The Role of Life and Death in the Work of Edgar Allen Poe Essay Example

explanation for this can be traced back to his biological parents who were struggling stage actors and unable to provide for him. Poe's father abandoned the family when he was merely a year old, followed by his mother's demise due to tuberculosis a year later.

The elements pertaining to Poe's lineage significantly echo throughout his literature, including his early poems that were part of his first published volume, secured following his expulsion from West Point. It is evident that Poe viewed the path to becoming an officer as superior socially to becoming a poet. "Poe had long been marginalized by a social order that frowned upon the offspring of actors. A military commission was held in high esteem in Virginia, the only place where Poe respected the prevailing norms, which accorded with the prestigious status of 'an officer and a gentleman.' (Quinn 174) From the drawn-out biographical details of Poe's life, a portrait begins to surface revealing a man deeply affected by death and desertion--bereft of both parents, straying from his inherent forte for achieving social acceptance, and ultimately feeling profoundly isolated in the world. This emotion permeates one of his premier early lyrics, "Alone"--a poem that fervently reflects the recurring motifs of personal admission and the theme of mortality seen throughout all of Poe's literary work.

The initiation of the poem says, "From childhood's hour I have not been/ As others were--I have not seen/ As others saw-- I could not bring/ My passions from a common spring. " (Poe, 47) The persistent query in the reader's consciousness (and apparently, in the poet's as well) is what distinguishes the poet and his lyrical subject from everyone

else? The poem's final line, "Of a demon in my view," offers an explanation. This demonic vision comes to the poem's speaker when he looks at a cloud.

For Poe, the poem not only signified his identity as a misfit but also as a person who discerned a grim shade in life. The "demon" characterized in the poem is recurrent in many different forms throughout Poe's written pieces, such as a deceased bride, in the form of a raven, a sphynx, an "orang-outan," and represented as the collapsing mansion in "The Fall of the House of Usher." The "demon" truly symbolizes death, human mortality, and sorrowful loss. These are elements that Poe would later recognize in his key critical piece, "The Poetic Principle," as primary aesthetic components of poetry.

In "The Poetic Principle," Poe noted that genuine beauty in its highest forms often involves an inherent touch of sorrow. (Poe) This element of sadness evidently stems from the poet's personal encounters particularly with the sorrowful aspects of his life. Besides the challenges previously mentioned, further impediments in Poe's life included prolonged poverty and a lack of recognition as a standout intellectual and literary figure among his peers.

Poe's later literary creations were deeply intertwined with the "work-for-hire" nature of his life. In his role as the editor (and proprietor) of various "small" publications, Poe produced numerous reviews, fictional pieces, poetic works, articles, and criticisms. However, his work, especially his poetry, does not seem to benefit from significant time commitment and enthusiasm. Instead, a substantial part of Poe's work was hastily crafted and immediately published, metaphorically speaking. Owing to this situation, Poe was compelled to abandon poetry as

his primary profession, channeling his immense talent and vigor towards popular fiction and poetry.

In both his fiction and critique, Poe embodies a primary dual obsession with death and personal "confession", mirroring his poetry. Despite the fact that Poe's narrative bridges the gap between horror and satire, keen readers can always sense the omnipresent theme of death intertwined with details from Poe's personal life. An ideal representation of this blend of Poe's piercing satire and his eerie terror aesthetic is "The Cask of Amontillado", which heavily leverages elements of absurdity, humor, irony, alongside fleeting instances of pure “comic relief." It’s worth noting that in Poe’s work, humor invariably suggests satire; meaning, the grotesque comedy that Poe leverages is an important element in his intense captivation with ghastly themes of loss, alienation and death. In "The Cask of Amontillado," the tale is openly humorous from its initiation; the moment Montresor meets Fortunato for the first time, he comments “The man wore motley,” hinting at an ironic twist—the imminent irony lying in Fortunato becoming the fool, dressed fittingly for the part.

The fundamental scenario presents a clear-minded man, Montresor, planning vengeance on his drunken adversary, Fortunato. As the narrative's escalation unfolds under Poe's craft, an amusing exchange involving the principle characters initiates overt humor in the tale. Montresor indirectly flatters Fortunato by admitting he has acquired what he thinks is a cask of Amontillado, enticing him into the crypts. He then remarks that, if it comes to discernment, Luchesi will serve as his taste-tester.

