Edgar Alan Po

Draga deco i ostali, koji se možda ne osećate kao deca, ali mi zbog toga niste manje dragi :cherry: ,

Kao što vidite, milošću naše drage adminke, dobili smo podforum za Kulturu i Umetnost, unutar koga ćemo, nadam se, imati mnogo lepih diskusija.
Što se tiče foruma Književnost, koji ovom prilikom svečano otvaram , on je zamišljen kao mesto na koje ćemo postavljati dela ili odlomke koji su vas, iz bilo kojih razloga, zainteresovali, zaintrigirali, dirnuli, inspirisali... Takođe, bilo bi lepo da imamo rasprave o umetnicima i umetničkim ostvarenjima, analize, sinteze, pitanja, odgovore. Na kraju, očekujem da svi oni koji se na bilo koji način bave umetnošću postave neka od svojih dela, kako bismo se upoznali sa njima, ocenili ih, raspravljali o njima, ili prosto uživali u njima.

Smatram da je najbolje, da se ne bismo udaljavali od karaktera čitavog foruma, da sekciju Književnost načnemo temama o dvojici umetnika na čijim se delima u velikoj meri zasniva muzika, i uopšte stvaralaštvo i imidž, našeg obožavanog benda. U pitanju su, naravno, Edgar Alan Po i Šarl Bodler.

Proglašavam podforum Književnost svečano otvorenim!
:luda:

Za početak, sa izuzetnim zadovoljstvom ću vas počastiti - čime drugim nego Gavranom.

Uživajte!



The Raven

by Edgar Allan Poe

First published in 1845


Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door -
Only this, and nothing more."

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
"'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"- here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!" -
Merely this, and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice:
Let me see, then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more."

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient raven wandering from the Nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door -
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not a feather then he fluttered -
Till I scarcely more than muttered, "other friends have flown before -
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his Hope that melancholy burden bore
Of 'Never - nevermore'."

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!

Then methought the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee - by these angels he hath sent thee
Respite - respite and nepenthe, from thy memories of Lenore:
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil! - prophet still, if bird or devil! -
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted- tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!"
Quoth the Raven, "Nevermore."

"Prophet!" said I, "thing of evil - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore -
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."

"Be that word our sign in parting, bird or fiend," I shrieked, upstarting -
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!- quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamplight o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

Evo i prevoda na srpski, ko preferira čitanje poezije na meternjem jeziku.
Prevod, po mom mišljenju, nije baš najsjajniji, ali mislim da je to najbolji koji imamo.

Gavran - Edgar Allan Poe


Jednom jedne strašne noći, ja zamišljah u samoći,
Čitah crne, prašne knjige, koje staro znanje skriše;
Dok sam u san skoro pao, netko mi je zakucao,
Na vrata mi zakucao - zakucao tiho - tiše -
"To je putnik" ja promrmljah, "koji bježi ispred kiše",
Samo to i ništa više.

Ah, da, još se sjećam jasno, u prosincu bješe kasno
Svaki ugarak, što trne, duhove po podu riše.
Željno čekam ja svanuće, uzalud iz knjiga vučem
Spas od boli što me muče, jer me od Nje rastaviše.
Od djevojke anđeoske, od Lenore rastaviše,
Ah, nje sada nema više.

Od svilenog, tužnog šuma iz zastora od baršuna
Nikad prije osjećani užasi me zahvatiše;
Dok mi srce snažno bije, ja ga mirim sve hrabrije:
"Putnik moli da se skrije od te noći, bure, kiše.
Putnik kuca na ta vrata, da se skrije ispred kiše.
Samo to je, ništa više."

Ohrabrih se iznenada, ne oklijevah više tada:
"Gospodine il gospođo, izvinjenje moje stiže!
Mene teški snovi prate, a vi nježno kucat znate,
Tako tiho i bez snage, vaši prsti vrata biše,
Da sam sanjiv jedva čuo" - Tu se vrata otvoriše -
Mrak je tamo, ništa više.

Pogled mrak je prodrijet htio, čudno zastrašen sam bio,
Sumnjajući, sanjajući, sni mi paklenski se sniše;
Nedirnuta bje tišina, znaka nije dala tmina,
Rečena je reč jedina, šapnuta od zvuka kiše:
"Lenora" ja šapnuh tiho, jeka mi je vrati tiše,
Samo to i ništa više.

Kad u sobu ja se vratih, cijelom dušom tad zaplamtih:
Nešto jači nego prije udarci se ponoviše.
"Sigurno", ja rekoh, "to je na prozoru sobe moje;
Pogledat ću trenom što je, kakve se tu tajne skriše.
Mirno, srce. Da, vidimo, kakve se tu tajne skriše -
Vjetar to je, ništa više.

Prozorsku otvorih kuku, kad uz lepet i uz buku,
Kroza nj uđe gordi Gavran, svetih dana što već biše,
Nit da poklon glavom mahne, ni trenutak on da stane,
S likom lorda ili dame kroz moju se sobu diže
I na kip Palade sleti, što se iznad vrata diže,
Sleti, sjede, ništa više.

Ovaj stvor u crnom plaštu, nasmija mi tužnu maštu
Teškim, mrkim dostojanstvom, kojim čitav lik mu diše.
"Nek ti kresta jadno visi", rekoh, "kukavica nisi,
Strašni, mračni Gavran ti si, što sa žala Noći stiže,
Kako te na žalu zovu hadske noći otkud stiže?"
Reče Gavran: "Nikad više".

Začudih se tome mnogo, što je jasno zborit mogo,
Premda nejasne mu riječi malo tog mi razjasniše.
Ali priznat mora svako, ne događa da se lako,
Da živ čovjek gleda tako, pticu što se nad njim njiše,
Životinju ili pticu, što nad vratima se njiše
S tim imenom "Nikad više".

Ali Gavran sjedeć tamo, govori riječ jednu samo,
Ko da duša mu i srce u tu jednu riječ se sliše.
To je sve što on mi reče - dalje krila ne pokreće,
Dok moj šapat mir presiječe: "Svi me druzi ostaviše,
Otići će i on kao nade što me ostaviše".
Tad će Gavran "Nikad više".

Dok ja stajah još zatečen - odgovor bje spremno rečen.
"Nema sumnje," rekoh, "ta je riječ tek trica, ništa više
Od nesretnog gazde čuta, kojega je sudba kruta,
Pratila duž njegova puta, dok mu sve se pjesme sliše
U tužaljke puste nade, koje teret u se zbiše,
Od "nikada-nikad više".

Al taj stvor u crnom plaštu, još mi u smijeh goni maštu,
Ja naslonjač tad okrenuh bisti, gdje se Gavran njiše
Na baršun mi glava klone, a ja mislim misli one,
Stapam mašte tužne, bolne; kakvu meni sudbu piše
Ova strašna kobna ptica, kakvu meni sudba piše
Grakćuć stalno: "Nikad više".

Sjedih tražeć smiso toga, ne govoreć niti sloga
Ptici, čije žarke oči moju dušu rasplamtiše;
Tako misleć misli bone, pustih glavu da mi klone
I u baršun da mi tone, kojim svijetlo sjene riše,
Naslonit se na taj baršun, kojim svijetlo sjene riše
O n a ne će nikad više.

Zrak tad ko da gušćim stade, na me neki miris pade
Ko da anđel lakih nogu kadionik čudni njiše.
"Ludo", viknuh, "to su glasi, bog će posla da te spasi
Bol i tugu da ti gasi, što te tako izmučiše.
Pij nepenthe, da u srcu zaborav Lenoru zbriše."
Rače Gavran: "Nikad više".

"Zli proroče, ne znam pravo, da l si ptica ili đavo,
Da li te je Satan poslo, il te bure izbaciše
Sama, al nezastrašena, u tu pustu zemlju sjena
U dom ovaj opsednuti, - zaklinjem te, ah, ne šuti
Reci, reci ima' l melem jada, što me izmučiše?"
Reče Gavran: "Nikad više".

"Zli proroče, ne znam pravo, da l si ptica ili đavo,
Al u ime Boga po kom obojici grud nam diše,
Smiri dušu rastuženu, reci da l ću u Edenu
Zagrliti svoju ženu, od koje me rastaviše, Anđeosku tu
Lenoru, od koje me rastaviše?"
Reče Gavran: "Nikad više".

"Dosta ti govorit dadoh, crna ptico!" Tad ustadoh,
"U oluje divlje bježi, što se kroz noć raskriliše!
Ne ostavi niti traga svojih laži kraj mog praga,
Meni je samoća draga - usne same dovršiše -
Iz mog srca kljun svoj vadi, nek ti trag se ovdje zbriše!"
Reče Gavran: "Nikad više".

I taj Gavran, šuteć samo, još je tamo, još je tamo,
Na Palade kip je sjeo, što se iznad vrata diže,
Oči su mu slika prava zloduha što sniva, spava,
Svijetlost, što ga obasjava, na dnu njegovu sjenu riše,
Moja duša iz tih sjena, što mi cijelu sobu skriše
Ustat ne će - nikad više!

Edgar Allan Poe ... Obozavam ga!



San u snu

Čak mi i život davan
(pošto može) liči na san,
ja nikada ne bih hteo
da budem car Napoleon,
nit se moja zvezda gnezdi
na dalekoj nekoj zvezdi.

Odlazeć od tebe sada
priznajem ti srca rada-
takvih bića bi niz ceo
koja moj duh ne bi sreo
da su prošla pored mene
kroz oči mi zatvorene-
ako mir se moj raspada,
noću, danju, bilo kada,
poput ničeg, poput sanje,
da l' ga zato ode manje?

Stojim dok svud oko mene
na sprudu se vali pene
i na mome dlanu bleska
roj zrnaca zlatnog peska-
malo! al' je i to malo
kroz prste u ponor palo!
Moje rane nade? -davno
izčezle su one slavno,
poput munje što zasija
za tren nebom -pa ću i ja.

Tako mlad? ah! ne -zacelo!
Još ne smori moje čelo,
al' ti da sam ohol kažu-
oni lažu -glasno lažu-
od srama mi drhte grudi,
jer se bedni čas usudi
da čast osećanja mojih
sa imenom niskim spoji-
ni stoičan? ne! -u zlobi
i teskobi moje kobi
s podsmehom ću prezirati
tu žalosnu slast "trajati"
Šta? Zenona senka! -Nikad!
Ja! trajati! -ne-ne čikat'!

Primi poljubac u čelo!
i, dok krećem neveselo,
potvrđujem tebi smelo-
jer istinu sada znamo
da moj život san bi samo;
sad kad nesta moja nada,
noću, danju, bilo kada,
poput ničeg, poput sanje,
da l' je zato ode manje?
Sve što znamo i gledamo
zbilja san u snu je samo.

Dolazim do šumnog žala
izmučenog srdžbom vala,
i uzimam zrnca peska
koji kao zlato bleska-
malo! al' je i to malo
kroz prste u ponor palo,
dok mre srce malaksalo!
O Sudbo! zar nema spasa
ni jednom od zlog talasa?
Sve što znamo i gledamo
da li san u snu je samo?



@ Lenore:

Pa, znas kako, ja mnogo vise volim da citam na engleskom, ali je Poe koristio puno arhaizama, koje bas i ne razumem. Zato je mnogo lakse procitati prvo na srpskom, a onda procitati na engleskom, da je "dozivis"

Ja pak mislim da njega treba citati prvo u originalu...Usput malo prelistas i recnik i eto koristi-prosirujes svoj vokabular englenskog jezika...
Obe gore navedene pesme mi se dopadaju.O Gavranu je suvisno ista pricati...
nego...
________________________________________
A sta velite o njegovim pricama?

Edgar Allan Poe: Berenice 1835
Dicebant mihi sodales, si sepulchrum amicae visitarem,
curas meas aliquantulum fore levatas.
--Ebn Zaiat.
MISERY is manifold. The wretchedness of earth is multiform. Overreaching the wide horizon as the rainbow, its hues are as various as the hues of that arch, --as distinct too, yet as intimately blended. Overreaching the wide horizon as the rainbow! How is it that from beauty I have derived a type of unloveliness? --from the covenant of peace a simile of sorrow? 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.
My baptismal name is Egaeus; that of my family I will not mention. Yet there are no towers in the land more time-honored than my gloomy, gray, hereditary halls. Our line has been called a race of visionaries; and in many striking particulars --in the character of the family mansion --in the frescos of the chief saloon --in the tapestries of the dormitories --in the chiselling of some buttresses in the armory --but more especially in the gallery of antique paintings --in the fashion of the library chamber --and, lastly, in the very peculiar nature of the library's contents, there is more than sufficient evidence to warrant the belief.
The recollections of my earliest years are connected with that chamber, and with its volumes --of which latter I will say no more. Here died my mother. Herein was I born. But it is mere idleness to say that I had not lived before --that the soul has no previous existence. You deny it? --let us not argue the matter. Convinced myself, I seek not to convince. There is, however, a remembrance of aerial forms --of spiritual and meaning eyes --of sounds, musical yet sad --a remembrance which will not be excluded; a memory like a shadow, vague, variable, indefinite, unsteady; and like a shadow, too, in the impossibility of my getting rid of it while the sunlight of my reason shall exist.
In that chamber was I born. Thus awaking from the long night of what seemed, but was not, nonentity, at once into the very regions of fairy-land --into a palace of imagination --into the wild dominions of monastic thought and erudition --it is not singular that I gazed around me with a startled and ardent eye --that I loitered away my boyhood in books, and dissipated my youth in reverie; but it is singular that as years rolled away, and the noon of manhood found me still in the mansion of my fathers --it is wonderful what stagnation there fell upon the springs of my life --wonderful how total an inversion took place in the character of my commonest thought. The realities of the world affected me as visions, and as visions only, while the wild ideas of the land of dreams became, in turn, --not the material of my every-day existence-but in very deed that existence utterly and solely in itself.
Berenice and I were cousins, and we grew up together in my paternal halls. Yet differently we grew --I ill of health, and buried in gloom --she agile, graceful, and overflowing with energy; hers the ramble on the hill-side --mine the studies of the cloister --I living within my own heart, and addicted body and soul to the most intense and painful meditation --she roaming carelessly through life with no thought of the shadows in her path, or the silent flight of the raven-winged hours. Berenice! --I call upon her name --Berenice! --and from the gray ruins of memory a thousand tumultuous recollections are startled at the sound! Ah! vividly is her image before me now, as in the ....

