1841) initiated the modern detective story , and the atmosphere in his tales of horror is unrivaled in American fiction. His “The Raven” (1845) numbers among the best-known poems in the national literature .

Poe was the son of the English-born actress Elizabeth Arnold Poe and David Poe, Jr., an actor from Baltimore. After his mother died in Richmond , Virginia, in 1811, he was taken into the home of John Allan, a Richmond merchant (presumably his godfather), and of his childless wife. He was later taken to Scotland and England (1815–20), where he was given a classical education that was continued in Richmond. For 11 months in 1826 he attended the University of Virginia , but his gambling losses at the university so incensed his guardian that he refused to let him continue, and Poe returned to Richmond to find his sweetheart, (Sarah) Elmira Royster, engaged. He went to Boston, where in 1827 he published a pamphlet of youthful Byronic poems, Tamerlane, and Other Poems . Poverty forced him to join the army under the name of Edgar A. Perry, but, on the death of Poe’s foster mother, John Allan purchased his release from the army and helped him get an appointment to the U.S. Military Academy at West Point. Before going, Poe published a new volume at Baltimore, Al Aaraaf, Tamerlane, and Minor Poems (1829). He successfully sought expulsion from the academy, where he was absent from all drills and classes for a week. He proceeded to New York City and brought out a volume of Poems , containing several masterpieces, some showing the influence of John Keats , Percy Bysshe Shelley , and Samuel Taylor Coleridge . He then returned to Baltimore, where he began to write stories. In 1833 his “ MS. Found in a Bottle ” won $50 from a Baltimore weekly, and by 1835 he was in Richmond as editor of the Southern Literary Messenger . There he made a name as a critical reviewer and married his young cousin Virginia Clemm, who was only 13. Poe seems to have been an affectionate husband and son-in-law.

Poe was dismissed from his job in Richmond, apparently for drinking, and went to New York City. Drinking was in fact to be the bane of his life. To talk well in a large company he needed a slight stimulant, but a glass of sherry might start him on a spree; and, although he rarely succumbed to intoxication, he was often seen in public when he did. This gave rise to the conjecture that Poe was a drug addict, but according to medical testimony he had a brain lesion. While in New York City in 1838 he published a long prose narrative, The Narrative of Arthur Gordon Pym , combining (as so often in his tales) much factual material with the wildest fancies. It is considered one inspiration of Herman Melville ’s Moby Dick . In 1839 he became coeditor of Burton’s Gentleman’s Magazine in Philadelphia . There a contract for a monthly feature stimulated him to write “William Wilson” and “The Fall of the House of Usher,” stories of supernatural horror. The latter contains a study of a neurotic now known to have been an acquaintance of Poe, not Poe himself.

Later in 1839 Poe’s Tales of the Grotesque and Arabesque appeared (dated 1840). He resigned from Burton’s about June 1840 but returned in 1841 to edit its successor, Graham’s Lady’s and Gentleman’s Magazine , in which he printed “The Murders in the Rue Morgue” —the first detective story. In 1843 his “The Gold Bug” won a prize of $100 from the Philadelphia Dollar Newspaper , which gave him great publicity. In 1844 he returned to New York , wrote “The Balloon Hoax” for the Sun , and became subeditor of the New York Mirror under N.P. Willis, thereafter a lifelong friend. In the New York Mirror of January 29, 1845, appeared, from advance sheets of the American Review , his most famous poem, “The Raven,” which gave him national fame at once. Poe then became editor of the Broadway Journal , a short-lived weekly, in which he republished most of his short stories, in 1845. During this last year the now-forgotten poet Frances Sargent Locke Osgood pursued Poe. Virginia did not object, but “Fanny’s” indiscreet writings about her literary love caused great scandal. His The Raven and Other Poems and a selection of his Tales came out in 1845, and in 1846 Poe moved to a cottage at Fordham (now part of New York City), where he wrote for Godey’s Lady’s Book (May–October 1846) “The Literati of New York City”—gossipy sketches on personalities of the day, which led to a libel suit.

Poe’s wife, Virginia, died in January 1847. The following year he went to Providence , Rhode Island, to woo Sarah Helen Whitman , a poet. There was a brief engagement. Poe had close but platonic entanglements with Annie Richmond and with Sarah Anna Lewis, who helped him financially. He composed poetic tributes to all of them. In 1848 he also published the lecture “ Eureka,” a transcendental “explanation” of the universe, which has been hailed as a masterpiece by some critics and as nonsense by others. In 1849 he went south, had a wild spree in Philadelphia, but got safely to Richmond, where he finally became engaged to Elmira Royster, by then the widowed Mrs. Shelton, and spent a happy summer with only one or two relapses. He enjoyed the companionship of childhood friends and an unromantic friendship with a young poet, Susan Archer Talley.

Poe had some forebodings of death when he left Richmond for Baltimore late in September. There he died, although whether from drinking, heart failure , or other causes was still uncertain in the 21st century. He was buried in Westminster Presbyterian churchyard in Baltimore.

Edgar Allan Poe

Edgar Allan Poe was a writer and critic famous for his dark, mysterious poems and stories, including “The Raven,” “Annabel Lee,” and “The Tell-Tale Heart.”

• Who Was Edgar Allan Poe?

Edgar Allan Poe was an American writer, poet , critic, and editor in the 19 th century best known for his evocative short stories and poems that captured the interest of readers worldwide. His imaginative storytelling and tales of mystery and horror gave birth to the modern detective story. Many of Poe’s works, including “The Tell-Tale Heart,” “The Raven,” and “The Fall of the House of Usher,” became literary classics. Some aspects of Poe’s life, like his literature, are shrouded in mystery, and the lines between fact and fiction have been blurred substantially since his death in 1849 at age 40.

