Summary

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

Beyond Saint-Eustache, and perhaps Beauvais, we find no recognized, no open, no honourable suitors of Marie. Of none other is there anything said. Who, then, is the secret lover, of whom the relatives (at least most of them) know nothing, but whom Marie meets upon the morning of Sunday, and who is so deeply in her confidence, that she hesitates not to remain with him until the shades of the evening descend, amid the solitary groves of the Barrière du Roule? Who is that secret lover, I ask, of whom, at least, most of the relatives know nothing?
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

The sounds of life encompass his path. A dozen times he hears or fancies he hears the step of an observer. Even the very lights from the city bewilder him. Yet, in time, and by long and frequent pauses of deep agony, he reaches the river’s brink, and disposes of his ghastly charge—perhaps through the medium of a boat. But now what treasure does the world hold—what threat of vengeance could it hold out—which would have power to urge the return of that lonely murderer over that toilsome and perilous path, to the thicket and its blood-chilling recollections?
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

If this was accident, it was not the accident of a gang. We can imagine it only the accident of an individual. Let us see. An individual has committed the murder. He is alone with the ghost of the departed. He is appalled by what lies motionless before him. The fury of his passion is over, and there is abundant room in his heart for the natural awe of the deed. His is none of that confidence which the presence of numbers inevitably inspires. He is alone with the dead. He trembles and is bewildered. Yet there is a necessity for disposing of the corpse.
Source: Wikisource

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