NASTAVAK

early days of her light-heartedness and joy! Oh! gorgeous yet fantastic beauty! Oh! sylph amid the shrubberies of Arnheim! --Oh! Naiad among its fountains! --and then --then all is mystery and terror, and a tale which should not be told. Disease --a fatal disease --fell like the simoom upon her frame, and, even while I gazed upon her, the spirit of change swept, over her, pervading her mind, her habits, and her character, and, in a manner the most subtle and terrible, disturbing even the identity of her person! Alas! the destroyer came and went, and the victim --where was she, I knew her not --or knew her no longer as Berenice.
Among the numerous train of maladies superinduced by that fatal and primary one which effected a revolution of so horrible a kind in the moral and physical being of my cousin, may be mentioned as the most distressing and obstinate in its nature, a species of epilepsy not unfrequently terminating in trance itself --trance very nearly resembling positive dissolution, and from which her manner of recovery was in most instances, startlingly abrupt. In the mean time my own disease --for I have been told that I should call it by no other appelation --my own disease, then, grew rapidly upon me, and assumed finally a monomaniac character of a novel and extraordinary form --hourly and momently gaining vigor --and at length obtaining over me the most incomprehensible ascendancy. This monomania, if I must so term it, consisted in a morbid irritability of those properties of the mind in metaphysical science termed the attentive. It is more than probable that I am not understood; but I fear, indeed, that it is in no manner possible to convey to the mind of the merely general reader, an adequate idea of that nervous intensity of interest with which, in my case, the powers of meditation (not to speak technically) busied and buried themselves, in the contemplation of even the most ordinary objects of the universe.
To muse for long unwearied hours with my attention riveted to some frivolous device on the margin, or in the topography of a book; to become absorbed for the better part of a summer's day, in a quaint shadow falling aslant upon the tapestry, or upon the door; to lose myself for an entire night in watching the steady flame of a lamp, or the embers of a fire; to dream away whole days over the perfume of a flower; to repeat monotonously some common word, until the sound, by dint of frequent repetition, ceased to convey any idea whatever to the mind; to lose all sense of motion or physical existence, by means of absolute bodily quiescence long and obstinately persevered in; --such were a few of the most common and least pernicious vagaries induced by a condition of the mental faculties, not, indeed, altogether unparalleled, but certainly bidding defiance to anything like analysis or explanation.
Yet let me not be misapprehended. --The undue, earnest, and morbid attention thus excited by objects in their own nature frivolous, must not be confounded in character with that ruminating propensity common to all mankind, and more especially indulged in by persons of ardent imagination. It was not even, as might be at first supposed, an extreme condition or exaggeration of such propensity, but primarily and essentially distinct and different. In the one instance, the dreamer, or enthusiast, being interested by an object usually not frivolous, imperceptibly loses sight of this object in a wilderness of deductions and suggestions issuing therefrom, until, at the conclusion of a day dream often replete with luxury, he finds the incitamentum or first cause of his musings entirely vanished and forgotten. In my case the primary object was invariably frivolous, although assuming, through the medium of my distempered vision, a refracted and unreal importance. Few deductions, if any, were made; and those few pertinaciously returning in .....

NASTAVAK

upon the original object as a centre. The meditations were never pleasurable; and, at the termination of the reverie, the first cause, so far from being out of sight, had attained that supernaturally exaggerated interest which was the prevailing feature of the disease. In a word, the powers of mind more particularly exercised were, with me, as I have said before, the attentive, and are, with the day-dreamer, the speculative.
My books, at this epoch, if they did not actually serve to irritate the disorder, partook, it will be perceived, largely, in their imaginative and inconsequential nature, of the characteristic qualities of the disorder itself. I well remember, among others, the treatise of the noble Italian Coelius Secundus Curio "de Amplitudine Beati Regni dei"; St. Austin's great work, the "City of God"; and Tertullian "de Carne Christi," in which the paradoxical sentence "Mortuus est Dei filius; credible est quia ineptum est: et sepultus resurrexit; certum est quia impossibile est" occupied my undivided time, for many weeks of laborious and fruitless investigation.
Thus it will appear that, shaken from its balance only by trivial things, my reason bore resemblance to that ocean-crag spoken of by Ptolemy Hephestion, which steadily resisting the attacks of human violence, and the fiercer fury of the waters and the winds, trembled only to the touch of the flower called Asphodel. And although, to a careless thinker, it might appear a matter beyond doubt, that the alteration produced by her unhappy malady, in the moral condition of Berenice, would afford me many objects for the exercise of that intense and abnormal meditation whose nature I have been at some trouble in explaining, yet such was not in any degree the case. In the lucid intervals of my infirmity, her calamity, indeed, gave me pain, and, taking deeply to heart that total wreck of her fair and gentle life, I did not fall to ponder frequently and bitterly upon the wonder-working means by which so strange a revolution had been so suddenly brought to pass. But these reflections partook not of the idiosyncrasy of my disease, and were such as would have occurred, under similar circumstances, to the ordinary mass of mankind. True to its own character, my disorder revelled in the less important but more startling changes wrought in the physical frame of Berenice --in the singular and most appalling distortion of her personal identity.
During the brightest days of her unparalleled beauty, most surely I had never loved her. In the strange anomaly of my existence, feelings with me, had never been of the heart, and my passions always were of the mind. Through the gray of the early morning --among the trellissed shadows of the forest at noonday --and in the silence of my library at night, she had flitted by my eyes, and I had seen her --not as the living and breathing Berenice, but as the Berenice of a dream --not as a being of the earth, earthy, but as the abstraction of such a being-not as a thing to admire, but to analyze --not as an object of love, but as the theme of the most abstruse although desultory speculation. And now --now I shuddered in her presence, and grew pale at her approach; yet bitterly lamenting her fAllan and desolate condition, I called to mind that she had loved me long, and, in an evil moment, I spoke to her of marriage.
And at length the period of our nuptials was approaching, when, upon an afternoon in the winter of the year, --one of those unseasonably warm, calm, and misty days which are the nurse of the beautiful Halcyon, --I sat, (and sat, as I thought, alone,) in the inner apartment of the library. But uplifting my eyes I saw that Berenice stood before me.
For as Jove, during the winter season, gives twice seven days of warmth, men have called this clement and temperate time the nurse of the beautiful Halcyon --Simonides.
.......

NASTAVAK

Was it my own excited imagination --or the misty influence of the atmosphere --or the uncertain twilight of the chamber --or the gray draperies which fell around her figure --that caused in it so vacillating and indistinct an outline? I could not tell. She spoke no word, I --not for worlds could I have uttered a syllable. An icy chill ran through my frame; a sense of insufferable anxiety oppressed me; a consuming curiosity pervaded my soul; and sinking back upon the chair, I remained for some time breathless and motionless, with my eyes riveted upon her person. Alas! its emaciation was excessive, and not one vestige of the former being, lurked in any single line of the contour. My burning glances at length fell upon the face.
The forehead was high, and very pale, and singularly placid; and the once jetty hair fell partially over it, and overshadowed the hollow temples with innumerable ringlets now of a vivid yellow, and Jarring discordantly, in their fantastic character, with the reigning melancholy of the countenance. The eyes were lifeless, and lustreless, and seemingly pupil-less, and I shrank involuntarily from their glassy stare to the contemplation of the thin and shrunken lips. They parted; and in a smile of peculiar meaning, the teeth of the changed Berenice disclosed themselves slowly to my view. Would to God that I had never beheld them, or that, having done so, I had died!
The shutting of a door disturbed me, and, looking up, I found that my cousin had departed from the chamber. But from the disordered chamber of my brain, had not, alas! departed, and would not be driven away, the white and ghastly spectrum of the teeth. Not a speck on their surface --not a shade on their enamel --not an indenture in their edges --but what that period of her smile had sufficed to brand in upon my memory. I saw them now even more unequivocally than I beheld them then. The teeth! --the teeth! --they were here, and there, and everywhere, and visibly and palpably before me; long, narrow, and excessively white, with the pale lips writhing about them, as in the very moment of their first terrible development. Then came the full fury of my monomania, and I struggled in vain against its strange and irresistible influence. In the multiplied objects of the external world I had no thoughts but for the teeth. For these I longed with a phrenzied desire. All other matters and all different interests became absorbed in their single contemplation. They --they alone were present to the mental eye, and they, in their sole individuality, became the essence of my mental life. I held them in every light. I turned them in every attitude. I surveyed their characteristics. I dwelt upon their peculiarities. I pondered upon their conformation. I mused upon the alteration in their nature. I shuddered as I assigned to them in imagination a sensitive and sentient power, and even when unassisted by the lips, a capability of moral expression. Of Mad'selle Salle it has been well said, "que tous ses pas etaient des sentiments," and of Berenice I more seriously believed que toutes ses dents etaient des idees. Des idees! --ah here was the idiotic thought that destroyed me! Des idees! --ah therefore it was that I coveted them so madly! I felt that their possession could alone ever restore me to peace, in giving me back to reason.
And the evening closed in upon me thus-and then the darkness came, and tarried, and went --and the day again dawned --and the mists of a second night were now gathering around --and still I sat motionless in that solitary room; and still I sat buried in meditation, and still the phantasma of the teeth maintained its terrible ascendancy as, with the most vivid hideous distinctness, it floated about amid the changing lights and shadows of the chamber. At length there broke in upon my dreams a cry as of horror and dismay; and thereunto, after a pause, succeeded the sound of troubled voices,
......

NASTAVAK

intermingled with many low moanings of sorrow, or of pain. I arose from my seat and, throwing open one of the doors of the library, saw standing out in the antechamber a servant maiden, all in tears, who told me that Berenice was --no more. She had been seized with epilepsy in the early morning, and now, at the closing in of the night, the grave was ready for its tenant, and all the preparations for the burial were completed.
I found myself sitting in the library, and again sitting there alone. It seemed that I had newly awakened from a confused and exciting dream. I knew that it was now midnight, and I was well aware that since the setting of the sun Berenice had been interred. But of that dreary period which intervened I had no positive --at least no definite comprehension. Yet its memory was replete with horror --horror more horrible from being vague, and terror more terrible from ambiguity. It was a fearful page in the record my existence, written all over with dim, and hideous, and unintelligible recollections. I strived to decypher them, but in vain; while ever and anon, like the spirit of a departed sound, the shrill and piercing shriek of a female voice seemed to be ringing in my ears. I had done a deed --what was it? I asked myself the question aloud, and the whispering echoes of the chamber answered me, "what was it?"
On the table beside me burned a lamp, and near it lay a little box. It was of no remarkable character, and I had seen it frequently before, for it was the property of the family physician; but how came it there, upon my table, and why did I shudder in regarding it? These things were in no manner to be accounted for, and my eyes at length dropped to the open pages of a book, and to a sentence underscored therein. The words were the singular but simple ones of the poet Ebn Zaiat, "Dicebant mihi sodales si sepulchrum amicae visitarem, curas meas aliquantulum fore levatas." Why then, as I perused them, did the hairs of my head erect themselves on end, and the blood of my body become congealed within my veins?
There came a light tap at the library door, and pale as the tenant of a tomb, a menial entered upon tiptoe. His looks were wild with terror, and he spoke to me in a voice tremulous, husky, and very low. What said he? --some broken sentences I heard. He told of a wild cry disturbing the silence of the night --of the gathering together of the household-of a search in the direction of the sound; --and then his tones grew thrillingly distinct as he whispered me of a violated grave --of a disfigured body enshrouded, yet still breathing, still palpitating, still alive!
He pointed to garments;-they were muddy and clotted with gore. I spoke not, and he took me gently by the hand; --it was indented with the impress of human nails. He directed my attention to some object against the wall; --I looked at it for some minutes; --it was a spade. With a shriek I bounded to the table, and grasped the box that lay upon it. But I could not force it open; and in my tremor it slipped from my hands, and fell heavily, and burst into pieces; and from it, with a rattling sound, there rolled out some instruments of dental surgery, intermingled with thirty-two small, white and ivory-looking substances that were scattered to and fro about the floor.
THE END


Ima jos dobrih prica,ova mi prva dosla pod ruku...

Jao, obožavam ga! Hvala na ovome, svaka čast!
Eh, da nas Ville sada vidi...

Ja sam ga, naravno, čitala prvo na srpskom, i mislim da je možda i bolje pročitati prvo prevod, kakav god da je. U stvari, ja radim ovako: pročitam sve prevode koje mogu da nađem, da bih pohvatala sve one sadržaje koji se u jednom prevodu neminovno izgube, a svaki prevodilac ipak vrši neki izbor. E, onda uzmem original, iščitam ga nekoliko puta, pa upoređujem sa prevodima. Onda se poslužim rečnikom zbog eventualnih arhaizama, kojih kod Poa stvarno ima mnogo, dok ne dođem do onoga što ja zovem samostalnim čitanjem.
Kad dođem dotle... nijedan mi prevod više nije dovoljno dobar u poređenju sa originalom!
Naravno, to važi za poeziju na engleskom i eventualno ruskom... druge jezike još ne znam toliko dobro.

Da li je neko od vas čitao Poov tekst Filozofija kompozicije? To je esej u kom on govori o svom stvaralačkom postupku i za primer uzima baš Gavrana.
Recite ako vas zanima, da vam ispirčam još nešto o tome, eventualno da vam postavim link ka tekstu, imam ga.

