"

BERENICE — A TALE.

BY EDGAR A. POE.

MISERY is manifold. The wretchedness of earth is multiform. Overreaching the wide horizon like the rainbow, its hues are as various as the hues of that arch, as distinct too, yet as intimately blended. Overreaching the wide horizon like the rainbow! How is it that from Beauty I have derived a type of unloveliness? — from the covenant of Peace a simile of sorrow? But thus is it. And as, in ethics, Evil is a consequence of Good, so, in fact, out of Joy is sorrow born. Either the memory of past bliss is the anguish of to-day, or the agonies which are, have their origin in the ecstasies which might have been. I have a tale to tell in its own essence rife with horror — I would suppress it were it not a record more of feelings than of facts.

My baptismal name is Egæus — that of my family I will not mention. Yet there are no towers in the land more time-honored than my gloomy, grey, hereditary halls. Our line has been called a race of visionaries: and in many striking particulars — in the character of the family mansion — in the frescos of the chief saloon — in the tapestries of the dormitories — in the chiseling of some buttresses in the armory — but more especially in the gallery of antique paintings — in the fashion of the library chamber — and, lastly, in the very peculiar nature of the library’s contents, there is more than sufficient evidence to warrant the belief. The recollections of my earliest years are connected with that chamber, and with its volumes — of which latter I will say no more. Here died my mother.

Herein was I born.

Notice the way the narrator describes the family home. We get what amounts to a clinical dressing-down of the various rooms and their functions. The separation of the images by em-dashes creates barriers around them that mimic the walls of a structure. These choices create a sense of enclosure and confinement, which the narrator follows up by referring to the room he was born in as “that chamber.” Here, we can already see the compartmentalization of the narrator’s, and perhaps Poe’s, psyche. The blunt staccato of “Here died my mother. Herein I was born,” show a detachment the narrator has to his upbringing. We know that when it comes to Poe, the things the narrator avoids going into detail about are the things that need closer examination. There is a symbolic significance in Egæus’s life beginning with the death of his mother. He states that “it is mere idleness to say that I have not lived before” and here we can see Poe toying with these cycles between female death and male power. The womb is the original enclosure that housed Egæus (at least in this life), but it also provided him passage into the world. Power to cage and power to bring forth. What does it mean for Poe that women hold such a power? Tracy Hayes argues, in her essay Poe, Insanity, and Containing the Feminine Monstrous, that through his stories, “unlike his life, Poe was able to contain his women” (1).

But it is mere idleness to say that I had not lived before — that the soul has no previous existence. You deny it. Let us not argue the matter. Convinced myself I seek not to convince. There is, however, a remembrance of ærial forms — of spiritual and meaning eyes — of sounds musical yet sad — a remembrance which will not be excluded: a memory like a shadow, vague, variable, indefinite, unsteady — and like a shadow too, in the impossibility of my getting rid of it, while the sunlight of my reason shall exist.

In that chamber was I born. Thus awaking, as it were, from the long night of what seemed, but was not, nonentity at once into the very regions of fairy land — into a palace of imagination — into the wild dominions of monastic thought and erudition — it is not singular that I gazed around me with a startled and ardent eye — that I loitered away my boyhood in books, and dissipated my youth in reverie — but it is singular that as years rolled away, and the noon of manhood found me still in the mansion of my fathers — it is wonderful what stagnation there fell upon the springs of my life — wonderful how total an inversion took place in the character of my common thoughts. The realities of the world affected me as visions, and as visions only, while the wild ideas of the land of dreams became, in turn, — not the material of my every-day existence — but in very deed that existence utterly and solely in itself.

* * * * * *

Here we can see evidence of the narrator as a self-insert for Poe, knowing his history with his own cousin. Only one of the number of women Poe watched wither away, and was ultimately abandoned by. Is Poe’s writing simply a means of excising of his own demons? Is he the one who’s truly haunted?

Berenice and I were cousins, and we grew up together in my paternal halls — Yet differently we grew. I ill of health and buried in gloom — she agile, graceful, and overflowing with energy.

Our first descriptions of Berenice paint her as a figure of idealized beauty and vitality, contrasted with the narrator’s own sense of weakness and despair. Poe portrays femininity and masculinity as a strict binary, with each side necessarily existing in contrast to the other. Femininity is exalted and as a direct result, the male psyche is threatened. Is this a metaphor for male impotence? Does Berenice become the object of Egæus’s obsession simply because she antagonizes his fragile sense of masculinity? More evidence of these assertions will follow in the rest of the story. Looking at this framing with the knowledge of Berenice’s fate, we can see a psychology of insecurity and a desire to reclaim a power Poe feels women have over him.

