In his own work, he demonstrated a brilliant command of language and technique as well as an inspired and original imagination.
He is clearly a product of his time, which in terms of literature, is called the Romantic era. The Romantic movement was one which began in Germany, moved through all of Europe and Russia, and, almost simultaneously, changed the entire course of American literature.
Intuition and Emotion Perhaps the most dominant characteristic of the Romantic movement was the rejection of the rational and the intellectual in favor of the intuitive and the emotional. In his critical theories and through his art, Poe emphasized that didactic and intellectual elements had no place in art.
The subject matter of art should deal with the emotions, and the greatest art was that which had a direct effect on the emotions. The intellectual and the didactic was for sermons and treatises, whereas the emotions were the sole province of art; after all, Poe reasoned, man felt and sensed things before he thought about them.
As one examines M.
Edgar Allan Poe () A selective list of online literary criticism for the nineteenth-century American poet and story writer Edgar Allan Poe, with links to reliable biographical and introductory material and signed, peer-reviewed, and scholarly literary criticism. Poe’s stature as a major figure in world literature is primarily based on his ingenious and profound short stories, poems, and critical theories, which established a highly influential rationale for the short form in both poetry and fiction. Regarded in literary histories and handbooks as the architect of the modern short story, Poe was also the principal . - Edgar Allan Poe has a unique writing style that uses several different elements of literary structure. He uses intrigue vocabulary, repetition, and imagery to better capture the reader’s attention and place them in the story. Edgar Allan Poe’s style is dark, and his is mysterious style of .
This concept explains much of the seemingly erratic behavior of the characters in all of the stories. Setting and Time Usually in a Romantic story, the setting is in some obscure or unknown place, or else it is set at some distant time in the past.
Poe believed that the highest art existed in a realm that was different from this world, and in order to create this realm, vagueness and indefiniteness were necessary to alienate the reader from the everyday world and to thrust him toward the ideal and the beautiful.
Characterization Often the characters are not named or else they are given only a semblance of a name. With the exception of a story like "The Cask of Amontillado," where the narrator is addressed by another character, or a story like "William Wilson," where the title identifies the pseudonym of the narrator, we usually do not know the names of the narrators of the other stories discussed in this volume, or even the names of the narrators of most of Poes other works.
For a Romantic like Poe, the emphasis of literature ought to be on the final effect and the emotion produced thereby. The greatness of "The Pit and the Pendulum" is not in knowing the name of the narrator but in sensing his fears and his terrors. Subject Matter The Romantic writer is often both praised and condemned for emphasizing the strange, the bizarre, the unusual, and the unexpected in his or her writing, and it is out of the Romantic tradition that we get such figures as the monster in Frankenstein and Count Dracula.
The Romantic felt that the common or the ordinary had no place in the realm of art.
Poe eschewed or despised literature that dealt with mundane subjects. Such things could be seen every day. The purpose of art, for Poe, was to choose subjects which could affect the reader in a manner which he would not encounter in everyday life.
Thus, the subject matter of many of his tales dealt with living corpses, with frightening experiences, with horrors which startled the reader, and with situations which even we have never imagined before.
In conclusion, what might sometimes seem puzzling in a story by Poe, such as an unexpected ending or an unexpected event, is not puzzling if we remember that what he created was a result of his writing during the Romantic tradition.
While his tales can be read as "stories," they take on further significance as superb examples of the Romantic tradition.Edgar Allan Poe invented the detective story, perfected the horror tale, and first articulated the theory of the modern short story as well as the idea of pure poetry.
Edgar Allan Poe () A selective list of online literary criticism for the nineteenth-century American poet and story writer Edgar Allan Poe, with links to reliable biographical and introductory material and signed, peer-reviewed, and scholarly literary criticism.
Poe, Edgar Allan (Literary Masters) Edgar Allan Poe American Literature Analysis Poe begins his discussion by asserting that literary works should start with the conclusion or denouement.
LITERARY ANALYSIS ON POE’S DEATH 3 Edgar Allan Poe died on October 7, at Washington College Hospital. All medical records, documents and even Poe’s death certificate have been lost. No one knows even if it ever existed, but what people do know . I'm from Germany and kind of a Fan of Edgar Allan Poe.
('The Raven' just fascinates me as well as 'Usher' and the 'Tell-Tale Heart') Now that I've read some works of Poe and also spend some time in this Network, I have a question: What was Poe's influence on . The following discussion is not a comprehensive view of Romantic concepts, but instead, it is intended as a basic guide and explanation for some of the conventions or some of the devices often found in Poe.