Ja nisam citala i zanima me...
Pa,zbog toga sto prevodi retko mogu da docaraju atmosferu originala ja prvo citam original.
I nasa neka pesma kada bi se prevela na englenski ne bi bila ono sto jeste na srpskom.
No,svako ima svoju metodu iscitavanja stranih dela.
Ma,samo kad se cita!I pise,stvara...

Ja ga imam, čitala sam samo neke delove zbog ispita, ali nisam stigla niti imala snage da se udubljujem mnogo. Čovek je detaljno opisao metod pisanja Gavrana. Obožavam Gavrana, a dobra je i Anabel Li! Imam neke stvari od Poa, ali baciću se na to kad diplomiram, npr. Pad kuće Ašerovih itd.

Hehe... ovo je malo off, al' moram... kad već pomenu diplomiranje...
Sad, kad sam diplomirala, pozvala sam par koleginica na piće, ali sam zaboravila da im naglasim da je to neformalno obeležavanje moje diplome, i da mi ne kupuju ništa. Elem, tako su se one pojavile sa kesicom i zavijutkom a u zavijutku je bilo - šta?
Sabrana dela Edgara Alana Poa, u originalu, u tvrdom povezu sa potpuno divnom opremom!
Tako da sad konačno imam SVE od Poa, i to u originalu!

Evo linka ka tekstu Filozofija kompozicije, pročitajte ga, nije mnogo dug, pa da paspravaljamo krive Drine:

http://likovna-kultura.ufzg.hr/filozofijaKompozicije.htm

Prevod je hrvatski, ali nije loš, može lepo da se prati.

Lenore,jeli to ono divno izdanje RAD-a? :cyclops:

Evo,upravo procitah Filozofiju kopozicije.Zaista,nacin kojim je stvarao "Gavrana",a koji je ovde opisao-nisam zaista ocekivala da je tim redosledom stvarao.Ali sve sto je opisivao,sve se to oseca u pesmi i uspeo je u onome sto je hteo.I svako ko laicki pise pesme trebao bi da procita ovo.Cisto da ostane zdrav u glavi.Vi to protumacite kako hocete(mislim na izraz 'zdrav u glavi'").Misljenja sam sa svaki stvaralac stvara kako on oseca i ako ga vode osecanja,kako zna,a prave vrednost same isplivaju.Da-i to me je iznenadilo-nacin na koji je stvarao Gavrana,vise je matematicki postupak i cini se da je radjen bez osecanja.Ja sam citala da je on stvarao svoja dela u transu i nakon sto bi se budio iz kosmarnih snova,,,To je to za sada...

Original Annabel Lee:

Bitter, svaka čast za ovo!

.................................Lenore

Ah, broken is the golden bowl! the spirit flown forever!
Let the bell toll!- a saintly soul floats on the Stygian river;
And, Guy de Vere, hast thou no tear?- weep now or nevermore!
See! on yon drear and rigid bier low lies thy love, Lenore!
Come! let the burial rite be read- the funeral song be sung!-
An anthem for the queenliest dead that ever died so young-
A dirge for her the doubly dead in that she died so young.

"Wretches! ye loved her for her wealth and hated her for her pride,
And when she fell in feeble health, ye blessed her- that she died!
How shall the ritual, then, be read?- the requiem how be sung
By you- by yours, the evil eye,- by yours, the slanderous tongue
That did to death the innocence that died, and died so young?"

Peccavimus; but rave not thus! and let a Sabbath song
Go up to God so solemnly the dead may feel no wrong.
The sweet Lenore hath "gone before," with Hope, that flew beside,
Leaving thee wild for the dear child that should have been thy bride.
For her, the fair and debonair, that now so lowly lies,
The life upon her yellow hair but not within her eyes
The life still there, upon her hair- the death upon her eyes.

"Avaunt! avaunt! from fiends below, the indignant ghost is riven-
From Hell unto a high estate far up within the Heaven-
From grief and groan, to a golden throne, beside the King ofHeaven!
Let no bell toll, then,- lest her soul, amid its hallowed mirth,
Should catch the note as it doth float up from the damned Earth!
And I!- to-night my heart is light!- no dirge will I upraise,
But waft the angel on her flight with a Paean of old days!"

GLSV666, ne, nije RAD-ovo izdanje, ovo je neko englesko izdanje, u pitanju je original! Na engleskom. :luda:

Izvini što nisam ranije odgovorila na tvoj post, nisam baš imala vremena.
Jeeee, baš mi je drago što si pročitala Filozofiju kompozicije!
Pazi, ja ne verujem da je on baš stvarno tako sve do poslednjeg detalja imao razrađeno u glavi u trenutku dok je pisao pesmu. Sa druge strane, mislim da nije tačna ni informacija da je pisao u transu, tj. sigurna sam da nije tačna. On je upravo kritikovao tu romantičarsku predstavu o umetniku koji se, dok stvara, zaista nalazi u nekim drugim sferama. Smatrao je to malo preteranim - a i bilo je preterano. Smatrao je to nepotrebnom mistifikacijom stvaralačkog postupka. Zato je i napisao ovaj tekst, upravo da bi pobio tu zabludu o tome kako čovek mora da bude nadrogiran ili omamljen da bi išta vredno stvorio.
Lepo što si pomenula formulaciju "matematički postupak", jer to je upravo izraz koji kritičari koriste kada pišu o Poovim književnim pogledima. Naravno da je teško poverovati da ju je on pisao tako "hladno i sračunato", i kao što rekoh, ja u to i ne verujem; ali njegova teorija koju iznosi u ovom tekstu je vrlo, vrlo značajna. Stvarno je uspeo da baci novo svetlo na tehniku stvaranja, pogotovo što njegova poezija nije "hladna i sračunata", naprotiv. Na kraju, i ako on "laže", da se tako izrazim, ako i nije pisao pesmu u tom raspoloženju, nego je naknadno izgradio celu priču - i dalje mu treba skinuti kapu, jer je pokazao - ako ništa drugo - a ono bar kako treba na ispravan način tumačiti jedno poetsko delo.
Fantastično.

Eto, toliko od mene za sad.
Ako je još neko pročitao, pa bi da komentariše još, čekam vas.
Mene ovo tako ispunjava...

JAO KAKO JE OVO DOBRO!!!! NIGDE NISAM MOGAO DA NADJEM POA ALI NA ENGLESKOM!!!!!!! NAJOMILJENIJI MOJ PISAC!!!!!!!!!!! JAOOOOOOOOOOOOOOO!!!! DODJE MI DA VAS SVE IZLJUBIM!!!!! :bravo: JAO HVALA VAM PUNO!!!!!!! dodushe video sam negde po netu ravena ali sa sve grafikama iz knjige... probacu da nadjem pa kad nadjem ubacicu!

Lenore ::GLSV666, ne, nije RAD-ovo izdanje, ovo je neko englesko izdanje, u pitanju je original! Na engleskom. :luda:

Izvini što nisam ranije odgovorila na tvoj post, nisam baš imala vremena.
Jeeee, baš mi je drago što si pročitala Filozofiju kompozicije!
Pazi, ja ne verujem da je on baš stvarno tako sve do poslednjeg detalja imao razrađeno u glavi u trenutku dok je pisao pesmu. Sa druge strane, mislim da nije tačna ni informacija da je pisao u transu, tj. sigurna sam da nije tačna. On je upravo kritikovao tu romantičarsku predstavu o umetniku koji se, dok stvara, zaista nalazi u nekim drugim sferama. Smatrao je to malo preteranim - a i bilo je preterano. Smatrao je to nepotrebnom mistifikacijom stvaralačkog postupka. Zato je i napisao ovaj tekst, upravo da bi pobio tu zabludu o tome kako čovek mora da bude nadrogiran ili omamljen da bi išta vredno stvorio.
Lepo što si pomenula formulaciju "matematički postupak", jer to je upravo izraz koji kritičari koriste kada pišu o Poovim književnim pogledima. Naravno da je teško poverovati da ju je on pisao tako "hladno i sračunato", i kao što rekoh, ja u to i ne verujem; ali njegova teorija koju iznosi u ovom tekstu je vrlo, vrlo značajna. Stvarno je uspeo da baci novo svetlo na tehniku stvaranja, pogotovo što njegova poezija nije "hladna i sračunata", naprotiv. Na kraju, i ako on "laže", da se tako izrazim, ako i nije pisao pesmu u tom raspoloženju, nego je naknadno izgradio celu priču - i dalje mu treba skinuti kapu, jer je pokazao - ako ništa drugo - a ono bar kako treba na ispravan način tumačiti jedno poetsko delo.
Fantastično.

Eto, toliko od mene za sad.
Ako je još neko pročitao, pa bi da komentariše još, čekam vas.
Mene ovo tako ispunjava...

I mene je najvise bas iznenadilo to "hladno i sracunato" mada ni ja ne verujem da je samo to u pitanju bilo prilikom nastanka dela.A sto se tice mistifikacije stvaralackog procesa on i jeste malo preteran.I dobro je sto je Po pobio tu mistsifikaciju ma koliko ona bila sokantna.Mene jeste sokiralo u prvom trenutku,a posle kad pogledas shvatis logiku.

Ma, da, bre! Mada, ne treba gubiti iz vida ni to koliki je on cinik bio, pa je namerno preterivao i sprdačio se. Ja sam se iskidala od smeha na deo sa papagajem... Kakav genije!

Ah,da! Dobro je da je na kraju stavio gavrana...

Idite na ovaj link:

http://uk.youtube.com/watch?v=FID1CiB4bcU

zatim idite na prvu stranu ove teme, gde je pesma The Raven na engleskom, pustite snimak i doživite potpuni užas...
Or shall I say: sweetest pain & suffering...

^w^

Kako to da ja nisam ovde postovala?
Mnogo volim Edgara Alana Poa,stvarno sam zludjena da tako kazem njegovim pesmama...
Tako je divan pisac,naj mi je!

Alo, bre! Je l' neko poslušao ovo što sam postavila??
Niko me ne konstatuje...
Strašno...

Poslušala sam ja!
Sviđa mi se, baš je nekako... da se čovek udubi. I ona grmljavina i gavran... total darkness.
Hvala, Lenore!
Je l' ovo gavran? -> ^w^

Hehe
Ne, to bi trebalo da je šišmiš, ali može da bude i gavran.
KAko se kome nahodi. Važno da je neko noćno biće.
hihihihihi

Gledao sam i ja! ali najzesce gledam i cuje se kako kucka gavran na snimku... i u tom trenutku neshto lupi na moj prozor... :S