 

Hers the ramble on the hillside — mine the studies of the cloister. I living within my own heart, and addicted body and

soul to the most intense and painful meditation — she roaming carelessly through life with no thought of the shadows in her path, or the silent flight of the raven-winged hours. Berenice! — I call upon her name — Berenice! — and from the grey ruins of memory a thousand tumultuous recollections are startled at the sound! Ah! vividly is her image before me now, as in the early days of her light-heartedness and joy! Oh! gorgeous yet fantastic beauty! Oh! Sylph amid the shrubberies of Arnheim!— Oh! Naiad among her fountains! — and then — then all is mystery and terror, and a tale which should not be told.

Hylas and the Nymphs,                                      John William Waterhouse, 1896

A sylph (literally meaning wood nymph) is fairy-like creature from 16th-century German folklore. Sylphs are fabled to be invisible spirits that exist in harmony with the air. They are believed to be bound by mortality, but possessing no human soul. Similarly, a naiad is a water nymph, in tune with the currents and the interconnectedness of all living things. As we can see in this painting which depicts a man being tempted by a group of naiads, these mythological beings are cautiously regarded as beautiful and seductive, but elusive and powerful. Their symbolism is rooted in the idea that women are an entirely separate kind of being from men, a kind of being ruled by the specific desire to manipulate and corrupt virtuous men. Using these ethereal allusions to describe Berenice further idealizes her and centers her physical form within the story.

Disease — a fatal disease — fell like the Simoom upon her frame, and, even while I gazed upon her, the spirit of change swept over her, pervading her mind, her habits, and her character, and, in a manner the most subtle and terrible, disturbing even the very identity of her person! Alas! the destroyer came and went, and the victim — where was she? I knew her not — or knew her no longer as Berenice.

Among the numerous train of maladies, superinduced by that fatal and primary one which effected a revolution of so horrible a kind in the moral and physical being of my cousin, may be mentioned as the most distressing and obstinate in its nature, a species of epilepsy not unfrequently terminating in trance itself — trance very nearly resembling positive dissolution, and from which her manner of recovery was, in most instances, startlingly abrupt. In the meantime my own disease — for I have been told that I should call it by no other appellation — my own disease, then, grew rapidly upon me, and, aggravated in its symptoms by the immoderate use of opium, assumed finally a monomaniac character of a novel and extraordinary form — hourly and momentarily gaining vigor — and at length obtaining over me the most singular and incomprehensible ascendancy. This monomania — if I must so term it — consisted in a morbid irritability of the nerves immediately affecting those properties of the mind, in metaphysical science termed the attentive. It is more than probable that I am not understood — but I fear that it is indeed in no manner possible to convey to the mind of the merely general reader, an adequate idea of that nervous intensity of interest with which, in my case, the powers of meditation (not to speak technically) busied, and, as it were, buried themselves in the contemplation of even the most common objects of the universe.

To muse for long unwearied hours with my attention rivetted to some frivolous device upon the margin, or in the typography of a book — to become absorbed for the better part of a summer’s day in a quaint shadow falling aslant upon the tapestry, or upon the floor — to lose myself for an entire night in watching the steady flame of a lamp, or the embers of a fire — to dream away whole days over the perfume of a flower — to repeat monotonously some common word, until the sound, by dint of frequent repetition, ceased to convey any idea whatever to the mind — to lose all sense of motion or physical existence in a state of absolute bodily quiescence long and obstinately persevered in — Such were a few of the most common and least pernicious vagaries induced by a condition of the mental faculties, not, indeed, altogether unparalleled, but certainly bidding defiance to any thing like analysis or explanation.

Yet let me not be misapprehended. The undue, intense, and morbid attention thus excited by objects in their own nature frivolous, must not be confounded in character with that ruminating propensity common to all mankind, and more especially indulged in by persons of ardent imagination. By no means. It was not even, as might be at first supposed, an extreme condition, or exaggeration of such propensity, but primarily and essentially distinct and different. In the one instance the dreamer, or enthusiast, being interested by an object usually not frivolous, imperceptibly loses sight of this object in a wilderness of deductions and suggestions issuing therefrom, until, at the conclusion of a day-dream often replete with luxury, he finds the incitamentum or first cause of his musings utterly vanished and forgotten. In my case the primary object was invariably frivolous, although assuming, through the medium of my distempered vision, a refracted and unreal importance. Few deductions — if any — were made; and those few pertinaciously returning in, so to speak, upon the original object as a centre. The meditations were never pleasurable; and, at the termination of the reverie, the first cause, so far from being out of sight, had attained that supernaturally exaggerated interest which was the prevailing feature of the disease. In a word, the powers of mind more particularly exercised were, with me, as I have said before, the attentive, and are, with the day-dreamer, the speculative.

