Beruflich Dokumente
Kultur Dokumente
ANALYSIS
by PAUL LEWIS
I have seen a great deal of Poe, and it was his excessive, and
at times morbid sensibility which forced him into his "frol-
ics" .. .
-note written by F. W Thomas,
March 1843
As the pendulum descends in Edgar Allan Poe's classic tale, the narra-
tor moves through a number of extreme mental states. During his "long,
long hours of horror;' 1 he strains at his ropes, wearies heaven with his
prayers, and then lies "smiling" or "half-smiling," "alternately laughing
or howling" at "the glittering death" (V, 81). Another Poe narrator, during
a less-than-restful week in the house of Usher, is entertained by his
demented host, sometimes with musical performances, sometimes with
tours through the art gallery, and once with a poem about the collapse of
reason in the struggle with fear. In the poem, "evil things in robes of
sorrow" invade "monarch Thought's dominion" (III, 284-85), overthrow
wit and wisdom, and plunge the realm into madness. In both of these
famous tales, and in most of Poe's Gothic and mock-Gothic work, the
collapse of humor is visceral and direct, essential to the affective experi-
ences of both readers and characters.
In recent years, critics have focused not on this dramatic use of humor
but on Poe's wit, on his satire and irony, on a Poe whose humor requires an
1 "The Pit and the Pendulum," in The Complete Works of Edgar Allan Poe, ed. James A.
Harrison, (New York: AMS Press, 1965), V, 79. All references to Poe's short fiction, henceforth
cited in the text by volume and page, are to this edition .
531
532 STUDIES IN SHORT FICTION
2 T.S. Eliot, "From Poe to Valery;• in Critics on Poe, ed. David B. Kesterson (Coral
14 Daniel Hoffman , Poe Poe Poe Poe Poe Poe Poe (Garden City, NY: Doubleday, 1972), p. 10;
further reference is cited in the text .
15 Gary Lindberg, The Confidence Man in American Literature (New York: Oxford Univ.
Press, 1982), pp. 50-51; further reference is cited in the text .
POE'S HUMOR- A PSYCHOLOGICAL ANALYSIS 535
the shriek, the fall, the embrace of menace. In the parodic tales, we laugh
almost to the end, only to find that we were too quick to be amused, that
jack-in-the-box is really corpse in a coffin, that even "bugaboo tales" can
reflect our most legitimate fears.
Humor and fear do not simply coexist in Poe's tales or terror; repeat-
edly in these tales, we are brought up against the limits of humor. In some
works, we are briefly amused by characters or situations, only to find our
humor fade or shift into fear. In other works, we follow the decline of
characters who learn through painful experience that a monstrous world
cannot be laughed away. Over and over, when humor fails, we are left with
images of fear: the raven's shadow, the howling cat, the putrescent corpse,
or the fallen house. This is why, as Poe points out in "The Philosophy of
Composition;' the student in "The Raven" stops joking about the bird;
why Fortunato's humor gambit fails; why, in the end, there is nothing
amusing about the way the narrator is "ushered" into the presence of the
maddening Roderick; why humor yields to terror in such otherwise
diverse works as "The Premature Burial;' "Hop-Frog;• "The Black Cat;'
"Ligeia,' "Facts in the Case of M. Valdemar;' and Pym. Because this
humor relates directly to the affective and intellectual experience of the
tale-that is, because it supports both the supernatural and the psycho-
logical elements of the narrative-we can approach it more clearly in
terms of psychological accounts of fearful humor than through literary
analyses of allusion and irony. Specifically, we can approach the sense of
humor behind these works in two ways: first, by seeing just how humor is
repeatedly overwhelmed and, second, by comparing Poe not with other
Romantic authors but with other humor creators.
Critics who would draw a clear distinction between Poe as satirist and
Poe as terror writer and critics who see humorous irony as the highest
level of reader response to Poe's Gothic tales need to focus on the final
paragraphs of "Hop-Frog" and "The Premature Burial," two tales that
deal explicitly with the subject of fearful humor. In "Hop-Frog;' Poe's fairy-
tale meditation on humor and pain, one cruel joke only seems to deserve
another. When the king and his seven ministers, fat jokers all, abuse their
dwarf, he carries on; but when the king strikes Trippetta, Hop-Frog's
friend, we see behind the dwarfs feigned laughter his "large, powerful,
and very repulsive teeth" (VI, 222). Immediately the dwarf plans his comic
but cruel revenge, a trick that will allow him first to tar, feather, and chain
his enemies and then to murder them.