Quick Facts

Army and west point, writing career as a critic and poet, poems: “the raven” and “annabel lee”, short stories, legacy and museum.

FULL NAME: Edgar Allan Poe BORN: January 19, 1809 DIED: October 7, 1849 BIRTHPLACE: Boston, Massachusetts SPOUSE: Virginia Clemm Poe (1836-1847) ASTROLOGICAL SIGN: Capricorn

Edgar Allan Poe was born Edgar Poe on January 19, 1809, in Boston. Edgar never really knew his biological parents: Elizabeth Arnold Poe, a British actor, and David Poe Jr., an actor who was born in Baltimore. His father left the family early in Edgar’s life, and his mother died from tuberculosis when he was only 2.

Separated from his brother, William, and sister, Rosalie, Poe went to live with his foster parents, John and Frances Allan, in Richmond, Virginia. John was a successful tobacco merchant there. Edgar and Frances seemed to form a bond, but he had a more difficult relationship with John.

By age 13, Poe was a prolific poet, but his literary talents were discouraged by his headmaster and by John, who preferred that young Edgar follow him in the family business. Preferring poetry over profits, Poe reportedly wrote poems on the back of some of Allan’s business papers.

Money was also an issue between Poe and John. Poe went to the University of Virginia in 1826, where he excelled in his classes. However, he didn’t receive enough money from John to cover all of his costs. Poe turned to gambling to cover the difference but ended up in debt.

He returned home only to face another personal setback—his neighbor and fiancée Sarah Elmira Royster had become engaged to someone else. Heartbroken and frustrated, Poe moved to Boston.

In 1827, around the time he published his first book, Poe joined the U.S. Army. Two years later, he learned that his mother, Frances, was dying of tuberculosis, but by the time he returned to Richmond, she had already died.

While in Virginia, Poe and his father briefly made peace with each other, and John helped Poe get an appointment to the United States Military Academy at West Point. Poe excelled at his studies at West Point, but he was kicked out after a year for his poor handling of his duties.

During his time at West Point, Poe had fought with John, who had remarried without telling him. Some have speculated that Poe intentionally sought to be expelled to spite his father, who eventually cut ties with Poe.

After leaving West Point, Poe published his third book and focused on writing full-time. He traveled around in search of opportunity, living in New York City, Baltimore, Philadelphia, and Richmond. In 1834, John Allan died, leaving Poe out of his will, but providing for an illegitimate child Allan had never met.

Poe, who continued to struggle living in poverty, got a break when one of his short stories won a contest in the Baltimore Saturday Visiter . He began to publish more short stories and, in 1835, landed an editorial position with the Southern Literary Messenger in Richmond. Poe developed a reputation as a cut-throat critic, writing vicious reviews of his contemporaries. His scathing critiques earned him the nickname the “Tomahawk Man.”

His tenure at the magazine proved short, however. Poe’s aggressive reviewing style and sometimes combative personality strained his relationship with the publication, and he left the magazine in 1837. His problems with alcohol also played a role in his departure, according to some reports.

Poe went on to brief stints at Burton’s Gentleman’s Magazine , Graham’s Magazine , as well as The Broadway Journal , and he also sold his work to Alexander’s Weekly Messenger , among other journals.

In 1844, Poe moved to New York City. There, he published a news story in The New York Sun about a balloon trip across the Atlantic Ocean that he later revealed to be a hoax. His stunt grabbed attention, but it was his publication of “The Raven,” in 1845, that made Poe a literary sensation.

That same year, Poe found himself under attack for his stinging criticisms of fellow poet Henry Wadsworth Longfellow . Poe claimed that Longfellow, a widely popular literary figure, was a plagiarist, which resulted in a backlash against Poe.

Despite his success and popularity as a writer, Poe continued to struggle financially, and he advocated for higher wages for writers and an international copyright law.

Poe self-published his first book, Tamerlane and Other Poems , in 1827. His second poetry collection, Al Aaraaf, Tamerlane, and Minor Poems , was published in 1829.

As a critic at the Southern Literary Messenger in Richmond from 1835 to 1837, Poe published some of his own works in the magazine, including two parts of his only novel, The Narrative of Arthur Gordon Pym . Later on came poems such as “Ulalume” and “The Bells.”

“The Raven”

Poe’s poem “The Raven,” published in 1845 in the New York Evening Mirror , is considered among the best-known poems in American literature and one of the best of Poe’s career. An unknown narrator laments the demise of his great love Lenore and is visited by a raven, who insistently repeats one word: “Nevermore.” In the work, which consists of 18 six-line stanzas, Poe explored some of his common themes: death and loss.

“Annabel Lee”

This lyric poem again explores Poe’s themes of death and loss and might have been written in memory of his beloved wife, Virginia, who died two years prior its publication. The poem was published on October 9, 1849, two days after Poe’s death, in the New York Tribune .

In late 1830s, Poe published Tales of the Grotesque and Arabesque , a collection of short stories. It contained several of his most spine-tingling tales, including “The Fall of the House of Usher,” “Ligeia,” and “William Wilson.”

In 1841, Poe launched the new genre of detective fiction with “The Murders in the Rue Morgue.” His literary innovations earned him the nickname “Father of the Detective Story.” A writer on the rise, he won a literary prize in 1843 for “The Gold Bug,” a suspenseful tale of secret codes and hunting treasure.

“The Black Cat”

Poe’s short story “The Black Cat” was published in 1843 in The Saturday Evening Post . In it, the narrator, a one-time animal lover, becomes an alcoholic who begins abusing his wife and black cat. By the macabre story’s end, the narrator observes his own descent into madness as he kills his wife, a crime his black cat reports to the police. The story was later included in the 1845 short story collection, Tales by Edgar Allan Poe .