Ej, Lenore, ne shvatam gde je ta pesma, a bash bih volela da je chujem... (

Edgar Allan Poe

The Murders in the Rue Morgue
What song the Syrens sang, or what name Achilles
assumed when he bid himself among women, although
puzzling questions, are not beyond all conjecture.
Sir Thomas Browne,Urn-Burial
The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis. We appreciate them only in their effects. We know of them, among other things, that they are always to their possessor, when inordinately possessed, a source of the liveliest enjoyment. As the strong man exults in his physical ability, delighting in such exercises as call his muscles into action, so glories the analyst in that moral activity which disentangles. He derives pleasure from even the most trivial occupations bringing his talent into play. He is fond of enigmas, of conundrums, hieroglyphics; exhibiting in his solutions of each a degree of acumen which appears to the ordinary apprehension praeternatural. His results, brought about by the very soul and essence of method, have, in truth, the whole air of intuition.
The faculty of re-solution is possibly much invigorated by mathematical study, and especially by that highest branch of it which, unjustly, and merely on account of its retrograde operations, has been called, as if par excellence, analysis. Yet to calculate is not in itself to analyze. A chess-player, for example, does the one, without effort at the other. It follows that the game of chess, in its effects upon mental character, is greatly misunderstood. I am not now writing a treatise, but simply prefacing a some-what peculiar narrative by observations very much at random; I will, therefore, take occasion to assert that the higher powers of the reflective intellect are more decidedly and more usefully tasked by the unostentatious game of draughts than by all the elaborate frivolity of chess. In this latter, where the pieces have different and bizarre motions, with various and variable values, what is only complex, is mistaken (a not unusual error) for what is profound. The attention is here called powerfully into play. If it flag for an instant, an oversight is committed, resulting in injury or defeat. The possible moves being not only manifold, but involute, the chances of such oversights are multiplied; and in nine cases out of ten, it is the more concentrative rather than the more acute player who conquers. In draughts, on the contrary, where the moves are unique and have but little variation, the probabilities of inadvertence are diminished, and the mere attention being left comparatively unemployed, what advantages are obtained by either party are obtained by superior acumen. To be less abstract, let us suppose a game of draughts where the pieces are reduced to four kings, and where, of course, no oversight is to be expected. It is obvious that here the victory can be decided (the players being at all equal) only by some recherche movement, the result of some strong exertion of the intellect. Deprived of ordinary resources, the analyst throws himself into the spirit of his opponent, identifies himself therewith, and not unfrequently sees thus, at a glance, the sole methods (sometimes indeed absurdly simple ones) by which he may seduce into error or hurry into miscalculation.
< 2 >
Whist has long been known for its influence upon what is termed the calculating power; and men of the highest order of intellect have been known to take an apparently unaccountable delight in it, while eschewing chess as frivolous. Beyond doubt there is nothing of a similar nature so greatly tasking the faculty of analysis. The best chess-player in Christendom may be little more than the best player of chess; but proficiency in whist implies a capacity for success in all these more important undertakings where mind struggles with mind. When I say proficiency, I mean that perfection in the game which includes a comprehension of all the sources whence legitimate advantage may be derived. These are not only manifold, but multiform, and lie frequently among recesses of thought altogether inaccessible to the ordinary understanding. To observe attentively is to remember distinctly; and, so far, the concentrative chess-player will do very well at whist; while the rules of Hoyle (themselves based upon the mere mechanism of the game) are sufficiently and generally comprehensible. Thus to have a retentive memory, and proceed by "the book" are points commonly regarded as the sum total of good playing. But it is in matters beyond the limits of mere rule that the skill of the analyst is evinced. He makes, in silence, a host of observations and inferences. So, perhaps, do his companions; and the difference in the extent of the information obtained, lies not so much in the validity of the inference as in the quality of the observation. The necessary knowledge is that of what to observe. Our player confines himself not at all; nor, because the game is the object, does he reject deductions from things external to the game. He examines the countenance of his partners, comparing it carefully with that of each of his opponents. He considers the mode of assorting the cards in each hand; often counting trump by trump, and honor by honor, through the glances bestowed by their holders upon each. He notes every variation of face as the play progresses, gathering a fund of thought from the differences in the expression of certainty, of surprise, of triumph, or chagrin. From the manner of gathering up a trick he judges whether the person taking it, can make another in the suit. He recognizes what is played through feint, by the manner with which it is thrown upon the table. A casual or inadvertent word; the accidental dropping or turning of a card, with the accompanying anxiety or carelessness in regard to its concealment; the counting of the tricks, with the order of their arrangement; embarrassment, hesitation, eagerness, or trepidation - all afford, to his apparently intuitive perception, indications of the true state of affairs. The first two or three rounds having been played, he is in full possession of the contents of each hand, and thenceforward puts down his cards with as absolute a precision of purpose as if the rest of the party had turned outward the faces of their own.
< 3 >
The analytical power should not be confounded with simple ingenuity; for while the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis. The constructive or combining power, by which ingenuity is usually manifested, and to which the phrenologists (I believe erroneously) have assigned a separate organ, supposing it a primitive faculty, has been so frequently seen in those whose intellect bordered otherwise upon idiocy, as to have attracted general observation among writers on morals. Between ingenuity and the analytic ability there exists a difference far greater, indeed, than that between the fancy and the imagination, but of a character very strictly analogous. It will be found, in fact, that the ingenious are always fanciful, and the truly imaginative never otherwise than analytic.
The narrative which follows will appear to the reader somewhat in the light of a commentary upon the propositions just advanced.
Residing in Paris during the spring and part of the summer of 18-- , I there became acquainted with a Monsieur C. Auguste Dupin. This young gentleman was of an excellent, indeed of an illustrious family, but, by a variety of untoward events, had been reduced to such poverty that the energy of his character succumbed beneath it, and he ceased to bestir himself in this world, or to care for the retrieval of his fortunes. By courtesy of his creditors, there still remained in his possession a small remnant of his patrimony; and, upon the income arising from this, he managed, by means of a rigorous economy, to procure the necessities of life, without troubling himself about its superfluities. Books, indeed, were his sole luxuries, and in Paris these are easily obtained.
Our first meeting was at an obscure library in the Rue Montmartre, where the accident of our both being in search of the same very rare and very remarkable volume, brought us into closer communion. We saw each other again and again. I was deeply interested in the little family history which he detailed to me with all that candor which a Frenchman indulges whenever mere self is the theme. I was astonished, too, at the vast extent of his reading; and, above all, I felt my soul enkindled within me by the wild fervor, and the vivid freshness of his imagination. Seeking in Paris the objects I then sought, I felt that the society of such a man would be to me a treasure beyond price; and this feeling I frankly confided to him. It was at length arranged that we should live together during my stay in the city; and as my worldly circumstances were somewhat less embarrassed than his own, I was permitted to be at the expense of renting, and furnishing in a style which suited the rather fantastic gloom of our common temper, a time-eaten and grotesque mansion, long deserted through superstitions into which we did not inquire, and tottering to its fall in a retired and desolate portion of the Faubourg St. Germain.
< 4 >

Had the routine of our life at this place been known to the world, we should have been regarded as madmen - although, perhaps, as madmen of a harmless nature. Our seclusion was perfect. We admitted no visitors. Indeed the locality of our retirement had been carefully kept a secret from my own former associates; and it had been many years since Dupin had ceased to know or be known in Paris. We existed within ourselves alone.
It was a freak of fancy in my friend (for what else shall I call it?) to be enamored of the night for her own sake; and into this bizarrerie, as into all his others, I quietly fell; giving myself up to his wild whims with a perfect abandon. The sable divinity would not herself dwell with us always; but we could counterfeit her presence. At the first dawn of the morning we closed all the massy shutters of our old building; lighted a couple of tapers which, strongly perfumed, threw out only the ghastliest and feeblest of rays. By the aid of these we then busied our souls in dreams - reading, writing, or conversing, until warned by the clock of the advent of the true Darkness. Then we sallied forth into the streets, arm in arm, continuing the topics of the day, or roaming far and wide until a late hour, seeking, amid the wild lights and shadows of the populous city, that infinity of mental excitement which quiet observation can afford.
At such times I could not help remarking and admiring (although from his rich ideality I had been prepared to expect it) a peculiar analytic ability in Dupin. He seemed, too, to take an eager delight in its exercise - if not exactly in its display - and did not hesitate to confess the pleasure thus derived. He boasted to me, with a low chuckling laugh, that most men, in respect to himself, wore windows in their bosoms, and was wont to follow up such assertions by direct and very startling proofs of his intimate knowledge of my own. His manner at these moments was frigid and abstract; his eyes were vacant in expression; while his voice, usually a rich tenor, rose into a treble which would have sounded petulant but for the deliberateness and entire distinctness of this enunciation. Observing him in these moods. I often dwelt meditatively upon the old philosophy of the Bi-Part Soul, and amused myself with the fancy of a double Dupin - the creative and the resolvent.
< 5 >
Let it not be supposed, from what I have just said, that I am detailing any mystery, or penning any romance. What I have described in the Frenchman was merely the result of an excited, or perhaps of a diseased, intelligence. But of the character of his remarks at the periods in question an example will best convey the idea.
We were strolling one night down a long dirty street, in the vicinity of the Palais Royal. Being both, apparently, occupied with thought, neither of us had spoken a syllable for fifteen minutes at least. All at once Dupin broke forth with these words:
"He is a very little fellow, that's true, and would do better for the Theatre des Varietes."
"There can be no doubt of that," I replied, unwittingly, and not at first observing (so much had I been absorbed in reflection) the extraordinary manner in which the speaker had chimed in with my meditations. In an instant afterward I recollected myself, and my astonishment was profound.
"Dupin," said I, gravely, "this is beyond my comprehension. I do not hesitate to say that I am amazed, and can scarcely credit my senses. How was it possible you should know I was thinking of----?" Here I paused, to ascertain beyond a doubt whether he really knew of whom I thought.
"----of Chantilly," said he, "why do you pause? You were remarking to yourself that his diminutive figure unfitted him for tragedy."
This was precisely what had formed the subject of my reflections. Chantilly was a quondam cobbler of the Rue St. Denis, who, becoming stage-mad, had attempted the role of Xerxes, in Crebillon's tragedy so called, and been notoriously Pasquinaded for his pains.
"Tell me, for Heaven's sake," I exclaimed, "the method - if method there is - by which you have been enabled to fathom my soul in this matter." In fact, I was even more startled than I would have been willing to express.
"It was the fruiterer," replied my friend, "who brought you to the conclusion that the mender of soles was not of sufficient height for Xerxes et id genus omne."
"The fruiterer! - you astonish me - I know no fruiterer whomsoever."
"The man who ran up against you as we entered the street - it may have been fifteen minutes ago."
< 6 >
I now remember that, in fact, a fruiterer, carrying upon his head a large basket of apples, had nearly thrown me down, by accident, as we paused from the Rue C---- into the thoroughfare where we stood; but what this had to do with Chantilly I could not possibly understand.
There was not a particle of charlat•nerie about Dupin. "I will explain," he said, "and that you may comprehend all clearly, we will first retrace the course of your meditations, from the moment in which I spoke to you until that of the rencontre with the fruiterer in question. The larger links of the chain run thus - Chantilly, Orion, Dr. Nichols, Epicurus, Stereotomy, the street stones, the fruiterer."
There are few persons who have not, at some period of their lives, amused themselves in retracing the steps by which particular conclusions of their own minds have been attained. The occupation is often full of interest; and he who attempts it for the first time is astonished by the apparently illimitable distance and incoherence between the starting-point and the goal. What, then, must have been my amazement, when I heard the Frenchman speak what he had just spoken, and when I could not help acknowledging that he spoke the truth. He continued:
"We had been talking of horses, if I remember aright, just before leaving the Rue C----. This was the last subject we discussed. As we crossed into this street, a fruiterer, with a large basket upon his head, brushing quickly past us, thrust you upon a pile of paving-stones collected at a spot where the causeway is undergoing repair. You stepped upon one of the loose fragments, slipped, slightly strained you ankle, appeared vexed or sulky, muttered a few words, turned to look at the pile, and then proceeded in silence. I was not particularly attentive to what you did; but observation has become with me, of late, a species of necessity.
"You kept your eyes upon the ground - glancing, with a petulant expression, at the holes and ruts in the pavement (so that I saw you were still thinking of the stones), until we reached the little alley called Lamartine, which has been paved, by way of experiment, with the overlapping and riveted blocks. Here your countenance brightened up, and, perceiving you lips move, I could not doubt that you murmured the word 'stereotomy,' a term very affectedly applied to this species of pavement. I knew that you could not say to yourself 'stereotomy' without being brought to think of atomies, and thus of the theories of Epicurus; and since, when we discussed this subject not very long ago, I mentioned to you how singularly, yet with how little notice, the vague guesses of that noble Greek had met with confirmation in the late nebular cosmogony, I felt that you could not avoid casting your eyes upward to the great nebula in Orion, and I certainly expected that you would do so. You did look up; and I was now assured that I correctly followed your steps. But in that bitter tirade upon Chantilly, which appeared in yesterday's 'Musee,' the satirist, making some disgraceful allusions to the cobbler's change of name upon assuming the buskin, quoted a Latin line about which we have often conversed. I mean the line
< 7 >

Perdidit antiquum litera prima sonum. I had told you that this was in reference to Orion, formerly written Urion; and, from certain pungencies connected with this explanation, I was aware that you could not have forgotten it. It was clear, therefore, that you would not fail to combine the two ideas of Orion and Chantilly. That you did combine them I saw by the character of the smile which passed over your lips. You thought of the poor cobbler's immolation. So far, you had been stooping in your gait; but now I saw you draw yourself up to your full height. I was then sure that you reflected upon the diminutive figure of Chantilly. At this point I interrupted your meditations to remark that as, in fact, he was a very little fellow - that Chantilly - he would not do better at the Theatre des Varietes."
Not long after this, we were looking over an evening edition of the 'Gazette des Tribunaux', when the following paragraphs arrested our attention.
"EXTRAORDINARY MURDERS. - This morning, about three o'clock, the inhabitants of the Quartier St. Roch were roused from sleep by a succession of terrific shrieks, issuing, apparently, from the fourth story of a house in the Rue Morgue, known to be in the sole occupancy of one Madame L'Espanaye, and her daughter, Mademoiselle Camille L'Espanaye. After some delay, occasioned by a fruitless attempt to procure admission in the usual manner, the gateway was broken in with a crowbar, and eight or ten of the neighbors entered, accompanied by two gendarmes. By this time the cries had ceased; but, as the party rushed up the first flight of stairs, two or more rough voices, in angry contention, were distinguished, and seemed to proceed from the upper part of the house. As the second landing was reached, these sounds, also, had ceased, and every thing remained perfectly quiet. The party spread themselves, and hurried from room to room. Upon arriving at a large back chamber in the fourth story (the door of which, being found locked, with the key inside, was forced open), a spectacle presented itself which struck every one present not less with horror than with astonishment.
"The apartment was in the wildest disorder - the furniture broken and thrown about in all directions. There was only one bedstead; and from this the bed had been removed, and thrown into the middle of the floor. On the chair lay a razor, besmeared with blood. On the hearth were two or three long and thick tresses of gray human hair, also dabbled with blood, and seeming to have been pulled out by the roots. Upon the floor were found four Napoleons, an ear-ring of topaz, three large silver spoons, three smaller of metal d'Alger, and two bags, containing nearly four thousand francs in gold. The drawers of a bureau, which stood in one corner, were open, and had been, apparently, rifled, although many articles still remained in them. A small iron safe was discovered under the bed (not under the bedstead). It was open, with the key still in the door. It had no contents beyond a few old letters, and other papers of little consequence.
< 8 >

