The Murders in the Rue Morgue

"The Murders in the Rue Morgue" is a short story by Edgar Allan Poe published in Graham's Magazine in 1841. It has been described as the first modern detective story;[1][2] Poe referred to it as one of his "tales of ratiocination".[1]

C. Auguste Dupin is a man in Paris who solves the mystery of the brutal murder of two women. Numerous witnesses heard a suspect, though no one agrees on what language was spoken. At the murder scene, Dupin finds a hair that does not appear to be human.

As the first fictional detective, Poe's Dupin displays many traits which became literary conventions in subsequent fictional detectives, including Sherlock Holmes and Hercule Poirot. Many later characters, for example, follow Poe's model of the brilliant detective, his personal friend who serves as narrator, and the final revelation being presented before the reasoning that leads up to it. Dupin himself reappears in "The Mystery of Marie Rogêt" and "The Purloined Letter".

"The Murders in the Rue Morgue"
Facsimile of Poe's original manuscript for "The Murders in the Rue Morgue"
AuthorEdgar Allan Poe
CountryUnited States
Genre(s)Detective fiction
Short story
Published inGraham's Magazine
Media typePrint (Magazine)
Publication dateApril 1841

Plot summary

Aubrey Beardsley - Edgar Poe 1
Illustration by Aubrey Beardsley of "The Murders in the Rue Morgue", 1895

The unnamed narrator of the story opens with a lengthy commentary on the nature and practice of analytical reasoning, then describes the circumstances under which he first met Dupin during an extended visit to Paris. The two share rooms in a dilapidated old mansion and allow no visitors, having cut off all contact with past acquaintances and venturing outside only at night. "We existed within ourselves alone," the narrator states. One evening, Dupin demonstrates his analytical prowess by deducing the narrator's thoughts about a particular stage actor, based on clues gathered from the narrator's previous words and actions.

During the remainder of that evening and the following morning, Dupin and the narrator read with great interest the newspaper accounts of a baffling double murder. Madame L'Espanaye and her daughter have been found dead at their home in the Rue Morgue, a fictional street in Paris. The mother was found in a yard behind the house, with multiple broken bones and her throat so deeply cut that her head fell off when the body was moved. The daughter was found strangled to death and stuffed upside down into a chimney. The murders occurred in a fourth-floor room that was locked from the inside; on the floor were found a bloody straight razor, several bloody tufts of gray hair, and two bags of gold coins. Several witnesses reported hearing two voices at the time of the murder, one male and French, but disagreed on the language spoken by the other. The speech was unclear, and all witnesses claimed not to know the language they believed the second voice to be speaking.

When a bank clerk named Adolphe Le Bon is arrested even though no evidence exists pointing to his guilt (other than his delivering the gold coins to the two ladies the day before), Dupin becomes intrigued and remembers a service that Le Bon once performed for him. He decides to offer his assistance to "G–", the prefect of police.

Because none of the witnesses can agree on the language the murderer spoke, Dupin concludes they were not hearing a human voice at all. He and the narrator examine the house thoroughly; the following day, Dupin dismisses the idea of both Le Bon's guilt and a robbery motive, citing the fact that the gold was not taken from the room. He also points out that the murderer would have had to have superhuman strength to force the daughter's body up the chimney. He formulates a method by which the murderer could have entered the room and killed both women, involving an agile climb up a lightning rod and a leap to a set of open window shutters. Showing an unusual tuft of hair he recovered from the scene, and demonstrating the impossibility of the daughter being strangled by a human hand, Dupin concludes that an "Ourang-Outang" (orangutan) killed the women. He has placed an advertisement in the local newspaper asking if anyone has lost such an animal, and a sailor soon arrives looking for it.

The sailor offers to pay a reward, but Dupin is interested only in learning the circumstances behind the two murders. The sailor explains that he captured the orangutan while in Borneo and brought it back to Paris, but had trouble keeping it under control. When he saw the orangutan attempting to shave its face with his straight razor, imitating his morning grooming, it fled into the streets and reached the Rue Morgue, where it climbed up and into the house. The orangutan seized the mother by the hair and was waving the razor, imitating a barber; when she screamed in fear, it flew into a rage, ripped her hair out, slashed her throat, and strangled the daughter. The sailor climbed up the lightning rod in an attempt to catch the animal, and the two voices heard by witnesses belonged to it and to him. Fearing punishment by its master, the orangutan threw the mother's body out the window and stuffed the daughter into the chimney before fleeing.