Insofar as humor serves as a temporary and ineffective release from
fear, the shared experience of these victims and of the other members of
the court who stand around and watch is a model of the rhetorical impact
of Poe's dramatic humor. The idea is for the king and ministers to burst
into a masquerade party dressed as chained "ourang-outangs" and "occas-
sion" fright "among the ladies" (VI, 223). And they succeed in this, as
several of the onlookers swoon in fright and others rush toward the locked
536 STUDIES IN SHORT FICTION
doors. This fear, however, gives way to amusement when the beasts are
suddenly drawn close together by the chain. At this point, both the "apes"
and the crowd "set up a loud shout of laughter" (VI, 226). But this laugh-
ter is short-lived; it ends when Hop-Frog hoists the "dismayed and strug-
gling ourang-outangs" (VI, 227) thirty feet above the "astonished" crowd.
When the dwarf sets his victims ablaze, the again "horror-stricken" multi-
tude below shrieks in powerless fear and then watches in stunned silence
as the king and his ministers are rapidly consumed, reduced to a "fetid,
blackened, hideous, and indistinguishable mass" (VI, 228).
What happens in this tale is not just that cruel jokers are destroyed by
a cruel joke but that joking itself gives way to horror, as the extreme
cruelty of the joke destroys its ability to continue functioning as a joke. 16
When Hop-Frog's "last jest" turns out to be an act of "fiery revenge" (VI,
228)- an expression less of humor than of "maniacal rage" (VI, 227)-the
onlookers are forced to see that what they are witnessing is too savage, too
monstrous, not to appall.
This collapsing humor creeps into the final paragraph of "The Prema-
ture Burial;' one of Poe's many not quite mock-Gothic tales. The narrator
of this tale has moved toward sanity through a self-inflicted form of aver-
sive therapy: he has cured himself of "catalepsy" (V, 246) and obsession
with live burial by mistakenly assuming that he has been prematurely
buried. Apparently cured of his neurotic terrors, the narrator jokes about
his old delusion, his past interest in medical cases and graveyards, his now
forsaken delight in "bugaboo tales" (V, 273) about life-in-death experi-
ences. And this narrator's comic scorn of both his old obsession and the
foolish literature that supported it seems perfectly valid until we arrive at
the concluding sentences of the tale:
There are moments when, even to the sober eye of Reason, the
world of our sad Humanity may assume the semblance of a Hell-
but imagination of man is no Carathis, to explore with the impu-
nity its every cavern. Alas! the grim legion of sepulchral terros
cannot be regarded as altogether fanciful- but, like the Demons in
whose company Afrasiab made his voyage down the Oxus, they
must sleep, or they will devour us-they must be suffered to slum-
ber, or we perish. (V, 273)
Because this passage is very close to Ernest Becker's view ofthe universal
impulse to keep ideas about mortality out of consciousness, it reveals the
finally anticomedic twist in Poe's work: for, although live burial may be a
foolish thing to fret over, dead burial is hardly a cause of celebration. And,
although Poe here urges us to allow our demons to slumber, much of his
'"In ..Poe's 'Hop-Frog' and the Retreat from Comedy," Studies in Short Fi ction, 10 (1973),
288-90, Bruce K. Martin notes the movement of this tale away from comedy.
POE'S HUMOR- A PSYCHOLOGICAL ANALYSIS 537
work is devoted to rousing them, often with the too loud sounds of failing
laughter. 17
In "The Black Cat" and "Ligeia:' two of Poe's most horrific tales, ur
first impressions of the narrators are half comic. But in both cases, we are
led gradually away from this humor into an expanding horror of men
driven to acts of obscene cruelty. What is briefly amusing about the
"Ligeia" narrator at the outset is his determination to analyse his own
mental failings. Although he cherishes the memory of his first wife to the
point of frenzied obsession, he cannot actually remember much about her:
"I cannot, for my soul, remember how, when, or even precisely where, I
first became acquainted with the lady Ligeia" (II, 248). In addition to this,
the grief-moistened widower believes that he "first and most frequently
met her ... in some large, old, decaying city near the Rhine" ai, 248)-
which particular city, he cannot say. Nor can he recall her family name,
presumably because he and Ligeia never sat around addressing Christ-
mas packages back to the in-laws.
