DESCENT: RECOVERY OF THE GROUND I N EUREKA,

P O E ' S COSMOGONIC MYTH

by

Susan E l i z a b e t h M c C a s l i n

B.A., U n i v e r s i t y of W a s h i n g t o n , 1 9 6 9

A THESIS SUBMITTED I N PARTIAL FULFILLMENT OF

THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF ARTS

i n t h e D e p a r t m e n t

of

E n g l i s h

@ SUSAN ELIZABETH McCASLIN, 1 9 7 3

SIMON FRASER UNIVERSITY

March 1 9 7 3

~ l l r i g h t s reserved. T h i s t h e s i s may n o t be reproduced i n w h o l e or i n p a r t , by photocopy or other m e a n s , w i t h o u t p e r m i s s i o n of the au thor .

APPROVAL

Name : Susan E l i zabe th McCaslin

Degree: Master of A r t s

T i t l e of Thes is : Descent: Recovery of t h e Ground i n Eureka, Poe 's Cosmogonic Myth

Examining Committee:

Chairman: Stephen A. Black

Robin Blaser Senior Superv isor

/ Robert H.. ~t'nham

Evan Alderson

Warren Tallman Assoc ia te P ro fe s so r

Un ive r s i t y of B r i t i s h Columbia Vancouver, B.C.

Date Approved: March 19, 1973

PARTIAL COPYRIGHT LICENSE

I hereby g r a n t t o Simon F rase r Univers i ty t h e r i g h t t o lend

my t h e s i s o r d i s s e r t a t i o n ( the t i t l e of which i s shown below) t o u s e r s

of t he Simon F rase r Univers i ty Library , and t o make p a r t i a l o r s i n g l e

copies only f o r such use r s o r i n response t o a reques t from the l i b r a r y

of any o the r u n i v e r s i t y , o r o ther educa t iona l i n s t i t u t i o n , on i t s own

behal f o r f o r one of i t s u s e r s . I f u r t h e r agree t h a t permission f o r

mu l t ip l e copying of t h i s t h e s i s f o r s c h o l a r l y purposes may be granted

by me or the Dean of Graduate S tudies . It is understood t h a t copying

or pub l i ca t ion of t h i s t h e s i s f o r f i n a n c i a l ga in s h a l l no t be allowed

without my w r i t t e n permission.

T i t l e of ~ h e s i s / ~ i s s e r t a t i o n :

Descent: Becsvcq of the Ground i n Eureka, Toe's Cosmogonic Myth

. Author: ..

L'

( s i g n a t u r e )

Susan E l i zabe th McCaslin

(name )

A p r i l 16, 1973

( d a t e )

ABSTRACT

Poe was n o t "a f a u l t of n a t u r e , " "a f i n d f o r French e y e s , " r i p e b u t unac'countable, a s

through our woollyheadedness we've sought t o d e s i g n a t e him, b u t a gen ius i n t i m a t e l y shaped by h i s l o c a l i t y and t i m e . I t i s t o s ave our f a c e s t h a t we've g iven him a c r a z y r e p u t a t i o n , a w r i t e r from whose c l a s s i c a c c u r a c i e s w e have n o t known how e l s e t o escape . (IAG,216)

The dep th and s e r i o u s n e s s of t h e gen ius of Edgar

A l l a n Poe (1809-1849) a s an American w r i t e r ha s been l a r g e l y

unapprec i a t ed up u n t i l t h e p u b l i c a t i o n of Will iam C a r l o s

Wil l iams ' e s s a y , "Edgar A l l a n Poe , " i n I n t h e American Grain

(1925) , where Will iams moves towards a d e f i n i t i o n o f P o e ' s

" o r i g i n a l i t y " . . . " i n i t s o r i g i n a l s ense of s o l i d i t y

which goes bac-k t o t h e ground, a c o n v i c t i o n t h a t he can

judge f o r h imse l f . " ( 1 ~ ~ ~ 2 1 6 ) Will iams a rgues t h a t t h e

French w e r e ready t o r e c e i v e t h e f r u i t s of Poe ' s l a b o u r s

t o shape a consc ious methodology of p o e t r y , w h i l e h i s

con temporar ies i n America sought from t h e beginning t o

reduce t h e b r e a d t h and complexity o f Poe' s work t o " t h e

g ro t e sque and a rabesque , " and t h e man himself t o a

p sycho log ica l " case . " While Ar thu r Hobson Q u i n n ' s Edgar

A l l an Poe: A C r i t i c a l Biography (1941) c o r r e c t e d most of

t h e f a l l a c i e s c e n t e r i n g around P o e ' s l i f e , t h e l a r g e r

problem of t h e work remained, I n 1959, however, t h e appear-

ance of Richard Wi lbur ' s c l e a r - s i g h t e d d i s c u s s i o n of P o e ' s

consc ious u se of symbol and myth i n t h e L a u r e l e d i t i o n of

t h e poems, f o r c e d a r e c o n s i d e r a t i o n o f t h e works i n terms

of a development and a wholeness of v i s i o n . I w i l l be moving

o u t from t h e work of Will iams and Wilbur t o a r g u e t h a t

t h e poems and t a l e s d o propose a wholeness-- that t h e r e i s a

g r a d u a l development i n P o e ' s thought and method which f i n d s

i t s complet ion i n h i s cosmic myth, Eureka (1848) , w r i t t e n

a t t h e end of h i s l i f e . I t i s i n Eureka t h a t Poe draws

t o g e t h e r t h e f ragments of a cosmology i m p l i c i t i n t h e poems

and t a l e s . I t i s my purpose n o t on ly t o show t h a t Eureka

i s t h e i s s u e of t h e work t h a t p recedes it, b u t a l s o t o

demons t ra te t h a t i t f a l l s i n t o t h e a n c i e n t t r a d i t i o n o f

LL-- - 1- - - - . cosir i~gonic poetry. L U U ~ uec;un~es buii l t h e cu lmina t ion o f

Poe ' s work and a r e f u s a l of t h e g e n e r a l l y accep ted ways of

viewing t h e world p r e v a l e n t i n t h e Nine teen th cen tu ry .

But b e f o r e e n t e r i n g upon an examinat ion of some of

t h e e a r l y poems, t a l e s , 2nd f i n a l l y Eureka i t s e l f , I have

found it neces sa ry t o t u r n f i r s t t o some g e n e r a l problems

i n r ead ing Poe, s i n c e much of t h e c r i t i c i s m emerges as a

b a r r i e r , r a t h e r than an e n t r a n c e i n t o h i s work. Thus I

w i l l d evo te t h e f i r s t Sec t ion t o an examinat ion o f t h e way

i n which a c r i t i c i s m grounded i n Romantic P la ton ism and

E igh teen th Century Neo-c l a s s i ca l thought i s simply in -

adequa te t o d e a l w i t h t h e e x p e r i e n t i a l n a t u r e of what P g e ' s

work proposes , I want t o show how from t h e beg inn ing ,

iii

P o e ' s work moves o u t of a r e f u s a l of t h e impos i t i on of

s t a t i c g r i d s of meaning ( i n c l u d i n g t h o s e of p h i l o s o p h i c a l

r e a l i s m and i d e a l i s m ) upon expe r i ence as p roces s . There

i s t h u s a p a r a l l e l r e f u s a l of t h e Neo-c lass ica l s e n s e

of language i t s e l f a s t r a n s p a r e n t , i m p l i c i t i n t h e works

and c r i t i c i s m - - t h a t i s , t h a t view of language which

assumes word o r symbol i s r e f e r e n t i a l on a one t o one

b a s i s t o a f i x e d " o u t e r " r e a l i t y . By exc lud ing t h e

i n t e l l i g e n c e of c o n c e p t u a l i z a t i o n from h i s d e f i n i t i o n of

p o e t r y and t u r n i n g h i s back on t h e t o p o l o g i c a l s e n s e of

language, Poe moves toward an e l emen ta l ( p e r c e p t u a l l y

based) s e n s e of cosmic p o l a r i t y . Where Romantic and I

C h r i s t i a n P la ton ism seek a t ranscendence of o p p o s i t e s ( a l l

t h e o p p o s i t i o n s of a C a r t e s i a n d i a l e c t i c ) , Poe "descends"

i n t o an e x p e r i e n t i a l con t ra r ium where o p p o s i t e s a r e no

longer p o l a r , b u t a l i v e . I n r e sponse t o t h e c l o s e d

systems o f Neo-class ic ism, which t end t o stress t h e a b s t r a c t

and c o n c e p t u a l , Poe p l a c e s t h e weight on t h e p a r t i c u l a r ,

t h e p e r c e p t u a l , and moves towards a form which i s open--

which seeks t o i n c o r p o r a t e t h e r e a d e r i n t o t h e work through

a p a r t i c i p a t o r y a c t . I n t h e f i r s t Chapter I w i l l a l s o be

looking a t some of t h e p sychoana ly t i c work on Poe. S ince

most of i t i s grounded i n t h a t same view of language and

of t h e world which assumes a s t a t i c o u t e r r e a l i t y (over

which t h e s u b j e c t i v e o r " p r i v a t e " expe r i ence of t h e p o e t

looms g i g a n t i c a l l y ) , I w i l l b e a rgu ing t h a t t h e p s y c h o l o g i c a l ,

a l o n e , i s inadequa te t o d e a l w i t h Poe. No where i s t h i s

inadequacy of t h e p sychoana ly t i c c l e a r e r t han i n Eureka.

I n Chapter I1 I want t o t u r n t o some of P o e ' s

s t a t e m e n t s o f t heo ry i n l i g h t of i t s ground o r c o r e i n t h e

thought o f S.T. Cole r idge . For it i s h e r e i n P o e t s c r i t i c a l

e s s a y s t h a t one f i n d s t h e i n t e l l e c t u a l development l e a d i n g

t o Eureka t h a t i s p a r a l l e l e d i n t h e more image-centered t a l e s .

I w i l l be u s ing p r i m a r i l y Owen B a r f i e l d ' s What Co le r idge

Thought as a means of e n t r y i n t o Co le r idge I s s e n s e o f

o p p o s i t e s . I want t o sugges t t h a t it was through Co le r idge

t h a t Poe f i r s t ga ined e n t r a n c e t o a t r a d i t i o n t h a t r e f u s e s

t o reduce expe r i ence i n t o h y p o s t a t i c t e r m s and t h u s found a

ground f o r h i s own unique sense of o p p o s i t e s .

ina ally, i n Chapte rs 111, I V and V , I w i l l be r e t u r n i n g

t o t h e poems and t a l e s i n o r d e r t o s t u d y P o e ' s enactment of

t h e o p p o s i t i o n of s e l f and world a s i t c o n f r o n t s him i n h i s

own t i m e and p l a c e .

Chapter V I w i l l be devoted t o a n examinat ion of

Eureka a s cosmogony. Here where t h e poem approaches t h e v o i d ,

it p l a y s w i t h meaning and t h e absence o f meaning, t h e thought

and t h e unthought-- that p l a c e where image ' s a c t i v e

compliment ( t h e " imageless" o t h e r ) con•’ r o n t s t h e naked

s e l f , and t h e poem begins t o b reak i n t o open-form n a r r a t i o n .

For i n Eureka t h a t which Will iams p e r c e i v e s as P o e ' s

v

i n s i s t e n c e on "method," h i s " s t r o n g impulse t o begin a t

t h e beginning" (IAG,217) emerges a s a r e d e f i n i n g of t h e

meaningfulness of language and a f i n a l a t t e m p t t o " c l e a r

t h e ground" f o r d i r e c t (pr imary) c o n t a c t w i t h t h e world

of h i s expe r i ence .

TABLE OF CONTENTS

C h a p t e r

INTRODUCTION . . . . . . . . . . . . . . SOME CRITICAL PROBLEMS OF ENTRANCE . . . POE AND COLERIDGE: THE AFFIRMATION OF OPPOSITES . . . . . . . . . . . . . . THE CIRCUMSCRIBED EDEN OF THE EARLY TALES AND POEMS . . . . . . . . . . . . P O E ' S HELL AND THE DESCENT INTO THE RATIONALMIND . . . . . . . . . . . . . FINAL STEPS TO EUREKA: THE DIALOGUES . . EUREKA: P O E ' S COSMOGONIC POEM . . . . . NOTES . . . . . . . . . . . . . . . . . SELECTED BIBLIOGRAPHY . . . . . . . . .

Page

dok t h e f e k h i b l e agony wh ich 1 have 6 0

LaXeLy enduked--an agony known o n l y Xo

my God and f a myaeld--seema t o have

paaaed my a o u l t h t o u g h d i k e and put t idied

i f 6ttom aLL Xhat i 6 weak

Hencedottwaad 1 am a f t o n g : - - f hua f h o a e

who t o v e me hall aee - -aa weLl aa Xhoae

who have ao t e l e n f l e a a l y endeavotted Xo

h u i n me

Poe's Letter to Mrs. Whitman

November 25, 1848

v i i i

The Genera l P r o p o s i t i o n i s this- -Because Nothing was, t h e r e f o r e A l l Things a r e .

1--An i n s p e c t i o n of t h e u n i v e r s a l i t y o f Grav i t a - t i o n - - i .e . , of t h e f a c t t h a t each part icle t e n d s , n o t t o any one common p o i n t , b u t t o eve ry o t h e r

.

- p a r t i c l e - - s u g g e s t s p e r f e c t t o t a l i t y o r a b s o l u t e u n i t y , a s t h e source of t h e phenomenon.

2 - : ~ r a v i t ~ i s b u t t h e mode-in which is manifes- t e d t h e tendency of a l l t h i n g s t o r e t u r n i n t o t h e i r o r i g i n a l u n i t y - - i s b u t t h e r e a c t i o n of t h e f i r s t Div ine Act.

3--The l a w r e g u l a t i n g t h e r e t u r n - - i . e . , t h e law - o f G r a v i t a t i o n - i s b u t a neces sa ry r e s u l t of t h e neces sa ry and s o l e p o s s i b l e mode of equab le i r r a d i a t i o n of m a t t e r through space: t h i s equable i r r a d i a t i o n i s neces sa ry a s a b a s i s f o r t h e Nebular Theory o f Laplace .

4--The Universe of S t a r s ( c o n t r a d i s t i n g u i s h e d from t h e Universe of Space) i s l i m i t e d .

5--Mind i s cogn izan t of Mat te r on ly through i t s two p r o p e r t i e s , a t t r a c t i o n and r e p u l s i o n : t h e r e - f o r e Ma t t e r i s on ly a t t r a c t i o n and r e p u l s i o n : a f i n a l l y c o n s z i d a t e d globe-OF-globes, being b u t one p a r t i c l e , would be w i thou t a t t r a c t i o n - - i . e . , g r a v i t a t i o n : t h e e x i s t e n c e of such a g lobe p re - supposed t h e expuis ion of t h e s e p a r a t i v e e t h e r which we know t o e x i s t between t h e p a r t i c l e s a s a t p r e s e n t d i f f u s e d : t h u s t h e f i n a l g l o b e would be ma t t e r w i thou t a t t r a c t i o n and r e p u l s i o n : b u t t h e s e a r e ma t t e r : t hen t h e f i n a l g lobe would be - m a t t e r w i thou t m a t t e r - - i . e . , no m a t t e r a t a l l : it must d i s a p p e a r . Th i s Uni ty i s Nothingness.

6--Matter, s p r i n g i n g from Uni ty , sprang from Nothingness-- i .e . , was c r e a t e d .

7--All w i l l r e t u r n t o Nothingness , i n r e t u r n i n g J t o Uni ty .

Poe ' s summary of Eureka (from a le t te r t o George E v e l e t h , Feb. 2 9 , 1848)

I NTRODUCTI ON

INTRODUCTION

A t t h e end of h i s l i f e i n 1847-1848 Poe w r i t e s

Eureka, a l ong , d i s c u r s i v e p i e c e which he i n s i s t s upon

c a l l i n g a poem. I n t h e "Preface" he remarks: "Neverthe-

less it i s a s a Poem ,only t h a t I wish t h i s work t o be

judged a f t e r I am dead. "' S ince it f i r s t appeared few

r e a d e r s have been w i l l i n g o r a b l e t o a c c e p t it on P o e ' s

t e r m s . Those who have r e a d it a t a l l have c a s t it a s i d e

a s , a t w o r s t , t h e f i n a l d i s o r d e r e d u t t e r a n c e of a d i seased

i n t e l l i g e n c e , o r a t b e s t , a s a p i e c e of e c c e n t r i c

pseudoscience. Fewer y e t have been a b l e t o a s c e r t a i n

any r e l a t i o n s h i p between Eureka and t h e more image-centered

+-,-les of m ~ r c + a r y , imar; inat ior \ . ar\.d hGrrer fsr which P=e "'1 - ---

i s famous. I n 1941, Ar thur Hobson Quinn devoted a l a r g e

s e c t i o n of h i s e x c e l l e n t biography t o an examination o f

P o e ' s "prose-poem." I n response t o t h o s e c r i t i c s who

a t t a c k e d Eureka on t h e b a s i s of i t s inaccuracy a s s c i e n c e ,

Quinn submi t ted i t t o t h e s c r u t i n y o f t h e l e a d i n g s c i e n t i f i c

minds o f ou r day. H i s i n v e s t i g a t i o n s i n t o Eureka proved

t h a t r a t h e r t han evidence of t h e d e c l i n e of P o e ' s g e n i u s ,

it i s an amazingly a c c u r a t e document f o r i t s t i m e , even

by s c i e n t i f i c s t a n d a r d s . S i r Ar thur Eddington, Plumian

P r o f e s s o r of Astronomy a t Cambridge responds t o Eureka on

September 29, 1940, i n t h e fo l lowing t e r m s :

I t h i n k you make o u t c l e a r l y t h a t Eureka i s n o t a work of do t age o r d i s o r d e r e d mind. I t i s , I t h i n k , t h e work of a man t r y i n g t o r e c o n c i l e t h e s c i e n c e o f h i s t i m e w i t h t h e more p h i l o s o p h i c a l and s c i e n t i f i c c r a v i n g s of t h e mind. Poe, b e s i d e s be ing f a i r l y w e l l - informed i n s c i e n c e and mathemat ics , s e e m s tq_ have had t h e mind of a mathemat ic ian, and consequent ly w a s n o t t o be p u t o f f w i t h vague p h r a s e s ; and made a c r e d i b l e a t t e m p t t o i n t r o d u c e p r e c i s i o n o f thought . 2

Cha r l e s P . O l i v i e r , P r o f e s s o r of Astronomy a t t h e U n i v e r s i t y

o f Pennsy lvania , states s i m i l a r l y :

I should say t h a t Poe had r e a d wide ly and w i t h keen a p p r e c i a t i o n t h e g e n e r a l astronomy of t h e day. So long as he l i m i t e d h imse l f t o choosing between r i v a l hypotheses of o t h e r s , he u s u a l l y chose e i t h e r t h e r i g h t one o r t h e most p robab le i n h i s day. 3

Yet Ar thu r Quinn ' s de fense evades t h e rea l q u e s t i o n - - t h a t

is--is Eureka a poem, and i f s o , on what grounds are w e

t o r e a d it a s such? "The P r e f a c e " and t h e opening pages

o f t h e c o r r o s i v e , s a t i r i c e p i s t l e , f o r c e u s t o come t o t e r m s

immediately w i t h P o e t s e s t i m a t i o n o f i t s importance a s

poe t ry . I t i s n o t enough t o p o i n t o u t t h a t t h e concept ion

o f t h e u n i v e r s e a s an expanding-cont rac t ing organism i s

s t i l l a c r e d i b l e theory--nor t h a t P o e t s n o t i o n of

" r e c i p r o c i t y " i n some way a n t i c i p a t e s E i n s t e i n ' s "Theory

of R e l a t i v i t y . " The p o i n t of Eureka ' s accuracy i s t h a t

it i s g iven t o be p r e c i s e i n t e r m s of t h e imag ina t ion ,

and t h u s o n l y , p r e c i s e i n t e r m s o f t h e world . S ince

Eureka p r e s e n t s an argument wi th t h e empi r ic i sm of s c i e n c e ,

t o defend i t on e m p i r i c a l t e r m s a l o n e i s t o d e f e a t P o e t s

e n t i r e aim.

I n 1 8 4 0 , when Poe w a s a t t a c k e d f o r l e a n i n g overmuch

toward "German Romanticism" and t h e "Gothic1' he wrote: " I f . i n any of my p roduc t ions t e r r o r has been t h e t h e s i s , I

ma in t a in t h a t t e r r o r i s n o t of Germany, b u t of t h e sou l , - -

t h a t I have deduced t e r r o r on ly from i t s l e g i t i m a t e s o u r c e s ,

and urged it o n l y t o i t s l e g i t i m a t e r e s u l t s . 114 I would

a rgue t h a t t h e r e f u s a l t o s e e Poe a s any th ing b u t a "master

of h o r r o r " has b l inded bo th c r i t i c i s m and t h e g e n e r a l

r e a d e r t o c l e a r ev idence of an obvious r e l a t i o n between

P o e l s e x p l o r a t i o n s i n t o f e a r , i n s a n i t y and h o r r o r i n t h e

t a l e s ( t h e Goth ic ) , and t h e form and c o n t e n t o f Eureka. -

I n de fense of Eureka today , I can w e l l imagine Poe answer-

i n g t h a t n e i t h e r i s accuracy and p r e c i s i o n t h e p r o p e r t y

of s c i e n c e a lone--but o f t h e Soul o r imagina t ion o f man.

The purpose of t h i s paper i s t o show t h a t there is

a wholeness t o P o e l s work; t h a t Eureka i s t h e n a t u r a l , i f

somewhat amazing, outcome of t h e t e r r i t o r y Poe e x p l o r e s

i n t h e poems and t a l e s t h a t p recede it. I wish t o show

how t h e i n t e r e s t i n h o r r o r , f e a r , i r r a t i o n a l i t y , s u r p r i s e

and " e f f e c t " i n t h e t a l e s and c r i t i c i s m , i s pursued t o

i t s unavoidable conc lus ions i n Eureka. Here where P o e l s

concern i s w i t h " o r i g i n s u - - t h e beg inn ing and end of

expe r i ence i n cosmic terms--the o r d e r s of f e a r he had

been e x p l o r i n g i n t h e t a l e s t a k e on cosmic dimensions .

Here f e a r is no longer merely human--but p r e l o g i c a l ,

cosmic--the f e a r of man c a s t back i n t o a p r i m i t i v e e x p e r i -

x i i

ence of t i m e and p l a c e .

The f i n a l i n t e n t of t h i s paper i s t o show how and

why Eureka i s indeed a poem--a cosmogonic poem o r myth of

" o r i g i n s . " For I have found t h a t Eureka emerges c l e a r l y

a s a modern s p e c i e s of t h e a n c i e n t t r a d i t i o n o f cosmogonic

p o e t r y d a t i n g back t o Hesiod and pre-Homeric myth. S ince

t h e main purpose of my d i s c u s s i o n i s t o i l l u m i n a t e and

open Eureka, my i n v e s t i g a t i o n s i n t o t h e t a l e s , poems,

and c r i t i c i s m t h a t p recede it, w i l l be p r o p e r l y ten , ta t ive

and p r o p e r l y p r o g r e s s i v e i n o r d e r t o show a g r a d u a l

development toward P o e ' s cosmic myth. I n t h i s way one

work t e n d s t o inform t h e n e x t . I do n o t propose complete

e x e g e s i s of t h e e a r l y poems and tales i n my d i s c u s s i o n ,

b u t wish r a t h e r , t o show how they are p r e l i m i n a r y s t e p s

rnL - tcxarc? P e e ' s ccsmic myth. e a r l y c h a p t e r s a r e o f f e r e d

a s an a t t e m p t t o show how P o e ' s i n s i s t e n c e upon beg inn ings

and o r i g i n s (expressed i n t h e t a l e s as an i n t e r e s t i n

extreme psycho log ica l s t a t e s a t t h e edges of p e r c e p t i o n )

i s an e a r l y concern which l e a d s him i n t o a break ing w i t h

t r a d i t i o n a l , concep tua l frames of r e f e r e n c e and s t a t i c

g r i d s of meaning. I n Eureka t h e c o n t i n u i n g demand f o r

"beg inn ings" i s a demand f o r d i r e c t expe r i ence and t h e

d e l i n e a t i o n o f a method of speaking o u t of o n e ' s own

expe r i ence of t h e world , r a t h e r t han r e s t i n g on d i a l e c t i c

and t h e language of c o n c e p t u a l i z a t i o n t h a t would remove

xiii

man from d i r e c t c o n t a c t w i t h t h a t world as p roces s .

T r a d i t i o n a l l y t h e cosmic myth of o r i g i n s d e a l s w i t h

man's f i r s t - h a n d exper ience a s a c e n t e r o r " p o i n t of

o r i g i n a t i o n " through which t h e world speaks . I t concerns

i t s e l f w i t h e t e r n a l l y r e p e a t e d r e b i r t h s - - t h e burs t - th rough

t o t h e "ground" of man's b i o l o g i c a l be ing from which he

e t e r n a l l y c r e a t e s h imse l f . I n h i s d i s c u s s i o n of t h e

"myth of o r i g i n s " C . ~ e r 6 n y i w r i t e s :

I f we c o n s i d e r t h i s p u r e l y i n t e r n a l a s p e c t of o u r l i f e i n s p a t i a l t e rms , t hen t h e i d e a l s p o t where o r i g i n a t i o n and our knowledge of t h e o r i g i n s are i d e n t i c a l can o n l y be t h i s c e n t r a l b reach p o i n t . Going back i n t o o u r s e l v e s i n t h i s way and r ende r ing an account of it, we expe r i ence and p roc l a im t h e very founda t ions of our be ing , t h a t i s t o s ay , w e a r e "grounding" o u r s e l v e s . 5

I w i l l be a t t empt ing t o show how t h e vo ice of t h e s o l i t a r y

"I" na r r ako r ( t h e f a m i l i a r " I " o f t h e t a l e s ) becomes i n

Eureka f o r b r i e f moments, c apab le of speak ing o u t o f t h e

d e p t h of i t s "Soul , " which i s a l s o t h e c e n t e r o f t h e world.

By pushing t h e p o e t r y of p e r s o n a l s e l f - e x p r e s s i o n t o i t s

l i m i t s , Poe moves toward a recovery of t h i s p r i m i t i v e

"ground" of be ing . A s ~ e r & y i s a y s o f t h e cosmic myth:

"The world i t s e l f speaks i n t h e images of o r i g i n a t i o n t h a t

s t r eam o u t from it. " I wish t o show, t h e n , how Eureka

beg ins w i t h s c i e n t i f i c vocabulary a s a means of demanding

back from s c i e n c e a p r e c i s i o n and accuracy t h a t had been '

los t - -and then b reak ing from s t r i c t s c i e n t i f i c and

t e c h n i c a l language i n t o t h e language of image and metaphor

i n which world and s e l f show f o r t h .

x i v

I have suggested t h a t few American c r i t i c s have

been a b l e t o d e a l adequately wi th t h e whole of P o e t s work

and wi th Eureka a s a p a r t of t h a t whole. I w i l l be moving

o u t from t h e excep t iona l work of Richard Wilbur and William

Car los Williams, s i n c e t h e i r r e c e n t e s says a r e t h e f i r s t

t o t r e a t t h e f u l l e r impl ica t ions of Doe's i n t e r e s t i n

s u r p r i s e a s a concern wi th o r i g i n s . I n h i s essay on Poe

i n I n t h e American Grain (1925), Williams desc r ibes P o e t s

work a s " the f i r s t g r e a t b u r s t through t o express ion of a

re-awakened genius of p lace" i n A m e r i ~ a , ~ and then l i n k s

t h e sense of "p lace" o r " l o c a l i t y " t o P o e t s demand f o r

" o r i g i n a l terms." Wilbur 's remarks on Eureka a r e s i m i l a r

i n h i s i n t r o d u c t i o n t o t h e 1959 Laure l e d i t i o n of t h e

poems; h i s i n s i s t e n c e t h a t t h e r e i s a wholeness t o Poe ' s

._.-- wVLht . ----a I L I V V C ; ~ - iiS Fur ther toward an understanding of how

Eureka i s t h e outgrowth of t h e e a r l i e r poems and prose .

Wilbur argues t h a t :

The phi losophic and e s t h e t i c thought of "A1 Aaraaf" [18291 was worked o u t . . . i n c r i t i c a l a r t i c l e s , i n such prose "dialogues i n heaven" a s "The Colloquy of Monos and Una," and u l t i - mately i n t h e prose-poem "Eureka." 7

Wilbur p o i n t s o u t t h a t Poe was forced t o abandon t h e e a r l y

n a r r a t i v e impulse f o r the s h o r t e r t a l e s and longish nar ra-

t i v e s , u n t i l t h e appearance of Eureka.

The n a r r a t i v e impulse which had begot ten "Tamerlane" was now d i r e c t e d toward t h e prose t a l e . The poems accordingly ceased t o be e f f o r t s a t f u l l s ta tement ; they became i n e f f e c t addenda t o t h e prose p i e c e s , embroideries , c r y p t i c d i s t i l l a t i o n s . 8

Wilbur ' s summary o f t h e c o n t e n t o f Eureka sets f o r t h a

r e l a t i o n between t h e cosmic myth and t h e themes of t h e poems

and t a l e s :

I n t h e beg inn ing , Poe a s s e r t s , God was a p a r t i c l e of non-atomic o r " s p i r i t u a l " matter, w i l l e d i n t o be ing by Himself , and e x i s t i n g a t t h e c e n t e r of space i n a s t a t e of p e r f e c t t o t a l i t y and u n i t y . Then, through some i n n e r n e c e s s i t y , t h i s p r i m o r d i a l p a r t i c l e was r a d i a t e d i n t o space i n t h e form of c o n c e n t r i c sphe re s . Thus t h e u n i v e r s e was e s t a b - l i s h e d , and t h e o r i g i n a l u n i t y became d i v e r s i t y . The u n i v e r s e i s now a t t h e p o i n t of maximum d i f f u s i o n , and , moved once a g h i n by i n n e r n e c e s s i t y , i s commencing t o c o n t r a c t toward t h e o r i g i n a l u n i t y and f i n a l a n n i h i l a t i o n . A t t h e p r e s e n t moment, a cco rd ing t o Poe, God e x i s t s on ly i n t h e d i f f u s e d matter and s p i r i t of t h e u n i v e r s e : from which it fo l lows t h a t each s o u l i s i n p a r t i t s own God, and t h a t no th ing e x i s t s g r e a t e r t han t h e i n d i v i d u a l s o u l . S i n c e " t h e sou rce o f a l l motion 5s though t , 'I t h e u n i v e r s e must be r e u n i t e d by means o f t h e over - i n c r e a s i n g comprehensiveness of t h e thought of i n d i v i d u a l s o u l s . I n r e s t o r i n g t h e o r i g i n a l u n i t y of t h i n g s , and s o r e c o n s t i t u t i n g God, every s o u l must l o g i c a l l y absorb eve ry o t h e r s o u l ; hence every s o u l w i l l become God. 9

Wilbur a rgues t h a t P o e l s cosmic myth i s a j u s t i f i c a t i o n of

t h e kind of p o e t r y he w r i t e s - - t h a t t h e v i s i o n of t h e a r t i s t

as God-like and d i v i n e e n a b l e s us t o comprehend P o e ' s

i n s i s t e n c e upon t h e p o e t concern ing himself w i t h t h e re-

c o n s t i t u t i o n of Superna l o r I d e a l beauty a l o n e :

S ince t h e p o e t ' s b u s i n e s s i s t o h e l p undo phenomena towards u n i t y , dreaming t h e oak of t h e c r e a t i o n back t o i t s o r i g i n a l aco rn , h i s nega t ion o f human and e a r t h l y s u b j ec t -ma t t e r becomes i n Poe ' s cosmic theo ry p o s i t i v e ; h i s d e s t r u c t i v e n e s s becomes c r e a t i v e ; h i s exc lus iveness a c o n d i t i o n of h i s i n c l u s i v e n e s s ; h i s vagueness a consequence of h i s u n e a r t h l y sub jec t -ma t t e r ; h i s d e n i a l of I n t e l l e c t a means t o u l t i m a t e Tru th . I n s h o r t , P o e t s myth of t h e cosmos p r e s e n t s h i s every a p p a r e n t l i m i t a t i o n a s an advantage. 1 0

x v i

Wilbur i s one of t h e f i r s t i n America t o name Eureka

cosmogony, and perhaps t h e f i r s t t o i n d i c a t e t h e way i n

which t h e " p l o t " of t h e cosmic myth i s i m p l i c i t i n t h e

t a l e s and poems.

Will iams ' c o n t r i b u t i o n t o Poe c r i t i c i s m and p a r t i c -

u l a r l y t o a r ead ing of Eureka l ies i n h i s r e c o g n i t i o n o f

t h e importance of Poe 's demand f o r "beginnings1'--since

"beginnings" a r e t h e prime concern o f cosmogony. Speaking

o f what has been c a l l e d P o e ' s " p r o v i n c i a l i s m ; " h i s l a c k

of s o p h i s t i c a t i o n t h a t "awakened Lowe l l ' s d e r i s i o n , "

Will iams w r i t e s t h a t i t was i n Poe an " i n s i s t e n c e upon

pr imary d i s t i n c t i o n s , t h a t seems c o l d l y academic . . . i n

t h i s c a s e no more than ev idence of a s t r o n g impulse t o

beg in a t t h e beginning. "I1 This impulse , a rgues Wil l iams,

; c v . y h 3 4 - l l m v f i l l n r 7 - 1 1 nh- 1 s . - - - I - ' A A y r W U A A U ~ r WG W V L h in a direct oi

" p l a c e . " A s I move through P o e ' s c r i t i c a l e s s a y s I want

t o show how t h e i n s i s t e n c e upon beg inn ings i s t h e r e t o o ,

a r e f u s a l t o s t a n d o u t s i d e expe r i ence by reduc ing it t o

something s t a t i c . I n t h i s s e n s e Eureka can be seen as

P o e ' s f i n a l "descen t " i n t o t h e c o n t r a d i c t i o n of h i s own

expe r i ence of h i s t ime and p l a c e . Though Will iams makes

no d i r e c t comment on Eureka, h i s remarks l e a d us t o r e a d

i t a s a myth of "beginnings" o r o r i g i n s . Will iams a t t e n d s

t o a c o n s i d e r a t i o n of t h e way P o e ' s consc ious methodology

i s an a t t e m p t t o " c l e a r t h e ground" f o r a r e t u r n t o " f i r s t

p r i n c i p l e s . " Again Wil l iams, l i k e Wilbur , shows t h a t ,

x v i i

Poe s a p p a r e n t l i m i t a t i o n s are i n t r u t h h i s s t r e n g t h s - -

language i s f o r c e d back t o an edge where d i s c o u r s e f a i l s

and meaning i t s e l f i s i n q u e s t i o n :

With Poe words were f i g u r e s ; an o l d language t r u l y , b u t one from which he c a r r i e d over only t h e most e l emen ta l q u a l i t i e s t o h i s new purpose; which w a s , t o f i n d a way t o t e l l h i s s o u l . Sometimes he used words s o p l a y f u l l y h i s s en t ences seem t o f l y away from s e n s e , t h e d e s t r u c t i v e ! With t h e conserv ing abandon, foreshadowed, of a Ger t rude S t e i n . The p a r t i c l e s of language must be c l e a r as sand. 12

There i s a d i r e c t r e l a t i o n between P o e ' s exper iments i n sound

and language i n t h e poems--in "e f f ec t sn - - and h i s l a t e r cosmic

myth, where t h e e s s e n t i a l power o f words bo th t o c r e a t e

and t o d e s t r o y engages him. I n Eureka Poe a t t e m p t s t o d e a l

s imul taneous ly w i t h t h e c r e a t i o n and d e s t r u c t i o n of t h e

p h y s i c a l world and t h e c r e a t i o n - d e s t r u c t i o n - r e c r e a t i o n of

t h e worlds of d i s c o u r s e s e t up by the poem. There words

become a c t s t h a t r e v e r b e r a t e through bo th t h e s e l f t h a t

speaks them o u t and t h e world i n t o which they a r e spoken.

I n a world from which man's a c t s and words had been f o r

t h e most p a r t removed by concep tua l g r i d s of meaning,

P o e t s methodology can be s een as a means o f b reak ing

language down i n o r d e r t o r e a s s e r t i t - - t o f i r s t expose

and then r e - r e l a t e man t o a p h y s i c a l i t y i n which h i s words

and a c t s i n h e r e i n one ano the r . A s W i l l i a m s p o i n t s o u t ,

t h e c r i t i c i s m i s noth ing i f n o t a s t r u g g l e f o r such a

m e thodology . x v i i i

A " c h i l d l i k e , " s imp le , deduc t ive r ea son ing I S h i s c r i t i c i s m - - a s ense of BEGINNING--of o r i g i n a l i t y t h a t presupposes an i n t r i n s i c WORTH i n t h e reasoner--a s e n s e of s t r i p p e d , be ing c l o t h e d , n e v e r t h e l e s s . 13

The r ea son ing v o i c e o f t h e n a r r a t o r - p o e t i n Eureka moves

by j u s t such a s imp le , deduc t ive l o g i c t h a t i s n o t t h e l o g i c

of s c i e n c e a lone . By i n s i s t i n g t h a t t h e i n t u i t i o n o r

imagina t ion i s t h e ve ry ground of l o g i c and r ea son , t h e

vo ice ( t h e "I") i s a b l e t o i n c o r p o r a t e a r ea son ing i n t e l l i -

gence w i t h i n it.