Later in his career, Poe continued to work in different forms, examining his own methodology and writing in general in several essays, including “The Philosophy of Composition,” “The Poetic Principle,” and “The Rationale of Verse.” He also produced the thrilling tale, “The Cask of Amontillado.”

From 1831 to 1835, Poe lived in Baltimore, where his father was born, with his aunt Maria Clemm and her daughter Virginia. He began to devote his attention to Virginia; his cousin became his literary inspiration as well as his love interest. The couple married in 1836 when she was only 13 years old and he was 27.

In 1847, at the age of 24—the same age when Poe’s mother and brother also died—Virginia passed away from tuberculosis. Poe was overcome by grief following her death, and although he continued to work, he suffered from poor health and struggled financially until his death in 1849.

Poe died on October 7, 1849, in Baltimore at age 40.

His final days remain somewhat of a mystery. Poe left Richmond on ten days earlier, on September 27, and was supposedly on his way to Philadelphia. On October 3, he was found in Baltimore in great distress. Poe was taken to Washington College Hospital, where he died four days later. His last words were “Lord, help my poor soul.”

At the time, it was said that Poe died of “congestion of the brain.” But his actual cause of death has been the subject of endless speculation. Some experts believe that alcoholism led to his demise while others offer up alternative theories. Rabies, epilepsy, and carbon monoxide poisoning are just some of the conditions thought to have led to the great writer’s death.

Shortly after his passing, Poe’s reputation was badly damaged by his literary adversary Rufus Griswold. Griswold, who had been sharply criticized by Poe, took his revenge in his obituary of Poe, portraying the gifted yet troubled writer as a mentally deranged drunkard and womanizer. He also penned the first biography of Poe, which helped cement some of these misconceptions in the public’s minds.

Although Poe never had financial success in his lifetime, he has become one of America’s most enduring writers. His works are as compelling today as they were more than a century ago. An innovative and imaginative thinker, Poe crafted stories and poems that still shock, surprise, and move modern readers. His dark work influenced writers including Charles Baudelaire , Fyodor Dostoyevsky, and Stephane Mallarme.

The Baltimore home where Poe stayed from 1831 to 1835 with his aunt Maria Clemm and her daughter, Poe’s cousin and future wife Virginia, is now a museum. The Edgar Allan Poe House offers a self-guided tour featuring exhibits on Poe’s foster parents, his life and death in Baltimore, and the poems and short stories he wrote while living there, as well as memorabilia including his chair and desk.

• The death of a beautiful woman is unquestionably the most poetical topic in the world.
• Lord, help my poor soul.
• Sound loves to revel near a summer night.
• But as, in ethics, evil is a consequence of good, so, in fact, out of joy is sorrow born. Either the memory of past bliss is the anguish of to-day, or the agonies which are have their origin in the ecstasies which might have been.
• They who dream by day are cognizant of many things which escape those who dream only by night.
• The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends, and where the other begins?
• With me poetry has been not a purpose, but a passion; and the passions should be held in reverence; they must not—they cannot at will be excited, with an eye to the paltry compensations, or the more paltry commendations, of mankind.
• And now—have I not told you that what you mistake for madness is but over-acuteness of the senses?—now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man’s heart.
• All that we see or seem is but a dream within a dream.
• I have no faith in human perfectibility. I think that human exertion will have no appreciable effect upon humanity. Man is now only more active—not more happy—nor more wise, than he was 6000 years ago.
• [I]f you wish to forget anything upon the spot, make a note that this thing is to be remembered.
• Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears.

Watch “The Mystery of Edgar Allan Poe” on HISTORY Vault

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Edgar Allan Poe

Edgar Allan Poe was born on January 19, 1809, in Boston. Poe’s father and mother, both professional actors, died before the poet was three years old, and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and, later, to the University of Virginia, where Poe excelled academically. After less than one year of school, however, he was forced to leave the university when Allan refused to pay Poe’s gambling debts.

Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, Poe moved to Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other Poems  (George Redway), was published that year. In 1829, he published a second collection entitled Al Aaraaf, Tamerlane, and Minor Poems  (Hatch & Dunning). Neither volume received significant critical or public attention. Following his Army service, Poe was admitted to the United States Military Academy, but he was again forced to leave for lack of financial support. He then moved into the home of his aunt Maria Clemm and her daughter, Virginia, in Baltimore.

Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of the Southern Literary Messenger in Richmond, where he moved with his aunt and cousin Virginia. In 1836, he married Virginia, who was thirteen years old at the time. Over the next ten years, Poe would edit a number of literary journals including the Burton’s Gentleman’s Magazine and Graham’s Magazine in Philadelphia and the Broadway Journal in New York City. It was during these years that he established himself as a poet, a short story writer, and an editor. He published some of his best-known stories and poems, including “The Fall of the House of Usher,” “The Tell-Tale Heart,” “The Murders in the Rue Morgue,” and “The Raven.” After Virginia’s death from tuberculosis in 1847, Poe’s lifelong struggle with depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was found in a state of semi-consciousness. Poe died four days later of “acute congestion of the brain.” Evidence by medical practitioners who reopened the case has shown that Poe may have been suffering from rabies.

Poe’s work as an editor, poet, and critic had a profound impact on American and international literature. His stories mark him as one of the originators of both horror and detective fiction. Many anthologies credit him as the “architect” of the modern short story. He was also one of the first critics to focus primarily on the effect of style and structure in a literary work; as such, he has been seen as a forerunner to the “art for art’s sake” movement. French Symbolists such as Stéphane Mallarmé and Arthur Rimbaud claimed him as a literary precursor. Charles  Baudelaire spent nearly fourteen years translating Poe into French. Today, Poe is remembered as one of the first American writers to become a major figure in world literature.