Even more comic are the narrator's inflated, romance-reeking descrip-
tions of what he calls "the person of Ligeia" (II, 249; Poe's italics). She did
not tread upon the planet; her "footfalls" were too "elastic" for that. She
moved about "as a shadow." She had a "faultless forehead" (II, 250), "ivory
skin:' a "delicate" nose with harmoniously curved nostrils:' and hair that
can be described only with a heap of modifiers: "and then the raven-black,
the glossy, the luxuriant and naturally curling tresses, setting forth the
full force of the Homeric epithet 'hyacinthine'!" (II,250). And our narrator
saves himselffor the two full paragraphs that he will devote to his account
ofLigeia's eyes-which he calls her "large and luminous orbs" (II, 252)-
including assertions that the "hue of the orbs was the most brilliant of
black" and that "far over them, hung jetty lashes of great length" (II, 251).
While we are blinking back our laughter, we are struck by the narra-
tor's lack of humor about himself. He may be amusing at this point in the
tale, but he is never in on the joke. As this point works its way home, we
are drawn into his world-view in which the loss of Ligeia justifies marry-
ing a woman he does not love in order to prove perversely through the
abuse of this second wife that he remains loyal to Ligeia. The rest of the
tale is the narrator's expanding nightmare, in which Ligeia returns from
the dead, murders her rival, Rowena, and re-animates the corpse with her
own spirit and form. What is striking is that the very details that were
comic in the opening pages of the tale are transformed into images of
walking fear: when her hair streams forth from the "ghastly cerements
that had confined it:' it is "blacker than the wings of midnight," and in
full shrieking terror, the narrator stares into the "black, and the wild
eyes-of my lost love, of the lady, ofthe Lady Ligeia" (II, 268).
11 Galloway argues that "The Premature Burial" "begins as a tale of terror [but] ends as a
comedy of errors" (The Other Poe, p. 15), but this describes only two-thirds of the affective
process, failing to take the concluding paragraph, the last non-laugh, into account.
538 STUDIES IN SHORT FICTION
Like "Ligeia;' "The Black Cat" is a classic Gothic tale in its move-
ment toward overwhelming fear and in the decline of humor that helps
this along. 18 The pre-execution confession of this narrator, as everyone has
observed, is duplicitous in its conscious priorities. The narrator believes
that his downfall has arisen from his relationship with animals, particu-
larly with a large, demonic cat. Poe, however, repeatedly draws us back to
the primacy of narrator's human interactions, particularly with his long-
suffering and abused wife. Through the misleading narrative, we catch
glimpses of this marriage-glimpses that seem less and less grimly comic
and more and more just grim, culminating with the final image of the
wife's decaying corpse behind the narrator's torn-down masonry. The nar-
rative itself, we come to realize, has been a wall constructed by the narra-
tor to conceal its true subject: the murder of his wife.
The narrator sees "little but Horror" in his story, although he admits
that is may seem an exaggerated "baroque" (V, 143) to us. His horror may
be our humor, he admits, and this in itself is sufficient to distance us from
the narrator. We begin to be aware of his self-hatred and paranoia when he
tells us of his scorn for the "paltry friendship" of"mere Man" (V, 144) and
of his preference for animals, a preference that made him the "jest of his
companions" (V, 143). When the wife is first mentioned, we are told two
things: first, that she and the narrator had a similar affection for pets, and
second, that, in reference to their cat Pluto, she "made frequent allusions
to the ancient popular notion, which regarded all black cats as witches in
disguise" (V, 144). Poe underlines this second point ironically by having
the narrator deny its significance: "I mention the matter at all for no
better reason than that it happens, just now, to be remembered" (V, 144).
