'Mystification' by Edgar Allen Poe

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Slid, if these be your "passados" and "montantes," I'll have none o' them.

THE BARON RITZNER VON JUNG was a noble Hungarian family, every member of which (at least as far back into antiquity as any certain records extend) was more or less remarkable for talent of some description- the majority for that species of grotesquerie in conception of which Tieck, a scion of the house, has given a vivid, although by no means the most vivid exemplifications. My acquaintance with Ritzner commenced at the magnificent Chateau Jung, into which a train of droll adventures, not to be made public, threw a place in his regard, and here, with somewhat more difficulty, a partial insight into his mental conformation. In later days this insight grew more clear, as the intimacy which had at first permitted it became more close; and when, after three years of the character of the Baron Ritzner von Jung.
I remember the buzz of curiosity which his advent excited within the college precincts on the night of the twenty-fifth of June. I remember still more distinctly, that while he was pronounced by all parties at first sight "the most remarkable man in the world," no person made any attempt at accounting for his opinion. That he was unique appeared so undeniable, that it was deemed impertinent to inquire wherein the uniquity consisted. But, letting this matter pass for the present, I will merely observe that, from the first moment of his setting foot within the limits of the university, he began to exercise over the habits, manners, persons, purses, and propensities of the whole community which surrounded him, an influence the most extensive and despotic, yet at the same time the most indefinite and altogether unaccountable. Thus the brief period of his residence at the university forms an era in its annals, and is characterized by all classes of people appertaining to it or its dependencies as "that very extraordinary epoch forming the domination of the Baron Ritzner von Jung." then of no particular age, by which I mean that it was impossible to form a guess respecting his age by any data personally afforded. He might have been fifteen or fifty, and was twenty-one years and seven months. He was by no means a handsome man- perhaps the reverse. The contour of his face was somewhat angular and harsh. His forehead was lofty and very fair; his nose a snub; his eyes large, heavy, glassy, and meaningless. About the mouth there was more to be observed. The lips were gently protruded, and rested the one upon the other, after such a fashion that it is impossible to conceive any, even the most complex, combination of human features, conveying so entirely, and so singly, the idea of unmitigated gravity, solemnity and repose.
It will be perceived, no doubt, from what I have already said, that the Baron was one of those human anomalies now and then to be found, who make the science of mystification the study and the business of their lives. For this science a peculiar turn of mind gave him instinctively the cue, while his physical appearance afforded him unusual facilities for carrying his prospects into effect. I quaintly termed the domination of the Baron Ritzner von Jung, ever rightly entered into the mystery which overshadowed his character. I truly think that no person at the university, with the exception of myself, ever suspected him to be capable of a joke, verbal or practical:- the old bull-dog at the garden-gate would sooner have been accused,- the ghost of Heraclitus,- or the wig of the Emeritus Professor of Theology. This, too, when it was evident that the most egregious and unpardonable of all conceivable tricks, whimsicalities and buffooneries were brought about, if not directly by him, at least plainly through his intermediate agency or connivance. The beauty, if I may so call it, of his art mystifique, lay in that consummate ability (resulting from an almost intuitive knowledge of human nature, and a most wonderful self-possession,) by means of which he never failed to make it appear that the drolleries he was occupied in bringing to a point, arose partly in spite, and partly in consequence of the laudable efforts he was making for their prevention, and for the preservation of the good order and dignity of Alma Mater. The deep, the poignant, the overwhelming mortification, which upon each such failure of his praise worthy endeavors, would suffuse every lineament of his countenance, left not the slightest room for doubt of his sincerity in the bosoms of even his most skeptical companions. The adroitness, too, was no less worthy of observation by which he contrived to shift the sense of the grotesque from the creator to the created- from his own person to the absurdities to which he had given rise. In no instance before that of which I speak, have I known the habitual mystific escape the natural consequence of his manoevres- an attachment of the ludicrous to his own character and person. Continually enveloped in an atmosphere of whim, my friend appeared to live only for the severities of society; and not even his own household have for a moment associated other ideas than those of the rigid and august with the memory of the Baron Ritzner von Jung. the demon of the dolce far niente lay like an incubus upon the university. Nothing, at least, was done beyond eating and drinking and making merry. The apartments of the students were converted into so many pot-houses, and there was no pot-house of them all more famous or more frequented than that of the Baron. Our carousals here were many, and boisterous, and long, and never unfruitful of events.
Upon one occasion we had protracted our sitting until nearly daybreak, and an unusual quantity of wine had been drunk. The company consisted of seven or eight individuals besides the Baron and myself. Most of these were young men of wealth, of high connection, of great family pride, and all alive with an exaggerated sense of honor. They abounded in the most ultra German opinions respecting the duello. To these Quixotic notions some recent Parisian publications, backed by three or four desperate and fatal conversation, during the greater part of the night, had run wild upon the all- engrossing topic of the times. The Baron, who had been unusually silent and abstracted in the earlier portion of the evening, at length seemed to be aroused from his apathy, took a leading part in the discourse, and dwelt upon the benefits, and more especially upon the beauties, of the received code of etiquette in passages of arms with an ardor, an eloquence, an impressiveness, and an affectionateness of manner, which elicited the warmest enthusiasm from his hearers in general, and absolutely staggered even myself, who well knew him to be at heart a ridiculer of those very points for which he contended, and especially to hold the entire fanfaronade of duelling etiquette in the sovereign contempt which it deserves.
