“Poe! I suggest you go about this in a different manner!” William chased Edgar down the hall. It was enclosed with doors, with no secure wall it was a marvel all in itself how the building stood as it did…
“Well, excuse me! but I will not have my work strewn about! Poetry is art, and a finished work, does not need to be painted over by a stranger!” the raven haired man scuffled his mustache. He searched through the doors, seemingly as if he was trying to find something.
“Poe what have I said? Work is never finished only abandoned-”
“I suggest you not mention another word William! How would you like if Juliet where to simply leave and stroll to over to Hamlet?!” There was a moment’s pause, “Here!” He opened the door wide, revealing a scene taking place.
“Drink,” the man presented water to another
“Amontillado! just what do you think you are doing?” Poe yelled furiously, the man dropped the glass, as a pitcher fell to the floor.
“P-Poe?!”
“This pitcher of water belongs within the “Pit and the Pendulum”, not with the “Cask of Amontillado”! You feed him WIne! What is your reasoning for going behind my back…” Poe rambled, personally William was getting rather annoyed. He can’t necessarily blame Poe. Lately the stories have been mixing, and it’s not just theirs’. It seems as if Hawthorne and Alcott have run into some trouble as well. Lately the crook has even targeted Frost, making his ‘road less traveled’ take place in winter. Poe finished his rant, quickly upending the closest table to him; before dashing out the room.
“Poe! don’t you think you could have handled that differently? You don’t need to go about yelling, and you especially don’t need to throw things!”
“William! Though no one may ever read this book, I still would like this...
... middle of paper ...
... can’t be serious?” William stepped forward,
“Oh, but I can.”
“And just how do you plan on executing this?”
“Easy! it is a journey we will Fare together.”
“You are out of your mind.”
“Am I?” The hall looked at Poe in silence.
Bradbury stood, “If Edgar thinks this may be the only way, then I agree. I don’t see anyone coming up with more suggestions. So this must be the way to go about it.”
“Very well then…” Carroll stood walking away, “This book was getting crowded anyway; we can use two less authors…” With that he took his leave. The residence hall grew silent, Poe and William looked at one another.
“Poe…”
“William… I think it’s best we carry through, before anything else happens…” WIlliam nodded and the two fled to the entrance. They opened the door revealing a swirling gateway.
“Poe, how are we sure this is going to work?”
“We’re not...” And with that he lept in.
The opening stanza of "The Raven" introduces the reader to an isolated man in his study on a "dreary" night reading old books and trying to stay awake. The silent solitude is broken by someone or something "tapping" on the door (lines 1-3). The speaker then explains that he had been secluding himself among books in an effort to shut out the mournful pain from the recent death of a girl named Lenore. It was December, the darkest month of the year, in the middle of the night. This contributes to the speaker's depression, and his isolation further enhances it. He may be trying to avoid his misery and self-pity, but he is also wallowing in it by sitting in a lonely study and reading ancient books on a December night. Independent and private study is perfectly acceptable; however, the speaker is not seeking knowledge but rather a "surcease of sorrow" (line 10). The cause of his sadness is not the isolation, but it greatly contributes, and even heightens, his blue emotions. The surrounding conditions of darkness and solitude, combined with the loss of his beloved, are sinking him into feelings of melancholy. Overall, it is mainly his seclusion among these factors...
Poe, Edgar Allan. "William Wilson." Selected Poetry and Prose of Poe. Ed. T. O. Mabbott. New York: Modern Library, 1951.
Poe continues to develop his point that no one escapes death through the setting. Not only does he use the exterior and how it was constructed to tell what precautions P...
Poe, Edgar Allan, and Arthur Hobson Quinn. Complete Tales and Poems. New ed. : Dorset P., U.S., 1992. Print.
