The text I decided kept is highlighted in green, and the full abridged text is at the bottom.
You can listen to an audio version of Eleonora here: https://www.youtube.com/watch?v=OAlynpoMHGY
Eleonora
Edgar Allan Poe
Sub conservatione formae specificae salva anima. -Raymond Lully.
I AM come of a race noted for vigor of fancy and ardor of passion. Men have called me mad; but the question is not yet settled, whether madness is or is not the loftiest intelligence — whether much that is glorious- whether all that is profound — does not spring from disease of thought — from moods of mind exalted at the expense of the general intellect. They who dream by day are cognizant of many things which escape those who dream only by night. In their gray visions they obtain glimpses of eternity, and thrill, in awakening, to find that they have been upon the verge of the great secret. In snatches, they learn something of the wisdom which is of good, and more of the mere knowledge which is of evil. They penetrate, however, rudderless or compassless into the vast ocean of the “light ineffable,” and again, like the adventures of the Nubian geographer, “agressi sunt mare tenebrarum, quid in eo esset exploraturi.”
I cut out quite a bit in the first part of the story, with an eye towards how it was going to affect the rest of the narrative. I already knew the quote didn’t add very much to the story (it’s Latin for “Under the preservation of a specific form save the soul” and I guess I see how it’s relevant, but even in English I’m kind of confused as to the meaning). Even though the insanity motif does come up later, I didn’t feel like it was important enough to include. He makes a big deal about it here and then mentions it only very briefly later. After removing the quote, it followed that I should remove the other Latin phrase at the beginning of the introduction.
I took out the second paragraph after the opening quote (which I don’t consider a paragraph on its own, but that’s up to you) very early, but it was a harder choice to cut the first paragraph. I tried to make the story work with a few sentences from that first paragraph, focusing on the “ardor of passion” sentiment mostly, but I ultimately decided it made more sense to just get along with it and introduce Eleonora.
We will say, then, that I am mad. I grant, at least, that there are two distinct conditions of my mental existence — the condition of a lucid reason, not to be disputed, and belonging to the memory of events forming the first epoch of my life — and a condition of shadow and doubt, appertaining to the present, and to the recollection of what constitutes the second great era of my being. Therefore, what I shall tell of the earlier period, believe; and to what I may relate of the later time, give only such credit as may seem due, or doubt it altogether, or, if doubt it ye cannot, then play unto its riddle the Oedipus.
She whom I loved in youth, and of whom I now pen calmly and distinctly these remembrances, was the sole daughter of the only sister of my mother long departed. Eleonora was the name of my cousin. We had always dwelled together, beneath a tropical sun, in the Valley of the Many-Colored Grass. No unguided footstep ever came upon that vale; for it lay away up among a range of giant hills that hung beetling around about it, shutting out the sunlight from its sweetest recesses. No path was trodden in its vicinity; and, to reach our happy home, there was need of putting back, with force, the foliage of many thousands of forest trees, and of crushing to death the glories of many millions of fragrant flowers. Thus it was that we lived all alone, knowing nothing of the world without the valley — I, and my cousin, and her mother.
After removing the Latin quotes, I ended up taking almost all references to religion and mythology out of the story, including those to the Abrahamic God, of which there are several, as well as one each of the Seraphim, Eros, and Hesper. The narrator compares Eleonora to a lot of things, and compares Eleonora to a lot of things, and we can understand that she’s ethereally beautiful without a comparison to Greek mythology every other paragraph. Although it was interesting to see a pre-Freudian reference to Oedipus, about the riddle he had to solve rather than the fact that he married his mother, it wasn’t important, and I cut that name-drop too.
On that note, I also cut out the fact that Eleonora and the narrator are cousins, like Poe and his wife Virginia were in real life, and the fact that they lived with her mother, his aunt. Poe later does refer to a “we” still living in the Valley, but doesn’t specify who it is. I decided to keep this pronoun in, and I’m unsure if it’s confusing or not. It doesn’t even make a lot of sense in the original story either, because he only mentions his aunt once. Editing this story got harder the more times I went through it looking for things to cut, and this was one of those harder edits.
