Edgar Allan Poe The Philosophy Of Composition Essay

in its supreme development, invariably excites the sensitive soul to tears.

Melancholy is thus the most legitimate of all poetical tones”; “The death of a beautiful woman is, unquestionably, the most poetical topic in the world.” Poe further discussess his principles of versification, use of a refrain, diction, and imagery, and the primary importance of the climax (“The Raven,” stanza 16), which was written first so that every effect in the poem should lead in its direction.

At the end of the essay, Poe warns against an “ of the suggested meaning” when developing a theme.

That turns poetry into prose or “the so called poetry of the so called transcendentalists”. Critical opinions vary from seeing this whole essay as another of Poe’s hoaxes to seeing it as elucidating Poe’s method for creating some of his works, particularly his fiction, to it being close to representing how this poem came about.

Anything that appealed solely to the intellect could not be considered art because art existed in the world of the beautiful, the refined, and the aesthetic.He tried to solve a real murder mystery through inductive logic in “The Mystery of Marie Roget”. He did write “The Gold Bug” which relies on inductive logic for its drama though, presumably, deductive logic in its creation. Hecker speculates in , Poe had non-literary experience, as an artillery artificer, in creating something whose diverse elements, combined by logic, acted in a desired way in time and space.That would argue for a mind trained in a couple of spheres to approach problems in the way he describes.Did Poe really write “The Raven” using this method? I think it is conceivable Poe wrote his poem this way.Or did he just write some lines, cross some lines and words out, rearrange stanzas, and add some new lines? He made very minor changes in later editions to the poem. Most literary creations, however, good, can be improved in minor ways obvious after publication.) Poe, in several works, shows an interest in deductive and inductive reasoning. The “night tempestuous” is contrasted with the serenity of the chamber. Poe wanted something “.” Poe then, through “ordinary induction”, wanted some “pivot upon which the whole structure might turn”: a refrain. Furthermore, the refrain should be brief so it could be worked into sentences of various length. We then get a discussion of why the Raven acts as he does – his “tapping” at the door of his wings brings the lover’s curiosity to the fore and intimates a spirit knocking at the door. Theme and refrain set, what about the minor matters of “rhythm, the metre, and the length and general arrangements of the stanzas”? There are few choices in “mere ”; however, metre and stanza length can be varied infinitely. ’ From what I have already explained at some length, the answer, here also, is obvious – ‘When it most closely allies itself to : the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world – and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover.’ Poe then talks about how “nevermore” allows varied application. This “forced” him to construct the poem for “Nevermore” to be, at the conclusion, the answer to a question.But irrespective of his journalistic position, his critical views on the nature of what was and was not acceptable in a work of art have become famous and have had an enormous influence on subsequent writers.Poe's major theories can be found (1) in the many reviews he wrote analyzing the writings of other authors; in this genre, his most famous review is entitled "Twice-Told Tales," a review of Nathaniel Hawthorne's short stories; (2) in the many letters, epistles, and applications he sent for jobs, or as answers he gave as an editor, among the more famous being the one entitled "Letter to B_____"; (3) in the various editorials he wrote for the magazines he was associated with, "Exordium" being one of the best examples of this type; (4) in the official critical articles he wrote, in which he attempted to present in a logical, coherent manner his critical views; as examples, "The Poetic Principle" and "The Philosophy of Composition" both contain the unified core and basis of Poe's critical theories, and these two essays alone suffice to give one a full understanding of Poe's critical views; (5) and, finally, in the critical principles that can be drawn from Poe's writings themselves, principles which he did not include in his critical dicta (dictums) per se. he evinces extraordinary genius, having no rival either in America or elsewhere." This critical recognition of Hawthorne, therefore, attests to Poe's keen critical faculties; few critics have made such wholly accurate summations about a writer's talent which subsequent generations of critics have verified.

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