Text: Anonymous, “New Edition of the Works of Edgar Allan Poe,” Inter Ocean (Chicago, IL), January 25, 1896, p. 10, col. 3

page 10, column 3:]

“The Works of Edgar Allan Poe,” edited by Clarence Stedman and G. E. Woodberry, from Messrs. Stone & Kimball, Chicago publishers. The Inter Ocean is in receipt of the tenth and closing volume of the handsome series of Poe's works. It is devoted to the poetry Poe, with a lengthy introduction by Mr. Stedman, with copious notes and bibliography. While it may continue to, be said by the critics that Poe best exhibited his genius in his prose writings, the multitude of his admirers will continue to doubt it, and go on admiring his musical verse. They may talk of its being “imitative,” and “suggested” by this poet or that, as the critics love to do, but they cannot change the fact that Poe was a poet, and if he gathered inspiration from others, be so molded and mastered and interwove it into his own life as to belong to his own genius. He began his writing as a poet, and many of his productions show crudeness; and much that he wrote could be eliminated and add to his fame. His grander poems, according to the facts narrated in the volume. grew up from “The Raven,” “The Bells,” were at first fragmentary, and were retouched time and again before they met the author's approval. Du Solle says: “The poem of ‘The Raven’ was produced stanza by stanza at small intervals and submitted for criticism to his intimates.” He declares that “it was a kind of joint stock affair, in which many minds held shares of intellectual capital.” He rather gives himself away in claiming that “changes were made at my suggestion.” The same author goes on to “Poe was accustomed to declaiming his poetry when intoxicated in liquor saloons.” Mr. Rosenbach, in the American of Feb. 26, 1887, says: “I read ‘The Raven’ long before it was published, and was in George R. Graham's office when the poem was offered him. Poe said that his wife and Mrs. Clemm were starving, and that he was in very pressing need of money. I carried $15 contributed by Mr. Graham, Mr. Godey, Mr. McMichael, and others.” He adds, “They condemned the poem, but gave the money in charity.” This was in 1843-44. A collection of Poe's poems, which included “‘The Raven” was published in 1845. Poe says of the contents in his preface: “In defense of my own taste, nevertheless, it is incumbent on me to that I think nothing in this volume of say much value to the public, or very creditable to myself. With me, poetry has been not a purpose, but a passion; and the passion should be held in reverence.” It is not strange that the poet should think his lines had “nothing of value,” when his literary critics had rejected his best lines, and while the dear ones in his home “were starving,” had given him “$15 in charity,” instead of in payment for his work. Could the poet have lived to see how “The Raven,” “The Bells” and “Annabel Lee” have been received by the millions, it doubtles [[doubtless]] would have changed some of the sorrows of his sad life to gladness, and built up hope instead of deep-brooding despair. Undoubtedly much of the harsh criticism of Poe's poetry has been called out of his miserable and unhappy life. But the reader of his wonderfully musical lines will not care to stop to listen to the story of the singer, but rather to hear the music his muse called forth, when his soul was lifted above these temptations of earth. The standing that Poe has today as poet, after more than fifty years, in the halt a dozen poems we have mentioned are an indication that he has a firm place, and that hie songs will be honored for generations to come. The beautiful volume which closes the fine series will be most read of them all.