"The Conqueror Worm" is a poem by Edgar Allan Poe about human mortality and the inevitability of death. It was first published separately in Graham's Magazine in 1843, but quickly became associated with Poe's short story "Ligeia" after Poe added the poem to a revised publication of the story in 1845. In the revised story, the poem is composed by the eponymous Ligeia, and taught to the narrator in the fits of her death throes.
An audience of weeping angels watches a play performed by "mimes, in the form of God on high", and controlled by vast formless shapes looming behind the scenes. The mimes chase a "Phantom" which they can never capture, running around in circles. Finally, a monstrous "crawling shape" emerges, and eats the mimes. The final curtain comes down, "a funeral pall", signaling an end to the "tragedy, 'Man'", whose only hero is "The Conqueror Worm".
"The Conqueror Worm" was first published as a stand-alone poem in the January 1843 issue of Graham's Magazine. [1] Shortly after, it was included among several other poems by Poe in the February 25 issue of the Saturday Museum in a feature called "The Poets & Poetry of Philadelphia: Edgar Allan Poe". [2] It was later included in Poe's poetry collection The Raven and Other Poems in 1845. [1] That same year, it was incorporated into "Ligeia" for the first time when the story was reprinted in the February 15, 1845, issue of the New York World. [3] "Ligeia" was again republished with "The Conqueror Worm" in the September 27, 1845, issue of The Broadway Journal while Poe was its editor. [4] This was not unusual for Poe, who had also incorporated poems "The Coliseum" and "To One in Paradise" into tales. [5]
Lo! 'tis a gala night
Within the lonesome latter years!
An angel throng, bewinged, bedight
In veils, and drowned in tears,
Sit in a theatre, to see
A play of hopes and fears,
While the orchestra breathes fitfully
The music of the spheres.
Mimes, in the form of God on high,
Mutter and mumble low,
And hither and thither fly—
Mere puppets they, who come and go
At bidding of vast formless things
That shift the scenery to and fro,
Flapping from out their Condor wings
Invisible Wo!
That motley drama—oh, be sure
It shall not be forgot!
With its Phantom chased for evermore,
By a crowd that seize it not,
Through a circle that ever returneth in
To the self-same spot,
And much of Madness, and more of Sin,
And Horror the soul of the plot.
But see, amid the mimic rout
A crawling shape intrude!
A blood-red thing that writhes from out
The scenic solitude!
It writhes!—it writhes!—with mortal pangs
The mimes become its food,
And the angels sob at vermin fangs
In human gore imbued.
Out—out are the lights—out all!
And, over each quivering form,
The curtain, a funeral pall,
Comes down with the rush of a storm,
And the angels, all pallid and wan,
Uprising, unveiling, affirm
That the play is the tragedy, "Man,"
And its hero the Conqueror Worm.
Poe's mother and father were both actors, and the poem uses theater metaphors throughout to deal with human life on a universal level.
The poem seems to imply that human life is mad folly ending in hideous death, the universe is controlled by dark forces man cannot understand, and the only supernatural forces that might help are powerless spectators who can only affirm the tragedy of the scene.
Though Poe was referring to an ancient connection between worms and death, he may have been inspired by "The Proud Ladye", a poem by Spencer Wallis Cone which was reviewed in an 1840 issue of Burton's Gentleman's Magazine . [6] That poem contained the lines "Let him meet the conqueror worm / With his good sword by his side". [7]
"The Conqueror Worm" also uses the word "evermore", which would later evolve into "nevermore" in Poe's famous poem "The Raven" in 1845. [8]
The poem plays an important symbolic role as part of its inclusion in the short story "Ligeia." The poem is written by Ligeia as she is dying, though it is actually recited by the narrator, her husband.
Because it emphasizes the finality of death, it calls to question Ligeia's resurrection in the story. Also, the inclusion of the bitter poem may have been meant to be ironic or a parody of the convention at the time, both in literature and in life. In the mid-19th century it was common to emphasize the sacredness of death and the beauty of dying (consider Charles Dickens's Little Johnny character in Our Mutual Friend and the death of Helen Burns in Charlotte Brontë's Jane Eyre ). Instead, Ligeia speaks of fear personified in the "blood-red thing." [9]
In 1935, Baltimore-born composer Franz Bornschein wrote a three-part chorus for women with orchestra or piano accompaniment based on "The Conqueror Worm". [10] The poem was also rewritten and adapted as the first track to Lou Reed's 2003 album of Poe adaptations and Poe-inspired songs, The Raven . It was also adapted as a song by the Darkwave act, Sopor Aeternus & the Ensemble of Shadows on the album Flowers in Formaldehyde in 2004. Vol. 5 of the Hellboy comic book mini-series by Mike Mignola titled Hellboy: Conqueror Worm was based on the poem.
The British horror film Witchfinder General was retitled The Conqueror Worm for U.S. release. Although American International Pictures' prints featured a voice-over with Vincent Price in character as Matthew Hopkins reciting "The Conqueror Worm", the film is not actually an adaptation of Poe's poem.
Dark Horse Comics released Edgar Allan Poe Conqueror Worm, a one-shot comic by Richard Corben in November 2012.
The music video for "Curtain" by Australian extreme metal band Portal features an adaptation of the poem using puppets.
The album Dies Irae by the band Devil Doll is loosely based on "The Conqueror Worm". The text of the poem is paraphrased liberally, and the entire final stanza of the poem is reproduced almost verbatim.
