Edgar Allan Poe

Potica y Romanticismo




Dra. Laura P. Alonso Gallo
Edgar Allan Poe

~Escritor de poesa y cuentos de terror (loco?)
En todos los gneros literarios que cultiva, Poe explora la psique.
Poe se sumerge en casos de locura y emociones extremadas para
explorar los aspectos exticos y fascinantes de los procesos psicolgicos

~ Crtico literario serio y devastador de sus contemporneos
~ Autor de una potica que influye a escritores de distintas latitudes y
periodos


Poe brings to mind images of murderers
and madmen, premature burials, and
mysterious women who return from the
dead.

Just as the bizarre characters in Poes
stories have captured the public
imagination so too has Poe himself: Seen as
a morbid, mysterious figure lurking in the
shadows of moonlit cemeteries or
crumbling castles. This is the Poe of
legend.

Much of what we know about Poe is wrong,
the product of a biography written by one
of his enemies in an attempt to defame the
authors name.
Indice
Introduccin al Romanticismo
Romanticismo oscuro (Dark Romanticism)
Edgar Allan Poe: El hombre y la leyenda
Poema Annabel Lee
Crtica literaria: The Poetic Principle
Crtica literaria: : The Philosophy of Composition
Poema The Raven
Relato: Ligeia


Introduction to Romanticism

~ For the Schlegel brothers, Romanticism was a product of Christianity.
The culture of the Middle Ages created a Romantic sensibility which
differed from the Classical art styles which preceded it.
~ Christian culture dealt with a struggle between the heavenly perfection
and the human experience of inadequacy and guilt. This sense of
struggle, and ever-present dark forces and dark feelings, was present in
the existing culture and part of the whole human experience.
~ Artists, often being idealists, wanted something more than the dark
and narrow-minded views that society wanted to force on them.

Comparemos
Esta pieza musical

con
sta
Romanticism exalted
individualism,
subjectivism,
irrationalism,
imagination,
emotions
and nature.

Romanticism valued
emotion over reason
and senses over intellect. Wandered Above the Sea of Fog (1818) by
Caspar David Friedrich
Joseph Turner. El naufragio, 1840
Retrata el terrible y asombroso poder de la naturaleza sobre el ser
humano.
El paisaje es un reflejo del humor y las emociones del artista.
Francisco Goya y Lucientes -- Saturn
Devouring his Son, 1821-23.
-Canibalismo salvaje
-Devora a un adulto
-Locura y no
asesinato fro.
-Choque entre la
juventud y la
ancianidad
-Alegora del tiempo
como devorador de
todas las criaturas y
las cosas
-Alegora de la
situacin
sociopoltica de
Espaa, ya que la
patria consume a sus
propios hijos en
guerras y
revoluciones.
Tratamiento
convencional del
tema.
-Asesinato fro y
calculado
-La relacin del
poder; el
poderoso devora
la inocencia

Comparemos estas dos
pinturas del mismo tema
~
Saturn Devouring His Son 1636, P. Rubens
Artists like William Blake, Henry Fuseli and Francisco de
Goya are excellent examples of artists who dealt both with
the dark feelings of guilt and inadequacy, but also with
their rejection of such concepts because they felt society
could and should be living up to a higher standard of
personal freedom and individualism.
Blake proclaimed the supremacy of the imagination over the rationalism and materialism of the 18th-century.
Blake's revolt was against the established values of his time:
"Prisons are built with stones of Law, brothels with bricks of Religion."
William Blake - Abel - 1825
Odysseus in front of Scylla
and Charybdis, Fuseli's
Romance painting of
Odysseus, 1794/6.
Odysseus chooses btween
two evils
Paul Delaroche: The Execution of Lady
Jane Grey. 1833
Francisco de Goya y
Lucientes, Aquelarre,
1823. Goya se burla de la
supersticin popular y de
la Inquisicin en sus
juicios de las brujas. El
cuadro examina los temas
de la violencia, el poder,
la vejez y la muerte.

Who has not, a hundred times, found himself
committing a vile or silly action, for no other
reason that because he knows he should not?"