The sailor sells the orangutan, Le Bon is released from custody, and G– mentions that people should mind their own business once Dupin tells him the story. Dupin comments to the narrator that G– is "somewhat too cunning to be profound", but admires his ability "de nier ce qui est, et d'expliquer ce qui n'est pas" (a quote from Julie, or the New Heloise by Jean-Jacques Rousseau: "to deny that which is, and explain that which is not").

Themes and analysis

Poe rue morgue byam shaw
The moment Dupin questions the sailor about the murders. Illustration by Byam Shaw for a London edition dated 1909 with caption "The sailor's face flushed up; he started to his feet and grasped his cudgel".

In a letter to friend Dr. Joseph Snodgrass, Poe said of "The Murders in the Rue Morgue", "its theme was the exercise of ingenuity in detecting a murderer."[3] Dupin is not a professional detective; he decides to investigate the murders in the Rue Morgue for his personal amusement. He also has a desire for truth and to prove a falsely accused man innocent. His interests are not financial and he even declines a monetary reward from the owner of the orangutan.[4] The revelation of the actual murderer removes the crime, as neither the orangutan nor its owner can be held responsible.[5] Poe scholar Arthur Hobson Quinn speculates that later detective stories might have set up M. Le Bon, the suspect who is arrested, as appearing guilty as a red herring, though Poe chose not to.[6]

Poe wrote "The Murders in the Rue Morgue" at a time when crime was at the forefront in people's minds due to urban development. London had recently established its first professional police force and American cities were beginning to focus on scientific police work as newspapers reported murders and criminal trials.[1] "The Murders in the Rue Morgue" continues an urban theme that was used several times in Poe's fiction, in particular "The Man of the Crowd", likely inspired by Poe's time living in Philadelphia.[7]

The tale has an underlying metaphor for the battle of brains vs. brawn. Physical strength, depicted as the orangutan as well as its owner, stand for violence: the orangutan is a murderer, while its owner admits he has abused the animal with a whip. The analyst's brainpower overcomes their violence.[8] The story also contains Poe's often-used theme of the death of a beautiful woman, which he called the "most poetical topic in the world".[9][10]

Dupin's method

Poe defines Dupin's method, ratiocination, using the example of a card player: "the extent of information obtained; lies not so much in the validity of the inference as in the quality of the observation."[11][12] Poe then provides a narrative example where Dupin explains how he knew the narrator was thinking about the actor Chantilly.[13][14] Dupin then applies his method to the solving of this crime.

Dupin's method emphasizes the importance of reading and the written word. The newspaper accounts pique his curiosity; he learns about orangutans from a written account by "Cuvier" — likely Georges Cuvier, the French zoologist. This method also engages the reader, who follows along by reading the clues himself.[15] Poe also emphasizes the power of the spoken word. When Dupin asks the sailor for information about the murders, the sailor himself acts out a partial death: "The sailor's face flushed up as if he were struggling with suffocation... the next moment he fell back into his seat, trembling violently, and with the countenance of death itself."[16]

Literary significance and reception

Poe biographer Jeffrey Meyers sums up the significance of "The Murders in the Rue Morgue": "[it] changed the history of world literature."[2] Often cited as the first detective fiction story, the character of Dupin became the prototype for many future fictional detectives, including Arthur Conan Doyle's Sherlock Holmes and Agatha Christie's Hercule Poirot. The genre is distinctive from a general mystery story in that the focus is on analysis.[17] Poe's role in the creation of the detective story is reflected in the Edgar Awards, given annually by the Mystery Writers of America.[18]

"The Murders in the Rue Morgue" also established many tropes that would become common elements in mystery fiction: the eccentric but brilliant detective, the bumbling constabulary, the first-person narration by a close personal friend. Poe also portrays the police in an unsympathetic manner as a sort of foil to the detective.[19] Poe also initiates the storytelling device where the detective announces his solution and then explains the reasoning leading up to it.[20] It is also the first locked room mystery in detective fiction.[21]

