1. Introduction: On this Term Paper

Edgar Allan Poe is generally regarded as one of the most important and famous American authors. He wrote many short stories, poems and reviews. This term paper has not the aim to concentrate on his whole work but to examine a certain story.

The writer is especially famous for his “ tales of ratiocination” (Carlson 319). One of these stories, “ The Murders in the Rue Morgue” , shall be the central subject of this paper. Poe himself commented on this story to be “ something in a new key” (Silverman 173). What I want to prove throughout this work is why “ Rue Morgue” nowadays signifies not only

VRPHWKLQJ that was new, but the prototype of the modern detective story (a thesis we find in

most of the literary encyclopaedias).

For reaching a satisfactory final result, it is necessary to have, at first, a look at the definition of the “ short prose narrative” (Ahrends 19), which was given by Poe himself. This term is closely connected to the “ tales of ratiocination” in which the usage of Poe’s primary principles reaches nearly perfection. This “ perfection” is above all to be found in the story “ Rue Morgue” , one of the best examples of Poe’s writing skills and the beginning of the creation of a new establishing literary genre. The analysis of the “ Rue Morgue” will try to justify this thesis. Therefore, a further look at the main characters, the structure of the story, the reader’s expected reaction and more is required.

Finally, this working process shall lead me to my actual aim: The justification of the prototypical character of the “ Rue Morgue” for (modern) detective fiction by summarizing the important features and elements of this literary genre. 2. Poe’s Theoretical Approach to the Short Story

For Poe (as one of the first theorists in this field), the short story was of nearly the same importance like the poem: Both should be seen at the highest level of the hierarchy of all literary genres (Ahrends 14). To justify this thesis, he argued that only a short tale could reach the required aim (or effect): a unified impression or a single effect on the mind of the reader created through the author’s work (Dameron 267). The main task of literature is to raise and excite the reader, to get him under control. This result can only be reached if the work is characterized by “ unity” concerning to the intended effect as well as the formal shape of the work (Ahrends 14-16).

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This demand leads to a certain way of the production of a short story: Poe does not speak of a process of inspiration and intention. It is rather a conscious construction (15). A skilful literary artist has constructed a tale. If wise, he has not fashioned his thoughts to

accommodate his incidents: but having conceived, with deliberate care, a certain unique or single

HIIHFWto be wrought out, he then invents such incidents-he then combines such events as may best

aid him in establishing this preconceived effect. If his very initial sentence tends not to the out

bringing of this effect, then he has failed in his first step. In the whole composition there should be

no word written, of which the tendency, direct or indirect, is not to the one pre-established design.

And by such means, with such care and skill, a picture is at length painted which leaves in the mind

of him who contemplates it with a kindred art, a sense of the fullest satisfaction. The idea of the

tale has been presented unblemished, because undisturbed. (qtd. in Dameron 267)

Therefore, the construction of the literary work depends on analytical planning done by the author as well as on a combinatory process in his mind, which both have to serve the intended effect. This is only possible if the story is written backwards. Besides, it is also necessary to have an optimal shaped story that might be read within one session as otherwise no desired result (effect) can be reached (Ahrends 15-16). In general, it is to say that content and form of the story have to form a well-constructed and economical unit.

This theoretical frame is the basis for Poe’ s literary work, and especially for his “ tales of ratiocination” which, as we will see throughout the analysis of “ Rue Morgue” , were constructed consciously by fulfilling the stated conditions.

The story was published in April 1841 in *UDKDPV 0DJD]LQH (for which Poe worked as

assistant editor [Dameron 265]). It was a period of urbanization in the United States and “ crime was much in the air.” (Silverman 171). “ American cities increased number and pay of policemen and fostered scientific police work” (171). Sensational newspapers printed more and more records of criminal trials and reported suicides and murders” (171). These articles gave many hints to Poe (172) and as a result, the readers were given the enjoyment of being entertained by a “ detective story” (an expression which did not exist at this time in the English language [173]).

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3.2 Structural Examination

Since I argued at the beginning of the term paper that the “ Rue Morgue” serves as the prototype of the modern detective story, it is necessary to have a look on its structure. What is so special and characteristic about it that it could become the prototype for detective stories? Does the story contain the necessary elements and features, which were mentioned by Poe to create a good and effective story?

Concerning to Poe’ s theory on the short tale, the story as a whole has to form a unity. This is what we find in “ Rue Morgue” as it seems to be a precisely constructed and well-planned story. At the beginning, we have a quotation that represents the motto for the whole story: It is assumed that any human mind has the capability of solving a riddle that was created by any other human mind (Buchloh 35). This human characteristic of being able to solve almost all mysterious problems leads the reader to the assumption that this story will deal with something explainable and not abstract, artificial or imaginative. The reader does not expect a mysterious or preternatural story. Therefore, even the initial sentence produces a certain atmosphere, which influences the attitude of the reader. That will finally help to reach the intended effect - an important condition stated by Poe.

The motto is followed by a scientific essay on the analytical power of the human being. It provides different thesises, which are going to be justified or proved by the story itself: an analytical mind has more value than a just calculating mind and “ the analyst is necessarily ingenious, the ingenious man is often remarkably incapable of analysis.” (Morgue 2-4). This essay is not placed at the beginning of the story because the author wanted to present his personal opinion about a specific subject. His target was to prepare the reader, who should expect an extraordinary proof of the stated arguments.

It is sure that motto and essay did not become an essential part of a general “ detective story construction model.” They do not belong to the prose part of the story. Moreover, the actual story of crime and its solution has a structure that is worth being taken as a model. The scheme is as follows:

At the beginning of the story the detective is introduced, the narrator gives an image of the character and the admired skills of the detective. Since this person has superior qualities, as the narrator thinks, a short proof of the detective’ s abilities is given. After this, when the reader of the story is expectedly convinced of the detective’ s work and qualities, the crime is presented. The detective shows his interest in the presented case because it seems unsolvable

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