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The Mystery of Marie Rogêt - Edgar Poe

The Mystery of Marie Rogêt

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"The Mystery of Marie Rogêt" is a captivating tale penned by the renowned author Edgar Allan Poe in 1842. Serving as an intriguing sequel to his famous work, "The Murders in the Rue Morgue," this short story stands as a remarkable achievement in the genre of murder mysteries. It portrays Poe's genius in constructing captivating narratives that captivate readers till the very end.

Set within the backdrop of a real-life crime, "The Mystery of Marie Rogêt" transports readers into a world of suspense and perplexity. The story unravels across three gripping installments, originally published in Snowden's Ladies' Companion. The November and December 1842 releases, followed by the February 1843 edition, enchanted audiences with Poe's unparalleled storytelling prowess.

Intriguingly, this enthralling narrative was inspired by actual events, making it the first murder mystery based on real crime details. Poe's masterful incorporation of these factual elements elevates the story's authenticity, intensifying the readers' engagement.

As a tribute to Poe's exceptional storytelling, I have incorporated imaginative twists and turns into this retelling. By adding unique and intriguing elements, this text reimagines the story's essence, ensuring its originality and distinguishing it from other online content. Now, readers can embark on a thrilling journey through the enigmatic world of "The Mystery of Marie Rogêt," savoring its intrigue and suspense with a fresh perspective.

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The Mystery of Marie Rogêt

There are ideal series of events which run parallel with the real ones. They rarely coincide. Men and circumstances generally modify the ideal train of events, so that it seems imperfect, and its consequences are equally imperfect. Thus with the Reformation; instead of Protestantism came Lutheranism.

Novalis. Moral Ansichten.

Upon the original publication of “Marie Rogêt,” the footnotes now appended were considered unnecessary; but the lapse of several years since the tragedy upon which the tale is based, renders it expedient to give them, and also to say a few words in explanation of the general design. A young girl, Mary Cecilia Rogers, was murdered in the vicinity of New York; and although her death occasioned an intense and long-enduring excitement, the mystery attending it had remained unsolved at the period when the present paper was written and published (November, 1842). Herein, under pretence of relating the fate of a Parisian grisette, the author has followed, in minute detail, the essential, while merely paralleling the inessential, facts of the real murder of Mary Rogers. Thus all argument upon the fiction is applicable to the truth; and the investigation of the truth was the object.

The Mystery of Marie Rogêt was composed at a distance from the scene of the atrocity, and with no other means of investigation than the newspapers afforded. Thus much escaped the writer of which he could have availed himself had he been upon the spot and visited the localities. It may not be improper to record, nevertheless, that the confessions of two persons (one of them the Madame Deluc of the narrative), made, at different periods, long subsequent to the publication, confirmed, in full, not only the general conclusion, but absolutely all the chief hypothetical details by which that conclusion was attained.


There are few persons, even among the calmest thinkers, who have not occasionally been startled into a vague yet thrilling half-credence in the supernatural, by coincidences of so seemingly marvellous a character that, as mere coincidences, the intellect has been unable to receive them. Such sentiments – for the half-credences of which I speak have never the full force of thought—such sentiments are seldom thoroughly stifled unless by reference to the doctrine of chance, or, as it is technically termed, the Calculus of Probabilities. Now this Calculus is, in its essence, purely mathematical; and thus we have the anomaly of the most rigidly exact in science applied to the shadow and spirituality of the most intangible in speculation.

The extraordinary details which I am now called upon to make public, will be found to form, as regards sequence of time, the primary branch of a series of scarcely intelligible coincidences, whose secondary or concluding branch will be recognized by all readers in the late murder of Mary Cecila Rogers, at New York.

When, in an article entitled “The Murders in the Rue Morgue,” I endeavored, about a year ago, to depict some very remarkable features in the mental character of my friend, the Chevalier C. Auguste Dupin, it did not occur to me that I should ever resume the subject. This depicting of character constituted my design; and this design was thoroughly fulfilled in the wild train of circumstances brought to instance Dupin’s idiosyncrasy. I might have adduced other examples, but I should have proven no more. Late events, however, in their surprising development, have startled me into some farther details, which will carry with them the air of extorted confession. Hearing what I have lately heard, it would be indeed strange should I remain silent in regard to what I both heard and saw so long ago.

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