Looking around me during a pause in the Baron's discourse (of which my readers may gather some faint idea when I say that it bore resemblance to the fervid, chanting, monotonous, yet musical sermonic manner of Coleridge), I perceived symptoms of even more than the general interest in the countenance of one of the party. This gentleman, whom I shall call Hermann, was an original in every respect- except, perhaps, in the single particular that he was a very great fool. He contrived to bear, however, among a particular set at the university, a reputation for deep metaphysical thinking, and, I believe, for some logical talent. As a duellist he had acquired who had fallen at his hands; but they were many. He was a man of courage undoubtedly. But it was upon his minute acquaintance with the etiquette of the duello, and the nicety of his sense of honor, that he most especially prided himself. These things were a hobby which he rode to the death. To Ritzner, ever upon the lookout for the grotesque, his peculiarities had for a long time past afforded food for mystification. Of this, however, I was not aware; although, in the present instance, I saw clearly that something of a whimsical nature was upon the tapis with my friend, and that Hermann was its especial object.
As the former proceeded in his discourse, or rather monologue I perceived the excitement of the latter momently increasing. At length he spoke; offering some objection to a point insisted upon by R., and giving his reasons in detail. To these the Baron replied at length (still maintaining his exaggerated tone of sentiment) and concluding, in what I thought very bad taste, with a sarcasm and a sneer. The hobby of Hermann now took the bit in his teeth. This I could discern by the studied hair-splitting farrago of his rejoinder. His last words I distinctly remember. "Your opinions, allow me to say, Baron von Jung, although in the main correct, are, in many nice points, discreditable to yourself and to the university of which you are a member. In a few respects they are even unworthy of serious refutation. I would say more than this, sir, were it not for the fear of giving you offence (here the speaker smiled blandly), I would say, sir, that your opinions are not the opinions to be expected from a gentleman."
As Hermann completed this equivocal sentence, all eyes were turned upon the Baron. He became pale, then excessively red; then, dropping his pocket-handkerchief, stooped to recover it, when I caught a glimpse of his countenance, while it could be seen by no one else at the table. It was radiant with the quizzical expression which was its natural character, but which I had never seen it assume except when we were alone together, and when he unbent himself freely. In an instant afterward he stood erect, confronting Hermann; and so total an alteration of countenance in so short a period I certainly never saw before. For a moment I even fancied that I had misconceived him, and that he was in sober earnest. He appeared to be stifling with passion, and his face was cadaverously white. For a short time he remained silent, apparently striving to master his emotion. Having at length seemingly succeeded, he reached a decanter which stood near him, saying as he held it firmly clenched "The language you have thought proper to employ, Mynheer Hermann, in addressing yourself to me, is objectionable in so many particulars, that I have neither temper nor time for specification. That my opinions, however, are not the opinions to be expected from a gentleman, is an observation so directly offensive as to allow me but one line of conduct. Some courtesy, nevertheless, is due to the presence of this company, and to yourself, at this moment, as my guest. You will pardon me, therefore, if, upon this consideration, I deviate slightly from the general usage among gentlemen in similar cases of personal affront. You will forgive me for the moderate tax I shall make upon your imagination, and endeavor to consider, for an instant, the reflection of your person in yonder mirror as the living Mynheer Hermann himself. This being done, there will be no difficulty whatever. I shall discharge this decanter of wine at your image in yonder mirror, and thus fulfil all the spirit, if not the exact letter, of resentment for your insult, while the necessity of physical violence to your real person will be obviated."
With these words he hurled the decanter, full of wine, against the mirror which hung directly opposite Hermann; striking the reflection of his person with great precision, and of course shattering the glass into fragments. The whole company at once started to their feet, and, with the exception of myself and Ritzner, took their departure. As Hermann went out, the Baron whispered me that I should follow him and make an offer of my services. To this I agreed; not knowing precisely what to make of so ridiculous a piece of business.
The duellist accepted my aid with his stiff and ultra recherche air, and, taking my arm, led me to his apartment. I could hardly forbear laughing in his face while he proceeded to discuss, with the profoundest gravity, what he termed "the refinedly peculiar character" of the insult he had received. After a tiresome harangue in his ordinary style, he took down from his book shelves a number of musty volumes on the subject of the duello, and entertained me for a long time with their contents; reading aloud, and commenting earnestly as he read. I can just remember the titles of some of the works. There were the "Ordonnance of Philip le Bel on Single Combat"; the "Theatre of Honor," by Favyn, and a treatise "On the Permission of Duels," by Andiguier. He displayed, also, with much pomposity, Brantome's "Memoirs of Duels,"- published at Cologne, 1666, in the types of Elzevir- a precious and unique vellum-paper volume, with a fine margin, and bound by Derome. But he requested my attention particularly, and with an air of mysterious sagacity, to a thick octavo, written in barbarous Latin by one Hedelin, a Frenchman, and having the quaint title, "Duelli Lex Scripta, et non; aliterque." From this he read me one of the drollest chapters in the world concerning "Injuriae per applicationem, per constructionem, et per se," about half of which, he averred, was strictly applicable to his own "refinedly peculiar" case, although not one syllable of the whole matter could I understand for the life of me. Having finished the chapter, he closed the book, and demanded what I thought necessary to be done. I replied that I had entire confidence in his superior delicacy of feeling, and would abide by what he proposed. With this answer he seemed flattered, and sat down to write a note to the Baron. It ran thus:

Sir,- My friend, M. P.-, will hand you this note. I find it incumbent upon me to request, at your earliest convenience, an explanation of this evening's occurrences at your chambers. In the event of your declining this request, Mr. P. will be happy to arrange, with any friend whom you may appoint, the steps preliminary to a meeting.
With sentiments of perfect respect,

Your most humble servant,

To the Baron Ritzner von Jung,

Not knowing what better to do, I called upon Ritzner with this epistle. He bowed as I presented it; then, with a grave countenance, motioned me to a seat. Having perused the cartel, he wrote the following reply, which I carried to Hermann.

SIR,- Through our common friend, Mr. P., I have received your note of this evening. Upon due reflection I frankly admit the propriety of the explanation you suggest. This being admitted, I still find great difficulty, (owing to the refinedly peculiar nature of our disagreement, and of the personal affront offered on my part,) in so wording what I have to say by way of apology, as to meet all the minute exigencies, and all the variable shadows, of the case. I have great reliance, however, on that extreme delicacy of discrimination, in matters appertaining to the rules of etiquette, for which you have been so long and so pre-eminently distinguished. With perfect certainty, therefore, of being comprehended, I beg leave, in lieu of offering any sentiments of my own, to refer you to the opinions of Sieur Hedelin, as set forth in the ninth paragraph of the chapter of "Injuriae per applicationem, per constructionem, et per se," in his "Duelli Lex scripta, et non; aliterque." The nicety of your discernment in all the matters here treated, will be sufficient, I am assured, to convince you that the mere circumstance of me referring you to this admirable passage, ought to satisfy your request, as a man of honor, for explanation.
With sentiments of profound respect,