"Of Madame L'Espanaye no traces were here seen; but an unusual quantity of soot being observed in the fire-place, a search was made in the chimney, and (horrible to relate!) the corpse of the daughter, head downward, was dragged therefrom; it having been thus forced up the narrow aperture for a considerable distance. The body was quite warm. Upon examining it, many excoriations were perceived, no doubt occasioned by the violence with which it had been thrust up and disengaged. Upon the face were many severe scratches, and, upon the throat, dark bruises, and deep indentations of finger nails, as if the deceased had been throttled to death.
"After a thorough investigation of every portion of the house without farther discovery, the party made its way into a small paved yard in the rear of the building, where lay the corpse of the old lady, with her throat so entirely cut that, upon an attempt to raise here, the head fell off. The body, as well as the head, was fearfully mutilated - the former so much so as scarcely to retain any semblance of humanity.
"To this horrible mystery there is not as yet, we believe, the slightest clew."
The next day's paper had these additional particulars:
"The Tragedy in the Rue Morgue. - Many individuals have been examined in relation to this most extraordinary and frightful affair," [the word 'affaire' has not yet, in France, that levity of import which it conveys with us] "but nothing whatever has transpired to throw light upon it. We give below all the material testimony elicited.
"Pauline Dubourg, laundress, deposes that she has known both the deceased for three years, having washed for them during that period. The old lady and her daughter seemed on good terms - very affectionate toward each other. They were excellent pay. Could not speak in regard to their mode or means of living. Believe that Madame L. told fortunes for a living. Was reputed to have money put by. Never met any person in the house when she called for the clothes or took them home. Was sure that they had no servant in employ. There appeared to be no furniture in any part of the building except in the fourth story.
"Pierre Moreau, tobacconist, deposes that he has been in the habit of selling small quantities of tobacco and snuff to Madam L'Espanaye for nearly four years. Was born in the neighborhood, and has always resided there. The deceased and her daughter had occupied the house in which the corpses were found, for more than six years. It was formerly occupied by a jeweller, who under-let the upper rooms to various persons. The house was the property of Madame L. She became dissatisfied with the abuse of the premises by her tenant, and moved into them herself, refusing to let any portion. The old lady was childish. Witness had seen the daughter some five or six time during the six years. The two lived an exceedingly retired life - were reputed to have money. Had heard it said among the neighbors that Madame L. told fortunes - did not believe it. Had never seen any person enter the door except the old lady and her daughter, a porter once or twice, and a physician some eight or ten times.
< 9 >
"Many other persons, neighbors, gave evidence to the same effect. No one was spoken of as frequenting the house. It was not known whether there were any living connections of Madame L. and her daughter. The shutters of the front windows were seldom opened. Those in the rear were always closed, with the exception of the large back room, fourth story. The house was a good house - not very old.
"Isidore Muset, gendarme, deposes that he was called to the house about three o'clock in the morning, and found some twenty or thirty persons at the gateway, endeavoring to gain admittance. Forced it open, at length, with a bayonet - not with a crowbar. Had but little difficulty in getting it open, on account of its being a double or folding gate, and bolted neither at bottom nor top. The shrieks were continued until the gate was forced - and then suddenly ceased. They seemed to be screams of some person (or persons) in great agony - were loud and drawn out, not short and quick. Witness led the way up stairs. Upon reaching the first landing, heard two voices in loud and angry contention - the one a gruff voice, the other much shriller - a very strange voice. Could distinguish some words of the former, which was that of a Frenchman. Was positive that it was not a woman's voice. Could distinguish the words 'sacre' and 'diable.' The shrill voice was that of a foreigner. Could not be sure whether it was the voice of a man or of a woman. Could not make out what was said but believed the language to be Spanish. The state of the room and of the bodies was described by this witness as we described them yesterday.
"Henri Duval, a neighbor, and by trade a silver-smith, deposes that he was one of the party who first entered the house. Corroborates the testimony of Muset in general. As soon as they forced an entrance, they reclosed the door, to keep out the crowd, which collected very fast, notwithstanding the lateness of the hour. The shrill voice, this witness thinks, was that of an Italian. Was certain it was not French. Could not be sure that it was a man's voice. It might have been a woman's. Was not acquainted with the Italian language. Could not distinguish the words, but was convinced by the intonation that the speaker was an Italian. Knew Madame L. and her daughter. Had conversed with both frequently. Was sure that the shrill voice was not that of either of the deceased.
< 10 >
"---- Odenheimer, restauranteur. - This witness volunteered his testimony. Not speaking French, was examined through an interpreter. Is a native of Amsterdam. Was passing the house at the time of the shrieks. They lasted for several minutes - probably ten. They were long and loud - very awful and distressing. Was one of those who entered the building. Corroborated the previous evidence in every respect but one. Was sure that the shrill voice was that of a man - of a Frenchman. Could not distinguish the words uttered. They were loud and quick - unequal - spoken apparently in fear as well as in anger. The voice was harsh - not so much shrill as harsh. Could not call it a shrill voice. The gruff voice said repeatedly, 'sacre,' 'diable,' and once 'mon Dieu.'
"Jules Mignaud, banker, of the firm of Mignaud et Fils, Rue Deloraine. Is the elder Mignaud. Madame L'Espanaye had some property. Had opened an account with his banking house in the spring of the year ---- (eight years previously). Made frequent deposits in small sums. Had checked for nothing until the third day before her death, when she took out in person the sum of 4000 francs. This sum was paid in gold, and a clerk sent home with the money.
"Adolphe Le Bon, clerk to Mignaud et Fils, deposes that on the day in question, about noon, he accompanied Madame L'Espanaye to her residence with the 4000 francs, put up in two bags. Upon the door being opened, Mademoiselle L. appeared and took from his hands one of the bags, while the old lady relieved him of the other. He then bowed and departed. Did not see any person in the street at the time. It is a by-street - very lonely.
"William Bird, tailor, deposes that he was one of the party who entered the house. Is an Englishman. Has lived in Paris two years. Was one of the first to ascend the stairs. Heard the voices in contention. The gruff voice was that of a Frenchman. Could make out several words, but cannot now remember all. Heard distinctly 'sacre' and 'mon Dieu.' There was a sound at the moment as if of several persons struggling - a scraping and scuffling sound. The shrill voice was very loud - louder than the gruff one. Is sure that it was not the voice of an Englishman. Appeared to be that of a German. Might have been a woman's voice. Does not understand German.
< 11 >
"Four of the above-named witnesses, being recalled, deposed that the door of the chamber in which was found the body of Mademoiselle L. was locked on the inside when the party reached it. Every thing was perfectly silent - no groans or noises of any kind. Upon forcing the door no person was seen. The windows, both of the back and front room, were down and firmly fastened from within. A door between the two rooms was closed but not locked. The door leading from the front room into the passage was locked, with the key on the inside. A small room in the front of the house, on the fourth story, at the head of the passage, was open, the door being ajar. This room was crowded with old beds, boxes, and so forth. These were carefully removed and searched. There was not an inch of any portion of the house which was not carefully searched. Sweeps were sent up and down the chimneys. The house was a four-story one, with garrets (mansardes). A trap-door on the roof was nailed down very securely - did not appear to have been opened for years. The time elapsing between the hearing of the voices in contention and the breaking open of the room door was variously stated by the witnesses. Some made it as short as three minutes - some as long as five. The door was opened with difficulty.
"Alfonzo Garcio, undertaker, deposes that he resides in the Rue Morgue. Is a native of Spain. Was one of the party who entered the house. Did not proceed up stairs. Is nervous, and was apprehensive of the consequences of agitation. Heard the voices in contention. The gruff voice was that of a Frenchman. Could not distinguish what was said. The shrill voice was that of an Englishman - is sure of this. Does not understand the English language, but judges by the intonation.
"Alberto Montani, confectioner, deposes that he was among the first to ascend the stairs. Heard the voices in question. The gruff voice was that of a Frenchman. Distinguished several words. The speaker appeared to be expostulating. Could not make out the words of the shrill voice. Spoke quick and unevenly. Thinks it is the voice of a Russian. Corroborates the general testimony. Is an Italian. Never conversed with a native of Russia.
< 12 >

"Several witnesses, recalled, here testified that the chimneys of all the rooms of the fourth story were too narrow to admit the passage of a human being. By 'sweeps' were meant cylindrical sweeping-brushes, such as are employed by those who clean chimneys. These brushes were passed up and down every flue in the house. There is no back passage by which any one could have descended while the party proceeded up stairs. The body of Mademoiselle L'Espanaye was so firmly wedged in the chimney that it could not be got down until four or five of the party united their strength.
"Paul Dumas, physician, deposes that he was called to view the bodies about daybreak. They were both then lying on the sacking of the bedstead in the chamber where Mademoiselle L. was found. The corpse of the young lady was much bruised and excoriated. The fact that it had been thrust up the chimney would sufficiently account for these appearances. The throat was greatly chafed. There were several deep scratches just below the chin, together with a series of livid spots which were evidently the impressions of fingers. The face was fearfully discolored, and the eyeballs protruded. The tongue had been partially bitten through. A large bruise was discovered upon the pit of the stomach, produced, apparently, by the pressure of a knee. In the opinion of M. Dumas, Mademoiselle L'Espanaye had been throttled to death by some person or persons unknown. The corpse of the mother was horribly mutilated. All the bones of the right leg and arm were more or less shattered. The left tibia much splintered, as well as all the ribs of the left side. Whole body dreadfully bruised and discolored. It was not possible to say how the injuries had been inflicted. A heavy club of wood, or a broad bar of iron - a chair - any large, heavy, and obtuse weapon would have produced such results, if wielded by the hands of a very powerful man. No woman could have inflicted the blows with any weapon. The head of the deceased, when seen by witness, was entirely separated from the body, and was also greatly shattered. The throat had evidently been cut with some very sharp instrument - probably with a razor.
"Alexandre Etienne, surgeon, was called with M. Dumas to view the bodies. Corroborated the testimony, and the opinions of M. Dumas.
< 13 >
"Nothing further of importance was elicited, although several other persons were examined. A murder so mysterious, and so perplexing in all its particulars, was never before committed in Paris - if indeed a murder had been committed at all. The police are entirely at fault - an unusual occurrence in affairs of this nature. There is not, however, the shadow of a clew apparent."
The evening edition of the paper stated that the greatest excitement still continued in the quartier St. Roch - that the premises in question had been carefully re-searched, and fresh examinations of witnesses instituted, but all to no purpose. A postscript, however, mentioned that Adolphe Le Bon had been arrested and imprisoned - although nothing appeared to criminate him beyond the facts already detailed.
Dupin seemed singularly interested in the progress of this affair - at least so I judged from his manner, for he made no comments. It was only after the announcement that Le Bon had been imprisoned, that he asked me my opinion respecting the murders.
I could merely agree with all Paris in considering them an insoluble mystery. I saw no means by which it would be possible to trace the murderer.
"We must not judge of the means," said Dupin, "by this shell of an examination. The Parisian police, so much extolled for acumen, are cunning, but no more. There is no method in their proceedings, beyond the method of the moment. They make a vast parade of measures; but, not infrequently, these are so ill-adapted to the objects proposed, as to put us in mind of Monsieur Jourdain's calling for his robe-de-chambre - pour mieux entendre la musique. The results attained by them are not unfrequently surprising, but for the most part, are brought about by simple diligence and activity. When these qualities are unavailing, their schemes fail. Vidocq, for example, was a good guesser, and the persevering man. But, without educated thought, he erred continually by the very intensity of his investigations. He impaired his vision by holding the object too close. He might see, perhaps, one or two points with unusual clearness, but in so doing he, necessarily, lost sight of the matter as a whole. Thus there is such a thing as being too profound. Truth is not always in a well. In fact, as regards the more important knowledge, I do believe that she is invariably superficial. The depth lies in the valleys where we seek her, and not upon the mountain-tops where she is found. The modes and sources of this kind of error are well typified in the contemplation of the heavenly bodies. To look at a star by glances - to view it in a side-long way, by turning toward it the exterior portions of the retina (more susceptible of feeble impressions of light than the interior), is to behold the star distinctly - is to have the best appreciation of its lustre - a lustre which grows dim just in proportion as we turn our vision fully upon it. A greater number of rays actually fall upon the eye in the latter case, but in the former, there is the more refined capacity for comprehension. By undue profundity we perplex and enfeeble thought; and it is possible to make even Venus herself vanish from the firmament by a scrutiny too sustained, too concentrated, or too direct.
< 14 >
"As for these murders, let us enter into some examinations for ourselves, before we make up an opinion respecting them. An inquiry will afford us amusement," [I thought this an odd term, so applied, but said nothing] "and besides, Le Bon once rendered me a service for which I am not ungrateful. We will go and see the premises with our own eyes. I know G----, the Prefect of Police, and shall have no difficulty in obtaining the necessary permission."
The permission was obtained, and we proceeded at once to the Rue Morgue. This is one of those miserable thoroughfares which intervene between the Rue Richelieu and the Rue St. Roch. It was late in the afternoon when we reached it, as this quarter is at a great distance from that in which we resided. The house was readily found; for there were still many persons gazing up at the closed shutters, with an objectless curiosity, from the opposite side of the way. It was an ordinary Parisian house, with a gateway, on one side of which was glazed watch-box, with a sliding panel in the window, indicating a loge de concierge. Before going in we walked up the street, turned down an alley, and then, again turning, passed in the rear of the building - Dupin, meanwhile, examining the whole neighborhood, as well as the house, with a minuteness of attention for which I could see no possible object.
Retracing our steps we came again to the front of the dwelling, rang, and, having shown our credentials, were admitted by the agents in charge. We went up stairs - into the chamber where the body of Mademoiselle L'Espanaye had been found, and where both the deceased still lay. The disorders of the room had, as usual, been suffered to exist. I saw nothing beyond what had been stated in the Gazette des Tribunaux. Dupin scrutinized every thing - not excepting the bodies of the victims. We then went into the other rooms, and into the yard; a gendarme accompanying us throughout. The examination occupied us until dark, when we took our departure. On our way home my companion stepped in for a moment at the office of one of the daily papers.
I have said that the whims of my friend were manifold, and that Je les menagais: - for this phrase there is no English equivalent. It was his humor, now, to decline all conversation on the subject of the murder, until about noon the next day. He then asked me, suddenly, if I had observed any thing peculiar at the scene of the atrocity.
< 15 >
There was something in his manner of emphasizing the word "peculiar," which caused me to shudder without knowing why.
"No, nothing peculiar," I said; "nothing more, at least, than we both saw stated in the paper."
"The Gazette," he replied, "has not entered, I fear, into the unusual horror of the thing. But dismiss the idle opinions of this print. It appears to me that this mystery is considered insoluble, for the very reason which should cause it to be regarded as easy of solution - I mean for the outre character of its features. The police are confounded by the seeming absence of motive - not for the murder itself - but for the atrocity of the murder. They are puzzled, too, by the seeming impossibility of reconciling the voices heard in contention, with the facts that no one was discovered upstairs but the assassinated Mademoiselle L'Espanaye, and that there were no means of egress without the notice of the party ascending. The wild disorder of the room; the corpse thrust, with the head downward, up the chimney; the frightful mutilation of the body of the old lady; these considerations, with those just mentioned, and others which I need not mention, have sufficed to paralyze the powers, by putting completely at fault the boasted acumen, of the government agents. They have fallen into the gross but common error of confounding the unusual with the abstruse. But it is by these deviations from the plane of the ordinary, that reason feels its way, if at all, in its search for the true. In investigations such as we are now pursuing, it should not be so much asked 'what has occurred,' as 'what has occurred that has never occurred before.' In fact, the facility with which I shall arrive, or have arrived, at the solution of this mystery, is in the direct ration of its apparent insolubility in the eyes of the police." I stared at the speaker in mute astonishment.
"I am now awaiting," continued he, looking toward the door of our apartment - "I am now awaiting a person who, although perhaps not the perpetrator of these butcheries, must have been in some measure implicated in their perpetration. Of the worst portion of the crimes committed, it is probable that he is innocent. I hope that I am right in this supposition; for upon it I build my expectation of reading the entire riddle. I look for the man here - in this room - every moment. It is true that he may not arrive; but the probability is that he will. Should he come, it will be necessary to detain him. Here are pistols; and we both know how to use them when occasion demands their use."
< 16 >