I n 1921 Pau l ~ a l & y noted t h e s i g n i f i c a n c e of Eureka

as a cosmogonic poem and wrote of t h e s t a g g e r i n g e f f e c t it

had on h i s mind when he f i r s t came upon it. va16ry i s one

o f t h e f i r s t t o cons ide r Eureka bo th a s " sc i ence" and a s a

poem--as w e l l a s t h e f i r s t t o a s s o c i a t e P o e t s t heo ry i n

Eureka w i t h modern t h e o r i e s of r e l a t i v i t y . Without

reduc ing Eureka t o pseudo-science, Valgry a s s e s s e s i t s use

of s c i e n t i f i c method and language a s a demand f o r p r e c i s i o n ,

cons i s t ency and o r d e r - - i t s "symmetry."

I n P o e ' s sys tem, c o n s i s t e n c y i s bo th t h e source of t h e d i scove ry and t h e d i scove ry i t s e l f . This i s an admirab le concept ion : a n example and a p p l i c a t i o n of r e c i p r o c a l a d a p t a t i o n . The un ive r se is formed on a p l a n t h e profound symmetry of which i s p r e s e n t , a s it were, i n t h e i n n e r s t r u c t u r e o f our minds. Hence, t h e p o e t i c i n s t i n c t w i l l l e a d us b l i n d l y t o t h e t r u t h . 1 4 [ i t a l i c s mine]

He qoes on t o speak of t h e ways i n which Eureka was ahead - - - of i t s t i m e , even by s c i e n c e ' s s t a n d a r d s . But n o t even

s c i e n c 2 can d e a l w i t h P o e t s s e n s e of a c o r r e s p o n d e n t i a l

xix

r e l a t i o n between s u b j e c t and o b j e c t ; s e l f and world--that

i s , h i s s e n s e of formal "symmetry. 'I va16ry con t inues :

Tha t t h i s tendency approaches r e c e n t concept ions becomes e v i d e n t when one d i s c o v e r s , i n t h e poem under d i s c u s s i o n , an a f f i r m a t i o n of t h e symmetr ical and r e c i p r o c a l r e l a t i o n s h i p o f m a t t e r , t ime , space , g r a v i t y , and l i g h t . I emphasize t h e word symmetric- a l , f o r i t i s , i n r e a l i t y , a formal symmetry which i s t h e e s s e n t i a l c h a r a c t e r i s t i c of E i n s t e i n ' s concept ion . 15

Eureka ' s c o n s i s t e n c y (which Poe d e f i n e s as i t s " t r u t h 1 ' as

w e l l as i t s beauty) i s n o t t h e t r u t h o r cons i s t ency o f

d e s c r i p t i v e s c i e n c e . ~ a l g r y a rgues t h a t Poe does n o t c o n f i n e

himself t o any m e r e examination o f t h e p h y s i c a l c o n s t i t u e n t s

of t h e appearances of phenomena, b u t ' l i n t roduces l i f e and

consc iousness i n t o h i s p l a n . "

A t t h i s p o i n t how many though t s occur t o t h e mind! The t ime i s p a s t when one could d i s t i n g u i s h e a s i l y between t h e m a t e r i a l and t h e s p i r i t u a l . Formerly a l l d i s c u s s i o n w a s based on a c o q l e t e knowledge of "matter," which it was thought could be l i m i t e d by d e f i n i t i o n . I n a word, eve ry th ing depended on appearance .

The appearance of matter i s t h a t of a dead s u b s t a n c e , a p o t e n t i a l i t y which becomes a c t i v i t y on ly th rough t h e i n t e r v e n t i o n o f something e x t e r i o r and e n t i r e l y f o r e i g n t o i t s n a t u r e . For t h i s d e f i n i t i o n , i n e v i t a b l e consequences could be drawn. But m a t t e r has changed. Our o l d concept ion of i t s n a t u r e was d e r i v e d from pure o b s e r v a t i o n ; exper iments have l e a d t o an o p p o s i t e n o t i o n . The whole of modern p h y s i c s , which has c r e a t e d , as it were , r e l a y s f o r our s e n s e s h a s persuaded us t h a t o u r former d e f i n i t i o n had n e i t h e r an a b s o l u t e nor a s p e c u l a t i v e va lue . W e f i n d t h a t matter i s s t r a n g e l y d i v e r s e and i n • ’ i n i t e l y s u r p r i s i n g ; t h a t it i s formed of t r a n s f o r m a t i o n s which con t inue and a r e l o s t i n minuteness , even i n t h e abysses of minuteness ; w e l e a r n t h a t p e r p e t u a l motion i s per - haps r e a l i z e d . I n m a t t e r an e t e r n a l f e v e r r a g e s . 1 6

va16ryts r e f l e c t i o n s , l i k e t h o s e of Poe i n Eureka i t s e l f ,

move p a s t mere s p e c u l a t i o n i n t o a n imag ina t ive f l i g h t t h a t

i s none the l e s s "grounded" i n an e x p e r i e n c e of l i v i n g

" subs t ance . " Ordinary "mat te r" (when seen a f r e s h ) f o r

s c i e n t i s t and p o e t a l i k e , t u r n s o u t t o be " s t r a n g e l y d i v e r s e

and i n • ’ i n i t e l y s u r p r i s i n g , "--it is a l i v e . I n Eureka, a s

i n t h e t a les , P o e t s s e n s e o f s u r p r i s e , e f f e c t , t h e

unexpected, arises a s it always does , o u t of t h e expec ted .

The known t u r n s over t o r e v e a l t h e unknown; t h e p h y s i c a l

t o r e v e a l t h e s p i r i t u a l and v i ce -ve r sa . ~ a l g r y saw t h a t

i n Eureka a l l o p p o s i t i o n s a r e de f ined i n t e r m s o f each

other--and s o " t h e t ime i s p a s t when one could d i s t i n g u i s h

e a s i l y between t h e m a t e r i a l and t h e s p i r i t u a l . " Mat te r

i t s e l f , t h e t h i n g most known and d e f i n e d , t u r n s o u t t o have

p o e t ' s t a s k t o speak o u t of t h a t p l a c e where t h e imagina t ion

i s bo th t h e "shaper" and t h e "shapedu- - tha t edge of con-

s c i o u s n e s s which i s "a p o i n t of o r i g i n a t i o n . " I w i l l be

a rgu ing t h a t t h e preoccupa t ion w i t h f e a r i n t h e t a l e s i s

t o become i n Eureka a n i n t e r e s t i n o r i g i n s , e v e n t , and

p r e s e n c e - - " f i r s t t h i n g s . " I t can be s een a s P o e ' s l a s t

a t t e m p t t o make t h e known, unknown; t h e unknown, known--

t o r ecove r t h e s t a r t l i n g presence o f t h e " s t r a n g e " i n t h i n g s

most f ami l i a r - -one ' s own v o i c e a s it comes back, a f i n g e r

a s it moves a speck of d u s t , a s t a r a s it appea r s and ,

x x i

d i s a p p e a r s i n t h e sky. I t i s h e r e i n t h e i n t u i t i v e g r a s p

of "process" t h a t t h e whole of man's p h y s i c a l i t y i s engaged

by t h e world . It i s h e r e t h a t s c i e n t i f i c language,

deduc t ive and i n d u c t i v e r e a s o n i n g , d i a l e c t i c i t s e l f b r eaks

o f f and t h e poem begins t o move i n t o image and metaphor.

I wish t o show how Eureka opens i n t o what a u t h e n t i c

cosmogony d e f i n e s a s expe r i ence of "void." For it i s

a l s o on ly a t t h i s midpoint where d i s c o u r s e t h r e a t e n s t o

b reak , t h a t t h e poem i s incomplete and t h e r e a d e r may be

drawn i n t o complete it by moving back through h i s own

expe r i ence o f t h a t e x p e r i e n t i a l "ground." I n t h i s s ense

Eureka can be s een a s one of t h e f i r s t a t t e m p t s i n

American L i t e r a t u r e t o move i n t o what i s c a l l e d "open-form"

n a r r a t i o n . Unfo r tuna t e ly , va16ry ' s p e r c e p t i v e remarks

Before t u r n i n g t o an examinat ion of Eureka as a

modern reappearance of t h e a n c i e n t cosmogonic form, l e t

u s s e e how i t s e a r l y pages move o u t o f a s t r u g g l e w i t h

d i a l e c t i c . I n t h e opening s e n t e n c e s o f t h e t e x t Poe

d i s c l o s e s h i s g e n e r a l p r o p o s i t i o n , which it becomes t h e

t a s k of t h e poem t o unfo ld :

I n t h e O r i g i n a l Uni ty of t h e F i r s t Thing l ies t h e Secondary Cause of A l l Th ings , w i t h t h e Germ o f t h e i r I n e v i t a b l e A n n i h i l a t i o n .

(~ :v .16 ,185-6 )

Impl ied i n even t h e g e n e r a l i t y and condensa t ion of t h i s

s t a t e m e n t , i s a d i s t i n c t i o n between two primary c o n d i t i y s

x x i i

a t t h e ground of being--the o r i g i n a l c o n d i t i o n o f Unity

and t h e secondary c o n d i t i o n of Hete rogene i ty a f t e r an

i n i t i a l a c t o f s e p a r a t i o n (imaged i n t h e tales a s t h e F a l l )

which u p s e t s t h a t f i r s t "S impl i c i t y" of p r imord ia l "ma t t e r . "

"Ann ih i l a t i on" i n t h i s c o n t e x t becomes t h e slow r e t u r n t o

Uni ty , a s Wilbur has sugges ted . By i m p l i c a t i o n , t h e end

( a n n i h i l a t i o n ) i s p r e s e n t i n t h e beginning--Unity c o n t a i n s

" t h e germ" o r seed of i t s d e s t r u c t i o n , j u s t a s t h e c o n d i t i o n

of Hete rogene i ty w i l l b e shown t o c o n t a i n the seed of

Uni ty . I n s o f a r a s P o e ' s un ive r se i s proposed as a k ind of

d i v i n e work of a r t , t h e i m p l i c a t i o n f o r Poe ' s a e s t h e t i c

t heo ry i s t h a t t h e a r t i s t must p a r t i c i p a t e i n t h e p r o c e s s

of t h i n g ' s p e r f e c t i n g through a cosmic r e t u r n t o o r i g i n s

which has a l r e a d y begun. Beauty i s i n c r e a s i n g wi th man's

( p a r t i c u l a r l y t h e p o e t ' s ) i n c r e a s i n g a b i l i t y t o perceive

it. The e x p l o r a t i o n of d e a t h i n t h e tales becomes i n

Eureka t h i s r e t u r n t o a p o i n t of u n i t y i r r e l a t i o n a t

t h e c e n t e r of t h e cosmc?.

From t h e above s t a t e m e n t of Eureka ' s b a r e " P l o t , "

Poe then moves i n t o t!!e f i c t i o n a l d e v i c e of t h e "hoax"

which w e w i l l f i n d him employing i n t h e tales. Here it

becomes a way of p rov id ing a frame f o r t h e n a r r a t i v e v o i c e ,

s e t t i n g up double and t r i p l e p e r s p e c t i v e s from which t h a t

vo i ce may speak. The " l y r i c a l I " o f t h e earl ier poems i s

i n Eureka, as I hope t o show, no more t h e v o i c e o r " I "

of mere s e l f - e x p r e s s i o n , b u t an "I" t h a t pushes i t s way up

o u t o f many q u a l i f y i n g v o i c e s and modes of d i s c o u r s e t o

speak o u t of " t h e ground" o f be ing .

An e p i s t l e , s ays t h e n a r r a t o r , i s "found corked i n

a b o t t l e and f l o a t i n g i n t h e Mare Tenebrarum--an ocean

d e s c r i b e d by t h e Nubian geographer , Ptolemy Hephest ion, b u t

l i t t l e f r equen ted i n modern days u n l e s s by t h e Transcenden-

t a l i s t s and some o t h e r d i v e r s f o r c r o c h e t s . ' I (H:v.16,187-8)

The f i c t i o n a l dev ice s e r v e s one of s e v e r a l purposes a s

s a t i r e and q u a l i f y i n g i r o n y . For " t h e hoax, " Poe s e l e c t s

a n a r r a t i v e v o i c e t h a t i s a t once i r o n i c a l and p r o p h e t i c ,

speaking o u t of f u t u r i t y and looking back on t h e "presen t1 '

age w i t h detachment. Through t h e frame ( a s i n t h e e a r l i e r

s a t i r e s and bu r l e sques ) P o e t s i r o n y i s an a t t a c k on t h e

f a l l a c i e s and inadequac ies of r a t i o n a l thought , t h a t i s ,

i n d u c t i v e and deduc t ive reasnning--"the creeping and crst; l ing

systems" which t h e world had come t o a c c e p t a s " t h e on ly

two p r a c t i c a b l e roads t o t r u t h . I' (H:v. 16,188) Through h i s

n a r r a t o r , Poe c o n f r o n t s t h e modern descendents of A r i s t o t l e ,

whose name has come down through h i s t o r i c a l con fus ions ,

as "Ar ies T o t t l e , " and t h o s e of Bacon o r "Hogm--the

"noumenal is ts" and "phenomenal is ts" r e s p e c t i v e l y . The

a t t a c k a i m s bo th a t t h e Kant ian o f f s h o o t of A r i s t o t e l i a n i s m

and i t s p r e s e n t descendents i n America, t h e Transcendental -

i s t s , a s w e l l a s t h e e m p i r i c i s t s o r m a t e r i a l i s t s . The

letter-writer s t a t e s :

xx iv

Poe

. . . H i s [ A r i s t o t l e ' s ] most i l l u s t r i o u s d i s c i p l e s were one Tucl id , a geometr ician, [meaning Eucl id] and one Kant, a Dutchman, t h e o r i g i n a t o r of t h a t s p e c i e s of Transcendentalism which, wi th t h e change merely of a C f o r a K , now b e a r s h i s p e c u l i a r name. (H:v.16,188-9)

a t t a c k s t h e A r i s t o t e l i a n s "Rams" f o r grounding ' ' t ru th"

i n "non-exis tent" axioms a s a way of avoiding d i r e c t

experience. "The simple t r u t h i s , " Poe s a y s , " t h a t t h e

A r i s t o t e l i a n s e r e c t e d t h e i r c a s t l e s upon a b a s i s f a r l e s s

r e l i a b l e than a i r ; f o r no such th ings a s axioms ever e x i s t e d

o r can poss ib ly e x i s t a t a l l . " (H:v.16,192) The unquestion-

ing acceptance of p r o p o s i t i o n a l t r u t h a s complete wi thout

experience l eads most of "modern" philosophy i n t o nothing

b u t "crochets"-- things of l i t t l e use. Secondly Poe ' s

n a r r a t o r l a s h e s o u t a t t h e m a t e r i a l i s t s through Bacon's

descendent, M i l l , and h i s "Mil lhorse ," Bentham--the

"Bedlamites, " those ,

d iggers and peddlers of minute f a c t s , f o r t h e most p a r t i n phys ica l sc ience-- fac ts a l l of - - which- they r e t a i l e d a t t h e same p r i c e upon t h e highway; t h e i r va lue depending, i t was supposed, simply upon t h e f a c t of t h e i r f a c t , wi thout r e f e r e n c e t o t h e i r a p p l i c a b i l i t y o r i n a p p l i c a b i l - i t y i n t h e development of those u l t i m a t e and J

only l e g i t i m a t e f a c t s , c a l l e d Law. (H:v.16,191)

Since by h i s own axiom, M i l l a l lows t h a t " t h e a b i l i t y o r

i n a b i l i t y t o conceive i s i n no c a s e t o be taken a s a

c r i t e r i o n of axiomatic t r u t h , " t h e l e t t e r w r i t e r a rgues ,

M i l l ' s l o g i c se l f - con t rad ic to ry . For i n s p i t e of h i s

axiom, when asked why c o n t r a d i c t i o n s cannot " c o e x i s t i n

n a t u r e , " M i l l can give no answer o t h e r than t h a t he f i n d s

it "impossible t o conceive t h a t a t r e e can be anything

e l s e than a t r e e o r n o t a t r e e . " ( ~ : v . l 6 , 1 9 4 ) Poe r e t u r n s

xxv

t o p e r c e p t i o n , a rgu ing t h a t even a " T r a n s c e n d e n t a l i s t u

may r e g a r d a t r e e "bo th as a tree and n o t a tree. " That

i s , expe r i ence t e l l s u s t h a t c o n t r a d i c t i o n s do e x i s t i n

n a t u r e . Therefore t h a t law of "non-cont rad ic t ion" i s

n o t "grounded."

The v e h i c l e of t h e hoax enab le s Poe t o " c l e a r t h e

ground" of t h e s e "two s o l e r o a d s t o t r u t h " and embrace t h e

i n t u i t i o n which i n i t s f a s h i o n " s p e c u l a t e s , " " t h e o r i z e s , "

and "guesses" a t t r u t h , s o a r i n g - o n wings " u t t e r l y i n -

c o g n i z a n t of ' p a t h . ' " (H:v. 16,195) "The r e p r e s s i o n o f

imag ina t ion , I' s ays t h e letter-writer, " w a s an e v i l n o t t o

be counte rba lanced even by a b s o l u t e c e r t a i n t y i n t h e s n a i l

p roces s . " (HX. 16,190) The e p i s t l e , t h e n , becomes bo th

a c r i t i c i s m o f t h e n a i v e , ungrounded, modes of r a t i o n a l

thought and a de fense of t h e i n t u i t i o n o r imagina t ion , a s

t h e on ly means of g ra sp ing p r o c e s s . The u n i v e r s e , l i k e

t h e mind t h a t would p a r t i c i p a t e i n i t , i s a l i v e , ,

P o e ' s u s e of t h e e p i s t l e compl ica tes ou r r ead ing

o f t h e e n t i r e poem. For on one l e v e l he seems t o be

s a t i r i z i n g t h e l e t t e r - w r i t e r , whose accoun t o f h i s t o r y i s

f u l l of h i l a r i o u s i n a c c u r a c i e s . Y e t t h e i n a c c u r a c i e s

i n t e n s i f y t h e i r o n i c e f f e c t and a t t h e same t i m e l e a d t h e

r e a d e r i n t o a q u e s t i o n i n g of h i s t o r i c a l t r u t h as a mode

of knowledge. The e p i s t l e p r e p a r e s us f o r t h e l e a p i n t o

myth ica l t i m e and space t h a t i s t o f o l l o w a s t h e n a r r a t i v e

vo ice b reaks i n t o r e v e r i e . S i n c e Poe d i s t a n c e s h i m s e l f *

xxvi

from t h e n a r r a t o r of what he c a l l s " t h i s somewhat imper-

t i n e n t e p i s t l e , " (H:v.16,198) w e cannot accuse him of

waxing u n n e c e s s a r i l y rhapsod ic ove r t h e gen ius o f Newton

o r Keple r , whose words t h e l e t t e r - w r i t e r i s r e p e a t i n g :

I c a r e n o t whether my work be r ead now o r by p o s t e r i t y . I can a f f o r d t o w a i t a cen tu ry f o r r e a d e r s when God himself h a s wai ted s i x thousand y e a r s f o r an o b s e r v e r . I tr iumph. I have s t o l e n t h e golden secret of t h e Egypt ians . I w i l l i ndu lge my sac red f u r y . (H:v.16,198) -

The n a r r a t i v e vo ice t h a t i n t e r r u p t s t h e e p i s t l e cannot be

i d e n t i f i e d a b s o l u t e l y w i th t h e s c i e n t i s t , t h e p o e t o r w i t h

Poe. Poe h imse l f bo th does and does n o t speak i n t h e l e t t e r -

writer. W e cannot be c e r t a i n what s e c r e t P o e ' s Kepler has

s t o l e n . Has he grasped t h e s e c r e t of p l a n e t a r y motion

o r t h e s e c r e t o f l i f e i t s e l f , o r both? The meaning i s

u n s e t t l e d and Poe ma in t a in s an ambivalence. W e must ,

however, keep i n mind t h a t P o e ' s Kepler and Newton are n o t

t o be i d e n t i f i e d w i t h t h e na ive r a t i o n a l i s m Poe a t t a c k s

i n t h e e p i s t l e . P o e ' s Newton i s matamorphosed f o r P o e t s

purpose i n t o a r e p r e s e n t a t i o n o f t h e i d e a l p o e t - s c i e n t i s t .

He p r e s e n t s a Kepler whose r ea son ing i n t e l l e c t has been

r e s t o r e d w i t h i n t h e c i r c l e of an al l-encompassing

" i n t u i t i o n . " The t r a n s f i g u r e d Newton, t h e n , l i k e P o e ' s

Kepler and LaPlace, r e a c h t h e i r " s c i e n t i f i c " conc lus ions

through t h e r u l i n g power of t h e imagina t ion . P o e t s

Kepler s t a t e s :

x x v i i

I know nothing about t h e machinery of t h e Universe. Here it i s . I grasped it wi th my soul--I reached it through mere d i n t of i n t u i t i o n . (H:v. 16,197)

The p o e t - s c i e n t i s t , by reasoning backward t o t h e c r e a t i o n ,

i s capable of r a i s i n g both himself and t h e world of h i s

percept ion . For he a lone , through h i s own " f e e l i n g s , "

has discovered a method of "seeing" t h e s c a t t e r e d presence

of t h e d i v i n e t h a t s a t u r a t e s t h e world. H e a lone i s a b l e

t o p a r t i c i p a t e a c t i v e l y i n t h e process of a n n i h i l a t i o n

t h a t i s both a pe r sona l and a cosmic even t . W e w i l l be

fol lowing t h e development of t h i s heightened r a t i o n a l i t y

through t h e t a l e s t h a t precede Eureka.

A s t h e " e p i s t l e " c l o s e s and t h e vo ice o f t h e poet-

s c i e n t i s t breaks i n , Poe s t i l l has a t h i s d i s p o s a l t h e

voices he has introduced i n t h e n a r r a t i v e frame. The

q u a l i f y i n g ' i r o n y al lows him i n t h e body of t h e poem t o

speak o u t of a whole range of vo ices , inc luding t h a t of

t h e d e t e c t i v e - s l e u t h , t h e s c i e n t i s t , t h e philosopher-

metaphysician and t h e poet . The accuracy of science--

even deduct ive and induc t ive reason a r e redeemed f o r h i s

purposes--those of showing and knowing how t h e mind

a r r i v e s a t i t s percept ions . For example, a f t e r e s t a b l i s h -

ing Unity a s t h e o r i g i n a l cond i t ion of t h e mat ter and

s p i r i t of t h e universe " a p r i o r i , " Poe r e v e r s e s h i s

method and deduces t h a t t r u t h "a p o s t e r i o r i . " " In f a c t , "

he w r i t e s ,

x x v i i i

I have a t t a i n e d a p o i n t a t which it w i l l b e a d v i s a b l e t o s t r e n g t h e n my p o s i t i o n by r e v e r s - i n g my p roces ses . So f a r , w e have gone on "a p r i o r i , " from an a b s t r a c t c o n s i d e r a t i o n of S i m p l i c i t y , a s t h a t q u a l i t y most l i k e l y t o have c h a r a c t e r i z e d t h e o r i g i n a l a c t i o n o f God. L e t u s now s e e whether t h e e s t a b l i s h e d f a c t s of t h e Newtonian G r a v i t a t i o n may n o t a f f o r d u s , "a p o s t e r i o r i , " some l e g i t i m a t e i n d u c t i o n s .

(H:v. 16,215)

The c o n t i n u a l w a r f a r e of t h e i n t u i t i o n w i t h t h e r a t i o n a l

mind c r e a t e s t h e f o r c e t h a t d r i v e s image and metaphor t o

t h e r e s c u e . A s t h e f o e of t h e ta les , t h e r a t i o n a l mind, J

b u s i e s and b u r i e s i t s e l f w i t h t h e dynamics of t h e

d i a l e c t i c , t h e i n t u i t i o n i n t e r v e n e s i n a f l a s h t o s e i z e

t h e ground t h a t l i es between t h e p o l e s of t h e d i a l e c t i c .

We can now s e e t h a t by opening w i t h a f i c t i o n a l d e v i c e ,

Poe f o r c e s h i s audience immediately t o a c c e p t t h e

v a l i d i t y o f imag ina t ive ( f i c t i o n a l ) o r d e r s of t r u t h . I n .

o r d e r t o move p a s t t h e i n t r o d u c t o r y e p i s t l e , one must

a c c e p t t h e p r o p o s i t i o n s t h a t a r e , t r u e i n s i d e P o e ' s u n i v e r s e

of l i m i t e d space . T h i s moves t h e r e a d e r p a s t h i s o r d i n a r y

sense t h a t a r t i s a "made-up" expe r i ence and cannot d e a l - ,

w i t h t r u t h . I n s i d e P o e ' s cosmos, t h e n , meaning and t r u t h

w i l l be r e d e f i n e d .

Before t u r n i n g t o t h e c e n t r a l image o r correspon-

d e n t i a l symbol i n Eureka of t h e cosmic h e a r t ( s e e Chapter

V I ) , l e t us n o t e how i n t h e fo l lowing passage metaphor

b u r s t s through a nexus of " s c i e n t i f i c " c o n s i d e r a t i o n s .

Poe beg ins by cons ide r ing t h e f i r s t p r i n c i p l e o r "Law"

xx ix

behind " u n i v e r s a l agglomerat ion"-- the tendency of a l l

t h i n g s t o r e t u r n t o t h e s t a t e c a l l e d " u n i t y , " . . . "which I r e p e a t , t h e a n a l o g i c a l , symmetr ical o r p o e t i c a l

i n s t i n c t of Man had predetermined t o unders tand a s

something more than a s imple hypo thes i s . " (H:v.16,303)

Poe looks a t t h e ' ' s t r i c t l y l o g i c a l " r ea son ing account ing

f o r t h e o r b i t of "Enck's comet" abou t our sun and s o

p r e d i c t s t h e e v e n t u a l p r e c i p i t a t i o n o f t h a t comet upon

t h e sun. H e a rgues :

Tha t Enck ' s comet w i l l be absorbed i n t o t h e Sun, i s p robab le ; t h a t a l l t h e comets o f t h e system w i l l b e absorbed, is more than merely p o s s i b l e ; b u t , i n such c a s e , t h e p r i n c i p l e of a b s o r p t i o n must be r e f e r r e d t o e c c e n t r i c i t y o f o r b i t - - t o t h e c l o s e approximation t o t h e Sun, of t h e comets a t t h e i r p e r i h e l i a ; and i s a p r i n c i p l e n o t a f f e c t - i n g , i n any deg ree , t h e ponderous s p h e r e s , which a r e t o be regarded a s t h e t r u e m a t e r i a l c o n s t i t u - e n t s of t h e u n i v e r s e . ( ~ : ~ . 1 6 , 3 0 4 )

The p o i n t i s h e r e t h a t t h e unexpected r e v e r s a l occu r s a s a

b u r s t i n g of image through t h e d i s c u r s i v e n e s s o f s c i e n c e ' s

vocabula ry .

Touching comets, i n g e n e r a l , l e t m e he re s u g g e s t , i n p a s s i n g , t h a t w e canno t be f a r wrong i n looking upon them a s t h e l i g h t e n i n g f l a s h e s of the cosmical Heaven. C ~ : ~ . 1 6 . 3 0 4 ) [ i t a l i c s mine]

The r e v e r i e has s e n t him upon a comtemplation o f t h e behavior

of m a t t e r and subs tance-- the "ponderous" sphe re s . Yet on

c o n s i d e r i n g t h e i r weight and heav ines s he i s l e d back t o

t h e i r oppos i te - - the fast-moving comets--speed and l i g h t .

Again t h e language a t t h e c l imax of t h e f i n a l i n g a t h e r i n g

of t h e ponderous o r b s , t h r e a t e n s t o b reak under t h e weight

XXX

of t h e i n e x p r e s s i b l e . Language i s f o r c e d i n t o nega t ion ,

which would ho ld a sense of t h e e v e r a r i s i n g unknown

a s it ve rges upon t h e edges of t h e known:

t h e r e must occu r , a t once, a c h a o t i c o r seemingly c h a o t i c p r e c i p i t a t i o n , of t h e moons upon t h e p l a n e t s , of t h e p l a n e t s upon t h e s u n s , and of t h e s u n s upon t h e n u c l e i ; and t h e g e n e r a l r e s u l t of t h i s p r e c i p i t a t i o n must be t h e g a t h e r i n g of t h e myriad now-existing s t a r s of t h e firmament i n t o a n a lmos t i n f i n i t e l y less number of a lmos t i n f i n i t e l y s u p e r i o r s p h e r e s . I n be ing immeasurably fewer , t h e wor lds of t h a t day w i l l be immeasurably g r e a t e r t han ou r own. Then, i ndeed , amid unfathom- a b l e ab s s e s , w i l l be g l a r i n g unimaginable suns .

H:v.16,307-81 [ i t a l i c s mine] e A s t h e world moves toward f i n a l co l l apse - - the mind--language

i t s e l f - - s eems i n W i l l i a m ' s words t o " f l y away from sense . "

The p a s t and f u t u r e are merged i n t h e "augus t P r e s e n t , " a s

t h e "I" v o i c e speaks o u t of i t s own d i s s o l u t i o n .

How, one may a s k , can t h e l y r i c a l "I" hold i t s e l f

and t h e world a t t h i s p o i n t of c o l l a p s e ? ~ r i e d r i c h Nietzsche

e x p l o r e s t h e d i s t i n c t i o n between an "I" a t t h e ground of

being and t h e "I" of s e l f - e x p r e s s i o n i n The B i r t h of Tragedy.

H i s s e n s e of the Dionysian v o i c e t h a t i s a b l e t o speak o u t

of i t s own expe r i ence and y e t t o i n c l u d e t h e world i n i t s

u t t e r a n c e may h e l p u s w i t h Poe. Nie tzsche w r i t e s t h a t

t h e l y r i c a l p o e t i s

f i r s t and foremos t , a Dionysiac a r t i s t , become wholly i d e n t i f i e d w i t h the- o r i g i n a l Oneness, i t s p a i n and c o n t r a d i c t i o n , and producing a r e p l i c a of t h e Oneness a s music , i-J music may l e g i t i m a t e l y be s een a s a r e p e t i t i o n of t h e world; however, t h i s music becomes v i s i b l e t o him a g a i n , as i n a dream s i m i l i t u d e , through t h e Apol lonian dream i n f l u e n c e . Tha t r e f l e c t i o n ,

xxxi

w i t h o u t image o r i d e a , o f o r i g i n a l p a i n i n music, w i t h i t s redemption through i l l u s i o n , now produces a second r e f l e c t i o n a s a s i n g l e s i m i l e o r example. The a r t i s t had abroga ted h i s s u b j e c t i v i t y e a r l i e r , du r ing t h e Dionysiac phase: t h e image which now r e v e a l s t o him h i s oneness w i t h t h e h e a r t of t h e world i s a d r e m scene showing f o r t h v i v i d l y , t o g e t h e r w i th o r i g i n a l p a i n , t h e o r i g i n a l d e l i g h t of i l l u s i o n . The "I" t h u s sounds o u t of t h e dep th of be ing ; what r e c e n t writers on e s t h e t i c s speak of as " s u b j e c t i v i t y " i s a mere f igment . 17 [ i t a l i c s mine]

The purpose o f t h i s paper i s t o c a s t l i g h t on what Poe i s

abou t i n Eureka and t o show him moving toward a g radua l

r ecove ry of t h e "I" dwel l ing a t t h e ground o f be ing- - tha t i s ,

t o r e e s t a b l i s h connec t ion w i t h t h e Hea r t of t h e world. P o e t s

own s t a t e m e n t s on t h e m u s i c a l i t y o f p o e t r y might l e a d u s

a l s o t o c a l l Poe i n Eureka a Dionysian a r t i s t , wholly

i d e n t i f i e d w i t h " t h e o r i g i n a l Oneness, i t s p a i n and

c o n t r a d i c t i o n . "

xxx ii

NOTES

INTRODUCTION

l ~ d ~ a r A l l a n Poe, Complete Works of Edgar A l l a n Poe, X I V , ed . James A . Har r i son (New York: A.M.S. P r e s s , 1 9 6 5 ) , p . 183. The fo l lowing t e x t s of P o e ' s work, each accompanied by i t s a p p r o p r i a t e a b b r e v i a t i o n f o r purposes of c i t a t i o n , w i l l be used throughout t h e d i s c u s s i o n bo th h e r e and i n a l l subsequent c h a p t e r s : The Complete Works of Edgar A l l a n Poe, I-XVI, e d . , James A . Har r i son (New York: A.M.S. P r e s s , 1 9 6 5 ) ; H ; The C o l l e c t e d Works of Edgar A l l a n Poe, I , ed. Thomas 0 . Mabbott (Cambridqe: Belknap P r e s s , 1969) : M. A l l r e f e r - ences t o W i l l i a m ~ a r l o s ~ i l l i a m s ' I n t h e American Gra in (New York: New D i r e c t i o n s , 1956) i n t h e a b s t r a c t appear a b b r e v i a t e d i n t h e t e x t a s "IAG. " A l l i t a l i c s i n t h e t e x t are t h e a u t h o r ' s u n l e s s o the rwi se i n d i c a t e d .

2 ~ r t h u r Hobson Quinn , Edgar A l l a n Poe: A C r i t i c a l B i o g r a p h y (New York: Appleton-Century-Crof t s , 1963) , p. 555.

' ~ d ~ a r A l l a n Poe, T a l e s of t h e Grotesque and Arabesque C ~ l o u c e s t e r : P e t e r Smith, 1965) , p . 8.

% i l l i a m C a r l o s W i l l i a m s , I n t h e American Grain ( ~ e w York: N e w D i r e c t i o n s , 1956) , p. 216.

/ Edgar A l l a n Poe, Poe: Complete Poems, ed . w i t h an i n t r o d u c t i o n and n o t e s by Richard Wilbur (New York: D e l l , 1 9 5 9 ) , p . 7 .

8 ~ i c h a r d Wilbur , ed . , p . 7 .

xxxiii

1•‹1bid. , pp. 12-13.

l4I3r ic W. Ca r l son , The Recogni t ion of Edgar A l l an Poe (Ann Arbor: U n i v e r s i t y of Michigan P r e s s , 1966) , p. 106. - -.

1 7 ~ r i e d r i c h Nie tzsche , The B i r t h of Tragedy and t h e Geneology of Morals ( ~ e w York: Doubleday, 1956) , p . 3 8 .

xxxiv

CHAPTER I

SOME CRITICAL PROBLEMS OF ENTRANCE

I f t h e r e be any one c i r c l e of thought d i s t i n c t l y and pa lpab ly marked o u t from amid t h e j a r r i n g and tumultuous chaos o f human i n t e l l i g e n c e , it i s t h a t evergreen and r a d i a n t P a r a d i s e which t h e t r u e p o e t knows, and knows a l o n e , as t h e l i m i t e d realm of h i s a u t h o r i t y - - a s t h e c i rcumscr ibed Eden o f h i s dreams. (1836) (H:v.8,281)

T h i s d e f i n i t i o n of t h e p o e t i c ground taken from P o e ' s

review of Joseph Rodman Drake ' s " C u l p r i t Fay, I' (1836) ,

grows d i r e c t l y o u t of P o e ' s e a r l y s e n s e of a s imple o p p o s i t i o n

of s e l f and world--between t h e i n t e r i o r world of dream,

a s s o c i a t e d w i t h v i s i o n a r y p e r c e p t i o n , as opposed t o t h e

e x t e r i o r wor ld , a s s o c i a t e d w i t h t i m e , r e a son and waking

consc iousness . Here Poe s t a n d s i n t h e mainstream o f

t r a d i t i o n a l Romantic thought . Yet h i s response t o t h e

Romant ic ' s dilemma i s unique, d i s t i n g u i s h i n g him bo th from

t h e Romantics i n England and h i s American contemporar ies .

For r a t h e r t han a t t e m p t t o h e a l t h e breach between s u b j e c t

and o b j e c t , s e l f and world ( a l l t h e o p p o s i t i o n s of a

C a r t e s i a n d u a l i s m ) , he a f f i r m s it and makes it t h e ground

o f h i s a r t . A s Richard Wilbur has s a i d , "Poe ' s p o e t r y

i s n o t a p r o t e s t a g a i n s t t h e s e p a r a t i o n of mind and world

b u t an extreme a s s e r t i o n of t h a t s e p a r a t i o n . I! 1

2

I n t h i s c h a p t e r I w i l l b e d i s c u s s i n g some g e n e r a l

problems i n r ead ing Poe t h a t have grown o u t of v a r i o u s

a t t e m p t s t o impose s t a t i c g r i d s of meaning on a body of

work grounded from t h e beginning i n an e l emen ta l expe r i ence

of a c t i v e o p p o s i t i o n s . I n l i g h t of Eureka t h i s becomes a

problem of c o n s i s t e n c y i n r e a d i n g which demands t h a t w e s e e

how Poe i s making use of e i g h t e e n t h c e n t u r y te~xns l i k e

" t a s t e n and " sen t imen t , " as w e l l a s Romantic d e f i n i t i o n s

of t h e p o e t i c a c t i v i t y , i n o r d e r t o r e d e f i n e them i n t e r m s

o f h i s expe r i ence . The re fo re I w i l l be looking a t P o e t s

s t a t e m e n t s of t heo ry a s t e n t a t i v e s t e p s t o Eureka, i n an

a t t e m p t t o show how they a r e e a r l y s t r u g g l e s w i t h t h e

vocabulary a t hand.