Your most obedient servant,

The Herr Johann Hermann

Hermann commenced the perusal of this epistle with a scowl, which, however, was converted into a smile of the most ludicrous self-complacency as he came to the rigmarole about Injuriae per applicationem, per constructionem, et per se. Having finished reading, he begged me, with the blandest of all possible smiles, to be seated, while he made reference to the treatise in question. Turning to the passage specified, he read it with great care to himself, then closed the book, and desired me, in my character of confidential acquaintance, to express to the Baron von Jung his exalted sense of his chivalrous behavior, and, in that of second, to assure him that the explanation offered was of the fullest, the most honorable, and the most unequivocally satisfactory nature.
Somewhat amazed at all this, I made my retreat to the Baron. He seemed to receive Hermann's amicable letter as a matter of course, and after a few words of general conversation, went to an inner room and brought out the everlasting treatise "Duelli Lex scripta, et non; aliterque." He handed me the volume and asked me to look over some portion of it. I did so, but to little purpose, not being able to gather the least particle of meaning. He then took the book himself, and read me a chapter aloud. To my surprise, what he read proved to be a most horribly absurd account of a duel between two baboons. He now explained the mystery; showing that the volume, as it appeared prima facie, was written upon the plan of the nonsense verses of Du Bartas; that is to say, the language was ingeniously framed so as to present to the ear all the outward signs of intelligibility, and even of profundity, while in fact not a shadow of meaning existed. The key to the whole was found in leaving out every second and third word alternately, when there appeared a series of ludicrous quizzes upon a single combat as practised in modern times.
The Baron afterwards informed me that he had purposely thrown the treatise in Hermann's way two or three weeks before the adventure, and that he was satisfied, from the general tenor of his conversation, that he had studied it with the deepest attention, and firmly believed it to be a work of unusual merit. Upon this hint he proceeded. Hermann would have died a thousand deaths rather than acknowledge his inability to understand anything and everything in the universe that had ever been written about the duello.


Editor 1 Interpretation

Prose Mystification by Edgar Allen Poe

Are you a fan of mysteries and literary puzzles? If so, you might want to take a closer look at one of Edgar Allen Poe's lesser-known works, Prose Mystification. This short story, published in 1848, is not as famous as some of Poe's other works, such as "The Raven" or "The Tell-Tale Heart," but it is a fascinating and complex puzzle that challenges readers to use their critical thinking skills and literary knowledge to unravel its mysteries.

Plot Summary

Prose Mystification is a short story that revolves around a group of gentlemen, who are discussing the merits of various literary works. One of the gentlemen, Mr. Penmore, claims to have discovered a manuscript that is even more impressive than any of the works they have been discussing. He reads an excerpt from the manuscript, which tells the story of a young woman named Eiros, who is visited by a mysterious figure named Airos. Airos tells Eiros that he has come from the future, and he proceeds to tell her about the wonders of the future world, including steamships and electric telegraphs.

The other gentlemen are impressed by the manuscript, but they become suspicious when Penmore refuses to reveal the identity of the author. They start to suspect that the manuscript is a hoax, and they begin to look for clues to uncover the truth. Their investigation leads them to a young woman named Mrs. Theodore L. who admits to writing the manuscript as a hoax to prove a point about the gullibility of literary critics.

Literary Analysis

Prose Mystification is a clever and complex story that operates on several levels. At its most basic, it is a mystery story, with the gentlemen trying to uncover the truth about the manuscript. However, the story is also a commentary on the nature of literary criticism and the relationship between authors and critics.

One of the key themes of the story is the idea that literary critics sometimes get too caught up in the language and style of a work, rather than focusing on the substance of the story. In the story, the gentlemen are impressed by the elaborate language and descriptions used in the manuscript, but they are unable to see through the hoax. This is because they are too focused on the style of the work, and not enough on the substance.

Poe is also making a statement about the power dynamics between authors and critics. In the story, Mrs. Theodore L. writes the manuscript as a hoax to prove a point to the gentlemen. She is able to manipulate them and deceive them because she understands their weaknesses and their biases. This is a reflection of the power that authors have over critics. By creating a work of art, an author has the power to manipulate the emotions and thoughts of the reader/critic.

Another interesting aspect of the story is the relationship between fiction and reality. In the story, Airos claims to have come from the future, and he tells Eiros about all the wonders of the future world. However, the reader knows that this is not real, and that Airos is just a fictional character. This blurring of reality and fiction is a common theme in Poe's works, and it adds an extra layer of complexity to the story.


