Universal natural history and theory of the [606850]

Poe’s hieroglyphic universe: the master keys

Mihai A. Stroe
University of Bucharest

Edgar Allan Poe elaborated an ambitious cosmologica l system in Eureka,
according to which a primordial material particle ( the first cosmic egg of the
physical Universe) propagated through a flash-like explosion into infinite space
to form the Universe we know. To Poe, planetary sys tems like the Solar System
were “Titanic atoms,” “collossal atoms,” or “system -atoms” whose common
feature throughout the Universe is physical evoluti on. Notoriously neglected both
in literary criticism and in mainstream science, Po e’s cosmological hypothesis
has recently finally been considered from the viewp oint of its scientific value:
Alberto Cappi (1994) came to the important conclusi on that Poe constructed in
Eureka a coherent and consistent Newtonian model of the Universe. Hereby we
attempt to show that Poe’s cosmology is romantic in nature by stating that the
Universe is “interfinite” in nature, i.e. it is sim ultaneously finite (as matter) and
infinite (as space and as spirit). What is more, Po e’s model of universe
anticipates many evolutions in Western thought such as chaos theory, the Big
Bang and the Big Crunch theory, the parallel univer ses hypothesis, etc. We are
dealing with a Universe that is doubly hieroglyphic : the cosmic laws and the
cosmic events are in Poe’s model eternal like hiero glyphs indelibly painted on an
infinite tapestry. This “Egyptian connection” will prove to be extremely relevant
in understanding Poe’s cosmological project as a wh ole, which was meant as
itself a “hieroglyphic” solution to the riddle of r eality.

Key words : Big Bang theory; Big Crunch hypothesis; periodici ty; cause-effect
equivalence; hieroglyphic phantom Universe(s); para llel universes;
phantasmagoric effect; the Egyptian connection

I have found it: the chamber of cosmic creation as the matter-spirit mirror

Eureka: a prose poem – an essay on the material and spiritual Universe (New
York: George P. Putnam), 1848, was dedicated by Edg ar Allan Poe (19 Jan.
1809; Boston, Massachusetts – 7 Oct. 1849; Baltimor e, Maryland) to Alexander
von Humboldt (1769–1859), being inspired by the lat ter’s book entitled Kosmos ,
by which Humboldt offered one of the fundaments of cosmographic thought.
Eureka is a cosmological treatise, elaborated in an inter disciplinary, rational and
intuitive manner, the conceptual basis being mathem atics and poetics. It was
developed from the initial lecture entitled On the cosmology of the Universe, held
by Poe on 3 February 1848, in circa two and a half hours, to an audience of sixty

2 persons that had gathered at the New York Society L ibrary Room, to whom the
American poet tried to disclose his revelations reg arding the mysteries of God’s
creation, of the Universe regarded as God’s cosmic masterpiece. Eureka has
about 40,000 words, being the 10th and last volume published by Poe (it was
printed in July 1848, in only circa 500–750 copies; cf. Sova 2007: 63-64).
In Eureka , we are dealing with a scientific-aesthetic attemp t to write what
Poe called a “Book of Truths,” yet also a “Romance, ” containing “the Beauty that
abounds in its Truth.” (Poe 1848: 5; 1996: 1259) Sc ience and art are combined in
Poe’s vision in a programmatic manner, reminding us of John Keats’s famous
truth-beauty equation which is the foundation of th e latter’s entire onto-aesthetic
system.
In this sense, John T. Irwin – considered by Harold Bloom as being “Poe’s
most advanced critic” ( American hieroglyphics is Irwin’s reference work on Poe)
– is of the relevant opinion that in Eureka the American poet-scientist built an
“aesthetic cosmology” (Irwin 1983, apud Bloom 2006: 2), a “mystical-
mathematical treatise on cosmology” (Irwin 2006: 45 ) in the Pythagorean line of
thought, structured like a detective story whose ma in character is none other than
Auguste Dupin, who now tries to find a solution for the enigma and mystery of
the Universe, which must be not only mathematically correct, but also
aesthetically satisfactory: it must be true and bea utiful – such a solution,
necessarily an interplay between simplicity and com plexity (and so an expression
of simplexity ), can be accessible only to somebody who is simult aneously a
mathematician and a poet, just like Dupin, defined by Poe as “a double Dupin –
the creative and the resolvent” (cf. Irwin 2006: 47 , 61). The one who has a mind
that can function like a telescope and a microscope , capable to see the simple in
the complex, and the complex in the simple – in sho rt, a versatile mind that can
discern the deep mysteries of simplexity . Otherwise, Bloom (2009: 3) considers
Eureka Poe’s answer to Emerson, who in 1836 anonymously p ublished the
manifesto of transcendentalism, Nature .
Furthermore, recently John Tresch (2004: 119f) – wh o sees in Poe the
“definitive” author of the steam age, of the electr ic, electronic and nuclear age, as
well as the inventor of the science fiction genre – advanced the hypothesis
according to which Eureka is a “conceptual time machine,” by means of which
Poe studies the “macromachine” that is the Universe itself, wherein the
fundamental mechanism is the perfect fitting togeth er (as between the dented
wheels of a clock) between cause and effect, by who se agency all physical
phenomena are (directly or indirectly) interconnect ed with the whole of reality.
Even the smallest event, the smallest word – as vib ration – is retained in the ether
and thus modifies the texture or “tapestry” of the Universe in its entirety (which,
as we shall see, is an idea that is congruent with modern chaos theory: the
butterfly effect). Also, Tresch suggests that for P oe any text (including his own