P o e ' s d i s t i n c t i o n between t h e Uranian ( I d e a l ) and

-7 - .- . . v e ~ l u s l d i i { P a s s i o n a t e j beauty i n "The P o e t i c p r i n c i p l e , "

(1850) and h i s s ense of an a c t i v e p o l a r i t y between them as

w e f i n d it expressed i n t h e t a l e s , e s t a b l i s h e s t h e two-

f o l d n a t u r e of h i s v i s i o n a s w e l l a s h i s seemingly " P l a t o n i c "

d e f i n i t i o n of t h e Soul :

I t has been my purpose t o sugges t t h a t , whi le t h i s P r i n c i p l e i t s e l f [ t h e P o e t i c P r i n c i p l e ] i s , s t r i c t l y and s imply , t h e Human A s p i r a t i o n f o r Superna l Beauty, t h e m a n i f e s t a t i o n of t h i s P r i n c i p l e i s always found i n an e l e v a t i n g exc i t emen t of t h e Soul-- q u i t e independent of t h a t p a s s i o n which i s t h e i n t o x i c a t i o n of t h e Heart--or of t h a t t r u t h which i s t h e s a t i s f a c t i o n of t h e Reason. F o r , i n r ega rd t o Pas s ion , a l a s ! i t s tendency i s t o degrade , r a t h e r than t o e l e v a t e t h e Soul . Love, on t h e contrary--Love--the t r u e , t h e d i v i n e Eros--the Uranian, as d i s t i n g u i s h e d from t h e Dionean Venus-- i s unques t ionably t h e p u r e s t and t r u e s t of a l l p o e t i c a l themes, (H:v,l4,29O)

3

A s they a r e imaged i n t h e t a l e s , e a r t h l y passion and

e a r t h l y reason a r e of t h e f a l l e n world i n Time. The Uranian

Venus i s love of t h e realm o u t s i d e t ime, unconfined by

t h e processes of b i r t h , growth, decay, and eventua l dea th .

Poe conf ron t s and i s confronted by a d i a l e c t i c a l frame

wi th Supernal Beauty poised a t one pole ; t h e e a r t h l y ,

mundane beauty a t t h e o the r . He speaks o u t of t h e P l a t o n i c

d i s t i n c t i o n between " t h e pass ions of t h e h e a r t " and t h e

"excitement of t h e Soul ," But though t h e ground i s

P l a t o n i c , t h e poems and t a l e s r e v e a l Supernal beauty, n o t

a s an a b s t r a c t o r t ranscendent concept , b u t a s a t ime less

beauty unavai lab le d i r e c t l y t o man's "perver ted t a s t e "

and h i s "corrupted reason" (H:v.4,203) Such a beauty i s

perceived d i r e c t l y by the heightened senses , though they

be heigk.,tznzd ir; Gissc;l.c;f--or; or the a c t i v i t y of dedi;il

i t s e l f . Looking ahead t o Eureka we a r e forced t o recognize

t h e wholeness P o e l s work proposes from t h e beginning i n

terms of h i s b i -polar v i s i o n . For only i n Eureka does

Poe make a conc i se s ta tement of t h e e x p e r i e n t i a l q u a l i t y

of s p i r i t u a l o r "Supernal" l o v e l i n e s s . There he w i l l argue

t h a t beauty and t r u t h a r e " f e l t , " t h a t i s , sensua l ly

experienced through t h e " i n t u i t i o n u - - t h a t knowledge a t

once of h e a r t and mind. I n Eureka Poe r e t a i n s t h e two-

f o l d v i s i o n b u t w i l l n o t s e p a r a t e body and soul :

The two P r i n c i p l e s Proper , A t t r a c t i o n and Repulsion--the M a t e r i a l and t h e S p i r i t u a l - - accompany each o t h e r , i n t h e s t r i c t e s t f e l l o w s h i p f o r e v e r . Thus t h e Body and The Soul Walk Hand i n Hand. (H:v.16,244)

Nonethe less , up t o and even a f t e r t h e w r i t i n g of Eureka,

Poe w i l l make use of P l a t o n i c d i s t i n c t i o n s .

I would a rgue , t hen , t h a t t h e c r i t i c a l problem i n

coming t o t e r m s w i t h P o e t s f a s c i n a t i o n w i t h d e a t h and t h e

d e s t r u c t i v e e n e r g i e s , a s w e l l a s h i s a p p a r e n t d e n i a l of

s e n s e , can o n l y be apprehended through a n unders tanding of

h i s s t r u g g l e w i t h t h a t P l a t o n i c vocabula ry which would ho ld

h i s s e n s e of t h e t e n s i o n between t h e rea l world (which i s

h e l d i n image, c o r p o r e a l , v i s i b l e ) and t h a t o t h e r (which

i s i n c o r p o r e a l , i n v i s i b l e , i m a g e l e s s ) . Unfo r tuna t e ly , i n

t h e c r i t i c i s m h i s vocabulary i s o f t e n mis lead ing . I n t h e

and t h e C h r i s t i a n d e f i n i t i o n of S p i r i t a s they come o u t o f

Neo-Platonism. Y e t he i s n o t working w i t h i n a t r i n i t a r i u m

(body, s o u l , and s p i r i t ) b u t a cont ra r ium. The i r o n y i s

t h a t he i s i n a sense moving toward a form of "mater ia l i sm"

t h a t w i l l u l t i m a t e l y f o r c e him t o d e f i n e S p i r i t as no th ing

b u t "ma t t e r i n f i n i t e l y r a r i f i e d . "' It i s as i f , t o avo id

t h e f a l l a c i e s of bo th s u b j e c t i v i s m and o b j e c t i v i s m , Poe

goes a t t h e problem from t h e m a t e r i a l i s t s i d e o f t h e

d i a l e c t i c . I n h i s i n t e n s e longing f o r t h e pu re Superna l

expe r i ence of t h e a b s o l u t e l y " o t h e r , " he b reaks through i n

Eureka t o a world he d i d no t c r e a t e , b u t t h a t i n o rde r $0

5

p a r t i c i p a t e i n i t , he has c o n s t a n t l y and imag ina t ive ly t o

remake. He moves i n t o a realm of exper ience where r e a l i t y

i s a t once bo th t o t a l l y "me" and t o t a l l y "o the r . " Th i s

5 w i l l l e a d him toward open form n a r r a t i v e t echn ique , and

a p a r a l l e l r e f u s a l of t h e Neo-c l a s s i ca l view o f language

a s t r a n s p a r e n t ( s i g n t o s i g n i f i e d ) , which o p e r a t e s success -

f u l l y on ly i n t h e realm of " e i t he r /o r I t abso lu t i sm.

But i n "The P o e t i c P r i n c i p l e , " where P o e ' s c r i t i c a l ' I s t a t e m e n t s f i n d t h e i r most mature e x p r e s s i o n , he i s s t i l l

w r i t i n g t h a t t h e poem's concern is w i t h "Supernal" Beauty

a l o n e . Poe t ies "Beauty" o r t h e means by which w e p e r c e i v e

t h e b e a u t i f u l t o t h e f a c u l t y "Tas t e . " T a s t e i s f o r Poe 6

t h a t which informs u s of t h e b e a u t i f u l . I n our t i m e t h e

word " t a s t e " has come t o mean, m e r e l i k e o r d i s l i k e based

. . on pei-soiial opiiiioi -,--- - - 11 w e s a y , l i s a m a t t e r or' taste." But

f o r Poe t h a t word s t i l l r e t a i n e d i t s meaning o u t of

E igh teen th c e n t u r y moral ph i losophy , meaning " t o prove o r

t o t r y by o r a s by touch." ( O . E . D . ) T a s t e f o r Poe was a

t e c h n i c a l , c r i t i c a l t e r m from t h e E igh teen th Century

implying d i r e c t knowledge of a t h i n g th rough a n en l igh tened

r a t i o n a l knowledge of t h e p r o p o r t i o n a t e , t h e harmonious,

t h e a p p r o p r i a t e . The word i n h i s t ime a l s o impl ied d i r e c t

knowledge through t h e s enses a s i n t h e ph ra se " t o tas te

of g r e a t sorrow." Thus P o e t s s ense of t h e word does n o t L

r e f e r one t o a t o t a l l y s u b j e c t i v e op in ion o f a th ing--but

6

t o t h e t h i n g i t s e l f . There i s , i n o t h e r words, a d i r e c t ,

p e r c e p t u a l ground by which beauty can be measured. i n

Eureka Poe w i l l a t t e m p t t o r ecove r t h i s ground e x p e r i e n t i a l l y ,

s i n c e t h e e i g h t e e n t h cen tu ry t e r m had been reduced t o a

concept a l o n e .

Hence ~ o e ' s s e n s e of t h e b e a u t i f u l i s n o t as

ephemeral as it appea r s . "Tru th , " as Poe t ies it t o t h e -. "pure I n t e l l e c t " and t h e "Moral Sense" as he t ies it t o

"Duty" a r e on ly p e r i p h e r a l concerns of t h e " t r u e music"

which i s p o e t r y . ( ~ : v . 1 6 , 2 9 ) Yet t hey remain i n d i r e c t l y

i t s concerns . Music i n P o e ' s s e n s e ( th rough t h e Greek,

p a r t i c u l a r l y Pythagoras) i s r e l a t e d t o "p ropor t ion . 'I The

"music of t h e s p h e r e s " has t o do w i t h t h e immutable l a w s of

u n i v e r s a l harmony. I n t h e s e t e r m s "Tas te" i s t h e

The ph rase of which o u r p o e t s , and more e s p e c i a l l y our o r a t o r s , a r e s o fond--the ph ra se "music of t h e spheresu- -has a r i s e n s imply from a misconcept ion of t h e P l a t o n i c word y o v a 1 ~ 6 which, w i t h t h e Athenians , inc luded n o t merely t h e harmonies of t une and t i m e , b u t p r o p o r t i o n g e n e r a l l y . I n recomend- i n g t h e s tudy of "music" a s " t h e b e s t educa t ion o f t h e s o u l , " P l a t o r e f e r r e d t o t h e c u l t i v a t i o n of t h e T a s t e , i n c o n t r a d i s t i n c t i o n from t h a t of t h e Pure Reason. (H:v. 16,163) ( " ~ a r g i n a l i a , I' 1849)

P o e ' s p o i n t i s t h a t t h e s e t h r e e c a t e g o r i e s ( ~ a s t e , I n t e l l e c t

and Moral Sense) form an o r d e r , and w i t h i n t h a t o r d e r t h e

d e s i r e t o improve must s t a n d i n obedience t o t h e d e s i r e t o

d e l i g h t . When "Tas te" r u l e s , " ~ n t e l l e c t " and "Moral Sense"

t a k e t h e i r p rope r p l a c e s i n a f l u i d o r d e r . I t i s i n t h i s

s e n s e a l o n e t h a t t h e p roces s of t h e a s p i r a t i o n f o r "Supernal

Love l ines s " becomes t h e s o l e s u b j e c t m a t t e r of t h e poem.

Poe makes h i s p o i n t c l e a r l y i n h i s e s s a y on Longfe l low 's

"Ba l l ads and Other Poems":

Div id ing t h e world of mind i n t o i t s most obvious and immediately r ecogn izab le d i s t i n c t i o n s , w e have t h e pure i n t e l l e c t , t a s t e , and moral s ense . W e p l a c e tas te between t h e i n t e l l e c t and t h e moral s e n s e , because it i s just t h i s indetermin- a t e space which, i n t h e mind, it occupies . I t i s t h e connec t ing l i n k i n t h e t r i p l e cha in .

But t h e o f f i c e s of t h e t r i o are broadly marked. J u s t as consc ience , o r t h e moral s e n s e , r ecogn izes d u t y ; j u s t a s i n t e l l e c t d e a l s w i t h t r u t h ; s o it i s t h e p a r t of t a s t e a l o n e t o inform u s of Beauty. And Poesy i s t h e handmaiden b u t of T a s t e . Y e t w e would n o t be misunderstood. T h i s handmaiden i s n o t fo rb idden t o moral ize-- in h e r own f a s h i o n . She i s n o t fo rb idden t o dep ic t - -bu t t o , r e a s o n and p reach , o f v i r t u e . A s , o f t h i s l a t t e r , consc ience r e c o g n i z e s t h e o b l i g a t i o n , s o i n t e l l e c t t e aches t h e expediency, wh i l e t a s t e c o n t e n t s h e r s e l f w i t h d i s p l a y i n g t h e beau ty ; waging war w i t h v i c e merely on t h e ground oE i L s i n c o n s i s t e n c y w i t h f i t n e s s , harmony, p ropor t ion- - in a word w i t h T; K G X ~ V .

(H:v.11,70-71)

Here T a s t e is sensuous and a s s o c i a t e d w i t h fee l ing- -whi le

t h e Moral Sense , u n t i l r e v i t a l i z e d by t h e a c t i v e T a s t e ,

i s "dead."

I n t h e e a r l y poems and t a l e s w e w i l l be c o n s i d e r i n g ,

t h e dreamer p o s s e s s e s this "Supernal Love l ines s " i n t h e

form of h i s o r i g i n a l beloved w i t h Eden. When he l o s e s h e r ,

f o r whatever r e a s o n s , he becomes aware of h e r oppos i te - - the

d i s p r o p o r t i o n a t e , t h e deformed--and P o e ' s Edenic landscape

becomes h i s own p e c u l i a r H e l l . L ike Eden, P o e ' s H e l l t o o

i s a c i rcumscr ibed realm. Clouds t a k e on t h e shape of

demons and t h e landscape w r i t h e s i n u n c e r t a i n t y . The

w a t e r s of P o e ' s v a r i o u s da rk t a r n s and i n t e r i o r l a k e s a r e

no longer waters t h a t n o u r i s h t h e s o u l , t hey become t h e

poisonous w a t e r s t h a t ' d r i n k up l i f e . The landscape of -

P o e ' s H e l l r e f l e c t s t h e u n s e t t l e d n e s s of meaning i t s e l f and

i s i n a s ense t h e landscape of Eden i n v e r t e d , t u rned

upside--.down. P o e ' s twin r ea lms , t h e n , become t h e exp res s ion -

of an e l emen ta l p o l a r i t y . The r e v e r s a l ( o r F a l l ) i s a

f a l l o u t of meaning i n t o exper ience . Hence t h e F a l l i n

Poe i s n o t o n l y a "descen t" i n t o t i m e , b u t a l s o a f a l l o u t

of meaning and r a t i o n a l i t y , and o u t of t h e " r a t i o n a l , "

N e o c l a s s i c a l view of language. "Tas te" becomes t h e s o l e

f a c u l t y capab le of l e a d i n g t h e dreamer ( th rough sense ) back

t o s a n i t y , meaningfulness and a p e r c e p t u a l connectedness

t o t h e world o f h i s expe r i ence .

From a p re l imina ry unders tanding of P o e ' s s e n s e of

an a c t i v e , e x p e r i e n t i a l p o l a r i t y (which I w i l l b e d i s c u s s i n g

more f u l l y i n Chapte rs I1 and I I I ) , we a r e now prepared t o

t u r n t o t h e problem of t h e p l a c e o f t h e r a t i o n a l i n t e l l i -

gence and "method" i t s e l f i n P o e ' s a e s t h e t i c . Out of h i s

i n s i s t e n c e upon t h e i n e f f a b i l i t y o f Superna l beau ty ,

i r o n i c a l l y , i s s u e Poe ' s s t a t e m e n t s on t h e "power of words, 11 5

a s w e l l as h i s "Ra t iona l e of Verse" (1843) and "The

Phi losophy of Composition" (1846) where Poe i s a b l e t o

c la im:

I do n o t b e l i e v e t h a t any though t , p r o p e r l y s o c a l l e d , i s o u t of t h e r e a c h of l ansuaqe . I f ancy , . r a t h e r , t h a t where d i f f i c u l f y i n express ion i s exper ienced , t h e r e is , i n t h e i n t e l l e c t which expe r i ences i t , a want e i t h e r of d e l i b e r a t e n e s s o r of method. (H:v.16,88)

I n t h e t a l e s w e w i l l f i n d t h a t t h e he igh tened method becomes

p a r t of t h e f a l l o r r e f u s a l of meaning when t h e p o l a r i t y

i s brought t o consc iousness . Y e t h e r e i n "The P o e t i c

P r i n c i p l e , " i n appa ren t c o n t r a d i c t i o n t o t h e above s t a t e m e n t ,

Poe seems t o be a rgu ing t h a t words cannot hold expe r i ence :

When by P o e t r y , o r when by Music, t h e most en t r anc - i n g of t h e p o e t i c moods, w e f i n d o u r s e l v e s mel ted i n t o t e a r s , we weep t h e n , n o t a s t h e Abbate Gravina supposes , through e x c e s s of p l e a s u r e , b u t through a c e r t a i n p e t u l a n t , i m p a t i e n t sorrow a t o u r i n a b i l i t y t o g r a s p now, whol ly , h e r e on e a r t h , a t once and f o r - e v e r , t h o s e d i v i n e and r a p t u r o u s joys of which through t h e poem, o r through t h e music, we a t t a i n t o b u t b r i e f and inde t e rmina t e g l imses . (H:v.14,274) ,

Poe i s n o t s ay ing t h a t wards canno t c a p t u r e o r ho ld t h e

expe r i ence of Superna l beau ty , b u t t h a t t hey must be used

p r e c i s e l y , a s i n s t rumen t s of med ia t ion , and t h a t a s such

can hold it o n l y i n " b r i e f and i n d e t e r m i n a t e gl impses" a t

b e s t . I n t e r m s of P o e t s s ense of an a c t i v e , e x p e r i e n t i a l

p o l a r i t y t h i s ungraspable q u a l i t y i s t h e unknown t h a t i s

n o t h e l d because it i s i n v i s i b l e . Language, a s Poe found

it, would u s u a l l y hold t h e v i s i b l e and t h e p r o p o s i t i o n a l

on ly . Thus he demands from t h e language of p o e t r y t h a t

it ho ld t h e a c t i v e r e l a t i o n between t h e p re sence and

absence of beauty-- the presence and absence of meaning

i t s e l f . "Taste1' must be " inde t e rminan t " s o as t o hold

c o n t r a d i c t i o n . A s Poe w r i t e s i n t h e i n t r o d u c t o r y e p i s t l e

t o Eureka:

Tha t a tree can be bo th a tree and n o t a tree, i s an i d e a which t h e a n g e l s , o r t h e d e v i l s , m a y e n t e r t a i n , and which no doub t many an e a r t h l y Bedlamite, o r T r a n s c e n d e n t a l i s t , does .

(H:v.16,195)

P o e t s argument, t h e n , i s n o t f i n a l l y w i t h language,

nor w i t h c l a r i t y , b u t w i t h t h e language o f d e s c r i p t i o n . A s

he w r i t e s i n "Marginal ia" ("Democratic Review," A p r i l , 1846)

i n a compla in t a g a i n s t t h e d e s c r i p t i v e poe t :

H e appea r s however n o t a t any t i m e t o have been aware t h a t mere d e s c r i p t i o n i s n o t p o e t r y a t a l l . W e demand creat ion--no inat 3 .

(H:v.16,102)

Poe demands from h i s con temporar ies p r e s e n t a t i o n , n o t des -

c r i p t i o n of what has happened. H e demands from language

t h a t it be a b l e t o move on many l e v e l s a t once.

I n "Marginal ia" ("Democratic Review," D e c . 1 8 4 4 )

somewhat ear l ie r , where Poe a rgues f o r " a s u g g e s t i v e i n d e f -

i n i t e n e s s of meaning w i t h t h e view of b r i n g i n g about a

d e f i n i t e n e s s of vague and t h e r e f o r e s p i r i t u a l e f f e c t , "

(H:v.16,28) w e are a p t t o m i s s t h e p o i n t . For t h e above

sen tence i s informed by t h e s en t ence fo l lowing d i r e c t l y

upon it: "I know t h a t i n d e f i n i t i v e n e s s i s an e lement of

t h e t r u e music--I mean t h e t r u e mus ica l exp res s ion . "

( ~ : v . 1 6 , 2 9 ) I n view of such s t a t e m e n t s Poe has been a t t a c k e d

f o r somehow a s s o c i a t i n g vagueness w i t h s p i r i t u a l i t y and

then a rgu ing f o r " t h e vague" i n poe t ry . I would c l a im

a g a i n t h a t h i s problem (and o u r s ) i s w i t h vocabula ry . 1h-

determinancy i s open, n o t vague. Thus p o e t s t h e o r y of

t h e i n d e f i n i t e i n p o e t r y does n o t c o n t r a d i c t h i s s e n s e of

t h e p o e t as c ra f t sman o r "maker." "His whole i n s i s t e n c e , "

a rgues Will iam C a r l o s W i l l i a m s , "has been upon method, i n

o p p o s i t i o n t o a nameless r a p t u r e over n a t u r e . ! I 6 By t h e

i n d e f i n i t e Poe means t h e mys te r ious , t h e unknown. For he .. con t inues i n "Marginal ia" ("Graham's Magazine," 1846) t o

w r i t e :

Take away t h i s e lement o f s t rangeness--of unexpected- n e s s - - ~ • ’ novelty--of o r i g i n a l i t y - - c a l l it what w e wi l l - -and a l l t h a t i s e t h e r e a l i n l o v e l i n e s s i s l o s t a t once. W e lose--we m i s s t h e unknown--the vague-- t h e uncomprehended, because o f f e r e d b e f o r e w e have t ime t o examine and comprehend. W e l o s e , i n s h o r t , a l l t h a t a s s i m i l a t e s t h e beau ty o f e a r t h w i t h what w e dream of t h e beau ty of Heaven. (H:v.16,85-6)

P o e ' s o b j e c t i o n i s t o a methodology which c o n c e p t u a l i z e s h i s

expe r i ence , l i m i t i n g t h e known t o what has happened and

s e p a r a t i n g known and unknown. Thus he t ies " s u r p r i s e "

(unexpectedness) t o o r i g i n , even t and presence . I t then

becomes f o r Poe t h e b u s i n e s s of t h e imagina t ion t o concen t i ze

t h a t which p r e s e n t s i t s e l f whole t o t h e mind i n a c o n d i t i o n

of p e r p e t u a l change, t o e n a c t t h e i n t e r p l a y of p resence

and absence , beau ty he ld i n image as w e l l as t h e l o s s o r

d i sappearance of beau ty - - i t s image less c o u n t e r p a r t .

"Method," t h e n , become e s p e c i a l l y consc ious f o r Poe

because it i s an examination o f meaning i n t e r m s of an

e x p e r i e n t i a l d i a l e c t i c between heaven and h e l l . A f t e r t h e

f a l l o u t of r ea son man i s caught i n a chaos of c o n t r a d i c t o r y ,

e x p e r i e n t i a l f o r c e s . H i s o n l y a l t e r n a t i v e , o u t s i d e of

g i v i n g h imse l f up t o them, i s t o descend consc ious ly i n t o

t h e expe r i ence of c o n t r a d i c t i o n . Thus it i s t h a t i n Eureka

Poe ma in t a in s h i s d e f i n i t i o n of " indeterminancy" i n p o e t i c

e x p r e s s i o n , i n s i s t i n g a t t h e same t i m e t h a t " d i s t i n c t n e s s - -

i n t e l l i g i b i l i t y , a t a 1 1 p o i n t s i s t h e primary f e a t u r e i n

my g e n e r a l d e s i g n . On impor t an t t o p i c s it i s b e t t e r t o be

a good d e a l p r o l i x than even a v e r y l i t t l e obscure . But

a b s t r u s e n e s s i s a q u a l i t y a p p e r t a i n i n g t o no s u b j e c t p e r se.

A l l are a l i k e , i n f a c i l i t y of comprehension, t o him who

approaches them by p r o p e r l y g radua ted s t e p s . " ( ~ : v . 1 6 , 1 9 9 )

I n Eureka r a t i o n a l i t y i s redeemed, a s Poe ma in t a in s t h a t

t h e c o n d i t i o n s o f t h e s t e p s t h a t l e a d t o h i s conc lus ions a r e

n o t t h o s e of i n d u c t i v e o r d e d u c t i v e r ea son ing , y e t t hey

"have Leer1 impused upon m e , a s n e c e s s i t i e s , i n a t r a i n of

r a t i o c i n a t i o n a s r i g o r o u s l y l o g i c a l a s t h a t which e s t a b l i s h e s

any demons t ra t ion i n Euc l id . . . ." (H:v.16,238) BY

descending i n t o expe r i ence t h e imagina t ion d i s c o v e r s i t s

own o r d e r s of t h e r a t i o n a l . Even b e f o r e Poe w r i t e s Eureka

w e f i n d him a rgu ing f o r t h e s u p e r - r a t i o n a l i t y of t h e p o e t i c

i n t e l l i g e n c e . I n "Mr. Griswald and t h e Poe t s " (Boston

Misce l l any , November, 1842) we d i s c o v e r one of h i s most

e loquen t s t a t e m e n t s on t h e way i n which what he c a l l s

" I d e a l i t y , " o r t h e i n t e l l i g e n c e of t h e p o e t , cor responds

t o t h e " c a l c u l a t i n g f acuities" : 7

That we a r e n o t a p o e t i c a l people has been a s s e r t e d s o o f t e n and s o roundly , bo th a t home and abroad t h a t t h e s l a n d e r , through mere d i n t of r e p e t i t i o n , has come t o be r e c e i v e d a s t r u t h . Y e t no th ing can be f a r t h e r removed from it. The mis take is b u t a p o r t i o n , o r c o r o l l a r y , of t h e o l d dogma, t h a t t h e c a l c u l a t i n g f a c u l t i e s a r e a t w a r w i t h t h e i d e a l ; wh i l e , i n f a c t , it may be demonstrated t h a t t h e two d i v i s i o n s of mental power a r e never t o be found i n p e r f e c t i o n a p a r t . The h i g h e s t o r d e r of t h e imagina t ive i n t e l l e c t i s always preeminent ly methemat ical ; and t h e converse . (H:v. 11,147-8)

I n s p i t e of P o e ' s emphasis on method he has been accused of

r e t r e a t i n g from t h e world i n t o a realm of complete i r r a t i o n -

a l i t y and o f denying reason a p l a c e i n t h e o r d e r s of t h e

imagina t ion .

I t has been argued r e p e a t e d l y t h a t i n reach ing f o r

Superna l o r o ther-worldly beau ty , P o e ' s a r t i s t i c purpose i s

r e d u c t i v e . A s e x a c t a s D . H . Lawrence's e s say , "Edgar A l l a n

n-, II i~ . ~ i i Fee 's i n t e r e s t i i i death dn4 the d e s t r u c t i v e

e n e r g i e s , f o r i n s t a n c e , Lawrence concludes t h a t Poe i s

i n t e r e s t e d on ly i n t h e d e s t r u c t i v e p roces s ; t h a t he reduces

woman t o a s t a t i c mechanism "from which he g o t h i s extremes

of s e n s a t i o n . " * Lawrence a rgues t h a t :

Poe i s r a t h e r a s c i e n t i s t than an a r t i s t . H e i s reduc ing h i s own s e l f as a s c i e n t i s t reduces a s a l t i n a c r u c i b l e . I t i s an a lmos t chemical a n a l y s i s of t h e s o u l and consc iousness . Whereas i n t r u e a r t t h e r e is always t h e double rhythm of c r e a t i n g and des t roy ing . 9

This i s an i n c r e d i b l e s t a t emen t , s i n c e P o e ' s e n t i r e focus i n

t h e t a l e s and i n Eureka i s e x a c t l y upon t h e rhythm of t h e s e

v a s t powers of c r e a t i o n and d e s t r u c t i o n . S i m i l a r l y , S i r

Maurice Bowra i n The Romantic Imagina t ion , lo argues t h a t

Poe pushes Romanticism t o perhaps i t s f u r t h e s t extreme by

denying t h e " r e a l " n a t u r e , t h e " r e a l " woman, f o r h e r o t h e r

wor ld ly c o u n t e r p a r t . Such a s t a t emen t i s a c c u r a t e a s f a r

as it goes , s i n c e P o e t s i n t e r e s t i s i n t h e presence and

absence of t h e image o f t h e " r e a l " woman. Richard Wilbur

makes it c l e a r t h a t P o e t s longing f o r Superna l expe r i ence

i s pursued always a t t h e c o s t of t h e o r d i n a r y and everyday

beauty . Comparing Poe t o t h e Eng l i sh Romantics Bowra

w r i t e s :

The Romantics sought f o r ano the r wor ld , b u t l e f t i t s o u t l i n e s and i t s c h a r a c t e r s vague; Poe knew what it w a s and i d e n t i f i e d it w i t h t h e world be- yond t h e grave . The romant ics had agreed t h a t p o e t r y was i n some s e n s e concerned w i t h no th ing else, and t h a t t h i s beau ty was t o be found through t h e s e a r c h f o r supe rna l r e a l i t y . The Romantics used t h e given world a s a means of e n t r y i n t o t h e o r d e r of t h i n g s ; Poe thought no th ing of t h i s world r and t r i e d t o c o n c e n t r a t e e n t i r e l y on ano the r known o n l y i n hints and cuggest icns. In Pec t h e R ~ m n t i e t heo ry of p o e t r y reached a c l imax. By reduc ing it t o h i s own kind of o r d e r , he l i m i t e d t h e scope of p o e t r y and made it conform t o h i s own narrow i d e a s . 11

To say a s Wilbur does , t h a t t h e p r o c e s s of t h e d e s t r u c t i o n of

t h e "o rd ina ry and everyday" r e a l i t y i s i t s e l f t h e e n t r a n c e

i n t o t h e I d e a l realm i n P o e t s t a l e s , i s t o say something

v e r y s p e c i f i c about t h e uniqueness of P o e t s v i s i o n i n t h e

c o n t e x t of Romanticism. I t moves us toward an unders tanding

of t h e p l a c e d e a t h assumes i n P o e ' s v i s i o n , t h e way i n

which d e a t h i n t h e t a l e s and poems i s t h e eve r -p re sen t ,

a c t i v e compliment of l i f e . I t does n o t n e c e s s a r i l y fo l low

t h a t by pursu ing h i s expe r i ence of t h e real , Poe makes ,

15

h i s a r t conform t o "narrow" i d e a s . He c o n c e n t r a t e s on a

ve ry few themes and reworks them i n v a r i o u s ways. But

t o c o n c e n t r a t e i s n o t n e c e s s a r i l y t o reduce o r t o narrow.

A s we s h a l l s e e i n t h e t a l e s and poems, t h e absence o f t h e

s u p e r n a l l e a v e s us w i t h t h e presence of t h e everyday.

Tha t absence , t h e n , becomes an i n t e r r o g a t i o n of t h e every-

day. Hence, t o d e a l f a i r l y w i t h Poe w e must speak o u t of

h i s s t r u g g l e s w i t h i n t h e Neo-Platonic vocabula ry . Much of

t h e c r i t i c a l d i f f i c u l t y comes o u t of a t t e m p t s t o impose

a m y s t i c a l t ranscendence of o p p o s i t e s on what i s t r u e l y

an a f f i r m a t i o n o f a c t i v e o p p o s i t i o n s .

The dilemma t h a t l u r k s f o r e v e r behind P o e t s s t r u g g l e

w i t h vocabula ry i s t h a t n e c e s s i t y expressed i n "Drake-

Hal leck" t o c i r cumsc r ibe t h e rea lm o f p o e t r y . I would

a rgue t h a t t h i s n e c e s s i t y i s r e l a t e d d i r e c t l y t o a need

Poe saw f o r t h e c r i t i c i s m of h i s t i m e t o r i g h t an imbalance

between a r t o f a p r e s c r i p t i v e , m o r a l i s t i c , c l o s e d n a t u r e ,

and i t s oppos i te - - the fo rmles s , e f f u s i v e l y r i c i s m of

p r i v a t e s e l f - e x p r e s s i o n which Romanticism a t i t s wors t has

become. Poe, f o r i n s t a n c e , c r i t i c i s e s a f i g u r e s o admired

a s S h e l l e y a t t h e same t ime a s he acknowledges h i s s t a t u r e .

I n "Marg ina l i a , " May, 1849, he w r i t e s :

Of art--beyond t h a t which i s i n s t i n c t i v e w i th Genius--he [She l ley] e i t h e r had l i t t l e o r d i s - da ined a l l . H e r e a l l y d i s d a i n e d t h e Rule which i s emanation from Law, because h i s own s o u l w a s Law i n i t s e l f . H i s r hapsod ie s a r e b u t t h e rough no tes - - the s t enograph ic memoranda of poems.

(H:v.16,148-9)

16

P o e ' s a t t a c k comes o u t o f h i s r e sponse t o t h e many awkward

a t t e m p t s a t i m i t a t i o n of t h e S h e l l e y i a n s t y l e and manner

among h i s con temporar ies i n America. H i s o b j e c t i o n i s t o

t h e o v e r r i d i n g se l fhood of t h e "nervous" Romantic--the

c u l t of p e r s o n a l i t y . Poe i s a f t e r a ba l ance between

i n s t i n c t and a n a l y s i s , s p o n t a n e i t y and form. H e c o n t i n u e s

t o w r i t e :

Nor were mature minds unimpressed by t h e contempla t ion o f a g r e a t e r and more mature; and t h u s , g r a d u a l l y , i n t o t h i s school of a l l Lawlessness,--or o b s c u r i t y , q u a i n t n e s s and exaggeration--were interwoven t h e ou t - o f -p l ace d i d a c t i c i s m of Wordsworth, and t h e more anomalous metaphysic ianism o f Co le r idge . (H:v. 16,150)

A s a c r i t i c Poe was hard on h i s contemporar ies . On

t h e one hand he ob jec t ed t o t h e tendency he was i n America

of t h e 1840 ' s t o r e l y wholly on European and p a r t i c u l a r l y

# B r i t i s h models, and on t h e o t h e r t o abandon a l l " o r i g i n a l i t y "

and u n i v e r s a l i t y i n a s h o r t - s i g h t e d a t t e m p t t o convey themes

of p u r e l y l o c a l ( p r o v i n c i a l ) i n t e r e s t . H e a rgues c o n s i s t e n t l y

a g a i n s t a b l i n d adherence t o " a u t h o r i t y " and a s Will iams

makes c l e a r , s t ubborn ly r e f u s e s anyth ing "second-hand."

T h i s d r i v e t o t h e primary becomes a c r i t i c a l problem when

c r i t i c s beg in by seek ing " s o p h i s t i c a t i o n " r a t h e r t han

accuracy i n h i s work. I n "Marginal ia" (1845) he writes:

When we a t t e n d less t o " a u t h o r i t y " and more t o p r i n c i p l e s , when w e look less a t m e r i t and more - a t d e m e r i t , ( i n s t e a d of t h e conve r se , as some pe r sons s u g g e s t , ) we s h a l l t hen be b e t t e r c r i t i c s t h a t we are. (H:v.16,81)

17

The argument w i t h " a u t h o r i t y " i s d e c i d e d l y Romantic. But

t h e s p e c i f i c problem f o r Poe i n t e rms of t h a t argument i s

t h a t most o f what he had t o review a s l i t e r a r y e d i t o r was

a r t of a d e s c r i p t i v e n a t u r e . " ~ e s c r i p t i v e p o e t r y , " w r i t e s

Poe i n " F i f t y Sugges t ions , " (May, June 1945) " i s n o t of t h e - h i g h e s t o r d e r . " (H:v.14,182) Faced w i t h t h i s abundance

o f non- and pseudo-ar t i n h i s America, t h e on ly way Poe

could come t o g r i p s w i t h h i s t i m e and p l a c e , and y e t remain

t r u e t o h i s own sense of beau ty , ( h i s gen ius ) , was t o l i m i t

p o e t r y t o t h e realm o f pure "Tas te . " I t s p e r v e r s i o n would

be d e a l t w i t h , through t h e weapon o f i r o n y . Hence we w i l l

f i n d t h a t P o e t s s a t i r i c p i e c e s t r e a t i n a comic v e i n h i s ,

most s e r i o u s themes. 12

Ne i the r i s Poe i n s e n s i t i v e t o t h e p o l i t i c a l and s o c i a l

i s s u e s oi his day , a s many c r i t i c s s u g g e s t , b u t extremely

concerned w i t h t h e tendency of an expanding technology t o

overva lue t h e g e n e r a l a t t h e expense of t h e p a r t i c u l a r .

Here, indeed , t h e p o l i t i c a l and a e s t h e t i c q u e s t i o n s o v e r l a p

f o r Poe, whose concern as an a r t i s t i s always w i t h

p a r t i c u l a r i t y . I n "Exordium" ( Jan . 1942) Poe encourages

h i s con temporar ies t o r e g a r d c r i t i c i s m "more as a n a r t

based immoveably i n n a t u r e , less a s a mere system of

f l u c t u a t i n g and conven t iona l dogmas," (H:v.11,2) .so as n o t

t o f a l l " s u b s e r v i e n t " t o t h e w i l l of unscrupulous p u b l i s h e r s .

Then he complains of t h e l a r g e r problem t h a t :

Escaping t h e s e qu icksands , our c r i t i c i s m i s n e v e r t h e l e s s i n some danger--some v e r y l i t t l e danger--of f a l l i n g i n t o t h e p i t of a most d e t e s t a b l e s p e c i e s of can t - - t he c a n t of - q e n e r a l i t y . T h i s tendency has been g iven it, i n t h e f i r s t i n s t a n c e , by t h e onward and tumultuous s p i r i t o f the-age . With t h e i n c r e a s e o f t h e t h ink ing -ma te r i a l comes t h e d e s i r e , i f n o t t h e n e c e s s i t y , of abandoning p a r t i c u l a r s f o r masses. (H:v.11,3)

S i m i l a r l y , i n "Anas t a t i c P r i n t i n g : (1845) where Poe d e s c r i b e s

t h e new p r o c e s s which makes it p o s s i b l e f o r a p u b l i s h e r t o

produce a s many a s "a hundred impress ions p e r hour , o r even

i n f i n i t e l y more," he concludes:

These c o n s i d e r a t i o n s a r e of v i t a l importance--but t h e r e i s y e t one beyond them a l l . The v a l u e of every book i s a compound o f i t s l i t e r a r y va lue and i t s p h y s i c a l o r mechanical v a l u e a s t h e produc t of p h y s i c a l l abour a p p l i e d t o t h e p h y s i c a l m a t e r i a l . But a t p r e s e n t t h e l a t t e r v a l u e immensely predominates , even i n t h e works o f t h e most esteemed a u t h o r s .