My books, at this epoch, if they did not actually serve to irritate the disorder, partook, it will be perceived, largely, in their imaginative, and inconsequential nature, of the characteristic qualities of the disorder itself. I well remember, among others, the treatise of the noble Italian Cœlius Secundus Curio “de amplitudine beati regni Dei” — St. Austin’s great work the “City of God” — and Tertullian “de Carne Christi,” in which the unintelligible sentence “Mortuus est Dei filius; credibile est quia ineptum est: et sepultus resurrexit; certum est quia impossibile est” occupied my undivided time, for many weeks of laborious and fruitless investigation.

Thus it will appear that, shaken from its balance only by trivial things, my reason bore resemblance to that ocean-crag spoken of by Ptolemy Hephestion, which steadily resisting the attacks of human violence, and the fiercer fury of the waters and the winds, trembled only to the touch of the flower called Asphodel. And although, to a careless thinker, it might appear a matter beyond doubt, that the fearful alteration produced by her unhappy malady, in the moral condition of Berenice, would afford me many objects for the exercise of that intense and morbid meditation whose nature I have been at some trouble in explaining, yet such was not by any means the case. In the lucid intervals of my infirmity, her calamity indeed gave me pain, and, taking deeply to heart that total wreck of her fair and gentle life, I did not fail to ponder frequently and bitterly upon the wonder-working means by which so strange a revolution had been so suddenly brought to pass. But these reflections partook not of the idiosyncrasy of my disease, and were such as would have occurred, under similar circumstances, to the ordinary mass of mankind. True to its own character, my disorder revelled in the less important but more startling changes wrought in the physical frame of Berenice, and in the singular and most appalling distortion of her personal identity.

During the brightest days of her unparalleled beauty, most surely I had never loved her. In the strange anomaly of my existence, feelings, with me, had never been of the heart, and my passions always were of the mind. Through the grey of the early morning — among the trellissed shadows of the forest at noon-day — and in the silence of my library at night, she had flitted by my eyes, and I had seen her — not as the living and breathing Berenice, but as the Berenice of a dream — not as a being of the earth — earthly — but as the abstraction of such a being — not as a thing to admire, but to analyze — not as an object of love, but as the theme of the most abstruse although desultory speculation. And now — now I shuddered in her presence, and grew pale at her approach; yet, bitterly lamenting her fallen and desolate condition, I knew that she had loved me long, and, in an evil moment, I spoke to her of marriage.

Here, the references to sylphs and naiads take on a kind of detached misogyny similar to that of that Egæus’s description of his mother, which further abstracts the gender schema of Poe’s mind. Berenice is the object of Egæus’s obsession, but he feels apathetic towards her romantically. Even as Berenice is in her most idealized and commodified form, Egæus doesn’t actually love her or even acknowledge her as a full present person. He refers to her as being “of a dream — not as a being of the earth — earthly — but as the abstraction of such a being.” Berenice loses all sense of personhood and identity in the way Poe portrays her through Egæus’s eyes. He clearly sees women as exalted beings, yet he approaches them as though they are questions to be answered, problems to be solved. He is drawn to the spectacle of her allure and then to the spectacle of her decay. No matter what becomes of her form, she exists only to command Egæus’s attention. Again, an insecure and threatened Poe seeps through in the subtext. Women have an ability to tempt Poe into self-destruction, just as Egæus fixates on Berenice to the point of complete dissolution. Egæus engages with Berenice in an emotionally cold way as a means of distancing himself from the power he feels she has over him. However, Poe, as we know from “The Philosophy of Composition,” knew how the story would end before he started. Ever the pessimist, he sees no hope of escaping the torment of a woman’s control. Though Egæus tries to remain dispassionate and lucid, “[his] fascination with his affianced Berenice waxes only as her body wanes” (Doyle 13).

And at length the period of our nuptials was approaching, when, upon an afternoon in the winter of the year, one of those unseasonably warm, calm, and misty days which are the nurse of the beautiful Halcyon, I sat, and sat, as I thought alone, in the inner apartment of the library. But uplifting my eyes Berenice stood before me.

