Edgar Allan Poe
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==Introduction== | ==Introduction== | ||
| + | Edgar Allan Poe was a 19th century writer who is still well respected today. He was born in 1809 in Boston. While he was still a baby, his parents separated and his mother died after which he was adopted. Poe attended school in England for a few years before returning to the USA to continue his schooling. later drops out of school and joins the army. A couple years later his adopted mother dies and he returns home. He then joins the university West Point only to be deliberately kicked out later. Years later his adopted father dies and leaves Poe nothing. Poe then marries his cousin who dies about ten years later. Poe died in Baltimore in 1849. | ||
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| + | Poe's writing style is known as dark and mysterious. His writings almost always contain themes death, murder, and lost love. They contain little action but very concentrated emotions and drama. He uses many metaphors and describes the settings with many details. His narrators are almost never given names even though they play an important roles in the story. Throughout his life, the themes of his writings stay fairly consistent, but the prominence of these themes change. | ||
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| + | How do the themes change in his writings throughout Poe's life? | ||
==The Life of Edgar Allan Poe== | ==The Life of Edgar Allan Poe== | ||
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<html><iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?visible=155&corpus=5c56bf494e2316349898c81f884dcb2c&view=Cirrus'></iframe> | <html><iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?visible=155&corpus=5c56bf494e2316349898c81f884dcb2c&view=Cirrus'></iframe> | ||
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| − | < | + | While much of the word-cloud is dominated by "genercic" story words like "said", "saw", and "came", there are few standout words.<br> |
| + | Ligeia is found only in the work of the same name, yet features promintently in the word-cloud. This is due to the repetition of the word in the story.<br> | ||
| + | Also of interest are the words characteristic of Poe's settings, such as "chamber", "house", and more specific terms like "door", "hall", and "wall". This gives an idea of the kinds of settings Poe likes to use: enclosed, or claustrophic settings, rather than more expansive outdoor settings. Putting some of these words together can form "long dark corridor", a phrase with an ominous feel - characteristic of much of Poe's work. <br> | ||
| + | There are also a prominent words related to women, such as "wife" and "lady". This connects back to a common theme in much of Poe's work, dead women. | ||
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| − | <iframe style='width: | + | <iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?view=Trends&query=death&withDistributions=raw&bins=18&corpus=5c56bf494e2316349898c81f884dcb2c'></iframe> |
| + | <iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?view=Trends&query=love&bins=18&corpus=5c56bf494e2316349898c81f884dcb2c'></iframe> | ||
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| − | <iframe style='width: | + | Probably the most interesting of the graphs is the relative frequency of the word love vs death. This graph shows the trend of the term death as it appears over time in our selected stories compared to love. Death shows a dramatic drop over the course of his writing, starting from a very high point in our first story, Ligeia, and dropping to no direct mention in The Raven. This is because many of those close to Poe in his early life had passed away. Although Poe used that for much of his inspiration throughout his works, the decline in the word death is seems to lead to an increase in the word love as his works progress overtime. This is not to say his future stories didn't include death, in fact the opposite is often true, but he instead lessened his direct use of the word, opting for more complex metaphors. This graph also goes to illustrate how Poe shifted his focus from from death, which was his defining factor in the beginning, to his wife which is why we may see a spike in the word love later on. While for the majority of his work it is very small, Annabell Lee has a tremendous spike. This poem was written after the death of his wife, which probably contributes heavily to the sharp change in style. |
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| + | <iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?query=dark*&query=gloom*&query=ghastly*&withDistributions=raw&bins=18&corpus=5c56bf494e2316349898c81f884dcb2c&view=Trends'></iframe> | ||
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| + | This graph shows another interesting style trend, this time in his environmental descriptions. The first few stories, in particular Fall of the House of Usher, make strong use of dark imagery, such as ghastly, gloom, and, of course, dark (and their related derivates e.g. gloomy, darkness). It's interesting to see that while later stories are not necessarily less dark, the wording used constantly changes. Throughout each story the words fluxuate in a similar fashion to each other. Each word is somewhat prominent in the beginning and slowly drops to zero by the end. This is very similar to the behavior of the graph of death. | ||