(H:v.14,158)

Zveii L, "" - - ' u ~ d ~ e - H d i i e c k , " Pue c h a i i e n g e s h i s contem-

p o r a r i e s t o throw o f f f o r e i g n models, a s w e l l as t h e d i c t a t e s

of p u b l i s h e r s a t home. H e warns them t o ma in t a in h igh

c r i t i c a l s t a n d a r d s a t a l l c o s t . Then he moves a t t h e l a r g e r

problem of f i n d i n g a ba lance between freedom and r e s t r a i n t ,

which was t h e problem of a growing Democracy a t t h a t t ime.

H i s u r g e n t c a l l i s t h a t t h e a r t i s t n o t abandon t h e u n i v e r s a l

J "Laws" governing T a s t e a t any c o s t , b u t t h a t he beg in t o

r e d i s c o v e r t h o s e laws i n l i g h t of t h e p a r t i c u l a r i t y of

America :

W e a r e becoming b o i s t e r o u s and a r r o g a n t i n t h e p r i d e of a t o o s p e e d i l y assumed l i t e r a r y freedom. W e throw o f f , w i t h t h e most presumptuous and unmeaning h a u t e u r , a l l - d e f e r e n c e whatever t o f o r e i g n opinion--we f o r g e t , i n t h e p u e r i l e i n - f l a t i o n of v a n i t y , t h a t t h e world i s t h e t r u e t h e a t r e of t h e b i b l i c a l h i s t r io - -we g e t up a hue and c r y abou t t h e n e c e s s i t y of encouraging n a t i v e writers o f merit--we b l i n d l y fancy t h a t w e can accomplish t h i s by i n d i s c r i m i n a t e p u f f i n g o f good, bad, and i n d i f f e r e n t , w i t h o u t t a k i n g t h e t r o u b l e t o c o n s i d e r t h a t what w e choose t o denominate encouragement i s t h u s , b u t i t s g e n e r a l a p p l i c a t i o n , rendered p r e c i s e l y t h e r e v e r s e . I n a word, s o f a r from be ing ashamed of t h e many d i s g r a c e f u l l i t e r a r y f a i l u r e s t o which o u r own i n o r d i n a t e v a n i t i e s and misapp l i ed p a t r i o t i s m have l a t e l y g iven b i r t h , and s o f a r from deep ly lament ing t h a t t h e s e d a i l y p u e r i l i t i e s a r e of t i m e manufacture , w e adhere p e r t i n a c i o u s l y t o o u r o r i g i n a l b l i n d l y conceived i d e a , and t h u s o f t e n f i n d o u r s e l v e s involved i n t h e g r o s s paradox o f l i k i n g a s t u p i d book b e t t e r , because , s u r e enough, i t s s t u p i d i t y i s American.

(H:v.8,277)

I n t h e s e t e r m s P o e l s prolonged and somewhat belaboured

q u a r r e l w i t h Longfellow o v e r t h e i s s u e of "P lag ia r i sm" 1 3

i s p r i m a r i l y a q u a r r e l w i t h t h e t a s t e l e s s , d i d a c t i c and

u n o r i g i n a l i n a r t , more than a p e r s o n a l a f f r o n t on Longfellow

h imse l f . I n "Ba l l ads and o t h e r ~ o e m s " (18 42) Poe w r i t e s :

I t may be remembered t h a t , among o t h e r p o i n t s , w e demurred t o M r . Longfel low's t h e s e s , o r r a t h e r t o t h e i r g e n e r a l c h a r a c t e r . W e found f a u l t w i t h t h e t o o a b t r u s i v e n a t u r e of t h e i r d i d a c t i c i s m .

(H:v.11,68)

And he con t inues i n t h a t same e s say :

I t w i l l be a t once e v i d e n t t h a t , imbued w i t h t h e p e c u l i a r s p i r i t of German song ( a pu re convention- a l i t y ) , he (Longfellow) r e g a r d s t h e i n c u l c a t i o n of a moral a s e s s e n t i a l . Here w e f i n d it necessary t o r e p e a t t h a t we have r e f e r e n c e on ly t o t h e g e n e r a l tendency of h i s composi t ions; f o r t h e r e a r e some magn i f i cen t excep t ions , where, a s i f by a c c i d e n t , he has p e r m i t t e d h i s gen ius t o g e t t h e b e t t e r of h i s conven t iona l p r e j u d i c e . But d i d a c t i c i s m i s t h e p r e v a l e n t t one of h i s song. (H:v.11,969)

I t i s i n l a r g e p a r t P o e t s response t o a d i d a c t i c i s m which i s

by n a t u r e d e s c r i p t i v e , t h a t l e a d s him e v e n t u a l l y i n t o a

d e c i s i v e argument w i t h t h e long poem i n "The P o e t i c

P r i n c i p l e , " and s o w i t h Mi l ton , P o e ' s o n l y immediate p redecessor

of s t a t u r e who a t tempted t o s u s t a i n a long n a r r a t i v e w i t h i n

t h e recognized forms of t h e C h r i s t i a n t r a d i t i o n . W e must

a t t e m p t t o unders tand why w i t h i n P o e ' s c i rcumscr ibed n o t i o n

of a r t , a long poem becomes i n "The P o e t i c P r i n c i p l e , "

"simply a f l a t c o n t r a d i c t i o n i n t e rms ." ( ~ : v . 1 4 , 2 6 6 )

F i r s t l y , Poe deve lops t h e s h o r t s t o r y format o u t

o f a d i r e c t response t o t h e needs o f h i s t i m e and t h e demands

of t h e magazine t r a d i t i o n a s it was growing up i n America:

We now demand t h e l i g h t a r t i l l e r y o f t h e i n t e l l e c t ; w e need t h e c u r t , t h e condensed, t h e p o i n t e d , t h e r e a d i l y d i f f u s e d - - i n p l a c e of t h e verbose , t h e de- t a i l e d , t h e voluminous, t h e i n a c c e s s i b l e .

lu... 1 1 O ! \LA. V . 16 I L L O ,

Terseness is exped ien t i n t h e s e te rms . P a r t i a l l y P o e t s f a i l u r e

t o con t inue w r i t i n g poems was imposed upon him by t h e c e l e r i t y d

of t h e age . T a l e s sold--so w e wrote t a l e s . And as Wilbur

a rgues :

Poe I s e xc lus ion of such "Truth" [ " d e f i n i t i v e " t r u t h , t h e concep tua l ] from poe t ry - - e spec i a l l y a f t e r 1829-- i s t h e r ea son why one must o f t e n r e f e r t o t h e t a l e s i n o r d e r t o know what t h e poems a r e about . 1 4

Beneath t h e i s s u e of expediency, however, l i e s P o e t s

own a r t i c u l a t i o n of a consc ious movement away from v e r s e a s

he knew it , toward a more " p r o s a i c , " d i r e c t n e s s o f exp res s ion .

Poe tu rned from v e r s e t h a t d i d n o t fo l low t h e n a t u r a l rhythms

of speech , and is i n t h i s s e n s e ahead of h i s t i m e . On

c r i t i c i z i n g t h e v e r s e of a contemporary he w r i t e s : ' ' H e r e

t h e p o e t l acked t h e s k i l l t o make o u t h i s l i n e w i thou t

d i s t o r t i n g t h e n a t u r a l o r c o l l o q u i a l o r d e r of t h e words."

(H:v.16,153) I n h i s demand f o r " d i r e c t n e s s o f exp res s ion"

he o b j e c t s t o t h e c o n t r i v a n c e of t h e p o e t i c i n v e r s i o n f o r

t h e sake of sounding p o e t i c a l . I n "Marg ina l ia , " (2849)

he w r i t e s : "Few t h i n g s have g r e a t e r tendency than i n v e r s i o n

t o r ende r v e r s e f e e b l e and i n e f f e c t i v e . " (H:v.16,154) And

he c o n t i n u e s : " I n s h o r t a s r e g a r d s v e r b a l c o n s t r u c t i o n , t h e

more p r o s a i c a p o e t i c a l s t y l e i s , t h e b e t t e r . " ( ~ : v . 1 6 , 1 5 4 )

A s Will iams p o i n t s o u t , " t h e t a l e s con t inue t h e t h e o r i e s of

t h e c r i t i c i s m , c a r r y i n g o u t what t hey propose":

1. I n c h o i c e of m a t e r i a l , a b s t r a c t . 2 . I n method, a l o g i c a l c o n s t r u c t i o n t h a t c l i p s away, i n g r e a t p a r t , t h e "scenery" nea r a t hand i n o r d e r t o let t h e r e a l b u s i n e s s of composi t ion show. 3 . A p r i m a t i v e awkwardness of d i c t i o n , l a c k of p o l i s h , c o l l o q u i a l i s m t h a t i s , unexpec ted ly , e s p e c i a l l y i n t h e d i a l o g u e s , much i n t h e v e i n of Mark Twain.15

P o e ' s r e t u r n t o t h e pr imary, h i s w i l l i n g n e s s t o s e a r c h o u t a

methodology i n t h i s way, t u r n s him a u t o m a t i c a l l y toward the

p r o s i a c . And Eureka i s by any s t a n d a r d s p r o s a i c , d i s c u r s i v e - - ,

u n s o p h i s t i c a t e d . Yet h e r e i n h i s d e f e n s e of t h e p r o s a i c i n

t h e c r i t i c i s m , he paves t h e way f o r t h e " l o f t y c la im" t h a t

it may be r ead a s a poem. 16

By i n s i s t i n g upon b r i e f n e s s Poe i s n o t merely meeting

t h e needs of h i s t ime , b u t a l s o fo l lowing h i s s e n s e of t h e

I '

c i rcumscr ibed n a t u r e of h i s expe r i ence t o i t s l o g i c a l con-

c l u s i o n s . For i n s t a n c e , i n "The Phi losophy of Composition"

(1846) he t e l l s us t h a t he l o c a t e s t h e a c t i o n of "The Ravenu

i n an enc losed chamber because it i s t h e r e he is b e s t a b l e

t o s u s t a i n a n i n t e n s e d rama t i c e f f e c t :

I t has always appeared t o m e t h a t a c l o s e circum- s c r i p t i o n of space i s a b s o l u t e l y neces sa ry t o t h e e f f e c t of t h e i n s u l a t e d i n c i d e n t - - i t ha s t h e f o r c e o f a frame t o a p i c t u r e . I t has an i n d i s p u t a b l e moral power i n keeping c o n c e n t r a t e d t h e a t t e n t i o n , and , of c o u r s e , must n o t be confounded w i t h mere u n i t y of p l a c e . (H:v.14,204)

Poe i s n o t d e a l i n g w i t h t h e t r a d i t i o n a l A r i s t o t e l i a n u n i t i e s

o f t ime and p l a c e , s o much a s w i t h h i s own sense of o rgan ic

( ac t ion -cen te red ) u n i t y . Thus i n "The P o e t i c P r i n c i p l e " Poe

moves from h i s c o n t e n t i o n t h a t "a long poem does n o t e x i s t "

(H:v.14,204) , d i r e c t l y t o h i s d i s c u s s i o n of M i l t o n ' s

"Paradise L o s t " and t h e prcblcm cf m s i n t a i n i n g a n intensity

of " e f f e c t " i n a long poem:

There a r e , no doubt , many who have found d i f f i c u l t y i n r e c o n c i l i n g t h e c r i t i c a l dictum t h a t t h e "Pa rad i se Los t " i s t o be devout ly admired th roughout , w i t h t h e a b s o l u t e i m p o s s i b i l i t y of main ta in ing f o r i t , du r ing p e r u s a l , t h e amount of enthusiasm which t h a t c r i t i c a l d ic tum would demand. T h i s g r e a t work, i n f a c t , i s t o be r ega rded a s p o e t i c a l , on ly when, l o s i n g s i g h t of t h a t v i t a l r e q u i s i t e i n a l l works of a r t , Uni ty , w e view it merely a s a series o f minor poems. I f , t o p r e s e r v e i t s Un i ty - - i t s t o t a l i t y of e f f e c t o r impress ion --we r ead it ( a s would be neces sa ry ) a t a s i n g l e s i t t i n g , t h e r e s u l t i s b u t a c o n s t a n t a l t e r a t i o n of exc i tement and dep res s ion . A f t e r a passage of what w e f e e l t o be t r u e p o e t r y , t h e r e f o l l o w s , i n e v i t a b l y , a passage of p l a t i t u d e which no c r i t i c a l prejudgment can f o r c e us t o admire. (H:v.14,226-7)

The i n s i s t e n c e upon i n t e n s i t y i n P o e ' s n o t i o n of " u n i t y of

e f f e c t " i s , t h e n , an i n s i s t e n c e upon expe r i ence , r a t h e r

t han t h e d i d a c t i c , exp lana to ry and d e s c r i p t i v e . T h i s

e x p r e s s i o n of d i f f i c u l t y w i t h t h e long n a r r a t i v e i s an

e a r l y concern. I n " L e t t e r t o B - " (1831) he complains of

t h e f l a g g i n g of i n t e r e s t :

By what t r i v i a l c i rcumstances man a r e o f t e n led t o assert what t hey do n o t r e a l l y b e l i e v e ! Perhaps an i n a d v e r t e n t world has descended t o p o s t e r i t y . But, i n f a c t , t h e P a r a d i s e Regained i s l i t t l e , i f a t a l l , i n f e r i o r t o t h e P a r a d i s e L o s t , and i s on ly supposed s o t o be because men do n o t l i k e e p i c s , whatever t hey may say t o t h e c o n t r a r y , and r ead ing t h o s e of Mi l ton i n t h e i r n a t u r a l o r d e r , a r e t o o much wear ied w i t h t h e f i r s t t o d e r i v e any p l e a s u r e from t h e second.

(H:v. 7 ,xxxv i i )

And i n h i s review of Hawthorn's "Twice-Told T a l e s " (1842)

Poe a rgues i n a lmos t t h e same words t h a t :

Men admire , b u t a r e wear ied w i t h t h e "Pa rad i se L o s t " ; f o r p l a t i t u d e fo l lows p l a t i t u d e , i n e v i t a b l y , a t r e g u l a r i n t e r s p a c e s , ( t h e dep res s ions between t h e waves of exc i tement ) u n t i l t h e poem, (which, p r o p e r l y cons ide red , i s b u t a succes s ion of b r i e f poems,) having been brought t o an end, we d i s c o v e r t h a t t h e sums of our p l e a s u r e and of d i s p l e a s u r e have been n e a r l y e q u a l . (H:v.13,151)

These a r e complex, n o t f u l l y a r t i c u l a t e d s t a t e m e n t s by Poe,

which sugges t a r e l a t i o n between t h e problems of form and

c o n t e n t . For i s d i s b e l i e f i n M i l t o n ' s sys tem, t h e g r i d s

of meaning i t s e l f , which t h e long n a r r a t i o n a t t e m p t s t o

h o l d , t h a t i s t h e source of boredom. P o e ' s c r i t i c i s m of

t h e long n a r r a t i v e , t hen , i m p l i e s a c r i t i c i s m of a " theo ry

of God" t h a t i s no longer c r e d i b l e . I n "Twice-Told T a l e s , "

comparing "Pa rad i se Lost" t o "The I l i a d , " Poe a g a i n conc ludes

t h a t Mi l ton w a s unsucces s fu l i n s u s t a i n i n g an e p i c

n a r r a t i o n :

"The I l i a d , " i n i t s form of e p i c , has b u t an imaginary e x i s t e n c e ; g r a n t i n g it r e a l , however, I can on ly say of it t h a t it i s based on a p r i m i t i v e s e n s e of A r t . Of t h e modern e p i c no th ing can be s o w e l l s a i d a s t h a t it i s a b l i n d f o l d i m i t a t i o n of a "come-by-chance."

(~ :v .13 ,151-2 )

P o e ' s s i m i l a r conc lus ion i n "The P o e t i c ~ r i n c i p l e , " t h a t " t h e

I l i a d , " " i s based on an imper fec t s e n s e of a r t , " (H.v.14,267)

comes o u t of a f a i l u r e t o s e e t h e cosmology i n "The I l i a d . "

Perhaps t h e conc lus ion i s uninformed, b u t it proceeds o u t

of a sense t h a t Homer's world i s no u n l i k e o u r s a s t o f a i l

t o make pr imary c o n t a c t w i t h t h e ground of o u r expe r i ence .

But Poe i s c o r r e c t abou t one t h i n g . The a r t of h i s t ime ,

n e i t h e r i:: thmry nor i n pract ice, had evolved a mei;iiodoioyy

capab le of s u s t a i n i n g a long n a r r a t i o n . Poe i s say ing i n

t h e s e pas sages , n o t t h a t t h e long n a r r a t i v e i s f o r e v e r an

i m p o s s i b i l i t y , b u t t h a t t h e e p i c a s he had r ece ived it from

h i s immediate p r e d e c e s s o r s , w a s a d e s c r i p t i v e i m i t a t i o n o f

a pr imary c r e a t i o n whose o r i g i n a l form had been somehow l o s t

i n t h e t r a n s l a t i o n . Seen through t h e Neo-c l a s s i ca l , d i d a c t i c

g r i d s of meaning "The I l i a d " has f o r u s " b u t an imaginary

e x i s t e n c e . " I would a rgue he i s s a y i n g , i n s h o r t , t h a t

Mi l ton imposed e p i c form on m a t e r i a l t h a t w a s n o t an e p i c

c o n t e n t . Ra ther than l e t t i n g t h e c o n t e n t of h i s exper ience

f i n d i t s own a p p r o p r i a t e , new form, h e fol lowed t r a d i t i o q b

2 5

" b l i n d f o l d " and r e l i e d on secondhand in format ion . Because

t h e r e w a s no match i n form and c o n t e n t i n t h e e p i c g iven

him, Poe f a v o r s " e f f e c t s , " " s u r p r i s e " and " i n t e n s i t y n - -

which a r e meant t o b ind form and c o n t e n t as an even t . P o e t s

u se of s u r p r i s e and h o r r o r ( t h e Gothic) as a means of

b ind ing form and c o n t e n t can be seen t o r e a c h i t s complet ion

i n Eureka, where f e a r t u r n s over and becomes a w e as t h e

s o l i t a r y p o e t con templa tes h i s own amazing in t e r connec tedness

t o t h e u n i v e r s e .

But b e f o r e Eureka, i n p r o t e s t , Poe t u r n s h i s f o c u s

t o t h e u n i f i e d compos i t ion , t h e o r g a n i c o r t o t a l l y self- /

c o n t a i n e d p l o t , t h e s h o r t s t o r y , whose form evo lves from

w i t h i n r a t h e r than being imposed from wi thou t . The measure

of i t s s t r u c t u r a l p e r f e c t i o n and " I d e a l i t y " is t h e e x t e n t

t o which it a c h i e v e s what Poe c a l l s " u n i t y o r totality of

e f f e c t . " (H:v. 10,122) I n "Night and Morning" ( A p r i l , 1841)

Poe f i r s t d e f i n e s p l o t a s "That i n which no p a r t can be

d i s p l a c e d wi thou t r u i n t o t h e whole." (H:v.101117) F i n a l l y

i n Eureka Poe w i l l draw an analogy between h i s n o t i o n o f

" p l o t " c o n s t r u c t i o n and t h e " a b s o l u t e r e c i p r o c i t y of adap t ion"

( ~ : v . 1 6 , 2 9 2 ) i n t h e s t r u c t u r e of t h e u n i v e r s e . So it i s

impor t an t we n o t e him a s e a r l y a s 1841 and 1844 i n "Marg ina l ia"

d e f i n i n g p l o t i n o r g a n i c terms through h i s s e n s e of u n i t y

of e f f e c t :

The p l e a s u r e which w e d e r i v e from any e x e r t i o n of human i n g e n u i t y , i s i n t h e d i r e c t r a t i o of t h e approach t o t h i s s p e c i e s of r e c i p r o c i t y between cause and e f f e c t . I n t h e c o n s t r u c t i o n of p l o t , f o r example, i n f i c t i t i o u s l i t e r a t u r e , we should a i m a t s o a r r a n g i n g t h e p o i n t s , o r i n c i d e n t s , t h a t we canno t d i s t i n c t l y see, i n r e s p e c t t o any one of them, whether t h a t one de- pends from any one o t h e r , o r upholds it. I n t h i s s e n s e , of c o u r s e , p e r f e c t i o n of p l o t i s u n a t t a i n a b l e i n f ac t , - -because Man i s t h e con- s t r u c t o r . The p l o t s o f God a r e p e r f e c t . The Universe i s a P l o t of God. (H:v.16 , l o )

Unl ike Mi l ton , t h e " p l o t " remains "unknown" ( absen t , incomplete)

f o r Poe and y e t i n s i d e consc iousness - - ins ide exper ience .

Almost word f o r word Poe b r i n g s t h e above passage t o

Eureka, where m a t t e r , t h e p r i m o r d i a l subs t ra tum of c r e a t i o n

is i n t e r - r e l a t e d i n t h i s way by " r e c i p r o c i t y . " Such a view

of an o r g a n i c a l l y r e l a t e d , l i v i n g p r i m o r d i a l matter i n t h e

u n i v e r s e moves him i n t o a r e f u s a l o f s imple c a u s a l i t y and

he p u t s it i n Eureka:

The e f f e c t does n o t r e - a c t upon t h e cause ; t h e i n t e n t i o n does n o t change r e l a t i o n s w i t h t h e o b j e c t . I n d i v i n e c o n s t r u c t i o n s t h e o b j e c t i s e i t h e r d e s i g n o r o b j e c t as w e choose t o r e g a r d i t - -and w e may t a k e a t any t i m e a cause f o r an e f f e c t , o r t h e converse--so t h a t w e can never a b s o l u t e l y d e c i d e which i s which. (H:v.16,292)

But long b e f o r e Eureka " r e c i p r o c i t y " i s a t t h e h e a r t of P o e ' s

s e a r c h f o r a methodology. I n h i s "P re face and I n t r o d u c t i o n

t o 'The C o n c h o l o g i s t ' s F i r s t Book,"' (1839) h e d e f i n e s t h e

r e l a t i o n of " t h e animal and s h e l l , w i t h t h e i r dependence

upon each o t h e r " (H:v.14,95) i n terms of r e c i p r o c i t y . H e

p o i n t s o u t t h a t t h e Greek word "conchyl ion" from which

"conchology" i s d e r i v e d , "embraces i n i t s s i g n i f i c a t i o n b o t h

animal and s h e l l . " (H:v.l4,95) I n o t h e r words, Poe i s

f o r c e d back t o t h e Greek, where t h e language i s n o t t r a n s -

p a r e n t and t h u s capab le of ho ld ing h i s s ense of a c t i v e

p o l a r i t y . I n n a t u r e , Poe i s s a y i n g , ou r f i x e d n o t i o n s of

c a u s a l i t y a r e u s e l e s s . The animal does n o t cause t h e s h e l l

any more than t h e s h e l l c auses t h e animal t h a t dwe l l s w i t h i n

it. Both a r e de f ined i n t e r m s o f , and g i v e r ise t o t h e

o t h e r th rough " r e c i p r o c i t y . ' H e r e P o e ' s n o t i o n o f r e c i p -

r o c i t y in forms h i s " I d e a l i t y . " For however a b s e n t , incorn-

p l e t e , and unknown, through r e c i p r o c i t y , t h e I d e a l remains

i n s i d e expe r i ence .

I n "The Philosophy of Composition (1846) Poe

f i n a l l y t ies h i s d e f i n i t i o n of " u n i t y o f e f f e c t " and h i s

s ense of " r e c i p r o c i t y " i n p l o t c o n s t r u c t i o n t o his

c r i t i c i s m of Mi l ton and t h e long n a r r a t i v e :

What w e t e r m a long poem is , i n f a c t , merely a succes s ion of b r i e f ones- - tha t i s t o s a y , of b r i e f p o e t i c a l e f f e c t s . I t i s n e e d l e s s t o demonstrate t h a t a poem i s such, o n l y inasmuch as it i n t e n s e l y e x c i t e s , by e l e v a t i n g , t h e s o u l : and a l l i n t e n s e exc i t emen t s are , through t h e psycha l n e c e s s i t y , b r i e f . For t h i s r e a s o n , a t l e a s t one h a l f o f t h e "Pa rad i se Los t " i s e s s e n t i a l l y prose--a succes s ion o f p o e t i c a l exc i t emen t s i n t e r s p e r c e d , i n e v i t a L 9 , w i t h c o r r e s - ponding depress ions- - the whole be ing depr ived through t h e extremeness of i t s l e n g t h , of t h e v a s t l y impor tan t a r t i s t i c e lement , t o t a l i t y , o r un!-ty, of e f f e c t .

(H:v.l4,196)

Mi l ton w a s a b l e t o work, however s u c c e s s f u l l y or unsuccess-

f u l l y , w i t h i n s t a t i c g r i d s of meaning--the framework of

Neo-Classical C h r i s t i a n i t y . The C h r i s t i a n i t y of Poe ' s t i m e

had degenera ted i n t o a form of D e i s m , a r a t i o n a l p o s i t i v i s m ,

based on t h e v i s i o n of n a t u r e as a s t a t i c mechanism--which

simply d i d n o t p rov ide a b e l i e v a b l e mythos f o r P o e ' s

expe r i ence of t h e s o u l . Making t h e d e s c e n t i n t o h i s own

fragmented expe r i ence , Poe sought u n i t y o r wholeness i n

" e f f e c t " and even t . Thus we f i n d him w r i t i n g i n " F i f t y

Sugges t ions" (1845) :

More and more every day do we moderns pavoneggiarse about ou r C h r i s t i a n i t y ; y e t , s o f a r as t h e s p i r i t of C h r i s t i a n i t y i s concerned, w e are immeasurably behind t h e a n c i e n t s . Mottoes and proverbs a r e t h e i n d i c e s of n a t i o n a l c h a r a c t e r . . . . (H:v.14,172)

L ike t h e Romantics b e f o r e him and s o many modern p o e t s t oday ,

Poe tu rned back t o e a r l i e r mythologies (Greek, Egypt ian,

Hebrew) f o r h i s imag ina t ive sou rces and in fo rma t ion . l7 I t

i s through t h e s e e a r l i e r mythologies t h a t Poe i s a b l e t o

d e f i n e t h e p o l a r i t i e s o f v i s i b l e - - i n v i s i b l e , c o r p o r e a l -

i n c o r p o r e a l , speech - s i l ence , s e l f - o t h e r , and known and un-

kiiwwrl, ds pr ima l (pr imary) expe r i ence . Thus f o r Poe t h e

i n t e r e s t i n t h e p a s t i s a t u r n i n g t o t h e pr imary i n a

r e f u s a l t o a c c e p t t h e more r e f l e c t i v e modes o f thought

a v a i l a b l e t o him, and n o t a n o s t a l g i a . S i m i l a r l y h i s

i n t e r e s t i n etymology i s a t u r n i n g t o t h e e l emen ta l ground

( t h e o r i g i n s ) of language.

P o e ' s remarks i n t h e c r i t i c i s m r e f l e c t a f a m i l i a r i t y

w i t h t h e thought of Hesiod, Py thagoras , P l a t o , A r i s t o t l e ,

Porphyry, Empedocles, a s w e l l as t h e Greek d r a m a t i s t s . 18

I n h i s e s s a y , "Poe ' s Reading," K i l l i s Campbell concludes

t h a t Poe, "had i n a l l l i k e l i h o o d r e a d t h e I l i a d , and

probably a l s o t h e Odyssey, though b o t h , I s u s p e c t , mainly.

i n t r a n s l a t i o n . "19 I n 'Marginal ia" (1844) Poe himself

s t a t e s s u c c i n c t l y t h e importance of t h e Greeks t o h i s mind:

The Greeks were an e x c i t a b l e , unread r a c e , f o r t hey had no p r i n t e d books. Viva voce e x h o r t a t i o n s c a r r i e d w i t h them, t o t h e i r qu i ck apprehens ions , a l l t h e g i g a n t i c f o r c e of t h e new. They had much - of t h a t v i v i d i n t e r e s t which t h e f i r s t f a b l e had upon t h e dawning i n t e l l e c t of t h e chi ld--an i n t e r e s t which i s worn away by t h e f r e q u e n t p e r u s a l of s i m i l a r t h i n g s . (H:v.16,62)

See a l s o P o e ' s " P i n a k i d i a " (H.v.14,38) f o r a wea l th o f obser -

v a t i o n s on t h e myth-making power of t h e a n c i e n t s . It i s

h e r e t h a t Poe mentions Empedocles i n t h e c o n t e x t of h i s own

s e n s e of a t t r a c t i o n and r e p u l s i o n as t h e double cosmic

f o r c e s a t t h e ground o f l i f e :

Empedocles p ro fe s sed t h e system of f o u r e l emen t s , and added t h e r e t o two p r i n c i p l e s which he c a l l e d ' p r inc ip ium a n i t i a e ' and ' p r inc ip ium c o n t e n t i o n i s . ' What a r e t h e s e b u t a t t r a c t i o n and r e p u l s i o n ?

( ~ : v . 1 4 , 6 7 )

Poe i s drawn t o Empedocles because of t h e i r mutual s ense of

t h e fundamental double shape of t h e u n i v e r s e . The I l i a d

a l s o has a double shape of m o r t a l and immortal , b a s i c t o t h e

n a t u r e of t h e he ro which i s b a s i c t o P o e ' s s e n s e of o p p o s i t e s

i n and o u t of t i m e . I n Eureka Poe p r e f a c e s h i s d i s c u s s i o n of

t h e u n i v e r s e w i t h an a l l u s i o n t o Empedocles who legend t e l l s

u s , threw himself from t h e summit of M t . E tna i n S i c i l y ,

Poe w r i t e s :

He who from t h e t o p of Aetna c a s t s h i s eyes l e i s u r e l y around, i s a f f e c t e d c h i e f l y by t h e e x t e n t and d i v e r s i t y of t h e scene . Only by a r a p i d w h i r l i n g on h i s h e e l cou ld h e hope t o comprehend t h e panorama i n t h e s u b l i m i t y o f - i t s oneness .

Here Poe is a f t e r a sense of boundary through Empedocle~

a s a dynamic oppos i t ion of bounded and unbounded space.

With t h e a n c i e n t s he would p a r t i c i p a t e i n t h e v a s t c y c l i c

movements of t h e universe. The importance of t h e Greek

chorus says Poe, i n h i s d i scuss ion of t h e drama i n "The

C l a s s i c a l Family Library" (1835) i s t h a t i s al lows t h e

s p e c t a t o r s t o p a r t i c i p a t e i n t h e s e l a r g e r even t s . H e

w r i t e s :

The chorus served t o g ive v e r i s i m i l i t u d e t o t h e dramatic a c t i o n , and was, i n a word, t h e i d e a l s p e c t a t o r . I t s tood i n l i e u of t h e n a t i o n a l s p i r i t , and represented t h e genera l p a r t i c i p a t i o n of t h e human r a c e , i n t h e events going forward upon t h e s t a g e . (H:v.8,46)

Therefore i n t h e t a l e s and f i n a l l y i n Eureka Poe w i l l fol low

A r i s t o t l e ' s c a r e f u l d e l i n e a t i o n i n t h e P o e t i c s t h a t t h e

c h a r a c t e r s a r e t h e r e f o r t h e sake of t h e a c t i o n and n o t v i c e

ve r sa . Poe a p p l i e s t h e dramatic r u l e s (laws) of u n i t y t o

t h e cons t ruc t ion of p l o t . He b r ings t h i s understanding t o

h i s not ion of " u n i t y of e f f e c t . " Through t h e Greeks, who

d e f i n e p o l a r i t y a s primary exper ience , then , Poe i s a b l e t o

"concre t i ze" h i s own sense of t h e dynamic r e l a t i o n between

t h e cosmic and personal .

Unfor tunate ly , by Poe ' s time man's a b i l i t y t o know--

h i s knowledge of God o r t h e d i v i n e i n t h e world, had been

reduced o r sublimated t o t h e l e v e l of h i s a b i l i t y t o

reason o r prove God's ex i s t ence . Yet Poe would i n s i s t

t h a t man does no t reach God through h i s reason,nor through

e

t h e t r a d i t i o n a l Neo-Class ical g r i d s of meaning. A s he

w r i t e s i n "Marg ina l ia" (1848) :

But what t i t l e could have been inven ted f o r t h a t i d o l whose worship b l i n d s man t o t r u t h by d a z z l i n g him w i t h t h e a p p o s i t e . But what t i t l e would have been invented f o r - t h a t i d o l which has propogated, pe rhaps , more of g r o s s e r r o r t han a l l combined?-- t h e one, I mean, which demands from i t s v o t a r i e s t h a t t hey r e c i p r o c a t e cause and e f fec t - -by p u l l i n g up t h e i r pant&loons--and c a r r y themselves on t h e i r own heads , i n hand b a s k e t s from Beersheba t o Dan. A l l - - abso lu t e ly a l l t h e argumentat ion which I have seen i n t h e n a t u r e o f t h e s o u l , o r of t h e De i ty , seems t o me no th ing b u t worship of h i s unnameable i d o l . (H:v.16,129-30)

P o e ' s i r o n y c u t s t o t h e r e a l i s s u e s . A s a r e s u l t of a t t e m p t s

t o r ea son t h e way t o God, God has become an a b s t r a c t i o n o r

an anthropomorphism(an ido1)and man has f a l l e n i n t o t h e two

c l o s e d systems of p h i l o s o p h i c a l I d e a l i s m and Mater ia l i sm. 20

Transcendenta l i sm a t i t s wors t had been reduced t o a n a i v e

P a i i i h e i s ~ ~ ~ which d e f i n e d the worid i n s u b j e c t i v e terms--as

t h e " t o t a l l y me." Th i s l e a d i n t o v a r i o u s forms of myst ic ism.

Ma te r i a l i sm, moving i n t h e o t h e r d i r e c t i o n (wi thout recogniz -

i n g t h e impos i t i on of t h e s u b j e c t ) t e n d e d t o d e f i n e t h e world

a s t h e " t o t a l l y o t h e r . " Hence n a t u r e became a n o b j e c t t o be

manipulated; c o n t r o l l e d from t h e o u t s i d e . The penchant of

t h e m a t e r i a l i s t s was then t o s e p a r a t e and d i v i d e t h e e n t i r e t y i

of t h e world , re-imposing a " s u b j e c t " upon i t s f l u i d i t y i n

t e r m s of power from o u t s i d e . P o e ' s i n t e r e s t i n response

t o t h i s tendency i n t h e tales i s t o e x p l o r e t h e s ense of

t h e "powerless1' a t t h e edges of percep t ion- - the d e a t h of

t h e o l d " o b j e c t i v e " s e l f :

32

Like t h e degene ra t e forms of t h e o r i g i n a l Greek gods,

t h e C h r i s t i a n De i ty had become an a b s t r a c t i o n . Poe w r i t e s

a g a i n i n "Marg ina l ia" (1844) :

The God-abs t rac t ions of t h e modern po ly the i sm a r e n e a r l y i n a s sad a s t a t e of p e r p l e x i t y and pro- m i s c u i t y a s were t h e more s u b s t a n t i a l d e i t i e s of t h e Greeks. C~:v .16 ,35)

Unl ike Emerson, whom Poe a t t a c k e d more f o r h i s a s s o c i a t i o n

w i t h Transcendenta l phi losophy than f o r h i s work, Poe was

unable t o work w i t h i n t h e formal s t r u c t u r e of t h e C h r i s t i a n

t r i n i t a r i u m . I n "Marginal ia" (1846) Poe accuses Emerson

of being " l i t t l e more than a r e s p e c t f u l i m i t a t i o n of

C a r l y l e . " (H:v.16,122) I n t h i s s a m e passage P o e ' s d i s l i k e

o f bo th Emerson and C a r l y l e i s l i n k e d t o t h e i r common

a p p r e c i a t i o n o f Mi l ton :

Is it imposs ib l e t h a t M r . E . has e v e r seen a copy nf S e _ n _ ~ _ ~ ; r ? , S ~ ~ ~ ~ ~ 1 ~ r - - ~ r he r.rni-1 A '&.---- 1 --- ---

1 V V W U A U I A U v c L U L L ~ a y u abandoned h i s model i n u t t e r con fus ion a t t he - - - - - a ra l l e l between h i s own worship of t h e a u t h o r

Ef ' Sa r to r Resa r tu s" and t h e a o i n a o f S a l l u s t bv A r u n t i u s , a s d e s c r i b e d i n t h e i 1 4 c h E p i s t l e .

