Detective fiction is a type of inscription in which a detective is mechanized to solve a bad conduct. The audience has the courage to explain the wrongdoing with the clues provided in advance. The detective reveals the answer at the novel's conclusion. When the story begins, the crime is familiarized. In particular narratives, the errant individual is blamed for the crime to keep the reader stuck. Eventually, the detective launches an investigation to locate the guilt-ridden perpetrator. This article describes the role of Edgar Allen Poe, the father of detective fiction. The story of the lead detective was created by Edgar Allan Poe and his short story The Murders in the Rue Morgue which he wrote in 1841 (Klein, 1999). In the story, two women are killed and the police department has difficulty deciphering the circumstances. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Detective Dupin conducts his personal examination and solves the crime when law enforcement cannot. Poe insists on using Dupin in numerous additional stories. The genre was cultivated slightly in general during the 1800s. Victorian novelists, such as Wilkie Collins and Charles Dickens, wrote detective novels. However, when Sir Arthur Conan Doyle shaped Sherlock Holmes, the genre was born. Doyle wrote and completed fifty short stories and short stories about Sherlock Holmes with his sidekick Dr. Watson. Doyle's characters are very common today. A number of innovative detectives were introduced in the 1900s, ensuring the sustained growth of the genre. Some of the additional general investigators were Endeavor Morse and Gervase Fen, a formation of Edmund Crispin. Crispin is credited with making the detective genre more modern. William Legrand, the main character of “The Gold Beetle,” displays specific characteristics with Poe's famously unprofessional detective, Dupin. Legrand is a memorable intimate, but due to financial adversity he was close to poverty. Instead, he comes from New Orleans French lineage. He resides solitary on an island near Charleston, South Carolina. Furthermore, similar to Dupin, he surrogates pain and enthusiasm, directing the narrator towards the uncertainty of being the victim of a class of madness (Delamater, 1997) . The main evidence of the story is that Legrand is metaphorically nibbled by the gold beetle once he locates a portion of parchment on which he discovers a code with indications of the repressed beauty of the adventurer Captain Kidd. As in Dupin's extraordinary and significant stories, "The Gold Beetle" places little emphasis on the realization rather than the elucidation of the steps to the resolution of its mystery. To unravel the mystery of the code, Legrand establishes the critical potential of the substandard detective: careful consideration down to the smallest detail, extensive information on language and mathematics, far-reaching knowledge about his adversary who is Captain Kidd, and above all a perceptive intuition as well as a methodical reasoning ability. Poe's famous gothic stories of psychological obsession, such as "The Black Cat," "The Tell-Tale Heart," "The Fall of the House Usher," and "Ligeia," seem at first glance completely different from his logical stories of discovery. In many ways, however, they are very similar: both types depend on a secret guilt that must be exposed, in both the central character is an unusual one whose mind seems distant from the minds of ordinary men; and both types are elaborate puzzles full of clues that must be pieced together before the reader can understand their overall effect.“The Oblong Box” and “Thou Art the Man,” both written in 1844, are often cited as a combination of the Gothic. and the compelling core of Poe's genius. The narrator of "The Oblong Box," on a ship trip from Charleston, South Carolina, to New York City, becomes unusually curious about an oblong pine box that is kept in the cabin of an old school acquaintance, Cornelius Wyatt. (Poe & Richardson, 2009). Throughout the story, the narrator uses deductive processes to conclude that Wyatt, an artist, is smuggling into New York a copy of Leonardo da Vinci's "Last Supper," made by a famous Florentine painter. When a storm threatens to sink the ship, Wyatt ties himself to the mysterious box and, to the horror of the survivors, falls into the sea with it. Only a month after the event does the narrator learn that the box contained Wyatt's wife embalmed in salt. Although at the beginning of the story the narrator boasts of his superior acumen in guessing that the box contained paintings, at the conclusion he admits that his errors were the result of both his inattention and his impulsiveness. The narrator's persistent deductive efforts to explain the mystery of the oblong box, combined with the sense of horror that arises from the image of the artist plummeting to his death along with the corpse of his beautiful young wife, qualify this story, although a minor tale in the Poe's canon, as a unique combination of the Gothic and the rational. “You Are the Man,” while often classified as a mockery of small-town life and behavior, similarly has a thought-provoking but mild influence on the type. The story is expressed in a sarcastic tone by a narrator who suggests an explanation for the disappearance of Mr. Barnabus Shuttleworthy. He is one of the richest and most popular inhabitants of the city (Amper & Bloom, 2007). When Shuttleworthy's nephew is suspected of killing his uncle, Charley Goodfellow, a close acquaintance of Shuttleworth, denounces his efforts to protect the young man. Every term he expresses to uplift and support his supposed nephew, however, only helps to dispel the town's people's doubts about him. In the story, Goodfellow is referred to as "old Charley". He is praised as a substantial and exposed gentleman. , frank and truthful. As the story goes, he gets a huge box supposedly containing wine, secured to him by the slain man before his death. When the box is opened, Shuttleworth's partly gross body sits on the table, points his limb at Goodfellow and says, "You're the man!" Goodfellow, not surprisingly, admits to the murder. Charley's rudimentary satires on not being a "good guy" after all and on his efforts to get his nephew convicted even though he pretended to have acquitted him are dominant in the conspiracy of the story, the extreme sarcasm emphasizing the incomes with which Goodfellow is made to admit. It is Goodfellow's honesty and uprightness that leads the narrator to suspect from the beginning and then to discover the body, twig of a part of the monster's jaw that has depressed its throat to root it and sit inside the case, and use ventriloquism to brand it as if the corpse says the arguments of the name. The story presents characteristic arrangements of the detective novel such as the formation of false signs by the illicit and the identification of the criminal as the smallest suspect. "The Mystery of Marie Rogêt", although it also focuses on Dupin's solving a crime primarily from newspaper reports, is based on the murder of a young girl, Mary Cecilia Rogers, near New York City. Since the crime had not been solved when Poe wrote the story, he used the facts of the case to tell the story of the murder of a young Parisian girl, Marie.