(The Black Cat)
Vida y personalidad
Brief Biography
Nace el 19 de enero de 1809 en Boston (Massachusetts).
Estudia en la Universidad de Virginia y despus en La Academia
Militar de West Point.
Aparece enfermo en un bar que se estaba utilizando como sala electoral.
Se le encuentra vestido con ropas que no le pertenecen. Su editor lo
hizo llevar al hospital, donde muere dos das despus.
Poe fallece a la edad de cuarenta aos en Baltimore (Maryland) el 7 de
octubre de 1849. La causa de su muerte no se ha llegado a determinar
con exactitud.
Edgar Allan Poe
(1809-1849)
Escritor de
-relato,
-poesa,
-una novela,
-un libro de teora cientfica,
-y cientos de ensayos y reseas.

Inventor del gnero detectivesco
Innovador del gnero de ciencia ficcin
y terror.
Pero se gan la vida como el primer
gran crtico literario y terico de su
pas.
The real Poe was born to traveling actors in Boston on January 19, 1809. Edgar was the
second of three children. His other brother William Henry Leonard Poe would also
become a poet before his early death, and Poes sister Rosalie Poe would grow up to
teach penmanship at a Richmond girls school. Within three years of Poes birth both of
his parents had died, and he was taken in by the wealthy tobacco merchant John Allan
and his wife Frances Valentine Allan in Richmond, Virginia while Poes siblings went to
live with other families. Mr. Allan would rear Poe to be a businessman and a Virginia
gentleman, but Poe had dreams of being a writer in emulation of his childhood hero the
British poet Lord Byron. Early poetic verses found written in a young Poes handwriting
on the backs of Allans ledger sheets reveal how little interest Poe had in the tobacco
business. By the age of thirteen, Poe had compiled enough poetry to publish a book, but
his headmaster advised Allan against allowing this.
-Son of actors, Poe never really knew his parents.

-Poe went to live with John and Frances Allan, a successful tobacco merchant and his wife, in
Richmond, Virginia.

-Poe went to the University of Virginia in 1826, but he didn't receive enough funds from Allan to cover
all his costs. He turned to gambling to cover the difference, but ended up in debt.

-He returned home only to face another personal setbackhis neighbor and fiance Elmira Royster
had become engaged to someone else. Heartbroken and frustrated, Poe left the Allans.

-Published his first book, Tamerlane and Other Poems in 1827, and Al Aaraaf, Tamberlane, and Minor
Poems in 1829.

-He won a spot in West Point in 1830. Poe excelled at his studies, but he was kicked out after a year for
his poor handling of his duties.

-Lived in New York City, Baltimore, Philadelphia, and Richmond writing full time.


-From 1831 to 1835: stayed in Baltimore with his aunt Maria
Clemm and her daughter Virginia. Married in 1836 when she
was only 13 years old and Poe 2714 years her senior)

-In Richmond in 1835, Poe worked for a magazine called the
Southern Literary Messenger.

-Reputation as a cut-throat critic, writing vicious reviews of his
contemporaries. His aggressive-reviewing style and sometimes
combative personality strained his relationship with the
publication, and he left the magazine in 1837.

-He worked at two other papers, Burton's Gentleman's Magazine
and The Broadway Journal.

-Poe became a literary sensation in 1845 with the publication
of the poem "The Raven."

-Poe wrote a review where he accused fellow poet Henry
Wadsworth Longfellow of plagiarism.
-Overcome by grief after the death of his beloved Virginia in
1847. Continued to work, but suffered from poor health and
struggled financially.

-Mysterious death: Poe left Richmond on September 27,
1849, and was supposedly on his way to Philadelphia. On
October 3, Poe was found in Baltimore in great distress. He
was taken to Washington College Hospital where he died on
October 7. His last words were "Lord, help my poor soul.

-Shortly after his passing, Poe's reputation was badly
damaged by his literary adversary Rufus Griswold.