I took the pistols, scarcely knowing what I did, or believing what I heard, while Dupin went on, very much as if in a soliloquy. I have already spoken of his abstract manner at such times. His discourse was addressed to myself; but his voice, although by no means loud, had that intonation which is commonly employed in speaking to some one at a great distance. His eyes, vacant in expression, regarded only the wall.
"That the voices heard in contention," he said," by the party upon the stairs, were not the voices of the women themselves, was fully proved by the evidence. This relieves us of all doubt upon the question whether the old lady could have first destroyed the daughter, and afterward have committed suicide. I speak of this point chiefly for the sake of method; for the strength of Madame L'Espanaye would have been utterly unequal to the task of thrusting her daughter's corpse up the chimney as it was found; and the nature of the wounds upon her own person entirely precludes the idea of self-destruction. Murder, then, has been committed by some third party; and the voices of this third party were those heard in contention. Let me now advert - not to the whole testimony respecting these voices - but to what was peculiar in that testimony. Did you observe any thing peculiar about it?"
I remarked that, while all the witnesses agreed in supposing the gruff voice to be that of a Frenchman, there was much disagreement in regard to the shrill, or, as one individual termed it, the harsh voice.
"That was the evidence itself," said Dupin, "but it was not the peculiarity of the evidence. You have observed nothing distinctive. Yet there was something to be observed. The witnesses, as you remarked, agreed about the gruff voice; they were here unanimous. But in regard to the shrill voice, the peculiarity is - not that they disagreed - but that, while an Italian, an Englishman, a Spaniard, a Hollander, and a Frenchman attempted to describe it, each one spoke of it as that of a foreigner. Each is sure that it was not the voice of one of his own countrymen. Each likens it - not to the voice of an individual of any nation with whose language he is conversant - but the converse. The Frenchman supposes it is the voice of a Spaniard, and 'might have distinguished some words had he been acquainted with the Spanish.' The Dutchman maintains it to have been that of a Frenchman; but we find it stated that 'not understanding French this witness was examined through an interpreter.' The Englishman thinks it the voice of a German, and 'does not understand German.' The Spaniard 'is sure' that it was that of an Englishman, but 'judges by the intonation' altogether, 'as he has no knowledge of the English.' The Italian believes it the voice of a Russian, but 'has never conversed with a native of Russia.' A second Frenchman differs, moreover, with the first, and is positive that the voice was that of an Italian; but, not being cognizant of that tongue, is, like the Spaniard, 'convinced by the intonation.' Now, how strangely unusual must that voice have really been, about which such testimony as this could have been elicited! - in whose tones, even, denizens of the five great divisions of Europe could recognize nothing familiar! You will say that it might have been the voice of an Asiatic - of an African. Neither Asiatics nor Africans abound in Paris; but, without denying the inference, I will now merely call your attention to three points. The voice is termed by one witness 'harsh rather than shrill.' It is represented by two others to have been 'quick and unequal.' No words - no sounds resembling words - were by any witness mentioned as distinguishable.
< 17 >
"I know not," continued Dupin, "what impression I may have made, so far, upon your own understanding; but I do not hesitate to say that legitimate deductions even from this portion of the testimony - the portion respecting the gruff and shrill voices - are in themselves sufficient to engender a suspicion which should give direction to all farther progress in the investigation of the mystery. I said 'legitimate deductions'; but my meaning is not thus fully expressed. I designed to imply that the deductions are the sole proper ones, and that the suspicion arises inevitably from them as the single result. What the suspicion is, however, I will not say just yet. I merely wish you to bear in mind that, with myself, it was sufficiently forcible to give a definite form - a certain tendency - to my inquiries in the chamber.
"Let us now transport ourselves, in fancy, to this chamber. What shall we first seek here? The means of egress employed by the murderers. It is not too much to say that neither of us believe in praeternatural events. Madame and Mademoiselle L'Espanaye were not destroyed by spirits. The doers of the deed were material and escaped materially. Then how? Fortunately there is but one mode of reasoning upon the point, and that mode must lead us to a definite decision. Let us examine, each by each, the possible means of egress. It is clear that the assassins were in the room where Mademoiselle L'Espanaye was found, or at least in the room adjoining, when the party ascended the stairs. It is, then, only from these two apartments that we have to seek issues. The police have laid bare the floors, the ceiling, and the masonry of the walls, in every direction. No secret issues could have escaped their vigilance. But, not trusting to their eyes, I examined with my own. There were, then, no secret issues. Both doors leading from the rooms into the passage were securely locked, with the keys inside. Let us turn to the chimneys. These, although of ordinary width for some eight or ten feet above the hearths, will not admit, throughout their extent, the body of a large cat. The impossibility of egress, by means already stated, being thus absolute, we are reduced to the windows. Through those of the front room no one could have escaped without notice from the crowd in the street. The murderers must have passed, then, through those of the back room. Now, brought to this conclusion in so unequivocal a manner as we are, it is not our part, as reasoners, to reject it on account of apparent impossibilities. It is only left for us to prove that these apparent 'impossibilities' are, in reality, not such.
< 18 >
"There are two windows in the chamber. One of them is unobstructed by furniture, and is wholly visible. The lower portion of the other is hidden from view by the head of the unwieldy bedstead which is thrust close up against it. The former was found securely fastened from within. It resisted the utmost force of those who endeavor to raise it. A large gimlet-hole had been pierced in its frame to the left, and a very stout nail was found fitted therein, nearly to the head. Upon examining the other window, a similar nail was seen similarly fitted in it; and a vigorous attempt to raise this sash failed also. The police were now entirely satisfied that egress had not been in these directions. And, therefore, it was thought a matter of supererogation to withdraw the nails and open the windows.
"My own examination was somewhat more particular, and was so for the reason I have just given - because here it was, I knew, that all apparent impossibilities must be proved to be not such in reality.
"I proceeded to think thus - a posteriori. The murderers did escape from one of these windows. This being so, they could not have re-fastened the sashes from the inside, as they were found fastened; - the consideration which put a stop, through its obviousness, to the scrutiny of the police in this quarter. Yet the sashes were fastened. The must, then, have the power of fastening themselves. There was no escape from this conclusion. I stepped to the unobstructed casement, withdrew the nail with some difficulty, and attempted to raise the sash. It resisted all my efforts, as I had anticipated. A concealed spring must, I now knew, exist; and this corroboration of my idea convinced me that my premises, at least, were correct, however mysterious still appeared the circumstances attending the nails. A careful search soon brought to light the hidden spring. I pressed it, and, satisfied with the discovery, forbore to upraise the sash.
"I now replaced the nail and regarded it attentively. A person passing out through this window might have reclosed it, and the spring would have caught - but the nail could not have been replaced. The conclusion was plain, and again narrowed in the field of my investigations. The assassins must have escaped through the other window. Supposing, then, the springs upon each sash to be the same, as was probable, there must be found a difference between the nails, or at least between the modes of their fixture. Getting upon the sacking of the bedstead, I looked over the head-board minutely at the second casement. Passing my hand down behind the board, I readily discovered and pressed the spring, which was, as I had supposed, identical in character with its neighbor. I now looked at the nail. It was as stout as the other, and apparently fitted in the same manner - driven in nearly up to the head.
< 19 >
"You will say that I was puzzled; but, if you think so, you must have misunderstood the nature of the inductions. To use a sporting phrase, I had not been once 'at fault.' The scent had never for an instant been lost. There was no flaw in any link in the chain. I had traced the secret to its ultimate result, - and that result was the nail. It had, I say, in every respect, the appearance of its fellow in the other window; but this fact was an absolute nullity (conclusive as it might seem to be) when compared with the consideration that here, at this point, terminated the clew. 'There must be something wrong,' I said, 'about the nail.' I touched it; and the head, with about a quarter of an inch of the shank, came off in my fingers. The rest of the shank was in the gimlet-hole, where it had been broken off. The fracture was an old one (for its edges were incrusted with rust), and had apparently been accomplished by the blow of a hammer, which had partially imbedded, in the top of the bottom sash, the head portion of the nail. I now carefully replaced this head portion in the indentation whence I had taken it, and the resemblance to a perfect nail was complete - the fissure was invisible. Pressing the spring, I gently raised the sash for a few inches; the head went up with it, remaining firm in its bed. I closed the window, and the semblance of the whole nail was again perfect.
"This riddle, so far, was now unriddled. The assassin had escaped through the window which looked upon the bed. Dropping of its own accord upon his exit (or perhaps purposely closed), it had become fastened by the spring; and it was the retention of this spring which had been mistaken by the police for that of the nail, - farther inquiry being thus considered unnecessary.
"The next question is that of the mode of descent. Upon this point I had been satisfied in my walk with you around the building. About five feet and a half from the casement in question there runs a lightning-rod. From this rod it would have been impossible for any one to reach to the window itself, to say nothing of entering it. I observed, however, that the shutters of the fourth story were of the peculiar kind called by Parisian carpenters ferrades - a kind rarely employed at the present day, but frequently seen upon very old mansions at Lyons and Bordeaux. They are in the form of an ordinary door (a single, not a folding door), except that the lower half is latticed or worked in open trellis - thus affording an excellent hold for the hands. In the present instance these shutters are fully three feet and a half broad. When we saw them from the rear of the house, they were both about half open - that is to say they stood off at right angles from the wall. It is probable that the police, as well as myself, examined the back of the tenement; but, if so, in looking at these ferrades in the line of their breadth (as they must have done), they did not perceive the great breadth itself, or, at all events, failed to take it into due consideration. In fact, having once satisfied themselves that no egress could have been made in this quarter, they would naturally bestow here a very cursory examination. It was clear to me, however, that the shutter belonging to the window at the head of the bed, would, if swung fully back to the wall, reach to within two feet of the lightning-rod. It was also evident that, be exertion of a very unusual degree of activity and courage, an entrance into the window, from the rod, might have been thus effected. By reaching to the distance of two feet and a half (we now suppose the shutter open to its whole extent) a robber might have taken a firm grasp upon the trellis-work. Letting go, then, his hold upon the rod, placing his feet securely against the wall, and springing boldly from it, he might have swung the shutter so as to close it, and, if we imagine the window open at the time, might even have swung himself into the room.
< 20 >