*

- (H:v.16,122) [ I t a l i c s mine]

A t i t s r o o t P o e ' s argument i s w i t h ~ m e r s o n ' s s y n t h e s i s and

b e l i e f . I n Emerson's a e s t h e t i c t h e Holy S p i r i t becomes an

a c t i v e l i n k between world mind ( r ea son ) and world s o u l

(emotions) th rough t h e m a n i f e s t a t i o n of t h e l i v i n g Word (o r

d i v i n e Logos) as t h e image of God i n t h e world . I n t h e s e

t e r m s , God t h e unknown, imageless C r e a t o r i s c o n c r e t i z e d

( a c t i v e l y imaged o r imagined) and made known i n t h e world

W through t h e Holy S p i r i t . A s Roy Miki p o i n t s o u t i n h i s

t h e s i s , "To Reconc i le t h e People and t h e S tones , t122

Emerson brought t h e C h r i s t i a n ground over--concret ized i t

i n terms of h i s own expe r i ence , r e f u s i n g a l s o an a b s t r a c t e d

expe r i ence of Dei ty . Like P o e ' s work, Emerson's i n t h e

e s s a y s i m p l i e s a cosmological v i s i o n . Poe, s t r e s s i n g t h e

e x p e r i e n t i a l a s p e c t of language, seems n o t t o have recognized

t h e presence o f cosmology i n Emerson's thought--or r a t h e r

he stresses an unknown beyond t h e a c t i v e p o l a r i t y where

Emerson a rgues a known. I n e f f e c t , t ranscendence i s theo r -

e t i c a l i n Emerson, wh i l e i n Poe i t is e x p e r i e n t i a l . Hence

Poe, t u r n i n g back t o e a r l i e r myth and fo l lowing h i s

expe r i ence of t h e ground, was f o r c e d t o r e f u s e t h e C h r i s t i a n

d i s t i n c t i o n between S p i r i t and Soul . Thus he remains w i t h i n

h i s con t ra r ium. A s Poe w r i t e s i n "Marginal ia" :

They have a s c e r t a i n e d , i n China, t h a t t h e abdomen i s t h e s e a t of t h e s o u l ; and t h e a c u t e Greeks cons ide red it a was te of words t o employ more than a s i n g l e term, EVES f o r t h e exp res s ion bo th of t h e mind and of t h e diaphragm. [ ~ : v . 1 6 , 1 7 4 )

Where Emerson can u s e t h e t e r m " S p i r i t " i n i t s C h r i s t i a n

c o n t e x t , Poe cannot . H e must move back t o an e a r l i e r

d e f i n i t i o n of bo th S p i r i t and Soul . Thus he develops a

n a t u r a l i n t e r e s t i n f i g u r e s of t h e p e r i o d l i k e Franz Anton

Mesmer, who d e f i n e s t h a t " S p i r i t u a l " e t h e r t h a t pervades

and composes a l l t h i n g s a s e l ec t romagne t i c energy. Poe

i s drawn i n t o

p l a c e s S p i r i t

a form of "ma te r i a l i sm" th rough Mesmer

and m a t t e r on a continuum. I n Eureka,

which

t h e n ,

3 4

s p i r i t i s a s s o c i a t e d w i t h " e l e c t r i c i t y , " an e l emen ta l o r

pr imary power. 23

Poe r e f u s e s an orthodoxy grounded i n dogma which

demands t h a t t h e a r t i s t set God i n t h e realm of t h e e t e r n a l

unimaginable and t h u s r e s i g n a l l imag ina t ive power t o a

s e t of r e l i g i o u s a b s t r a c t i o n s . S i n c e t h e C h r i s t i a n i t y of

P o e ' s t i m e had f o r t h e most p a r t s e t t l e d upon t h e f i x e d

image of t h e h i s t o r i c a l C h r i s t a l o n e , p o e t s b a t t l e was f o r

an e x p e r i e n t i a l ground capable of ho ld ing bo th h i s t o r i c a l

and symbol ica l l e v e l s of meaning s imul taneous ly . Theolog ica l

s p e c u l a t i o n had narrowed i n t o a series of " e i t h e r - o r "

p r o p o s i t i o n s . The even t s of t h e F a l l , Redemption and

Judgment had become mere occur rences i n l i n e a r t ime. So

i n "Marginal ia" (1844) Poe beg ins t o r e d e f i n e h i s s ense of

mere succes s ion of l i n e a r even t s :

We a p p r e c i a t e t ime by e v e n t s a l o n e . For t h i s r ea son w e d e f i n e t i m e (somewhat improper ly) as t h e succes s ion of e v e n t s ; b u t t h e f a c t i t s e l f - - t h a t e v e n t s a r e our s o l e means of a p p r e c i a t i n g t ime--tends t o t h e engender ing o f t h e e r roneous i d e a t h a t e v e n t s a r e t ime. . . . (H:v.16,22)

I n t h e same way, he a rgues , we measure space by ob jec t s - -bu t

a succes s ion of o b j e c t s i s n o t space . H e concludes t h a t

"Space i s p r e c i s e l y analogous w i t h t ime . " C H : V . 1 4 / 2 2 ) I n

Eureka Poe w i l l push t h i s e a r l y s t a t e m e n t t o i t s obvious

c o n c l u s i o n s , r e d e f i n i n g space and t ime a s something a l i v e

i n terms of e v e n t and a c t i o n . Y e t t h e above s t a t emen t

remains a t e n t a t i v e , d i r e c t i v e motion toward a l a t e r re-

d e f i n i n g of t h e s t a t i c n o t i o n of t ime and space Poe had

i n h e r i t e d . I n Eureka w e w i l l s e e t h a t even t i s g iven i n

terms of " r e c i p r o c i t y " and t h u s c a p a b l e of ho ld ing cosmic

and p e r s o n a l meaning s imul taneous ly .

P o e ' s b a t t l e as an a r t i s t w a s w i t h t h e growing prag-

matism of h i s day t h a t would e i t h e r make t h e a r t i s t i n t o

a mere t e c h n i c i a n , a s e r v a n t of t h e t h e o l o g i c a l , s o c i a l o r

p o l i t i c a l concept ( i n i t s most g e n e r a l i z e d form)--or e l s e

t u r n him i n t o a psycho log ica l "case"--a wei rd and r a t h e r

c u r i o u s , b u t n o t t o be taken s e r i o u s l y outgrowth. 2 4 p o e t s

f i r s t r e sponse , s ens ing t h e C h r i s t i a n cosmos a s he knew it

r e s e r v e d no p l a c e f o r h i s range and o r d e r of p e r c e p t i o n s

of t h e double ( c r e a t i v e - d e s t r u c t i v e ) e n e r g i e s , was t o seek

i n t e r m e d i a t e realm midway between heaven and e a r t h of t h e

poem "A1 Aaraaff ' - - the Muslem heaven which o f f e r e d t h e

advantages o f b o t h heaven and h e l l b u t t h e l i m i t a t i o n s o f

n e i t h e r . I n May, 1829 Poe writes t o h i s p u b l i s h e r s :

I send you, f o r your t e n d e r e s t c o n s i d e r a t i o n , a poem. . . . Its t i t l e i s "A1 AaraafU--from t h e A 1 Aaraaf o f t h e Arab ians , a medium between Heaven and H e l l where men s u f f e r no punishment, b u t y e t do n o t a t t a i n t h a t t r a n q u i l and even happiness which they suppose t o be t h e c h a r a c t e r - i s t i c of heavenly enjoyment. . . (M:92)

Y e t t h i s e a r l y long poem remained uncompleted and a f t e r

1 8 2 9 Poe t u r n e d h i s a t t e n t i o n t o t h e p r o s e . Wilbur

p o i n t s o u t i t s s u b t l e unorthodoxy i n t h e t e r m s :

The poem, i f my r ead ing of it i s c o r r e c t , employs B i b l i c a l m a t e r i a l t o p r e s e n t , and a t t h e same t i m e t o d i s g u i s e , an unorthodox o r "Sa t an i c" i d e a ; t h e i d e a t h a t t h e p o e t w i l l r e f u s e any heaven save t h a t of h i s own dreams. 25

P o e ' s r e f l e c t i o n s on t h e M i l t o n i c e p i c and t h e f r a g -

ments of h i s c r i t i c i s m s o f C h r i s t i a n i t y move us toward an

unders tanding of why Eureka t a k e s t h e shape of a cont ra r ium

and why Poe ' s v i s i o n i s b a s i c a l l y Manichean ( d u a l i s t i c ) .

S ince Poe w i l l n o t make u s e of t h e f i x e d and s t a t i c symbols

of C h r i s t i a n i t y a s t hey came t o him, must se t about making

h i s own mythos. Even h i s s ense of t h e F a l l is t ransformed

i n t h e tales--made o r i g i n a l t o f i t h i s expe r i ence of

s e p a r a t i o n from a world-mind and world-soul . I n Eureka t h e

p o e t ' s job i s t o re-open t h e cosmos--to s ingle-handedly

b r i n g t h e world through himself and back o u t . For t h e r e

it i s t h e a r t i s t - s c i e n t i s t alone who i s capahle of putting

power and i n t e l l i g e n c e back i n t o t h e world . But because

Poe comes when he does i n t i m e ( i n h e r i t i n g much from t h e

E igh teen th Century and t h e Romantic r e a c t i o n t o it) w e would

be mis taken i f we saw a predominant a n t i - C h r i s t i a n s t r a i n

i n h i s work. H e is a n t i - d i d a c t i c ; a n t i - a b s t r a c t i o n i s t .

Poe f o r t h e most p a r t s imply i g n o r e s C h r i s t i a n i t y ( t a k i n g

i t f o r g r a n t e d ) and moves i n t o h i s own exper ience-- the

r e g i o n s "above" and "below" " n a t u r e " a s Neo-Classicism

d e f i n e d i t , w i t h which t h e C h r i s t i a n i t y of h i s day had

f o r t h e most p a r t l o s t touch.

37

We have seen t h a t P o e t s s t r u g g l e wi th a c r i t i c a l

vocabulary t o hold h i s sense of oppos i t e s i s p a r t of h i s

conscious method and, hence, an a t t empt t o d e a l with h i s

time and p lace . I would argue f u r t h e r t h a t our a b i l i t y o r

i n a b i l i t y t o d e a l c r i t i c a l l y wi th P o e t s i n t e r e s t i n t h e

i n n e r man, t h e psychological i s a l s o r e l a t e d i n t i m a t e l y t o

t h e s t r u g g l e wi th vocabulary. Poe ' s i n t e r e s t i n i n t e r i o r

s t a t e s of mind, h i s use of dream imagery ( t h e mental land-

s c a p e ) , toge the r wi th t h e Romantic aura suggested by h i s

l i f e26- - l end him p a r t i c u l a r l y of a l l American w r i t e r s t o

psychoanalyt ic i n t e r p r e t a t i o n . The problem wi th most of

t h e psychological work on Poe i s t h a t it r e f u s e s t o

s e p a r a t e Poe ' s n a r r a t o r s from Poe h imse l f , while reducing

t h e work t o t h e p e r s o n a l i t y . No imposi t ion of psychological

rnrr - ,n :mrr Fvhm CL,. n . . . L - - - d - --: 1 1 - . - C C : -- c--- rrLGurlrL,y L A W I L L L a A t ; V U L ~ A U G W A L L ~ L I L L I L ~ : LUL Pue, preciseiy

because h i s work i t s e l f ( taken whole) proposes a way of

inc luding t h e psychological wi th in it. I t becomes impossible

t o s e p a r a t e t h e man from t h e work, s i n c e we d iscover t h e I

man wi th in it. Yet it i s necessary t o d i s t i n g u i s h Poe ' from h i s consciously c r e a t e d n a r r a t o r s . I n o rde r t o under-

s tand how t h e psychological sense of t h e r e a l does n o t

meet t h e needs of P o e t s a r t , l e t us look a t perhaps t h e

most s e r i o u s and complete of t h e a v a i l a b l e psychoanalyt ic

studies--Marie Bonaparte s Freudian a n a l y s i s of Poe: The - L i f e and Works of Edgar Al lan Poe (1917). 2 7 Marie

Bonaparte assumes a r e l a t i o n between P o e t s pe r sona l ,

neuroses and psychoses and t h e way he t r ans fo rms them a s

psychic express ion ism i n h i s a r t . I would a rgue t h a t a s

u s e f u l a s he r book i s t o Poe c r i t i c i s m , such an approach

p r o h i b i t s a f u l l e n t r a n c e i n t o p a r t i c u l a r l y a work l i k e

Eureka, which i s i t s e l f a c r i t i c i s m of t h e s c i e n t i f i c

premises on which Freudianism i s grounded ( i n d u c t i o n and

d e d u c t i o n ) . To summarize b r i e f l y he r argument, s h e s a y s

t h a t P o e t s e a r l y f i x a t i o n on h i s mother E l i z a b e t h prevented

i n l a t e r y e a r s any mature r e l a t i o n s h i p w i t h a woman,

( e v e n t u a l l y induc ing complete impotency) and t h a t h i s

consequent love-ha te of t h e f a t h e r f i g u r e s i n h i s l i f e l e a d

him i n Eureka t o p h a n t a s i z e a t o t a l i d e n t i f i c a t i o n w i t h

t h e Father-God-Creator of t h e Universe . I n t h e s e terms

Eureka is a r e j e c t i o n of t h e mether and cf thc fcminine

p r i n c i p l e he worshipped i n t h e t a l e s .

The problem i s , of c o u r s e , t h a t Marie Bonaparte

assumes t h e e x p e r i e n t i a l r e a l i t y of P o e t s l i f e i s c a u s a l l y

r e l a t e d t o t h e c r e a t e d o r "made" o r d e r i n Eureka. Her

p sycho log ica l i n t e r p r e t a t i o n i s grounded i n t h a t na ive

r a t i o n a l i s m it i s P o e t s purpose i n Eureka t o r e f u t e . Poe

r e f u s e s t o s u r r e n d e r t o t h e n o t i o n t h a t l i f e i s t h e " r e a l "

and a r t t h e "made-up1' expe r i ence . Bonaparte t h e o r i z e s

t h a t a r t i s "subl imated" r e a l i t y and somehow q u a l i t a t i v e l y

less r e a l . I t i s i n a s e n s e " t h e r a p e u t i c . " P o e t s work, \

39

moving o u t of an a t t empt t o ground thought i n a c t i o n and

even t , r e f u s e s such an assumption. I n Eureka he proposes

an o r d e r of t h e real i n which h i s own p h i l o s o p h i c a l ,

metaphys ica l o r " t h i n k i n g " expe r i ence i s r e l a t e d d i r e c t l y

t o t h e a c t u a l o r d e r o f t h e cosmos and p a r t i c i p a t e s i n t h a t

o r d e r through analogy o r correspondence r a t h e r t han by

cause and e f f e c t . Poe r e c e i v e s h i s s e n s e of t h e d o c t r i n e

of correspondences through Swedenborg a s w e l l as Co le r idge .

I n "Marginal ia" (1844) w e f i n d Poe e x p l o r i n g t h e n o t i o n of

t h e e x i s t e n c e of an a c t i v e correspondence among t h e f i v e

s e n s e s which r e f e r s them t o a " s p i r i t u a l " o r " s i x t h s ense"

beyond. Through t h i s s i n g l e s e n s e o r "Sent iment ," he

w r i t e s , it i s as i f :

t h e orange r a y of t h e spectrum and t h e buzz o f t h e g n a t (which never rises above t h e second A ) ,

T n a f f e c t m e w i t h nearly s i m i l a r sensat icns. &.. hea r ing t h e g n a t , I p e r c e i v e t h e co lou r . I n p e r c e i v i n g t h e c o l o u r , I seem t o h e a r t h e g n a t .

(H:v.16,17-18)

Such a s t a t emen t Baude la i re w i l l have c e r t a i n l y looked a t

w i t h a t t e n t i o n . For it i m p l i e s h i s own s e n s e of a c o r r e s -

pondence among t h e s enses . 28 And i n Eureka, a s I wish t o

show i n Chapter V I , Poe a rgues t h a t a r t i s r e l a t e d c o r r e s -

p o n d e n t i a l l y t o l i f e . Thus t h e a r t i s t ' s p e r s o n a l expe r i ence

can be taken i n t o account s i n c e it grows o u t of and informs

h i s a r t and v i c e v e r s a . Poe d e f i n e s t h i s a c t i v e r e l a t i o n

between i n n e r and o u t e r p o l e s of e x p e r i e n c e i n t e r m s of

" r e c i p r o c i t y w - - a s I have shown i n t h e c r i t i c i s m . I n Eureka

4 0

" r e c i p r o c i t y " (through t h e laws of e q u a l i t y and cons is tency)

r u l e s t h e motion of mat ter ( s p i r i t ) i n t h e cosmos, where

i n h i s rephras ing of Newton's law of Grav i ty , "Every atom,

of every body, a t t r a c t s every o t h e r atom, both of i t s own

and of every o t h e r body, wi th a f o r c e which v a r i e s inve r se ly

a s t h e squares of t h e d i s t a n c e s between t h e a t t r a c t i n g

and a t t r a c t e d atom." (H:v.16,215) We s h a l l s e e how he

t r a n s l a t e s t h e s c i e n t i f i c world model i n t o a p a r t of exper i -

ence a s we move through Foe ' s cosmic myth.

Never the less , without r ecourse t o Freudian a n a l y s i s ,

we may a s c r i t i c s d e a l wi th P o e ' s a r t i n terms of h i s l i f e .

Poe l i v e d l i f e a t t h e poles--swinging from t h e t e r r o r of

poverty and d i s s o l u t i o n (mental and phys ica l ) t o pe r iods

of r e l a t i v e calm and order wi th h i s women--Virginia h i s

wi fe , M r s . Clemm, M r s . R i c h m o n d , et.c. These poles a r e held

i n a r e l a t i o n of mutual r e c i p r o c i t y i n t h e a r t . Poe ' s

women appear , d isappear and reappear both a s themselves and

a s t h e embodiments of Supernal and everyday beauty i n t h e

ta les--spanning t h e poles of l i f e and dea th . Hence t h e

realm of Poe ' s experience i n t ime, informs b u t does n o t I

cause t h e cosmic order . One proceeds from o u t t h e o t h e r

b u t " t h e r e a l " i s held i n what l i e s between--in t h e a c t i v e

metamorphosis from t h e cond i t ion of u n i t y t o t h a t of

m u l t e i t y , from experience i n t o experience o u t of t ime.

F reud ' s assumption of a simple c a u s a l i t y is a s specu la t ive

41

a s P o e t s ground--yet it i s assumed t o be unquest ioned f a c t

a s a p a r t of t h a t Neo-c l a s s i ca l t r a n s p a r e n t language which

d e f i n e s i t s s u p p o s i t i o n s a s a b s o l u t e s . Poe ' s system i n

Eureka d e f i e s a s imple dichotomy between i n n e r and o u t e r .

I n h i s cosmic myth, i n n e r movement, as I have a t tempted t o

s u g g e s t , corresponds t o ou te r - - t he b e a t i n g of Poe ' s own

h e a r t - is ( n o t i s l i k e ) t h e th robbing of t h e cosmic p u l s a t i o n

from u n i t y t o s e p a r a t e n e s s , from t h e c o n d i t i o n of t h e one

t o t h e c o n d i t i o n of t h e many. The image of t h e h e a r t t h e r e

is n o t o f f e r e d as a s imi le - -bu t a s an a c t i v e metaphor.

The h e a r t becomes i n t h e s e t e r m s a symbol which bo th s t a n d s

f o r and i s t h e c e n t r e of man and t h e cosmos. For such a

s t a t e m e n t t o be more than t h e r a v i n g s of an egomaniac o r a

d i s e a s e d mind, we must a c c e p t t h e t e r m s o f P o e t s cosmos.

r o e i s work a s a whole, as 1 have sugges ted e a r l i e r ,

i m p l i e s a t heo ry o f t h e unconscious--though we need n o t

impose a modern psychoana ly t ic vocabula ry upon it. For

Poe, what we c a l l t h e unconscious may be seen as t h e whole

v a s t r e g i o n of t h e unknown t h a t i s eve r -p re sen t i n thought

and a c t i o n . I t i s i n Eureka t h a t which has n o t y e t come

i n t o form { the i n v i s i b l e ) , y e t i s p r e s e n t i n t e r m s of i t s

absence. Even a d e f i n i t i o n of t h e unconscious as t h e

realm of dream expe r i ence a l o n e , l i m i t s P o e t s s ense of t h e

mys te r ious , t h e unknown--that which i s always abou t t o

appear-- the unexpected. For Poe and h i s n a r r a t o r s a r e

42

conf ron ted by t h i s r e g i o n i n moments o f t h e most he igh tened

and i n t e n s e consc iousness . I n " M . S . Found i n a B o t t l e "

(1833) , f o r i n s t a n c e , t h e n a r r a t o r examines t h e world of

h i s d i r e c t expe r i ence w i t h such open-eyed l u c i d i t y t h a t

h i s v i s i o n of t h e v o r t e x of t h e wh i r lpoo l i s tu rned i n s i d e

o u t , s o t o speak , and he suddenly c o n f r o n t s t h e unde r s ide

of t h a t expe r i ence . Through t h e "method" of r e v e r i e t h e

mind l e a p s upon t h e means of escape from t h e w h i r l . 29

P o e ' s s e n s e of t h e "unconsc ious , " t h e n , i s c l o s e l y

t i e d t o h i s s e n s e of t h e n a t u r e of symbols. For w e f i n d

him c a l l i n g up i n h i s work images which bo th s t a n d f o r and

are t h e a c t u a l i t y . P o e ' s women are v a r i o u s m a n i f e s t a t i o n s

of h i s w i f e V i r g i n i a and a n t e r i o r l y , h i s mother E l i z a b e t h

who d i e d when he was an impress ionable two y e a r s o l d . A

f i g u r e l i k e "L ige i a" spans bo th rea lms and has a f o o t a t

e i t h e r p o l e of t h e d i a l e c t i c . The re fo re , Marie Bonapar te ' s

c l a s s i f i c a t i o n of Eureka a s Poe ' s "homo-sexual phantasy"

d o e s n ' t g e t u s f a r i f we assume t h a t P o e ' s cosmic myth i s

grounded i n more than t h e pe r sona l h i s t o r y of h i s l i f e . I

would a rgue t h a t it s t a n d s a s a cosmic un fo ld ing of l i f e

and d e a t h , t h e beginning and t h e end, f a l l e n and r e - i n s t a t e d

se l fhood- - t ranscending t h e p e r s o n a l and y e t a b l e t o i n c l u d e

t h e p e r s o n a l w i t h i n it.

A t t h i s p o i n t i n ou r d i s c u s s i o n , w i thou t f u r t h e r

r e f e r e n c e t o Eureka, it becomes obvious t h a t o u t of a whole

o r d e r of d i a l e c t i c a l o p p o s i t i o n s , among them t h e o p p o s i t i o n

43

of t h e imagina t ion and r e a s o n , f e e l i n g and t h i n k i n g , dream-

i n g and waking, comes Poe-'s c o n t r a c t e d d e f i n i t i o n of a r t .

I n o r d e r t o s u s t a i n i t s e l f a g a i n s t t h e world t h e poem must

be an i n t e n s e ges tu re - -b r i e f and s u g g e s t i v e . The pu re l y r i c

v o i c e must hold i t s e l f up by i t s e l f , s o t o speak , c u t o f f

a s it i s from t h e world. This a t l e a s t i s P o e t s a e s t h e t i c

up t o t h e w r i t i n g of Eureka, where by e s t a b l i s h i n g a p o i n t

o f c o n t a c t w i t h t h e u n i v e r s e he beg ins t o move i n t o open-

form n a r r a t i o n .

CHAPTER I1

POE AND COLERIDGE: THE AFFIRMATION OF OPPOSITES

An i n i t i a l examination of some of Poe ' s remarks i n t h e

c r i t i c i s m has shown him moving o u t of h i s s e n s e of an

o p p o s i t i o n between I d e a l and Superna l beau ty and t h e beauty

of t h e everyday v a r i e t y . Out of a need t o a f f i r m , r a t h e r

t han t r anscend t h e s e o p p o s i t e s Poe i s drawn i n t o t h e

thought of S.T. Co le r idge who a l s o d e f i n e s oppos i t i on as

a c t i v e " p o l a r i t y " i n a s i m i l a r s ense . I n t h i s c h a p t e r I

w i l l c o n t i n u e through t h e c r i t i c i s m i n an a t t e m p t t o trace

P o e ' s apprehension of t h e f l u i d n a t u r e of symbol and language

i t s e l f t o a ground i n C o l e r i d g e ' s thought . Floyd S t o v a l l

i n h i s e s s a y , "Poe ' s Debt t o Co le r idge ,"' has demonstrated

adequa te ly t h e remarkable s i m i l a r i t i e s between P o e ' s remarks

i n t h e e s s a y s and c e r t a i n o f C o l e r i d g e ' s s t a t emen t s i n t h e

Biographia L i t e r a r i a - (1817) . I would a g r e e w i t h S t o v a l l

i n h i s conc lus ion t h a t :

. . . Poe w a s more deep ly indebted t o Co le r idge i n cr i t ic ism and i n s p e c u l a t i v e thought t h a n has g e n e r a l l y been supposed. I n p o e t r y t h e i n f l u e n c e of C o l e r i d g e may e a s i l y be ove re s t ima ted , and has been, perhaps , a t t i m e s . On t h e whole, I a g r e e w i t h P r o f e s s o r Woodberry's o r i g i n a l op in ion t h a t Co le r idge was " t h e gu id ing gen ius of Poe ' s e n t i r e i n t e l l e c t u a l l i f e , " and r e g r e t tha$ he l a t e r sub- s t i t u t e d " e a r l y " f o r " e n t i r e . " 3

A s an en t rance i n t o t h e thought of Coler idge I w i l l be

r e l y i n g on t h e work of Owen Bar f i e ld i n h i s r e c e n t book,

What Coler idqe ~ h o u ~ h t , where he i n v e s t i g a t e s t h e

development of Co le r idge ' s sense of oppos i tes . Though Poe

would no t have had access t o C o l e r i d g e ' s l a t e r e s s a y s ,

l e t t e r s and t h e notebooks, upon which Bar f i e ld grounds much

of h i s d i s c u s s i o n , Poe was from t h e beginning ( a t l e a s t

1831 and probably e a r l i e r ) s teeped i n Coler idge 's poems

and e a r l y c r i t i c a l t e x t s . 5 Not only was he f a m i l i a r wi th

t h e important s ta tements of t h e Biographia L i t e r a r i a , a s

i s ev iden t from h i s remarks i n t h e e a r l y c r i t i c i s m , b u t

he reviewed A l l s o p ' s L e t t e r s , Conversations and Recol lec t ions

of S.T. Coler idge i n 1836. ( H : ~ . 9 , 5 1 - 2 ) ~ Cole r idge ' s "The

Friend" (1818) was f i r s t publ ished i n America i n 1831 when

Poe was at the height cf h i s career as l i t e r z r y e d i t o r .

"Table Talk" appeared i n 1835 and Poe r e f e r s t o it s e v e r a l

t i m e s i n t h e c r i t i c i s m . Though B a r f i e l d d i s c u s s e s Co le r idge ' s

sense of oppos i t e s i n l i g h t of t h e l a t e r work, t h e seeds

of i t s deve lopmenta represen t i n t h e Biographia L i t e r a r i a .

A s S t o v a l l w r i t e s :

Eureka was publ ished i n March, 1848, It i s hardly p o s s i b l e , t h e r e f o r e , t h a t Poe couldnhave der ived much b e n e f i t from t h e " ~ h e o r y of ~ i f e 7 [where Coler idge d e f i n e s h i s not ion of " p o l a r i t y " ] suppos- ing t h a t he had an oppor tuni ty t o r ead it. Y e t he might have been inf luenced m a t e r i a l l y by Coleridge wi thout having read h i s " ~ h e o r y of ~ i f e , " f o r t h e germ from which t h i s essay grew i s t o be found i n t h e Biosraphia L i t e r a r i a . 8

Then S t o v a l l c i t e s C o l e r i d g e l s passage i n t h e Biographia

L i t e r a r i a where i n t e l l i g e n c e i s d e f i n e d a s "an i n d e s t r u c t i b l e

power w i t h two o p p o s i t e and c o u n t e r a c t i n g f o r c e s . w 9 1 n

C o l e r i d g e ' s words:

Gran t m e a n a t u r e having two c o n t r a r y f o r c e s , t h e one of which t ends t o expand i n d e f i n i t e l y , whi le t h e o t h e r s t r i v e s t o apprehend o r f i n d i t s e l f i n t h i s i n f i n i t y , and I w i l l c ause t h e world of i n t e l l i g e n c e w i t h t h e whole system of t h e i r r e p r e s e n t a t i o n s t o r i s e up b e f o r e you. 1 0

And f u r t h e r on Co le r idge w r i t e s t h a t :

as something must be t h e r e s u l t o f t h e s e two f o r c e s , bo th a l i k e i n f i n i t e , and b o t h a l i k e i n d e s t r u c t i b l e ; and a s rest o r n e u t r a l i z a t i o n canno t be t h i s r e s u l t ; no o t h e r c o n c e n t r a t i o n i s p o s s i b l e , b u t t h a t t h e produc t must be a t e r t i u m a l i q u i d o r f i n i t e g e n e r a t i o n . Now t h i s t e r t i u m a l i q u i d can be no o t h e r t han an i n t e r p e n e t r a t i o n o f t h e c o u n t e r a c t i n g powers, p a r t a k i n g of bo th . 11

A s S t o v a l l concludes: "These passages a l o n e , w i t h t h e i r

c o n n o t a t i o n s , might have been sufficient to se t POP to v ~ r k

on a t r a i n o f t h i n k i n g t h a t would produce such a theory as

1112 t h a t of Eureka. Before r e t u r n i n g , t h e n , t o P o e l s s ense

of a s u b s t r a t u n o r "ground" of i n t e r p e n e t r a t i n g o p p o s i t e s

i n Eureka, l e t us examine som,2 of P o e t s e a r l i e r remarks on

t h e power and i n f l u e n c e of C o l e r i d g e ' s g e n i u s upon h i s

mind.

I n t h e e a r l y " L e t t e r t o B " (1831) l3 t h e p o e t i c - sen t imen t i s f i r s t d i s t i n g u i s h e d from and s e t a g a i n s t t h e

r ea son ing i n t e l l e c t and t h e p a s s i o n s of t h e h e a r t . Out

of a deep r e s p e c t f o r Co le r idge , Poe marks t h e beginning

o f h i s c a r e e r a s c r i t i c w i t h an a t t a c k on what he s e e s t o

4 7

be Wordsworth's and C o l e r i d g e ' s p r o p e n s i t y toward "Meta-

p h y s i c a l " s p e c u l a t i o n . I n t h e fo l lowing passage l e a r n i n g

has t o be t aken t o mean r ea son and sys tem,not t h e h ighe r

i n t e l l i g e n c e :

Aga ins t t h e s u b t l e t i e s which would make p o e t r y a study--not a p a s s i o n - - i t becomes t h e metaphysic ian t o reason--but t h e p o e t t o p r o t e s t . Y e t Wordsworth and Co le r idge a r e men i n y e a r s ; t h e one imbued i n contempla t ion from h i s ch i ldhood; t h e o t h e r a g i a n t i n i n t e l l e c t and l e a r n i n g . The d i f f i d e n c e , t h e n , w i t h which I v e n t u r e t o d i s p u t e t h e i r a u t h o r i t y would be overwhelming d i d I n o t f e e l , from t h e bottom of my h e a r t , t h a t l e a r n i n g has l i t t l e t o do w i t h t h e i m a g i n a t i o n - - i n t e l l e c t w i t h t h e pass ions-- o r age w i t h p o e t r y . (H :v .7 ,xxxvi i i -xxxix)

I n h i s r e j e c t i o n of sys t ema t i c argument and h i s i n s i s t e n c e

upon t h e primacy of " f e e l i n g , " h e r e i n t h e c r i t i c i s m , Poe

beg ins t o approach what i n t h e tales becomes a n amazing

r e v e r s a l of language and t o p i c a l s t r u c t u r e i n t o exper ience :

The problem in dealing w i t h t h e above passage: however, i s

t h a t Co le r idge i s say ing much t h e same t h i n g a s Poe on t h e

primacy of " f e e l i n g " i n t h e a e s t h e t i c s ense . l4 Because Poe

seldom acknowledges h i s d e b t t o Co le r idge a f t e r 1836 ( a t

l e a s t d i r e c t l y ) , we must look t o t h e e a r l y c r i t i c i s m t o

d i s c o v e r t h e complexity and ambigui ty of h i s reverence f o r

t h e man. P o e ' s o r i g i n a l v o c i f e r o u s n e s s and h i s l a t e r s i l e n c e

are r e v e a l i n g , sugges t ing more t h a n any th ing t h a t t h e

i n f l u e n c e was profound and con t inu ing . Though we must look

t o t h e f i c t i o n f o r o u r f i n a l a p p r a i s a l of C o l e r i d g e ' s

i n f l u e n c e , w e see t h a t Poe concludes " L e t t e r t o B - " w i t h

resounding and unreserved p r a i s e :

Of C o l e r i d g e , I cannot speak b u t w i t h r eve rence . H i s towering i n t e l l e c t ! h i s g i g a n t i c power. . . . I t i s lamentab le t o t h i n k t h a t such a mind should be bu r i ed i n metaphys ics , and l i k e t h e Nyctanthes , was te i t s perfume upon t h e n i g h t a l o n e . I n r e a d i n g t h a t man's p o e t r y , I t remble l i k e one who s t a n d s upon a vo lcano , consc ious from t h e v e r y da rkness b u r s t i n g from t h e c r a t e r , of t h e f i r e and t h e l i g h t t h a t a r e w e l t e r i n g below. (H :v. 7 , x l i i )

Poe i s drawn by powers b a r e l y consc ious , "we l t e r ing below"

t h e s u r f a c e of C o l e r i d g e ' s khought. Such a s t a t e m e n t i m p l i e s

an i n a r t i c u l a t e d theo ry of t h e unconscious i t s e l f , t h e

n a t u r e of which t ies t o t h e n a t u r e of symbol. l5 ~t p r e s e n t

I w i l l f o c u s b r i e f l y on what Poe unders tood C o l e r i d g e ' s

"metaphysics" t o i nvo lve i n t h e s e e a r l y s t a t e m e n t s o f

t heo ry .

The " L e t t e r t o B "concludes w i t h a d e f i n i t i o n o f

p o e t r y opposed t o mere ph i losophy , a s t h a t which a i m s d i r e c t l y '.

a t " p l e a s u r e " r a t h e r t han t r u t h : \JP' r , t- , 9-ki' " , , . i

A poem, i n my o p i n i o n , i s opposed t o a work of s c i e n c e by having, f o r i t s immediate o b j e c t , p l e a s u r e , n o t t r u t h ; t o romance, by having f o r i t s o b j e c t an i n d e f i n i t e i n s t e a d of a d e f i n i t e

-b p l e a s u r e , being a poem o n l y s o f a r as t h i s o b j e c t i s a t t a i n e d . (H:v .7 , x l i i i )

Poe borrows h i s d e f i n i t i o n a lmos t d i r e c t l y from Co le r idge ,

who i n t h e Biographia L i t e r a r i a (Chapter X I V ) w r i t e s t h a t ,

"A Poem i s t h a t s p e c i e s of compos i t ion , which i s opposed t o

works of s c i e n c e , by proposing f o r i t s immediate o b j e c t

p l e a s u r e , n o t t r u t h . '16 From t h i s s t a n d a r d Romantic

a s s e r t i o n , Poe then moves i n t o a d i s c u s s i o n of t h e " i n d e f i n i t e "

i n p o e t r y . He con t inues :

. . . romance p r e s e n t i n g p e r c e p t i b l e images w i t h d e f i n i t e p o e t r y w i t h i n d e f i n i t e s e n s a t i o n s , t o which end music i s an e s s e n t i a l , s i n c e , t h e compre- hension o f sweet sound i s our most i n d e f i n i t e concept ion . Music, when combined w i t h a p l easu re - a b l e i d e a , i s p o e t r y , music, w i thou t t h e i d e a , i s simply music; t h e i d e a , w i t h o u t t h e music , i s p r o s e , from i t s ve ry d e f i n i t i v e n e s s . ( H : v . 7 , x l i i i )

I n t h e s e terms C o l e r i d g e ' s p h i l o s o p h i c a l and s c i e n t i f i c

s p e c u l a t i o n s r e p r e s e n t f o r Poe a t t e m p t s t o r e c o n c i l e t h e

i r r e c o n c i l a b l e - - t o s e t " f a c t " n e x t t o s h e e r music. H i s

argument i s t h a t s i n c e p o e t r y a i m s d i r e c t l y a t u n e a r t h l y

beau ty , i t s purpose i s t o evoke a s e n s e of t h e b e a u t i f u l i n

t h e r e a d e r . And t h e most d i r e c t way o f ach iev ing t h i s

" e f f e c t " i s t o sugges t r a t h e r t h a n t o d e l i n e a t e o r d e s c r i b e

t h a t beauty. I n o t h e r words, f o r Poe a r t must be " i n d e f i n i t e "

i n o r d e r t o draw t h e r e a d e r i n t o a p a r t i c i p a t o r y a c t of

d i r e c t percep t ion- -so a s t o bypass t h e world of "o rd ina ry"

expe r i ence . I t i s h e r e t h a t p o e t r y i s most c l o s e l y a l l i e d

t o music--for Poe, t h a t most p r e c i s e y e t " i n d e f i n i t e " of

t h e a r t forms. l7 Thus Poe ' s p r i n c i p l e of i n d e f i n i t e n e s s

i s impor t an t because it throws t h e weight on sound, music

and rhythm. " I n d e f i n i t e n e s s " i n t h e s e t e r m s becomes t h e

companion of l o s t meaning and t h e l o s s of a n i n t e l l e c t u a l

g r i d through which t o s e e t h e world .