From the dim regions beyond the mountains at the upper end of our encircled domain, there crept out a narrow and deep river, brighter than all save the eyes of Eleonora; and, winding stealthily about in mazy courses, it passed away, at length, through a shadowy gorge, among hills still dimmer than those whence it had issued. We called it the “River of Silence”; for there seemed to be a hushing influence in its flow. No murmur arose from its bed, and so gently it wandered along, that the pearly pebbles upon which we loved to gaze, far down within its bosom, stirred not at all, but lay in a motionless content, each in its own old station, shining on gloriously forever.
The margin of the river, and of the many dazzling rivulets that glided through devious ways into its channel, as well as the spaces that extended from the margins away down into the depths of the streams until they reached the bed of pebbles at the bottom, — these spots, not less than the whole surface of the valley, from the river to the mountains that girdled it in, were carpeted all by a soft green grass, thick, short, perfectly even, and vanilla-perfumed, but so besprinkled throughout with the yellow buttercup, the white daisy, the purple violet, and the ruby-red asphodel, that its exceeding beauty spoke to our hearts in loud tones, of the love and of the glory of God.
And, here and there, in groves about this grass, like wildernesses of dreams, sprang up fantastic trees, whose tall slender stems stood not upright, but slanted gracefully toward the light that peered at noon-day into the centre of the valley. Their mark was speckled with the vivid alternate splendor of ebony and silver, and was smoother than all save the cheeks of Eleonora; so that, but for the brilliant green of the huge leaves that spread from their summits in long, tremulous lines, dallying with the Zephyrs, one might have fancied them giant serpents of Syria doing homage to their sovereign the Sun.
Hand in hand about this valley, for fifteen years, roamed I with Eleonora before Love entered within our hearts. It was one evening at the close of the third lustrum of her life, and of the fourth of my own, that we sat, locked in each other’s embrace, beneath the serpent-like trees, and looked down within the water of the River of Silence at our images therein. We spoke no words during the rest of that sweet day, and our words even upon the morrow were tremulous and few. We had drawn the God Eros from that wave, and now we felt that he had enkindled within us the fiery souls of our forefathers. The passions which had for centuries distinguished our race, came thronging with the fancies for which they had been equally noted, and together breathed a delirious bliss over the Valley of the Many-Colored Grass. A change fell upon all things. Strange, brilliant flowers, star-shaped, burn out upon the trees where no flowers had been known before. The tints of the green carpet deepened; and when, one by one, the white daisies shrank away, there sprang up in place of them, ten by ten of the ruby-red asphodel. And life arose in our paths; for the tall flamingo, hitherto unseen, with all gay glowing birds, flaunted his scarlet plumage before us. The golden and silver fish haunted the river, out of the bosom of which issued, little by little, a murmur that swelled, at length, into a lulling melody more divine than that of the harp of Aeolus-sweeter than all save the voice of Eleonora. And now, too, a voluminous cloud, which we had long watched in the regions of Hesper, floated out thence, all gorgeous in crimson and gold, and settling in peace above us, sank, day by day, lower and lower, until its edges rested upon the tops of the mountains, turning all their dimness into magnificence, and shutting us up, as if forever, within a magic prison-house of grandeur and of glory.
The painting above is by Byam Shaw, made for a London edition of Eleonora in 1909. He focused on the many-colored grass, the flamingoes, and the lovers in the story, whereas more modern artwork based on Eleonora seems to lean into the motif of the pale dying woman and the haunted young man, using much more muted colors.
The loveliness of Eleonora was that of the Seraphim; but she was a maiden artless and innocent as the brief life she had led among the flowers. No guile disguised the fervor of love which animated her heart, and she examined with me its inmost recesses as we walked together in the Valley of the Many-Colored Grass, and discoursed of the mighty changes which had lately taken place therein.
At length, having spoken one day, in tears, of the last sad change which must befall Humanity, she thenceforward dwelt only upon this one sorrowful theme, interweaving it into all our converse, as, in the songs of the bard of Schiraz, the same images are found occurring, again and again, in every impressive variation of phrase.
