Poes' First Story - Part 1

Welcome to Celebrate Poe - My name is George Bartley, and this is episode 266 - Poe’ First Story - Part One

Most Poe scholars seem to believe that Poe’s first published story was Metzengerstein. Metzengerstein was published by The Philadelphia Saturday Courier on the 14 JANUARY in 1832. So today I would like to look at some background information regarding the story, and read the actual work in Part Two.

Transcript

George - plain text
Ghost of Mr. Poe - italics text

Welcome to Celebrate Poe - My name is George Bartley, and this is episode 266 - Poe’ First Story - Part One

Up til now, we have been concentrating largely on Poe’s poetry - But I want to concentrate more in this podcast on his works from a chronological standpoint.  And that leads to question - what was Poe’s first story? - the form of literature that he is probably most known for today.  I found several titles that various sources claimed were Poe’s first published works - especially MS Found in a Bottle and Ligeia - but that didn’t sound right.  Oh, this podcast will certainly cover those works - MS Found in a Bottle has a special significance and I think Liberia is one of Poe’s most underrated stories, but according to the highly respected Baltimore Edgar Allan Poe site - Poe’s first published story was Metzengerstein. Metzengerstein was published by The Philadelphia Saturday Courier on the 14 JANUARY in 1832. PHILADELPHIA.  So today I would like to look at some background information regarding the story, and read the actual work in Part Two.

"Metzengerstein", was also published in the Southern Literary Messenger in January 1836.  The subtitle was "A Tale in Imitation of the German"

Greetings, Mr. Bartley.

Well, Hello Mr. Poe.  I am especially glad you are here.  This podcast is dealing with what is believed to be your first published story - Metzengerstein. 

Ah, yes, but do not forget the later subtitle of “A Tale in Imitation of the German.”  Viewing the story from that perspective can be most informative.

Now, Mr. Poe - I have another question about Metzengerstein - you begin the story with a Latin quote -"Pestis eram vivus — moriens tua mors ero.” - I hope I am not butchering that up too badly.

Ah, Mr. Bartley - that quote is by Martin Luther, and means "Living, I was a plague to you; dying, I will be your death.” This quote was originally directed by Martin Luther at the papacy after he broke with the Roman Catholic Church. In the context of Luther's life, it expressed his defiance against the papacy, suggesting that in life he had been a thorn in their side (a "plague"), and that even after his death, his ideas and reforms would continue to challenge papal authority.   In my story, Metzengerstein, the quote can be applied metaphorically to the relationship between the feuding families, the Berlifitzings and the Metzengersteins. The phrase foreshadows the events of the story, particularly how the death of one character (Count Wilhelm von Berlifitzing) leads to the downfall of another (Baron Frederick von Metzengerstein).  I also used this quote to set a tone of fatalism and revenge for the story, hinting at the supernatural elements and the idea that actions in life can have consequences beyond death. And I would like to think that such quotes showcase my  tendency to use erudite references and untranslated passages in foreign languages to create an atmosphere of mystery and intellectual depth in my works.

Mr. Poe, some people might believe that you are using erudite and obscure references to show off.

Ah, Mr. Bartley - permit me to illustrate examples of such passages -
In  "The Fall of the House of Usher, I begin the story with a quote by a French poet that translate to "His heart is a suspended lute; as soon as one touches it, it resonates" .

And "The Murders in the Rue Morgue” begins with a quote in Latin from the poet Lucan: "What song the Syrens sang, or what name Achilles assumed when he hid himself among women, although puzzling questions, are not beyond all conjecture."

Mr. Poe, What does THAT mean?

Ah, Mr. Bartley, I believe the quote sets the tone for the analytical and deductive nature of the story .

And The Pit and the Pendulum begins with a quote from the Bible, specifically the Book of Revelation: "And the angel took the censer, and filled it with fire of the altar, and cast it into the earth; and there were voices, and thunderings, and lightnings, and an earthquake."  I feel that this quote enhanced the story's apocalyptic and terrifying atmosphere .

So, Mr. Bartley - I give you these examples to illustrate my use of historical and literary references to enrich the thematic depth and atmosphere of my stories.

Ah, Mr. Poe - but let’s get back to the actual story. I’d like to briefly go over the plot today so that we can concentrate on the flowing language of your story in the following episode.  Could you briefly relate the plot?

An excellent idea, Mr. Bartley - The story follows the young Frederick, the last of the Metzengerstein family, who carries on a long-standing feud with the Berlifitzing family. Suspected of causing a fire that kills the Berlifitzing family patriarch, Frederick becomes intrigued with a previously unnoticed and untamed horse. Metzengerstein is punished for his cruelty when his own home catches fire and the horse carries him into the flame.

Thank you, Mr. Poe - but perhaps you could relate to our audience an observation of the plot with a few more details -

Certainly, Mr. Bartley - The story, told by an unnamed third-person narrator, takes place in Hungary at an unspecified date. There is a rivalry between two wealthy families—the Metzengersteins and the Berlifitzings—which is so old that no one knows how far back it dates. The narrator states that its origin appears to rely on an "ancient" prophecy: "A lofty name shall have a fearful fall when, as the rider over his horse, the mortality of Metzengerstein shall triumph over the immortality of Berlifitzing.”