But this point is crucial, if also comic, because it shows us the wife through
his eyes as identified from the start with the cat as a supernatural force.
Apparently uncomplaining in the face of the narrator's abuse, his
bouts of alcoholism and pet torture, the wife finds subtle ways to strike
back. When the second Pluto starts to haunt the narrator, it becomes
"immediately a great favorite with my wife" (V, 149). And when the large
white blotch starts to resemble a gallows, it is the wife who "more than
once" calls the narrator's attention to the development. Since we never
hear her exact dialogue, we can only imagine what she says: "Oh, dear,
can you pass the tea-and, oh my, what is that cute little gallows doing on
kitty's head?" This sort of thing from "the most uncomplaining" of wives,
"the most patients of sufferers" (V, 152). But the narrator's association of
wife with cat is quickly brought to its violent climax. What he comes to
hate most about the beast is the way it haunts him in mock affection, even
breathing Oike his wife, no doubt) into his face at night while he sleeps.
When the wife interferes with the narrator's attempt to kill the second
18 On the role of humor in Gothic fiction, see Paul Lewis, "Mysterious Laughter: Humor
and Fear in Gothic Fiction;' Genre, 16 (1981), 309-327 .
POE'S HUMOR: A PSYCHOLOGICAL ANALYSIS 539
cat, he buries "the axe in her brain" (V, 152) instead and then, with no
remorse, walls up her bloodied corpse: "having carefully deposited the
body against the wall, I propped it in that position" with "little trouble"
(V, 153). But the wife/cat is allowed a final contribution to the tale when its
cry behind the wall condemns the narrator to death: "a cry, at first muf-
fled and broken, like the sobbing of a child, and then quickly swelling into
one long, loud, and. continuous scream, utterly anomalous and inhuman-
a howl-a wailing shriek half of horror and half of triumph" (V, 155). .
While the closing image joining wife with cat remains incongruous, the
incongruity has been stripped of its humor potential through its horrific
detail: "The corpse, already greatly decayed and clotted with gore, stood
erect before the eyes of the spectators. Upon its head, with red extended
mouth and solitary eye of fire, sat the hideous beast whose craft had
seduced me into murder, and whose informing voice had consigned me to
the hangml:!-n" (V, 155).
The Narrative of Arthur Gordon Pym, Poe's long sea tale, incorporates
failing humor into its motif of fearful exploration. Repeatedly in the
course of Pym's quest for knowledge, creatures, people, and things that
had seemed familiar or amusing change or reveal themselves to be savage,
monstrous, and dangerous. This is the case from the outset, as the opening
episode aboard the Ariel reveals. In this sailboat Pym and his friend
Augustus Barnard "were in the habit of going on some of the maddest
freaks in the world,"' 9 and on a stormy night in late October when both
lads have been drinking, they set out in boyish glee for a romp. Augustus
starts up in bed and swears that he "will not go to sleep for any Arthur
Gordon Pym in Christendom, when there is so glorious a breeze" (48).
And, feeling "excitement and pleasure;' Pym replies that he too is "tired
of lying in bed like a dog, and quite as ready for any fun and frolic as any
Augustus Barnard in Nantucket" (48). However, the novella shifts away
from joviality once the lads are at sea and Augustus, "beastly drunk;'
passes out. Then Pym, the inferior sailor, is left to manage the boat and to
endure the "extremity of terror" (50).
Both Pym and Augustus survive the prank, but the episode defines the
way the tale will develop, or rather the affective cycle it will repeat. Pym
rides the pattern up when he steals on board the Grampus and surveys the
box below deck which Augustus has prepared for the stowaway's comfort.
When Augustus opens the box, Pym is "excessively amused" (62) by the
assembled provisions, but within a few days, Pym is back at the fear end of
the pattern after he falls into a deep sleep and Augustus fails to appear as
promised. His dreams are filled with demons, serpents, and skeletal trees,
and his waking moments with the real menace of being abandoned with-
out food and drink. The "excessively amusing" box now looms as a poten-
tial coffin.
19 The Narrative of Arthur Gordon Pym of Nantucket, ed Harold Beaver (London: Pen-
guin, 1976), p. 47. All references to Pym, henceforth cited in the text, are to this edition.