-Days after Poes death, Griswold wrote a vilifying obituary
of the author in revenge for some of the offensive things Poe
had said and written about him.
Griswold followed the obituary with a memoir in which he
portrayed Poe as a drunken, womanizing madman with no
morals and no friends.
The legend
Griswolds attacks were meant to cause the public to dismiss Poe and his works, but the
biography had exactly the opposite effect:

Instead, the sales of Poes books drove higher than they had ever been during the authors
lifetime.

Griswolds distorted image of Poe created the Poe legend that lives to this day while
Griswold is only remembered (if at all) as Poes first biographer.

T.S. ELIOT escribi muchos anos despus de su muerte que los sentimientos de amor de
Poe eran puros e inocentescompletamente ajenos a lo sexual y a lo fsico.



Poetry: Annabel Lee (1849)

-Poema pstumo
-El ttulo contiene la letra l (muchas de sus nombres de mujer
contenan esta letra: Helen, Eulalia, Leonora, Lenore, Ulalume,
Ligeia.
-Tal sonido produce un efecto de melancola y tristezael sonido l
permanece ms tiempo en el paladar al pronunciarse.

It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.

Poetry: Annabel Lee (1849)

Temas y motivos
-Motivo: prdida de un gran amor
-Tema: dolor del yo lrico por la muerte prematura de la amada.
-Resolucin:
Hombre que rescata lo vivido y promete fidelidad an despus de
la muerte
La promesa de amor eterno.
-Subtemas:
a) Familia/sociedad (Capuletos y Montescos)
b) Lo sobrenatural
c) La naturaleza

Poesa: Annabel Lee (1849)

Frmulas

-Frmula de cuentos de hadas:
a) Muchos, muchos aos
b) reino junto al mar
c) patricio tutor
d) ngeles, serafines

-Frmula gtica: los ngeles demonizados (que codician el amor de
los amantes)



Poetry: Annabel Lee (1849)

Esttica y figuras retricas

-El poema es una cancin por la prdida de un gran amor.
-Hiplage: angeles infelices que codician y envidian
-Anfora: velando a mi amada, mi amor, mi consorte
-La composicin esta perfectamente cuidada
-El efecto: cada verso es un sollozo. Hay un momento en que la
repeticin produce el efecto de desvaro, de perder el hilo del
discurso. El narrador desvela una suerte de locura.
-El tiempo presente utilizado en el ltimo verso produce un efecto
sobrecoger. por qu?
-(Parece que Poe altera las convenciones de la balada para crear un
efecto especfico).


Poetry: Annabel Lee (1849)

Mtrica y composicin

-Tiene estructura de baladaabcbdb en la mayora de las estrofas.
-Los crticos no lo consideran una balada por 1) la incoherencia mtrica y
2) la ausencia de dialogo.
Sin embrago, como la balada, este poema tiene un tono lrico-narrativo,
corta extensin y empleo frecuente del dilogo, al modo del romance.
Narra un suceso legendario?

-The short lines rhyme through the vowel sound e, using redundancies
and a consistent rhythm.




La potica de Poe: Resumen
~Paradigm of the Classic Poet: Rigor and Precision
~Subject matters (sorrow, nostalgia, remembrance) are colors of the artists palette,
and not the province of the poem
~The poet must recover the pristine value of language, the original value of words
~Beauty is not the quality of something
> it is an impression upon the human spirit
> it is a pleasure devoid of any sensitive attraction, passion, or
sentiment
> it is a spiritual delight

~Beauty does neither affect our intelligence nor our heart:
it only affects our spirit in an aesthetic way.






El principio potico (1850, pstumo)
1- Paradigma del poeta clsico: rigor y precisin
-Sienta las bases de una nueva poesa
>de Poe va a surgir el simbolismo francs (Baudelaire, Verlaine, Rimabaud,
Mallarm y Paul Valry), y el concepto de el arte por el arte.
>Tambin, directa o indirectamente, el modernismo sudamericano
>Tambin Dostoievski, Stevenson, Maeterlink
>Y el gnero de la novela policial (Conan DoyleSherlock Holmes).
2- Material extraesttico
-Para la sensibilidad romntica, hacer poesa era verter en los versos la vida
pasional, la subjetividad humana. Pero haba mucho material extraesttico.
Incluso Goethe, Lord Byron y Vctor Hugo introducan retrica y fraseologa
pomposa y a veces hacan discursos edificantes, enseanzas histricas o
morales, o polticas y filosficas.
-Poe detect el problema de los romnticos y de otros movimientos
anteriores: el vicio de mezclar la poesa con cosas extrapoticas. Poe reaccion
con su visin clsica, pero tambin reaccion contra el principio aristotlico y
sobre todo el horaciano del principio pedaggico: dulce y til.