Upon its release, "The Murders in the Rue Morgue" and its author were praised for the creation of a new profound novelty.[9] The Pennsylvania Inquirer printed that "it proves Mr Poe to be a man of genius... with an inventive power and skill, of which we know no parallel."[21] Poe, however, downplayed his achievement in a letter to Philip Pendleton Cooke:[22]

These tales of ratiocination 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 in unraveling a web which you yourself... have woven for the express purpose of unraveling?"[3]

Modern readers are occasionally put off by Poe's violation of an implicit narrative convention: readers should be able to guess the solution as they read. The twist ending, however, is a sign of "bad faith" on Poe's part because readers would not reasonably include an orangutan on their list of potential murderers.[23]


The word detective did not exist at the time Poe wrote "The Murders in the Rue Morgue",[9] though there were other stories that featured similar problem-solving characters. Das Fräulein von Scuderi (1819), by E. T. A. Hoffmann, in which Mlle. de Scuderi, a kind of 19th-century Miss Marple, establishes the innocence of the police's favorite suspect in the murder of a jeweler, is sometimes cited as the first detective story.[24] Other forerunners include Voltaire's Zadig (1748), with a main character who performs similar feats of analysis,[1] themselves borrowed from The Three Princes of Serendip, an Italian rendition of Amir Khusro's "Hasht-Bihisht".[25]

Poe may also have been expanding on previous analytical works of his own including the essay on "Maelzel's Chess Player" and the comedic "Three Sundays in a Week".[21] As for the twist in the plot, Poe was likely inspired by the crowd reaction to an orangutan on display at the Masonic Hall in Philadelphia in July 1839.[2] The name of the main character may have been inspired from the "Dupin" character in a series of stories first published in Burton's Gentleman's Magazine in 1828 called "Unpublished passages in the Life of Vidocq, the French Minister of Police".[26] Poe would likely have known the story, which features an analytical man who discovers a murderer, though the two plots share little resemblance. Murder victims in both stories, however, have their neck cut so badly that the head is almost entirely removed from the body.[27] Dupin actually mentions Vidocq by name, dismissing him as "a good guesser".[28]

Publication history

Murders Rue Morgue 1843 prose
The Prose Romances of Edgar A. Poe, No. I, William H. Graham, Philadelphia, 1843.

Poe originally titled the story "Murders in the Rue Trianon" but renamed it to better associate with death.[29] "The Murders in the Rue Morgue" first appeared in Graham's Magazine in April 1841 while Poe was working as an editor. He was paid an additional $56 for it — an unusually high figure; he was only paid $9 for "The Raven".[30] In 1843, Poe had the idea to print a series of pamphlets with his stories entitled The Prose Romances of Edgar A. Poe. He printed only one, "The Murders in the Rue Morgue" oddly collected with the satirical "The Man That Was Used Up". It sold for 12 and a half cents.[31] This version included 52 changes from the original text from Graham's, including the new line: "The Prefect is somewhat too cunning to be profound", a change from the original "too cunning to be acute".[32] "The Murders in the Rue Morgue" was also reprinted in Wiley & Putnam's collection of Poe's stories simply called Tales. Poe did not take part in selecting which tales would be collected.[33]

Poe's sequel to "The Murders in the Rue Morgue" was "The Mystery of Marie Rogêt", first serialized in December 1842 and January 1843. Though subtitled "A Sequel to 'The Murders in the Rue Morgue'", "The Mystery of Marie Rogêt" shares very few common elements with "The Murders in the Rue Morgue" beyond the inclusion of C. Auguste Dupin and the Paris setting.[34] Dupin reappeared in "The Purloined Letter", which Poe called "perhaps the best of my tales of ratiocination" in a letter to James Russell Lowell in July 1844.[35]

The original manuscript of "The Murders in the Rue Morgue" which was used for its first printing in Graham's Magazine was discarded in a wastebasket. An apprentice at the office, J. M. Johnston, retrieved it and left it with his father for safekeeping. It was left in a music book, where it survived three house fires before being bought by George William Childs. In 1891, Childs presented the manuscript, re-bound with a letter explaining its history, to Drexel University.[36] Childs had also donated $650 for the completion of Edgar Allan Poe's new grave monument in Baltimore, Maryland in 1875.[37]

"The Murders in the Rue Morgue" was one of the earliest of Poe's works to be translated into French. Between June 11 and June 13, 1846, "Un meurtre sans exemple dans les Fastes de la Justice" was published in La Quotidienne, a Paris newspaper. Poe's name was not mentioned and many details, including the name of the Rue Morgue and the main characters ("Dupin" became "Bernier"), were changed.[38] On October 12, 1846, another uncredited translation, renamed "Une Sanglante Enigme", was published in Le Commerce. The editor of Le Commerce was accused of plagiarizing the story from La Quotidienne. The accusation went to trial and the public discussion brought Poe's name to the attention of the French public.[38]


"The Murders in the Rue Morgue" has been adapted for radio, film and television many times.

