Dark Tales 5: Edgar Allan Poe’s The Masque Of The Red Death CE – Torrent ((EXCLUSIVE))


Dark Tales 5: Edgar Allan Poe’s The Masque Of The Red Death CE – Torrent

we see our time-distorted and anonymous author looking a long way into the past. he desires to understand his own beginning. he is virtually a spectator of his act of creation, in a process of which he was a willing participant, while conscious of its accidental and accidental form. to that end he has the advantage of the aid of memory. he is forever amazed by his conclusions, which are surprisingly all too certain; yet he knows that he has expected nothing of himself, even the most minute thing, and he stands in wonder at the work. our author’s love of beauty had a straining in all directions, but most importantly toward the idea and its sense, the configuration of the world. mere nature never stirred the idea to movement, and its reach seemed to be limited. the work reveals that its origin is a metaphysical love, not a common one. for in this instance it is not the ideal of beauty which is his instrument but an existence. he knows he is not an abstract perfectionist, one of those who, looking upon the world as a work of art or the creation of our rational nature, find its existence superfluous and go their way.

in a sense, one might also compare poe’s statements to freud about what might be called the haplessness of his life to a similar psychological declaration made by g. k. chesterton in his novel the innocence of father brown: “if i have not the special gift, i have the mere special trouble.” both such pronouncements serve to elaborate the events of the problematic biographical reality of edgar allan poe as an artist and a person, but are not the whole truth. chesterton saw the equivalent of an external, physical evil in poe’s earlier loss of his parents. while poe’s distance from his parents might in part explain the vacancy in his early years, it is much more than that. he felt his mother’more than his father’ and so her absence could not be compensated or atoned for, as an ordinary parent can be. something even scarier lurks behind these statements. it is not merely the fact that the father and mother are absent, but that poe was deprived of them for months, even a lifetime. in that sense, poe not only was ‘left in the lurch’ by his parents, but he was left alone in the universe. in the words of an accomplished biographer and critic, richmond barlow, “the coming of [poe’s] parents, when they came at all, was always a shock; and it would have been not merely a shock but something worse if they had been less concerned about him than were his own feelings about them” (p. 6). the paternal bond was as important in the life of poe as the maternal bond. “perhaps because i had no father, or as if i had had a father who was to me not the highest type i had at all, i sought rather to idealise the maternal figure: yet it was not until i became a father myself that i learned how great a place such a father had in a man’s life.” (“on edgar allan poe” in graham greene: a life in letters, ed. by george painter; garden city: doubleday, 1981, pp. 343-44; and see also william s. copley, “edgar allan poe’s father,” in edgar allan poe: critical and interpretive essays, ed. by william s. copley; baltimore: the johns hopkins university press, 1996, pp. 211-43. ) at least as much as poe’s mother, his father was to poe his guru. in all his darkness, maybe, he wrote one of the most tragic poems of all time, “the raven,” but this poem should be regarded as a response to a force too terrifying to be named, but too omnipresent to be defeated by the will. to that force, poe found the only weapon which would suffice, and that weapon was poetry.

this essay starts by viewing poe’s long poem eureka as an effort to bring together the romantic and the futuristic, but shifts to analyze the poem in terms of a more modern aesthetic poem. as an attempt to discover new possibilities of art, there is something very wrong with the script. the purpose of writing is to define human subjectivity through an imaginative act, and it seems to me that poe has foisted upon us the feeling and life of a pessimist and dreamer. the poets who create beautiful and rational landscapes that can stand against the dark night of the soul had better leave such morbid ideas alone. i think it possible that eureka might be utilized by a group of critics as a propaedeutic for an analysis of poe’s role in the development of the modernist aesthetic. however, we should remember that eureka proved to be a commercial failure, and that commercial failure may have dictated the conditions for its success, for eureka is potentially very difficult to analyze from a psychoanalytical point of view.
after the publication of “the raven” and ligeia, critics immediately began to pay attention to the work of poe, who had become a short-story writer and a tale-teller. “once the reader of poe is hooked,” theodore weiss wrote in 1921, “he becomes almost unbreakable.” (weiss, edgar allan poe: his life, poetry, and criticism, p. 386. we have subsequently rediscovered that “hook,” and taken up our old and intimate friend in order to show him to his readers. the transition from the nineteenth century to the twentieth, with its subsequent reliance upon the sexual and industrial mores, was marked by a corresponding advance in literary ways of seeing. every door is now opened to us. at the beginning of their careers, earlier critics and readers lacked a precise understanding of poe, and while this situation could no longer be tolerated, the public was not capable of remembering what it had once read. hence the need for a new tradition of criticism that would help the reader to understand the meaning of what he had read. and this tradition of criticism has now come into being, thanks in part to poe.)


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