I think I have a disease. It’s called, if I’m not mistaken, nostalgia. You know, that homesickness originally ascribed to Swiss merchants plying their wares in the lowlands of France? In a lesser form, this sickness is the over-merchandized appeal of the golden age transferred from the shining future of idealists to the glimmering past age of the cynic—i.e., Non sum qualis eram bonae sub regno Cynarae.
Either way, perhaps, the view that the Golden Age is somewhere distant from the now is as dangerous as longing for some philosophically abstract perfection. The Platonic Theory of Forms, for example, holding that there is an abstraction called ‘form’ that is the true reality. It is unreachable and unknowable, but it is there. We can not approach this blazing world of perfect forms, and only create mere mimics.
When hearing this argument about the abstract perfect world, I often wonder what person can conceive the perfect form. I attempt to reject the idea, arguing internally that there is no way to conceive of this perfect form, that there is not this golden double of this world. In as much honesty as I can conjure, the whole argument Theory of Forms confuses and angers me. I’ve written this paragraph out several times in attempt to explain my disdain; I still feel my explanation is weak at best.
But, despite my emotional rejection of the idea of the golden double of this world, I find myself stricken with that disease—nostalgia. My daydreams and phantasms take on the hazy quality of a Norman Rockwell poster, and all too often I find myself contemplating a Levittown of desire, or a Puritanical Country House where one is barely seen, and hardly heard between winding passages and suppers lit carefully by Dutch masters. The poe...
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...this now.
And that’s not too bad a motivating force, if we use it to change for the ideal. What ideal? The question comes to me now like the spiteful questions in William’s “Portrait of a Lady.” “The sky where Watteau hung a lady’s slipper.” The golden paintings of paradise again return and plague me with The Nostalgia! The sickness! The Theory of Forms. Who decides which way makes the world better?
The answer used to come quickly, swiftly, strongly, and with surety: I could decide.
But now my refrain becomes, as if waiting for a crack to open in the ground, a water-testing scio me nihil scire. That leads me into whiteness, like Daffy Duck railing against his god-creator in “Duck Amuck”, a blankness of vision. But most of my mind compels me to think ‘here is the sheet to draw on, here is an un-idealized possibility’.
So I take the blank sheet, and I draw.
Poe’s frightening stories acts as helpful inspiration for entertainment in the present, and for many years to come. The timeless relevance of his work, and its merciless scrutiny of the human condition, solidifies its place in history and its position of high admiration. In conclusion, the extraordinary-fleeting-tragic life of Edgar Allan Poe will forever remain on record as the tale of an orphan, a gentleman, a soldier, and one of the most prominent literary figures in American history.
In final anyalysis, the work of Edgar Allan Poe has more meanings than those that meet the eye. Tragic events and gloomy details of his life are transcribed on paper, not clearly, but hidden in each of his publications. His stories can be viewed more as footprints rather than allegories: they are his footprints he left behind in the universe. His life story, all of his experiences, good and bad, influenced his writing in some way or another. Today, we can analyze this information and infer facts about Poe's life, much like detectives unveiling clues from the forgotten past, yet the past wasn't totally forgotten. Poe is gone now, but he is alive and well in our hearts today when we read his prose as well as poetry. His bold and powerful words are in essence the entire life of Edgar Allan Poe.
A ‘golden age’ can be interpreted in many ways; it can be a time of
The Renaissance has not ceased to be an age of discussion and debate among historians throughout the recent centuries. The vibrant nature of the era marks it as a most fascinating period of history. The Renaissance can be described as an age carrying the essence of “self-discovery and fulfillment, of recognition of human worth, and a dynamic outpouring of artistic activity.” This new world flourishing with art and creative optimism was also steeped in a spirit of “revolt of the Medievalists.” In an effort of “rebirth,” the previous culture of the Middle Ages was rejected, and even scorned. Foundational principles in all fields were overstepped, and old cultural norms were practically obsolete. It was an era whose humanistic philosophy greatly impacted the lens through which man viewed himself and the world.
The vision of the mind is easily portrayed through the art of literature, painting a picture with the stroke of words. The natural inspiration that influences the creation of these works is derived from the life and the experiences of the creator. For some, these tales become stories and those stories become novels, but for one man it meant so much more. The works of Edgar Allan Poe became his life; he expressed every feeling and every moment of his existence through ink and paper. Poe involved his entire life in his writing, leaving no element of the story untouched by his trademark of a past. His work became so unique and unorthodox, yet it did not lack the attention it deserved. The American critic, Curtis Hidden Page, suggested that “the essence of his work is logic, logic entirely divorced from reality, and seeming to arise superior to reality” (Quinn 31). The foundation of Poe’s stories seems simple enough, but beneath the surface remains unanswered questions and undiscovered truths, which have yet to be uncovered. The people and experiences throughout Edgar Allan Poe’s lifetime have influenced various themes including: insanity, revenge, death, and guilt which can be distinguished through a collection of his works.
