University of Arkansas System
Type of paper: Thesis/Dissertation Chapter
Edgar Allan Poe and his Romanticism
According to Thompson (1970), “romanticism is a far-reaching but crucial modern period applied to the philosophical shift within Western mind-set to human and art creativity that conquered much of the American culture during the initial part of the 19th century, and that has fashioned most ensuing progress in literature, even those against it” (Thompson, 1970, p. 31).
Romanticism illustrates strong, intense and wondrous deal of emotions which demonstrate an attraction for nature, mankind and supernatural that fuels extreme consequences on human minds while classical and neo-classical exemplify a serene type of art that flaunts tranquility in every detail of its artistic idea. Values taken from people’s view about life is the great source of audience excitement that manifest a freedom form of expressing emotional intensity. Edgar Allan Poe, one of the most well-known romantic writers, is commonly remembered as a gothic, romantic and melancholic writer yet a well made, dynamic, and graceful person.
Declining the ordered consistency of the Enlightenment as impersonal, mechanical, and artificial, Poe eventually turned to the emotional truthfulness of personal understanding and to the boundlessness of personality ambition and imagination. More and more independent of the deteriorating system of aristocratic benefaction, Poe viewed his self as a “free spirit” conveying creative truths; some aficionados glorified the artist as a mastermind or diviner. When Poe’s foster father passed away, he received nothing.
He started writing the Southern Literary Messenger and soon after, he edited Gentleman’s Magazine for William Burton, then his first detective story, “Murders in the Rue Morgue” was featured in Graham’s Magazine. Then he went out of Graham’s; he struggled from hopelessness followed by alcoholism. His well-known poem “The Raven” in 1845 appeared in Evening Mirror with enormous commendation, but paid little for it. Thompson (1970) noted that “Poe was stimulated by the romantic way of life – the yearning to be free of principle and dictatorship, and the new highlighting on the rights as well as solemnity of a human being.
Just as the persistence on formal, rational, and conservative subject matter that had characterized neoclassicism was actually upturned, the totalitarian regimes that had persuaded and even sustained neo-classicism in the arts were unavoidably subjected to accepted insurrections” (Thompson, 1970, p. 33). Social and political causes turned out to be dominant themes in romanticism throughout the Western world, manufacturing many fundamental human documents that are still momentous. Poe was an excellent French academic. Thus far, with his superiorities, Poe was not a character or even a favorite in his school.
Poe was determined, unpredictable, tending to be authoritative; though of liberal inclinations, not gradually kind, or good-natured. Poe’s expressively breathtaking tales probing pits of human mind earned him prominence throughout his existence and subsequent to his death. His verve was disfigured by catastrophe and within his works we can distinguish his enigmatically fervent emotional responses – a beleaguered and at times irrational fascination with fatality and sadism and general admiration for what is beautiful yet heartbreaking inscrutabilities of our life.
His arts of short story and poems include “Philosophy of Composition” and “Poetic Principal”. There are many anthologies about his works that were published and a lot of them were motivations for popular TV and movie adaptations counting “The Black Cat”, “The Tell-Tale Heart”, and even “The Raven”. Nature was also fundamental to such sentiments was a concentration essential to Poe’s romanticism – the concern with nature as well as natural surroundings. Enchantment in well-preserved scenery and in the guiltless life of countryside dwellers in all probability is conceivably first recognizable as a literary theme in Poe’s masterpieces.
His works are frequently cited as a determining power on later English romantic poetries and other works of art and on the nature convention represented in English literature, art and music. Frequently combined with this sentiment for rural life is a widespread romantic misery – wisdom that transformation is looming and that a lifestyle is being endangered. In the strength of new freedom, Edgar Allan Poe expanded his fantasy horizons chronologically and spatially.
His anthologies of old English ballads are considered influential works; all his masterpieces exerted a noteworthy influence on the structure and substance of Gothic form fused with the gloomy and produced a keenness for graveyards, ruins, and supernatural as major themes. The Fall of the House of Usher establishes Gothic features that involves heart-pounding, gruesome and suspenseful scenes. Poe wants to influence the spectators’ mental capacity and he is more confident to prove that human mind is far more prevalent than physical strength and power.
Character in the short story was given a psychological wrecking experience that drives paranoia and fear. Poe believes that when a person was attacked by his own apprehension and anxiety then he will be most likely resort into self and fatal-destruction. Furthermore, the female characters in most of Poe’s works frequently meet an inopportune death. In Ligeia, Ligeia passed away because her spouse qualms that she has cleverness. Poe’s speaker calls Ligeia as a mysterious, conceivably beyond understanding, whose existence recalls a sequence of multifaceted analogies.
Reasonably, Poe is not recognized for his comedy, although in fact, he wrote comedies and satires. The Angel of the Odd is one of his entertaining stories; it gave new perceptions on the event of freak catastrophes, or about bad lucks a person could have. All throughout, Poe’s images of the house and the lifeless objects inside give a supernatural ambiance to the story. By means of giving lifeless objects almost realistic characteristics, he is providing his works a supernatural feature.
Thompson, G. R. (1970). Poe and French Romanticism in Poe Studies / Dark Romanticism. Washington State University.