63 Matching Annotations
  1. Dec 2021
    1. The Murders in the Rue Morgue

      "The Murders in the Rue Morgue", first published in 1841, is widely considered to be the first modern detective story. It established many of the tropes that later became staples in detective fiction, including the brilliant amateur detective, the admiring sidekick, the incompetent or bumbling police, and the locked room mystery. The Edgar Awards are presented annually by the Mystery Writers of America for the best mystery books, movies and television of the year, acknowledging Poe’s contributions to this genre.

    2. At the first dawn of the morning we closed all the messy shutters of our old building; lighting 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.

      This strange behavior hints at frightening or creepy things with references to “true Darkness,” “ghastliest and feeblest of rays,” “wild lights and shadows” and the “infinity of mental excitement”, again calling to mind some of the imagery from Poe’s horror stories.

    3. “Nothing farther 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 has 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.”

      These newspaper accounts of the murders play echo the sensational style of the penny newspapers that had become popular at the time the story was written.

    4. 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.

      Dupin and the narrator rent a decrepit, "grotesque" mansion, calling to mind the Gothic landscapes of Poe's horror stories.

    5. Whist has long been noted for its influence upon what is termed the calculating power;

      Whist is another game that was popular at the time the story was written, and is similar to Bridge. The narrator again compares this game to chess as a way of highlighting the attributes he believes are needed by a successful detective.

    6. The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis.

      Before telling the story of the murders, the narrator engages in a (very) lengthy discussion of the analytical mind, in order to highlight mental qualities that later will be used by August Dupin to solve the murders.

    7. 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.

      Draughts is a game similar to checkers. The narrator is explaining why, in his view, checkers, rather than chess, requires insight and innovation - qualities he will later ascribe to August Dupin.

    8. What song the Syrens sang, or what name Achilles assumed when he hid himself among women, although puzzling questions, are not beyond all conjecture.

      This epigraph is taken from Thomas Browne’s "Urn Burial" and sets the stage for the rest of the story. Although it is not known what song the Siren’s sang as Odysseus passed during his odyssey, it is possible to deduce what song he might have heard. In this story, August Dupin will uses his formidable powers of deduction – his analytic ability – to uncover the murderer.

    9. There was not a particle of charlatânerie 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.”

      Poe referred to his detective trilogy (this story, together with “The Mystery of Marie Roget” and “The Purloined Letter as “Tales of Ratiocination” by which he meant a combination of scientific reasoning and intuition. Here Dupin begins to describe his method of ratiocination, describing all of the observations he made and what he deduced from those, to arrive at his astounding conclusion.

    10. 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 re-captured 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 appreciable 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 night, 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.”

      The actual solution to the crime – that an escaped Ourang-Outang killed the two women – is very far-fetched, but the story is intended to be more of a puzzle – a logic game – and the Ourang-Outang is critical to the puzzle.

    11. “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 Santé.”

      Dupin asks the narrator to do his own analysis – to integrate all of their observations and come up with a solution. It is clear from the narrator’s response that he does not have Dupin’s ‘peculiar analytic ability’ and Dupin must lead him step by step to the solution.

    12. 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.

      Dupin has made a series of “legitimate deductions” from which he has developed a theory about who committed the murders. He declares his theory as “inevitably” the only possible result and then goes on to describe each of his observations and deductions in great detail. Later detection fiction writers, including Arthur Conan Doyle (Sherlock Holmes) and Agatha Christie (Hercule Poirot) employed similar techniques in their stories.

    13. “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 unfrequently, 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

      In this passage, Poe (and Dupin) introduce another common motif in detective fiction – the incompetent or bumbling police who are described here as believing just what they see and as incapable of reaching any complex conclusions.

    14. “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.

      “The Murders in the Rue Morgue” introduces a “locked room mystery” for the first time. In locked room mysteries, it seems that there is no possible way for the perpetrator to have gotten in or out of the “locked room” in which a murder or other crime was committed. Later writers, including Arthur Conan Doyle, G.K. Chesterton, John Dickson Carr and Agatha Christie, wrote popular locked room mysteries.

    15. “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 her, 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.

      Elements of Gothic fiction are evident in the graphic, bloody description of the crime scene and dead bodies.

    16. “He is a very little fellow, that’s true, and would do better for the Théâtre des Variétés.”

      Here, and with the exposition that follows, Dupin reveals his extraordinary powers of analysis and deduction

    17. Bi-Part Soul

      The narrator identifies a duality in Dupin (the Bi-Part Soul) - the imaginative or creative and the rational or “resolvent.”

    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 the world, or to care for the retrieval of his fortunes

      Here Poe introduces the first of the elements that will become common in detective stories - a reclusive brilliant detective (Dupin) and his much less brilliant assistant. This formulation was later adopted by Arthur Conan Doyle in the characters of Sherlock Holmes and Dr. Watson.

    19. Paris

      Paris chose Paris as the setting for this story, probably because it was the only city in the world with an organized professional police force at the time the story was written.

    20. Vidocq

      François Eugène Vidocq, born in 1775, was the world’s first private detective and was very well known in Paris at the time this story was written. Although Poe disparages Vidocq here, Poe drew on what he knew about Vidocq in developing the Dupin character.