See also


  1. ^ a b c d Silverman 1991, p. 171
  2. ^ a b c Meyers 1992, p. 123
  3. ^ a b Quinn 1998, p. 354
  4. ^ Whalen 2001, p. 86
  5. ^ Cleman 1991, p. 623
  6. ^ Quinn 1998, p. 312
  7. ^ Silverman 1991, p. 172
  8. ^ Rosenheim 1997, p. 75
  9. ^ a b c Silverman 1991, p. 173
  10. ^ Hoffman 1972, p. 110
  11. ^ Poe 1927, p. 79
  12. ^ Harrowitz 1984, pp. 186–187
  13. ^ Poe 1927, pp. 82–83
  14. ^ Harrowitz 1984, pp. 187–192
  15. ^ Thoms 2002, pp. 133–134
  16. ^ Kennedy 1987, p. 120
  17. ^ a b Sova 2001, pp. 162–163
  18. ^ Neimeyer 2002, p. 206
  19. ^ Van Leer 1993, p. 65
  20. ^ Cornelius 2002, p. 33
  21. ^ a b c Silverman 1991, p. 174
  22. ^ Kennedy 1987, p. 119
  23. ^ Rosenheim 1997, p. 68
  24. ^ Booker 2004, p. 507
  25. ^ Merton 2006, p. 16
  26. ^ Cornelius 2002, p. 31
  27. ^ Ousby 1972, p. 52
  28. ^ Quinn 1998, p. 311
  29. ^ Sova 2001, p. 162
  30. ^ Ostram 1987, pp. 39,40
  31. ^ Ostram 1987, p. 40
  32. ^ Quinn 1998, p. 399
  33. ^ Quinn 1998, pp. 465–466
  34. ^ Sova 2001, p. 165
  35. ^ Quinn 1998, p. 430
  36. ^ Boll 1943, p. 302
  37. ^ Miller 1974, pp. 46–47
  38. ^ a b Quinn 1998, p. 517
  39. ^
  40. ^ Hischak, Thomas S. (2012). American Literature on Stage and Screen. NC, USA: McFarland. p. 153. ISBN 978-0-7864-6842-3.
  41. ^
  42. ^


