Edgar Allan Poe and the Periodical Marketplace Spring 2009, VCU
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Interactive Timeline
http://knowingpoe.thinkport.org/ Interactive Timeline Content Overview This timeline includes six strands: Poe’s Life, Poe’s Literature, World Literature, Maryland History, Baltimore History and American History. Students can choose to look at any or all of these strands as they explore the timeline. You might consider asking students to seek certain items in order to give students a picture of Poe as a writer and the life and times in which he worked. This is not an exhaustive timeline. It simply highlights the major events that happened during Poe’s lifetime. Poe’s Life Edgar Poe is born in Boston on January 19. 1809 Elizabeth Arnold Poe, Poe’s mother, dies on December 8 in Richmond, Virginia. 1811 David Poe, Poe’s mother, apparently dies within a few days. John and Frances Allen adopt the young boy. The Allans baptize Edgar as Edgar Allan Poe on January 7. 1812 Poe begins his schooling 1814 The Allans leave Richmond, bound for England. 1815 Poe goes to boarding school. His teachers refer to him as “Master Allan.” 1816 Poe moves to another English school. 1818 The Allans arrive back in America, stopping for a few days in New York City 1820 before returning to Richmond. Poe continues his schooling. 1821 Poe swims against a heavy tide six or seven miles up the James River. 1824 In November, he also writes a two-line poem. The poem was never published. John Allan inherits a great deal of money and buys a huge mansion in Richmond 1825 for his family to live in. -
Biography of Edgar Allan Poe (Adapted)
Name ________________________________ Date ___________ Period __________ English - Literature Biography of Edgar Allan Poe (Adapted) Poe's Childhood Edgar Poe was born in Boston on January 19, 1809. His parents were David and Elizabeth Poe. David was born in Baltimore on July 18, 1784. Elizabeth Arnold came to the U.S. from England in 1796 and married David Poe after her first husband died in 1805. They had three children, Henry, Edgar, and Rosalie. Elizabeth Poe died in 1811 when Edgar was two years old. She had separated from her husband and had taken her three kids with her. Henry went to live with his grandparents while Edgar was adopted by Mr. and Mrs. John Allan and Rosalie was taken in by another family. John Allan was a successful merchant, so Poe grew up in good surroundings and went to good schools. When Poe was six, he went to school in England for five years. He learned Latin and French, as well as math and history. He later returned to school in America and continued his studies. Edgar Allan Poe went to the University of Virginia in 1826. He was 17. Even though John Allan had plenty of money, he only gave Poe about a third of what he needed. Although Poe had done well in Latin and French, he started to drink heavily and quickly became in debt. He had to quit school less than a year later. Poe in the Army Edgar Allan Poe had no money, no job skills, and had been shunned by John Allan. Therefore, Poe went to Boston and joined the U.S. -
Poe Work Packet
Welcome to the Edgar Allan Poe Cottage! This workbook is designed to teach you about Edgar Allan Poe and his life in The Bronx! Did you know Poe lived in The Bronx before it was The Bronx? It was called Fordham Village in the county of Westchester. Edgar Allan Poe is known as the first mystery writer in the United States and we are proud that he called The Bronx his home in the last years of his life. Continue reading to learn more about this fascinating man and have fun with the activities! Contents Page 2……………….Edgar Allan Poe Page 3……………….Where is Poe? Page 4……………….Meet Poe’s Family and Friends Page 5……………….Edgar Allan Poe in New York City Page 6……………….Cover Your Mouth! Diseases During Poe’s Time Page 7……………….Poe Moves to The Bronx Page 8………………”The Bells” Page 9………………The High Bridge Edgar Poe was born in 1809 in Boston, Massachusetts to actors! He would travel with his mother to shows she performed in. Sadly, she died, but the Allan family took him in and raised him. This is how he took the Allan name. When he grew up he moved around a lot. He lived in Richmond, Virginia, London, England, Baltimore, Maryland, Philadelphia, Pennsylvania, Boston, Massachusetts, and New York City, New York writing poetry and short stories! He even studied at West Point Military Academy for a time. It was in Baltimore where he met and married his wife Virginia. Virginia and her mother, Maria Clemm, moved to New York City with Edgar. -
The Complete Poems of Edgar Allan Poe