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Edgar Allan Poe

Edgar Allan Poe’s stature as a major figure in world literature is primarily based on his ingenious and profound short stories, poems, and critical theories, which established a highly influential rationale for the short form in both poetry and fiction. Regarded in literary histories and handbooks as the architect of the modern short story, Poe was also the principal forerunner of the “art for art’s sake” movement in 19th-century European literature. Whereas earlier critics predominantly concerned themselves with moral or ideological generalities, Poe focused his criticism on the specifics of style and construction that contributed to a work’s effectiveness or failure. In his own work, he demonstrated a brilliant command of language and technique as well as an inspired and original imagination. Poe’s poetry and short stories greatly influenced the French Symbolists of the late 19th century, who in turn altered the direction of modern literature.

Poe’s father and mother were professional actors. At the time of his birth in 1809, they were members of a repertory company in Boston. Before Poe was three years old both of his parents died, and he was raised in the home of John Allan, a prosperous exporter from Richmond, Virginia, who never legally adopted his foster son. As a boy, Poe attended the best schools available, and was admitted to the University of Virginia at Charlottesville in 1825. While there he distinguished himself academically but was forced to leave after less than a year because of bad debts and inadequate financial support from Allan. Poe’s relationship with Allan disintegrated upon his return to Richmond in 1827, and soon after Poe left for Boston, where he enlisted in the army and also published his first poetry collection,  Tamerlane, and Other Poems.  The volume went unnoticed by readers and reviewers, and a second collection,  Al Aaraaf, Tamerlane, and Minor Poems,  received only slightly more attention when it appeared in 1829. That same year Poe was honorably discharged from the army, having attained the rank of regimental sergeant major, and was then admitted to the United States Military Academy at West Point. However, because Allan would neither provide his foster son with sufficient funds to maintain himself as a cadet nor give the consent necessary to resign from the Academy, Poe gained a dismissal by ignoring his duties and violating regulations. He subsequently went to New York City, where  Poems,  his third collection of verse, was published in 1831, and then to Baltimore, where he lived at the home of his aunt, Mrs. Maria Clemm.

Over the next few years Poe’s first short stories appeared in the Philadelphia  Saturday Courier  and his “MS. Found in a Bottle” won a cash prize for best story in the Baltimore  Saturday Visitor.  Nevertheless, Poe was still not earning enough to live independently, nor did Allan’s death in 1834 provide him with an inheritance. The following year, however, his financial problems were temporarily alleviated when he accepted an editorship at  The Southern Literary Messenger  in Richmond, bringing with him his aunt and his 12-year-old cousin Virginia, whom he married in 1836.  The Southern Literary Messenger  was the first of several journals Poe would direct over the next 10 years and through which he rose to prominence as a leading man of letters in America. Poe made himself known not only as a superlative author of poetry and fiction, but also as a literary critic whose level of imagination and insight had hitherto been unapproached in American literature. While Poe’s writings gained attention in the late 1830s and early 1840s, the profits from his work remained meager, and he supported himself by editing  Burton’s Gentleman’s Magazine  and  Graham’s Magazine  in Philadelphia and the  Broadway Journal  in New York City. After his wife’s death from tuberculosis in 1847, Poe became involved in a number of romantic affairs. It was while he prepared for his second marriage that Poe, for reasons unknown, arrived in Baltimore in late September of 1849. On October 3, he was discovered in a state of semi-consciousness; he died four days later without regaining the necessary lucidity to explain what had happened during the last days of his life.

Poe’s most conspicuous contribution to world literature derives from the analytical method he practiced both as a creative author and as a critic of the works of his contemporaries. His self-declared intention was to formulate strictly artistic ideals in a milieu that he thought overly concerned with the utilitarian value of literature, a tendency he termed the “heresy of the Didactic.” While Poe’s position includes the chief requisites of pure aestheticism, his emphasis on literary formalism was directly linked to his philosophical ideals: through the calculated use of language one may express, though always imperfectly, a vision of truth and the essential condition of human existence. Poe’s theory of literary creation is noted for two central points: first, a work must create a unity of effect on the reader to be considered successful; second, the production of this single effect should not be left to the hazards of accident or inspiration, but should to the minutest detail of style and subject be the result of rational deliberation on the part of the author. In poetry, this single effect must arouse the reader’s sense of beauty, an ideal that Poe closely associated with sadness, strangeness, and loss; in prose, the effect should be one revelatory of some truth, as in “tales of ratiocination” or works evoking “terror, or passion, or horror.”

