His poems and stories chill the blood, even today. This short essay written on the life of the famous American poet offers great insight into his life and passions. Edgar Allan Poe may very well be the single greatest author of the Gothic movement; and judging by both his writing and his life, it would be easy to assume he was a deeply troubled man. A look into his critical essays and into the behavior of the man himself reveals that Poe had an undying optimism despite the many tragedies and tribulations of his life.
Optimism is hardly the word one would use to describe Edgar Allan Poe after a brief synopsis of his life. It is true that many tragedies befell Poe, particularly with regards to the women he loved.
Poe also struggled extensively with both personal and professional issues. He is famously remembered being financially and personally irresponsible which, as might be expected, interfered with what attempts he made at gainful employment. He also struggled with gambling for a time, acquiring considerable debts Ingram This set the tone for much of his future financial state.
He is also considered one of the first American author to attempt writing as a sole source of income, something which he struggled with woefully because the publishing industry was entirely unsuited to his writing style and literary devices Ingram. Writing never made him wealthy and these other aspects of his character contributed to lifelong poverty. Those who remembered him, even toward the end of his life when he arguably had the least to be optimistic about, he was regarded fondly by those who knew him.
His mother-in-law and an acquaintance he made very near the end, a Mrs. Weiss, considered him to be the peak of gentlemanly behavior and a surprisingly cheerful and good-natured fellow, respectively Ingram These positive opinions appear to indicate Poe a pleasant person, in spite of his flaws.
His own academic writing is also a window into the deep-rooted optimism of Edgar Allan Poe. An argument could be made that Poe wrote in the Gothic style because that is what sold at the time.
For example, The Fall of the House of Usher had dark, Gothic overtones and could easily be classified as horror fiction today. There can be no misunderstanding about the essays he published, however. He wrote many articles of literary criticism, particularly with regards to poetry which indicate cheerful tastes.
Proof of his passion is evident both in the fury of his own work and in the gentle rationalization behind that fury.
According to his own reasoning, the point of the poem is pleasure through beauty, even if that beauty is dark and tragic. He makes this point despite the earlier mentioned loss of his mother and sister and his frequent difficulties with money. It has often been a curse of writers and scholars that they consider their beloved intellects a thing above the common man.
Not only does he regard academics as a relatively equal regardless of subject, he considers it equally accessible by anyone capable of following the steps of proper learning. The house in which Roderick lives is like an artwork—an edifice that exists by dint of its unique structure. When the narrator first sees it, he observes that it is the combination of elements that constitutes its mystery and that a different arrangement of its particulars would be sufficient to modify its capacity for sorrowful impression.
Moreover, Usher feels that it is the form and substance of his family mansion that affects his morale. He believes that, as a result of the arrangement of the stones, the house has taken on life. By burying her, he splits himself off from actual life. As the story nears its horrifying climax, art and reality become even more intertwined. As the narrator reads to Roderick from a gothic romance, sounds referred to in the story are echoed in actuality as the entombed Madeline breaks out of her vault and stalks up the steps to confront her twin brother.
Madeline, Roderick, and the house all fall into the dark tarn, the abyss of nothingness, and become as if they had never been. Dupin, the great amateur detective created by Poe in this story, solves his first and most unusual case.
The narrator, the forerunner of Dr. Watson of the Sherlock Holmes stories, meets Auguste Dupin in this story and very early recognizes that he has a double personality, a bi-part soul, for he is both wildly imaginative and coldly analytical. The points about the murder that baffle the police are precisely those that enable Dupin to master the case: Dupin accounts for the first contradiction by deducing that the criminal must have been an animal; the second he explains by following a mode of reasoning based on a process of elimination to determine that apparent impossibilities are, in reality, possible after all.
When Dupin reveals that an escaped orangutan did the killing, the Paris Prefect of Police complains that Dupin should mind his own business.
Dupin is content to have outwitted the prefect in his own realm; descendants of Dupin have been outwitting police inspectors ever since. Poe is often thought to be the author of stories about mad persons and murders, but attention is seldom given to the psychological nature of the madness in his stories. The story is told in the first-person voice by the killer, who has obviously been locked up in a prison or in an insane asylum for his crime.
He begins by arguing that he is not mad and that the calm way he committed the crime and can now tell about it testify to his sanity. He begins by assuring his listeners and readers that he loved the old man, that he did not want his gold, and that the old man had not abused him or insulted him. He says that when the eye fell on him, his blood ran cold and that he made up his mind to kill the old man and rid himself of the eye forever.
Because the narrator provides no explanation for his extreme aversion to the eye, the reader must try to understand the motivation for the crime, and thus for the story itself, in the only way possible—by paying careful attention to the details of the story and trying to determine what thematic relationship they have to one another. The determination of those elements that have most relevance to the central effect of the story, and are thus true clues rather than mere irrelevant details, is the principle that governs the communication of all information—the principle of redundancy or repetition.
Because the narrator who tells the story is a man obsessed, those things that obsess him are repeated throughout the story.