Was it my own excited imagination — or the misty influence of the atmosphere — or the uncertain twilight of the chamber — or the grey draperies which fell around her figure — that caused it to loom up in so unnatural a degree? I could not tell. Perhaps she had grown taller since her malady. She spoke, however, no word, and I — not for worlds could I have uttered a syllable. An icy chill ran through my frame; a sense of insufferable anxiety oppressed me; a consuming curiosity pervaded my soul; and, sinking back upon the chair, I remained for some time breathless, and motionless, and with my eyes rivetted upon her person. Alas! its emaciation was excessive, and not one vestige of the former being lurked in any single line of the contour. My burning glances at length fell upon her face.

The forehead was high, and very pale, and singularly placid; and the once golden hair fell partially over it, and overshadowed the hollow temples with ringlets now black as the raven’s wing , and jarring discordantly, in their fantastic character, with the reigning melancholy of the countenance. The eyes were lifeless, and lustreless, and I shrunk involuntarily from their glassy stare to the contemplation of the thin and shrunken lips. They parted: and, in a smile of peculiar meaning, the teeth of the changed Berenice disclosed themselves slowly to my view. Would to God that I had never beheld them, or that, having done so, I had died!

The teeth as the object of the narrator’s “monomania” is so specific that it demands closer examination as a literary device. In The Life and Works of Edgar Allen Poe: A Psycho-Analytic Interpretation, author, Marie Bonaparte, coined the term vagina dentata, meaning “toothed vagina.” This image is one that has permeated folklore for a long time, framing female anatomy as a tool for the castration of men. Bonaparte uses the frame of vagina dentata as a means of discussing the well-established theory that Poe was impotent. We’ll never truly know if this was the case or not, but Bonaparte argues that Poe’s rumored issues with impotency, as well as his issues with female power, are rooted in the death of his mother. She asserts that he became so fixated on his mother’s death that he came to associate women with dying, and in turn, associate sexuality with danger (Bonaparte 218). There is a clear connection to be drawn between the mythos surrounding female anatomy and the narrator’s fixation on Berenice’s teeth. Egæus spirals deeper into dissolution and dysfunction alongside the decay of Berenice’s body, yet the teeth remain stark and “ghastly” as ever. The teeth agitate Egæus’s sexual and psychological anxiety with their persistence, to the point that he sees them as existing despite him. Berenice’s form represents an unleashing of feminine power, and Egæus’s obsession represents the masculine fear of “womanhood unrestrained” (Hayes 1). Ultimately, nothing is more terrifying to an insecure man than a powerful woman, and Egæus is so overcome by his obsession that he must remove Berenice’s source of power over him. When analyzing the teeth as a metaphor for female genitalia, it seems that Egæus’s need to remove Berenice’s teeth is a form of reciprocal castration, stripping the body of its last vestige of femininity, as he feels she has stripped him of his masculinity. However, he has been infiltrated only by mind, whereas his revenge is carried out by violating and mutilating Berenice’s physical form. This trope, of men being victim to horrors of the mind while women are victim to horror’s of the body, is common throughout many of Poe’s works. For more analysis of the thematic function of this trope in another Poe story, look to Bauer’s annotations of “The Black Cat.”

* * * * * *

The shutting of a door disturbed me, and, looking up, I found my cousin had departed from the chamber. But from the disordered chamber of my brain, had not, alas! departed, and would not be driven away, the white and ghastly spectrum of the teeth.

Poe brings us back to this embodied feeling of compartmentalization from the beginning of the story. In true Gothic fashion, the physical landscape of the story reflects but also distorts the mental landscape of the narrator, as he grapples with a crumbling identity in the face of gendered abjection. Though she is confined within the walls of the home, Egæus cannot contain Berenice’s trespasses in his mind. This is reflective of Hayes’s notion that Poe used storytelling to “contain his women” within fiction, where reality left him feeling helpless. More on this in the next annotation.