El principio potico (1850,
pstumo)
3- La misin de la poesa
-La misin de la poesa no es fortificar los espritus ni
perfeccionar las costumbres, ni aportar beneficio til.
El fin de la poesa es ser poesa. La ciencia y la moral le son
extraas. No debe adoctrinar.
-La finalidad de la ciencia es la verdad
-La finalidad de la moral es el bien.
-Hay que depurar la poesa de elementos extrapoticos, de
disertacin moral, de doctrina filosfica, de enseanza histrica y
de moraleja.
-El poeta no es, como decan los griegos, un preceptor de moral
ni un profeta o hroe de la cultura. El poeta es un creador de
belleza, un forjador de poesa.

El principio potico (1850, pstumo)
4- Contra el sentimentalismo potico.
-El contenido esencial de la poesa es la pasin.
-Poe negaba que lo esencial de la poesa fuese la pasin : La pasin es la embriaguez
del alma y por lo tanto, algo irracional, turbio, extraesttico.
-Un poema es una obra de arte y por su forma obedece al clculo y a la medida. La
poesa es hija de la inteligencia y no del sentimiento. Se construye como una catedral:
Ningn punto de la composicin puede ser atribuido a la casualidad
ni a la intuicin; la obra ha marchado, paso a paso, hacia su
solucin con la exactitud y la rigurosa lgica de un problema
matemtico.
-Qu compone un poema? La musa, la inspiracin, el frenes creador.
Poe negaba la musa: El poema lo compone discernimiento, el estudio y la claridad
mental.
-Quien est embriagado de pasin es incapaz de aplicar la claridad y el intelecto del
artista.
Qu hacer? Se debe objetivar la pasin, no caer presa de ella. Contemplar el
sentimiento con serenidad y aprovecharlo y disponerlo de forma artstica. Esta es la
ruptura entre el arte y la vida, el arte por el arte.

El principio potico (1850,
pstumo)
5- El arte de la palabra
-La palabra es un instrumento para expresar ideas y conceptos. Las ciencias se sirven
de la palabra. Es el vehculo de la historia, la moral y la filosofa porque poseen un
valor semntico.
Pero adems del valor semntico, la palabra tiene un valor artstico en s misma:
-ritmo -calidad
-sonido - y significado
-color
La combinacin sonora y rtmica de las palabras, sin sentido, no es poesa.

-El valor semntico est en funcin del efecto, ni es un fin ni es el nico medio.
tengo muchas ideas buenas pero no puedo escribir versos buenos, deca un escritor a Paul
Valryy ste le contest: la poesa no se hace con ideas, sino con palabras.

-Poe defenda que la palabra se haba desgastado y que el poeta deba devolver el rigor
original, el brillo primigenio, a la palabra.

-El estremecimiento medular que produce la lectura de El cuervo no se debe al tema
de la muerte ni a la desesperanza absoluta que siente el estudiante. El prodigio no es
el tema, sino la virtud de los vocablos, que viene de la precisin y el rigor con que son
usados. (Eso mismo harn Mallarm y Valry)


The Philosophy of Composition (1846):
Formula de Poe

METHOD (denial of muse, formal perfection in a mathematical sense)
And TOTALITY OF EFFECT (emotional reaction that the writer plans
to achieve).

TOTALITY OF EFFECT:
-Length (at one sitting, 100 lines, at the service of effect, in direct relation to
the elevation of the soul)
-Province (beautythe object may or may not be beautiful: beauty is created
and has an effect upon the listener/reader)
-and Tone (choose a tone that excites or elevates the soulthe most legitimate
of all tones is melancholywhy? Because it excites the soul in a more powerful
or intense way)
Among the subjects that melancholy tones can serve, the saddest and thus most
poetic is the death of a beautiful woman.