"I wish you to bear especially in mind that I have spoken of a very unusual degree of activity as requisite to success in so hazardous and so difficult a feat. It is my design to show you first, that the thing might possibly have been accomplished: - but, secondly and chiefly, I wish to impress upon your understanding the very extraordinary - the almost praeternatural character of that agility which could have accomplished it.
"You will say, no doubt, using the language of the law, that to make out my case, I should rather undervalue than insist upon a full estimation of the activity required in this matter. This may be the practice in the law, but it is not the usage of reason. My ultimate objet is only the truth. My immediate purpose is to lead you to place in juxtaposition, that very unusual activity of which I have just spoken, with that very peculiar shrill (or harsh) and unequal voice, about whose nationality no two persons could be found to agree, and in whose utterance no syllabification could be detected."
At these words a vague and half-formed conception of the meaning of Dupin flitted over in my mind. I seemed to be upon the verge of comprehension, without power to comprehend - as men, at times, find themselves upon the brink of remembrance, without being able, in the end, to remember. My friend went on with his discourse.
"You will see," he said, "that I have shifted the question from the mode of egress to that of ingress. It was my design to convey the idea that both were effected in the same manner, at the same point. Let us now revert to the interior of the room. Let us survey the appearances here. The drawers of the bureau, it is said, had been rifled, although many articles of apparel still remained within them. The conclusion here is absurd. It is a mere guess - a very silly one - and no more. How are we to know that the articles found in the drawers were not all these drawers had originally contained? Madame L'Espanaye and her daughter lived an exceedingly retired life - saw no company - seldom went out - had little use for the numerous changes of habiliment. Those found were at least of as good quality as any likely to be possessed by these ladies. If a thief had taken any, why did he not take the best - why did he not take all? In a word, why did he abandon four thousand francs in gold to encumber himself with a bundle of linen? The gold was abandoned. Nearly the whole sum mentioned by Monsieur Mignaud, the banker, was discovered, in bags, upon the floor. I wish you therefore, to discard from your thoughts the blundering idea of motive, engendered in the brains of the police by that portion of the evidence which speaks of money delivered at the door of the house. Coincidences ten times as remarkable as this (the delivery of the money, and murder committed within these days upon the party receiving it), happen to all of us every hour of our lives, without attracting even momentary notice. Coincidences, in general, are great stumbling-blocks in the way of that class of thinkers who have been educated to know nothing of the theory of probabilities - that theory to which the most glorious objects of human research are indebted for the most glorious of illustration. In the present instance, had the gold been gone, the fact of its delivery three days before would have formed something more than a coincidence. It would have been corroborative of this idea of motive. But, under the real circumstances of the case, if we are to suppose gold the motive of this outrage, we must also imagine the perpetrator so vacillating an idiot as to have abandoned his gold and his motive altogether.
< 21 >
"Keeping now steadily in mind the points to which I have drawn your attention - that peculiar voice, that unusual agility, and that startling absence of motive in a murder so singularly atrocious as this - let us glance at the butchery itself. Here is a woman strangled to death by manual strength, and thrust up a chimney head downward. Ordinary assassins employ no such mode of murder as this. Least of all, do they thus dispose of the murdered. In this manner of thrusting the corpse up the chimney, you will admit that there was something excessively outre - something altogether irreconcilable with our common notions of human action, even when we suppose the actors the most depraved of men. Think, too, how great must have been that strength which could have thrust the body up such an aperture so forcibly that the united vigor of several persons was found barely sufficient to drag it down!
"Turn, now, to other indications of the employment of a vigor most marvellous. On the hearth were thick tresses - very thick tresses - of gray human hair. These had been torn out by the roots. You are aware of the great force necessary in tearing thus from the head even twenty or thirty hairs together. You saw the locks in question as well as myself. Their roots (a hideous sight!) were clotted with fragments of the flesh of the scalp - sure tokens of the prodigious power which had been exerted in uprooting perhaps half a million of hairs at a time. The throat of the old lady was not merely cut, but the head absolutely severed from the body: the instrument was a mere razor. I wish you also to look at the brutal ferocity of these deeds. Of the bruises upon the body of Madame L'Espanaye I do not speak. Monsieur Dumas, and his worthy coadjutor Monsieur Etienne, have pronounced that they were inflicted by some obtuse instrument; and so far these gentlemen are very correct. The obtuse instrument was clearly the stone pavement in the yard, upon which the victim had fallen from the window which looked in upon the bed. This idea, however simple it may now seem, escaped the police for the same reason that the breadth of the shutters escaped them - because, by the affair of the nails, their perceptions had been hermetically sealed against the possibility of the windows having ever been opened at all.
< 22 >
"If now, in addition to all these things, you have properly reflected upon the odd disorder of the chamber, we have gone so far as to combine the ideas of an agility astounding, a strength superhuman, a ferocity brutal, a butchery without motive, a grotesquerie in horror absolutely alien from humanity, and a voice foreign in tone to the ears of men of many nations, and devoid of all distinct or intelligible syllabification. What result, then, has ensued? What impression have I made upon your fancy?"
I felt a creeping of the flesh as Dupin asked me the question. "A madman," I said, "has done this deed - some raving maniac, escaped from a neighboring Maison de Sante."
"In some respects," he replied, "your idea is not irrelevant. But the voices of madmen, even in their wildest paroxysms, are never found to tally with that peculiar voice heard upon the stairs. Madmen are of some nation, and their language, however incoherent in its words, has always the coherence of syllabification. Besides, the hair of a madman is not such as I now hold in my hand. I disentangled this little tuft from the rigidly clutched fingers of Madame L'Espanaye. Tell me what you can make of it."
"Dupin!" I said, completely unnerved; "this hair is most unusual - this is no human hair."
"I have not asserted that it is," said he; "but, before we decide this point, I wish you to glance at the little sketch I have here traced upon this paper. It is a facsimile drawing of what has been described in one portion of the testimony as 'dark bruises and deep indentations of finger nails' upon the throat of Mademoiselle L'Espanaye, and in another (by Messrs. Dumas and Etienne) as a 'series of livid spots, evidently the impression of fingers.'
"You will perceive," continued my friend, spreading out the paper upon the table before us, "that this drawing gives the idea of a firm and fixed hold. There is no slipping apparent. Each finger has retained - possibly until the death of the victim - the fearful grasp by which it originally imbedded itself. Attempt, now, to place all your fingers, at the same time, in the respective impressions as you see them."
I made the attempt in vain.
"We are possibly not giving this matter a fair trial," he said. "The paper is spread out upon a plane surface; but the human throat is cylindrical. Here is a billet of wood, the circumference of which is about that of the throat. Wrap the drawing around it, and try the experiment again."
< 23 >
I did so; but the difficulty was even more obvious than before. "This," I said, "is the mark of no human hand."
"Read now," replied Dupin, "this passage from Cuvier."
It was a minute anatomical and generally descriptive account of the large fulvous Ourang-Outang of the East Indian Islands. The gigantic stature, the prodigious strength and activity, the wild ferocity, and the imitative propensities of these mammalia are sufficiently well known to all. I understood the full horrors of the murder at once.
"The description of the digits," said I, as I made an end of the reading, "is in exact accordance with this drawing. I see no animal but an Ourang-Outang, of the species here mentioned, could have impressed the indentations as you have traced them. This tuft of tawny hair, too, is identical in character with that of the beast Cuvier. But I cannot possibly comprehend the particulars of this frightful mystery. Besides, there were two voices heard in contention, and one of them was unquestionably the voice of a Frenchman."
"True; and you will remember an expression attributed almost unanimously, by the evidence, to this voice, - the expression, 'mon Dieu!' This, under the circumstances, has been justly characterized by one of the witnesses (Montani, the confectioner) as an expression of remonstrance or expostulation. Upon these two words, therefore, I have mainly built my hopes of a full solution of the riddle. A Frenchman was cognizant of the murder. It is possible - indeed it is far more than probable - that he was innocent of all participation in the bloody transactions which took place. The Ourang-Outang may have escaped from him. He may have traced it to the chamber; but, under the agitating circumstances which ensued, he could never have recaptured it. It is still at large. I will not pursue these guesses - for I have no right to call them more - since the shades of reflection upon which they are based are scarcely of sufficient depth to be appreciated by my own intellect, and since I could not pretend to make them intelligible to the understanding of another. We will call them guesses, then, and speak of them as such. If the Frenchman in question is indeed, as I suppose, innocent of this atrocity, this advertisement, which I left last might, upon our return home, at the office of Le Monde (a paper devoted to the shipping interest, and much sought by sailors), will bring him to our residence."
< 24 >

He handed me a paper, and I read thus:
CAUGHT - In the Bois de Boulogne, early in the morning of the ---- inst. (the morning of the murder), a very large, tawny Ourang-Outang of the Bornese species. The owner (who is ascertained to be a sailor, belonging to a Maltese vessel) may have the animal again, upon identifying it satisfactorily, and paying a few charges arising from its capture and keeping. Call at No. ---- Rue ----, Faubourg St. Germain - au troisieme.
"How was it possible," I asked, "that you should know the man to be a sailor, and belonging to a Maltese vessel?"
"I do not know it," said Dupin. "I am not sure of it. Here, however, is a small piece of ribbon, which from its form, and from its greasy appearance, has evidently been used in tying the hair in one of those long queues of which sailors are so fond. Moreover, this knot is one which few besides sailors can tie, and is peculiar to the Maltese. I picked the ribbon up at the foot of the lighting-rod. It could not have belonged to either of the deceased. Now if, after all, I am wrong in my induction from this ribbon, that the Frenchman was a sailor belonging to a Maltese vessel, still I can have done no harm in saying what I did in the advertisement. If I am in error, he will merely suppose that I had been misled by some circumstance into which he will not take the trouble to inquire. But if I am right, a great point is gained. Cognizant although innocent of the murder, the Frenchman will naturally hesitate about replying to the advertisement - about demanding the Ourang-Outang. He will reason thus: - 'I am innocent; I am poor; my Ourang-Outang is of great value - to one in my circumstances a fortune of itself - why should I lose it through idle apprehensions of danger? Here it is, within my grasp. It was found in the Bois de Boulogne - at a vast distance from the scene of that butchery. How can it ever be suspected that a brute best should have done the deed? The police are at fault - they have failed to procure the slightest clew. Show they even trace the animal, it would be impossible to prove me cognizant of the murder, or to implicate me in guilt on account of that cognizance. Above all, I am known. The advertiser designates me as the possessor of the beast. I am not sure to what limit his knowledge may extend. Should I avoid claiming a property of so great value, which is known that I possess, I will render the animal at least, liable to suspicion. It is not my policy to attract attention either to myself or to the beast. I will answer the advertisement, get the Ourang-Outang, and keep it close until this matter has blown over.'"
< 25 >
At this moment we heard a step upon the stairs.
"Be ready," said Dupin, "with your pistols, but neither use them nor show them until at a signal from myself."
"The front door of the house had been left open, and the visitor had entered, without ringing, and advanced several steps upon the staircase. Now, however, he seemed to hesitate. Presently we heard him descending. Dupin was moving quickly to the door, when we again heard him coming up. He did not turn back a second time, but stepped up with decision, and rapped at the door of our chamber.
"Come in," said Dupin, in a cheerful and hearty tone.
A man entered. He was a sailor, evidently, - a tall, stout, and muscular-looking person, with a certain dare-devil expression of countenance, not altogether unprepossessing. His face, greatly sunburnt, was more than half hidden by whisker and mustachio. He had with him a huge oaken cudgel, but appeared to be otherwise unarmed. He bowed awkwardly, and bade us "good evening," in French accents, which, although somewhat Neufchatelish, were still sufficiently indicative of a Parisian origin.
"Sit down, my friend," said Dupin. "I suppose you have called about the Ourang-Outang. Upon my word, I almost envy you the possession of him; a remarkably fine, and no doubt very valuable animal. How old do you suppose him to be?"
The sailor drew a long breath, with the air of a man relieved of some intolerable burden, and then replied in an assured tone:
"I have no way of telling - but he can't be more than four or five years old. Have you got him here?"
"Oh, no; we had no conveniences for keeping him here. He is at a livery stable in the Rue Dubourg, just by. You can get him in the morning. Of course you are prepared to identify the property?"
"To be sure I am, sir."
"I shall be sorry to part with him," said Dupin.
"I don't mean that you should be at all this trouble for nothing, sir," said the man. "Couldn't expect it. Am very willing to pay a reward for the finding of the animal - that is to say, any thing in reason."
"Well," replied my friend, "that is all very fair, to be sure. Let me think! - what should I have? Oh! I will tell you. My reward shall be this. You shall give me all the information in your power about these murders in the Rue Morgue."
< 26 >
Dupin said the last words in a very low tone, and very quietly. Just as quietly, too, he walked toward the door, locked it, and put the key in his pocket. He then drew a pistol from his bosom and placed it, without the least flurry, upon the table.
The sailor's face flushed up as if he were struggling with suffocation. He started to his feet and grasped his cudgel; but the next moment he fell back into his seat, trembling violently, and with the countenance of death itself. He spoke not a word. I pitied him from the bottom of my heart.
"My friend," said Dupin, in a kind tone, "you are alarming yourself unnecessarily - you are indeed. We mean you no harm whatever. I pledge you the honor of a gentleman, and of a Frenchman, that we intend you no injury. I perfectly well know that you are innocent of the atrocities in the Rue Morgue. It will not do, however, to deny that you are in some measure implicated in them. From what I have already said, you must know that I have had means of information about this matter - means of which you could never have dreamed. Now the thing stands thus. You have done nothing which you could have avoided - nothing, certainly, which renders you culpable. You were not even guilty of robbery, when you might have robbed with impunity. You have nothing to conceal. You have no reason for concealment. On the other hand, you are bound by every principle of honor to confess all you know. An innocent man is now imprisoned, charged with a crime of which you can point out the perpetrator."
The sailor had recovered his presence of mind, in a great measure, while Dupin uttered these words; but his original boldness of bearing was all gone.
"So help me God!" said he, after a brief pause, "I will tell you all I know about this affair; - but I do not expect you to believe one half I say - I would be a fool indeed if I did. Still, I am innocent, and I will make a clean breast if I die for it."
What he stated was, in substance, this. He had lately made a voyage to the Indian Archipelago. A party, of which he formed one, landed at Borneo, and passed into the interior on an excursion of pleasure. Himself and a companion had captured the Ourang-Outang. This companion dying, the animal fell into his own exclusive possession. After great trouble, occasioned by the intractable ferocity of his captive during the home voyage, he at length succeeded in lodging it safely at his own residence in Paris, where, not to attract toward himself the unpleasant curiosity of his neighbors, he kept it carefully secluded, until such time as it should recover from a wound in the foot, received from a splinter on board ship. His ultimate design was to sell it.
< 27 >
Returning home from some sailors' frolic on the night, or rather in the morning, of the murder, he found the beast occupying his own bedroom, into which it had broken from a closet adjoining, where it had been, as was thought, securely confined. Razor in hand, and fully lathered, it was sitting before a looking-glass, attempting the operation of shaving, in which it had no doubt previously watched its master through the keyhole of the closet. Terrified at the sight of so dangerous a weapon in the possession of an animal so ferocious, and so well able to use it, the man, for some moments, was at a loss what to do. He had been accustomed, however, to quiet the creature, even in its fiercest moods, by the use of a whip, and to this he now resorted. Upon sight of it, the Ourang-Outang sprang at once through the door of the chamber, down the stairs, and thence, through a window, unfortunately open, into the street.
The Frenchman followed in despair; the ape, razor still in hand, occasionally stopping to look back and gesticulate at his pursuer, until the latter had nearly come up with it. It then again made off. In this manner the chase continued for a long time. The streets were profoundly quiet, as it was nearly three o'clock in the morning. In passing down an alley in the rear of the Rue Morgue, the fugitive's attention was arrested by a light gleaming from the open window of Madame L'Espanaye's chamber, in the fourth story of her house. Rushing to the building, it perceived the lightning-rod, clambered up with inconceivable agility, grasped the shutter, which was thrown fully back against the wall, and, by its means, swung itself directly upon the headboard of the bed. The whole feat did not occupy a minute. The shutter was kicked open again by the Ourang-Outang as it entered the room.
The sailor, in the meantime, was both rejoiced and perplexed. He had strong hopes of now recapturing the brute, as it could scarcely escape from the trap into which it had ventured, except by the rod, where it might be intercepted as it came down. On the other hand, there was much cause for anxiety as to what it might do in the house. This latter reflection urged the man still to follow the fugitive. A lightning-rod is ascended without difficulty, especially by a sailor; but when he had arrived as high as the window, which lay far to his left, his career was stopped; the most that he could accomplish was to reach over so as to obtain a glimpse of the interior of the room. At this glimpse he nearly fell from his hold through excess of horror. Now it was that those hideous shrieks arose upon the night, which had startled from slumber the inmates of the Rue Morgue. Madame L'Espanaye and her daughter, habited in their night clothes, had apparently been occupied in arranging some papers in the iron chest already mentioned, which had been wheeled into the middle of the room. It was open, and its contents lay beside it on the floor. The victims must have been sitting with their backs toward the window, and, from the time elapsing between the ingress of the beast and the screams, it seem probable that it was not immediately perceived. The flapping-to of the shutter would naturally have been attributed to the wind.
< 28 >