 

Not a speck upon their surface — not a shade on their enamel — not a line in their configuration — not an indenture in their edges — but what that period of her smile had sufficed to brand in upon my memory. I saw them now even more unequivocally than I beheld them then. The teeth! — the teeth! — they were here, and there, and every where, and visibly, and palpably before me, long, narrow, and excessively white, with the pale lips writhing about them, as in the very moment of their first terrible development. Then came the full fury of my monomania, and I struggled in vain against its strange and irresistible influence. In the multiplied objects of the external world I had no thoughts but for the teeth. All other matters and all different interests became absorbed in their single contemplation. They — they alone were present to the mental eye, and they, in their sole individuality, became the essence of my mental life. I held them in every light — I turned them in every attitude. I surveyed their characteristics — I dwelt upon their peculiarities — I pondered upon their conformation — I mused upon the alteration in their nature — and shuddered as I assigned to them in imagination a sensitive and sentient power, and even when unassisted by the lips, a capability of moral expression. Of Mad’selle Sallé it has been said, “que tous ses pas etoient des sentiments,” and of Berenice I more seriously believed que touts ses dents etaient des ideés.

And the evening closed in upon me thus — and then the darkness came, and tarried, and went — and the day again dawned — and the mists of a second night were now gathering around — and still I sat motionless in that solitary room, and still I sat buried in meditation, and still the phantasma of the teeth maintained its terrible ascendancy as, with the most vivid and hideous distinctness, it floated about amid the changing lights and shadows of the chamber. At length there broke forcibly in upon my dreams a wild cry as of horror and dismay; and thereunto, after a pause, succeeded the sound of troubled voices intermingled with many low moanings of sorrow, or of pain. I arose hurriedly from my seat, and, throwing open one of the doors of the library, there stood out in the antechamber a servant maiden, all in tears, and she told me that Berenice was — no more. Seized with an epileptic fit she had fallen dead in the early morning, and now, at the closing in of the night, the grave was ready for its tenant, and all the preparations for the burial were completed.

With a heart full of grief, yet reluctantly, and oppressed with awe, I made my way to the bed-chamber of the departed. The room was large, and very dark, and at every step within its gloomy precincts I encountered the paraphernalia of the grave. The coffin, so a menial told me, lay surrounded by the curtains of yonder bed, and in that coffin, he whisperingly assured me, was all that remained of Berenice. Who was it asked me would I not look upon the corpse? I had seen the lips of no one move, yet the question had been demanded, and the echo of the syllables still lingered in the room. It was impossible to refuse; and with a sense of suffocation I dragged myself to the side of the bed. Gently I uplifted the sable draperies of the curtains.

As I let them fall they descended upon my shoulders, and shutting me thus out from the living, enclosed me in the strictest communion with the deceased.

The very atmosphere was redolent of death. The peculiar smell of the coffin sickened me; and I fancied a deleterious odor was already exhaling from the body. I would have given worlds to escape — to fly from the pernicious influence of mortality — to breathe once again the pure air of the eternal heavens. But I had no longer the power to move — my knees tottered beneath me — and I remained rooted to the spot, and gazing upon the frightful length of the rigid body as it lay outstretched in the dark coffin without a lid.

God of heaven! — is it possible? Is it my brain that reels — or was it indeed the finger of the enshrouded dead that stirred in the white cerement that bound it? Frozen with unutterable awe I slowly raised my eyes to the countenance of the corpse. There had been a band around the jaws, but, I know not how, it was broken asunder. The livid lips were wreathed into a species of smile, and, through the enveloping gloom, once again there glared upon me in too palpable reality, the white and glistening, and ghastly teeth of Berenice. I sprang convulsively from the bed, and, uttering no word, rushed forth a maniac from that apartment of triple horror, and mystery, and death.

* * * * * *

I found myself again sitting in the library, and again sitting there alone. It seemed that I had newly awakened from a confused and exciting dream. I knew that it was now midnight, and I was well aware that since the setting of the sun Berenice had been interred. But of that dreary period which had intervened I had no positive, at least no definite comprehension. Yet its memory was rife with horror — horror more horrible from being vague, and terror more terrible from ambiguity. It was a fearful page in the record of my existence, written all over with dim, and hideous, and unintelligible recollections. I strived to decypher them, but in vain — while ever and anon, like the spirit of a departed sound, the shrill and piercing shriek of a female voice seemed to be ringing in my ears. I had done a deed — what was it? And the echoes of the chamber answered me — “what was it?”