  • Boll, Ernest (May 1943). "The Manuscript of 'The Murders in the Rue Morgue' and Poe's Revisions". Modern Philology. 40 (4).
  • The Seven Basic Plots. Booker, Christopher (2004). The Seven Basic Plots. London: Continuum. ISBN 978-0-8264-8037-8.
  • Cleman, John (December 1991). "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense". American Literature. Durham, NC: Duke University Press. 63 (4): 623–640. doi:10.2307/2926871. JSTOR 2926871.
  • Cornelius, Kay (2002), "Biography of Edgar Allan Poe", in Harold Bloom (ed.), Bloom's BioCritiques: Edgar Allan Poe, Philadelphia, PA: Chelsea House Publishers, ISBN 978-0-7910-6173-2
  • Harrowitz, Nancy (1984), "The Body of the Detective Model: Charles S. Peirce and Edgar Allan Poe", in Umberto Eco; Thomas Sebeok (eds.), The Sign of Three: Dupin, Holmes, Peirce, Bloomington, IN: History Workshop, Indiana University Press, pp. 179–197, ISBN 978-0-253-35235-4. Harrowitz discusses Dupin's method in the light of Charles Sanders Peirce's logic of making good guesses or abductive reasoning.
  • Hoffman, Daniel (1972). Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press. ISBN 978-0-8071-2321-8.
  • Kennedy, J. Gerald (1987). Poe, Death, and the Life of Writing. New Haven: Yale University Press. ISBN 978-0-300-03773-9.
  • Merton, Robert K. (2006). The travels and adventures of serendipity : a study in sociological semantics and the sociology of science (Paperback ed.). Princeton, NJ: Princeton University Press. p. 16. ISBN 978-0691126302.
  • Meyers, Jeffrey (1992). Edgar Allan Poe: His Life and Legacy (Paperback ed.). New York: Cooper Square Press. ISBN 978-0-8154-1038-6.
  • Miller, John C. (December 1974). "The Exhumations and Reburials of Edgar and Virginia Poe and Mrs. Clemm". Poe Studies. vii (2): 46–47. doi:10.1111/j.1754-6095.1974.tb00236.x.
  • Neimeyer, Mark (2002). "Poe and Popular Culture". In Hayes, Kevin J. (ed.). The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. pp. 205–224. ISBN 978-0-521-79727-6.
  • Poe, Edgar Allan (1927), Collected Works of Edgar Allan Poe, New York: Walter J. Black
  • Ostram, John Ward (1987). "Poe's Literary Labors and Rewards". Myths and Reality: The Mysterious Mr. Poe. Baltimore: The Edgar Allan Poe Society. pp. 37–47.
  • Ousby, Ian V. K. (December 1972). "The Murders in the Rue Morgue and 'Doctor D'Arsac': A Poe Source". Poe Studies. V (2): 52. doi:10.1111/j.1754-6095.1972.tb00201.x.
  • Quinn, Arthur Hobson (1998). Edgar Allan Poe: A Critical Biography. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-5730-0.
  • Rosenheim, Shawn James (1997). The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-5332-6.
  • Silverman, Kenneth (1991). Edgar A. Poe: Mournful and Never-Ending Remembrance (Paperback ed.). New York: Harper Perennial. ISBN 978-0-06-092331-0.
  • Sova, Dawn B. (2001). Edgar Allan Poe A to Z: The Essential Reference to His Life and Work (Paperback ed.). New York: Checkmark Books. ISBN 978-0-8160-4161-9.
  • Thoms, Peter (2002). "Poe's Dupin and the Power of Detection". In Hayes, Kevin J. (ed.). The Cambridge Companion to Edgar Allan Poe. Cambridge: Cambridge University Press. pp. 133–147. ISBN 978-0-521-79326-1.
  • Van Leer, David (1993). "Detecting Truth: The World of the Dupin Tales". In Silverman, Kenneth (ed.). The American Novel: New Essays on Poe's Major Tales. Cambridge: Cambridge University Press. pp. 65–92. ISBN 978-0-521-42243-7.
  • Whalen, Terance (2001). "Poe and the American Publishing Industry". In Kennedy, J. Gerald (ed.). A Historical Guide to Edgar Allan Poe. New York: Oxford University Press. ISBN 978-0-19-512150-6.

External links

1841 in literature

This article presents lists of the literary events and publications in 1841.

Aeba Koson

Koson Aeba (饗庭 篁村, August 15, 1855 – June 20, 1922) was a Japanese author, theater critic, and calligraphy master. His real name is Yosaburou Aeba (饗庭與三郎). He was also called "The Master of the Bamboo Hut" (竹の屋主人).

He was born in Shitaya Ryuusenji-cho in Taitō Ward, Tokyo.

Among his works is his translation of Edgar Allan Poe's The Murders in the Rue Morgue. He is buried in Somei cemetery in Tokyo.

C. Auguste Dupin

Le Chevalier C. Auguste Dupin [oɡyst dypɛ̃] is a fictional character created by Edgar Allan Poe. Dupin made his first appearance in Poe's "The Murders in the Rue Morgue" (1841), widely considered the first detective fiction story. He reappears in "The Mystery of Marie Rogêt" (1842) and "The Purloined Letter" (1844).

Dupin is not a professional detective and his motivations for solving the mysteries change throughout the three stories. Using what Poe termed "ratiocination", Dupin combines his considerable intellect with creative imagination, even putting himself in the mind of the criminal. His talents are strong enough that he appears able to read the mind of his companion, the unnamed narrator of all three stories.

Poe created the Dupin character before the word detective had been coined. The character laid the groundwork for fictional detectives to come, including Sherlock Holmes, and established most of the common elements of the detective fiction genre.

