The Cambridge Companion to Edgar Allan Poe (Cambridge Companions to Literature)

The Cambridge Companion to Edgar Allan Poe (Cambridge Companions to Literature)

Kevin J. Hayes

Language: English

Pages: 288

ISBN: 0521797276

Format: PDF / Kindle (mobi) / ePub


This Companion consists of 14 essays by leading international scholars. They provide a series of new perspectives on one of the most enigmatic and controversial American writers. Specially tailored to the needs of undergraduates, the essays examine all of Poe's major writings, his poetry, short stores and criticism, and place his work in a variety of literary, cultural and political contexts. This volume will be of interest to scholars as well as students. It features a detailed chronology and a comprehensive guide to further reading.

Portraits and Observations

Answered Prayers (2nd Edition)

Living by the Word: Essays

Favorite Poems (Dover Thrift Editions)

Four New Messages

The Great Railway Bazaar

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

moving air or musical accompaniment. However imprecisely Poe defines this poetic desideratum, it is nevertheless a powerful element in what G. R. Thompson calls his supernalist aesthetics. Musical notes and earthly images can offer glimpses of “a far more ethereal beauty beyond” (E&R, 334–337).4 In his review of Bryant’s Poems, Poe claimed that the poet faltered when he strained to find parallels between natural phenomena and the moral world. In such cases, Bryant’s “mere didactics” lapsed into

composed of words taken from the cut-and-thrust world of the magazines: “twattle,” “trash,” “rant,” “drivel,” “braggadocio,” “penny-a-liner,” “balderdash,” and “cant.” Quite how “jarring and tumultuous” Poe found contemporary aesthetic discourse can also be judged from his satire “How to Write a Blackwood Article” (1838), where a punning play on the suggestive likeness between the words “cant” and “Kant” supplies Poe with an obvious, though significant, joke (P&T, 279) (which will recur in the

Gold-Bug” wins a $100 prize in a literary contest sponsored by the Philadelphia Dollar Newspaper. The tale is widely reprinted and also dramatized on the Philadelphia stage. In July William H. Graham issues The Prose Romances of Edgar A. Poe, which contains “The Murders in the Rue Morgue” and “The Man That Was Used Up,” the first and only installment of a planned, serialized collection of Poe’s stories. In November Poe delivers his first public lecture, “Poets and Poetry of America,” a means of

throughout his literary career. His first strong yearning, however, was to be a poet, and he returned to the writing of poetry during his career, albeit, after he had brought out three slim volumes of poems between 1827 and 1831 yet secured no profit, he foresaw that he could not gain sufficient financial recompense from that genre to maintain himself. Understandably, from one who looked to the poems of Byron, Shelley, and Coleridge as his own poetic models, Poe’s verse reveals unmistakable

single sitting, striving for maximum unity, and not hesitating to deploy the grotesque and shocking as ways of capturing and holding the attention. In parallel with the new daguerreotype, about which he wrote on multiple occasions, he sought to perfect linguistic techniques that could convey settings, actions, characters, and moods with a maximum of precision. The theory of poetry he advanced in “The Philosophy of Composition” – in which the first and most important consideration is unity of

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