Further looking at story-telling as a way to solidify aspects of identity, it’s important to note that Egæus’s story, as far as it exists on the page, begins in the library, culminates in the library, and ends in the library. The chamber represents the inner-most parts of Egæus’s mind, and the literal location of his genesis. He states that the “recollections of [his] earliest years [were] connected with that chamber, and with its volumes,” perhaps, even implying that his identity was formed around the fictions within the pages of those books. In her essay (cited earlier in my annotations) “(Dis)Figuring Woman: Edgar Allan Poe’s ‘Berenice’,” Jacqueline Doyle points out that Egæus refers to the home as “the mansion of my fathers” and “my paternal halls,” and that the library “proves peculiarly fatal for women – the site not only of his mother’s death, but of his encounters with the dying Berenice” (Doyle 15). With his mother dying giving birth to him, Egæus was left alone with only his inherited home full of material stand-ins for masculinity to form his identity around. The home contains all that he is, from the moment of his birth, effectively delivering him from womb to tomb. Egæus describes hearing a “shrill and piercing shriek of a female voice” like that of “the spirit of a departed sound” evoking the moment of his mother’s death: sounds of agony followed in perpetuity by a heavy silence. In his efforts to close himself off to the trauma of his beginnings, he became so detached he lost touch with reality. Resigned to repress his conflicting emotions around femininity, he was ultimately forced to relive the horror brought on by his existence. While he spirals into confusion and despair, in the end, the women are the ones who pay for his abjection with their lives. 

On the table beside me burned a lamp, and near it lay a little box of ebony. It was a box of no remarkable character, and I had seen it frequently before, it being the property of the family physician; but how came it there upon my table, and why did I shudder in regarding it? These things were in no manner to be accounted for, and my eyes at length dropped to the open pages of a book, and to a sentence underscored therein. The words were the singular but simple words of the poet Ebn Zaiat. “Dicebant mihi sodales si sepulchrum amicæ visit arem curas meas aliquantulum fore levatas.” Why then, as I perused them, did the hairs of my head erect themselves on end, and the blood of my body congeal within my veins?

There came a light tap at the library door, and, pale as the tenant of a tomb, a menial entered upon tiptoe. His looks were wild with terror, and he spoke to me in a voice tremulous, husky, and very low. What said he? — some broken sentences I heard. He told of a wild cry heard in the silence of the night — of the gathering together of the household — of a search in the direction of the sound — and then his tones grew thrillingly distinct as he whispered me of a violated grave — of a disfigured body discovered upon its margin — a body enshrouded, yet still breathing, still palpitating, still alive!

He pointed to my garments — they were muddy and clotted with gore. I spoke not, and he took me gently by the hand — but it was indented with the impress of human nails. He directed my attention to some object against the wall — I looked at it for some minutes — it was a spade. With a shriek I bounded to the table, and grasped the ebony box that lay upon it. But I could not force it open, and in my tremor it slipped from out my hands, and fell heavily, and burst into pieces, and from it, with a rattling sound, there rolled out some instruments of dental surgery, intermingled with many white and glistening substances that were scattered to and fro about the floor.

Works Cited:

Bonaparte, Marie. “The Life and Works of Edgar Allan Poe : A Psycho-Analytic Interpretation.” Internet Archive, Imago Publishing Co. Ltd., 1 Jan. 1970, archive.org/details/lifeworksofedgar0000bona/mode/2up?q=vagina%2Bdentata.

Doyle, Jacqueline. “(Dis)Figuring Woman: Edgar Allan Poe’s ‘Berenice.’” Poe Studies/Dark Romanticism, vol. 26, no. 1/2, 1993, pp. 13–21. JSTOR, http://www.jstor.org/stable/45297290. Accessed 12 Dec. 2023.

Hayes, Tracy. “Poe, Insanity, and Containing the Feminine Monstrous.” Nature News, Nature Publishing Group, 26 May 2020, www.nature.com/articles/s41599-020-0486-4#citeas.

Waterhouse, John William; Hylas and the Nymphs; Manchester Art Gallery; http://www.artuk.org/artworks/hylas-and-the-nymphs-206346

 

License

Tales of Edgar Allan Poe: Critical and Creative Editions Copyright © by Abby Embree; Andrew Burgess; Ann Manley; Bri Brands; Dylan Melchior; Elizabeth Klink; Emi O’Brochta; Emma Grause; Georgia Aduddell; Grace Martin; Iysis Shaffers; Jess Quintero; Kade Cockrum; Karaline Schulte; Katherine Bonny; Kathleen Zeivel; Leah Wegmann; LeDavid Olmstead; Link Linquist; Logan Williams; Lorna Bauer; Maddie Patterson; Madeleine Heath; Matthew Brown; Nathan Peterson; Olivia Noll Reinert; Piper Wiley; Sarah Inouye; Sona Xiong; Spencer Cooper-Ohm; and Trick Lucero. All Rights Reserved.