540 STUDIES IN SHORT FICTION
21 The Denial of Death (New York: Free Press, 1973). See especially Becker's discussion of
full and part humans, which reads in part: "What would the average man do with a full
consciousness of absurdity? He has fashioned his character for the precise purpose of putting
it between himself and the facts of life; it is his special tour-de-forW! that allows him to ignore
incongruities, to nourish himself on impossibilities, to thrive on plindness . He accomplishes
thereby a peculiarly human victory :the ability to be smug about terror. ...As Ortega so well
542 STUDIES IN SHORT FICTION
humor must in the tale of horror give way to walking nightmares. Like the
child in Poe's "The Sleeper" who throws stones against an old tomb,
"thrilling" to think that the echo s she hears are the groans of the dead,
or like the speaker in "Ulalume" who wanders unaware back to the grave
of his lost love, readers of the Gothic are led through often hokey cata-
combs into the pits of their least acknowledged but ultimately most well-
founded fears. We may still be able to hear laughter-our own and that of
desperate characters-receding into the night, but we have been forced to
realize that such amusement is doomed, a fading protest against the
darkness closing in.
Poe critics sometimes confuse the presence of humor in a work like
"Ligeia" or "The Premature Burial" with a lack of seriousness, assuming
that it must undermine fear.22 But psychologists going back at least as far
as Freud have emphasized the proximity of humor to fear. The classic
Gothic tale or novel achieves its horror by insisting that its mysteries-
whether they turn out to have been natural or supernatural in origin-are
truly dangerous, emblematic of our liability to disease, pain, dissolution,
and death. Along the way, as mysteries arise, we may be encouraged to
laugh at them , but in the horror tale, this laughter often fails. Whether
humor is used deliberately by threatened characters or is located in the
narrative tone or point of view, its failure serves (like Horatio's skeptical
banter in the first act of Hamlet: "Tush, tush, 'twill not appear ") to
intensify the terror it cannot turn into a joke.
In the literature of humor research, this kind of serious, even desper-
ate, joking is sometimes called gallows humor, and the very limitation or
failure exploited in the horror tale is built into this concept as well.
According to Freud, gallows humor is a process in which "the ego [of a
suffering person] refuses to be distressed by the provocations of reality. . . .
It insists that it cannot be compelled to suffer, that . . . traumas are no
more than occasions for it to gain pleasure." 23 So conceived, gallows humor
is one of the methods employed to evade pain, and Freud points out that
the other methods include intoxication , self-absorption, and ecstasy (163).
The problem with gallows humor is that, since it works by denying or
evading reality, it can do nothing to alter the reality it evades. As with
intoxication , when you sober up from the evasion, when your laugh with-
ers to a smile and the smile fades from your face, the gallows still looms.
put it ..., man uses his ideas for the defense of his existence, to frighten away reality. This is
a serious game, the defense of one's existence -how take it away and leave them joyous?" (p.
59).
22 See, for example, Regan's essay "Hawthorne's 'Plagiary '; Poe's Duplicity;' in The Naiad
Voice: "It has been widely assumed that Poe gave up his Folio Club antics at an early date,
but I can find no evidence to support such an assumption. The radical question about Poe's
writings , therefore, is this : when (if ever) was he being serious?" (p. 73).
23 Sigmund Freud , "Humour;' in The Standard Edition of the Complete Psychologi cal
Work s of Sigmund Freud , trans. and ed.James Strachey (London :Hogarth Press, 1961), XXI,
162; further reference is cited in the text.
POE'S HUMOR- A PSYCHOLOGICAL ANALYSIS
543
This sobering up out of humor and into fear, as in the case of Fortunato, is
the essential Poe experience.
By integrating Freud's concept of humor with more recent research on
incongruity theory, Mary K. Rothbart's safety-arousal model has a direct
bearing on Poe's humor. 24 According to Rothbart, both humor and fear
originate in the perception of an incongruity, the observer's response
varying in relation to such factors as the intensity of the stimulus, the
presence of danger, and the possibility of resolving (coming to some under-
standing of) the incongruity. Rothbart's model illustrates something Poe
intuitively understood: that it is difficult to differentiate "fear stimuli
from humor stimuli" (40). As Rothbart notes, "the close relation of fear
and laughter may be observed in a young child on a swing. When the
swing is pulled back, the child's eyes are wide open in an expression of
apprehension or fear. As the trajectory of the swing proceeds forward and
then back again, the child may be seen to be laughing heartily. Adult
laughter to the shock of a roller-coaster or a carnival house-of-horrors are
similar phenomena" (40).