Structure, theme, tropes, setting, characters, conflict, and plot are to be decided
after the effect has been determined.


Unidad del efecto: Dimensin, dominio y tono
FRMULA DE POE: DIMENSIN (en una sesin), MTODO (negacin de la musa: perfeccin
formal en el sentido matemtico) Y TOTALIDAD O UNIDAD DEL EFECTO (reaccin emocional
que el escritor quiere crear)
Dimensin al servicio del EFECTOin direct relation to the elevation of the soul.
Province: Soul seeks Beauty; Mind seeks Truth; Heart seeks Passion
That pleasure which is at once the most intense, the most elevating, and the most pure, is, I believe, found in the
contemplation of the beautiful.
When, indeed, men speak of Beauty, they mean, precisely, not a quality, as is supposed, but an effect they refer, in
short, just to that intense and pure elevation of soul not of intellect, or of heart upon which I have
commented, and which is experienced in consequence of contemplating "the beautiful.
Now the object, Truth, or the satisfaction of the intellect, and the object Passion, or the excitement of the heart, are,
although attainable, to a certain extent, in poetry, far more readily attainable in prose. Truth, in fact, demands a
precision, and Passion, a homeliness (the truly passionate will comprehend me) which are absolutely antagonistic to
that Beauty which, I maintain, is the excitement, or pleasurable elevation, of the soul.
Originality in subject
Tone: sadness > melancholy (loss)
tone of its [Beautys] highest manifestation and all experience has shown that this tone is one of sadness.
Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is
thus the most legitimate of all the poetical tones.
Among melancholy tonesthe saddest and thus most poetic > death of a beautiful woman.
Structure, theme, tropes, setting, characters, conflict, and plot are to be decided after the effect has
been determined.

The Raven
Poes poetry, grounded in the Southern tradition, was very musical and strictly
metrical.
The Raven (1845) is his most famous poem. He explained his poetics in the light of
this poem.
Length, province, and tone
Repetition of one word or phrase in each stanza: Nevermore, ever more
Be consistent with the monotony of this linethe final line in each stanza
This word would be the same, yet it would have different meanings
Quality and value of this word:
~ must have the value of sound, color, and rhythm,
~and the quality of an extended emphasis
O a long vowel, the most powerful sound
R most vigorous consonant


The Raven
-Rimbaud, for example, said that each vowel had a color:
~ Ablack ~ Ewhite ~ Ired ~ Oblue ~ Ugreen
-In Spanish, the word aoranza is a blue word; pasin is red both in content and sound.
-Poe looked for a word that was both intense and gloomy, a red and black word.
-More than its meaning, its rhythm and color endow the word nevermore with the quality of
melancholy.
-The ending r associated to the long o produces an effect of distance which, associated to the
melancholy m gets stronger, and produces an effect of infinite sadness.
The sound mor is penetrating; it seems to penetrate endless darkness; it is the sound of death itself; it
also echoes the Latin word mors, which is the root of the English word mortality.
-The word never, also ending with an r, has a metaphysical reverberation. It refers both to always
and never. It takes us to the beyond, to the unseen, to the despair of an eternal nothingness.
-Both words together give the poem an atmosphere of devastation.
-The monotonous repetition of this word doubles the anguish and communicates to readers an innerving
sensation and a shivering effect.
The Raven
The stylistic resource of introducing a raven (not a parrot, not an angel) creates an
atmosphere of irrationality, mystery, and connection with the unseen.
The poem ends in a frozen scene of death-in-life:
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamplight o'er him streaming throws his shadow on the
floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted- nevermore!

