Writing Style Of Edgar Allan Poe - SlideShare
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Writing Style Of Edgar Allan Poe 1
Poe's writing career falls into three major periods, each marked by a shift in perspective. During the first period, 1827 to 1831, his three slim volumes of poetry expressed a strong attachment to the romantic myth of a pastoral and poetic ideal, made up of "dreams" and "memories" of a pristine paradise or Eden. These early poems celebrated Beauty and Innocence, Love and Joy as dynamic life values in the poet's feeling for the potential of harmony of mind with nature, of the "soul" with "God" or the universal "Ens." In 1831, a transition year, three of Poe's poems ("Romance," "Israfel,"and "To Helen") expressed a new commitment to a poetry of heartfelt conviction in the face of life's burdens and sorrows. During the decade that followed, 1831 to 1841, a radical change was reflected in poems and tales on the theme of death as a finality in a cosmic void of darkness and silence. His third and final period, 1841 to 1849, was marked by a return to poetry and by essays and fiction on the theme of psychic transcendentalism. Through all three of these stages Poe continued to publish comic and satiric tales, mainly parodies, burlesques, grotesques, and hoaxes.
Dupin Tales By Edgar Allan Poe ..
When Poe's three volumes of poetry from 1827 to 1831 went largely unnoticed and when he failed in his applications for editorial work and teaching, he turned to humorous and satiric fiction, then in demand. In June 1831 he submitted five stories to a contest sponsored by the with one hundred dollars offered as a prize for the best work of fiction. Although Poe did not win the prize, his five tales were published by the from January to December 1832. "Metzengerstein," the first of these stories, has been appreciated for its unity of tone and effective suspense. It is better read as a powerful allegory than a parody, burlesque, or hoax. Its Gothic devices and plot support a serious moral theme: the evil of pride and arrogant power brings about self-destruction by retributive forces from within. In "The Duc de L'Omelette" and "The Bargain Lost" (republished as "Bon-Bon," , August 1835) the Devil appears as the antagonist in the form of a mysterious stranger. The first story neatly satirizes French aristocratic vanity, hauteur, and cunning so clever as to outface and outwit the Devil himself. In part it satirizes the French affectations of , editor of the . "The Bargain Lost" is the colorful account of Pedro Garcia, a Venetian chef and metaphysician of sorts. The satiric treatment of the character types widens into a tour de force of wit and erudition at the expense of classical philosophers, tyrants, authors, and the conventional figure of the Devil himself. "A Tale of Jerusalem," based on an old theme and episode found in 's long novel, (1828), is largely a play on words. "A Decided Loss" (revised as "Loss of Breath," , September 1835) satirizes "the extravagances of Blackwood," that is, the tales of "sensation" published in . When the protagonist expresses a "wild delight" in analyzing his sensations, Poe adds a note linking this analysis with "much of the absurd of the redoubted Schelling." The reliance on grossly implausible events, comic details, historical allusions, humorous word play, and caricature in the story of a man who loses his "breath" (his voice), who is hanged but does not die, gives humorous support to the playful subtitle, "A Tale Neither In Nor Out of 'Blackwood,'" appended to the piece upon its revision.
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