Frederick, Baron of Metzengerstein, is orphaned at a young age, inheriting the family fortune at age 18. Equipped with enormous wealth and power, he begins to exhibit particularly cruel behavior.  Four days after he receives his inheritance, the stables of the rival family Berlifitzing catch fire. The neighborhood attributes the act of arson to Frederick.

That day, Metzengerstein sits staring intently at an old tapestry depicting "an enormous, and unnaturally colored horse" that belonged to the Berlifitzing clan. Behind the horse its rider has just been killed by "the dagger of a Metzengerstein". Frederick opens the door to leave, and the action causes his shadow to fall exactly on the spot of the murderer in the tapestry. Outside, his men are handling a horse. They tell Frederick that this new horse has been found in his stables with the letters "W.V.B." branded on its forehead. The men suppose that the letters stand for William Von Berlifitzing. However, the grooms of the Berlifitzing stable do not recognize the horse. Frederick takes ownership of the horse. He later hears that Wilhelm Berlifitzing died in the fire as he tried to save one of his horses in the burning stable.

Frederick and the horse become seemingly inseparable. He rides the animal as if addicted, and he becomes less and less interested in the affairs of his house and of society. He eventually begins to live in seclusion to the extent that others in the neighborhood suspect that he is either mad, sick, or overwhelmingly conceited. One night, Frederick awakes and maniacally mounts the horse to ride into the forest. Some hours later, his castle catches fire. A crowd gathers to watch the flames and see the horse carrying "an unbonneted and disordered rider" who clearly has no control over the animal. The horse leaps into the flames with its rider, thereby killing the last of the Metzengerstein clan. Immediately, the fire dies away. In the calm, the onlookers observe a cloud of smoke settle above the castle in the shape of a horse.

Thank you, Mr. Poe.

Mr. Bartley, I do hope the later version is clearer.

Yes, and correct me if I am wrong - but was Metzengerstein first published in The Philadelphia Saturday Courier?

Yes, Mr. Bartley, but "Metzengerstein", was also published in the Southern Literary Messenger in January 1836.  The subtitle of "A Tale in Imitation of the German" was added when the story was republished in the Southern Literary Messenger.

Mr. Poe - do you know why?

Ah, Mr. Bartley - in a likelihood, the Southern Literary Messenger wanted likely to capitalize on the popular interest in German horror.

We have not gone over your time at the Southern Literary Messenger yet, but I am eager to delve that part of your writing career.

Mr. Poe, Could you tell us a bit more about you sending Metzengerstein to the Philadelphia Saturday Courier?

Certainly, Mr. Bartley - I originally sent "Metzengerstein" to the Philadelphia Saturday Courier as an entry to a writing competition along with five other prose works, including "The Duke de l'Omelette" and "A Decided Loss”. None of my entries won, though the judges apparently liked "Metzengerstein" enough to print it a few months later in their January 14, 1832 edition.

Well, from what I understand - this was your first published work.  How did it feel to see your name in print as the author of a short story.

Ah, Mr. Bartley - It was published without my name attached to it and I doubt that I was even paid for its initial publication.   Ah, but being a genre story, it contained dark and broody castles, hints at obsessions and sins, forboding prophecies, family rivalry, a nightmare-like atmosphere, and horrible incidences. I even contributed a most unusual phenomenon, the psychic transmigration of a soul to a horse.

The subtitle of "A Tale in Imitation of the German" was added when it was republished in the Southern Literary Messenger in January 1836, likely to capitalize on the popular interest in German horror.

Mr. Poe, I am also fascinated by the German horror works of the period.

Yes, Mr. Bartley, I am glad you commented on that aspect of the story.  You see, there was a significant fascination with German Romantic Literature, especially the works of E.T.A. Hoffmann, in the early 19th century. Hoffmann's tales of the supernatural and grotesque were gaining popularity and served as a major influence.  In fact, The German Gothic tradition, with its emphasis on the macabre and supernatural, was seen as a rich source of inspiration for horror stories - especially those that incorporated elements of the Gothic genre.

I guess that would definitely lead to critics and readers associating certain elements of horror and the supernatural with German literature.  And I do hope that we discuss ETA Hoffman in a future episode.

Ah, Mr. Poe - I am sure that can be arranged.

Yes, Mr. Bartley - In fact this association with ETA Hoffman and supposed German influences was so strong that when I published "Berenice" in 1833, the editor felt compelled to note that there was "too much German horror in his subject".

I think that is interesting - it is almost like using the word German as a synonym for horror - at least during the 19th century. But, Mr. Poe - to be specific, what are some elements from German Romanticism and Gothic literature that were incorporated into “Metzengerstein?”

Ah, Mr. Bartley, The story is set in a vague German/Hungarian location with an indeterminate time period, likely the 16th or 17th century. This creates a brooding, mysterious atmosphere typical of German Gothic tales.