Within popular discourse, the historical period of the Middle Ages is synonymous with the term “Dark Ages”: how did this particular equation come about? The immediate connotations of the Dark Ages are clearly negative: they suggest oppression, ignorance and a period of motionless in human development. The reason behind this description of the Middle Ages is arguably the result of a contrast to the subsequent periods of the Renaissance and the Enlightenment: the Renaissance itself signals a “new birth”, whereas the Enlightenment clearly evokes images of a new insight and vision wielded by humanity. Accordingly, the negative values ascribed to the Middle Ages are the result of this historical period’s difference to the Renaissance. Such an account, namely, judges the Middle Ages from an entirely different world-view.
Howarth, W. L. (1971). Twentieth century interpretations of Poe's tales; a collection of critical essays.. Englewood Cliffs, N.J.: Prentice-Hall.
Despite the nature, origins and even existence of the Renaissance being subject to intensive investigation by many historians, the traditional understanding of the European renaissance as being defined as the bridge between the Middle Ages and modern era has resonated in society throughout time. Exemplified through the influx of creative arts, literature and philosophy of that time, Swiss cultural historian Jacob Burckhardt defined this bridge as being the result of an immense intellectual transformation in humanity. In fact, the term ‘renaissance’, coined by the French historian Jules Michelet, can be translated to mean ‘new birth’ or ‘rebirth’. Spanning roughly through the 14th to 17th centuries, the renaissance is often recognised as the time of a revolution of cultural revitalization and exploration. These traditionalist ideas of the Renaissance as developed by Michelet and later expanded by Burckhardt were however ultimately disposed by revisionist historians like Charles Homer Haskins who began a revolt against Renaissance idea, motivated by the goal to deny the era any legitimate historical existence and annex the period to the middle ages. However, the perspectives of these historians in this debate are ultimately a reflection of their own context and purposes. Both Michelet and Burckhardt’s approach reflect their own 19th-century world, whilst Haskins was heavily influenced by his liberal, optimistic 20th-century ideals. A more contemporary approach to the debate is exemplified through historiographer Wallace K. Ferguson. Ferguson had chosen to focus and draw conclusions from the mirrored reflections and controversies surrounding the Renaissance idea that persisted amongst past historians. However, despite argua...
Edgar Allan Poe's deplorable life was filled with unfortunate calamity, endless tragedies, and pathetic misery, which inevitably led to his pessimistic view on life and obsession with death. His personal mind frame is automatically conveyed in his essays, which for him was a primary form of expression. Thus, a strong emphasis on somber despondency has proven to be a thematic element of his literary career.
Edgar Allan Poe’s haunting poems and morbid stories will be read by countless generations of people from many different countries, a fact which would have undoubtedly provided some source of comfort for this troubled, talented yet tormented man. His dark past continued to torture him until his own death. These torturous feelings were shown in many of his works. A tragic past, consisting of a lack of true parents and the death of his wife, made Edgar Allan Poe the famous writer he is today, but it also led to his demise and unpopularity.
Lawrence, D.H. " 'Ligeia': Analyzing Poe's Love Stories." Studies in Classic American Literature. New York: Seltzer, 1923. Rpt. in Literary Companion. San Diego: Greenhaven, 1998.
that. If I were to come up with my own Golden Age, this is what I would do.
Edgar Allan Poe had a peculiar way with his work. He was adopted early in his life to be spared from poverty and heartache (Roberts and Zweig 226). But in the Big Read it is stated that he still felt a satisfaction from women’s suffering. Poe just wanted to be a writer and followed his passion into judging others work to support himself (Roberts and Zweig 226). Some say that he is selfish and indulgent. Sadly the death of Poe is still a mystery but his works affect people’s lives on a daily basis. The elegance of Poe’s prose invokes an emotional reaction he was subject to during his childhood that later led to the creation of the most influential works of the 19th Century.
The idea of losing a loved is a powerful emotion and one that virtually every person can relate to. It was with this concept in mind that Edgar Allan Poe crafted his classic narrative poem “The Raven.” For some, poetry acts as a means to express different ideals, either social, intellectual, or philosophical. For Edgar Allan Poe, poetry was at its best when it conveyed beauty through the expression of simple yet powerful emotion. In Poe’s mind, there was no purer manifestation of poetic beauty than the deep emotion felt from the loss of a beloved woman. Is with this in mind the Poe employs setting, tone, and symbolism to relate the powerful emotion of never-ending despair to connect with his audience in the classic poem “The Raven.”
When I was a young child I would love to hear my parents tell me that we were going on a trip. I would be full of excitement, because I knew that we would be going to a place that I had never seen before. My parents, my brother, and I would pack our luggage and venture out in our small gray minivan. Three of my most cherished memories in our minivan are when we went to Disney World, the beach, and the mountains.