In fact, it is about the only one fit for a man. For my own part, there is no seducing me from the path. Although he passed away more than years ago, he remains a literary, horror and pop culture icon. If Poe composed narratives that could be read quickly and left a powerful impression, then he could create a market for them, ensuring his popularity as well as his livelihood — and that is what he did.
While discussing, very much at random, the essentiality of what we call Poetry, my principal purpose will be to cite for consideration some few of those minor English or American poems which best suit my own taste, or which upon my own fancy have left the most definite impression.
By "minor poems" I mean, of course, poems of little length. And here in the beginning permit me to say a few words in regard to a somewhat peculiar principle, which, whether rightfully or wrongfully, has always had its influence in my own critical estimate of the poem.
I hold that a long poem does not exist. I maintain that the phrase, "a long poem," is simply a flat contradiction in terms. I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement.
The Poetic Principle, by Edgar Allan Poe, Bibliography with links for texts. The Poetic Principle is a book written by Edgar Allan Poe. It is widely considered to be one of the top greatest books of all time. This great novel will surely attract a whole new generation of readers/5(). Written by: Edgar Allan Poe In speaking of the Poetic Principle, I have no design to be either thorough or profound. While discussing, very much at random, the essentiality of what we call Poetry, my principal purpose will be to cite for consideration some few of those minor English or American.
But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be so called at all cannot be sustained throughout a composition of any great length.
After the lapse of half an hour, at the very utmost, it flags—fails—a revulsion ensues—and then the poem is, in effect, and in fact, no longer such. There are, no doubt, many who have found difficulty in reconciling the critical dictum that the "Paradise Lost" is to be devoutly admired throughout, with the absolute impossibility of maintaining for it, during perusal, the amount of enthusiasm which that critical dictum would demand.
The great work, in fact, is to be regarded as poetical, only when, losing sight of that vital requisite in all works of Art, Unity, we view it merely as a series of minor poems. If, to preserve its Unity—its totality of effect or impression—we read it as would be necessary at a single sitting, the result is but a constant alternation of excitement and depression.
After a passage of what we feel to be true poetry, there follows, inevitably, a passage of platitude which no critical prejudgment can force us to admire; but if, upon completing the work, we read it again, omitting the first book that is to say, commencing with the secondwe shall be surprised at now finding that admirable which we before condemned—that damnable which we had previously so much admired.
It follows from all this that the ultimate, aggregate, or absolute effect of even the best epic under the sun is a nullity;—and this is precisely the fact. In regard to the "Iliad," we have, if not positive proof, at least very good reason for believing it intended as a series of lyrics; but, granting the epic intention, I can say only that the work is based in an imperfect sense of art.
The modern epic is, of the supposititious ancient model, but an inconsiderate and blindfold imitation. But the day of these artistic anomalies is over.
If, at any time, any very long poems were popular in reality—which I doubt—it is at least clear that no very long poem will ever be popular again.
That the extent of a poetical work is, ceteris paribus, the measure of its merit, seems undoubtedly, when we thus state it, a proposition sufficiently absurd—yet we are indebted for it to the Quarterly Reviews.
Surely there can be nothing in mere size, abstractly considered—there can be nothing in mere bulk, so far as a volume is concerned which has so continuously elicited admiration from these saturnine pamphlets!
A mountain, to be sure, by the mere sentiment of physical magnitude which it conveys, does impress us with a sense of the sublime—but no man is impressed after this fashion by the material grandeur of even "The Columbiad.
As yet, they have not insisted on our estimating Lamartine by the cubic foot, or Pollok by the pound—but what else are we to infer from their continual prating about "sustained effort"? It is to be hoped that common sense, in the time to come, will prefer deciding upon a work of Art, rather by the impression it makes—by the effect it produces—than by the time it took to impress the effect, or by the amount of "sustained effort" which had been found necessary in effecting the impression.
The fact is, that perseverance is one thing and genius quite another; nor can all the Quarterlies in Christendom confound them. By and by, this proposition, with many which I have been just urging, will be received as self-evident.
In the mean time, by being generally condemned as falsities they will not be essentially damaged as truths. On the other hand, it is clear that a poem may be improperly brief. Undue brevity degenerates into mere epigrammatism. A very short poem, while now and then producing a brilliant or vivid, never produces a profound or enduring, effect.
There must be the steady pressing down of the stamp upon the wax. Beranger has wrought innumerable things, pungent and spirit-stirring; but, in general, they have been too imponderous to stamp themselves deeply into the public opinion, and thus, as so many feathers of fancy, have been blown aloft only to be whistled down the wind.
A remarkable instance of the effect of undue brevity in depressing a poem—in keeping it out of the popular view—is afforded by the following exquisite little serenade:You can read all of Poe’s short stories and critical articles at grupobittia.com, the authoritative and scholarly Edgar Allan Poe resource on the web.
One of the best collections of Edgar Allen Poe out there. This is a good value all around. Has a few stories that are hard to find and I appreciate the order of the book. The synopsis of his life and times in /5(). Edgar Allan Poe was an editor, journalist, poet, literary critic, and short story writer.
Known for his gothic tales and psychological dramas, his stories include “The Cask of Amontillado,” “The Fall of the House of Usher,” and “The Tell-Tale Heart.”.
Literary Criticism of Edgar Allan Poe By Nasrullah Mambrol on November 30, • (0) Edgar Allan Poe (–) was the first major American writer explicitly to advocate the autonomy of poetry, the freeing of poetry from moral or educational or intellectual imperatives.
The Poetic Principle is a book written by Edgar Allan Poe. It is widely considered to be one of the top greatest books of all time. This great novel will surely attract a whole new generation of readers/5(). Poe, a great 19th-century American author, was born on Jan 19, , in Boston, Mass.
Both his parents died when Poe was two years old, and he was taken into the home of John Allan, a wealthy tobacco exporter of Richmond, Va.