She had seen that the finger of Death was upon her bosom — that, like the ephemeron, she had been made perfect in loveliness only to die; but the terrors of the grave to her lay solely in a consideration which she revealed to me, one evening at twilight, by the banks of the River of Silence. She grieved to think that, having entombed her in the Valley of the Many-Colored Grass, I would quit forever its happy recesses, transferring the love which now was so passionately her own to some maiden of the outer and everyday world. And, then and there, I threw myself hurriedly at the feet of Eleonora, and offered up a vow, to herself and to Heaven, that I would never bind myself in marriage to any daughter of Earth — that I would in no manner prove recreant to her dear memory, or to the memory of the devout affection with which she had blessed me. And I called the Mighty Ruler of the Universe to witness the pious solemnity of my vow. And the curse which I invoked of Him and of her, a saint in Helusion should I prove traitorous to that promise, involved a penalty the exceeding great horror of which will not permit me to make record of it here. And the bright eyes of Eleonora grew brighter at my words; and she sighed as if a deadly burthen had been taken from her breast; and she trembled and very bitterly wept; but she made acceptance of the vow, (for what was she but a child?) and it made easy to her the bed of her death. And she said to me, not many days afterward, tranquilly dying, that, because of what I had done for the comfort of her spirit she would watch over me in that spirit when departed, and, if so it were permitted her return to me visibly in the watches of the night; but, if this thing were, indeed, beyond the power of the souls in Paradise, that she would, at least, give me frequent indications of her presence, sighing upon me in the evening winds, or filling the air which I breathed with perfume from the censers of the angels. And, with these words upon her lips, she yielded up her innocent life, putting an end to the first epoch of my own.
Thus far I have faithfully said. But as I pass the barrier in Times path, formed by the death of my beloved, and proceed with the second era of my existence, I feel that a shadow gathers over my brain, and I mistrust the perfect sanity of the record. But let me on. — Years dragged themselves along heavily, and still I dwelled within the Valley of the Many-Colored Grass; but a second change had come upon all things. The star-shaped flowers shrank into the stems of the trees, and appeared no more. The tints of the green carpet faded; and, one by one, the ruby-red asphodels withered away; and there sprang up, in place of them, ten by ten, dark, eye-like violets, that writhed uneasily and were ever encumbered with dew. And Life departed from our paths; for the tall flamingo flaunted no longer his scarlet plumage before us, but flew sadly from the vale into the hills, with all the gay glowing birds that had arrived in his company. And the golden and silver fish swam down through the gorge at the lower end of our domain and bedecked the sweet river never again. And the lulling melody that had been softer than the wind-harp of Aeolus, and more divine than all save the voice of Eleonora, it died little by little away, in murmurs growing lower and lower, until the stream returned, at length, utterly, into the solemnity of its original silence. And then, lastly, the voluminous cloud uprose, and, abandoning the tops of the mountains to the dimness of old, fell back into the regions of Hesper, and took away all its manifold golden and gorgeous glories from the Valley of the Many-Colored Grass.
Yet the promises of Eleonora were not forgotten; for I heard the sounds of the swinging of the censers of the angels; and streams of a holy perfume floated ever and ever about the valley; and at lone hours, when my heart beat heavily, the winds that bathed my brow came unto me laden with soft sighs; and indistinct murmurs filled often the night air, and once — oh, but once only! I was awakened from a slumber, like the slumber of death, by the pressing of spiritual lips upon my own.
But the void within my heart refused, even thus, to be filled. I longed for the love which had before filled it to overflowing. At length the valley pained me through its memories of Eleonora, and I left it for ever for the vanities and the turbulent triumphs of the world.
I partially justify my editions as an attempt to cut out the elements of Eleonora that are kind of problematic today, such as the predatory nature of the main character, and to make it more palatable to a post-#MeToo audience. Call it revisionist, which it is, but I wanted to see what I could do with this story.
The way Poe writes Eleonora makes it seem like he really put his wife Virginia on a pedestal, but also kind of didn’t see her as a full person yet, or at least very much infantilized her (which is not something you should do to someone you also see as a potential marriage match, obviously). Eleonora isn’t really a person so much as a vessel for male fantasies, which has been a cliche in all kinds of male-centered media for literally as long as men have been writing female characters. It doesn’t really seem like this story is about Eleonora, for all Poe’s words spent describing her beauty.