Graham's Magazine

Graham's Magazine was a nineteenth-century periodical based in Philadelphia established by George Rex Graham and published from 1841 to 1858. It was alternatively referred to as Graham's Lady's and Gentleman's Magazine (1841–1842, and July 1843 – June 1844), Graham's Magazine of Literature and Art (January 1844 – June 1844), Graham's American Monthly Magazine of Literature and Art (July 1848 – June 1856), and Graham's Illustrated Magazine of Literature, Romance, Art, and Fashion (July 1856 – 1858).The journal was founded after the merger of Burton's Gentleman's Magazine and Atkinson's Casket in 1840. Publishing short stories, critical reviews, and music as well as information on fashion, Graham intended the journal to reach all audiences including both men and women. He offered the high payment of $5 per page, successfully attracting some of the best-known writers of the day. It also became known for its engravings and artwork. Graham's may have been the first magazine in the United States to copyright each issue.

Edgar Allan Poe became the editor of Graham's in February 1841 and soon was publishing the harsh critical reviews for which he became known. It was also where he first published "The Murders in the Rue Morgue", now recognized as the first detective story. After Poe left the journal, his successor was Rufus Wilmot Griswold, a man who bitterly disliked Poe. Graham's began rejecting Poe's submissions and passed up the chance to publish "The Raven". Graham left his magazine for a time in 1848 and it eventually ceased in 1858.

Just Like Tom Thumb's Blues

"Just Like Tom Thumb's Blues" is a song written and performed by Bob Dylan. It was originally recorded on August 2, 1965, and released on the album Highway 61 Revisited. The song was later released on the compilation album Bob Dylan's Greatest Hits Vol. II and as two separate live versions recorded at concerts in 1966: the first of which appeared on the B-side of Dylan's "I Want You" single, with the second being released on The Bootleg Series Vol. 4: Bob Dylan Live 1966, The "Royal Albert Hall" Concert. The song has been covered by many artists, including Gordon Lightfoot, Nina Simone, Barry McGuire, Judy Collins, Frankie Miller, Linda Ronstadt, the Grateful Dead, Neil Young, The Black Crowes, Townes Van Zandt, and Bryan Ferry. Lightfoot's version was recorded only weeks after Dylan's original had been released and reached #3 on the national RPM singles chart. In addition, the song was sampled by the Beastie Boys for their song "Finger Lickin' Good."

"Just Like Tom Thumb's Blues" has six verses but no chorus. The song's lyrics describe a nightmare vision of the narrator's experience in Juarez, Mexico, in which he encounters sickness, despair, prostitutes, saints, shady women, corrupt authorities, alcohol and drugs, before finally deciding to return to New York City. The lyrics incorporate literary references to Malcolm Lowry's Under the Volcano, Edgar Allan Poe's "The Murders in the Rue Morgue" and Jack Kerouac's Desolation Angels, while the song's title references Arthur Rimbaud's "My Bohemian Life (Fantasy)". William Ruhlmann of the AllMusic website has described the song as a comic tour de force and music journalist Toby Creswell included it on his list of the 1001 greatest songs of all time. Music critic Dave Marsh ranked the live version of "Just Like Tom Thumb's Blues" from Liverpool that was released as the B-side of "I Want You" as the number 243 greatest single of all time.

Maurits Hansen

Maurits Christopher Hansen (5 July 1794 – 16 March 1842) was a Norwegian writer.

He was born in Modum as a son of Carl Hansen (1757–1826) and Abigael Wulfsberg (1758–1823). In October 1816 he married teacher Helvig Leschly (1789–1874). He was a father-in-law of Eilert Sundt, and thus grandfather of Einar Sundt.He is recognized for his contribution to a diversity of genres and the introduction of the novel in Norway. He was a major contributor to the Norwegian Romantic Movement. He also wrote one of the world's first crime novels with "Mordet på Maskinbygger Roolfsen" ("The Murder of Engine Maker Roolfsen") in 1839, two years before Edgar Allan Poe's short story "The Murders in the Rue Morgue" in 1841.

After attending Oslo Cathedral School from 1809 and completing his examen artium in 1814, he worked as a teacher in Trondheim from 1820 and in Kongsberg from 1826. He was a fellow of the Royal Norwegian Society of Sciences and Letters in Trondheim, but was not appointed when he applied for a position as lecturer of philosophy at the Royal Frederick University around 1839.