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| + | <iframe style='width: 600px; height: 600px' src='//voyant-tools.org/?query=raven*&query=cat*&bins=6&corpus=5c56bf494e2316349898c81f884dcb2c&view=Trends'></iframe> | ||
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| + | Animals feature in a few of Poe's works, most notably The Black Cat and The Raven. These both peak towards the center of our selected works. | ||
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| + | When considering the words Poe used across his works there are obvious trends to be seen. Dark words have a much larger presence early on whereas the word Love springs at the end. Dark words such as Ghastly have a few spikes but inevitably die off just like Death. Across all graphs "The Raven" seems to be the turning point where all trends make a significant change. The word Death hits its lowest point at the Raven and at the same time the word Love starts its climb after Raven. And on the graph of environmental descriptions, the Raven is the last major point before all words drop to zero. Being one of the most famous poems ever written, it's no surprise that it too would make an such an impact on Poe and his writing style as well. | ||
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</html> | </html> | ||
==Graphing== | ==Graphing== | ||
| − | + | <html><img src=https://i.imgur.com/ck7sAEG.png style='width: 800px;'></html> | |
| − | + | The Gephi graph shows several interesting trends worth noting over the course of Poe's life. The first obvious trend is the constant, overarching trends of dead women, often a wife of the narrator. This is a trend that spands his entire career. The first trend to rise and fall is reanimation/illness, a theme present in both Ligeia and Fall of the House of Usher, but which drops off in later years. Another trend, animals, springs up in the middle with The Black Cat and The Raven. Several stories in the middle years include themes of dark imagery and murder, often including a dark corridor as a setting. The graph gives a good look at how these trends connect over time. | |
==Close Readings== | ==Close Readings== | ||
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| + | ===Ligeia=== | ||
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| + | The narrator spends the first part of the story talking about all of the things that he loves about her. He says things like, ”Those eyes! those large, those shining, those divine orbs! they became to me twin stars of Leda, and I to them devoutest of astrologers.” As time went on, Ligeia becomes ill and dies. He remarries a woman named Rowena whose features are notably different from Ligeia’s. She has blonde hair and blue eyes instead of Ligea’s dark hair and eyes. He abuses opium and becomes hostile towards Rowena out of resentment towards her. Two months into their marriage, Rowena becomes ill. She fights the illness for a while before becoming worse again. One night, while the narrator is with her, she gets much worse and he goes to get her a decanter of wine. He then sees something as he is giving her the wine - “three or four large drops of a brilliant and ruby colored fluid” drop into her glass. A few days later, she dies. While in the tomb with Rowena’s body, the narrator sees her stirring, and wonders if she is coming back to life. However, it is not Rowena that he sees return, but Ligeia. | ||
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| + | The narrator in this story deals with the death of his wife, and is characterized by this loss. He constantly compares Rowena against Ligeia. He puts Ligeia on a pedestal, and demonizes Rowena primarily because she is not Ligeia. There is also the implication that the narrator may have killed Rowena. He sees something in the room before he gives her the wine, but he had taken an “immoderate dose of opium.” It is more likely that he had been poisoning her because of his dislike for her, and his guilt for Ligeia’s death. | ||
===The Fall of the House of Usher=== | ===The Fall of the House of Usher=== | ||
