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Page 9
I then asked Bainbridge what it was in Poe's prose that he so much
admired.
"Poe's strong element of power as a writer of short stories," said
Bainbridge, "is, I think, his scientific imagination--the same capacity,
strange as the statement may appear, that, when directed into another
channel, makes a great physicist. It strikes me as inaccurate to say
that Newton discovered the law of gravitation. Newton imagined the fact
of a law of physical gravitation; and then he proceeded to prove _the_
law of gravitation, accomplishing the discovery by means of a second
attribute of genius--viz., tireless mental energy--the possession of a
talent for rigorous mental application and severe nervous strain. In the
sense that Columbus discovered America--in that sense, Newton discovered
the law of gravitation: Columbus imagined an America, and then proceeded
to make a physical demonstration of his belief by discovering the
Bahamas. The same faculty--scientific imagination--in Poe gave us 'A
Descent into the Maelstrom, The Murders in the Rue Morgue,' and other of
his tales. And not alone in physics, but in metaphysics, did his
imagination open up to him just conceptions; so that in the field of
both healthy and morbid mental action his 'intuitive' knowledge was
unerring. 'The Fall of the House of Usher' is so true to the real in
conception, and so consummate in portrayal, that the more one knows
about the mind, the more he inclines to wonder whether these
compositions might not have been aided by actual personal experience.
Yet these delineations are purely imaginative. Take 'The Imp of the
Perverse, The Tell-Tale Heart,' and similar of his stories, not all of
which could in reason have come within the experience of one man, and
which are undoubtedly grounded upon intuitive suggestion."
I asked him which of Poe's tales he thought the best.
"That would indeed be difficult to determine," he replied. "If the
criterion is to be my own intellectual enjoyment, I should mention one;
if my feelings, then another. It is possible that I might select one in
which my intellectual enjoyment, and my feelings pure and simple, were
about equally engaged. We shall probably agree that the most important
object of fiction is to produce in the reader a state of feeling, just
as musical composition is intended to produce a state of feeling--the
short story being comparable with a brief musical production intended to
produce a single variety of emotion; the novel, to the music of an opera
with its many parts, intended each to excite a particular state of
feeling. Naturally prose fiction may, and almost necessarily does, have
other objects. Now the reading of 'The Fall of the House of Usher'
produces a certain state of emotion, and that wholly apart from any
appeal to intellect; no endeavor to do more than produce that state of
feeling is made, nothing more than that is effected, and that much is
attained in a manner which no pen that has traced short-story fiction,
save that of Poe, has ever accomplished. Hence, if the production of
feeling--an appeal to the purely moral side of the triangle of mind--be
the paramount essential in fiction, 'The Fall of the House of Usher' is
the best short story in the English language."
Here Doctor Bainbridge rose from his chair, and taking a turn or two
across the floor, continued, in tones indicating vexation,
"Why has not somebody with a ray of the imagination necessary to a
comprehension of Poe's genius given us at least a decent sketch of his
brief life! Was Poe in a state of mental aberration when he made
Griswold his literary executor? Is the world forever to hear of him only
from those who see the dark side of his life and know nothing of his
life's work?--from those who look at his life and his life's work
through the smoked glass of their dull provincial minds? Let us hope for
an assay of what is left to us of Poe--an assay which, not wholly
ignoring the little dross, will still lose no grain of the pure, virgin
gold, and give to the world something approaching what is due to the
genius himself, and what, with such a subject, is due to the world."
"Let me alter my question--or, I should say, ask a different one," I
said, when he had again seated himself: "Which of Poe's stories most
interested you? From which did you receive the most satisfaction?"
"I have been more occupied and interested by 'The Narrative of A. Gordon
Pym' than by any two or three of his other stories."
I expressed surprise at this avowal; and my comments on what appeared to
me to show a peculiar taste implied a desire for explanation. He
continued:
"Although 'The Narrative of A. Gordon Pym' has served as a suggestion,
or even a pattern, for some of our best recent stories of adventure, and
although it has many points of excellence in itself, it is not the story
alone, but the opportunity which the story affords of an analysis of
Poe's mind, that creates the greater interest for me. I have always been
puzzled to find a reasonably adequate cause for the incomplete state of
that narrative. The supposition that Poe had not at his disposal, at the
moment he required it, the necessary time for its completion is an
hypothesis which I only mention to dispose of. At its close he wrote and
added to the narrative a 'Note' of nearly a thousand words; and in the
time required for the penning of that addition, he could have brought
the story to--perhaps an abrupt, but still, an artistic close. No. Then
did Poe not complete 'The Narrative of A. Gordon Pym' because his
imagination failed him--failed to supply material of such a quality as
his refined and faultless taste demanded? If so, then why did he begin
it? Why write more than sixty thousand words in his usual careful and
precise style, on a subject to him little known, in to him a new field
of literary effort? He could in the time required to write 'The
Narrative of A. Gordon Pym' have written from five to ten short stories
along familiar lines. No: none of these hypotheses explains the
unfinished state of that narrative. My explanation is that the story has
a foundation in fact, and that Poe himself never learned more than a
foundation for the portion which he wrote. Its leading character next to
Pym is one Dirk Peters, a sailor, mutineer, etc. It is my theory that
Pym and Peters existed in fact, but that Poe never met either of them,
though he did meet sailors who had known Dirk Peters, and that he heard
from them the first part of the story, in the form in which it grew to
be repeated by seafaring men along the New England coast in the '30s and
'40s. Having heard what he supposed to be sufficient, with the aid of
his own imagination, to make an interesting story for publication, Poe
began and continued to write. Then, as he progressed, he found that his
imagination was embarrassed--frustrated by the known facts already
employed--whilst it was not assisted by new facts which he was positive
existed, but which he could not procure. As he attempted to close the
narrative, the cold, written page was a very different thing from what
he had conceived it would be as he sat in the tap-room of some New
England old 'Sailor's Home,' with a couple of glasses of Burton ale on
the table, listening through the drowsy afternoon to the fact and
fiction of some old 'tar,' as the two looked across the white-sanded
floor at the old moss-grown dock without, and listened to the salt
wavelets splashing against its rotting timbers, and watched the far-
distant sails on the outer sea. It is not very difficult to picture to
one's self Poe searching among these sailors' lodging-houses for Dirk
Peters; nor is it unreasonable to assume that he did so search for him.
If Dirk Peters was twenty-seven years old in 1827, when the mutiny
occurred, he was only forty-nine at the time of Poe's death--in fact,
would be only seventy-seven if now alive. Poe says in his 'Note,' that
'Peters, from whom some information might be expected, is still alive,
and a resident of Illinois, but cannot be met with at present. He may
hereafter be found, and will, no doubt, afford material for a conclusion
of Mr. Pym's account.' I have no doubt that Poe eventually learned
exactly where Peters resided; but no matter how much Poe may have
desired to meet with Peters, he could not have done so. In the '40s it
was a long, tedious, expensive journey from New York to Illinois. Still,
Poe hoped some day to meet Peters, and did not care to say to the public
exactly where he could be met with. Then came Poe's unutterably sad
death, leaving the narrative incomplete."
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