Morgue Street

Morgue Street is a 2012 Italian horror short film directed by Alberto Viavattene and based on Edgar Allan Poe's "The Murders in the Rue Morgue". The film gained notoriety when it was banned in Australia by the Australian Classification Board before it could screen at Sydney's A Night of Horror film festival. It has been praised by Jack Ketchum, Brian Yuzna, and Uwe Boll.

Murders in the Rue Morgue (1932 film)

Murders in the Rue Morgue is a 1932 American pre-Code horror film, very loosely based on Edgar Allan Poe's short story "The Murders in the Rue Morgue". Bela Lugosi, one year after his performance as Dracula, portrays a lunatic scientist who abducts women and injects them with blood from his ill-tempered caged ape. Karl Freund's cinematography and Robert Florey's direction have been praised by critics and characterized as "expressionistic" by Leonard Maltin. Despite the film being pre-Code, violent sequences prompted Universal to cut its running time from 80 minutes to 61 minutes.This film was produced as a compensatory package for Lugosi and Florey, after both were dropped from 1931's Frankenstein. Lugosi had originally been cast as Dr. Frankenstein, and the film was to be directed by Florey, who had been developing the coveted project. Lugosi was subsequently demoted to play the mute monster, however, which he claimed to have turned down. Florey was replaced as director by James Whale, as producer Carl Laemmle was both unsatisfied with Florey's work on the project, and had given Whale first choice of any Universal property at the time. The box office results for Murders in the Rue Morgue were disappointing, and Lugosi's original Universal contract for Dracula was not extended. Today, however, the film is generally well-regarded by critics and is considered a cult classic.

Murders in the Rue Morgue (1971 film)

Murders in the Rue Morgue is a 1971 American horror film directed by Gordon Hessler, starring Jason Robards and Herbert Lom. It is ostensibly an adaptation of the Edgar Allan Poe story of the same name, although it departs from the story in several significant aspects, at times more resembling Gaston Leroux's The Phantom of the Opera. In an interview on the film's DVD, Hessler said that he thought everyone already knew the ending of the story, so he felt it necessary to reinvent the plot.

Phantom of the Rue Morgue

Phantom of the Rue Morgue is a 1954 feature film directed by Roy Del Ruth (known for directing The Terror) and starring Karl Malden and Claude Dauphin. The film is an adaptation of Edgar Allan Poe's short story "The Murders in the Rue Morgue".

Warner Bros. released 3D productions during the 1950s, including the big-budget The Charge at Feather River (1953). Following another western, The Moonlighter (1953), starring Barbara Stanwyck and Fred MacMurray, the studio attempted to repeat the success they had with House of Wax the previous year. This movie was based on the same story which had formed the basis of a 1932 horror film which stars Bela Lugosi.

Rue Morgue (magazine)

Rue Morgue is a multinational magazine devoted to coverage of horror fiction. Its content comprises news, reviews, commentary, interviews, and event coverage. Its journalistic span encompasses films, books, comic books, video games, and other media in the horror genre. Rue Morgue was founded in 1997 by Rodrigo Gudiño, and is headquartered in Toronto, with regional offices in various countries throughout North America, the United Kingdom, and Europe. The magazine has expanded over time to encompass a radio station, book publishing company, and horror convention. The magazine's namesake is Edgar Allan Poe's short story "The Murders in the Rue Morgue" (1841).

Rue Morgue won the Rondo Award in the "Best Magazine" category every year from 2010 to 2016.

Shadow of the Raven

Shadow of the Raven is the eighth album by gothic duo Nox Arcana. This time the composers Joseph Vargo and William Piotrowski honor Edgar Allan Poe, the author of "The Masque of the Red Death", "The Murders in the Rue Morgue", "The Fall of the House of Usher, "The Tell-Tale Heart" and other tales of suspense and horror, as well as the famous poem "The Raven".The classical, symphonic instrumental music is primarily made up of piano, violin, pipe organ, harpsichord and some music box melodies that have been described as suspenseful and melancholy. The album is introduced with a brief narrative. Subtle yet effective sound effects are peppered throughout the music, providing accompaniment to several of Poe's most famous literary works.