In conclusion, Prose Mystification is a fascinating and challenging work that requires readers to use their critical thinking skills and literary knowledge to unravel its mysteries. It is a commentary on the nature of literary criticism and the power dynamics between authors and critics. It also explores the relationship between fiction and reality, and the ways in which authors can manipulate the emotions and thoughts of their readers. If you are a fan of mysteries and literary puzzles, you will definitely want to read this intriguing work by Edgar Allen Poe.

Editor 2 Analysis and Explanation

Edgar Allan Poe's "Prose Mystification" is a literary masterpiece that has captivated readers for generations. This short story is a perfect example of Poe's unique style of writing, which is characterized by its dark and mysterious themes, intricate plots, and vivid imagery. In this article, we will explore the various elements of "Prose Mystification" and analyze how they contribute to the overall impact of the story.

The story begins with an unnamed narrator who is recounting a strange and unsettling experience that he had while visiting a friend's house. The narrator describes how he was shown a manuscript that had been written by a deceased relative of his friend, who was reputed to be a great mystic and philosopher. The manuscript was said to contain profound insights into the nature of reality and the universe, but it was also rumored to be cursed, and anyone who read it was said to suffer terrible consequences.

Despite these warnings, the narrator is intrigued by the manuscript and decides to read it. As he delves deeper into the text, he becomes increasingly disturbed by its contents. The manuscript describes a series of bizarre and otherworldly experiences that the author claims to have had, including encounters with supernatural beings and journeys to alternate dimensions. The narrator is initially skeptical of these claims, but as he reads on, he begins to feel a growing sense of dread and unease.

One of the most striking aspects of "Prose Mystification" is its use of vivid and evocative imagery. Poe's descriptions of the manuscript's contents are both beautiful and terrifying, painting a vivid picture of a world that is both wondrous and terrifying. For example, when describing the author's encounters with supernatural beings, Poe writes:

"The beings were of a species unlike any that I had ever seen before. They were tall and slender, with skin that glowed like moonlight and eyes that shone like stars. Their voices were like music, and their movements were graceful and fluid. But there was something about them that was deeply unsettling, a sense of otherness that made my skin crawl."

This passage is a perfect example of Poe's ability to create a sense of atmosphere and mood through his writing. The description of the beings is both beautiful and eerie, and it creates a sense of unease that lingers long after the reader has finished the story.

Another key element of "Prose Mystification" is its intricate plot. The story is full of twists and turns, and the reader is never quite sure what is going to happen next. As the narrator delves deeper into the manuscript, he begins to uncover a web of secrets and conspiracies that threaten to engulf him. He discovers that the manuscript is part of a larger body of work, and that there are others who are also seeking to uncover its secrets. The plot is full of surprises and revelations, and it keeps the reader on the edge of their seat until the very end.

One of the most interesting aspects of "Prose Mystification" is its exploration of the nature of reality and perception. The manuscript that the narrator reads is full of strange and otherworldly experiences, and it raises questions about the nature of the universe and our place within it. The author of the manuscript claims to have had experiences that transcend the boundaries of ordinary human perception, and he suggests that there are hidden dimensions of reality that are inaccessible to us. This theme of hidden knowledge and hidden dimensions is a recurring motif in Poe's work, and it adds a layer of depth and complexity to the story.

Finally, it is worth noting the role of the narrator in "Prose Mystification". The narrator is an important character in the story, but he is also somewhat unreliable. He is initially skeptical of the manuscript's claims, but as he reads on, he becomes increasingly convinced that there is something strange and otherworldly going on. This gradual shift in the narrator's perception mirrors the themes of the story, which are all about the nature of reality and perception. By making the narrator somewhat unreliable, Poe is able to create a sense of ambiguity and uncertainty that adds to the overall impact of the story.

In conclusion, "Prose Mystification" is a literary masterpiece that showcases Edgar Allan Poe's unique style of writing. The story is full of vivid imagery, intricate plotting, and thought-provoking themes, and it is sure to captivate readers for generations to come. Whether you are a fan of horror, mystery, or science fiction, "Prose Mystification" is a must-read for anyone who loves great literature.

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