And yet they are but detective-stories, after all; and Poe himself, never prone to underestimate what he had written, spoke of them lightly and even hinted that they had been overpraised. Probably they were easy writing—for him—and therefore they were not so close to his heart as certain other of his tales over which he had toiled long and laboriously. Probably also he felt the detective-story to be an inferior form. However superior his stories in this kind might be, he knew them to be unworthy of comparison with his more imaginative tales, which he had filled with a thrilling weirdness and which attained a soaring elevation far above any height to be achieved by ingenious narratives setting forth the solving of a puzzle.
It is in a letter to Philip Pendleton Cooke, written in 1846, that Poe disparaged his detective-stories and declared that they "owe most of their popularity to being something in a new key. I do not mean to say that they are not ingenious—but people think them more ingenious than they are—on account of their method and air of method. In the 'Murders in the Rue Morgue,' for instance, where is the ingenuity of unraveling a web which you yourself (the author) have woven for the express purpose of unraveling? The reader is made to confound the ingenuity of the supposititious Dupin with that of the writer of the story." Here, surely, Poe is over-modest; at least he over-states the case against himself. The ingenuity of the author obviously lies in his invention of a web which seemingly cannot be unraveled and which nevertheless one of the characters of the tale, Legrand or Dupin, succeeds in unraveling at last. This ingenuity may be, in one way, less than that required to solve an actual problem in real life; but it is also, in another way, more, for it had to invent its own puzzle and to put this together so that the secret seemed to be absolutely hidden, altho all the facts needed to solve it were plainly presented to the reader.
In the same letter to Cooke, Poe remarked on the "wide diversity and variety" of his tales when contrasted one with another; and he asserted that he did not consider any one better than another. "There is a vast variety of kinds, and in degree of value these kinds vary—but each tale is equally good of its kind." He added that "the loftiest kind is that of the highest imagination." For this reason only he considered that 'Ligeia' might be called the best of his stories. Now, after a lapse of threescore years, the 'Fall of the House of Usher,' with its "serene and somber beauty," would seem to deserve the first place of all. And among the detective-stories, standing on a lower plane as they do, because they were wrought by invention rather than by the interpreting imagination, the foremost position may be given to the 'Murders in the Rue Morgue.' In this tale Poe's invention is most ingenious and his subject is selected with the fullest understanding of the utmost possibilities of the detective-story. At the core of it is a strange, mysterious, monstrous crime; and M. Anatole France was never wiser than when he declared the unfailing interest of mankind in a gigantic misdeed "because we find in all crimes that fund of hunger and desire on which we all live, the good as well as the bad." Before a crime such as this we seem to find ourselves peering into the contorted visage of primitive man, obeying no law but his own caprice.
The superiority of the poet who wrote the first detective-story over all those who have striven to tread in the trail he blazed is obvious enough. It resides not only in his finer workmanship, his more delicate art, his surer certainty of execution, his more absolute knowledge of what it was best to do and of the way best to do this; it is to be seen not only in his command of verisimilitude, in his plausibility, in his faculty of enwrapping the figures of his narrative in the atmosphere most fit for them; it is not in any of these things or in all of them that Poe's supremacy is founded. The reason of that supremacy must be sought in the fact that, after all, Poe was a poet, and that he had the informing imagination of a poet, even tho it was only the more prosaic side of the faculty divine which he chose to employ in these tales of ratiocination.
It is by their possession of poetry, however slight their portion might be, that Fitzjames O'Brien and M. Jean Richepin and Mr. Rudyard Kipling were kept from frank failure when they followed in Poe's footsteps and sought to imitate, or at least to emulate his more largely imaginative tales in the 'Diamond Lens' of the Irish-American, in the 'Morts Bizarres' of the Frenchman, and in half a dozen tales of the Anglo-Indian. But what tincture of poesy, what sweep of vision, what magic of style, is there in the attempts of the most of the others who have taken pattern by Poe's detective-stories? None, and less than none. Ingenuity of a kind there is in Gaboriau's longer fictions, and in those of Fortuné du Boisgobey, and in those of Wilkie Collins; but this ingenuity is never so simply employed, and it is often artificial and violent and mechanical. It exists for its own sake, with little relation to the admitted characteristics of our common humanity. It stands alone, and it is never accompanied by the apparent ease which adds charm to Poe's handling of his puzzles.
Consider how often Gaboriau puts us off with a broken-backed narrative, taking up his curtain on a promising problem, presenting it to us in aspects of increasing difficulty, only at last to confess his impotence by starting afresh and slowly detailing the explanatory episodes which happened before the curtain rose. Consider how frequently Fortuné du Boisgobey failed to play fair. Consider how juiceless was the documentary method of Wilkie Collins, how mechanical and how arid, how futilely complicated, how prolonged, and how fatiguing. Consider all the minor members of the sorry brood hatched out of the same egg, how cheap and how childish the most of them are. Consider all these; and we are forced to the conclusion that if the writing of a good detective-story is so rare and so difficult, if only one of Poe's imitators has been able really to rival his achievement, if this single success has been the result of an acceptance of Poe's formula and of a close adherence to Poe's practise, then, what Poe wrought is really unique; and we must give him the guerdon of praise due to an artist who has accomplished the first time of trying that which others have failed to achieve even after he had shown them how.
(1904.)