Sherlock Holmes in the Great Murder Mystery

Sherlock Holmes in the Great Murder Mystery is a 1908 American silent film directed by an unknown director. The film was released on 27 November 1908 and is an adaptation of Edgar Allan Poe's short story "The Murders in the Rue Morgue" (1841), which is considered the first detective story, though the plot was altered to include Arthur Conan Doyle's detective Sherlock Holmes instead of Poe's C. Auguste Dupin. Dr. Watson makes his film debut here, though the actors playing Holmes and Watson are unknown, as the rest of the cast. It is considered a lost film.


Stereotomy is the ninth studio album by The Alan Parsons Project, released in 1985.

Not as commercially successful as its predecessor Vulture Culture, the album is structured differently from earlier Project albums, containing three lengthy tracks ("Stereotomy" at over seven minutes, "Light of the World" at over six minutes, and the instrumental "Where's the Walrus?" running over seven and a half minutes) and two minute-long songs at the end. It is a full digital production and both the LP and CD releases were encoded using the two-channel Ambisonic UHJ format.

The original vinyl packaging of the album was different from all the reissues: it featured somewhat more elaborate artwork of the paper sleeve supplied with a special color-filter oversleeve. When inserted, the oversleeve filtered some of the colors of the sleeve artwork, allowing four different variations (2 per side) of it. That was supposed to symbolize visual stereotomy. In the reissues, only one variant remained. The artwork was nominated for Best Album Package at the 29th Annual Grammy Awards.

The word "stereotomy" is taken from "The Murders in the Rue Morgue" by Edgar Allan Poe. It refers to the cutting of existing solid shapes into different forms; it is used as a metaphor for the way that famous people (singers, actors. etc.) are often 'shaped' by the demands of fame.Stereotomy earned a Grammy nomination in 1987 for Best Rock Instrumental Performance – Orchestra, Group, or Soloist for the track "Where's the Walrus?"Stereotomy marks the final appearance of David Paton on bass; he went on to join Elton John's touring band.

The Mystery of Marie Rogêt

"The Mystery of Marie Rogêt", often subtitled A Sequel to "The Murders in the Rue Morgue", is a short story by Edgar Allan Poe written in 1842. This is the first murder mystery based on the details of a real crime. It first appeared in Snowden's Ladies' Companion in three installments, November and December 1842 and February 1843. Poe referred to it as one of his "tales of ratiocination".

The Purloined Letter

"The Purloined Letter" is a short story by American author Edgar Allan Poe. It is the third of his three detective stories featuring the fictional C. Auguste Dupin, the other two being "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt". These stories are considered to be important early forerunners of the modern detective story. It first appeared in the literary annual The Gift for 1845 (1844) and was soon reprinted in numerous journals and newspapers.

The Raven (2012 film)

The Raven is a 2012 American psychological crime thriller film directed by James McTeigue, produced by Marc D. Evans, Trevor Macy and Aaron Ryder and written by Ben Livingston and Hannah Shakespeare. It stars John Cusack, Alice Eve, Brendan Gleeson and Luke Evans.

Set in 1849, it is a fictionalized account of the last days of Edgar Allan Poe's life, in which the poet and author pursues a serial killer whose murders mirror those in Poe's stories. While the plot of the film is fictional, the writers based it on some accounts of real situations surrounding Edgar Allan Poe's mysterious death. Poe is said to have repeatedly called out the name "Reynolds" on the night before his death, though it is unclear to whom he was referring. The title derives from Poe's poem "The Raven", in the similar manner of the earlier unrelated 1935 and 1963 films.

It was released in Canada, Ireland, and the United Kingdom on March 9, 2012 and in the United States on April 27, 2012. The film garnered mostly negative reviews, with the visual effects and score by Lucas Vidal praised, but the performances and plot twists criticized.

Thou Art the Man

"Thou Art the Man", originally titled "Thou Art the Man!", is a short story by Edgar Allan Poe, first published in 1844. It is an early experiment in detective fiction, like "The Murders in the Rue Morgue", though it is generally considered an inferior story.

The plot involves a man wrongfully accused of murdering his uncle Barnabas Shuttleworthy, whose corpse is missing. An unnamed narrator finds the body, suspects the victim's good friend Charles Goodfellow, and sets up an elaborate plot to expose him. The corpse appears to come back to life and points to the best friend, exclaiming "Thou art the man!" The title and the climactic line refer to the second Book of Samuel and also echo a line from the "Great Moon Hoax".

Edgar Allan Poe's "The Murders in the Rue Morgue" (1841)

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