3 texts, among which some describe machines whose tas k is to modify reality) is
itself a “micromachine” (as all the other technolog ies created by man), by which
the world is transformed.
Thus, for instance, in The power of words Poe (1976 : 174) imagines a
disembodied conscience that gives birth to a “wild star,” whose “brilliant flowers
are the dearest of all unfulfilled dreams” and whose “r aging volcanoes are the
passions of the most turbulent and unhallowed of he arts.” According to Tresch
(2004: 122), Poe wanted to say that, written or spo ken, words convert thoughts
into vibrations in the ether, and thereby man modif ies and reconstructs the world.
Poe (1976: 173) considers that by words/vibrations men influence with impulses
in the ether (these propagate eternally) even the t imes that are infinitely remote:

[T]o a being of infinite understanding […] there co uld be no difficulty in tracing every
impulse given the air – and the ether through the a ir – to the remotest consequences at
any even infinitely remote epoch of time. ( The power of words , 1845)

This is an important metaphysical, spiritual elemen t in Poe’s system, which
points to what the poet underlines in the end of th e epistle in Eureka : “I have
stolen the golden secret of the Egyptians.” This bo ld statement reminds us of a
similar one made by William Blake in Jerusalem , 77 (1804-1820):

I give you the end of a golden string, / Only wind it into a ball, / It will lead you in at
Heaven’s gate / Built in Jerusalem’s wall.

As a “Book of Truths” containing “the golden secret of the Egyptians,” the text of
Eureka in Poe’s mind must have been associated principally with the Egyptian
wisdom literature, in which Ptah was among the most important god figures. Ptah
was known in this sense as the “Lord of Truth” ( Pteh-Neb-Maat ), the “Lord of
Life” ( Pteh-Neb-Ankh ), “the heart and tongue of the gods” ( Pteh-ur ), the creator
of the sky ( Pteh-Nu ), the “stabilizer of law” ( Pteh-smen-Maat ), the “lord of the
artist’s designing and painting room” ( Pteh-neb-qet-t ), “Ptah of the beautiful
face” ( Pteh-nefer-her ); he is one aspect of the triune god of the resurr ection Pteh-
Sekri-Asar (Ptah, Seker, Ausar/Osiris – the three together sy mbolized the entire
cycle of life, death and resurrection); he was beli eved to be the architect of
heaven and earth, the mastercraftsman working the m etals; he was a sculptor and
designer; he was the blacksmith and mason of the go ds (so he is currently equated
with Hephaistos / Vulcan); and most importantly, he was regarded as the
fashioner of the bodies of man, like Prometheus of Greek lore (cf. Budge 1978i:
254-255; 1987: 98). Among the attributes mentioned above, the most significant
ones are the lordship over truth and life, the qual ity of being the maker of the
physical body of man, and that of being “the heart and tongue of the gods.” The
latter notion brings Ptah quite close to the Christ ian understanding of God as
“Logos” or “Word” (cf. the Gospel according to St. John). The importance of

4 Ptah for understanding Poe’s project can be glimpse d from the following concise
presentation of his main features:

Ptah was the only true god, the creator, and all sp iritual beings, divine or human,
emanated from his will. The creation deities worshi ped in other cities were supposed to
have been devised by Ptah. This deity was also the source of the ethical and moral
orders in the world, and he was called “the Lord of Truth” in all historical periods. He
was deemed capable of bringing forth life with word s, as the tongue announced what
the god’s heart experienced. […] Statues and relief s depicting the god showed him as a
man with very light skin, sometimes green, mummy wr appings, and an immense collar
with the menat . Most depictions of Ptah were designed as pillars, emblems of justice.
Called the First of the Gods, Ptah was a patron of the great architectural monuments of
the Old Kingdom (2575–2134 B.C.E.). As Tatenen [var. Tatunen, Tathunen, an ancient
elemental Earth-god, one of the creators of the wor ld; cf. Budge 1978ii: 821] he was
revered as the creative urge, both for the world an d for the individual works of art. Also
called Hetepi and Khnemi , Ptah was associated with the chaos that existed b efore the
moment of creation, and was then called Ptah-Nun . When associated with the Nile, the
deity was worshiped as Ptah-Hapi ; with the earth as Ptah-Tenen ; and with the solar
disk, called Ptah-Aten . (Bunson 2002: 313)