Aside from a common theoretical basis, there is a psychological intensity that is characteristic of Poe’s writings, especially the tales of horror that comprise his best and best-known works. These stories—which include “The Black Cat,” “The Cask of Amontillado,” and “The Tell-Tale Heart”—are often told by a first-person narrator, and through this voice Poe probes the workings of a character’s psyche. This technique foreshadows the psychological explorations of Fyodor Dostoyevsky and the school of psychological realism. In his Gothic tales, Poe also employed an essentially symbolic, almost allegorical method which gives such works as “The Fall of the House of Usher,” “The Masque of the Red Death,” and “Ligeia” an enigmatic quality that accounts for their enduring interest and links them with the symbolical works of Nathaniel Hawthorne and  Herman Melville . The influence of Poe’s tales may be seen in the work of later writers, including Ambrose Bierce and H.P. Lovecraft, who belong to a distinct tradition of horror literature initiated by Poe. In addition to his achievement as creator of the modern horror tale, Poe is also credited with parenting two other popular genres: science fiction and the detective story. In such works as “The Unparalleled Adventure of Hans Pfaall” and “Von Kempelen and His Discovery,” Poe took advantage of the fascination for science and technology that emerged in the early 19th century to produce speculative and fantastic narratives which anticipate a type of literature that did not become widely practiced until the 20th century. Similarly, Poe’s three tales of ratiocination—“The Murders in the Rue Morgue,” “The Purloined Letter,” and “The Mystery of Marie Roget”—are recognized as the models which established the major characters and literary conventions of detective fiction, specifically the amateur sleuth who solves a crime that has confounded the authorities and whose feats of deductive reasoning are documented by an admiring associate. Just as Poe influenced many succeeding authors and is regarded as an ancestor of such major literary movements as Symbolism and Surrealism, he was also influenced by earlier literary figures and movements. In his use of the demonic and the grotesque, Poe evidenced the impact of the stories of E.T.A. Hoffman and the Gothic novels of Ann Radcliffe, while the despair and melancholy in much of his writing reflects an affinity with the Romantic movement of the early 19th century. It was Poe’s particular genius that in his work he gave consummate artistic form both to his personal obsessions and those of previous literary generations, at the same time creating new forms which provided a means of expression for future artists.

While Poe is most often remembered for his short fiction, his first love as a writer was poetry, which he began writing during his adolescence. His early verse reflects the influence of such English romantics as  Lord Byron ,  John Keats , and  Percy Bysshe Shelley , yet foreshadows his later poetry which demonstrates a subjective outlook and surreal, mystic vision. “Tamerlane” and “Al Aaraaf” exemplify Poe’s evolution from the portrayal of Byronic heroes to the depiction of journeys within his own imagination and subconscious. The former piece, reminiscent of Byron’s “Childe Harold’s Pilgrimage,” recounts the life and adventures of a 14th-century Mongol conqueror; the latter poem portrays a dreamworld where neither good nor evil permanently reside and where absolute beauty can be directly discerned. In other poems—“ To Helen ,” “Lenore,” and “ The Raven ” in particular—Poe investigates the loss of ideal beauty and the difficulty in regaining it. These pieces are usually narrated by a young man who laments the untimely death of his beloved.  “ To Helen” is a three stanza lyric that has been called one of the most beautiful love poems in the English language. The subject of the work is a woman who becomes, in the eyes of the narrator, a personification of the classical beauty of ancient Greece and Rome. “Lenore” presents ways in which the dead are best remembered, either by mourning or celebrating life beyond earthly boundaries. In “The Raven,” Poe successfully unites his philosophical and aesthetic ideals. In this psychological piece, a young scholar is emotionally tormented by a raven’s ominous repetition of “Nevermore” in answer to his question about the probability of an afterlife with his deceased lover.  Charles Baudelaire  noted in his introduction to the French edition of “The Raven” : “It is indeed the poem of the sleeplessness of despair; it lacks nothing: neither the fever of ideas, nor the violence of colors, nor sickly reasoning, nor drivelling terror, nor even the bizarre gaiety of suffering which makes it more terrible.” Poe also wrote poems that were intended to be read aloud. Experimenting with combinations of sound and rhythm, he employed such technical devices as repetition, parallelism, internal rhyme, alliteration, and assonance to produce works that are unique in American poetry for their haunting, musical quality. In “The Bells,” for example, the repetition of the word “bells” in various structures accentuates the unique tonality of the different types of bells described in the poem.

While his works were not conspicuously acclaimed during his lifetime, Poe did earn due respect as a gifted fiction writer, poet, and man of letters, and occasionally he achieved a measure of popular success, especially following the appearance of “ The Raven .” After his death, however, the history of his critical reception becomes one of dramatically uneven judgments and interpretations. This state of affairs was initiated by Poe’s one-time friend and literary executor R.W. Griswold, who, in a libelous obituary notice in the  New York Tribune  bearing the byline “Ludwig,” attributed the depravity and psychological aberrations of many of the characters in Poe’s fiction to Poe himself. In retrospect, Griswold’s vilifications seem ultimately to have elicited as much sympathy as censure with respect to Poe and his work, leading subsequent biographers of the late 19th century to defend, sometimes too devotedly, Poe’s name. It was not until the 1941 biography by A.H. Quinn that a balanced view was provided of Poe, his work, and the relationship between the author’s life and his imagination. Nevertheless, the identification of Poe with the murderers and madmen of his works survived and flourished in the 20th century, most prominently in the form of psychoanalytical studies such as those of Marie Bonaparte and Joseph Wood Krutch. Added to the controversy over the sanity, or at best the maturity of Poe (Paul Elmer More called him “the poet of unripe boys and unsound men”), was the question of the value of Poe’s works as serious literature. At the forefront of Poe’s detractors were such eminent figures as Henry James, Aldous Huxley, and T.S. Eliot, who dismissed Poe’s works as juvenile, vulgar, and artistically debased; in contrast, these same works have been judged to be of the highest literary merit by such writers as Bernard Shaw and  William Carlos Williams . Complementing Poe’s erratic reputation among English and American critics is the more stable, and generally more elevated opinion of critics elsewhere in the world, particularly in France. Following the extensive translations and commentaries of Charles Baudelaire in the 1850s, Poe’s works were received with a peculiar esteem by French writers, most profoundly those associated with the late 19th-century movement of Symbolism, who admired Poe’s transcendent aspirations as a poet; the 20th-century movement of Surrealism, which valued Poe’s bizarre and apparently unruled imagination; and such figures as Paul Valéry, who found in Poe’s theories and thought an ideal of supreme rationalism. In other countries, Poe’s works have enjoyed a similar regard, and numerous studies have been written tracing the influence of the American author on the international literary scene, especially in Russia, Japan, Scandinavia, and Latin America. Today, Poe is recognized as one of the foremost progenitors of modern literature, both in its popular forms, such as horror and detective fiction, and in its more complex and self-conscious forms, which represent the essential artistic manner of the 20th century. In contrast to earlier critics who viewed the man and his works as one, criticism of the past 25 years has developed a view of Poe as a detached artist who was more concerned with displaying his virtuosity than with expressing his soul, and who maintained an ironic rather than an autobiographical relationship to his writings. While at one time critics such as  Yvor Winters  wished to remove Poe from literary history, his works remain integral to any conception of modernism in world literature. Herbert Marshall McLuhan wrote in an essay entitled “Edgar Poe’s Tradition”: “While the New England dons primly turned the pages of Plato and Buddha beside a tea-cozy, and while Browning and Tennyson were creating a parochial fog for the English mind to relax in, Poe never lost contact with the terrible pathos of his time. Coevally with Baudelaire, and long before Conrad and Eliot, he explored the heart of darkness.”