13NV .vUJSANGELfj .QF-CAIIF THE COMPLETE POEMS OF EDGAR ALLAN POE U- . COLLECTED, EDITED, AND ARRANGED WITH MEMOIR, TEXTUAL NOTES AND BIBLIOGRAPHY BY J. H. WHITTY WITH ILLUSTRATIONS BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY COPYRIGHT, I9II AND IQI?. BY J. H. WHITT7 ALL RIGHTS RESERVED TCtjc XUOcrsi&r $rcss CAMBRIDGE MASSACHUSETTS PRINTED IN THE U.S.A. TO GEORGE EDWARD WOODBERRV 306123 PREFACE POE showed the utmost solicitude for the final text of his poems. He constantly revised and reprinted them. Professor G. E. Woodberry in his revised Life of Poe says: "There is no such example in literature of poetic elaboration as is contained in the successive issues of ' ' these poems. His revisions were minute sometimes a mere word, and again only a punctuation mark or two. But even the mere matter of punctuation in the text, to an artistic poet like Poe, was of more than passing mo ment. Poe himself more fully explains this in Graham's Magazine for February, 1848, where he wrote: "That punctuation is important all agree; but how few com prehend the extent of its importance! The writer who neglects punctuation, or mis-punctuates, is liable to be misunderstood. It does not seem to be known that, even when the sense is perfectly clear, a sentence may be de prived of half its force its spirit its point by im proper punctuation." Under these circumstances there is no difficulty in deciding upon Poe's last revision as the authoritative and final text of his poems. Indeed in the preface to the Stedman-Woodberry edition of Poe's poems it is said, "The claim of his latest revision to be accepted as the authorized text seems to the Editors irresistible." The text of the poems adopted by them was that of the so-called J. -
AM Edgar Allan Poe Subject Bio & Timeline
Press Contact: Natasha Padilla, WNET, 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , http://instagram.com/pbsamericanmasters , #AmericanMastersPBS American Masters – Edgar Allan Poe: Buried Alive Premieres nationwide Monday, October 30 at 9/8c on PBS (check local listings) for Halloween Edgar Allan Poe Bio & Timeline In biography the truth is everything. — Edgar Allan Poe Edgar Allan Poe was born in Boston, January 19, 1809, the son of two actors. By the time he was three years old, his father had abandoned the family and his mother, praised for her beauty and talent, had succumbed to consumption. Her death was the first in a series of brutal losses that would resonate through Poe’s prose and poetry for the duration of his life. Poe was taken in by John Allan, a wealthy Richmond merchant and an austere Scotsman who believed in self-reliance and hard work. His wife, Francis, became a second mother to Poe – until, like Poe’s mother, she died. Allan, who had never formally adopted Poe, became increasingly harsh toward the young man and the two clashed frequently. Eventually, Poe left the Allan home, vowing to make his way in the world alone. By the time he was 20, Poe’s dreams of living as a southern gentleman were dashed. After abandoning a military career during which he published his first book of poetry, Poe landed in Baltimore and took refuge with an aunt, Maria Clemm, and her 13-year-old daughter, Virginia, whom he would later marry despite a significant age difference. -
THE HUMBUG Page 1 of 12 Ebscohost 8/12/2020
EBSCOhost Page 1 of 12 Record: 1 Title: THE HUMBUG. Authors: Lepore, Jill Source: New Yorker. 4/27/2009, Vol. 85 Issue 11, p65-71. 7p. 1 Color Photograph. Document Type: Article Subject Terms: *AMERICAN authors *AMERICAN horror tales *19TH century American literature *AMERICAN literature -- History & criticism *BIOGRAPHY (Literary form) 19TH century Geographic Terms: UNITED States People: POE, Edgar Allan, 1809-1849 Abstract: The article discusses the approach to writing of 19th-century American author Edgar Allan Poe. Poe's publishing career is discussed, as is the critical reception of his stories and poems of horror and mystery. The relation of his tales to the U.S. politics and economics of his time is also discussed, along with Poe's financial and mental instability. Full Text Word Count: 6040 ISSN: 0028-792X Accession Number: 37839147 Database: Academic Search Premier Section: A CRITIC AT LARGE THE HUMBUG Edgar Allan Poe and the economy of horror Edgar Allan Poe once wrote an essay called "The Philosophy of Composition," to explain why he wrote "The Raven" backward. The poem tells the story of a man who, "once upon a midnight dreary," while mourning his dead love, Lenore, answers a tapping at his chamber door, to find "darkness there and nothing more." He peers into the darkness, "dreaming dreams no mortal ever dared to dream before," and meets a silence broken only by his whispered word, "Lenore?" He closes the door. The tapping starts again. He flings open his shutter and, "with many a flirt and flutter," in flies a raven, "grim, ungainly, ghastly, gaunt, and ominous bird of yore." The bird speaks just one word: "Nevermore." That word is the poem's last, but it's where Poe began. -
Illuminating Poe