The Influence of Poes
Poetics
In his essays, Poe is laying the foundation of a new poetics based on Classicism
(however, rejects Horaces paradigm of art being dolce et utile), revision of the
Romantic literary practices, and development of the short story poetics.
Influenced:
>French Symbolism (Baudelaire, Verlaine, Rimabaud, Mallarm y Paul
Valry),
>The concept of art for arts sake
>Directly or indirectly, South American Modernism
>Dostoyevsky, Stevenson, Maeterlinck
>Detective story genre (Conan DoyleSherlock Holmes)
>Gothic genre

Ligeia


Various Interpretations:
Ligeia as an Idea
~ Ligeia as an idea:
-The Perfect Woman > Perfection
-The muse that dies (inspiration) > burlesque on belief that poets did not work (poet+
opium)
-German (the Gothic) vs. English (Tradition established by England; U.S. imitates, does
not have a national art) > burlesque-grotesque (satire).
Poe was a master of the Gothic horror tale, but did not invent the Gothic genre. Poe was
criticized for his "Germanism," a synonym for Gothicism, since critics considered this
kind of fiction outmoded.
-Mockery of Transcendentalism
Various Interpretations:
Ligeia as a Real Woman
~ Ligeia as a real woman (exalted in the memory-dreams of the narrator)

-Longing of a lover for reunion with the beloved (narrator says he recovers his lost love only in the
world of dreams)
-Effort of the poetic soul to escape consciousness > dream
-Poetic soul at war with physical world (the physical, the factual, the rational, the prosaic are not
escapable).
-Human soul is diseasedPoe does not see God in naturerather, he sees a mechanistic world in
decadence (aristocracy)
-Childhood and prior incarnation is where the soul enjoys a serene unity of beingperhaps this
is why this narrator behaves like a child or like an individual without consciousness.


Various Interpretations:
Mortality
~ Ligeia does not illustrate personal reincarnation, but the
reincarnation of the life process itself.
~ Life repeats itself, only to die again, like Ligeia, whose weakness
of will yields to the angels. Then Rowena. Because Death always
wears the same face.
~ The history of man as a narrative of recurrent death that Poe
condenses in one symbolic night.
Various Interpretations:
The Scientific, Perverted Mind
~ The unreliable narrator helps build some of the previous
interpretations.

~ This unreliable narrator could be a scientist whose perversion
leads him to kill his beloved (seeking the forbidden knowledge
about woman, who at this era represents mystery, sexuality, and
beauty). This is a common interpretation that has been refuted
by important critics.

Various Interpretations: Feminist Reading
Critica feminista de Ligeia
-Ligeia representa a la mujer, la libertad, independencia y potencial intelectual que tiene la mujer y no ha desarrollado
en este momento del siglo XIX. Representa la perfeccin.
-Sociedad patriarcal los hombres son protagonistas--La mujer no necesita que la protejan y la cuiden los hombres.
-City near the Rhine: ruinas, decadente, sistema patriarcal (place where lovers met). Doble sentido: She must die(por
su enfermedad o porque debe morir puesto que es peligrosa)
-The narrator does not explain how sad must have been to lose herrather, he distances himself from the grief. His
feeling is fear rather than grief; he is helpless rather than grieving.
-La mujer, Ligeia que es gigante y parece todopoderosa, debe sucumbir a la fuerza de la muerte (more stern power of
death) y a la fuerza del hombre, que gobierna el orden social.

-The narrators failure to kill Ligeia: It seems the narrator is going to kill every woman he marries, but Ligeia keeps
coming back to him in the person of Rowena. Ligeia lives on, not only in Rowena, but in every woman. He
represents the man: men kill the woman. But the woman haunts him forever. The man is tormented, confused,
going mad.

-We should not identify Poe with the narrator. The writer likes the first-person narration because is confessional and
creates credibility. He also uses an unreliable narrator that does not tell us everything, that is, he hides facts from
the reader. Poe, the writer, may have implied a positive message: forcing women into submission does not put men
in a better place. The narrator after Ligeias death continues to mourn her and succumbs to opium and drugs to
fight the loss.

-Cita (atribuida a Glanville): El hombre no se doblega a los ngeles, ni cede por entero a la muerte, como no sea por la
flaqueza de su dbil voluntad--La muerte de Ligeia no represental el fin. Mientras la mujer mantenga la voluntad
de ser libre, su espritu vivir para siempre.

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