Edgar Allan Poe primarily authored stories dealing with Gothic literature; the stories were often quite dreary. Poe possessed a very sorrowful view of the world and he expressed this throughout his literary works. His goal was to leave an impression with every detail that he included in his stories. Although Poe’s stories seem very wretched and lackluster they all convey a certain idea. A trademark of Poe’s is his use of very long complex sentences. For instance, in his work The Fall of the House of Usher, Poe tried to ensure that every detail was as relevant as possible by integrating a wide variety of emotion. In the third paragraph, of page two hundred ninety-seven, Poe wrote, “Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around…” This sentence illustrates the descriptiveness and complexity that Edgar Allan Poe’s works consisted of. The tormented cognizance of Poe led him to use a very gloomy diction throughout his writing. Edgar Allan Poe’s use of symbols and the way he conveyed his writing expr...
Edgar Allan Poe was an excellent horror, suspense, and mystery writer of the eighteenth century. His use of literary devices and different literary techniques makes this writer important to American literature. This paper will show how Edgar Allan Poe has made an impact on Society and American literature as well as how Edgar Allan Poe developed the short story. I will also discuss and analyze some of his works and techniques he uses in his short stories and poems.
The story, written roughly 6 years before Poe died, is one of the more prominent examples of an unreliable narrator within Poe’s collection. The reader, in the beginning of the story, is told by the narrator himself that he is thought to be an unreliable narrator, by way of his assumed mental instability.
Howarth, W. L. (1971). Twentieth century interpretations of Poe's tales; a collection of critical essays.. Englewood Cliffs, N.J.: Prentice-Hall.
Smith, Gary. "Once Upon a Midnight Dreary: Cognac, Roses, and Edgar Allan Poe: A Graveyard Mystery." Life July 1990: 48-54
Poe utilizes a gradual change in diction as the poem progresses. Initially, he begins the poem with melancholic diction when the narrator is falling asleep: “while I pondered, weak and weary,” “nodded, nearly napping,” and “of someone gently rapping” (1-4). The utilization of alliteration in these lines supply a song-like rhythm, which is soothing to the reader. This usage of diction conveys a mellow tone. Further into the poem, when the increasingly agitated narrator becomes vexed at the raven, he lashes out at the bird. Here, he states, “Get thee back into the tempest and the Night’s Plutonian shore! / Leave no black plume as a token of that lie thy soul hath spoken! / Leave my loneliness unbroken!--quit the bust above my door! / Take thy beak from out my heart, and take thy form from off my door!” (98-101). Here, his uses archaic words and phrases such as “thee,” “Night’s Plutonian shore,” and “thy soul hath”. This usage of unorthodox language creates a theatrical, dramatic, and climactic effect, which leads to an impassioned tone. By presenting both tones, Poe is able to show the contrast between the two. This transformation from a tone that is mellow to one of frustration and anxiety represents the spiraling downward of the narrator’s mental state.
“It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much… I was so pleased to see him that I thought I should never have done wringing his hand (Poe 13)”.
Poe, Edgar Allan. “The Raven.” Literature: A Pocket Anthology. 5th ed. R.S. Gwynn. New York: Pearson Education, Inc., 2012. 545-549. Print.
Poe, Edgar Allan. “The Cask of Amontillado.” The Norton Anthology: American Literature. Ed. Wayne Franklin, Philip F. Gurpa, Arnold Krupat. New York: Norton, 2007. 1612-1613, 1616. Print.
Poe starts off the short story by giving us insight into the unnamed narrator’s twisted mind. The narrator explains his desire and plans to kill the old
...e opens the door. When he found himself opening the door, he saw nothing but darkness. And this is the point where he figures that there is nothing out there. I think the reason Poe was so afraid, reflects back on Lenore. I understood Lenore to be Poe’s love at some point in his life. He’s been so depressed, that all he thinks about is her, but then again, he is also trying to forget about her at the same time. And when he first heard the sounds of rustling, he might of thought it could be the spirit of Lenore. I think this was the reason for him to have been so afraid. Poe drew a lot of his ideas and images into his own imagination. And the images he had of Lenore, was not making him feel any better. I think that most of Poe’s thoughts and feelings all came from his mind, and not his heart.