Montresor tells me, to which Fortunato retorts, "Luchesi can't distinguish between Amontillado and Sherry." Though Fortunato's response seems to hold the place of a punch line

in this conversation; the true essence of it lies in Montresor's unexpressed intent of revenge, a sentiment shared by the reader but unknown to Fortunato. Not long after, as Montresor guides Fortunato towards the vaults, he notes that his home is conveniently devoid of any servants. "The house was unattended; they had all run off to celebrate in honor of the occasion.

I had informed them that I wouldn't be back until the following morning, and specifically instructed them to remain in the house. I was pretty sure that these directions were enough reason for them to instantly vanish. Throughout the narrative, there is a constant undercurrent of irony, as Montresor and the reader are privy to the revenge plot, while Fortunato remains blissfully oblivious. This irony is paired with the increasingly ominous setting of an ancestral underground grave, making it even more eerily fascinating.

The story continues to balance fearfully sinister elements with a sardonic humor, which keeps the reader engrossed and questioning the severity of Montresor's impending retaliation. If his intent was solely to demean Fortunato, then why does his narration have such a foreboding and deadly undertone? If his purpose was in fact to murder his adversary, then what's the rationale of adding these occasional ironic comedic reliefs? The story's cleverest use of irony becomes apparent as it nears its climax.

Fortunato, severely intoxicated by both alcohol and self-importance, fails to acknowledge the numerous hints like the bones, the trowel, and Montresor's revelation of his family motto "Nemo me impune lacessit." Ignorantly, he contributes to his own downfall. His murder is actually achieved through his own actions. As the story concludes, the humor and

irony shift entirely into a grotesque sentiment. Still, Poe's narrative trajectory indicates that the preceding comedy and irony are inherently subordinate to the underlying themes of dread and horror that structurally support the story.

Poe effectively employs comedy in his narrative to amplify the horrifying aftermath, successfully defusing the reader's defenses through a touch of humor and embedding the ultimate fear deep within their psyche. His blend of mockery and terror in "The Cask of Amontillado" embodies the prevailing approach that characterized his written works. The principle underlying this approach treats life and death as a paradoxical combination, ties beauty and "melancholy" together inescapably, and perceives death as the epitome of human constraints, deprivation, and sorrow.

In the profound, intricate philosophical and cosmic dissertation, "Eureka," Poe expressed a heightened sense of universal sorrow and desire, identifying the essence of beauty and melancholy as the detachment of mankind from God. Nevertheless, Poe's vision of God diverges from the traditional belief, such as Christianity, but leans towards a logical order degenerating into self-absorption. Poe visualized the universe as eternally expanding into existence before fading into oblivion with every pulse of the Divine Heart.

Poe frequently uses the imagery of a pulsating heart in his works and is depicted here as an embodiment of philosophical idealism. "And now - this Divine Heart - what is it? It is us." (Poe, 873) Although Poe could express extraordinary idealism and heavenly optimism in "Eureka,” this expression distinguishes itself from most of his literary creations. His most acclaimed poems, "The Raven" and "Annabel Lee", comply with his "Poetic Principle" that death - especially the demise of a beautiful young lady - makes for the

most compelling subject for poetry.

The pair of poems reference aspects of Poe's personal love life after his wife's death, who was also his second cousin. His youthful wife, Virginia Clemm, passed away from the same illness that claimed his biological mother's life. Intriguingly, Poe was a witness to both of these tragic events. (Quinn). "Annabel Lee,” a poem narrating the demise of Virginia Clemm and Poe's subsequent response, is rich in rhythmical language and structure, intending to generate a lyrical strain between the poem’s melodious measure and form and its far-reaching and possibly less romanticized power of the primary theme: human mortality.

Maintaining a fine balance between technical accuracy and a large-scale theme in his work, Poe adhered to his guidelines and methods for creating poetry as outlined in his critical writings "The Poetic Principle," "Rational of Verse" and "The Philosophy of Composition." The beginning lines: "It was many and many a year ago/ In a Kingdom by the Sea" signify not merely the intent to establish a rhythmic pattern using words through the conscious repetition of "many and many," but also to set up a perfect realm in contrast to the harsh world. The repeated use of the word 'many' shows that the ideal era of a "Kingdom by the Sea" is long gone, thereby instantly creating a thematic strain.

