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“Tamerlane” is Edgar Allen Poe’s first published work and one of his earliest written, composed when he was only a teenager. It was originally published in 1827 in a limited chapbook of 50 copies, titled Tamerlane and Other Poems, by a Bostonian. Its original publication was 406 lines, but it was substantially edited in subsequent years. It is a fictional account of the historical figure Timur Lenk, a warlord and ruler, and details his nostalgic regrets as he faces the end of his life.
Poet Biography
Edgar Allan Poe (1809-1849) was an American writer, poet, and literary critic best known for his short stories and poetry dealing with the gothic and macabre. He is considered one of the earliest contributors to the detective-fiction genre and has become symbolic of outsiders and outcasts for more than a century.
Poe was born in Boston to two actors who both died less than three years after his birth. He was raised as the foster child of a wealthy tobacco exporter, and so grew up in a privileged environment and was able to attend excellent schools. He briefly studied at the University of Virginia, but he left quickly after disagreements with his foster father regarding Poe’s gambling debts. In 1827, he released his first poetry collection, Tamerlane and Other Poems, followed by Al Aaraaf, Tamerlane, and Minor Poems. During this time, Poe had a brief military career, but it fell apart due to inadequate funding from his family and a lack of discipline.
This experience influenced Poe’s decision to become a full-time writer, and he turned his attentions to short stories and literary criticism. His writing gained attention and acclaim, but he experienced depression and alcoholism throughout his life. In 1836, at the age of 27, he married his cousin Virginia—herself only 13 at the time. She would go on to die of tuberculosis 11 years later, exacerbating Poe’s mental decline. Two years later, he was found in Baltimore on the edge of death and was brought to a hospital; he died four days later from causes that are still contested among scholars and medical professionals. The circumstances around his reason for being in Baltimore and his condition are still a mystery.
Edgar Allan Poe has become an explosive cultural icon, and his life, death, and legacy still fascinate readers of all generations. Both his literary work and his own life have been adapted, with varying degrees of accuracy, to a range of storytelling mediums. Widespread examples include DC Comics’ Batman: Nevermore, which features the caped crusader and the poet as a crime-solving team; the 2019 young adult novel The Raven's Tale by Cat Winters, which follows the poet as a moody teenager; the TV series Witches of East End, which features Poe as a minor character in the past; and the 2022 film The Pale Blue Eye, based on a novel of the same name. Today, Poe is remembered as a forerunner to the “art for art’s sake” movement for his attention to the structure and style of literary practice.
Poem Text
Kind solace in a dying hour!
Such, father, is not (now) my theme—
I will not madly deem that power
Of Earth may shrive me of the sin
Unearthly pride hath revell’d in—
I have no time to dote or dream:
You call it hope—that fire of fire!
It is but agony of desire:
If I can hope—Oh God! I can—
Its fount is holier—more divine—
I would not call thee fool, old man,
But such is not a gift of thine.
Know thou the secret of a spirit
Bow’d from its wild pride into shame.
O! yearning heart! I did inherit
Thy withering portion with the fame,
The searing glory which hath shone
Amid the jewels of my throne,
Halo of Hell! and with a pain
Not Hell shall make me fear again—
O! craving heart, for the lost flowers
And sunshine of my summer hours!
Th’ undying voice of that dead time,
With its interminable chime,
Rings, in the spirit of a spell,
Upon thy emptiness—a knell.
I have not always been as now:
The fever’d diadem on my brow
I claim’d and won usurpingly—
Hath not the same fierce heirdom given
Rome to the Caesar—this to me?
The heritage of a kingly mind,
And a proud spirit which hath striven
Triumphantly with human kind.
On mountain soil I first drew life:
The mists of the Taglay have shed
Nightly their dews upon my head,
And, I believe, the winged strife
And tumult of the headlong air
Have nestled in my very hair.