Mus ic ' s " i n d e f i n i t e n e s s " f o r Poe has t o do f i n a l l y

w i t h i t s power t o l i b e r a t e thought beyond t h e t h r e s h o l d of

language. I t s advantage i s t h a t it i s n o t conf ined by

i d e a s , b u t moves behind them t o evoke t h e more p r i m i t i v e

( i n t h e s ense o f primary) forms of energy i n which they have

50

t h e i r l i f e . Here Poe i s i n agreement w i t h Coler idge , who

i n "The F r i end" (1818) w r i t e s t h a t one ought t o :

r e s e r v e deep f e e l i n g s which be long , as by a n a t u r a l r i g h t t o t h o s e obscure i d e a s t h a t a r e neces sa ry t o t h e moral p e r f e c t i o n of t h e human be ing , no twi ths t and ing , y e s , even i n consequence, of t h e i r obscu r i t y - - to r e s e r v e t h e s e f e e l s n g s , I r e p e a t , f o r o b j e c t s , which t h e i r v e r y sub- l i m i t y r e n d e r s i n d e f i n i t e , no l e s s t han t h e i r i n d e f i n i t e n e s s r e n d e r s them sublime: namely, t o t h e i d e a s of be ing , form, l i f e , t h e r ea son , and t h e law of consc ience , freedom, immor ta l i t y , God! 18

Whatever t h e ground, t h e analogy between music and p o e t r y ,

a s t h e French (Baude la i re , ~ a l l a r m g , val6ry) recognized , l i e s

a t t h e h e a r t o f Poe ' s a e s t h e t i c . Out o f it come h i s la ter

exper iments i n sound and rhythm l i k e "Ulalume" (1847) and

"The B e l l s " (1849) . The m u s i c a l i t y of p o e t r y moves it away

from t h e p u r e l y mimetic ( i n t h e s e n s e of "copying") . Through

LL - 1 9 LLLC itiiisic uiie ~ildkes t h e l e a p i n t o pu re Superna l exper ience . - -

P o e t r y t h e n , i s f o r Poe l i k e music, b u t music it i s

n o t . Again he moves toward a d e f i n i t i o n of p o e t r y through a

p r o c e s s of exc lus ion . Ne i the r i s it mere "romance," which

w i t h C o l e r i d g e Poe would c l a s s i f y a s a work of t h e fancy .

Therefore i n t h e "Drake-Halleck" review ( A p r i l , 1836) Poe

makes u s e of C o l e r i d g e ' s d i s t i n c t i o n between t h e Fancy and

t h e Imagina t ion , c r i t i c i z i n g l i n e s from Joseph Rodman

Drake ' s " C u l p r i t Fay" a s a work of t h e fancy a l o n e . 20

The t r u t h i s , t h a t t h e on ly r e q u i s i t e f o r w r i t i n g v e r s e s o f t h i s n a t u r e , ad l i b i t u m , i s a t o l e r a b l e acqua in t ance w i t h t h e q u a l i t i e s of t h e o b j e c t s t o be d e t a i l e d , and a very moderate endowment o f t h e f a c u l t y of Comparison--which i s t h e c h i e f con- s t i t u e n t of Fancy o r t h e powers o f combination.

(H:v.8,294-5)

Poe t ry on t h e c o n t r a r y must hold a l l t h a t i s "Pro tean"

and i n f l u x . It must a r t i c u l a t e and ho ld a c t i v e l y what

Co le r idge c a l l s i n h i s e s s a y "On Poesy o r A r t " (1818) , form

a s "proceeding" 21 o r t h e ongoing p r o c e s s of i n c e s s a n t

change, b u t i m p l i e s e a r l i e r i n t h e Biographia L i t e r a r i a

(Chapter X V I I ) a s , " t h e p r o p e r t y o f p a s s i o n . . . n o t t o

c r e a t e ; b u t t o set i n i nc reased a c t i v i t y . "22 ~ n ~ o e ' s

words a t t h e conc lus ion of " L e t t e r t o B " - Think of p o e t r y , d e a r B , t h i n k of p o e t r y , and then t h i n k of D r . ~ a m u e l ~ o h n s o n l Think of a l l t h a t i s a i r y and f a i r y - l i k e , and then t h i n k of a l l t h a t i s hideous and unwieldy; t h i n k of h i s huge b u l k , t h e Elephant! and then--and t h e n t h i n k o f t h e Tempest!--the Midsummer N i g h t ' s D r e a m - - Prospero--0beron--and T i t a n i a ! ( H : v . 7 , x l i i i )

Such a s t a t e m e n t i s more than simply a r e p h r a s i n g of t h e

s t anda rd Romantic q u a r r e l w i t h a u t h o r i t y . 23 I t i s a t o t a l

r e f u s a l of E igh teen th Century r a t i o n a l i s m and g r i d s of meaning,

implying a n e x c l u s i o n of t h e Neo-c l a s s i ca l view of language

i t s e l f .

P o e ' s no t ion of " I d e a l i t y " i s developed o u t of a need

t o r e d e f i n e t h e o rde r ing i n t e l l i g e n c e of t h e p o e t . A s I

i n d i c a t e d i n Chapter I, it i s a t e r m drawn o u t of Poe ' s

i n t e r e s t i n phrenology24 t h a t comes t o r e p r e s e n t an o r d e r of

i n t e l l i g e n c e t h a t r e f e r s beyond t h e powers of t h e r a t i o n a l

i n t e l l e c t - - a k ind of s u p e r - r a t i o n a l i t y c a p a b l e of o p e r a t i n g

o u t s i d e E igh teen th Century g r i d s of meaning. I n t h e t a l e s

and poems, I d e a l i t y becomes beauty caugh t i n t h e p roces s

of i t s own d e s t r u c t i o n , o r a s he w r i t e s i n "Drake-Halleckw--

"beauty he igh tened i n d i s s o l u t i o n . " (H:v.8,302) L ike

Co le r idge , he sets it a g a i n s t " t h e F a c u l t y of m e r e Compari-

son. " (H :v. 8 ,300) P h i l o s o p h i c a l l y , I d e a l beau ty , t h e n ,

; r e f e r s t o a p r imal "ground" beyond t h e phenomenal world of \ n

. c a s u a l r e l a t i o n s h i p s . E x p e r i e n t i a l l y , it i s t h e beau ty Poe p*,

knew, he igh tened and i n t e n s i f i e d i n i ts proximi ty t o death--

through h i s mother E l i z a b e t h , h i s sister, h i s w i f e V i r g i n i a ,

h i s l o v e s . To p e r c e i v e t h i s k ind o f beau ty i n t h e world

through o n e ' s I d e a l i t y o r imagina t ion i s an a c t a t once of

f e e l i n g and i n t e l l i g e n c e . One might s a y t h a t f e e l i n g i n

P o e ' s thought c o n t a i n s i t s own a e s t h e t i c when it p e n e t r a t e s

d i r e c t l y t o t h e world . I d e a l i t y a t i t s r o o t i s capab le o f

i n c l u d i n g i n t e l l i g e n c e , b u t it i s n o t th rough t h e i n t e l l i g e n c e

of c o n c e p t u a l i z a t i o n a l o n e t h a t w e p e r c e i v e .

Consequently i n t heo ry Poe l i n k s h i s s e n s e of t h e

b e a u t i f u l i n n a t u r e t o a k ind of happiness o r p l e a s u r e t h a t

can on ly be d e f i n e d a s " I n t e l l e c t u a l . " I n "Drake-Halleck"

he w r i t e s :

T h i s s en t imen t [ I d e a l i t y ] i s t h e s e n s e of t h e b e a u t i f u l , of t h e sub l ime , and of t h e m y s t i c a l . Thence s p r i n g immediately admi ra t ion o f t h e f a i r f l o w e r s , t h e f a i r e r f o r e s t s , t h e b r i g h t v a l l e y s and r i v e r s and mountains of t h e Earth--and l o v e of t h e gleaming s t a r s and o t h e r burning g l o r i e s of Heaven and of E a r t h , t h e unconquerable des i r e - - t o know. Poesy i s t h e s en t imen t of I n t e l l e c t u a l Happiness h e r e , and t h e Hope of a Higher Happiness h e r e a f t e r . ( ~ : v . 8 , 2 8 3 )

A t t h i s p o i n t , i n a n o t e , Poe makes a r e f e r e n c e t o S h e l l e y ' s

"Hymn t o I n t e l l e c t u a l Beauty. "25 But h i s i n s i s t e n c e on a

53

t h e world; h i s u s e of C o l e r i d g e ' s d i s t i n c t i o n between t h e

i l l u m i n a t e d o r h ighe r reason and t h e m e r e unde r s t and ing ,

draws him c l o s e r t o C o l e r i d g e ' s s e n s e of o p p o s i t e s . I n

Owen B a r f i e l d ' s d i s c u s s i o n of t h e p l a c e of "UnderstandingN

and "Reason" i n C o l e r i d g e ' s t hough t , h e p o i n t s o u t t h a t

" reason" i s p r e s e n t t o t h e unders tanding i n two modes--

h ighe r and lower- -pos i t ive and n e g a t i v e . To summarize h i s

argument, he shows t h a t f o r C o l e r i d g e , t h e lower reason

con jo ined w i t h s e n s e i s b a s i c a l l y r e d u c t i v e , o p e r a t i n g as

it does through t h e law of non-cont rad ic t ion- - tha t A i s n o t

bo th A and n o t A . Reason i n t h i s s e n s e d i v i d e s expe r i ence

i n t o s u b j e c t i v e and o b j e c t i v e modes. But when t h e under-

s t a n d i n g i s i l l u m i n a t e d by t h e h ighe r r e a s o n , which - i s

capab le of ho ld ing a p p a r e n t c o n t r a d i c t i o n s through t h e l a w

o f " p o l a r i t y M - - i t i s then rightly connected t o sense, givinm '3

man s imul taneous ly s u b j e c t i v e detachment and "assurance of

an e x t e r n a l world. " 2 6 By contempla t ing c o n t r a d i c t i o n i n

t h e p a r t i c u l a r i t y of t h e world t h e mind i s then "p rope l l ed"

t o t h e o r i g i n a l one power t h a t m a n i f e s t s a s two f o r c e s .

Herein r e s i d e s t h e power of t h e Imagina t ion which a l o n c

i s capab le of g r a s p i n g " p o l a r i t y . "

A s one moves through t h e body of P o e ' s c r i t i c i s m it I P

becomes g r a d u a l l y c l e a r e r t h a t from t h e beg inn ing Poe i s

F d e a l i n g w i t h two k inds of r e a s o n , two k inds of beau ty , two

k i n d s of l o v e and two k inds of i n t e l l i g e n c e - - a l l g iven i n

co- inher ing dua l i sm a t t h e ground of l i f e draws him i n t o

t h e thought n o t o n l y of Co le r idge , b u t of Emanuel Swedenborg,

(1688-1772), Jacob Boehue (1575-1624) and even Georg

F r i e d r i c h Hegel (1770-1831). 27 The unders tanding of i

o p p o s i t e s a s a n a c t i v e p o l a r i t y , which Poe d e r i v e s p r i m a r i l y ,

through Co le r idge (though he knew Swedenborg and Hegel A ..' !

\ , f i r s t - h a n d ) , l i n k s him t o a t r a d i t i o n which nour i shed n o t

/ i-" , !.l' -

on ly Hegel, b u t a l s o Kar l Marx. Through C o l e r i d g e , Poe s t a y s 1

c l e a r o f t h e r e s o l u t i o n s of p h i l o s o p h i c a l m a t e r i a l i s m by i 4

p l a c i n g t h e " s y n t h e s i s " (unknown) of " t h e s i s - a n t i t h e s i s "

i n s i d e expe r i ence . What Co le r idge c a l l s " p o l a r i t y " o r " t h e -" m a n i f e s t a t i o n of one power by o p p o s i t e f o r c e s , 112* i s s i m i l a r

t o P o e t s n o t i o n of " r e c i p r o c i t y 1 ' o r "mutua l i t y of a d a p t a t i o n "

a s he t i es it t o s t r u c t u r a l u n i t y i n p l o t c o n s t r u c t i o n i n

the c r i t i c i s m and t o t h e p o i n t of i n t e r f u s i o n between t h e

e l emen ta l powers of " a t t r a c t i o n " and " r e p u l s i o n " i n Eureka.

T h i s p o i n t of i n t e r f u s i o n i s i n Eureka t h e p l a c e where

m a t t e r has i t s ve ry l i fe--where it appea r s and d i s a p p e a r s .

I n a compla in t a g a i n s t t h e m a t e r i a l i s t s Co le r idge himself

d e f i n e s m a t t e r as t h e m a n i f e s t a t i o n of a n e q u i l i b r i u m

between A t t r a c t i o n and Repuls ion:

Such men, and t h e i r name i s legion--consequent ly demand a m a t t e r as a Datum. A s soon a s t h i s g r o s s p r e j u d i c e i s cured by t h e a p p r o p r i a t e d i s c i p l i n e and t h e Mind is f a m i l i a r i z e d t o t h e contempla t ion of Mat te r as a p roduc t i n t i m e , t h e r e s u l t i n g Phenomonon of t h e e q u i l i b r i u m of t h e two a n t a g o n i s t Fo rces , A t t r a c t i o n and Repuls ion , t h a t t h e Negat ive and t h i s t h e P o s i t i v e P o l e . . . t h e i d e a of C r e a t i o n a l o n e remains . 2 9

S i n c e P o e ' s vocabulary i n Eureka i s s i m i l a r , it may be

h e l p f u l t o unders tand C o l e r i d g e ' s s ense of t h e s e "two

a n t a g o n i s t i c f o r c e s " be fo re t u r n i n g t o P o e ' s cosmic myth

where "Crea t ion" a s w e l l a s i t s o p p o s i t e , "Des t ruc t ion" a r e

indeed t h e i s s u e s . There P o e ' s c o n t e n t i o n t h a t " a t t r a c t i o n

and r e p u l s i o n are m a t t e r " becomes a r e d e f i n i t i o n of

subs t ance . Matter a s t h e m a n i f e s t a t i o n of cosmic p r i n c i p l e s

o r "laws" i s then a l i v e - - i t i s a r e v e l a t i o n , an e v e n t and

hence by d e f i n i t i o n , non-corporeal .

H e r e B a r f i e l d ' s work on Co le r idge may a g a i n be

h e l p f u l i n d e a l i n g w i t h Poe, whose e x p e r i e n t i a l ground i s

s imilar . I n b r i e f , B a r f i e l d demons t ra tes t h a t f o r Co le r idge

h i s thought o r " t h i n k i n g " expe r i ence canno t be s e p a r a t e d

from h i s s e n s e of t h e imagina t ion as a "proceeding."

C o l e r i d g e ' s b a t t l e , a rgues B a r f i e l d , i s w i t h t h e d e s c r i p t i v e

methods o f s c i e n c e , d e s c r i p t i v e metaphysics and r a t i o n a l

p o s i t i v i s m . Thus h i s thought i s c e n t e r e d i n t h e p e r c e p t i o n

of a p a r t i c i p a t o r y r e l a t i o n between s e l f and wor ld , " n a t u r a

n a t u r a t a " ( n a t u r e n a t u r e d ) and " n a t u r a na tu rans" ( n a t u r e

n a t u r i n g ) . I n t h e s e t e r m s , f o r Co le r idge " n a t u r a na tu rans"

i s t o " n a t u r a n a t u r a t a " a s t h i n k i n g i s t o thought . 30

Imaginat ion then becomes t h a t which med ia t e s between o r

ho lds t h e s e p o l e s of expe r i ence ( a c t i v e and p a s s i v e ) i n

r e l a t i o n . I n " P r i n c i p l e s of Genia l C r i t i c i s m : Essay Thi rd"

(1814) , which Poe could have known, Co le r idge d e f i n e s them

a s " t h e s e two c o n f l i c t i n g p r i n c i p l e s of t h e FREE LIFE, and

of t h e c o n f i n i n g

w r i t e s :

Every power an o p p o s i t e

FORM. '13' I n "The F r i end" (1812) he

i n n a t u r e and i n s p i r i t must evo lve a s t h e s o l e means and c o n d i t i o n of

i t s m a n i f e s t a t i o n : and a l l o p p o s i t i o n i s a tendency t o re-union. Th i s is t h e u n i v e r s a l l a w of p o l a r i t y o r e s s e n t i a l dua l i sm, f i r s t promulgated by H e r a c l i t u s , 2000 y e a r s a f t e r - wards r e p u b l i s h e d and made t h e founda t ion bo th of l o g i c , of p h y s i c s , and o f meta-physics by Giordono Bruno. 32

S i n c e "The F r i end" appeared i n America i n 1831, Poe would

have c e r t a i n l y r ead and noted such a passage w i t h enthusiasm.

For Co le r idge , t h e n , and hence f o r Poe, who p i c k s up

s t r o n g l y h i s s e n s e of l i f e a s a "proceeding ," t h e b u s i n e s s

of t h e imagina t ion i s n o t t o c r e a t e , s o much a s it i s t o

b r i n g over i n t o form ( i n a l l i t s dynamism) t h e i n t e r p l a y

o f d u a l powers. I n t h i s s e n s e imagina t ion becomes an

ac t ion- -a p o s i t i v e and passionate act of mind, I n the

c h a p t e r , !'Two Forces of One Power," B a r f i e l d moves a t t h e

problem of why Co le r idge e s t i m a t e s h i s t hough t s and

o p i n i o n s i n Chapter X I 1 1 of t h e Biographia L i t e r a r i a t o be

( i n C o l e r i d g e ' s words ) , " D i r e c t l y t h e r e v e r s e of a l l I

had eve r been accustomed t o c o n s i d e r as t r u t h . If33 As

B a r f i e l d moves through C o l e r i d g e ' s no t ion of " p o l a r i t y " he

shows t h a t C o l e r i d g e ' s s e n s e of an a c t i v e dual ism between

pr imary powers a t t h e ground o f l i f e l e a d s him i n t o an

argument w i t h o u r whole no t ion of s u b j e c t i v i t y and

o b j e c t i v i t y - - t h a t is s c i e n c e ' s methodology. Poe a l s o

cons ide red Eureka revolut ionary--and I t h i n k f o r t h e same

r ea sons . The opening t o h i s cosmic myth makes s e n s e i n

no o t h e r terms :

I s h a l l be s o r a s h , moreover, as t o c h a l l e n g e t h e conc lus ions , and t h u s , i n e f f e c t , t o q u e s t i o n t h e s a g a c i t y , of many of t h e g r e a t e s t and most j u s t l y reverenced o f men. (H:v.l6,185)

Co le r idge I s "primary c o n s t i t u e n t Powers of Nature"

a r e s i m i l a r t o P o e t s f i r s t p r i n c i p l e s o r "Laws" of c r e a t i o n

and d e s t r u c t i o n i n Eureka. P o e t s i n t e r e s t i n Mesmerism,and

E l e c t r i c i t y a s a n e l emen ta l power, cones o u t of a need t o

d e f i n e a ground f o r t h e imagina t ion i n n a t u r e . A s B a r f i e l d

makes c l e a r , t h e s e two producing and p r o d u c t i v e powers i n

C o l e r i d g e ' s t hough t , which a r e "quenched i n t h e p r o d u c t , "

i n s e p a r a b l e , y e t n o t i n d i s t i n g u i s h a b l e , 34 are t h e u l t i m a t e

ground of C o l e r i d g e t s cosmology. They are c o n t r a r y forces - -

" r e a l , n o t m e r e l o g i c a l o p p o s i t e s , " s a y s B a r f i e l d , which

"g ive r i s e t o p h y s i c a l f o r c e s , b u t a r e n o t p h y s i c a l . 1 ~ 3 5 In

C o l e r i d g e ' s words, t hey " c o u n t e r a c t each o t h e r by t h e i r

e s s e n t i a l n a t u r e " and a r e " p r i o r t o a l l d i r e c t i o n m - - t h e y

are " t h e primary f o r c e s from which t h e c o n d i t i o n s o f a l l

p o s s i b l e d i r e c t i o n s a r e d e r i v a t i v e . "36 E a r l i e r a t t h e

opening of Chapter X I 1 1 of t h e Biographia L i t e r a r i a ,

Co le r idge d e f i n e s them a s two f o r c e s , "one of which t ends ." S *

t o expand i n f i n i t e l y , w h i l e t h e o t h e r s t r i v e s t o apprehend

o r f i n d i t s e l f i n t h i s i n f i n i t y . "37 P o e t s i n t u i t i v e g r a s p

of C o l e r i d g e ' s " p o l a r i t y " and h i s unique s e n s e of it i n

Eureka, enab le u s t o s e e why Eureka i s unapproachable i n

psycho log ica l terms a l o n e . The fo l lowing s t a t emen t from

B a r f i e l d a p p l i e s t o Poe a s w e l l . For n e i t h e r Co le r idge nor

Poe want t o t r anscend o p p o s i t e s , b u t r a t h e r t o move back

t o a ground where o p p o s i t e s are he ld i n a c t i o n . This i s

t h e b a s i c work of t h e imagina t ion f o r them both :

t h e p o s i t i v i s t o r m a t e r i a l i s t . . . world view . . . begins by p o s t u l a t i n g a p h y s i c a l process-- i t shows how t h i s p roces s produced t h e human b r a i n (of which mind i s a f u n c t i o n ) and then proceeds , on t h e b a s i s of a b r a i n s o conce ived , t o propound whatever i t has t o propound abou t t h e mind. A l l t h i s , though r a r e l y s t a t e d and perhaps n o t o f t e n consc ious ly formula ted , i s o p e r a t i v e as p r e s u p p o s i t i o n today whenever t h e mind, whether consc ious o r unconscious , whether i n i t s c r e a t i v e o r i t s a n a l y t i c a l a s p e c t , i s deba ted o r r e f l e c t e d on. I t i s t h e t a c i t assump- t i o n of every r ece ived system o f psychology, whether n e u r a l , F reud ian , p h i l o s o p h i c a l , t h e o l o g i c a l o r a e s t h e t i c . . . . H i s [Co le r idge ' s l conc lus ions a r e r e j e c t e d f o r f a i l i n g t o accord w i t h premises on which they a r e n o t based. I n p a r t i c u l a r t h e y have s u f f e r e d from t h e cricum- s t a n c e s t h a t a non-Cartes ian psychology w i l l n o t f i t i n t o a C a r t e s i a n cosmos. 38

The C a r t e s i a n psychology a t hand canno t come t o terms w i t h

Poe e i t h e r , s i n c e h i s work, l i k e t h a t of Co le r idge , i s

grounded i n a non-Cartes ian cosmos. I n Eureka w e f i n d

P o e t s a t t e m p t t o s y n t h e s i z e t h e cosmology i m p l i c i t i n t h e

t a l e s and poems.

An unders tanding of t h e way i n which Poe, through

Co le r idge , i s d e a l i n g w i t h cosmic d u a l i t y and a two-foldness

i n a man and n a t u r e e n a b l e s u s t o r e t u r n t o h i s d e f i n i t i o n

of i n t e l l i g e n c e and " I d e a l i t y . " For i n t e l l e c t i s a l s o

g iven by way of a lower and h ighe r n a t u r e . I n t e l l e c t i n

t ime i s mere "metaphysical acumen. " (H :v . 8 , 2 8 4 ) Uranian '

59

o r Superna l i n t e l l i g e n c e i s t h e i n t e l l i g e n c e of t h e p o e t .

C o n s i s t e n t l y i n t h e c r i t i c i s m Poe a t t a c k s t h e r a t i o n a l

mind on t h e c a s u a l p l a n e , t h a t i s , m e r e p h i l o s o p h i z i n g ,

wh i l e e x h a u l t i n g t h e i n t e l l i g e n c e o f t h e i d e a l p o e t - s c i e n t i s t ,

I n t h e s e t e rms , P o e ' s c r i t i c i s m i n " L e t t e r t o B - " i s n o t

t h a t Co le r idge remained a mere ph i lo sophe r even i n h i s

s p e c u l a t i v e w r i t i n g s , b u t t h a t t h o s e w r i t i n g s i n them-

s e l v e s as a means o f a t t a i n i n g g l impses of a h ighe r o r d e r

are i n d i r e c t . For i n rake-~alleck,"after c i t i n g C o l e r i d g e ' s

d e f i n i t i o n of t h e Imaginat ion a s "a l e s s e r deg ree of t h e

c r e a t i v e power i n God, (H:v.8,283) 39 Poe i d e n t i f i e s himself

w i t h Co le r idge and Co le r idge w i t h t h e I d e a l p o e t . I n

Co le r idge Poe s e e s t h e metaphys ica l powers o f i n t e l l i g e n c e

jo ined i n a marr iage t o t h o s e of t h e Imaginat ion o r I d e a l i t y .

The poem for Poe i s i n a sense t h e issue cf this marriagz.

I n terms of such a union of opposing menta l powers, one

might s ay t h a t t h e poem r e s i d e s n e i t h e r i n t h e mind of the-

p o e t , nor i n t h e e a r o f t h e r e c e i v e r , b u t a t t h e t h r e s h o l d -

between them. Herein f o r Poe l i e s t h e e v o c a t i v e o r

i n c a n t a t o r y power of words--in i t s a b i l i t y t o draw t h e

r e a d e r t o t h a t edge where he p a r t a k e s i n bo th worlds b u t

i s conf ined by n e i t h e r . The poem, t h e n , becomes t h e

means of e x c i t i n g t h e I d e a l i t y - - n o t t h a t f a c u l t y a b s t r a c t e d

from i t s sou rce i n t h e pause between opposing e n e r g i e s .

Poe proceeds i n "Drake-Halleck" t o trace Coler idge I s

g en ius "Phreno log ica l ly . "

I t i s more than p o s s i b l e t h a t t h e man who, of a l l w r i t e r s , l i v i n g o r dead , has been most s u c c e s s f u l i n w r i t i n g t h e p u r e s t of a l l poems-- t h a t i s t o s a y , poems which e x c i t e more p u r e l y , most e x c l u s i v e l y , and most powerfu l ly t h e imag ina t ive f a c u l t i e s i n men--owed h i s e x t r a - o r d i n a r y and a lmos t magical pre-eminence r a t h e r t o metaphys ica l t h a t p o e t i c a l powers. W e a l l u d e t o t h e au tho r of C h r i s t a b e l , of t h e R i m e of t h e Ancien t Mariner , and of Love--to Coler idge- whose head, i f w e mis take n o t i s c h a r a c t e r , g i v e s no g r e a t ph reno log ica l tokens of I d e a l i t y , wh i l e t h e o rgans of C a u s a l i t y and Comparison were most s i n g u l a r l y developed. (H:v. 8 ,285)

Poe and h i s h e r o e s , by c o n t r a s t , are men of he igh tened

I d e a l i t y , whose s e n s e of t h e b e a u t i f u l i s s o i n t e n s e it pushes I

over t h e o t h e r s i d e of beauty t o behold b e a u t y ' s oppos i te - -

t h e h ideous , inharmonious, t h e deformed, o r "dead." A s Poe

writes i n " F i f t y Sugges t ions" (May-June, 1945) :

An a r t i s t i s an a r t i s t on ly by d i n t of h i s e x q u i s i t e s e n s e of Beauty--a s e n s e a f f o r d i n g him r a p t u r o u s enjoyment, b u t a t t h e same t ime imply- i n g , o r i n v o l v i n g , an equally exquisite sense of Deformity o r d i s p r o p o r t i o n . (H:v.14,175)

Here P o e ' s s e n s e of o p p o s i t e s i s c l e a r l y a r t i c u l a t e d - -

beau ty always i n t h e a c t of t u r n i n g over t o r e v e a l i t s

oppos i t e . I n l i g h t of C o l e r i d g e ' s s e n s e of " p o l a r i t y , "

t h e n , t h e job of p o e t r y f o r Poe i s t o hold o r r e v e a l bo th

t h e " e x q u i s i t e s e n s e of Beauty" and t h e " e q u a l l y e x q u i s i t e

s ense of Deformity" i n t h e image of t h e mournful ly b e a u t i f u l

woman. So i n "Marginal ia" (1849) Poe w r i t e s : "The pu re

Imagina t ion chooses , from e i t h e r Beauty o r Deformity, o n l y

t h e most combinable t h i n g s h i t h e r t o uncombined. . . ." ( ~ : v . 1 6 , 1 5 5 - 6 ) Hence a s i n chemis t ry : " t h e admixture of

t h e two elements r e s u l t s i n a something t h a t h a s nothing

of t h e q u a l i t i e s of one of 'them o r even nothing o f t h e

q u a l i t i e s of either."(H:v.16,156) The middle term--the

a c t i v e p o l a r i t y of extreme beauty and extreme deformity i s

t h a t something new--that something o t h e r . A f i g u r e l i k e

P o e l s " ~ i ~ e i a " ~ O is t h a t "something t h a t has nothing of

t h e q u a l i t i e s of one of them o r even nothing of t h e q u a l i t i e s

of e i t h e r " (beauty o r de fo rmi ty ) . The poe t must pe rce ive

h e r with f a c u l t i e s o t h e r than t h e f i v e senses and t h e modes

of knowledge proposed by sc ience . He must c a p t u r e , "Patch

down" t h a t energy wi thout des t roy ing it. Consider Roderick

Usher with t h e wide span of forehead, t h a t M n i n o r d i n a t e

expansion above t h e r eg ion of t h e temples ," and Lige ia of

t h e l o f t y and p a l e brow, t h e b lue ve ins on which "swelled

and sank impetuously wi th t h e t i d e s of t h e most g e n t l e

emotion" a g a i n s t t h e ravagings of dea th . Both f i g u r e s

r e p r e s e n t I d e a l beauty i n t h e t a l e s . It i s a s i f i n t h e s e

f i g u r e s , who a r e both themselves and t h e symbols of p o e t i c

energy and beauty i n i t s most heightened cond i t ion near

death--Poe i s a b l e t o b r ing both i n t e l l e c t and pass ion t o

his no t ion of I d e a l i t y . I n t h e above passage, then , Poe

impl ies t h a t Coler idge , by n a t u r e a r easoner , a s c i e n t i s t ,

pushes "Causa l i ty and Comparison" beyond t h e i r l i m i t s i n t o

a realm where t h e oppos i t e s conjo in i n h i s poems.

So i n t h e t a l e s and poems w i l l we see Poe br inging

t h e opposi tes sha rp ly toge the r . L i g e i a , f o r i n s t a n c e ,

r e p r e s e n t s bo th ~ d e a l i t y and what Co le r idge would c a l l t h e

"h igher r e a s o n . " The passage on t h e tremendous l e a r n i n g

of L i g e i a i s comprehensible i n no o t h e r t e r m s :

I have spoken of t h e l e a r n i n g of L i g e i a : it was immense--such as I have never known i n woman. I n t h e c l a s s i c a l tongues was she deep ly p r o f i c i e n t , and as f a r a s my own acqua in t ance extended i n r e g a r d t o t h e modern d i a l e c t s of Europe, I have never known h e r a t f a u l t . . . . (H:v.2,253-4)

L i g e i a r e p r e s e n t s more than j u s t l e a r n i n g o r i n t e l l i g e n c e - -

she i s t h e ve ry sou rce of t h e p o e t ' s i n fo rma t ion of himself

and t h e wor ld , i n s h o r t , she is h i s muse:

I saw n o t t hen what I now c l e a r l y p e r c e i v e , t h a t t h e a c q u i s i t i o n s of L i g e i a were g i g a n t i c , w e r e as tounding; y e t I was s u f f i c i e n t l y aware of he r i n f i n i t e supremacy t o r e s i g n myse l f , w i t h a c h i l d - l i k e conf idence , t o h e r guidance th rough t h e c h a o t i c world of metaphys ica l i n v e s t i g a t i o n a t which I was most b u s i l y occupied d u r i n g t h e e a r l i e r y e a r s of ou r mar r iage . With how v a s t a triumph--with how v i v i d a de l igh t - -w i th how much of a l l t h a t i s e t h e r e a l i n hope--did I feel,. as she bent over me i n studies b u t l i t t l e sought--but l e s s known--that d e l i c i o u s v i s t a by slow deg rees expanding b e f o r e m e , down whose long , gorgeous, and a l l untrodden p a t h , I might a t l e n g t h p a s s onward t o t h e g o a l of a wisdom t o o d i v i n e l y p rec ious n o t t o be fo rb idden . (H:v.2,254)

I n terms of "The P o e t i c P r i n c i p l e " L i g e i a ' s beau ty i s

Uranian and Rowena's (her "o rd ina ry and everyday" coun te r -

p a r t ) Dionean. Among L i g e i a ' s g r e a t a q u i s i t i o n s of

" forb idden" knowledge i s t h a t u l t i m a t e knowledge of d e a t h

and t h e s i l e n c e beyond bo th being and becoming. C r i t i c a l

o b j e c t i o n s t o P o e ' s h e r o i n e s on t h e ground t h a t they are

"not human" mis se s t h e p o i n t . For L i g e i a i s a t once woman

as Poe knew h e r e x p e r i e n t i a l l y ( l i n k e d t o d e a t h ) and a

g r e a t symbol (g iven i n image) of t h e i n t e l l i g e n c e o f t h e ' i

p o e t . She i s t h e n a r r a t o r ' s gu ide through t h e m y s t e r i e s

of " forb idden knowledge," and s h e i s t h e feminine w i l l t h a t

i s a b l e t o c o n c r e t i z e t h a t knowledge i n a c t i o n . She i s a t

once t h e p o e t ' s inmost s e l f and h i s oppos i t e . She i s t h e

dark Uranian Venus, however, on ly through t h e p o e t ' s

imag ina t ive r e c o n s t i t u t i o n of h e r . Thus t h e theme of t h e

" w i l l " is c e n t r a l t o t h e t a l e . L i g e i a ' s words a t d e a t h p i c k

up t h e epigram t h a t p r e f a c e s t h e t a l e . 4 1

And t h e w i l l t h e r e i n l i e t h , which d i e t h n o t . Who knoweth t h e m y s t e r i e s of t h e w i l l , w i t h i t s v i g o r ? For God i s b u t a g r e a t w i l l pervading a l l t h i n g s by n a t u r e of i t s i n t e n t n e s s . Man d o t h n o t y i e l d himself t o t h e a n g e l s , n o t un to d e a t h u t t e r l y , save on ly th rough t h e weakness of h i s f e e b l e w i l l .

(H:v.2,248)

Looking ahead t o Eureka, as t h e s e l i n e s i n v i t e u s t o d o , w e

f i n d t h a t t h e r e God i s de f ined as a g r e a t two-fold w i l l - -

and t h a t which remains c o n s t a n t ( i ndwe l l i ng ) t h e

u n i v e r s e i n i t s d i v i d e d c o n d i t i o n u n t i l t h e d i v i d e d m a t e r i a l

i s r e g a t h e r e d . I n Eureka t h e w i l l t o d e a t h ( a t t r a c t i o n

through g r a v i t y ) i s a w i l l i n g t o r e t u r n t o a p o i n t of

u n i t y , t h e unsepara ted c o n d i t i o n beyond w i l l i n g . 42

Because of t h e n a t u r e , t h e n , o f what his a r t proposes ,

Poe demands from symbol t h a t it be a b l e t o ho ld meaning i n

t h i s double realm. With h i s master, Co le r idge , Poe would

a g r e e t h a t symbol:

is c h a r a c t e r i z e d by a t r a n s l u c e n c e of t h e s p e c i a l i n t h e i n d i v i d u a l , o r of t h e g e n e r a l i n t h e s p e c i a l , o r of t h e u n i v e r s a l i n t h e g e n e r a l ; above a l l by t h e t r a n s l u c e n c e of t h e e t e r n a l through and i n t h e ' temporal . I t always p a r t a k e s of t h e r e a l i t y , which

it r e n d e r s i n t e l l i g i b l e ; and wh i l e i t enunc ia t e s t h e whole, a b i d e s i t s e l f as a l i v i n g p a r t i n t h a t u n i t y o f which it i s t h e r e p r e s e n t a t i v e . 4 3

~ h u s i n t h e cr i t ic ism Poe demands symbol ica l o r " a l l e g o r i c a l "

exp res s ion i n i t s r i c h e s t sense--which had f o r t h e most

p a r t vanished i n America. Bunyan's "P i lg ram ' s P rog res s " i s

an example f o r Poe of a l l e g o r y i n which meaning had become

f i x e d and p r e s c r i p t i v e . A s he remarks i n h i s review of

"Twice-Told Ta le s " : "That "The P i lg rams P rog res s " i s a

l u d i c r o u s l y o v e r r a t e d book . . . i s a m a t t e r upon which no

two t h i n k i n g people d i s a g r e e . (H:v.13,148-9) I n "Night and

Morning" (1841) and aga in i n "Twice-Told T a l e s " C1842) Poe

c l a r i f i e s t h e n a t u r e of t h e problem--describing t h e tendency

of h i s t ime t o narrow symbols till t h e y came t o r e p r e s e n t

mere t h e o l o g i c a l i d e a s . P o e t s a t t a c k on " a l l e g o r y " i s

c~nsietent. But we must be aware that he refuses m l y

a l l e g o r y of a r e d u c t i v e n a t u r e , s i n c e h i s own work c o n t a i n s

much of t h e a l l e g o r i c a l exp res s ion . Poe w r i t e s i n "Night

and Morning" t h a t :

Pure a l l e g o r y i s a t a l l t imes an abomination--a remnant of a n t i q u e barbarism--appealing on ly t o our f a c u l t i e s of comparison, w i t h o u t even a remote i n t e r e s t f o r ou r r ea son , o r f o r o u r fancy . Meta- pho r , i t s so f t ened image, has i n d i s p u t a b l e f o r c e when s p a r i n g l y and s k i l f u l l y employed. (H:v.10,130)

I n P o e t s vocabula ry "pure a l l e g o r y " i s t h e r e d u c t i v e form

of h ighe r symbol ica l e x p r e s s i o n , and " t h e metaphor ica l

exp res s ion" i s ' i ts r i g h t use: " D i r e c t s imil ies a r e of t o o

pa lpab ly a r t i f i c i a l a c h a r a c t e r t o be a r t i s t i c a l . An

a r t i s t w i l l a lways c o n t r i v e t o weave h i s i l l u s t r a t i o n s

i n t o t h e me taphor i ca l form." (H:v.16,27) F i n a l l y , i n

"Twice-Told T a l e s , " through h i s d i s c u s s i o n of Hawthorne's

work, Poe once and f o r a l l makes t h e d i s t i n c t i o n between

t h e two uses o f symbol. A s f o r " a l l e g o r y " :

Where t h e sugges ted meaning r u n s th rough t h e obvious one i n a v e r y profound u n d e r c u r r e n t s o a s never t o i n t e r f e r e w i t h t h e upper one w i t h o u t our own v o l i t i o n , s o as never t o show i t s e l f u n l e s s c a l l e d t o t h e s u r f a c e , t h e r e o n l y , f o r t h e proper u s e s of f i c t i t i o u s n a r r a t i v e , i s it a v a i l a b l e a t a l l . Under t h e b e s t c i r cums tances , it must a lways i n t e r f e r e w i t h t h a t u n i t y of e f f e c t which t o t h e a r t i s t , i s worth a l l t h e a l l e g o r y i n t h e world . (H:v.13,148)

P o e ' s o b j e c t i o n i s a g a i n t o a r t t h a t i s m o r a l i s t i c - - t h a t

"Preaches ." But l i k e Co le r idge he a l s o o b j e c t s t o a n o t i o n

o f language i t s e l f t h a t ( i n C o l e r i d g e ' s words) " r ecogn izes

no medium between l i t e r a l and me taphor i ca l . l l d 4 I n "The

from h i s own poem "The Raven" of t h e p rope r u se of metaphor.