In order to understand why the narrator might wish to destroy himself by destroying the old man—which he does succeed in doing by the end of the story—one can turn back to the motifs of time and the tell-tale heart, which also dominate the story. Finally, there is the theme of the tell-tale heart itself—a heart that tells a tale. On the psychological level of the story, however, the tale that the heart tells that so obsesses the narrator is the tale that every heart tells.
That tale links the beating of the heart to the ticking of a clock, for every beat is a moment of time that brings one closer to death.
The madness of the narrator in this story is similar to the madness of other Poe characters who long to escape the curse of time and mortality but find they can do so only by a corresponding loss of the self—a goal they both seek with eagerness and try to avoid with terror. The plot is relatively simple.
Montresor seeks revenge on Fortunato for some unspecified insult by luring him down into his family vaults to inspect some wine he has purchased. In fact, from the very beginning, every action and bit of dialogue is characterized as being just the opposite of what is explicitly stated. The action takes place during carnival season, a sort of Mardi Gras when everyone is in masquerade and thus appearing as something they are not. Montresor makes sure that his servants will not be at home to hinder his plot by giving them explicit orders not to leave, and he makes sure that Fortunato will follow him into the wine cellar by playing on his pride and by urging him not to go.
Moreover, the fact that Montresor knows how his plot is going to end makes it possible for him to play little ironic tricks on Fortunato. When Fortunato makes a gesture indicating that he is a member of the secret society of Masons, Montresor claims that he is also and proves it by revealing a trowel, the sign of his plot to wall up Fortunato.
The irony of the story cuts much deeper than this, however. At the beginning, Montresor makes much of the fact that there are two criteria for a successful revenge—that the avenger must punish without being punished in return and that he must make himself known as an avenger to the one who has done him the wrong.
Nowhere in the story, however, does Montresor tell Fortunato that he is walling him up to fulfill his need for revenge; in fact, Fortunato seems to have no idea why he is being punished at all. The ultimate irony of the story then, is that, although Montresor has tried to fulfill his two criteria for a successful revenge, Fortunato has fulfilled them better than he has. Moreover, although Montresor now tells the story as a final confession to save his soul, the gleeful tone with which he tells it—a tone that suggests he is enjoying the telling of it in the present as much as he enjoyed committing the act in the past—means that it is not a good confession.
Every detail in the story contributes to this central effect, and it is the overall design of the story that communicates its meaning—not some simple moral embedded within it or tacked on to the end. Poe, who told one friend that he thought the poem was the greatest poem ever written, was delighted one night at the theater when an actor interpolated the word into his speech, and almost everyone in the audience seemed to recognize the allusion.
Whether or not that description is an accurate account of how the work was composed, it is surely a description of how Poe wished the poem to be read. Thus, Poe himself was the first, and is perhaps still the best, critic and interpreter of his own poem.
The plot is a simple one: A young student is reading one stormy night in his chamber, half-dreaming about his beloved deceased mistress. When this self-torture reaches its most extreme level, Poe says, the poem then naturally ends.
Although the poem is often dismissed as a cold-blooded contrivance, it is actually a carefully designed embodiment of the human need to torture the self and to find meaning in meaninglessness. He also claims that the violent emotion suggested by the references to Mount Yaanek and the Boreal Pole in the second stanza are not adequately accounted for or motivated. Finally, Winters argues that the subject of grief in the poem is used as a general excuse for obscure and only vaguely related emotion.
The narrator roams here with Psyche, his Soul, with whom he carries on an interior dialogue. When the narrator and his Soul see the planet Venus, the goddess of love, the narrator is enthusiastic about her, but the Soul says she distrusts the star and wishes to flee.
The narrator pacifies Psyche and soothes her, however, and they travel on until stopped by the door of a tomb. Thus, although what is most obvious about the poem is its dark music, its theme of the transitory nature of physical beauty is what makes it a typical Poe poem.
Analysis of Edgar Allan Poe's The Raven Essay Words | 4 Pages Analysis of Edgar Allan Poe's The Raven Edgar Allan Poe’s “The Raven,” though parodied, republished, and altered countless times, has withstood the test of time as one of the most recognizable and famous works of poetry in the English language.
A noticeable aspect of Poe’s writings, as mentioned, is his language. The word choice used in his stories and poems are haunting and, typically, quite difficult.
Poe ) This excerpt exemplifies Edgar Allan Poe’s theme of analyzing the human mind which is ever present in Poe’s works. This paper will explore the aforementioned analysis by examining three types of this theme which are guilt, revenge, and insanity. Free coursework on Edgar Allen Poe Writing Style from olimpiadageograficzna2015.ga, the UK essays company for essay, dissertation and coursework writing.
In addition the book 'Edgar Allan Poe: a biography' by Milton Meltzer describes the literary works and criticism of Poe's books and poems. INTRODUCTION. Edgar Allan Poe was noted for his gothic horror style of writing. The Edgar allan poe writing style analysis is one of the most popular assignments among students' documents. If you are stuck with writing or missing ideas, scroll down and find inspiration in the best samples. Edgar allan poe writing style analysis is quite a rare and popular topic for writing an essay, but it certainly is in our database.