The death of a beautiful young woman was one of his favorite themes, coming up in both his poetry and his short stories, and transcending genre, and obviously it’s very present in Eleonora. (Discussed more in-depth by João de Mancelos in his essay “How to Murder a Young and Beautiful Woman: Death in Edgar Allan Poe’s Gothic Tales”.) This was the theme that I chose to focus on most in my edition. This is a sexist trope, I don’t need to tell you that, but Eleonora, the person and the story, could be viewed through so many feminist literary theories, including those of the male gaze, fridging, and even potentially Born Sexy Yesterday.
I found myself within a strange city, where all things might have served to blot from recollection the sweet dreams I had dreamed so long in the Valley of the Many-Colored Grass. The pomps and pageantries of a stately court, and the mad clangor of arms, and the radiant loveliness of women, bewildered and intoxicated my brain. But as yet my soul had proved true to its vows, and the indications of the presence of Eleonora were still given me in the silent hours of the night. Suddenly these manifestations they ceased, and the world grew dark before mine eyes, and I stood aghast at the burning thoughts which possessed, at the terrible temptations which beset me; for there came from some far, far distant and unknown land, into the gay court of the king I served, a maiden to whose beauty my whole recreant heart yielded at once — at whose footstool I bowed down without a struggle, in the most ardent, in the most abject worship of love. What, indeed, was my passion for the young girl of the valley in comparison with the fervor, and the delirium, and the spirit-lifting ecstasy of adoration with which I poured out my whole soul in tears at the feet of the ethereal Ermengarde? — Oh, bright was the seraph Ermengarde! and in that knowledge I had room for none other. — Oh, divine was the angel Ermengarde! and as I looked down into the depths of her memorial eyes, I thought only of them — and of her.
I wedded; — nor dreaded the curse I had invoked; and its bitterness was not visited upon me. And once — but once again in the silence of the night; there came through my lattice the soft sighs which had forsaken me; and they modelled themselves into familiar and sweet voice, saying:
“Sleep in peace! — for the Spirit of Love reigneth and ruleth, and, in taking to thy passionate heart her who is Ermengarde, thou art absolved, for reasons which shall be made known to thee in Heaven, of thy vows unto Eleonora.”
Eleonora Abridged
She whom I loved in youth was Eleonora.
We dwelled together in the Valley of the Many-Colored Grass. No unguided footstep ever came upon that vale; for it lay among a range of giant hills, shutting out the sunlight from its sweetest recesses. Thus it was that we lived all alone, knowing nothing of the world without the valley.
From the dim regions beyond the mountains, there crept out a narrow and deep river, brighter than all save the eyes of Eleonora. We called it the “River of Silence”; for there seemed to be a hushing influence in its flow. The margin of the river extended into the depths of the streams until they reached the bed of pebbles at the bottom, besprinkled throughout with the yellow buttercup, the white daisy, the purple violet, and the ruby-red asphodel, that its exceeding beauty spoke to our hearts in loud tones.
Hand in hand about this valley, for fifteen years, roamed I with Eleonora before Love entered within our hearts. It was one evening that we sat, locked in each other’s embrace. We spoke no words during the rest of that sweet day, and our words even upon the morrow were few.
A change fell upon all things. Strange, brilliant flowers, star-shaped, burn out upon the trees where no flowers had been known before. The tints of the green carpet deepened; and when the white daisies shrank away, there sprang up in place of them the ruby-red asphodel. Life arose in our paths; a murmur that swelled, at length, into a lulling melody more divine than all save the voice of Eleonora.
But Eleonora was a maiden artless and innocent as the brief life she had led among the flowers. No guile disguised the fervor of love which animated her heart, and she examined with me its inmost recesses as we walked together in the Valley of the Many-Colored Grass. At length, having spoken one day, in tears, of the last sad change which must befall Humanity, she thenceforward dwelt only upon this one sorrowful theme, interweaving it into all our converse, in every variation of phrase.