    21. “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

      Dupin once again expounds on the incompetence of the police, making a distinction between the cunning (the police) and the profound (Dupin).

    22. ‘de nier ce qui est, et d’expliquer ce qui n’est pas.’”

      From French meaning to deny that which is and to explain it as that which it is not

    23. There was not a particle of charlatânerie 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.”

      Poe referred to his detective trilogy (this story, together with “The Mystery of Marie Roget” and “The Purloined Letter) as “Tales of Ratiocination” by which he meant a combination of scientific reasoning and intuition. Here Dupin begins to describe his method of ratiocination - how he had deduced what the narrator had been thinking about.

    24. “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 unfrequently, 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.

      In this passage, Poe (and Dupin) introduce another common motif in detective stories – the incompetence of the police that are described here as believing just what they see and not able to reach any complex conclusions.

    25. 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 a chair lay a razor, besmeared with blood. On the hearth were two or three long and thick tresses of grey human hair, also dabbled in 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 métal 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.

      For a recreation of the murder scene, see this recreation in a dollhouse miniature

    26. Residing in Paris

      Paris was chosen as the setting for this story, probably because it was the only city in the world with an organized professional police force at the time the story was written.

    27. The mental features discoursed of as the analytical, are, in themselves, but little susceptible of analysis.

      Before launching into the story, the narrator engages in a lengthy discussion of the analytical mind, including a comparison of the games of chess, checkers (draughts) and whist (a card game) to highlight the qualities needed by a successful detective.

    28. What song the Syrens sang, or what name Achilles assumed when he hid himself among women, although puzzling questions, are not beyond all conjecture.

      This epigraph is taken from Thomas Browne’s "Urn Burial" and sets the tone for the rest of the story. Although it is not known what song the Siren’s sang as Odysseus passed the Sirens during his odyssey, it is possible to deduce what song he might have heard, and August Dupin uses his powers of deduction – his analytic ability – to do precisely this in solving the puzzle of “The Murders in the Rue Morgue.”.

    29. Edgar Allen Poe

      Edgar Allan Poe was (born in 1809 and died in 1849) was an American short-story writer, poet, critic, and editor, best known for his Gothic horror tales.  He was a master at using elements of mystery, psychological terror, and the macabre in his writing. For more information about Edgar Allan Poe, see Edgar Allan Poe PBS Biography

    30. The Murders in the Rue Morgue

      "The Murders in the Rue Morgue," first published in 1841, is widely considered to be the first modern detective story. It established many of the tropes that later became staples in detective fiction, including the brilliant amateur detective, the incompetent police, and the locked room mystery.

    31. ‘de nier ce qui est, et d’expliquer ce qui n’est pas.’”

      From French meaning to deny that which is and to explain it as that which it is not

    32. “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.

      Dupin once again expounds on the incompetence of the police, making a distinction between the cunning (the police) and the profound (Dupin).

    33. 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.

      Dupin has made a series of “legitimate deductions” from which he has developed a theory about who has committed the murders and he declares his theory as “inevitably” the only possible result. He goes on to describe each of his observations and deductions in great detail.

    34. Vidocq

      François Eugène Vidocq, born in 1775, was the world’s first private detective and was very well known in Paris at the time this story was written. Although Poe disparages Vidocq here, Poe drew on what he knew about Vidocq in developing the Dupin character.

    35. “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.

      “The Murders in the Rue Morgue” introduces a “locked room mystery” for the first time. In locked room mysteries, it seems that there is no possible way for the to have gotten in or out the “locked room” in which a murder or other crime has been committed. Later writers, including Arthur Conan Doyle, G.K. Chesterton, John Dickson Carr and Agatha Christie, continued to popularize this genre.

    36. “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 her, 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.

      Elements of Gothic fiction are evident in the graphic, bloody description of the violence done to Madame L’Espanaye and her daughter.

    37. “He is a very little fellow, that’s true, and would do better for the Théâtre des Variétés.”

      Here Dupin first reveals his extraordinary powers of analysis and deduction.

    38. Bi-Part Soul

      The narrator identifies a duality in Dupin (the Bi-Part Soul) - the imaginative or creative vs. the rational or “resolvent.”

    39. 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.

      This antisocial behavior seems abnormal and its hints at frightening or creepy things with references to “true Darkness,” “ghastliest and feeblest of rays,” “wild lights and shadows” and the “infinity of mental excitement.” This language calls to mind some of the imagery from Poe’s horror stories.

  2. Nov 2021
    1. The Murders in the Rue Morgue by Edgar Allen Poe

      “The Murders in the Rue Morgue” by Edgar Allen Poe, first published in 1841, is widely considered the first modern detective story and, with the character of C. Auguste Dupin, created a prototype for many future fictional detectives including Arthur Conan Doyle’s Sherlock Holmes.

  3. Sep 2021
    1. A sin, nor shame, nor loss of maidenhead,

      The mingling of blood cannot be viewed as a “sin” or “shame” or “loss of maidenhood,” neither can the mingling of bodily fluids during sex