BY EDGAR ALLAN POE
Poe was the first American short-story writer. Others had written stories that were short, but he was the first to recognize the short-story as having a form and an aim all its own. Moreover, he was willing to admit the public to his laboratory and to explain his process, for he discounted inspiration and emphasized craftsmanship. In "The Philosophy of Composition" he declares that every plot "must be elaborated to its denouement before anything is attempted with the pen. It is only with the denouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents and especially the tone, at all points, tend to the development of the intention." He also tells us that he prefers beginning with an effect. Having chosen, in the first place, an effect that is both novel and vivid, he decides "whether it can be best wrought by incident or tone," and afterward looks about "for such combinations of events, or tone, as shall best aid … in the construction of the effect."
In view of such explanations, it is interesting to study "The Gold Bug" and to see how well the plot has been worked out and the tone established. It is doubtful whether in this story the plot meant to the writer what it means to the reader. The latter likes the adventure with its ingeniously fitted parts, each so necessary to the whole. But after the gold has been found—and that is the point of greatest interest—the story goes on and on to explain the cryptogram. This, no doubt, was to Poe the most interesting thing about the story, the tracing of the steps by which the scrap of parchment was deciphered and reasoned upon and made to yield up its secret. As to the time and place, the strange conduct and character of Legrand, the fears and superstitions of Jupiter, and the puzzled solicitude of the narrator—all these aid materially in establishing and maintaining the tone.
THE GOLD BUG
[Footnote: From "The Works of Edgar Allan Poe," published by
Charles Scribner's Sons.]
"What ho' what ho' this fellow is dancing mad!
He hath been bitten by the Tarantula."
—All in the Wrong.
Many years ago, I contracted an intimacy with a Mr. William Legrand. He was of an ancient Huguenot family, and had once been wealthy; but a series of misfortunes had reduced him to want. To avoid the mortification consequent upon his disasters, he left New Orleans, the city of his forefathers, and took up his residence at Sullivan's Island, near Charleston, South Carolina.
This island is a very singular one. It consists of little else than the sea sand, and is about three miles long. Its breadth at no point exceeds a quarter of a mile. It is separated from the mainland by a scarcely perceptible creek, oozing its way through a wilderness of reeds and slime, a favorite resort of the marsh-hen. The vegetation, as might be supposed, is scant, or at least dwarfish. No trees of any magnitude are to be seen. Near the western extremity, where Fort Moultrie stands, and where are some miserable frame buildings, tenanted during summer by the fugitives from Charleston dust and fever, may be found, indeed, the bristly palmetto; but the whole island, with the exception of this western point, and a line of hard white beach on the seacoast, is covered with a dense undergrowth of the sweet myrtle, so much prized by the horticulturists of England. The shrub here often attains the height of fifteen or twenty feet, and forms an almost impenetrable coppice, burdening the air with its fragrance.
In the utmost recesses of this coppice, not far from the eastern or more remote end of the island, Legrand had built himself a small hut, which he occupied when I first, by mere accident, made his acquaintance. This soon ripened into friendship—for there was much in the recluse to excite interest and esteem. I found him well educated, with unusual powers of mind, but infected with misanthropy, and subject to perverse moods of alternate enthusiasm and melancholy. He had with him many books, but rarely employed them. His chief amusements were gunning and fishing, or sauntering along the beach and through the myrtles, in quest of shells or entomological specimens;—his collection of the latter might have been envied by a Swammerdamm. In these excursions he was usually accompanied by an old negro, called Jupiter, who had been manumitted before the reverses of the family, but who could be induced, neither by threats nor by promises, to abandon what he considered his right of attendance upon the footsteps of his young "Massa Will." It is not improbable that the relatives of Legrand, conceiving him to be somewhat unsettled in intellect, had contrived to instil this obstinacy into Jupiter, with a view to the supervision and guardianship of the wanderer.