Goth musician Voltaire wrote a song adaptation of "The Conqueror Worm" and followed the text of the poem verbatim. It was released in early 2014 on his album Raised by Bats .
"Lenore" is a poem by the American author Edgar Allan Poe. It began as a different poem, "A Paean", and was not published as "Lenore" until 1843.
"The City in the Sea" is a poem by Edgar Allan Poe. The final version was published in 1845, but an earlier version was published as "The Doomed City" in 1831 and, later, as "The City of Sin". The poem tells the story of a city ruled by a personification of Death using common elements from Gothic fiction. The poem appeared in the Southern Literary Messenger, The American Review, the Broadway Journal, as well as in the 1850 collection The Poets and Poetry of America.
"Al Aaraaf" is an early poem by American writer Edgar Allan Poe, first published in 1829. It tells of the afterlife in a place called Al Aaraaf, inspired by A'raf as described in the Quran. At 422 lines, it is Poe's longest poem.
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"The Bells" is a heavily onomatopoeic poem by Edgar Allan Poe which was not published until after his death in 1849. It is perhaps best known for the diacopic use of the word "bells." The poem has four parts to it; each part becomes darker and darker as the poem progresses from "the jingling and the tinkling" of the bells in part 1 to the "moaning and the groaning" of the bells in part 4.
"The Poetic Principle" is an essay by Edgar Allan Poe, written near the end of his life and published posthumously in 1850, the year after his death. It is a work of literary criticism, in which Poe presents his literary theory. It is based on a series of lectures Poe had given late in his lifetime.
"Ligeia" is an early short story by American writer Edgar Allan Poe, first published in 1838. The story follows an unnamed narrator and his wife Ligeia, a beautiful and intelligent raven-haired woman. She falls ill, composes "The Conqueror Worm", and quotes lines attributed to Joseph Glanvill shortly before dying.
Sarah Helen Power Whitman was an American poet, essayist, transcendentalist, spiritualist and a romantic interest of Edgar Allan Poe.
"Metzengerstein: A Tale in Imitation of the German" is a short story by American writer and poet Edgar Allan Poe, his first to see print. It was first published in the pages of Philadelphia's Saturday Courier magazine, in 1832. The story follows the young Frederick, the last of the Metzengerstein family, who carries on a long-standing feud with the Berlifitzing family. Suspected of causing a fire that kills the Berlifitzing family patriarch, Frederick becomes intrigued with a previously unnoticed and untamed horse. Metzengerstein is punished for his cruelty when his own home catches fire and the horse carries him into the flame. Part of a Latin hexameter by Martin Luther serves as the story's epigraph: Pestis eram vivus—moriens tua mors ero.
"Eleonora" is a short story by American writer Edgar Allan Poe, first published in 1842 in Philadelphia in the literary annual The Gift. It is often regarded as somewhat autobiographical and has a relatively "happy" ending.
Graham's Magazine was a nineteenth-century periodical based in Philadelphia established by George Rex Graham and published from 1840 to 1858. It was alternatively referred to as Graham's Lady's and Gentleman's Magazine, Graham's Magazine of Literature and Art, Graham's American Monthly Magazine of Literature and Art, and Graham's Illustrated Magazine of Literature, Romance, Art, and Fashion.
The Broadway Journal was a short-lived New York City-based newspaper founded by Charles Frederick Briggs and John Bisco in 1844 and was published from January 1845 to January 1846. In its first year, the publication was bought by Edgar Allan Poe, becoming the only periodical he ever owned, though it failed after only a few months under his leadership.
"The Haunted Palace" is a poem by Edgar Allan Poe. The 48-line poem was first released in the April 1839 issue of Nathan Brooks' American Museum magazine. It was eventually incorporated into "The Fall of the House of Usher" as a song written by Roderick Usher.
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"Bon-Bon" is a comedic short story by Edgar Allan Poe, first published in December 1832 in the Philadelphia Saturday Courier. Originally called "The Bargain Lost", it follows Pierre Bon-Bon, who believes himself a profound philosopher, and his encounter with the Devil. The story's humor is based on the verbal interchange between the two, which satirizes classical philosophers such as Plato and Aristotle. The Devil reveals that he has eaten the souls of many of these philosophers.
William Henry Leonard Poe, often referred to as Henry Poe, was an American sailor, amateur poet and the older brother of Edgar Allan Poe and Rosalie Poe.
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The works of American author Edgar Allan Poe include many poems, short stories, and one novel. His fiction spans multiple genres, including horror fiction, adventure, science fiction, and detective fiction, a genre he is credited with inventing. These works are generally considered part of the Dark romanticism movement, a literary reaction to Transcendentalism. Poe's writing reflects his literary theories: he disagreed with didacticism and allegory. Meaning in literature, he said in his criticism, should be an undercurrent just beneath the surface; works whose meanings are too obvious cease to be art. Poe pursued originality in his works, and disliked proverbs. He often included elements of popular pseudosciences such as phrenology and physiognomy. His most recurring themes deal with questions of death, including its physical signs, the effects of decomposition, concerns of premature burial, the reanimation of the dead, and mourning. Though known as a masterly practitioner of Gothic fiction, Poe did not invent the genre; he was following a long-standing popular tradition.
"The Duc de L'Omelette" is a humorous short story by American writer Edgar Allan Poe. It was first published in the Philadelphia Saturday Courier on March 3, 1832, and was subsequently revised a number of times by the author.
The Conqueror Worm public domain audiobook at LibriVox 