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Illuminating Poe Illuminating Poe The Reflection of Edgar Allan Poe’s Pictorialism in the Illustrations for the Tales of the Grotesque and Arabesque Dissertation zur Erlangung des Grades des Doktors der Philosophie beim Fachbereich Sprach-, Literatur- und Medienwissenschaft der Universität Hamburg vorgelegt von Christian Drost aus Brake Hamburg, 2006 Als Dissertation angenommen vom Fachbereich Sprach-, Literatur- und Medienwissenschaft der Universität Hamburg aufgrund der Gutachten von Prof. Dr. Hans Peter Rodenberg und Prof. Dr. Knut Hickethier Hamburg, den 15. Februar 2006 For my parents T a b l e O f C O n T e n T s 1 Introduction ................................................................................................. 1 2 Theoretical and methodical guidelines ................................................................ 5 2.1 Issues of the analysis of text-picture relations ................................................. 5 2.2 Texts and pictures discussed in this study ..................................................... 25 3 The pictorial Poe .......................................................................................... 43 3.1 Poe and the visual arts ............................................................................ 43 3.1.1 Poe’s artistic talent ......................................................................... 46 3.1.2 Poe’s comments on the fine arts ............................................................. 48 3.1.3 Poe’s comments on illustrations ............................................................ 51 3.2 The pictorialism in Poe’s aesthetics ............................................................ 72 3.2.1 Indefinitiveness ............................................................................. 72 3.2.2 The grotesque and arabesque ............................................................... 83 3.2.2.1 The grotesque .................................................................... 84 3.2.2.2 The arabesque .................................................................... 85 3.2.2.3 The grotesque and arabesque in Poe’s works ..................................... 86 4 Illuminating the Tales of the Grotesque and Arabesque ............................................... 100 4.1 Thy beauty is to me … ........................................................................... 100 4.1.1 Evening Star .............................................................................. 102 4.1.2 The Assignation .......................................................................... 105 4.1.3 Berenice, Morella, Ligeia ................................................................. 110 4.2 Tales of mystery .................................................................................. 135 4.2.1 Metzengerstein ............................................................................ 136 4.2.2 MS. Found in a Bottle .................................................................... 144 4.2.3 William Wilson .......................................................................... 153 4.2.4 Shadow ................................................................................... 168 4.2.5 Silence .................................................................................... 177 4.2.6 The Conversation of Eiros and Charmion ................................................ 182 4.3 Tales of “humor” ................................................................................ 192 4.3.1 Lionizing ................................................................................. 197 4.3.2 The Man that Was Used up .............................................................. 200 4.3.3 The Devil in the Belfry ..................................................................... 205 4.3.4 The Duc de l’Omelette, Bon-Bon, Mystification .......................................... 212 4.3.5 A Tale of Jerusalem, Why the Little Frenchman Wears His Hand in a Sling ............. 218 4.3.6 Epimanes ................................................................................. 221 4.3.7 King Pest .................................................................................. 227 4.3.8 How to Write a Blackwood Article, Loss of Breath ....................................... 240 5 Panorama ................................................................................................ 259 5.1 The Fall of the House of Usher ................................................................ 259 Notes ..................................................................................................... 290 Works consulted ........................................................................................ 304 List of illustrations ..................................................................................... 323 Acknowledgments ..................................................................................... 331 “These volumes present a succession of richly-coloured pictures in the magic lantern of invention.” The New-York Mirror of December 28, 1839 about the Tales of the Grotesque and Arabesque. 1 Introduct I o n Edgar Allan Poe is one of the most frequently illustrated authors of world literature. Several hundreds of visual artists illustrated the works of Edgar Allan Poe in the course of the last 170 years.1 Undoubtedly, one reason for this quantity of illustrations is a continual demand for images that began to grow during Poe’s lifetime, especially in its last decade. When Poe was employed in the office of Graham’s Magazine he was part of the mass-market publication industry that exploited the contemporary readers’ seemingly insatiable hunger for images. Poe’s employer, George R. Graham, knew well how to appease and stimulate this desire at the same time and he understood to make the most of it economically. In the 20th century, Poe has become an author who sells well, especially after World War 2, as the countless editions of his works in all mayor languages testify. And Poe seems to sell particularly well, when his works are published in illustrated editions. Apart from mass-market publications, a substantial number of illustrations for Poe’s works appeared in limited editions that were directed to a small number of book collector’s rather than millions of common readers.2 Obviously, there are more reasons for the illustration of Poe’s works than large-scale advertising and market- ing aspects. This study posits that there are specific visual qualities in Poe’s works that have been attracting artists for now more than a century and a half. Unfortunately, these phenomena, Poe’s pictorialism and his influence on visual artists, have been largely neglected in Poe studies, and the abundance of pictures has almost been ignored. In relation to the thousands of illustrations for Poe’s texts, the existing number of critical works about this topic is surprisingly low. There is a scarcely a score of studies, and most of these approach the topic narrowly, focussing on small numbers of illustrations and/or artists only. The only full- fledged analytical study about Poe illustrations was not published before 1989. In her dissertation, Ina Conzen-Meairs tracked Poe’s influence on 18 European “Symbolists”, examining 86 illustrations by artists such as Gustave Doré, Odilon Redon, James Ensor, Aubrey Beardsley and René Magritte. In the same year, Burton Pollin published his extensive descriptive bibliography of illustrated editions, Images of Poe’s Works, which was the result of almost two decades of research in several countries. Although Pollin’s book documented the amount of material exhaustively, little use has been made of it until now in critical articles. Symptomatically, most relevant articles are concerned with famous artists only, and that in a rather general way. Art historians and bibliophiles have shown more interest for Poe than Poe scholars for illustrations of the author’s works.3 In Poe studies, even such acclaimed illustrators as Harry Clarke or Arthur Rackham are only casually mentioned if not banned to the footnotes at all. As yet, the illustra- tions for Poe’s works have only been touched superficially, just as if there has been no awareness for the depth of material.4 As a result, considerate but obscure artists like Pierre Falké, Carlo Farneti, Fritz Eichenberg or Hans Fronius have remained in the shadows, and the same counts for hundreds of other “nameless” visual artists who contributed thousands of illustrations. This state of affairs is deplorable, because illustrations not only afford new insights into Poe’s texts, they may also help to create new perspectives in Poe studies. Therefore, it is the aim of this study, to unfold the great variety of illustrations. They will be analyzed as responses to Poe’s peculiar pictorialism and as visual interpretations of his texts. The lack of attention to the “pictorial Poe” is surprising, since Poe’s concern in images is revealed in many different ways. Besides his biography, Poe’s frequent critical comments about the fine arts in general, and about text illustrations in particular, but also about stage design and optical experiments, expose a keen interest in images. Moreover, his critcial jargon shows that Poe tended to visualize his ideas about proper literature. He used to analogize texts with pictures and he considered descriptions as particularly praisworthy when they were “artist-like”, “graphic”, “picturesque” or “admirably drawn”. Poe’s pictorialism is a distinguish- ing element in his literary aesthetics.
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