As the sailor looked in, the gigantic animal had seized Madame L'Espanaye by the hair (which was loose, as she had been combing it), and was flourishing the razor about her face, in imitation of the motions of a barber. The daughter lay prostrate and motionless; she had swooned. The screams and struggles of the old lady (during which the hair was torn from her head) had the effect of changing the probably pacific purposes of the Ourang-Outang into those of wrath. With one determined sweep of its muscular arm it nearly severed here head from her body. The sight of blood inflamed its anger into phrensy. Gnashing its teeth, and flashing fire from its eyes, it flew upon the body of the girl, and imbedded its fearful talons in her throat, retaining its grasp until she expired. Its wandering and wild glances fell at this moment upon the head of the bed, over which the face of its master, rigid with horror, was just discernible.
The fury of the beast, who no doubt bore still in mind the dreaded whip, was instantly converted into fear. Conscious of having deserved punishment, it seemed desirous of concealing its bloody deeds, and skipped about the chamber in an agony of nervous agitation; throwing down and breaking the furniture as it moved, and dragging the bed from the bedstead. In conclusion, it seized first the corpse of the daughter, and thrust it up the chimney, as it was found; then that of the old lady, which it immediately hurled through the window headlong.
As the ape approached the casement with its mutilated burden, the sailor shrank aghast to the rod, and, rather gliding than clambering down it, hurried at once home - dreading the consequences of the butchery, and gladly abandoning, in his terror, all solicitude about the fate of the Ourang-Outang. The words heard by the party upon the staircase were the Frenchman's exclamations of horror and affright, commingled with the fiendish jabberings of the brute.
I have scarcely any thing to add. The Ourang-Outang must have escaped from the chamber, by the rod, just before the breaking of the door. It must have closed the window as it passed through it. It was subsequently caught by the owner himself, who obtained for it a very large sum at the Jardin des Plantes. Le Bon was instantly released, upon our narration of the circumstances (with some comments from Dupin) at the bureau of the Prefect of Police. This functionary, however well disposed to my friend, could not altogether conceal his chagrin at the turn which affairs had taken, and was fain to indulge in a sarcasm or two about the propriety of every person minding his own business.
< 29 >
"Let him talk," said Dupin, who had not thought it necessary to reply. "Let him discourse; it will ease his conscience. I am satisfied with having defeated him in his own castle. Nevertheless, that he failed in the solution of this mystery, is by no means that matter for wonder which he supposes it; for, in truth, our friend the Prefect is somewhat too cunning to be profound. In his wisdom is no stamen. It is all head and no body, like the pictures of the Goddess Laverna - or, at best, all head and shoulders, like a codfish. But he is a good creature after all. I like him especially for one master stroke of cant, by which he has attained his reputation for ingenuity. I mean the way he has 'de nier ce qui est, et d'expliquer ce qui n'est pas.'"

ea kako nema anabel li

U carstvu jednom, pre mnogo leta,
Kraj sinjeg mora sve to se zbi –
Živela jedna devojka lepa,
Ime joj beše Anabel Li;
Njoj samo ljubav na srcu cveta,
Ljubav kojom se volesmo mi.

Bila je dete i mlad bih i ja,
Al’ ljubav strasna tada se zbi,
Što od svih više ljubavi sija –
Mene i moje Anabel Li;
Da takva ljubav u njima klija
Žudeše s neba anđeli svi.

Zbog toga stravno serafim vreba,
Kraj sinjeg mora anđeli zli;
I dunu vetar da sledi s neba
Prelepu moju Anabel Li.
Viteza njenih povorka stala,
Da je od mene odnesu svi;
U grob je morskih spustiše žala,
Da večne snove u njima sni.

Anđele zavist mori u raju,
Jer su upola srećni kô mi.
Da! – samo zato (kao što znaju
Kraj sinjeg mora u carstvu svi)
Sa neba vetar dunu na kraju
I sledi moju Anabel Li.

Tu našu ljubav prebajna što je,
Nju žele mudri i stari svi –
Od njih se više volesmo mi –
Ni anđeli od zavisti svoje,
Niti iz mora demoni zli,
Sklonili nisu od duše moje
Dušu predivne Anabel Li.

Dok mesec zrači, ja snivam snove,
Snove o mojoj Anabel Li,
I viđam oči dok zvezde plove,
Prelepe oči Anabel Li.
I dok po sinjem moru noć pliva,
Ja ležim gde mi draga počiva,
Kraj njenog groba gde tiho spi,
Gde moja draga sad snove sni.
U carstvu jednom, pre mnogo leta,
Kraj sinjeg mora sve to se zbi –
Živela jedna devojka lepa,
Ime joj beše Anabel Li;
Njoj samo ljubav na srcu cveta,
Ljubav kojom se volesmo mi.

Jednoj u raju


Sve si mi bila, ljubavi,
Sve sto mi duse iste
Moj zeleni otok, ljubavi,
I cesma, i svetiste;
Svud vijenci voca, cvjetne hvoje,
I sve sto bjese moje.

Prelijepi snu, ne trajes vise!
O, zvijezde nade, sto ste sjale,
Sad oblaci vas sakrise!
Glas Buduceg mi vice: "Dalje!"
Ali moj duh se, lebdec, njise
Nad tamnim morem prosle srece
Uzasnut, nijem, sve tise.

Jer jao! Jao, u meni
Zivota svjetlo trne.
"Nikad vec - nikad za te"
(kao da valove crne
slusam sto sapucu kleti)
"Spaljeno stablo ne cvate,
Orao ranjen ne leti."

Svi sati su mi poput zore,
A noc ko sanja cista,
Gdje tvoje tamne oci gore,
I gdje ti korak blista:
U kojem plesu sad se vije,
Kraj kojih voda Italije?

Prokleto bilo ono doba:
Od ljubavi su odveli te.
Za tudji lezaj tad su zloba
I crni zlocin oteli te,
Od nasih magla i od mene,
Gdje srebro tuznih vrba vene

Ljudi, ajde nećemo više da postavljamo ovako cele priče, pošto kapiram da to niko živ ne čita (a i ima da se nađe na netu, koga zanima), pretrpava se tema i onda niko više ne dolazi da postuje. Pesme su kraće, pa njih možemo i dalje da postavljamo.

E sad, ono zbog čega sam ponovo došla u ovu temu je to što smo Jadranka i ja razgovarale o Pou u temi Šta čitate? pa ćemo diskusiju nastaviti ovde. All are invited da se priključe

Počeću u novom postu zbog preglednosti.

P.S. ... ali sutra... krenula sam kao da pišem nešto, i shvatila da sam stvarno previše umorna, a ovo želim da uradim pri čistoj svesti. Sorry.

Evo Lenore ono što sam pričala EAP-Gavran izdanje povodom 200 god.rođenja EAP - 9 prevoda na srpski jezik od 1878 .g. pa do 2006. + naravno Raven u originalu - dobila sam od sestre danas na poklon ( pošto je danas praznik Cveti a ja sam rođena na taj praznik pa to moji nazivaju Lalin lažni rođendan xaxaxaxa ali nema veze dobijam poklon svake godine 2x.....) pa sam slikala knjigu da vidiš kako izgleda , iskreno ja sam oduševljena kad čitaš sve ove prevode jedne iste pesme a vidiš koliko su različiti .... jako zanimljivo i svakako vredi imati....e sad kad bi neko odlučio da to uradi i za Anabel Li ....

- naslovnica
- poleđina

U svakom slučaju preporuka svima sa moje strane....

Jao, divno! Knjiga super izgleda, baš mi je drago što si je dobila!
Izvini na ovako kratkom komentaru, ali vidi koliko je sati... ceo dan sam nešto radila, sva sam sluđena.

Dobila sam jos 1 zbirku pesama od sestre na poklon :
EAP - Gavran i sve druge pesme by Kolja Micevic
I odusevljena sam , odlicno uradjen predgovor ili kako pise " Prevodioceva filosofija kompozicije " Uzivam u ovim uvodnim delovima i moram da priznam da nikad nisam razmisljala o samom procesu prevodjenja , mislim ja sam citala EAP i to je to nisam ulazila u samu problematiku toga kako naci odgovarajucu rec u nasem jeziku i sada sam se odusevila....
Covek je prvi prevod Gavrana uradio 1973.godine i kaze da mu je najveci izazov bio da nadje odgovarajucu rec u nasem jeziku za Nevermore na kraju se odlucio za Nikad vise mada kaze da nije bio previse zadovoljan time jer je osecao da moze da se nadje neka bolja rec .
Drugu verziju prevoda je uradio 2007 i tada je Nevermore odlucio da prevede kao Sve je mora .
Pa zatim o upotrebi Poovski reci prilikom rada na prvom prevodu Gavrana - reci koje pocinju na PO - kaze da su reci sa tim prefiksom pocele da mu se javljaju same od sebe i da je bukvalno morao da se brani od njih , da ne bi preterao , i smatra da je na taj nacin odao neku vrstu postovanja Pou , npr.sledeci deo :
Pokupi sva pera svoja , potvrdu svog podlog soja ,
postuj ponos mog pokoja !
Naravno tu je i deo posvecen delovima iz Poovog privatnog zivota .... sve u svemu jako lepo zapakovana celina ....
I tako ...mozda sam malo odlutala od teme koja se odnosi na samog Poa ali nadam se da ne smeta , u Poovoj poeziji uvek uzivam ali ovaj put je gledam i sa jedne druge strane .
I da shvatila sam da licno meni vise leze Poove pesme nego price , ne znam zasto ali tako je......

Svako bira pesme i pisca koji mu odgovoraju. Meni na primer, Poove pesme ne odgovaraju toliko.

Divno, Jaco! Kolja Mićević je jedan od najboljih, ili možda čak i najbolji naš prevodilac. Obožavam njegove prevode i tekstove, čovek tako lepo ume da objasni suštinu i umetnost prevođenja. On je svojevremeno prevodio i Bodlera, meni su njegovi prevodi Cveća zla daleko, daleko bolji od svih ostalih koje sam čitala.
Šta da ti kažem: uživaj sada u novim dimenzijama poezije!
Poa naravno nije dosadno čitati iznova i iznova ni kada je uvek u istom obliku, a nekmoli kad ti neko pruži veći broj prevoda.

Da Lenore stvarno uzivam iako sam citala EAP ohoooo do sada , slazem se za Kolju tako covek lepo objasnjava kako je dosao do koje reci , kakvo mu je "stanje svesti" bilo tad , koje nedoumice je imao , opis te "groznice" kad reci krenu ...... Ja sam inace u gimnaziji razmisljala da upisem Filoloski upravo da bi jednog dana bila prevodilac , zapravo bila sam u trilemi : pravo , istorija , filoloski ...... ali ljubav prema jezicima i istoriji i dalje traje samo sto sad amaterski uzivam u tome....

Sta mislite o ovome!!!!??????

http://www.24sata.rs/show.php?id=78324

Beograd glumi Baltimor u novom filmu Džona Kjuzaka

Džon Kjuzak (44), holivudski superstar poznat po ulozi u prošlogodišnjem megahitu „2012”, stiže u Beograd, gde će glumiti Edgara Alana Poa u filmu „Gavran”...
Popularni glumac potvrdio je na Tviteru da će igrati glavnu ulogu, a snimanje počinje 25. oktobra. Sajt IMDB.com objavio je da će u filmu igrati i Juan Mekgregor (39), a režiju potpisuje Australijanac Džejms Mektig (43).
Beograd će, kao i Budimpešta, gde će takođe biti sniman „Gavran”, imati ulogu da dočara Baltimor iz 1849. godine, kada se dešava radnja filma. Priča se odvija u poslednjih pet dana života slavnog američkog pisca Alena Edgara Poa, u vreme kada je Baltimorom harao serijski ubica koji je koristio Poove priče kao scenario za ubistva.
Počinje trka s vremenom u kojoj Kjuzak (Po), u saradnji sa jednim mladim detektivom, očajnički pokušava da nadmudri ubicu i stigne do njega pre nego što ovaj počini sledeće ubistvo, kao i da oslobodi verenicu koja je talac u rukama zločinca.
Na američkim forumima posvećenim filmu spekuliše se da bi britanski glumac Juan Mekgregor mogao da igra ulogu serijskog ubice, a pretpostavlja se da bi detektiva mogao da igra američki glumac Džeremi Rener, kojeg je IMDB.com već uvrstio u glumačku ekipu, a koji će se pojaviti i u četvrtom nastavku „Nemoguće misije”.
Džejms Metig dosad je potpisao samo dva filma kao režiser (V kao Vendeta i Nindža ubice), ali se ne može reći da mu manjka iskustva jer je kao prvi asistent režije braće Vahovski radio na sva tri filma iz trilogije Matriks. Scenario za film rađen je po priči Hane Šekspir i Bena Livingstona, a ceo projekat je koprodukcija američke kompanije „Intrepid Pictures” i britanske „Film Nation.