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Poe saw God more as process than purpose.

Literary criticism, as distinguished from scholarly research, is usually itself considered a form of literature. Some people find great critics as entertaining and stimulating as great poets, and theoretical treatises of literary aesthetics can be as exciting as novels. Aristotle, Longinus, and the Roman rhetorician and critic Quintilian are still read, although Renaissance critics like the once all-powerful Josephus Scaliger are forgotten by all but specialized scholars. Later critics, such as Poe, Sainte-Beuve, Taine, Vissarion Belinsky, Matthew Arnold, Walter Bagehot, Walter Pater, and George Saintsbury, are probably read more for themselves than for their literary judgments and for their general theorizing rather than for their applications (in the case of the first three, for instance, time has confounded almost all the evaluations they made of their contemporaries). The English critics have survived because they largely confined themselves to acknowledged masterpieces and general ideas. Perhaps literary criticism can really be read as a form of autobiography. Aestheticians of literature like I.A. Richards, Sir C.M. Bowra, Paul Valéry, Suzanne Langer, and Ernst Cassirer have had an influence beyond the narrow confines of literary scholarship and have played in our time something approaching the role of general philosophers. This has been true on the popular level as well. The Dane Georg Brandes, the Americans James Gibbons Huneker, H.L. Mencken, and Edmund Wilson — these men have been social forces in their day. Literary criticism can play its role in social change. In Japan, the overthrow of the shogunate, the restoration of the emperor, and the profound change in the Japanese social sensibility begins with the literary criticism of Moto-ori Norinaga (1730-1801). The nineteenth-century revolution in theology resulted from the convergence of Darwinian theories of evolution and the technical and historical criticism of the Bible that scholars had undertaken. For many modern intellectuals, the literary quarterlies and weeklies, with their tireless discussions of the spiritual significance and formal characteristics of everything from the greatest masterpiece to the most ephemeral current production, can be said to have filled the place of religion, both as rite and dogma.

In my essay I will approach three aspects of Poe's use of imagery.

In Massachusetts on the 19th day of January in the year 1809, Edgar Poe was born to actress Elizabeth Arnold Hopkins Poe and actor David Poe Junior, making him an older brother to Rosalie Poe, and a younger one to William Henry Leonard Poe.

Elizabeth Arnold Poe was an actress.

He had already published two books of poetry and had countless stories published....

Lyric poetry never gets far from its origins, except that some of its finest examples — Medieval Latin, Provençal, Middle High German, Middle French, Renaissance — which today are only read, were actually written to be sung. In the twentieth century, however, popular songs of great literary merit have become increasingly common — for example, the songs of Bertolt Brecht and Kurt Weill in German, of Georges Brassens and Anne Sylvestre in French, and of Leonard Cohen, Bob Dylan, and Joni Mitchell. It is interesting to note that, in periods when the culture values artificiality, the lyric becomes stereotyped. Then, after a while, the poets revolt and, usually turning to folk origins, restore to lyric poetry at least the appearance of naturalness and spontaneity.

Hippolyte Taine, the nineteenth-century French critic, evolved an ecological theory of literature. He looked first and foremost to the national characteristics of western European literatures, and he found the source of these characteristics in the climate and soil of each respective nation. His (5 vols., 1863-1869) is an extensive elaboration of these ideas. It is doubtful that anyone today would agree with the simplistic terms in which Taine states his thesis. It is obvious that Russian literature differs from English or French from German. English books are written by Englishmen, their scenes are commonly laid in England, they are usually about Englishmen and they are designed to be read by Englishmen — at least in the first instance. But modern civilization becomes more and more a world civilization, wherein works of all peoples flow into a general fund of literature. It is not unusual to read a novel by a Japanese author one week and one by a black writer from West Africa the next. Writers are themselves affected by this cross-fertilization. Certainly, the work of the great nineteenth-century Russian novelists has had more influence on twentieth-century American writers than has the work of their own literary ancestors. Poetry does not circulate so readily, because catching its true significance in translation is so very difficult to accomplish. Nevertheless, for the past hundred years or so, the influence of French poetry upon all the literatures of the civilized world has not just been important, it has been preeminent. The tendentious elements of literature — propaganda for race, nation, or religion — have been more and more eroded in this process of wholesale cultural exchange.

However, Poe was a perfectionist who left very little to guesswork.

Most people believe that Poe had to be depressed or even evil to write his historic writings.

The rhythms of prose are more complicated, though not necessarily more complex, than those of poetry. The rules of prose patterning are less fixed; patterns evolve and shift indefinitely and are seldom repeated except for special emphasis. So the analysis of prose rhythm is more difficult to make than, at least, the superficial analysis of poetry.

Poe is often described as a rebel against society and art-for-art's sake supporter who experimented in making his poems without didacticism and devoid of any meaning, but he is also respected as a genius in terms of his commitment to art and his ability to experiment with various forms of expressions (Fromm 304).

For the entire summer, I moped around and wrote depressing poems constantly....
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Edgar Allan Poe - essays and papers

As the first writer to compose tales of horror, death, and mystery into literature and poetry, he is blessed, maybe even cursed, with an imagination that set higher standards in the field of writing.

Free Edgar Allan Poe papers, essays, and research papers.

Many critics have tried to link this with either the death of his mother (who died when Poe was only three years old) or the death of his young wife Virginia, whom he married when she was thirteen and who died at twenty-four.
Perhaps as a result of the many personal traumas he endured, So after downloading a critical essay from this site will there still be a need to struggle hopelessly with Poe's works?

Edgar Allan Poe :: essays research papers - 123helpme

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Category: essays research papers; Title: Edgar Allan Poe

Literature is a form of human expression. But not everything expressed in words — even when organized and written down — is counted as literature. Those writings that are primarily informative — technical, scholarly, journalistic — would be excluded from the rank of literature by most, though not all, critics. Certain forms of writing, however, are universally regarded as belonging to literature as an art. Individual attempts within these forms are said to succeed if they possess something called artistic merit and to fail if they do not. The nature of artistic merit is less easy to define than to recognize. The writer need not even pursue it to attain it. On the contrary, a scientific exposition might be of great literary value and a pedestrian poem of none at all.

Free Essays on Biography of Edgar Allan Poe

The purest (or, at least, the most intense) literary form is the lyric poem, and after it comes elegiac, epic, dramatic, narrative, and expository verse. Most theories of literary criticism base themselves on an analysis of poetry, because the aesthetic problems of literature are there presented in their simplest and purest form. Poetry that fails as literature is not called poetry at all but verse. Many novels — certainly all the world’s great novels — are literature, but there are thousands that are not so considered. Most great dramas are considered literature (although the Chinese, possessors of one of the world’s greatest dramatic traditions, consider their plays, with few exceptions, to possess no literary merit whatsoever).

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