• North America
• U.S., Mid-Atlantic

Encyclopedia Virginia, Virginia Humanities

Edgar Allan Poe (1809–1849)

Edgar Allan Poe was a poet, short story writer, editor, and critic. Credited by many scholars as the inventor of the detective genre in fiction, he was a master at using elements of mystery, psychological terror, and the macabre in his writing. His most famous poem, “The Raven” (1845), combines his penchant for suspense with some of the most famous lines in American poetry. While editor of the Richmond-based Southern Literary Messenger , Poe carved out a philosophy of poetry that emphasized brevity and beauty for its own sake. Stories, he wrote, should be crafted to convey a single, unified impression, and for Poe, that impression was most often dread. “The Tell-Tale Heart” (1843), for instance, memorably describes the paranoia of its narrator, who is guilty of murder. After leaving Richmond, Poe lived and worked in Philadelphia, Pennsylvania, and New York, seeming to collect literary enemies wherever he went. Incensed by his especially sharp, often sarcastic style of criticism, they were not inclined to help Poe as his life unraveled because of sickness and poverty. After Poe’s death at the age of forty, a former colleague, Rufus W. Griswold, wrote a scathing biography that contributed, in the years to come, to a literary caricature. Poe’s poetry and prose, however, have endured.

Early Years

Edgar Poe was born on January 19, 1809, in Boston, to traveling actors David Poe Jr. (a Baltimore, Maryland, native) and Elizabeth Arnold Hopkins (an emigrant from England). Poe was the couple’s second of three children. His brother, William Henry Leonard Poe, was born in 1807, and his sister, Rosalie Poe, was born in 1810. On December 8, 1811, when Poe was just two years old, his mother died in Richmond. His father, who had left the family in 1810, died of unknown circumstances. Henry, as William Henry Leonard was known, lived with his grandparents in Baltimore, while Rosalie and Edgar remained in Richmond. William and Jane Mackenzie adopted Rosalie, and Edgar became the foster son of John and Frances Allan. Poe received his middle name from his foster parents.

In 1815 Allan, a tobacco merchant, moved with his wife and foster son to England in an attempt to improve his business interests there. Poe attended school in Chelsea until 1820, when the family returned to Richmond. John Allan had always hoped that Poe would join his own mercantile firm, but Poe was determined to become a writer and, in particular, a poet. In 1826, he attended the University of Virginia in Charlottesville. Although he distinguished himself academically, Allan denied him financial support after less than a year because of Poe’s gambling debts and what Allan perceived to be his ward’s lack of direction. Without money, Poe returned briefly to Richmond, only to find that his fiancée, Sarah Elmira Royster, under the direction of her family, had married an older and wealthier suitor, Alexander Shelton.

Disheartened and penniless, Poe left Richmond for Boston where, using the name “A Bostonian,” he authored Tamerlane and other Poems (1827), a collection of seven brief, lyrical poems. In particular, “The Lake” employs what would become typical Poe-esque symbolism, with calm waters representing the speaker’s repressed emotions, always threatening to dangerously swell. The book’s sales were negligible.

Still unable to support himself, Poe enlisted in the United States Army on May 26, 1827, under the pseudonym “Edgar A. Perry.” (He was eighteen at the time but claimed to be twenty-two.) During his military service, he was stationed at Fort Moultrie on Sullivan’s Island in Charleston, South Carolina—a site he would later appropriate as the setting for his story, “The Gold Bug”—and then at Fort Monroe in Hampton, Virginia. On February 28, 1829, while Poe was in Virginia, his foster mother, Frances Allan, died.

Despite having been promoted to sergeant major, Poe became dissatisfied with army life and appealed to his foster father for help in releasing him from his five-year commitment. In a December 1, 1828, letter to Allan, Poe worried that “the prime of my life would be wasted” in the army and threatened “more decided measures if you refuse to assist me.” During this tumultuous period, Poe compiled a second collection of verse, Al Aaraaf, Tamerlane and Minor Poems (1829), but it, too, received little attention. Critics described the poems in terms ranging from “incoherent” to “beautiful and enduring.”

With Allan’s help, Poe left the army and was admitted to the United States Military Academy at West Point, which he attended from 1830 until 1831. Poe thrived academically, but again experienced financial problems, this time running afoul of both his foster father and school officials. Expelled from West Point and disowned by Allan, Poe traveled to Baltimore to reside with his aunt, Maria Clemm, and her young daughter, Virginia. The events of Poe’s life from 1831 until 1833 remain relatively obscure.