There t h e b i r d becomes an emblem o f "Mournful and Never-

Ending RememberanceU--but never c e a s e s be ing a b i r d . The

symbolic meaning of t h e " g h a s t l y v i s i t o r " i s n o t imposed

upon t h e poem from outs ide- -bu t r a t h e r evo lves o u t of our

p a r t i c i p a t i o n i n it. Meanwhile t h e s u r f a c e o r n a r r a t i v e

l e v e l o f t h e poem remains u n i n t e r r u p t e d . Poe concludes

h i s d i s c u s s i o n of how he composed "The Raven" as fo l lows : \

I t w i l l be observed t h a t t h e words, "from o u t my h e a r t , " i nvo lve t h e f i r s t me taphor i ca l exp res s ion i n t h e poem. They, w i t h t h e answer, "Nevermore," d i s p o s e t h e mind t o s eek a moral i n a l l t h a t h a s been p r e v i o u s l y n a r r a t e d . The r e a d e r b e g i n s now t o r e g a r d t h e Raven as emblematic- a l - -bu t it i s n o t u n t i l t h e ve ry l a s t l i n e of t h e

ve ry l a s t s t a n z a , t h a t t h e i n t e n t i o n of making him emblemat ical of Mournful and Niver-Ending Rememberance i s pe rmi t t ed d i s t i n c t l y t o be seen . ( ~ : v . 1 4 , 2 0 8 )

For Poe t r u t h i n p o e t r y i s mul t id imens iona l , complex, l ay-

e r e d . For an image o r i d e a t o move a t many l e v e l s simul-

t aneous ly i t s "moral" meaning must be he ld i n abeyance

u n t i l it i s c a l l e d f o r t h . To r e s t r i c t t h e i n t e r p l a y of

meaning (and t h e absence of meaning) t o a s i n g l e l e v e l i s

t o d e s t r o y t h e r i c h n e s s , t h e very l i f e of image.

A s we proceed through some of t h e t a l e s and poems t o

Eureka w e s h a l l s e e t h a t P o e l s pr imary i n t e r e s t is i n an

unmediated p a r t i c i p a t i o n i n what Co le r idge c a l l e d t h e

" n a t u r a n a t u r a n s " o r what i n Poe i s a supra-sensuous realm

beyond t h e f i v e s e n s e s . I t i s t h a t rea lm symbolized by

dream o r t r a n c e where " I t i s as i f t h e f i v e s e n s e s were

supp lan ted by f i v e myriad o t h e r s a l i e n t o m o r t a l i t y . "

(H:v.16,89) I n t h i s c o n t e x t , P o e l s rea lm of I d e a l i t y ,

however c o n t r a c t e d a g a i n s t t h e world of o r d i n a r y p e r c e p t i o n s ,

i s no more an a b s t r a c t i o n of n a t u r e , t han L i g e i a i s an

a b s t r a c t i o n o f woman. They a r e i n t e n s i f i c a t i o n s . Poe ' s

focus i s on how t o e n t e r t h a t rea lm of which n a t u r e is a

f u n c t i o n , y e t which remains t o t a l l y independent of t h e

phenomenal world f o r i t s l i f e and cont inuance . L ike t h e

rea lms of t h e gods , it i s permanent, How 4oes one c l a im

t h e world i n t h i s sense? How does one move back t o t h a t

p o i n t of i n t e r f u s i o n between world and s e l f where a c e n t e r

67

of knowledge i s a cen te r of power, a s i n "Ligeia?" These

a r e i s s u e s of "method" and they become t h e i s s u e s of Eureka -- Thus i n s p i t e of P o e t s P l a t o n i c d i s t i n c t i o n s , through h i s

ground i n Coler idge w e can see t h a t t h e r e a l i t y of t h e

dream remains e x p e r i e n t i a l .

CHAPTER I11

THE CIRCUMSCRIBED EDEN O F THE EARLY TALES AND POEMS

A s W i l l i a m s writes of Poe i n I n t h e American Grain:

H i s c r i t i c i s m paves t h e way f o r what must be h i s p r o s e - - i l l u s t r a t i n g h i s f a v o r i t e t heo ry t h a t t h e t heo ry i n c l u d e s t h e p r a c t i c e . 1

I n t h i s s e c t i o n I w i l l be t u r n i n g t o some of t h e e a r l y poems

and t a l e s i n an a t t e m p t t o show how P o e l s s e n s e of o p p o s i t e s

i s c a r r i e d i n t o t h e f ict ion--how h i s s e n s e of t h e " i n d e f i n i t e "

and t h e f l u i d n a t u r e of language and symbol p l a y s i t s e l f o u t

i n image. I wish i n my d i s c u s s i o n t o f o c u s p r i m a r i l y on a

group of t a l e s concerned w i t h t h e d e a t h of a b e a u t i f u l woman--

j nc111dinc~ ' ' M ~ r e l l a " (18-15) , "Be,rnicel' (1835) , "Lic;ziaU (1838) , -

and "Eleonora" (1841) . I w i l l be looking a t t h e s e t a l e s a s

a group i n t h e l i g h t o f P o e l s s t a t e m e n t s of t heo ry as they

t i e t o t h e c i rcumscr ibed n a t u r e of h i s v i s i o n . F i n a l l y , I

w i l l be r e t u r n i n g through t h e s e and some of t h e la ter t a l e s

t o t h e problem of P o e t s s e n s e of expe r i ence i n t h e frame-

work of N e o c l a s s i c a l g r i d s of meaning.

One of P o e t s e a r l i e s t and perhaps must uncompromis-

i n g e x p r e s s i o n s of t h e o p p o s i t i o n of s e l f and world occu r s

i n t h e poem "Sonnet--To Sc ience" of 1 8 2 9 . The poem was

f i r s t pub l i shed a s a p r e f a c e t o " A 1 A a r a a f , " one of h i s

e a r l y a t t e m p t s t o s u s t a i n a long poem. A s Mabbott p o i n t s

o u t , t h e sonne t was r e p u b l i s h e d a s a mot to t o "The I s l a n d

of t h e Fay" i n 1841. (M: 9 0 ) I c i t e t h e poem f o r purposes

of c l a r i t y i n my d i s c u s s i o n :

Sc ience! t r u e daughte r of Old T i m e thou ar t ! Who a l te res t a l l t h i n g s w i t h t h y p e e r i n g eyes .

Why p r e y e s t thou t h u s upon t h e p o e t ' s h e a r t , V u l t u r e , whose wings a r e d u l l r e a l i t i e s ?

How should he l o v e thee! o r how deem t h e e w i s e , Who wouldst n o t l e a v e him i n h i s wandering

To seek f o r t r e a s u r e i n t h e jeweled s k i e s , A l b e i t he soared w i t h an undaunted wing?

Hast thou n o t dragged Diana from he r c a r ? And d r i v e n Hamadryad from t h e wood

To seek a s h e l t e r i n some happ ie r s t a r ? The E l f i n from t h e green g r a s s , and from m e The summer dream benea th t h e tamarind t r e e ?

Wilbur p o i n t s o u t t h a t t h e "happ ie r s t a r " i n t h e poem i s t o

be i d e n t i f i e d w i t h P o e ' s "c i rcumscr ibed Eden," t h a t " l i m i t e d

realm" of t h e " t r u e p o e t ' s a u t h o r i t y . " Th i s c i rcumscr ibed

concerned w i t h what Wilbur c a l l s P o e ' s myth o f t h e F a l l . I t

i s t h e c i rcumscr ibed rea lm from which t h e p o e t " f a l l s " o r

descends t o e n t e r t h e mundane world of " d u l l r e a l i t i e s , "

t h e world o f t i m e , decay and dea th . I t i s , f o r example, t h e

"Val ley of t h e Many-Colored Grass" of "Eleonora" t h e f i r s t

home of t h e l o v e r s of t h e t a le who s e e m , w e a r e t o l d ,

"Shut up, a s i f f o r e v e r , w i t h i n a magic p r i s o n house of

grandeur and g l o r y . " C H : V . 4,239)

Wilbur e x p l a i n s t h e i n t e r i o r symbol ica l meaning o f

t h e u n f a l l e n Eden of "Eleonora" i n t h e fo l lowing t e r m s :

The v a l l e y of E leonora , l i k e a l l such v a l l e y s i n Poe, r e p r e s e n t s t h e o r i g i n a l i s o l a t e i n t e g r i t y of t h e p o e t ' s s o u l , and i t s at tunement t o u n i v e r s a l harmony. Eleonora h e r s e l f i s t h e gen ius l o c i , t h e p r i n c i p l e of beau ty and harmony which t h e v a l l e y r e f l e c t s ; i n a word, s h e i s Psyche. 2

Using t h e word "psyche" i n i t s o l d s e n s e , r a t h e r than i n

t h e c o n t r a c t e d s e n s e of a " s o u l " d i s t i n c t from t h e body,

Poe l i n k s Eleonora t o t h a t v i t a l female p r i n c i p l e o r

" l i f e ' s b r e a t h " which animakes t h e v a l l e y p r i s o n and j o i n s

P o e ' s he roes through t h e power of r e v e r i e t o t h e l oca l e - -

i n t h i s c a s e t h e c i rcumscr ibed rea lm of t h e v a l l e y i t s e l f .

Eleonora i s t h e s p i r i t of t h e v a l l e y - - t h e s p i r i t of "p lace"

w i t h which t h e i s o l a t e imagina t ion o f t h e p o e t i s one. She

i s t h e p o e t ' s s o u l and h i s twin o r doub le , who l i k e t h e

Greek "Psyche" o r " b u t t e r f l y " moves through space-t ime

through an o r d e r of unfo ld ing appedrances and d i sappea rances

o r metamorphoses. L a t e r i n t h e poem "Ulalume" (.1847) , t h e

psyche f i g u r e r eappea r s :

Here once , through an a l l e y T i t a n i c , Of c y p r e s s , I roamed w i t h my Soul-- Of c y p r e s s , w i t h Psyche, my Sou l . (M:416)

Like t h e "Psyche" of "Ulalume," Eleonora i s t h e p o e t ' s gu ide

through "an a l l e y T i t a n i c , of c y p r e s s , " a r a v i n e on a h i l l -

s i d e . Note t h a t t h e cyp res s i s t r a d i t i o n a l l y a s s o c i a t e d

w i t h d e a t h , and s o i n t h e t a l e "Morella" (1842) w i t h t h e

love t h a t endures through d e a t h . A s More l la d i e s she

s a y s : "But t h y days s h a l l be days of sorrow--that

sorrow which i s t h e most l a s t i n g of impress ions , as t h e

c y p r e s s i s t h e most enduring of t r e e s . " (H:v.2,31) S imi l a r ly . ,

as t h e p o e t and h i s Soul move toward t h e edges of pe rcep t ion

i n "Ulalume," t h e y c o n f r o n t d e a t h i n t h e form of " t h e door

o f a legended tomb." Here a s i n "Eleonora ," Psyche warns

t h e p o e t of wor ld ly p a s s i o n , r e p r e s e n t e d by "Venus-Astarte,"

who appea r s a s a s t a r i n t h e sky overhead t o h e r a l d t h e

d e s c e n t i n t o t i m e :

But Psyche, u p l i f t i n g he r f i n g e r , Said--"sadly t h i s s tar I mis t ru s t - - Her p a l l o r I s t r a n g e l y mi s t ru sk - -

Ah, hasten!--ah, l e t u s n o t l i n g e r 1 A h f l y ! l e t us f ly!-- for w e must ."

I n t e r r o r s h e spoke; l e t t i n g s i n k he r Wings till they t r a i l e d i n t h e dust - -

I n agony sobbed; l e t t i n g s i n k he r Plumes till they t r a i l e d i n t h e dust - - T i l l t hey so r rowfu l ly t r a i l e d i n t h e d u s t .

(M: 417)

I t i s indeed t h e l i g h t and h e a t of Venus p\e m i s t r u s t s . And

d i s c o v e r s t h e p a s s i o n s of t h e o u t e r world where he e n t e r s

t i m e . From t h e beginning l o v e and d e a t h a r e l i n k e d i n t h i s

way i n t h e poems and t a l e s . To f a l l i n t o Eros i s t o f a l l

p r ey t o t i m e . I t i s t o e n t e r a realm t h a t i s n o t l i f e , b u t

n e i t h e r i s it dea th- - for w i t h i n it consc iousness becomes L ; i

i n c r e a s i n g l y more l u c i d .

A gl impse a t P o e t s u s e of t h e Psyche f i g u r e enab le s

u s t o s e e how t h e feminine informs t h e e n t i r e poem i n

"Sonnet--To Sc ience ." The gen ius l o c i ( i m ~ g i n e d i n t h e

" jeweled s k i e s , " t h e c h a s t e "Diana," t h e Hamadryad) i s

feminine and Time a l o n e remains mascul ine . "Science" i s ,

h e r s e l f a goddess and a p a r t of t h e o r d e r s of f e m i n i n i t y

i n t h e poem. Y e t she has tu rned "Vul ture , I' abandoning

t h e p o e t f o r a rea lm of " d u l l r e a l i t i e s " and t h u s s e t t i n g

h e r s e l f a g a i n s t t h e feminine i n n a t u r e . She has dragged

t h e c h a s t e Diana from her c a r and d r i v e n E l f i n and

Hamadryad from t h e n a t u r a l world. I n s h o r t , she has

descended i n t o t i m e and t h e p a s s i o n s o f t ime , " a l t e r i n g a l l

t h i n g s " w i t h T i m e ' s "pee r ing eye ." I n t h i s s ense t h e poem

becomes a de fense o f t h e feminine. Cons t an t ly i n t h e

tales and poems t h e u p s e t of t h e o r i g i n a l ba lance between

mascul ine and feminine d e f i n e s P o e ' s s e n s e of t h e f a l l .

Outs ide t h e v a l l e y where t h e o r d e r s of f e m i n i n i t y and

m a s c u l i n i t y are ove r tu rned , t h e p o e t does n o t f o r g e t Psyche.

A l l of h i s l i f e becomes an a t t e m p t t o r ecove r h e r . Hence

as Wilbur w r i t e s :

E l e o n o r a ' s g h o s t l y v i s i t s t o he r l o v e r are t o be s u b j e c t i v e l y i n t e r p r e t e d as moments of s u c c e s s f u l r e v e r i e s , as f i t f u l r e c o v e r i e s of imag ina t ive power. The h e r o ' s f a i t h f u l n e s s t o E l e o n o r a ' s memory i s t h e p o e t ' s n o s t a l g i a f o r "Psyche," f o r h i s l o s t i n t u i t i v e posses s ion of a l l t h i n g s . Tha t i s what a l l of P o e ' s dead and lamented l a d i e s s t a n d f o r : Ligeia ,Lenore , More l l a , t h e whole t r o o p . 3

But on ly w i t h i n t h e c l o s e d c i r c l e of t h e dream a r e such

moments o f " s u c c e s s f u l r e v e r i e " p o s s i b l e . P o e ' s own s t a t e -

ments on t h e dream s ta te a r e u s e f u l i n t h e c o n t e x t of t h e

tales, where r e v e r i e becomes a consc ious methodology. . I n

"Marginal ia" ("Graham's ~ a ~ a z i n e ' : March, 1846) Poe w r i t e s :

There i s . . . a c l a s s of f a n c i e s , of e x q u i s i t e d e l i c a c y , which a r e n o t - t hough t s , and t o which a s y e t , I have found it a b s o l u t e l y imposs ib le t o adapt language. I use t h e word f a n c i e s a t random, and merely because I must u se some word; b u t t h e i d e a commonly a t t a c h e d t o t h e t e r m i s n o t even remote ly a p p l i c a b l e t o t h e shadows o f shadows i n q u e s t i o n . They seem t o m e r a t h e r p sycha l t han i n - t e l l e c t u a l . They a r i s e i n t h e s o u l ( a l a s , how r a r e l y ! ) on ly a t i t s epochs of most i n t e n s e t ranqui l i ty - -when t h e b o d i l y and menta l h e a l t h are i n per fec t ion- -and a t t h o s e m e r e p o i n t s of t i m e where t h e con•’ i n e s of t h e waking world b lend w i t h t h o s e of t h e world of dreams. I a m aware of t h e s e " f a n c i e s " on ly when I a m upon t h e v e r y b r i n k of s l e e p , w i t h t h e consc iousness t h a t I am so . ( ~ : v . 1 6 , 8 8 )

Poe concludes t h a t t h e s e " f a n c i e s " are " sensua l " beyond o u r

o r d i n a r y comprehension of t h e word. Then he l i n k s t h i s

e n t i r e realm of impress ions t o h i s s e n s e of t h e Superna l

beau ty , which w e have examined e a r l i e r :

These " f a n c i e s " have i n them a p l e a s u r a b l e e c s t a s y a s f a r beyond t h e most p l e a s u r a b l e of t h e worid of wakefu iness , o r of dream, as t h e Heaven of t h e North-man theo logy i s beyond i t s H e l l . I r e g a r d t h e v i s i o n s , even a s t hey a r i s e , w i t h an awe which, i n some measure, moderates o r t r a n q u i l i z e s t h e ec s t a sy - - I s o r e g a r d them, through a c o n v i c t i o n (which seems a p o r t i o n of t h e e c s t a s y i t s e l f ) t h a t t h i s e c s t a s y , i n i t s e l f , i s of a c h a r a c t e r s u p e r n a l t o t h e Human Nature-- i s a gl impse of t h e s p i r i t ' s o u t e r world .

F i n a l l y i n t h i s same passage Poe e x p l o r e s t h e problem of

how t o s u s t a i n t h i s c o n d i t i o n t h a t i s n o t s l e e p o r wake- Z

c f u l n e s s , heaven o r h e l l , b u t something i n between: t . . . I have proceeded s o f a r . . . a s t o p reven t

t h e l a p s e from t h e p o i n t of b l end ing between wakefulness and s leep--as t o p r e v e n t a t w i l l , I s a y , t h e l a p s e from t h i s border-ground i n t o t h e dominion o f - s l e e p . Not t h a t I can c o n t i n u e t h e condi t ion- -no t t h a t I can r e n d e r t h e p o i n t more

than a po in t - -bu t t h a t I can s t a r t l e myself from t h e p o i n t i t s e l f i n t o t h e realm of Memory--convey i t s impres s ions , o r more p r o p e r l y t h e i r r e c o l l e c - t i o n s , t o a s i t u a t i o n where (a l though s t i l l f o r a ve ry b r i e f pe r iod ) I can survey them w i t h t h e eye of a n a l y s i s . (H:v.16,90)

Thus P o e ' s he roes i n t h e t a l e s and poems a r e "dreamers" on ly

i n t h e s e n s e t h a t they a r e open t o a kind of p e r c e p t u a l

r e c e p t i v i t y t h a t r e f u s e s t o s e p a r a t e s l e e p and wakefulness

and i s n o t d e f i n e d w i t h i n t h e c u l t u r a l g r i d .

I n t h e t a l e s Poe ' s heroes seldom l e a v e t h e v a l l e y

g r a d u a l l y . They f a l l a b r u p t l y and unceremoniously from

f i r s t innocence. For t h e F a l l i n Poe i s n o t , a s i n

C h r i s t i a n myth, a r e s u l t of d i sobed ience . It i s r a t h e r an

i n e v i t a b l e and u s u a l l y incomprehensible event . The v a l l e y

i s t h a t "dream t o o b r i g h t t o l a s t " o f t h e poem "To One i n

P a r a d i s e . " (M:214) 4 I n t h i s poem of 1833 L,,e s i l e n t c r y ,

"no more, no more, no more" ( taken up a g a i n i n "The Raven"

[1845] as t h e r e f r a i n , "Nevermore") , i s n o t f o r t h e l o s s

of what was, b u t f o r t h e presence of a "not-world" t h a t i s ,

over which t h e s p i r i t of t h e p o e t hovers i n suspens ion :

A vo ice from o u t t h e F u t u r e c r i e s , "On! on!"--but o ' e r t h e P a s t

( D i m gulf !) my s p i r i t hover ing l i e s Mute, mo t ion le s s , aghas t ! (M:214)

A s t h e p o e t i n t h e poem l o s e s Psyche, it seems a s i f t h e

p r e s e n t i s abou t t o a r i s e b e f o r e him. It i s t h e n he

d i s c o v e r s t h a t t h e p r e s e n t i s miss ing ; a b s e n t , and he i s

f o r c e d t o r e d e f i n e t h e p r e s e n t i n t e r m s of a p a t t e r n of

presence and absence. The ho r ro r of t h e poem i s t h e h o r r o r

of t h e s o u l a l o n e be fo re t h e void--the p l a c e where nothing

has y e t come i n t o form. The s p i r i t i s "Mute, m o t i o n l e s s ,

aghas t " n o t s o much b e f o r e d e a t h , as b e f o r e t h e absence of

l i f e . Psyche has become a ghos t . H e r p resence i s suggested

i n terms of h e r absence and i s de f ined on ly i n terms of t h a t

absence. Hence t h e poem b r i n g s us i n t o t h e presence of

nameless things--"what e t h e r e a l dancesM-- what e t e r n a l

s t reams I' :

And a l l my days are t r a n c e s , And a l l my n i g h t l y dreams

A r e where t h y g rey eye g l a n c e s , And where t h y f o o t s t e p gleams--

I n what e t h e r e a l dances , By what e t e r n a l s t reams . ( ~ : 2 1 5 )

S i m i l a r l y t h e poem "To Helenn (1831) i s c o n s t r u c t '

on a p a t t e r n o f p resence and absence. Helen appea r s

tw ice i n t h e poem on ly t o d i s a p p e a r a t t h e end. She i s f i r s t

r e v e a l e d a s Helen t h e daughte r of Zeus:

Helen t h y beau ty , i s t o me L ike t h o s e Nicean ba rks of y o r e ,

Tha t g e n t l y , o ' e r a perfumed s e a , The weary, way-worn wanderer bore To h i s own n a t i v e shore .

On d e s p e r a t e s e a s long wont t o roam, They h y a c i n t h h a i r , t h y c l a s s i c f a c e ,

Thy Naiad a i r s have brought m e home To t h e g l o r y t h a t was Greece,

And t h e grandeur t h a t w a s Rome.

Assoc i a t ed w i t h t h e c l a s s i c a l world and t h e beau ty of a n c i e n t

y e t f a m i l i a r t h i n g s i n t h e f i r s t two s t a n z a s , she suddenly

r e a p p e a r s , " s t a t u e - l i k e " ho ld ing an "agate-lamp." She i s

bo th an image of t h e c o n c r e t e (by way of t h e p a r t i c u l a r i t y

7 6

of t h e image of t h e lamp) and t h e " i n d e f i n i t e . " She i s

bo th a l i v e and dead ( s t a t u e - l i k e ) --both "me" and " o t h e r .

I n t h e l a s t l i n e she i s a b s e n t and becomes t h e p o e t ' s

"Psyche" of t h e r e g i o n s beyond image t h a t are b o t h s t r a n g e

(unknown) and y e t f a m i l i a r (known) - -" the r e g i o n s which a r e

Holy-Land. "

Lo! i n yon b r i l l i a n t window-niche How s t a t u e - l i k e I s e e t h e e s t a n d , The a g a t e lamp w i t h i n t hey hand!

Ah, Psyche, from t h e r e g i o n s which A r e Holy-Land!

A s i n t h e p o e t r y , s o i n t h e p rose t h e f a l l i s e x p e r i -

enced a s a sudden break ing from l i f e i n t o t h a t r e g i o n t h a t

i s n e i t h e r l i f e nor death--an an t i -wor ld . L ikewise , h o r r o r

i n t h e t a l e s i s a s s o c i a t e d con t inuous ly w i t h t h e ac t of

c o n f r o n t i n g t h e void--descending. I n t h e t a l e "William

m. - - wilsor." ( l i ? 3 9 ) , f ~ r example, t h e hero ieiis u s 'chat: "men

u s u a l l y grow base by deg rees . From me, i n an i n s t a n t , a l l

v i r t u e dropped b o d i l y a s a msn t l e . " ( ~ : v . 3 , 2 9 9 ) For Wilson

t h e F a l l i s d e a t h of a t o t a l l y unique n a t u r e , h i t h e r t o

unexper ienced i n t h e world: "I would have them allow--what

t hey canno t r e f r a i n from a l lowing- - tha t a l t hough t empta t ion

may have e r e w h i l e e x i s t e d as g r e a t , man was never t h u s ,

a t l e a s t , tempted b e f o r e - - c e r t a i n l y , never t h u s f e l l . "

(H:v.3,300) For Poe and h i s n a r r a t o r s t h e F a l l i s n o t a

u n i v e r s a l expe r i ence common t o a l l men. Because it i s n o t

s h a r e d , it i s c h a r a c t e r i z e d by o r d e f i n e d i n t e r m s of an

77

agonizing i s o l a t i o n . Here i s more than s tandard Romantic

a l i ena t ion- - the a l i e n a t i o n of t h e a r t i s t , t h e super io r man

from t h e crowd. Though Poe t akes up i n some of h i s e a r l y

poems t h e Byronic pos tu re , u l t i m a t e l y he i s saying something

very d i f f e r e n t :

From chi ldhood 's hour I have n o t been A s o t h e r s were--I have n o t seen A s o t h e r s saw--I would no t b r ing My pass ions from a common spring-- From t h e same source I have no t taken My sorrow--I would n o t awaken My h e a r t t o joy a t t h e same tone-- And a l l I lov 'd--I lov 'd a lone . (M:146)

Here a s e a r l y a s 1829 i n "Alone" Poe d e s c r i b e s an a l i e n a t i o - .

t h a t c a t a p u l t s him i n t o a world of dynamic r e l a t i o n t o a

n a t u r e beyond (above-below) n a t u r e , t h a t i s elemental and

po la r (male-female). The p o e t ' s sorrow and joy does n o t

i s s u e f r o n t h e same source o r "spr ing" a s t h a t of o t h e r s .

f a c t n o t sorrow a t a l l , b u t something "more than I'

sorrow--just a s t h e love of woman i n "Annabel Lee" (1849)

i s a " love more than love." (M:478) Outside t h e c u l t u r a l

frame of r e f e r e n c e , meaning r e v e r t s (descends) i n t o exper i -

ence. Hence, "Aloneness" i s no t s u f f e r i n g except i n terms

t h a t con:.*-. from o u t s i d e . It i s a s o l i t u d e dr iven beyond

s o l i t u d e ' s l i m i t s , and s o P o e t s problem becomes one of

f ind ing words t o c a t c h it, images t o suggest without los ing

t h e f r a g i l i t y of i t s o rde r s . For it is a complex experience

and t h e r e i s a b s o l u t e l y nothing on e a r t h t o which it can

be compared.

Even i n t h i s very e a r l y poem where we f i n d P o e ' s

f i r s t s t a t e m e n t of a l i e n a t i o n , w e a l s o d i s c o v e r i n t h e

second s t a n z e h i s r e c o g n i t i o n of n a t u r e through t h a t

a l i e n a t i o n , as a v a s t c e n t e r of power and ( s e n t i e n t )

i n t e l l i g e n c e .

Then--in my childhood--in t h e dawn Of a most stormy l i fe - -was drawn From e v ' r y d e p t h of good and ill The mystery which b inds me s t i l l -- From t h e t o r r e n t , o r t h e founta in- - From t h e r e d c l i f f o f t h e mountain-- From t h e sun t h a t ' round m e r o l l ' d I n i t s autumn t i n t of gold-- From t h e l i g h t n i n g i n t h e sky A s it passed m e f l y i n g by From t h e thunde r , and t h e storm-- And t h e c loud t h a t took t h e form (When t h e r e s t of Heaven w a s b l u e )

O f a demon i n my view-- (M:146-7)

Again t h e a l i e n a t i o n i s n o t from t h e " r e a l " world o r from

t h e m y s t e r i e s of n a t u r e . The p o i n t i s r a t h e r t h a t t h e p o e t

p a r t i c i p a t e s i n t h e s e g r e a t m y s t e r i e s of a s e n t i e n t , n a t u r e

"aloneu--and t h a t t hey a r e m y s t e r i e s of t h e o r d e r s of f e a r ;

h o r r o r . He p e r c e i v e s n a t u r e , n o t w i t h t h e f i v e s e n s e s , s o

much a s w i t h h i s s o u l . Thus he moves i n t o a rea lm where

it i s as i f t h e s e n s e s " t h i n k . " Abandoning t h e u s u a l

concep tua l frame of r e f e r e n c e , meaning i t s e l f becomes

u n s e t t l e d . Clouds t a k e t h e form of "demons" when t h e s o u l

c o n f r o n t s e x p e r i e n c e wi thou t mediation--nakedly. A s Thomas

Mabbott p o i n t s o u t i n a n o t e t o t h e poem, a demon f o r Poe

i s "powerful , b u t n o t n e c e s s a r i l y e v i l . " ( ~ : 1 4 7 ) D i r e c t ,

unmediated p a r t i c i p a t i o n i n t h e world moves t h e poem i n t o

79

a rea lm where t h e "Moral Sense" i s he ld i n suspens ion , TO

p e r c e i v e t h e world i n t h i s way i s t o p a r t i c i p a t e i n it

w i t h o n e ' s s e n s u a l i n t e l l i g e n c e , o n e ' s " I d e a l i t y . " I t is

t o expe r i ence an extreme s e n s e of t h e a b s o l u t e "o the r . "

Here t h e o l d t o p i c a l s t r u c t u r e s beg in t o break down and

language i n t h e poem approaches t h e edge of a g u l f t h a t

had been in t roduced between form and c o n t e n t . Words no

longe r correspond t o t h i n g s . I n Eureka w e w i l l see t h a t

t h e s o l i t a r y v o i c e of t h e p o e t c o n f r o n t s t h i s abyss o f

meaninglessness i n a s i m i l a r f a s h i o n . There it becomes

t h e agoniz ing b u s i n e s s of t h e l y r i c "I" t o r ecove r t h e l o s t

connec t ion between i t s e l f and t h e world by speaking o u t

of t h e c e n t e r o f i t s being.

Somewhat l a t e r i n t h e t a l e s , we f i n d P o e t s heroes

"Beren ice , " (1835) f o r i n s t a n c e , t h e he ro Egaeus s t a t e s

h i s own e x i s t e n t i a l i s o l a t i o n i n terms s i m i l a r t o t h o s e of

t h e poem "Alone" :

The r e a l i t i e s o f t h e world a f f e c t e d m e as v i s i o n s , a s v i s i o n s o n l y , w h i l e t h e w i ld i d e a s of t h e l a n d of dreams became, i n t u r n , --not t h e m a t e r i a l of my every-day ex is tence- - b u t i n v e r y deed t h a t e x i s t e n c e u t t e r l y and

s o l e l y i n i t s e l f . C H X . 2 , l 7 )

The descen t i n t o h i s own fragmented expe r i ence i s d e s c r i b e d

a s a r e v e r i e i n which t h e mind r e p e a t s "monotonously some

common word, u n t i l t h e sound, by d i n t o f f r e q u e n t

r e p e t i t i o n , ceased t o convey any i d e a whatever

mind. . . ." ( ~ : v . 2 , 1 9 )

S l i g h t l y l a t e r i n t h e t a l e , "The I s l a n d o f t h e ~ a y , "

(1841) w e encounte r t h i s same sense of t h e s o l i t u d e of t h e

p o e t o r dreamer caught i n r eve r i e - -unpro t ec t ed from t h e

world by a s h i e l d o r s c r e e n of "concepts . " But t h i s t ime

what may n o t have been made c l e a r i n "Alone" i s c l e a r l y

a r t i c u l a t e d . The p o e t does n o t r e s i g n himself t o s o l i t u d e - -

he a s s e r t s it:

I n t r u t h , t h e man who would behold a r i g h t t h e g l o r y of God upon t h e e a r t h must i n s o l i t u d e behold t h a t g l o r y . To me, a t l ea s t , t h e presence--not of human l i f e on ly , b u t of l i f e i n any o t h e r form t h a t t h a t of t h e green t h i n g s which grow upon t h e s o i l and a r e v o i c e l e s s - - i s a s t a i n upon t h e landscape-- is a t w a r w i t h t h e n a t u r a l g e n i u s o f t h e scene. I l o v e , indeed t o r e g a r d t h e dark v a l l e y s , and t h e g ray r o c k s , and t h e waters t h a t s i l e n t l y s m i l e , and t h e f o r e s t s t h a t s i g h i n uneasy s lumbers , and t h e proud wa tch fu l mountains t h a t look down upon a l l , - - I l o v e t o r e g a r d t h e s e as themselves b u t t h e c o l o s s a l members of one v a s t animate and s e n t i e n t whole--a w h o l e w h o s e form (that of t h e sphe re ) i s t h e most p e r f e c t and most i n c l u s i v e of a l l . (H:v.4,194)

The a b i l i t y t o see t h e world once a g a i n i n i t s a n c i e n t

e n t i r e t y , t o behold " t h e g l o r y of God" i n t h e wor ld , i s

owing d i r e c t l y t o t h e dreamer ' s i s o l a t i o n . I t i s indeed

through t h i s i s o l a t i o n t h a t he r ecogn izes t h e world as a

" v a s t animate and s e n t i e n t whole." The image of t h e world

t h e s e few s e n t e n c e s imply l e a d s Poe back t o t h e p r i m i t i v e ,

mythic o r i e n t a t i o n t h a t i s t h e ground o f Eureka ' s cosmogonic

s t r u c t u r e . Here through r e v e r i e t h e dreamer i d e n t i f i e s

a wholly w i t h t h e landscape--with " t h e green t h i n g s which

grow upon t h e s o i l and are v o i c e l e s s . " By ach iev ing even , T

I 1 L

momentarily t h i s union w i t h t h e " p l a c e , " he comes t o expe r i -

ence p l a c e as presence . Suddenly t h e l i f e and mind of t h e

world are i n s e p a r a b l e from h i s own.

I n h i s r e v e r i e t h e dreamer ' s a t t e n t i o n is r i v e t e d t o

t h e i n t e r p l a y between t h e trees on t h e s h o r e and t h e wa te r .

" I f eve r i s l a n d were enchanted ," s a i d I t o myse l f , " t h i s i s it. This haunt of t h e few g e n t l e Fays who remain from t h e wreck of t h e r a c e . A r e t h e s e green tombs the i r s ? - -o r do they y i e l d up t h e i r sweet l i v e s a s mankind y i e l d up t h e i r own? I n dy ing , do they n o t was te away mournfu l ly , r e n d e r i n g un to God, l i t t l e by l i t t l e , t h e i r e x i s t e n c e , a s t h e s e trees r e n d e r up shadow a f t e r shadow, exhaus t ing t h e i r subs t ance i n t o d i s s o l u t i o n ? V l a t t h e was t ing tree i s t o t h e wate r t h a t imbibes i . ; shade , grow- i n g t h u s b l a c k e r by what it p reys upon, may n o t t h e l i f e of t h e Fay be t o t h e d e a t h which e n g u l f s i t ?