So, Mr. Poe - I guess it would seem natural that you would include Gothic elements.

Definitely, Mr. Bartley - I definitely did employ classic Gothic elements like an ancient family feud, a gloomy castle, a cryptic curse, and sinister events.

And even supernatural elements.

Definitely, Mr. Bartley - My story features an animated portrait and hints at supernatural occurrences, which were common in German Romantic and Gothic literature.  And while using Gothic tropes, I attempted to  emphasize the interior psychological state of the characters over historical accuracy or external details, a hallmark of German Romanticism.

Mr. Poe - I do believe that next week listeners might learn from the story that is does have themes of obsession and self-destruction.

Yes, I do hope that becomes apparent because the story explores the protagonist's descent into obsession and eventual self-destruction, themes often found in German Romantic literature.  And I used vague settings and characters to create a sense of universality, allowing the story to potentially occur anywhere and to anyone, a technique often employed in German Romantic literature.ally depicts the betrayal of imagination, a central theme in Romanticism.

Yes, Mr. Poe - but while I believe you incorporated these elements, it’ is important to note that you adapted and transformed them to create your own unique style, rather than simply imitating German literature.

Yes, Mr. Bartley - I firmly believe that my use of these elements served to explore themes of authorship and the nature of inspiration, which were central to my work at the time.

Ah, but Mr. Poe - I must point out that in the first several publications of Metzengerstein, you included a line about your dear mother's death by consumption. The narrator says: "It is a path I have prayed to follow. I would wish all I love to perish of that gentle disease.”

Yes, Mr. Bartley - I hope that most of the listeners to this podcast remember that when I was still a child, my own mother, Eliza Poe, died, presumably of consumption. My wife Virginia also had tuberculosis and died in 1847. After her death, some have said that I  altered my personal view of fictional heroines who were sick and idealized women who will ill while wishing for their death.

And Mr. Poe - the death of your dear mother is not the only autobiographical overtone in your story.  The castle in the story could represent your Richmond home Moldavia -  the Richmond home of your foster-father John Allan - both your home and the castle were large and imposing.  Mr. Poe, in such a reading, the Count could represent John Allan, and you the young Metzengerstein. You and Metzengerstein were both orphaned at a young age.

And, Mr. Poe - you may have found writing the story therapeutic; in it, you destroy "John Allan", though you are also destroyed in return. And then you focus on a fire scene near the end of the story - where you might have subconsciously  been recalling the fatal Richmond Theatre fire of December 1811 which occurred three weeks after your mother, the actress Eliza Poe, had died.

Yes, Mr. Poe, and while it is not explicitly stated, it is implied that the horse in your story is really Berlifitzing. The first paragraph of the story references metempsychosis, the belief that the soul of a person is transferred to another living being upon death.

Mr. Bartley, I quite concur - Other evidence is the tapestry, the lack of a history or recognition in the horse and, certainly, the prophecy referencing the immortality of the Berlifitzings. The story can be read as an allegory, a warning that a human soul can be overtaken by the evil it has created.

Mr. Poe - could you comment a bit more on what we perceive as Germanic elements in the tale.

Ah yes, Mr. Bartley - The most obvious example is the gloomy old castle, typical of Gothic fiction, along with hints at secret obsessions and sins, foreboding prophecies, and family rivalry.  But as you know, Mr. Bartley such Gothic conventions had been a staple of popular fiction in Europe and the United States for several decades by the time that I utilized them.

I know we have not really delved into these stories, but do you feel that Metzengerstein has elements of a precursor to some of your later works?

Ah yes, Mr. Bartley - Remember that the future subtile I used for the story was “A Tale in Imitation of the German.”  As we have mentioned before, my story utilized elements of the Gothic as exemplified in that of ETA Hoffman.

Yes, Mr. Poe - I am very eager to explore the possible connections between your earlier works and German horror stories in future episode.

Ah, Mr. Bartley - that could be most intriguing. Hoffman had own his distinct approach to Gothic literature - and I feel that I developed mine.

And Mr. Poe - the majority of the rest of this podcast will explore your life, mysterious death, and your approach to American horror.

Yes, Mr. Bartley, but one must remember that while my first story contained many of the standard devices found in Gothic thrillers - the story even has a warning at the beginning that “horror and fatality” have existed throughout all ages.

Now, Mr. Bartley, I must take my leave.
         
Farewell, Mr. Bartley.

Goodbye, Mr. Poe.

Join Celebrate Poe for Episode 267 - Poe’s First Story - Part Two - in which Mr. Poe will read his first published short story in its entirety. 

Sources include  Edgar Allan Poe: A Critical Biography by Arthur Hobson Quinn, The Poe Log: A Documentary Life of Edgar Allan Poe by Dwight R. Thomas and David K. Jackson, the Baltimore Edgar Allan Poe website, as well as the website of The Edgar Allan Poe House in Baltimore, and the Complete Works of Edgar Allan Poe.

Thank you for listening to Celebrate Poe.