Out of Obscurity

While living in Baltimore, Poe turned in earnest to his literary efforts. His third volume of verse, Poems (1831), hints at the Gothic sensibility—in particular, a preoccupation with death and psychological instability—that would become his trademark. For instance, “Irene” (revised as “The Sleeper”) features a distraught young man who, at midnight, mourns over his lover’s corpse: “Strange is thy pallor! strange thy dress, / Strange above all, thy length of tress, / And this all solemn silentness!” Poe received some help and encouragement from the literary editor and critic John Neal, but his poems continued to attract scant notice.

In an effort to improve his financial position, Poe turned to fiction. Because they sold the best, he wrote mostly Gothic-style horror and suspense stories and, in 1831, entered five of them in a contest sponsored by the weekly newspaper, the Philadelphia Saturday Courier . Although he won no prize, the tales were published anonymously during 1832. In October 1833, Poe’s story “MS. Found in a Bottle”—about a midnight accident at sea and a mysterious ship that appears out of the “watery hell”—won a competition sponsored by the Baltimore Saturday Visiter . His poem “The Coliseum” would have been awarded best poem, as well, but the judges preferred not to offer both prizes to a single author.

One of the competition’s judges was John Pendleton Kennedy, a Whig Party politician, literary editor, and author of Swallow Barn, or a Sojourn in the Old Dominion (1832). In 1835, Kennedy encouraged Poe to apply for an assistant editor position at the Southern Literary Messenger , a Richmond-based magazine founded the previous year by Thomas Willis White. Poe received the job and was soon promoted to editor despite clashing with White over his—Poe’s—excessive drinking.

In May 1836, for the first time feeling financially secure enough to marry, Poe wed his thirteen-year-old cousin, Virginia Clemm. Historians disagree over whether they consummated their marriage. Virginia’s mother, Poe’s aunt, kept house for the couple and continued to do so for Poe after Virginia’s death.

Poe’s work at the Messenger helped him climb out of literary obscurity. Under his direction, the journal’s circulation increased and Poe began to develop contacts with the northern literary establishment. He turned these successes to his advantage, publishing revised versions of his own stories and poems. Still, he became best known for his caustic literary criticism, such as a December 1835 review of Theodore S. Fay’s novel, Norman Leslie : “We do not mean to say that there is positively nothing in Mr. Fay’s novel to commend—but there is indeed very little.” And about Morris Mattson’s Paul Ulric , he wrote, in February 1836: “When we called Norman Leslie the silliest book in the world we had certainly never seen Paul Ulric .”

That Fay was a darling of the New York literary establishment helped provoke a long-running feud between Poe and Lewis Gaylord Clark, editor of New York City’s Knickerbocker Magazine and an ardent defender of northern literary sensibilities. Poe and Clark insulted one another in print for years, with Clark, in 1845, calling Poe “‘nothing if not critical,’ and even less than nothing at that.”

A New Literary Sensibility

Poe’s sharp-tongued criticisms may have won him lifelong enemies, but they also served to articulate an important new literary sensibility. Poems should be short, he argued, and poems should be beautiful. In his “Letter to Mr. B—,” published in the Messenger (July 1836), Poe mocks William Wordsworth for his “long wordy discussions by which he tries to reason us into admiration of his poetry,” and then, after quoting the poet on the subject of a “snow-white mountain lamb,” sarcastically rejoinders: “Now, we have no doubt this is all true: we will believe it, indeed we will, Mr. W. Is it sympathy for the sheep you wish to excite? I love a sheep from the bottom of my heart.”

True literature, meanwhile, should celebrate beauty for its own sake and not be burdened with the sort of purposefulness one might find in a Sunday morning sermon. Here, Poe both echoes Nathaniel Hawthorne—who famously complained of those inclined “relentlessly to impale the story with its moral, as with an iron rod”—and pokes fun at his Puritan sensibilities: “I see no reason, then, why our metaphysical poets should plume themselves so much on the utility of their works, unless indeed they refer to instruction with eternity in view; in which case, sincere respect for their piety would not allow me to express contempt for their judgment … ”

“The Tell-Tale Heart” Over the years, Poe also argued that the short story was the supreme form in fiction, meant to be tightly constructed and convey a single, unified impression. In Poe’s case, that impression was most often fear, foreboding, and dread, as evidenced in short stories like “The Cask of Amontillado” (1846), which describes an excruciatingly slow plan of revenge. And for such unified impressions to take hold, brevity—a term Poe calculated to mean a work that took no longer than ninety minutes to read—was crucial. “As the novel cannot be read at one sitting,” he wrote in 1842 in an admiring review of a Hawthorne collection, “it cannot avail itself of the immense benefit of totality . Worldly interests, intervening during the pauses of perusals, modify, counteract and annul the impressions intended.”

Poe did not limit his fiction to Gothic tales, however. From 1833 until 1836, he attempted and failed to find a publisher for his collection of satirical stories, Tales of the Folio Club . In the book, club members meet monthly to critique each other’s stories, all of which turn out to be caricatures of the styles of popular writers from Poe’s day. His critical ax never dull, Poe still managed to place a number of the stories in journals such as the Messenger and the Philadelphia Saturday Courier .

After Richmond

After years of battling the northern literary elite, Poe left the Messenger in January 1837 and moved north himself, working in various editorial posts, most notably at Graham’s Magazine in Philadelphia. Sometime between November 1839 and January 1840, his two-volume collection Tales of the Grotesque and Arabesque was published, providing a broader audience to many of his previously published stories. In stories such as “The Fall of the House of Usher,” Poe rebutted charges of “Germanism and gloom,” Germany being a preferred literary source for his Gothic sensibility. “If in many of my productions terror has been the thesis,” he wrote, “I maintain that terror is not of Germany but of the soul—”

His famous opening to “Usher” suggests that he more than walked the walk of his literary philosophy, expertly compressing Teutonic gloom into a single storm cloud of a sentence: “During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country; and at length found myself, as the shades of evening drew on, within view of the melancholy House of Usher.”