Gothic fiction is, clearly, yet another source of both humor and fear. As
I have shown elsewhere, 25 the defeat of humor by fear can be central to
Gothic works in which threatening mysteries resist efforts to be dismissed
or minimized. Gothicists from Horace Walpole to Alfred Hitchcock have
employed a narrative pattern in which the failure of humor helps terror
grow. But the master of this pattern is Poe, a writer whose creative ener-
gies are directly rooted in a sense of monstrous incongruity.
But why should Poe have been interested in perfecting this Gothic use
of failing humor? According to Lindberg, Poe's tonal shifts from absurd to
serious, from joke to horror, a,re part of his aesthetic project as a "New
World technician": an artist freed from the conventions and forms of the
past, exploring the "reader's capacity to believe" (66). But Lindberg also
notes that Poe's response to his "situation as a New World artist" was
"quirky and extreme" (67), and this points to the value of describing the
odd sense of humor that informs Poe's work. The sources of such a descrip-
tion lie beyond Poe's work in his life, a life that can be brought into new
focus by contrasting it with the lives of the professional humor creators
studied by Seymour and Rhoda L. Fisher.
The Fishers interviewed forty comedians and reviewed the biogra-
phies or autobiographies of another forty in an effort to understand "the
origins, the motivatiot;ls, and personalities of those who make humor."25
According to the Fishers, a sense of fearful incongruity is present in the
ied by the Fishers delight in exploding all accepted ideas and values; for
Poe, the failure of all philosophic systems is finally not funny but "mourn-
ful" (164).
For Thompson and others who focus on cleverness, Poe's humor is
·grounded in an elitist irony that overthrows or undermines the mere
terror that credulous, naive, or unamused readers never escape. Poe, in
this view, is a detached artist, manipulating reader responses, always in
control of his materials. In its most extreme formulation, this view can be
seen as an apology for Poe's popularity, an account rooted in the notion
that the common response to Poe is wrongheaded. What should be clear,
however, is that there are different kinds of humor in these tales. It may
well be that the perception of witty but obscure allusions and subtle puns
works to undermine a unified sense of deepening terror. But it should also
be clear that the pattern of collapsing humor at the surface of these
narratives supports the common reader's response to Poe as a writer of
tales of deepening terror.
Two of Poe's critical judgments, both in the "Marginalia;' seem partic-
ularly relevant to the current view of Poe as a satiric ironist. "The serious
...compositions of Dickens have been lost;' Poe wrote, "in the blaze of his
comic reputation" (10). As we have seen, in the emphasis on humorous
irony, satire, and hoax, Poe's serious use of failing humor in many of his
tales and poems has been obscured. Poe also shows an understanding of
the kind of critical process that has led to this confusion when he observes
that "'Ib see distinctly the machinery-the wheels nd pinions-of any
work of Art is, unquestionably, of itself, a pleasure, but one which we are
able to enjoy only just in proportion as we do not enjoy the legitimate
effects designed by the artist ... " (170). The overly subtle view of Poe as
Gothic ironist is based on just this tendency, a criticism so eviscerated as to
miss the collapse of humor in the face of fear, the plunge into a madness
that leaves us able to "laugh but smile no more:' We need to see the
desperation in Poe's humor, the wide-eyed horror of a little boy whose
abandonment and alienation are a perfect, if finally unamusing, meta-
phor for the human condition.30
ao This essay extends and develops an argument about Poe that appears in my study
Comic Effects: Interdisciplinary Approaches to Humor in Literature (Albany, NY: State Univ.
of New York Press, 1989).
Copyright of Studies in Short Fiction is the property of Newberry College and its content may not be copied or
emailed to multiple sites or posted to a listserv without the copyright holder's express written permission.
However, users may print, download, or email articles for individual use.