Poe was the first writer to recognize that the short story was a different kind of fiction than the novel and the first to insist that, for a story to have a powerful effect on the reader, every single detail in the story should contribute to that effect.
His fundamental strategy for perceiving such autonomy was to view poetry not as an object but as a series of effects.
A poem such as Paradise LostPoe argues, is at least one half composed of prose, with which the poetic passages are interspersed. Hence the first poetic requirement, unity of impression, cannot be satisfied in a long poem.
Hence beauty — not truth, or emotion, or goodness — is the peculiar province of poetry. Whereas, for Kant, beauty was a mode of apprehension on the part of the subject, for Poe it is a response caused in the reader or listener by the literary object or poem. This is perhaps the first insistence on artistic or poetic autonomy by an American writer; it may be significant, as emerges later in his text, that Poe somewhat aligned himself with Southern values and resented the domination of American letters by Northern liberalism, as instanced by the influence of the North American Review PP, Poe himself wrote for the Southern Literary Messengereventually rising to the editorship of this journal.
Truth, he says, demands a severity of language: We must be cool, calm, unimpassioned. Such a seemingly Platonic distinction between the language and mode of philosophy as against those of poetry has of course been challenged by many modern writers.
Poe likewise divides the mind into three aspects: By situating his view of poetic autonomy within such a scheme, Poe is following a Kantian procedure of both identifying a subjective faculty specifically as aesthetic, and establishing boundaries between distinct human endeavors or attributes, boundaries which cannot be violated.
Hence poetry should not be realistic, merely copying or imitating the beauties that lie before us. Its sole arbiter is Taste.
Once again, we glimpse here reflections of Kantian ideas, refracted perhaps through Coleridge. What is interesting here is that all of these phenomena appear to pertain to morality: In other words, morality becomes an integral part of the aesthetic endeavor, and becomes justified on aesthetic grounds.
Once again, art is seen as salvific, displacing the function of religion in serving as our guide to the world beyond.Edgar Allan Poe's Life and Work - Edgar Allan Poe was an excellent horror, suspense, and mystery writer of the eighteenth century. His use of literary devices and different literary techniques makes this writer important to American literature.
Oct 17, · Edgar Allan Poe American short story writer, poet, critic, editor, novelist, and essayist. The following entry presents criticism of Poe's essays.
A Criticism upon E. ALLAN POE’s “The Raven” The Raven is narrative poem that written by famous American Writer Edgar Allan Poe and it was published in the year of Poe was a southerner and he was famous for his own dark metaphysical vision, musical rhythm of . Since most of the literary criticism of Poe’s era is unsigned, attribution is a complex and divisive issue.
All items included here have been attributed to Poe at one time or another, but are subject to further analysis as our project proceeds.
Since most of the literary criticism of Poe’s era is unsigned, attribution is a complex and divisive issue. All items included here have been attributed to Poe at one time or another, but are subject to further analysis as our project proceeds.
Essays and criticism on Edgar Allan Poe, including the works “The Fall of the House of Usher”, “The Murders in the Rue Morgue”, “The Tell-Tale Heart”, “The Cask of Amontillado.