Illuminating Poe The Reflection of Edgar Allan Poe’s Pictorialism in the Illustrations for the Tales of the Grotesque and Arabesque Dissertation zur Erlangung des Grades des Doktors der Philosophie beim Fachbereich Sprach-, Literatur- und Medienwissenschaft der Universität Hamburg vorgelegt von Christian Drost aus Brake Hamburg, 2006 Als Dissertation angenommen vom Fachbereich Sprach-, Literatur- und Medienwissenschaft der Universität Hamburg aufgrund der Gutachten von Prof. Dr. Hans Peter Rodenberg und Prof. Dr. Knut Hickethier Hamburg, den 15. Februar 2006 For my parents T a b l e O f C O n T e n T s 1 Introduction ................................................................................................. 1 2 Theoretical and methodical guidelines ................................................................ 5 2.1 Issues of the analysis of text-picture relations ................................................. 5 2.2 Texts and pictures discussed in this study ..................................................... 25 3 The pictorial Poe .......................................................................................... 43 3.1 Poe and the visual arts ............................................................................ 43 3.1.1 Poe’s artistic talent ......................................................................... 46 3.1.2 Poe’s comments on the fine arts ............................................................. 48 3.1.3 Poe’s comments on illustrations ........................................................... -
An Investigation of the Aesthetics of Edgar Allan Poe
Indefinite Pleasures and Parables of Art: An Investigation of the Aesthetics of Edgar Allan Poe The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:37945134 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Indefinite Pleasures and Parables of Art: An Investigation of the Aesthetics of Edgar Allan Poe By Jennifer J. Thomson A Thesis in the Field of English for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2018 Copyright 2018 Jennifer J. Thomson Abstract This investigation examines the origins and development of Edgar Allan Poe’s aesthetic theory throughout his body of work. It employs a tripartite approach commencing with the consideration of relevant biographical context, then proceeds with a detailed analysis of a selection of Poe’s writing on composition and craft: “Letter to B—,” “Hawthorne’s Twice-Told Tales,” “The Philosophy of Composition,” “The Poetic Principle,” and “The Philosophy of Furniture.” Finally, it applies this information to the analysis of selected works of Poe’s short fiction: “The Assignation,” “The Fall of the House of Usher,” “The Oval Portrait,” “The Domain of Arnheim,” and “Landor’s Cottage.” The examination concludes that Poe’s philosophy of art and his metaphysics are linked; therefore, his aesthetic system bears more analytical weight in the study of his fiction than was previously allowed. -
Poe's Play-Full Narratives Criticism of Poe’S Work Published So Far—An Aesthetically-Focused Reading of His Narrative Gains Force in Light of Poe’S Own Critical Work
Fernandez-Santiago 79 Poe’s Play-Full Narratives Miriam Fernandez-Santiago Introduction Edgar Allan Poe entered the U. S. literary canon mainly on his merits as a short story writer and as the creator of the detective story. Knowledge of his prolifi c career as editor and literary critic is rather restricted to specialized academic research or the poetics presented in “The Philosophy of Composition” (1846). Although the French Symbolists rescued his poetry for posterity, the disdain of his contemporary nationals did not provide Poe’s poetry with much popular recognition beyond “The Raven.” Poe’s Gothicism has often obscured the ironic sense of humor that pervades much of his work and which has not received much critical attention until lately.1 His only novel, The Narrative of Arthur Gordon Pym of Nantucket (1938), had a similar reception, and even Poe, himself, regarded it poorly. His only interest in drama2 seems to be restricted to his theater reviews (especially for the Broadway Journal) and a failed attempt at completing Politian (1835-6), a Jacobean-styled tragedy based on a 1825 true story3 that he began to publish serially in the Southern Literary Messenger. Whether it was the bad reviews of the fi rst instalments of Politian or the diffi culties of producing works for the stage in the U. S. during Poe’s lifetime,4 the truth is that he never made a second attempt to write a play.5 And yet drama pervades his both short fi ction and his criticism as much as his personal life. Deserted by his father, his mother dying just before his third birthday, separated from his siblings after his mother’s death, his foster mother dying, his foster father disinheriting him, his child bride dying, and his own mysterious death all describe a rather melodramatic life. -
THE HUMBUG Edgar Allan Poe and the Economy of Horror