So late from Heaven—that dew—it fell
(Mid dreams of an unholy night)
Upon me—with the touch of Hell,
While the red flashing of the light
From clouds that hung, like banners, o’er,
Appeared to my half-closing eye
The pageantry of monarchy,
And the deep trumpet-thunder’s roar
Came hurriedly upon me, telling
Of human battle, where my voice,
My own voice, silly child!—was swelling
(O! how my spirit would rejoice,
And leap within me at the cry)
The battle-cry of Victory!
The rain came down upon my head
Unshelter’d—and the heavy wind
Rendered me mad and deaf and blind
It was but man, I thought, who shed
Laurels upon me: and the rush—
The torrent of the chilly air
Gurgled within my ear the crush
Of empires—with the captive’s prayer—
The hum of suiters—and the tone
Of flattery ‘round a sovereign’s throne.
My passions, from that hapless hour,
Usurp’d a tyranny which men
Have deem’d, since I have reach’d to power;
My innate nature—be it so:
But, father, there liv’d one who, then,
Then—in my boyhood—when their fire
Burn’d with a still intenser glow,
(For passion must, with youth, expire)
E’en then who knew this iron heart
In woman’s weakness had a part.
I have no words—alas!—to tell
The loveliness of loving well!
Nor would I now attempt to trace
The more than beauty of a face
Whose lineaments, upon my mind,
Are—shadows on th’ unstable wind:
Thus I remember having dwelt
Some page of early lore upon,
With loitering eye, till I have felt
The letters—with their meaning—melt
To fantasies—with none.
O, she was worthy of all love!
Love—as in infancy was mine—
‘Twas such as angel minds above
Might envy; her young heart the shrine
On which my ev’ry hope and thought
Were incense—then a goodly gift,
For they were childish—and upright—
Pure—as her young example taught:
Why did I leave it, and, adrift,
Trust to the fire within, for light?
We grew in age—and love—together,
Roaming the forest, and the wild;
My breast her shield in wintry weather—
And, when the friendly sunshine smil’d,
And she would mark the opening skies,
I saw no Heaven—but in her eyes.
Young Love’s first lesson is—the heart:
For ‘mid that sunshine, and those smiles,
When, from our little cares apart,
And laughing at her girlish wiles,
I’d throw me on her throbbing breast,
And pour my spirit out in tears—
There was no need to speak the rest—
No need to quiet any fears
Of her—who ask’d no reason why,
But turn’d on me her quiet eye!
Yet more than worthy of the love
My spirit struggled with, and strove,
When, on the mountain peak, alone,
Ambition lent it a new tone—
I had no being—but in thee:
The world, and all it did contain
In the earth—the air—the sea—
Its joy—its little lot of pain
That was new pleasure—the ideal,
Dim, vanities of dreams by night—
And dimmer nothings which were real—
(Shadows—and a more shadowy light!)
Parted upon their misty wings,
And, so, confusedly, became
Thine image, and—a name—a name!
Two separate—yet most intimate things.
I was ambitious—have you known
The passion, father? You have not:
A cottager, I mark’d a throne
Of half the world as all my own,
And murmur’d at such lowly lot—
But, just like any other dream,
Upon the vapour of the dew
My own had past, did not the beam
Of beauty which did while it thro’
The minute—the hour—the day—oppress
My mind with double loveliness.
We walk’d together on the crown
Of a high mountain which look’d down
Afar from its proud natural towers
Of rock and forest, on the hills—
The dwindled hills! begirt with bowers
And shouting with a thousand rills.
I spoke to her of power and pride,
But mystically—in such guise
That she might deem it nought beside
The moment’s converse; in her eyes
I read, perhaps too carelessly—
A mingled feeling with my own—
The flush on her bright cheek, to me
Seem’d to become a queenly throne
Too well that I should let it be
Light in the wilderness alone.