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This story is very heavy, with a lot of dark themes and spiritual imagery. Words such as: dull, dark, ghastly, gloom, perish, fear, dread, and haunted are just some of the examples of dark themed words used throughout this narrative. Excluding the dreary scene of the house, the mysterious atmosphere of the story is already very relevant in due to the fact that the narrator reveals that, until the letter, he had not heard from Roderick since they were children. In the letter, Roderick says that he still considers the narrator to be his close friend even though they have not seen each other in years. The mysterious theme continues with the events such as Madeline’s unknown illness and her burial in the house’s own tomb. Then themes such as guilt and fear take over when Roderick realizes that they may have buried Madeline alive. That’s taken over by anger when Madeline kills Roderick and is then once again replaced by fear by both Roderick and the narrator who flees the scene. There is a constant sense of dread throughout this story and no common sense of what may happen due to the spiritual references. Therefore, “mysterious” is the central theme of the narrative. | This story is very heavy, with a lot of dark themes and spiritual imagery. Words such as: dull, dark, ghastly, gloom, perish, fear, dread, and haunted are just some of the examples of dark themed words used throughout this narrative. Excluding the dreary scene of the house, the mysterious atmosphere of the story is already very relevant in due to the fact that the narrator reveals that, until the letter, he had not heard from Roderick since they were children. In the letter, Roderick says that he still considers the narrator to be his close friend even though they have not seen each other in years. The mysterious theme continues with the events such as Madeline’s unknown illness and her burial in the house’s own tomb. Then themes such as guilt and fear take over when Roderick realizes that they may have buried Madeline alive. That’s taken over by anger when Madeline kills Roderick and is then once again replaced by fear by both Roderick and the narrator who flees the scene. There is a constant sense of dread throughout this story and no common sense of what may happen due to the spiritual references. Therefore, “mysterious” is the central theme of the narrative. | ||
| + | CONCLUSION because I don't know how to format. | ||
| − | ===The | + | As Poe's life progresses, his writings become more centered around love. At the beginning of his life, it's fair to say that Poe lacked meaningful relationships with his family. His writings always contained themes of death, but they did not always contain themes of love. It wasn't until Poe was 27 did he marry his cousin. After the marriage, Poe wrote stories like Ligeia and Annabel Lee. He seemed to really love his wife and was devastated when she died. This was when love didn't become just a theme but a major theme in his writings. Love and loss of love majorly effected the plots of these stories. As he grew older, Poe came to appreciate and desire love in his life and this was reflected in his writings. |
| + | ===The Black Cat=== | ||
| − | + | In this piece, the narrator tells the story of his actions and attempts to convince the reader that he is not mad despite the overwhelming evidence on the contrary. He spends the opening of the story talking about how much he loved having pets around all of his life. Because of this, he and his wife had many pets. His favorite was a black cat named Pluto. However, the narrator became violent and took to drinking and abusing his pets and wife. At this point in the story, he had not done anything to harm Pluto, but after a night of drinking, he used a knife to cut out one of the cat’s eyes. After that, the cat started avoiding him. This caused him to feel guilty, and so he decided to hang the cat. After hanging Pluto, the narrator finds another cat that looks like Pluto except for the white patch on its chest. He feels a sense of dread about the cat, and eventually starts seeing the gallows in the white patch of fur. The narrator tries to kill the cat, and when his wife stops him, he kills her instead. He decides to bury her in the wall in the cellar. After doing this, he does not see the cat for a while. While the police are in his house, they hear the cat. He had inadvertently put the cat in the wall with his wife. | |
| − | The narrator in this story is | + | The narrator in this story is filled with guilt after harming his cat, Pluto. The “reason” that he stated for cutting out its eye in the first place was that he felt that it was avoiding him. He had likely projected this onto the cat after abusing his other pets and wife. The new cat acts as a physical manifestation of his guilt. It looks almost exactly like Pluto, and the white patch of fur on its chest changes to further remind him of what he had done. The cat goes on to be the reason that he is caught for the murder of his wife. Without the sound of the cat in the wall, he would have likely gotten away with it. |
| − | === | + | ===The Raven=== |
| − | + | The narrator of “The Raven” is sitting and looking over old books in a dark and gloomy setting when a raven shows up and repeats the phrase, “nevermore.” This causes him to think that the raven is referring to his dead wife, Lenore. Throughout the work the raven does not say anything else, and the narrator becomes increasingly agitated. | |
| − | + | Like other narrators in Poe’s work, the one in “The Raven” seems to be going mad, and like the narrator in Ligeia, is defined by the loss of his wife. The narrator is so driven by his grief that he takes the one phrase that the bird says to be referring to his deceased wife, Lenore. It would appear that the narrator had holed himself up in a cluttered dark space to cope with his loss. | |