The precise and calculated structure of Poe's poem amplifies its deep themes of personal sorrow and bereavement, infusing the piece with a timeless sense of sadness that encapsulates its central motif. The rhythm and rhyme of the poem could be effortlessly transposed into a wordless musical tune, evoking a similar kind of radiant anguish.

Contrarily, Poe's composition ends with a dull, unvarying - even one could say paralyzed - surrender to death.

Although the speaker of the poem seems to find some release in reuniting with his departed lover's remains, there's no sign of renewal or growth beyond this collective forgetfulness. "In the sepulchre there by the sea,/In her tomb by the sounding sea." These lines represent both an attraction and repulsion towards death, however, any ambiguity is trumped by the overriding presence of the "sea" which symbolizes oblivion in the context of this poem. Oblivion lies at the heart of Poe's dark fascination with death; it serves as the personal embodiment of the "nothingness" referenced in "Eureka," pointing to a direct encounter with oblivion.

Even in works classified as "minor" and written for temporary publication, the philosophical and cosmic dynamics that are characteristic of Poe take the spotlight. This is evident in one of his less famous stories, "The Sphinx." In this story, Poe presents characters with diverse perspectives, facing an extraordinary experience. One character denies the existence of the supernatural, whereas the other, who happens to be the narrator, expresses a profound interest in popular superstition and omens; something that strongly resonates with him at that point in his life. "The Sphinx" further introduces the concept of a grand supernatural occurrence, just to demystify it using rational thinking.

Poe's "The Sphinx", which can be interpreted as his attempt at self-mockery and a nod towards the dominance of logical reasoning over superstitions, shares its thematic undertones with many of his other stories including the highly famous "Dupin" series: Murders in the Rue Morgue, The Purloined Letter, and The Mystery of Marie

Roget. In addition to these, Poe also explored the concept of "ratiocination" in other renowned tales such as "The Gold Bug" and "Maelzel’s Chessplayer". For Poe, supernatural forces could co-exist along with possible misconceptions of natural forces being of supernatural origin.

Indeed, "The Sphinx" scarcely resolves its split between the understood and the misunderstood, the factual and the abstract. For instance, his "interpretation" of the ghostlike figure in the story, often referred to as the Sphinx, is merely an ordinary beetle! Still, even this insect proposed as a logical explanation for irrational experiences is born of Poe's creative mind! As a matter of fact, this fabricated bug is, throughout the story, perhaps the most recognised beetle of them all, even though, like Bohemia's imagined coastline, it's nonexistent.

Poe frequently enjoyed the incorrectness of unimportant things to an almost cheeky degree. (Quinn 131) Clearly, Poe's preoccupation with the twin themes of death and self-disclosure played a significant role in every aspect of his work, from critical studies to poetry to short stories, as well as philosophical and cosmological writings. The way Poe saw life as a short episode filled with sadness, engrossed by death, and expressing sorrow for the loss of love and womanhood is quite evidently linked to the circumstances of his own life.

Nonetheless, the perspective he gained from his own life experiences that propelled him to investigate the essence of solitude, mortality, estrangement, and to question the underpinnings of beauty and poetic manifestation, does not diminish the clarity of his philosophical perceptions or his literary prowess. Despite the well-recorded chronicle of Poe's life, the actual specifics are shrouded in hearsay and legend, largely due to influence

of his literary executor, Arthur Griswold. Regrettably, Griswold was Poe's foe and upon Poe's premature passing, the safeguarding of his literary heritage was entrusted to an adversary.

The fact that this unexpected event aligns perfectly with Poe's fondness for irony and grotesque comedy does not minimize the wicked impact Griswold had on Poe's future prestige. Throughout his life, Poe was known for his contentious behavior towards his literary competitors, investing significant effort in engaging in literary disputes and debates, often publicized in the niche press of the time. Poe's poem "The Raven" brought him fame in the later stages of his career, but his untimely demise hindered his opportunities to benefit from these advances, resulting in him passing away in relative anonymity.