A CRITIC AT LARGE THE HUMBUG Edgar Allan Poe and the economy of horror. by Jill Lepore The New Yorker Magazine APRIL 27, 2009 www.newyorker.com/arts/critics/atlarge/2009/04/27/090427crat_atlarge_lepore. Always in debt, Poe both sought and sneered at the popular audience of his day. Keywords Edgar Allan Poe; “On a Raven’s Wing: New Tales in Honor of Edgar Allan Poe” (Harper; $14.99); “In the Shadow of the Master: Classic Tales by Edgar Allan Poe” (William Morrow; $25.99); “Poe: A Life Cut Short” (Doubleday; $21.95); “The Raven”; “The Gold-Bug”; Writers Edgar Allan Poe once wrote an essay called “The Philosophy of Composition,” to explain why he wrote “The Raven” backward. The poem tells the story of a man who, “once upon a midnight dreary,” while mourning his dead love, Lenore, answers a tapping at his chamber door, to find “darkness there and nothing more.” He peers into the darkness, “dreaming dreams no mortal ever dared to dream before,” and meets a silence broken only by his whispered word, “Lenore?” He closes the door. The tapping starts again. He flings open his shutter and, “with many a flirt and flutter,” in flies a raven, “grim, ungainly, ghastly, gaunt, and ominous bird of yore.” The bird speaks just one word: “Nevermore.” That word is the poem’s last, but it’s where Poe began. He started, he said, “at the end, where all works of art should begin,” and he “first put pen to paper” at what became the third-to-last stanza: “Prophet,” said I, “thing of evil! prophet still if bird or devil! By that heaven that bends above us—by that God we both adore, Tell this soul with sorrow laden, if within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.” 1 “The Philosophy of Composition” is a lovely little essay, but, as Poe himself admitted, it’s a bit of jiggery-pokery, too. -
Lan Poe's “A Predicament”
VI (2019) 2, 329–346 This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna. Justine SHU-TING KAO UDK 821.111(73).09 Poe, E. A.-32 Department of English Tamkang University DOI: https://doi.org/10.29162/ANAFORA.v6i2.2 151 Yingzhuan Rd., TW – New Taipei City 25137 [email protected] Izvorni znanstveni članak Original Research Article Primljeno 1. kolovoza 2019. Received: 1 August 2019 Prihvaćeno 2. prosinca 2019. Accepted: 2 December 2019 BODY, SPACE, AND SENSATIONS IN EDGAR AL- LAN POE’S “A PREDICAMENT” Abstract This paper aims to examine the sensationalism ofBlackwood’s Magazine as evident in Poe’s tale “A Predicament” and how Poe disengages from the tradition of Black- wood’s. On the one hand, Poe conflates Psyche Zenobia’s adventure into a Gothic Cathedral with the Blackwood’s sensationalistic experience, which treats vehement sensations as the prime condition for stimulating the mind’s engagement with a spiritual vision of a world beyond the material world. On the other, Poe’s tale disen- gages itself from the tradition of Blackwood’s Magazine: Zenobia loses her sensations altogether in the quest for final knowledge and there is no return to her real life. This paper will further look at the mutilated/deformed body in Poe’s “A Predicament” as a body in pain, or without pain, through which the mind engages its imagination. It will also discuss how Poe, through Zenobia’s gaze and speculation upon a sublime cathedral, installs an aesthetic appreciation that distances an imaginary space from reality and facilitates self-mesmerism through which Zenobia is grounded in the earthly world, both physically and spiritually. -
Partment), for Helping the Journal Stave Off Scholarly Extinction
Spring 2007 Volume VIII, Number 1 CONTENTS ESSAYS, AN INTERVIEW, AND A POEM A Poe Taster Daniel Hoffman 7 A Poe Death Dossier: Discoveries and Queries in the Death of Edgar Allan Poe Matthew Pearl 8 Politian’s Significance for Early American Drama Amy Branam 32 Sensibility, Phrenology, and “The Fall of the House of Usher” Brett Zimmerman 47 Interview with Benjamin Franklin Fisher IV Barbara Cantalupo 57 Sinking Under Iniquity Jeffrey A. Savoye 70 REVIEWS Lynda Walsh. Sins Against Science: The Scientific Media Hoaxes of Poe, Twain, and Others. Martha A. Turner 75 2 Bruce Mills. Poe, Fuller, and the Mesmeric Arts: Transition States in the American Renaissance. Adam Frank 82 Benjamin F. Fisher, Editor. Masques, Mysteries, and Mastodons: A Poe Miscellany. Thomas Bonner, Jr. 85 Harold Schechter. The Tell-Tale Corpse: An Edgar Allan Poe Mystery. Paul Jones 88 FEATURES Poe in Cyberspace by Heyward Ehrlich 91 Abstracts for PSA’s ALA Sessions 97 PSA Matters 103 In Memorial 105 Notes on Contributors 107 3 Letters from the Editors From Peter Norberg: Serving as coeditor of the Poe Review has been a rewarding experience both professionally and personally. I am grateful for the support we have received from Saint Joseph’s University and would like to thank Timothy R. Lannon, President, Brice Wachterhauser, Provost, and William Madges, Dean of the College of Arts and Sciences, for their financial support and their commitment to scholarship in the humanities. I would also like to thank the officers of the Poe Studies Association, especially Paul C. Jones, Secretary-Treasurer, for his competent oversight of our budget and subscriptions, and Scott Peeples, President, for his thoughtful management of the transition of the Review back to the editorial stewardship of Barbara Cantalupo and Penn State University.