She had seen that the finger of Death was upon her bosom — that she had been made perfect only to die; but the terrors of the grave to her lay solely in a consideration that I would quit forever its happy recesses, transferring the love which now was her own to some maiden of the everyday world.
I threw myself hurriedly at the feet of Eleonora, and offered up a vow, that I would never bind myself in marriage to any daughter of Earth. And the curse which I invoked of her, should I prove traitorous to that promise, involved a penalty the horror of which will not permit me to make record of it here. The eyes of Eleonora grew brighter at my words; and she sighed as if a deadly burden had been taken from her breast. She made acceptance of the vow, and it made easy to her the bed of her death. She said to me, not many days afterward, tranquilly dying, that, because of what I had done for the comfort of her spirit, she would watch over me, and give frequent indications of her presence.
With these words upon her lips, she yielded up her innocent life.
I am worried that cutting Eleonora by about 60 percent may have cost some elements of the story their weight. Poe isn’t known for his brevity, which is probably why his most famous work is a poem that isn’t very long, but still, Eleonora is only 2400 words long. That feels long to our internet-addled minds, but it’s about a fifteen-minute read, a “one-sitting” read, as Poe talked about.
There is one specific thing I read that makes me anxious that I missed the point of the story and cut it in a way that makes no sense. In one section in a book called Poe Studies 1971-1985, called “Cosmic Vision in Poe’s Eleonora,” Professor E. Arthur Robinson talks about the role of the visions in the story.
“My purpose is to add a further dimension to these viewpoints by arguing that the paradoxes of “Eleonora” reflect the narrator’s increasing awareness of a close relation between matter and spirit. In spite of – perhaps partially as a result of the favorable resolution of his broken vow, the speaker’s growing but incomplete consciousness of a possible cosmic unity brings “grey visions” that lead him to doubt his sanity.” (Robinson 44)
It occurred to me that because I cut out all the references to sanity, I may have slashed an essential part of the story. Since this whole abridging project is simply an experiment, I shouldn’t worry too much about it. I suppose it’s meant to be up to the viewer, as really the only horror element in Eleonora. There probably isn’t a “correct” way to read Poe, death of the author and all that, but what do you think? Are the visions real? Are they hallucinations?
Years dragged themselves along heavily, and still I dwelled within the Valley of the Many-Colored Grass; but a second change had come. The tints of the green carpet faded; the ruby-red asphodels withered away, and there sprang up dark, eye-like violets that writhed uneasily. Life departed from our paths; and the lulling melody that had been more divine than all save the voice of Eleonora died little by little, until the stream returned, at length into the solemnity of its original silence.
Yet the promises of Eleonora were not forgotten; for at lone hours, the winds came unto me laden with soft sighs; and indistinct murmurs filled often the night air. Once I was awakened from a slumber, like the slumber of death, by the pressing of spiritual lips upon my own.
But the void within my heart refused, even thus, to be filled. I longed for the love which had before filled it to overflowing. The valley pained me through its memories of Eleonora, and I left it for ever for the vanities and the turbulent triumphs of the world.
I found myself in a strange city, where all things might have served to blot from recollection the sweet dreams in the Valley of the Many-Colored Grass. The pageantries of a stately court bewildered and intoxicated my brain. But the indications of the presence of Eleonora were still given me in the silent hours of the night.
Suddenly these manifestations ceased, and the world grew dark before mine eyes. I stood aghast at the burning thoughts which possessed; for there came from some distant land, into the court of the king I served, a maiden to whose beauty my whole heart yielded at once in the most abject worship of love. What, indeed, was my passion for the young girl of the valley in comparison with the spirit-lifting ecstasy of adoration with which I poured out my whole soul at the feet of the ethereal Ermengarde?
I wedded, but once again in the silence of the night there came through my lattice the soft sighs which had forsaken me; and they modeled themselves into familiar and sweet voice, saying:
“Sleep in peace! — for the Spirit of Love reigneth and ruleth, and, in taking to thy passionate heart her who is Ermengarde, thou art absolved of thy vows unto Eleonora.”
The picture above is by DeviantArt user Noemi-Sarzotto in 2015. This is one of the more muted pieces I was talking about earlier. Poe continues to inspire people, even today!