| + | ===The Cask of Amontillado=== | ||
| − | + | This narrative begins with the narrator telling the readers that a man named Fortunato has greatly insulted him and he plans to get revenge. He reveals that Fortunato is connoisseur of wine and is going to use that to his advantage. He approaches Fortunato at a carnival in a disguise. He tells Fortunato that he has acquired a pipe that would pass for Amontillado, a Spanish drink. The narrator then jests him by telling that if he is busy, then he will ask a man named Luchesi, some sort of rival to Fortunato, to compare the drinks. Fortunato becomes annoyed and tells the narrator that he will taste the drink. The narrator reveals that he has made sure that no one will interrupt his plan because he sent his servants off to this carnival. The walls of the vaults in which they travel to retrieve the pipe were covered in nitre and caused Fortunato to cough. The narrator insists that they should leave due to the nitre affecting Fortunato’s health but he refuses. The narrator then gives him wine to drink. As they reach a crypt, human bones are decorated on three of the four walls. The fourth wall’s bones had fallen on the ground. The narrator tells Fortunato that the indent in the wall where the fourth wall was exposed was where the Amontillado is. Fortunto is intoxicated at this point and goes to where the Amontillado is. The narrator then suddenly chains Fortunato to a stone. The narrator taunts Fortunato as he walls up the entrance to the crypt to trap Fortunato in alive. The entire time, Fortunato is screaming for help until he suddenly laughs and asks the narrator surely this is a joke. Finally, the narrator finishes walling up the crypt and replaces the bones on the fourth wall. | |
| − | + | The narrator in this story is dsublevery demented. The story begins with him talking about how will definitely get revenge against Fortunato for insulting him. We do not know how he insulted the narrator, but whatever it was was apparently bad enough for the narrator to plan his murder of Fortunato. To want to kill Fortunato for anything seems extreme and as the story progresses, we realize that the narrator has already planned it all out and will go through with it. Even with this knowledge, the narrator spends much of the story trying to get Fortunato to not come with him to the crypt, knowing that Fortunato will refuse, unbeknownst to him that he is being led to his death. It is very dreadful as well that the narrator decided to just trap Fortunato down in the crypt alive to slowly die out. It is assumed that he suffered too, as he died because of the nitre and general dampness of the tomb. All of this was inflicted onto Fortunato by the narrator just because of an insult. It is clear that the narrator must be unstable in some way to be angered in such a way so easily. The narrator spends the entire narrative toying with Fortunato, knowing that he will kill him in the crypt. The readers know this as well. Even as Fortunato was screaming for mercy, the narrator simply left him there with no evidence to what happened to him and why. The narrator is unapologetically cruel and this story frames everything that supports it. | |
| − | + | ===Annabel Lee=== | |
| + | This is a short poem about the death of the narrator’s lover, Annabel Lee. | ||
| − | + | This poem tells of how much the narrator loved Annabel Lee wth lines such as: “But we loved with a love that was more than love-.“ Early in the poem it is revealed that Annabel Lee dies with the lines: “So that her highborn kinsman came And bore her away from me.” The narrator believe that the angels in heaven were jealous of their love and took Annabel Lee away so the couple would not be happier than the angels. The narrator refutes this by saying that he and Annabel Lee will always love each other and ends with him lying down by her tomb. This poem was written shortly after the death of Poe’s wife and is clearly a tribute to her. His wife was his 13-year-old cousin which is reflected in the poem’s line: “I was a child and she was a child.” Despite the fact that she was Poe’s husband, it is clear that Poe still loved her dearly as his wife. | |
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| − | + | ==Conclusion== | |
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| − | + | As Poe's life progresses, his writings become more centered around love. At the beginning of his life, it's fair to say that Poe lacked meaningful relationships with his family. His writings always contained themes of death, but they did not always contain themes of love. It wasn't until Poe was 27 did he marry his cousin. After the marriage, Poe wrote stories like Ligeia and Annabel Lee. He seemed to really love his wife and was devastated when she died. This was when love didn't become just a theme but a major theme in his writings. Love and loss of love majorly effected the plots of these stories. As he grew older, Poe came to appreciate and desire love in his life and this was reflected in his writings. | |