I wrapp’d myself in grandeur then,
And donn’d a visionary crown—
Yet it was not that Fantasy
Had thrown her mantle over me—
But that, among the rabble—men,
Lion ambition is chain’d down—
And crouches to a keeper’s hand—
Not so in deserts where the grand
The wild—the terrible conspire
With their own breath to fan his fire.
Look ‘round thee now on Samarcand!—
Is not she queen of Earth? her pride
Above all cities? in her hand
Their destinies? in all beside
Of glory which the world hath known
Stands she not nobly and alone?
Falling—her veriest stepping-stone
Shall form the pedestal of a throne—
And who her sovereign? Timour—he
Whom the astonished people saw
Striding o’er empires haughtily
A diadem’d outlaw—
O! human love! thou spirit given,
On Earth, of all we hope in Heaven!
Which fall’st into the soul like rain
Upon the Siroc wither’d plain,
And failing in thy power to bless
But leav’st the heart a wilderness!
Idea! which bindest life around
With music of so strange a sound
And beauty of so wild a birth—
Farewell! for I have won the Earth!
When Hope, the eagle that tower’d, could see
No cliff beyond him in the sky,
His pinions were bent droopingly—
And homeward turn’d his soften’d eye.
‘Twas sunset: when the sun will part
There comes a sullenness of heart
To him who still would look upon
The glory of the summer sun.
That soul will hate the ev’ning mist,
So often lovely, and will list
To the sound of the coming darkness (known
To those whose spirits hearken) as one
Who, in a dream of night, would fly
But cannot from a danger nigh.
What tho’ the moon—the white moon
Shed all the splendour of her noon,
Her smile is chilly—and her beam,
In that time of dreariness, will seem
(So like you gather in your breath)
A portrait taken after death.
And boyhood is a summer sun
Whose waning is the dreariest one—
For all we live to know is known,
And all we seek to keep hath flown—
Let life, then, as the day-flower, fall
With the noon-day beauty—which is all.
I reach’d my home—my home no more—
For all had flown who made it so—
I pass’d from out its mossy door,
And, tho’ my tread was soft and low,
A voice came from the threshold stone
Of one whom I had earlier known—
O! I defy thee, Hell, to show
On beds of fire that burn below,
A humbler heart—a deeper wo—
Father, I firmly do believe—
I know—for Death, who comes for me
From regions of the blest afar,
Where there is nothing to deceive,
Hath left his iron gate ajar,
And rays of truth you cannot see
Are flashing thro’ Eternity—
I do believe that Eblis hath
A snare in ev’ry human path—
Else how, when in the holy grove
I wandered of the idol, Love,
Who daily scents his snowy wings
With incense of burnt offerings
From the most unpolluted things,
Whose pleasant bowers are yet so riven
Above with trelliced rays from Heaven
No mote may shun—no tiniest fly
The light’ning of his eagle eye—
How was it that Ambition crept,
Unseen, amid the revels there,
Till growing bold, he laughed and leapt
In the tangles of Love’s very hair?
Poe, Edgar Allan. “Tamerlane.” 1827. Poets.org.
Summary
“Tamerlane” is a dramatic monologue told by the ruler Timur—by the English name Tamerlane—as he lies on his deathbed. He’s confessing his life to a priest in hopes of divine absolution. Tamerlane recounts his childhood and how he knew from a young age he was meant to be a warrior. He once was in love with a local peasant girl. The girl was beautiful and good, and they were happy together in their youth. However, Tamerlane found himself caught between his love for the girl and his ambition for power. At first, he thought his lover shared his ambition. Once he realized that she valued true love over conquests, he left her to pursue his dreams alone and created a powerful empire.
One day, after he has won everything he sought to accomplish, Tamerlane looks to the past and revisits his childhood home. However, it has become unfamiliar, and everyone he knew has gone. He discovers the tomb of his lost love and understands that he sacrificed love for his pride and pursuit of power. Tamerlane regrets the choice he made but only understands its true cost at the very end of his life.
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