We are dealing with an omnipotent deity that create s from chaos ( ex nihilo ) by
sheer power of will, as is the case with the God in Poe’s cosmogony, as we shall
see. Ptah, by simply uttering the words formed in h is heart, is said to be capable
of bringing forth into physical manifestation both real living beings and works of
art, among which the physical Universe may be regar ded as the masterpiece. As a
still disembodied entity formed in the interior of one’s conscience (the heart), a
thought – being uttered through the mouth as vibrat ion – is as a consequence said
to be magically transformed into material reality: we can see in this Egyptian
notion related to the cult of Ptah a precursor of P oe’s idea mentioned above
according to which words-vibrations, once uttered t hrough the mouth, never die,
being perpetuated through the spiritual ether to fi nally become physical reality in
the “wild star” whose “brilliant flowers” Poe expla ins as being “the dearest of all
unfulfilled dreams,” and whose “raging volcanoes” a re the physical manifestation
of “the passions of the most turbulent and unhallow ed of hearts.” In Poe’s view,
what happens inside man’s heart (in his psychologic al microcosm) will thus have
impact on a macro-scale on the physical Universe. I n a way, this implies a
reversal of the order of things as seen by the Egyp tians: the latter were interested
in the mysterious correspondence between events tak ing place in the sky and
those occurring in human life, namely men needed to imitate the orderliness that
could be observed as being the ruling principle in the motion of celestial bodies
(see also infra ) – any act by which man went against the celestial harmony was
harmful for himself and would attract the wrath of the ruling gods.
But a Universe such as that envisaged by Poe – in w hich “every impulse
given the air – and the ether through the air” is i ndelible for ever and perpetuated

5 as vibration “to the remotest consequences at any e ven infinitely remote epoch of
time” – will be no doubt a “hieroglyphic” Universe in the following sense: such a
Universe is like an infinite cosmic chamber with in finite walls (the cosmic laws
and matter) on which lie indelibly imprinted all ev ents of the past (the tapestry or
network of dynamic phenomena having occurred up to the present time); many of
the past events (imprinted on the tapestry hung on the cosmic “walls”) through
the passage of vast ages will have become unintelli gible to living beings. Indeed
only “a being of infinite understanding” could make such a hieroglyphic Universe
intelligible by deciphering the double hieroglyphics contained therein (in the
cosmic walls that are at one with the “phenomenal” tapestry): the natural laws
(the astronomer has this task) and the eternal vibrations imprinted on the infinite
walls of the cosmic “chamber” (the historian has th is task; see infra the references
to Ligeia ).
Harold Beaver (1976: 388-389), however, shows that Pascal ( Les Pensées ,
505) is the source for Poe’s idea in The power of w ords, according to which “as
no thought can perish, so no act is without infinit e result”: “The smallest
movement affects all of nature; the entire sea is c hanged by a stone.” [“Le
moindre mouvement importe à toute la nature; la mer entière change pour une
pierre.”] In this concept we identify the germs of chaos theory – the butterfly
effect (see infra references to fragments in which Poe clearly think s in the terms
of non-linear systems theory):

We moved our hands, for example, when we were dwell ers on the earth, and, in so
doing, we gave vibration to the atmosphere which en girdled it. This vibration was
indefinitely extended, till it gave impulse to ever y particle of the earth’s air, which
thenceforward, and for ever , was actuated by the one movement of the hand. ( The
power of words ; Poe 1976: 172-173)

As regards the scientific, astro-physical truth con tained in Eureka , an exceptional
study on this controversial issue is to be noticed only in the year 1994, having
been written by Alberto Cappi from the Osservatorio Astronomico di Bologna
(via Zamboni 33, I-40126 Bologna, Italy): Edgar All an Poe’s physical cosmology
(published in Quarterly Journal of the Royal Astronomical Society 35). The
essential question that Cappi asks himself is why P oe’s cosmology has constantly
been neglected (with a single notable exception), w hile other authors always get
permanent credit for various hypotheses, ideas, etc . [For instance, Democritus
(460– ca 370 BC) is associated with the atom; Arist archus of Samos (ca 310–230
BC) – with the first formulation of the heliocentri c system; Immanuel Kant
(1724–1804) and Thomas Wright (1711–1786) – with th e hypothesis that the
nebulae are galactic systems similar to the Milky W ay; Thomas Wright published
An original theory or new hypothesis of the Univers e in 1750; Kant published his
nebular theory in 1755 under the title: Universal natural history and theory of the

6 heavens ; etc.]. The notable exception invoked by Cappi is Edward Harrison’s
work entitled Darkness at night: a riddle of the Universe (1987), in which the
author explains the reason for which Eureka has been ignored, namely the
metaphysics implied in Poe’s entire undertaking.

[…]

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