Graham’s , meanwhile, featured some of Poe’s most assertive original fiction. In “The Murders in the Rue Morgue” (April 1841), for instance, Poe introduced the detective story prototype that Sir Arthur Conan Doyle would make so famous with his Sherlock Holmes episodes: an uncannily observant detective solves the crime while accompanied by his friend, who also narrates the events. In “The Masque of the Red Death” (May 1842), Poe traded the hyper-logic of detectives for the psychological horror of disease and inevitable death, describing a masquerade ball set in a plague-stricken Italian castle.

Later Years

By 1844, Poe had relocated to New York, home of any number of his most bitter literary enemies and where he became the editor and then owner of the literary weekly, Broadway Journal . In January 1845, the New York Evening Mirror published his poem, “The Raven,” a disturbing account of its grief-stricken narrator’s encounter with a bird that knows but one word: “Nevermore.” The poem’s opening lines— “Once upon a midnight dreary, while I pondered, weak and weary / Over many a quaint and curious volume of forgotten lore,”—are among the most famous in the English language and brought Poe wide and almost instant acclaim. Nevertheless, they failed to deliver him from his persistent financial troubles.

Nor did Poe’s unpredictable moods and pugilistic criticism help him make friends in literary circles. In October 1845, he annoyed a Boston audience prepared for a talk about poetry by instead reciting his long and obscure poem “Al Aaraaf.” He continued to lampoon in print his fellow writers, including Thomas Dunn English, whom he worked with in Philadelphia. Some critics have even suggested that Poe used his feud with English as motivation for his revenge fantasy in “The Cask of Amontillado.”

When Broadway Journal went under in January 1846, Poe lost the most reliable venue for his attacks. And having alienated so many of his fellow writers and editors, he found it difficult to publish and, therefore, to make money. Then, in January 1847, his wife Virginia died of tuberculosis, sending Poe into bouts of depression and torturous grief, during which he reportedly sought the comforts of alcohol. Some historians have speculated that his alcohol use was complicated by either diabetes or hypoglycemia, which would have resulted in violent mood swings. This, in turn, might help to explain later portraits of Poe—in particular from the pen of Rufus W. Griswold, who had succeeded him as editor at Graham’s —as an irreclaimable alcoholic.

In 1849, Poe traveled to Richmond to read his poetry and lecture on “The Philosophy of Composition,” which had been published in the April 1846 issue of Graham’s as a critical explication of his writing of “The Raven.” While there, he reunited with his one-time fiancée, Elmira Shelton, who was now widowed and wealthy. Poe decided to marry her and move to Richmond, and late in September departed for Fordham, New York, where he would arrange to move his aunt Maria to Virginia.

Edgar Allan Poe (Audio) The move never happened, however. A few weeks later, Poe was found unconscious and dangerously ill outside a Baltimore tavern. He died in the hospital on October 7, 1849, and received a swift burial in his grandfather Poe’s cemetery lot in the Westminster Presbyterian Church Cemetery in Baltimore. Historians have long disagreed about the exact cause of his death, suggesting everything from rabies to alcoholism.

Poe had given Griswold a memorandum from which to write a biography of him, but the editor’s use of this work was distinctly unflattering—even treacherous. Griswold quickly produced a polemic obituary and soon after undertook to publish a multivolume edition of Poe’s writings, The Works of the Late Edgar Allan Poe (1850–1856) , as well as an unjust and inflammatory fifty-page memoir detailing Poe’s life. This sketch, subsequently used by many later biographers, helped in part to create the caricature of Poe that has survived in American literary legend—as a death-obsessed, drug-addled debaucher.

Poe’s room on the West Range at the University of Virginia is open for viewing by the public. In Richmond, the Poe Museum, which first opened in 1922, features a large collection of the writer’s manuscripts, letters, first editions, and personal belongings.

Major Works

• Tamerlane and Other Poems: By a Bostonian (1827)
• Al Aaraaf, Tamerlane, and Minor Poems (1829)
• Poems, By Edgar A. Poe (1831)
• The Narrative of Arthur Gordon Pym, of Nantucket (short novel, 1838)
• Tales of the Grotesque and Arabesque (1840)
• Prose Romances: The Murders in the Rue Morgue and The Man That Was Used Up (1843)
• The Raven and Other Poems (1845)
• Tales (1845)
• Eureka: A Prose Poem (1848)
• The Literati (1850)
• Politan: An Unfinished Tragedy (1923)

The Poe Museum

The Edgar Allan Poe Society of Baltimore

University of Virginia Library Electronic Text Center

The Poe Studies Association

• Antebellum Period (1820–1860)
• Fisher, Benjamin F. Ed. Poe and His Times: The Artist in His Milieu. Baltimore: The Edgar Allan Poe Society, 1990.
• Hayes, Kevin J., ed. The Cambridge Companion to Edgar Allan Poe . Cambridge: Cambridge University Press, 2002.
• Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography . New York: Appleton-Century, 1941; reprinted with a new foreword by Shawn Rosenheim. Baltimore: Johns Hopkins University Press, 1998.
• Thomas, Dwight, and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe 1809–1849 . Boston: G. K. Hall, 1987.
• Wagenknecht, Edward. Edgar Allan Poe: The Man Behind the Legend. New York: Oxford University Press, 1963.
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