II . . . . (H:v.4,198)

The " g e n t l e Fays" emerge from t h e shadows t h a t move between

t h e trees on t h e sho re and t h e wate r t h a t devours t h e l i f e

nf the trees. One m i g h t say they rzprzscn t t hz t energy

between sho re and wate r i n a c o n t i n u a l p r o c e s s of d i s s o l u t i o n - -

g iven form by t h e imagina t ion of t h e dreamer. The Fays

dwel l i n t h e t r a d i t i o n a l rea lm of t h e f a i r y t a l e i n t h e

s ense t h a t t hey are c l o s e t o n a t u r e - - " s p i r i t s of n a t u r e , "

bo th " t h e r e " and " n o t t h e r e . They hold i n image t h a t

which r e n d e r s i t s e l f up c o n t i n u a l l y t o d e a t h and s o r e p r e s e n t

t h e l i f e of t h e dreamer. A t t h i s p o i n t i n t h e n a r r a t i v e t h e

"genius l o c i " of t h e s cene , t h e Fay h e r s e l f , emerges b e f o r e

t h e d reamer ' s eyes . A s he contempla tes he r m o m n t s from I

-'

t h e l i g h t t o t h e d a r k s i d e s o f t h e i s l a n d he s e s i n t h a t t \ - c y c l e of nea r appearance and nea r d i sappea rance , t h e

p a t t e r n of h i s own l i f e ( a s w e l l as t h e p a t t e r n of t h e

seasons) suspended between t h e p o l e s of l i f e and d e a t h ,

p resence and absence:

"The r e v o l u t i o n which has j u s t been made by t h e Fay ," I cont inued musingly, " i s t h e c y c l e of t h e b r i e f yea r o f h e r l i f e . She has f l o a t e d through her w i n t e r and through h e r summer. She i s a y e a r n e a r e r un to Death; f o r I d i d n o t f a i l t o see t h a t , a s she came i n t o t h e shade , h e r shadow f e l l from h e r , and w a s swallowed up i n t h e da rk w a t e r , making i t s b l ackness more b l ack . . . . " (H.v.4, lgg)

Both t h e Fay (whose shadow, l i k e t h e shadows of .ne t r e e s i s

consumed) and t h e dreamer, aga in are i d e n t i f i e d w i t h t h e

t r e e s - - t h e "green t h i n g s " through which they commune. A s

t h e Fay g l i d e s i n h e r b o a t from t h e wes te rn t o t h e e a s t e r n

ends of t h e i s l a n d she pas ses from an i d y l l i c landscape of

l i g h t and l i f e - - " one r a d i a n t harem of garden b e a u t i e s , " - -

i n t o a l andscape o f da rkness and gloom, "whelmed i n t h e

b l a c k e s t shade ." (H:v.4,197) On t h e b r i g h t s i d e of t h e

i s l a n d we n o t e t h e presence of t h e a sphode l , t h e f lower

c o n s t a n t l y a s s o c i a t e d i n P o e t s mind w i t h t h e p a s s i o n s and

i n t o x i c a t i o n s of t h e h e a r t , and t r a d i t i o n a l l y w i t h t h e

dead. Death a s always i n Poe i s a l l i e d w i t h t h e beauty of '

woman--through which t h e p a t t e r n s of appearance and d i s -

appearance are r evea l ed . So w i t h e a c h c i r c u i t t h e Fay

i grows more so r rowfu l , " f e e b l e r and more i n d i s t i n c t under

t h e wa tch fu l e y e w - - u n t i l a t l a s t she d i s a p p e a r s i n t o t h e I

h 11

i P darkness e n t i r e l y . One might say t h a t h e r form i s r evea l ed

t o t h e dreamer a s a kind of d i a l e c t i c between r e v e a l i n g

and ho ld ing back:

The f a y . . . went d i s c o n s o l a t e l y w i t h her b o a t i n t o t h e r e g i o n o f t h e ebony f l o o d , and t h a t she i s s u e d thence a t a l l I cannot s ay , f o r da rkness f e l l over a l l t h i n g s and I behe ld h e r magical f i g u r e no more. C~:v .4 ,199)

I f w e view t h e i s l a n d a s t h e c i rcumscr ibed domain of a

dream, t h e n a r r a t i v e ends when t h e dreamer s i n k s i n t o t h e

imageless o b l i v i o n of deep s l e e p , and da rkness , o r d e a t h ,

f a l l s over consc iousness . The dreamer , t h e Fay, and t h e

s e n t i e n t world o f v e g e t a b l e l i f e t o which they belong

proceed t h u s rhy thmica l ly toward d e a t h . I t i s a s i f t h e

landscape i n i t s ve ry s e n t i e n c e i s a t war w i t h l i f e i t s e l f

i n t h i s g r e a t s t r i v i n g t o know d e a t h . A t t h e same t i m e ,

t h e sorrow of t h e Fay (and s o of t h e dreamer) proceeds o u t

of a q u a r r e l w i t h t i m e and t h e pas s ing of t h e seasons .

The landscape of "Eleonora" i s s i m i l a r t o t h a t

of "The I s l a n d of t h e Fay." I n "Eleonora" t o o t h e asphodel

s p r i n g s up t h e moment t h e l o v e r s draw "Eros" from " t h e

w a t e r s of t h e River of S i l e n c e " wherein t h e i r imag s l i e

r e f l e c t e d . They draw f i r e (pas s ion ) from t h e r i v L- of pure

energy ( l i g h t ) which o r i g i n a l l y nour i shed t h e v a l l e y . This

f i r e s t a i n s t h e e n t i r e l andscape r e d w i t h l i f e - - t h e i n t e n s i t y

of l i f e w i t h i n t i m e which i s s u b j e c t t o decay. L ike t h e

Fay, Eleonora , whose e y e s a r e a r e f l e c t i o n of t h e l i g h t

of t h e River i n i t s p u r e s t (unsepara ted) form, h a s t o

d i e : " t h e r e c r e p t o u t a narrow and deep r i v e r , b r i g h t e r

than a l l save t h e eyes o f Eleonora ." (H:v.4,236) P o e t s

f a s c i n a t i o n w i t h t h e e y e s of women throughout t h e work has

t o do w i t h t h e i r r e p r e s e n t i n g t h e only l i n k i n t ime t o

t h a t o r i g i n a l ba lance and p u r i t y of l i g h t . A s Poe w r i t e s

i n t h e t a l e :

W e had drawn t h e god Eros from t h a t wave [from t h e River of S i l e n c e ] and now w e f e l t t h a t he had enkind led w i t h i n u s t h e f i e r y s o u l s of our f o r e f a t h e r s . . . . A change f e l l upon a l l t h i n g s . S t r ange b r i l l i a n t f l o w e r s , s t a r - shaped , b u r s t o u t upon t h e t r e e s where no f l o w e r s had been known b e f o r e . The t i n t s of t h e green c a r p e t deepened; and when, one by one, t h e wh i t e d a i s i e s shrank away, t h e r e sprang up, i n p l a c e of t ' am , t e n by t e n of t h e ruby-red asphode l . And 1,fe a r o s e i n our p a t h s ; f o r t h e t a l l f lamingo, h i t h e r t o unseen, w i t h a l l gay glowing b i r d s , f l a u n t e d h i s scarlet plumage b e f o r e u s . (H:v.4,239)

The pure l i g h t s e p a r a t e s i n t o d i s t i n c t , v i v i d c o l o r s . L i f e

i n t ime "contaminates" t h e v a l l e y - l i f e e s p e c i a l l y i n i t s

more s o p h i s t i c a t e d forms. Note h a f? d ( t h e t a l l

f lamingo) " f l a u n t s " h i s s c a r l e t plumag The f a l l i s no t

aware of i t s e l f . Pas s ion f o r Poe r e p r e s e n t s and i s g iven

i n t e r m s of t h i s s o r t of r e f l e c t i v e , s e l f - consc iousness .

I n t h i s s e n s e one might say t h a t p a s s i o n a t e Eros s e p a r a t e s

i t s e l f o u t from t h e i n c l u s i v e o r d e r s of l ove t h e v a l l e y

r e p r e s e n t s i n an o r i g i n a l u n i t y , and s o s e p a r a t e s man

from himself by l e a d i n g him i n t o t h e v a i n worshipping of

h i s own image. Note t o o t h a t t h e asphode l w a s p r e s e n t i n

t h e v a l l e y b e f o r e t h e " F a l l . " I t took i t s p l a c e among

t h e o t h e r f l ower s . Poe w r i t e s t h a t t h e v a l l e y w a s :

so bespr inkled throughout wi th t h e yellow b u t t e r - cup, t h e whi te d a i s y , t h e purple v i o l e t , and t h e ruby-red asphodel , t h a t i t s t h e v a l l e y ' s exceed- ing beauty spoke t o our h e a r t s , i n loud tones , of t h e love and of t h e g lo ry of God. ( ~ : v . 4 , 2 3 8 ) [ i t a l i c s mine]

I t i s no t t h e presence of t h e flower o r of pass ion a lone

t h a t s i g n a l s t h e f a l l a s a descent . Rather it i s t h e a c t

of i t s being separa ted o u t and s e t over a l l else i n t h e

v a l l e y . I t i s t h i s u p s e t t i n g of a harmonior balance among

t h e o rde r s of n a t u r e and of l o v e , t h a t d e f i n e s t h e f a l l f o r

Poe. O r i g i n a l l y t h e asphodel speaks t h e "g lory of God" i n

t h e world. Separated o u t from a l l e l s e - - i t speaks only t h e

g l o r y of i t s e l f . And Eleonora, l i k e t h e white d a i s y , i s

too " a r t l e s s and innocent" (H:v.4,23 ) o s u r v i v e t h e B-'s i n t r u s i o n of pass iona te s e l f hood. Sbe i s immediately

removed from t h e v a l l e y through Death. I r o n i c a l l y , dea th

becomes t h e means both of i n g r e s s and e g r e s s t o and from

t h e v a l l e y . For we s e e a t t h e opening of t h e t a l e t h a t :

t o reach our happy home, t h e r e was need of p u t t i n g back, wi th f o r c e , t h e f o l i a g e of many thousands of f o r e s t t r e e s , and of crushing t o dea th t h e g l o r i e s of many m i l l i o n s of f lowers . (H:v.4,237)

We have observed how i n t h e c r i t i c i s m Poe ' s s t a t e -

ments move o u t of a sense of oppos i tes grounded i n h i s

understanding of t h e Coler idgeian symbol. Thus i n a t a l e

like "Eleonora," t h e d e f i n i t i o n of t h e w i l l and of t h e

s e l f i s by way of a double nature--higher and lower,

f i n i t e and immortal. "E;mmergardeW i s Eleonora ' s counter-

p a r t i n t ime. Again i n "William Wilson" (1839) where ,

theory and p r a c t i c e remain c o n s i s t e n t , Poe c a l l s up t h e

image of t h e d6ppelganger. Wi lson ' s double i s t h e h i g h e r

s e l f who comes from o u t s i d e t ime t o mock and torment t h e

lower s e l f . I n a s e n s e " W i l l i a m Wilson" i s a t once a

profound psycho log ica l s tudy and a t a l e of a b s o l u t e h o r r o r .

The h o r r o r i s t h e h o r r o r of t h e d i scove ry t h a t o p p o s i t i o n

i s i d e n t i t y . Wilson and h i s double a r e d u a l manif t t a t i o n s

of t h e same l i f e . Thus when Wilson d e s t r o y s h i s double he

d e s t r o y s h imse l f :

I t w a s my a n t a g o n i s t - - i t w a s Wilson, who then s tood b e f o r e m e i n t h e agonies of h i s d i s s o l u t i o n . H i s mask and c l o a k l a y , where he had thrown them, upon t h e f l o o r . Not a t h r e a d i n a l l h i s l i n e i n a l l t h e marked and s i n g u l a r h i s f a c e w a s n o t , even i n t h e most mine own! ( ~ : ~ . 3 , 3 2 5 )

The i r o n y of t h e c o n f r o n t a t i o n comes o u t o f t h e r e c o g n i t i o n

s e l f , presumably h i s consc i ence , i s n o t a s s o c i a t e d w i t h

a n g e l i c ( h i g h e r ) i n t e l l i g e n c e a t a l l , b u t w i t h t h e r a t i o n a l

mind. Hence Wilson himself (who would under normal circum-

s t a n c e s r e p r e s e n t t h e " f e e l i n g " p o l e of t h e i n t e l l i g e n c e )

comes t o be a s s o c i a t e d w i t h t h e l o s s of h i g h e r reason--or

i n s a n i t y . A l l t h e ta les of h o r r o r are roo ted i n t h i s

i n v e r s i o n o f r ea son and f e e l i n g , s a n i t y and i n s a n i t y .

Reason i n Poe, when exhau l t ed above t h e o t h e r f a c u l t i e s ,

t u r n s t y r a n t and P o e ' s he roes f i n d themselves t rapped

i n r e a s o n ' s t r u e domain--~ime.

~ u t P o e t s heroes s tand i n time o u t s i d e t h e c u l t u r a l

g r i d , and s o it i s a s a kind of "moral censor" t h a t Wilson 's

double seems t o t y r r a n i z e over him. Yet Wilson does no t

p resen t himself i n t h e t a l e a s a conscious " r e b e l . " He

would "reform" but i s powerless t o do so. I t i s a s i f h i s

very "powerlessness" i n r e l a t i o n t o h i s double i s h i s

" s i n . " Like almost a l l of P o p ' s heroes he desc r ibes himself

a s t h e pass ive v ic t im of an h e r e d i t a r y "perverse" temperment:

I am t h e descendent of a r a c e ~ h o s e ~ i m a g i n a t i v e and e a s i l y e x c i t a b l e temperamentFas a t a l l t imes rendered them remarkable; and, n my e a r l i e s t infancy, I gave evidence of havi f u l l y i n h e r i t e d L t h e family c h a r a c t e r . . . . Weakrnlnded, and b e s e t wi th c o n s t i t u t i o n a l i n f i r m i t i e s ak in t o my own, my pa ren t s could do l i t t l e t o check t h e e v i l propen- s i t i e s which d i s t ingu i shed me. (H :v. 3,300)

Here t h e w i l l i s he ld i n suspension. The above passage

f o r c e s us t o recognize one of t h e major themes running

through P o e t s work--that i s , "perverseness ." I n "The Imp of

t h e Perverse" (1845) Poe de f ines it a s t h a t f a c u l t y by

which "we a c t , f o r t h e reason t h a t we should n o t . " ( ~ : v . 6 , 1 4 7 )

Outside t h e ordinance of t h e Moral Sense (or t r a d i t i o n a l

mora l i ty ) it becomes i n t h e t a l e s an almost e x i s t e n t i a l mode

of a c t i o n i n a world gone mad. But whether Poe t r e a t s

perverseness s e r i o u s l y o r i n a comic ve in a s i n t h e s a t i r e s ,

it has t o do always w i t h h i s sense of a powerful w i l l t o

d e s t r u c t i o n . It i s t h i s impulse t o dea th t h a t d i s t i n g u i s h e s

Poe ' s heroes and makes them " e v i l " i n t h e eyes of t h e world.

Thus Wilson 's a t t i t u d e toward t h e "pas to r" of t h e pr i son-

l i k e school of h i s chi ldhood i s h i g h l y ambiva len t . For

t h e p a s t o r s t a n d s w i t h i n t h e c u l t u r a l g r i d :

Of t h i s church t h e p r i n c i p l e of our s choo l w a s p a s t o r . With how deep a s p i r i t of wonder and p e r p l e x i t y was I wont t o r e g a r d him from our remote pew i n t h e g a l l e r y , a s , w i t h s t e p solemn and s low, he ascended t h e p u l p i t ! T h i s reverend man, w i t h countenance s o demurely ben ign , w i t h robes s o g l o s s y and s o cleric t l l y f lowing , w i t h wig s o minute ly powdered, s o & i g i d and s o v a s t , - - could t h i s be he who, of l a t e , w i t h s o u r v i s a g e , and i n s n u f f y h a b i l i m e n t s , admin i s t e r ed , f e r u l e i n hand, t h e Draconian l a w s of th&academy? Oh, g i g a n t i c paradox, t o o u t t e r l y e t r o u s f o r s o l u t i o n . (H:v. 3 ,302 )

Because Poe and h i s heroes s t a n d o u t s i b e t h e c u l t u r a l frame

of r e f e r e n c e and w i t h i n t h e double realm of a c t i v e opposi-

t i o n s , a man l i k e t h e p a s t o r appea r s by c o n t r a s t "monstrous,"

incongruous, absurd . The Poe h e r o ' s expe r i ence of t h e

d i v i n e as co- inher ing o p p o s i t e s i s s o comple te ly a l i e n t o

of madness. Thus any expe r i ence of God, o u t s i d e t h e

c u l t u r a l g r i d becomes a c o n f r o n t a t i o n w i t h t h e a b s o l u t e l y

" o t h e r " and i s by d e f i n i t i o n , t e r r i f y i n g . P o e ' s heroes

a r e i ncapab le of s e p a r a t i n g t h e Superna l and t h e demonic

a s p e c t s of d e i t y i n t o t h e f i x e d c a t e g o r i e s of "good" and

" e v i l . "

Perhaps P o e ' s q u a r r e l w i t h Mi l ton and w i t h h i s

contemporary, Longfellow, (wi th d i d a c t i c modes of knowledge

and p o e t i c exp res s ion i n g e n e r a l ) can be b e t t e r unders tood

by g l anc ing b r i e f l y a t Poe ' s k i n s h i p w i t h Herman M e l v i l l e

(1819-1891). Though t h e r e i s no l i k e l i h o o d Poe knew

89

M e l v i l l e , it i s f a i r l y c e r t a i n M e l v i l l e had some acqua in tance

w i t h P o e t s work. I would a r g u e t h a t l i k e M e l v i l l e (whose

work b e a r s some s t r i k i n g p a r a l l e l s t o t h a t of Poe) Poe

could n o t , as C h a r l e s Olson p u t s it i n C a l l M e Ishmael ,

" p u t h i s imagina t ion t o work i n a world of C h r i s t i a n v a l u e s . v f 7

B r i e f l y , O l s o n ' s argument i s t h a t C h r i s L a s he ro i n t h e

l a t e r works c o n t r a c t e d M e l v i l l e ' s myth-making powers.

w r i t e s i n t h a t e s say : \,

Hawthorne w a s r i g h t , who s a i d [ I '

w e r e a r e l i g i o u s man, he would b t r u l y r e l i g i o u s and r e v e r e n t i a l " 1 n o t rest wi thou t a b e l i e f , he had t o have a sod. I n Moby-Dick he had one. - 1 c a l l e d him t h e ~ k i e n t of Days. The job was a g i a n t s ; t o make a new god. To do i t , it was necessary f o r M e l v i l l e , because C h r i s t i a n i t y surrounded him a s it sur rounds u s , t o be as a n t i - C h r i s t a s Ahab was. When he den ied Ahab, he l o s t t h e Ancient . And C h r i s t i a n i t y c lo sed i n . But he had done h i s job.

C h r i s t as god contracted h i s visi.cn. The perscn ef J e s u s was ano the r m a t t e r . M e l v i l l e never d i d come t o t o l e r a t e t h e god, and t h e r e l i g i o n . H e merely su r r ende red t o it. The r e s u l t was c r e a t i v e l y a s t i f l i n g of t h e myth power i n him. 8

Because C h r i s t i a n i t y surrounded Poe as it surrounded Mel-

v i l l e , i f he was t o i g n o r e it he t o o would have t o con-

s t r u c t a counter-myth. I have a l r e a d y sugges ted t h a t Eureka,

where C h r i s t as God i s a l s o a b s e n t , comes o u t of t h i s need.

Where M e l v i l l e comes a t "Space" ( i n O l s o n ' s s ense

of t h e word)--Poe moves a t T i m e . I n "The Colloquy of Monos

and Una," f o r i n s t a n c e , t h e n a r r a t o r , descending i n t o a

consc ious expe r i ence of d e a t h and speaking o u t o f d e a t h ' s

p r e l imina ry s t a g e s of metamorphosis, i s aware of Time a s

90

an a b s o l u t e c o n d i t i o n , a mental s ta te : "But t h e r e seemed

t o s p r i n g up i n t h e b r a i n . . . a menta l pendulous

p u l s a t i o n . I t was t h e moral embodiment o f man's a b s t r a c t

i d e a of T i m e . (H:v. 4 , 2 0 9 ) Witness "The Te l l -Ta le H e a r t , "

"The P i t and t h e Pendulum" and "The Dev i l 5 t h e Be l f ry"

where t i m e ( th rough t h e symbol o f t h e t i c k i n g h e a r t o r

c l o c k ) i s t h e c e n t r a l image. Both Poe and M e l v i l l e a r e

i n t e r e s t e d i n mythic t i m e and space where t h e two i n t e r s e c t

i n expe r i ence and are no longer a b s t r c t i o n s . They bo th r seek t o p l a c e t i m e and space on an e x p e r i e n t i a l continuum.

Out of a s imilar awareness of t h e l i m i t a t i o n s of a

p u r e l y h i s t o r i c a l s e n s e of God's a c t i v i t y i n t h e world ,

M e l v i l l e expanded where Poe had t o c o n t r a c t . Where

M e l v i l l e ' s imagina t ion i n Moby-Dick t u r n e d t o t h e open s e a

i n s e a r c h of f l u i d symbol and image--Poets m n v e d i n l a n d

toward t h e s t i l l , i n t e r i o r l a k e , t h e dank t a r n . Where *

a l l of Ahab's ambiguous love-ha te f e e l i n g s , h i s mal ice

and g i g a n t i c d e s i r e t o know; t o conquer , are p r o j e c t e d upon : ,- 7 ,, -, r7 ''> ' -

C - t h e whale (a g r e a t mascul ine symbol) , s o ~ 0 ; ' s love-ha te

r e s o l v e s i t s e l f on t h e image of woman. Poe and Melv i l l e - -

bo th move a t t h e same c o n t i n e n t , t h e same geography, t h e

same problem of c o n t a c t w i t h t h e "ground" of t h e i r

expe r i ence i n s i m i l a r , b u t d i s t i n c t d i r e c t i o n s . Both

a f f i r m o n l y th rough a c t i v e d e n i a l of t h e n a t u r a l world.-

Poe i s n o t a f t e r t h e "o rd ina ry" woman any more than M e l v i l l e

i s a f t e r t h e "o rd ina ry" whale i n Moby-Dick. Consequently ,

P o e ' s Usher (of "The F a l l of t h e House of Usher") i s a s

i ncapab le of expe r i enc ing g r a c e as i s t h e demonic Ahab, who

b a p t i s e s n o t i n t h e name of God b u t o f t h e Dev i l . L e t u s

look a g a i n i n t h i s c o n t e x t a t Poe ' s "Imp o f t h e Pe rve r se"

(1845) where he d e a l s w i t h t h e d e a t h i n s t i n c t - - t h e impulse, _

t o a n n i h i l a t i o n :

I n d u c t i o n , a p o s t e r i o r i would have brought phreno- logy t o admi t , as an i n n a t e and p r i m i t i v e p r i n c i p l e of human a c t i o n , a pa radox ica l sbmethins, which w e may c a l l f o r want o f a mo;e c h a r a c t e r - i s t i c term--through i t s promptings w e a c t w i thou t comprehensible o b j e c t . , . through i t s promptings w e a c t , f o r t h e reason t h a t we should - n o t . (H:v.6, 146-7)

Ahab a l s o i s d r i v e n on by something a k i n t o "perverseness"

a s s u r e l y a s i s Usher. Both f i g u r e s r u s h p r e c i p i t o u s l y

toward d e a t h o u t of a g r e a t d e s i r e t o know a l l , t o p e n e t r a t e

t h e m y s t e r i e s of d e a t h . A s w e l e a r n of Ahab's f a t e through

Ishmael , s o w e l e a r n of U s h e r ' s through P o e ' s nameless

n a r r a t o r . Fur thermore, bo th Poe and M e l v i l l e u se symbol

i n a s i m i l a r way. Men l i k e Usher and Ahab s t a n d o u t i n

American l i t e r a t u r e a s b i g g e r t han l i f e f i g u r e s . They a r e

n o t emblemat ical t ypes i n any f i x e d s e n s e , y e t they r i s e

t o mythic p r o p o r t i o n s , somehow always r e p r e s e n t i n g more

than themselves .

Both Pee and M e l v i l l e c o n f r o n t t h e problem of an

unwieldy Democracy i n i t s growing p a i n s d i r e c t l y . They a r e

s imul taneous ly concerned w i t h t h e dilemma of t h e ty ranny

of t h e g r e a t man and t h e ty ranny of t h e "mob." M e l v i l l e

92

c o n f r o n t s t h e p o l i t i c a l i s s u e on t h e microcosm of t h e s h i p

i n Moby-Dick. Poe, ( a s we s h a l l s e e i n Chapter IV) , t r e a t s

t h e theme of p o l i t i c a l and s o c i a l opp res s ion s a t i r i c b , ly

w i t h t h e weapon of i r o n y .

The f a s c i n a t i o n of bo th Poe and M e l v i l l e w i t h darkness,

and t h e e l emen ta l e n e r g i e s , p o l a r i z e s them i n t o d i s t i n c t 7

modes of a r t i s t i c exp res s ion . Poe l e a v e s u s t h e tales on ,

t h e one hand, and t h e i n t e n s e f r a g i l i t y of t h e poems on

t h e other-- f ragments of what under o t h e r c i rcumstances might

have been a mature canon. M e l v i l l e g i v e s u s t h e rambling,

d i g r e s s i v e , p a r a t a c t i c a l l y s t r u c t u r e d n a r r a t i v e . Only i n

Eureka does Poe beg in t o move i n t o open form ( p a r a t a x i s )

and s o v i o l a t e t h e r e s t r i c t i o n s of h i s e a r l y w o r k - - r e s t r i c t i o n s

imposed upon him by t h e c o n f l i c t between h i s s e n s e of t h e

n a t u r e of p o e t r y ' s a c t i v i t y and his t ime and p l a c e .

CHAPTER I V

POE'S HELL AND THE DESCENT I N T O THE RATIONAL M I N D

I n W i l l i a m C a r l o s Wil l iams ' s e n s e of t h e word,

n i n e t e e n t h cen tu ry America i s t h e "ground" on which Poe - V

c o n s t r u c t s h i s c i rcumscr ibed Eden. I n t h a s c h a p t e r I i n t e n d

\ t o e x p l o r e b r i e f l y t h e way i n which t h a t world f o r c e d Poe

t o set o f f an i n v i o l a t e space f o r h i s a r t - -an enc losed and

p r o t e c t e d sphe re . I want t o look more c l o s e l y a t t h e ways

i n which Poe ' s unique b a t t l e w i t h t h e r a t i o n a l i n t e l l i g e n c e

of h i s t ime i s r e l a t e d t o h i s s ense of "Tas te" and t h e

"pe rve r s ion" o f T a s t e i n t h e f l u i d o r d e r s of t h e p o e t i c

i n t e l l i g e n c e . I hope t o show h e r e t h a t t o accuse Poe of

removing himself from h i s t ime and p l a c e i s a na ive over-

s i m p l i f i c a t i o n and t h a t h i s work i s a r e sponse t o h i s

t ime--to t h e p o l i t i c a l , a s w e l l a s t h e a e s t h e t i c problems,

of h i s day. I n h i s own way Poe was d e a l i n g w i t h t h e

s e n s i t i v e problem i n American thought of t h e r e l a t i o n of

a e s t h e t i c s t o t h e p o l i t i c a l i n i t s w i d e s t s ense : i s p o l i t i c s

de r ived from a e s t h e t i c s and can it defend a r t ? I wish t o

demons t ra te t h a t P o e ' s c i r c u m s c r i p t i o n o f a r t i s a t l e a s t

i n p a r t a r e f u s a l t o s u r r e n d e r a r t t o p o l i t i c a l and s o c i a l

ends a s a t o o l of t h e s t a t e , a k ind of r a t i o n a l o r d e r

i n e i t h e r s p i r i t u a l o r pragmat ic terms--to l i m i t i t t o

94

t h e realm of t h e d i d a c t i c . He i s opposed t o a d e l i n e a t i o n

of p o e t i c language t o a n adornment of i d e a s and i d e a

s t r u c t u r e s . H i s o p p o s i t i o n t o M i l t o n ' s long poem i s

e s s e n t i a l l y a d i s b e l i e f i n i t s i d e a s t r u c t u r e , .., i c h Poe

s e e s a s n o t a l i ve - - so n o t i n t e n s e , e f f e c t i v e , su rp r i s ing - -

a d e f i n i t i v e w i thou t t h e e s s e n t i a l q u a l i t y of t h e non- 1

d e f i n i t i v e . /--

I n t h e t a l e s we g e t r a t h e r s t a r t l i n g g impses of I Poe ' s v i s i o n of h i s world . I n "Some Words w i t h a Mummy"

(1845) a c h a t ensues between a group of " p r o f e s s i o n a l s "

( s c i e n t i s t s , s c h o l a r s , and d o c t o r s ) and "Al lamis takeo ,"

an anc ie . t Egypt ian mummy t h e group has managed t o "ga lvan ize"

t o l i f e through e l e c t r i c a l shock - - r e susc i t a t ed from t h e p a s t

and from d e a t h i n t o t h e modern world of supposed t e c h n o l o g i c a l

advance. Poe takes up in an i r o n i c m d e t he fami l ia r thzme

of " l i f e - i n - d e a t h " and t h e r e t u r n of t h e dead from t h e

r e g i o n of t h e shadows," which we have seen i n "L ige i a . "

Here t h e t o n e i s one of s a t i r e he igh tened i n t o i rony . A s

t h e

h i s

t h e

and

n a r r a t i v e un fo lds we f i n d t h e n a r r a t o r h imse l f and

"gang" of s e r i o u s gentlemen ve ry much t h e b r u n t of

joke. The mummy, Al lamis takeo , who i s bo th "mistaken"

"mistook" by t h e group, ends by i n a d v e r t e n t l y making

a b s o l u t e f o o l s of t h e s e pompous bung le r s a s w e l l a s t h e i r

" sc i ence . " Here Poe s t r i k e s a t n o t on ly t h e " s c i e n t i s t s "

b u t t h e p a l t r i n e s s of modern achievements i n g e n e r a l when

se t a g a i n s t t h e marvels of a n c i e n t s Egypt ian s c i e n c e ,

r e l i g i o n and mathematics:

Having hea rd us t o an end, t h e Count [Al lamis t ... eo] proceeded t o r e l a t e a few anecdo te s , which rendered i t e v i d e n t t h a t p ro to types of G a l l and Spurzheim had f l o u r i s h e d and faded i n Egypt s o long ago a s t o have been n e a r l y f o r g o t t e n , and t h a t t h e maneuvers of M e s m e r were r e a l l y ve ry contempt ib le t r i c k s when, p u t i n c o l l a t i o n w i t h t h e p o s i t i v e m i r a c l e s of t Theban savans , who c r e a t e d l i c e and a g r e a t many o t h e r s i m i l a r t h i n g s . (H:v.6,133)

From t h e beginning t o t h e end of t h e t a l e t h e s e l f - i n f a t u a t e d

group of "doc to r s t ' i n s i s t s upon t r e a t i n g Al lamis takeo a s a

kind of cu r io s i t y - - an o b j e c t t o be probed and t e s t e d w i t h

t h e i r i n s t rumen t s . t h e i r g r e a t d i s comfor t rises from

t h e d i s s e c t i n g t a b l e t o add res s t h e group:

I must s a y , gentlemen, t h a t I am a s much s u r p r i s e d as I a m m o r t i f i e d , a t your behavior . Of Doctor Ponnonner no th ing b e t t e r was t o b e expected. H e i s a poor l i t t l e f a t f o o l who knows no b e t t e r . I --L-. --2 c---:--- n.-.L ---.- p i ~ ~ QIN LVIY IV~: h i m . DUL Y V U , MI. Gliddon--and you, Silk--who have t r a v e l l e d and r e s i d e d i n Egypt u n t i l one might imagine you t o t h e manor born--you, I s a y , who have been s o much among u s t h a t you speak Egypt ian f u l l y a s w e l l , I t h i n k , as you w r i t e your mother tongue--you, whom I have always been l e d t o r e g a r d a s t h e f i r m f r i e n d of t h e m u m m i e s - - I r e a l l y d i d expec t more gent lemenly conduct from you. (H:v. 6 ,123)

With A l l a m i s t a k e o ' s unexpected r e v i v a l , t h e i r o n y of h i s

words--"the c o . , p l e t e Mummy a t o u r disposal1'--come back i n

f u l l f o r c e . I n s imple t e r m s , t h e r a t i o n a l mind g e t s more

t h a n it b a r g a i n s f o r . When t h e group q u e s t i o n s Al lamis takeo

on t h e n a t u r e of Egypt ian p o l i t i c s , f o r i n s t a n c e , t h e

n a r r a t o r w r i t e s :

These gentlemen [Ness ieurs Gliddon and Buckingham] spoke t h e mother-tongue of t h e mummy wi th i n i m i t a b l e f l uency and g race ; b u t I could n o t h e l p observ ing t h a t (owing, no doubt , t o t h e i n t r o d u c t i o n of images e n t i r e l y modern, and, of c o u r s e , e n t i r e l y nove l t o t h e s t r a n g e r , ) t h e two t r a v e l l e r s were reduced, o c c a s i o n a l l y , t o t h e employment of s e n s i b l e forms f o r t h e purpose of conveying a p a r t i c u l a r meaning. M r . Gliddon, a t one p e r i o d , f o r example, cou ld n o t make t h e Egypt ian comprehend t h e t e r m " p o l i t i c s , " u n t i l he ske tched upon t h e w a l l , w i t h a b i t of c h a r c o a l , a l i t t l e carbuncle-nosed gentleman, o u t a t elbows, s t a n d i n g upon a stump, w i t h h i s l e f t l e g drawn back, h i s r i g h t a r m thrown forward, w i th t h e f i s t s h u t , t h e eyes r o l l e d up toward Heaven, and t h e mouth open a t an a n g l e of n i n e t y deg rees . J u s t i n t h e same way M r . Buckingham f a i l e d t o convey t h e a b s o l u t e l y modern i d e a , "wig," u n t i l , ( a t Doctor Ponnonner ' s s u g g e s t i o n , ) h e grew ve ry p a l e i n t h e f a c e , and consented t o t a k e o f f h i s own. (H:v, 6,125) [ i t a l i c s mine]

With t h e weapon of i r o n y Poe d e f t l y d r i v e s t o t h e h e a r t of

t h e p o l i t i c a l and s o c i a l q u e s t i o n s by r e v e a l i n g t h e l e v e l

t o which modern man h a s reduced " t h e employment of s e n s i b l e

fo rmsi i - - tha t i s , images--"for t h e purpose of conveying a

p a r t i c u l a r meaning." Secondly, P o e t s i r o n y he re r e v e a l s

t h e f a c t t h a t a d e f i n i t i o n of " p o l i t i c s " i t s e l f i s incommun-

i c a b l e a s a concept . The on ly " s e n s i b l e forms" o r images

through which t h e group might convey i t s concept of t h e

p o l i t i c i a n a r e t h o s e of g e n e r a l i t y and c a r i c a t u r e - - t h e

c a r t o o n p o l i t i c i a n . Consequently t hey r e v e a l themselves i n

t h e p roces s of t h e conve r sa t ion t o be c a r i c a t u r e s of men

themselves-- l ike t h e ca r toon f i g u r e M r . Gliddon a t t e m p t s t o

d e s c r i b e . Al lamis takeo demands d i r e c t answers--he must be

shown t h e b a l d head under t h e wig b e f o r e he unders tands . E

w e recovered ou r s p i r i t s , and t h e Doctor , approach- i n g t h e Mummy w i t h g r e a t d i g n i t y , d e s i r e d it t o say c a n d i d l y , upon i t s honor a s a gentleman, i f t h e Egypt ians had comprehended, a t ar+ p e r i o d , t h e manufacture of e i t h e r Ponnonner s lozenges , o r - Brande th ' s p i l l s . ( ~ : v . 6 , 1 3 7 )

I f a community of shared images and i d e a s is c e n t r a l t o a

d e f i n i t i o n of t h e p o l i t i c a l i n i t s l a r g e s t s e n s e , t hen i n ,

"Some Words w i t h a Mummy" Poe seems t o be sugges t ing tW

a l l w e s h a r e as a p o l i t i c a l and s o c i a l body are i t e m s 'q ike \

" ~ o n n o n n e r ' s lozenges" and "Brande th ' s p i l l s . " Fo r , when

t h e mummy c h a l l e n g e s t h e g roup ' s " sc i ence" and t h e s c i e n t i f i c

and c u l t u r a l advances of t h e day, t hey i n smug d e s p e r a t i o n

produce t h e s e two "marvels" of t h e modern world which t h e

Egypt ian cannot p o s s i b l y top . Al lamis takeo w e a r e t o l d

"blushed and hung down h i s head1' i n a g e s t u r e o f embarrass-

ment, which t h e group t a k e s t o be f o r h i m s e l f , b u t which

i s a c t u a l l y f o r t h e i r impoverishment and t h e impoverishment

of t h e modern age i n which he f i n d s h imse l f . A f t e r t h e

" d e f e a t " of t h e Mummy by t h e equ ivoca l b o t t l e of p i l l s t h e

n a r r a t o r concludes:

Upon g e t t i n g home I found it p a s t f o u r o ' c l o c k , and went immediately t o bed. I t i s now t e n , A.M. I have been up s i n c e seven, penning t h e s e memoranda f o r t h e b e n e f i t of my f ami ly and of mankind. The former I s h a l l behold no more. My w i f e i s a shrew. The t r u t h i s , I am h e a r t i l y s i c k of t h i s l i f e and of t h e n i n e t e e n t h c e n t u r y i n g e n e r a l . I am convinced t h a t e v e r y t h i n g i s going wrong. Bes ides , I am anxious t o know who w i l l be P r e s i d e n t i n 2 0 4 5 . A s soon, t h e r e f o r e , a s I shave and swallow a cup of c o f f e e , I s h a l l j u s t s t e p over t o Ponnonner 's and g e t embalmed f o r a couple of hundred y e a r s .

(H:v6,137-8)

I n P o e ' s comic and s a t i r i c t a l e s w e must be e s p e k i a l l y

c a r e f u l t o d i s t i n g u i s h , w i thou t a b s o l u t e l y s e p a r a t i n g , Poe

from h i s n a r r a t o r s . Here, f o r i n s t a n c e , Poe a t once mocks

h i s n a r r a t o r , a s w e l l a s h i s audience and h i m s e l f . I n a

d i s c u s s i o n of P o e t s u s e of i r o n y i n t h e t a l e s , G . R . Thompson

makes t h e p o i n t c l e a r l y t h a t even i n h i s " s e r i o u s " and , -

a p p a r e n t l y Gothic t a l e s Poe i s a b l e t o s u s t a i n l e v e l s i of \

i r o n y and se l f -parody w i t h i n h i s n o t i o n of I d e a l i t y . & t e n

Poe w i l l a t once mock and t a k e s e r i o u s l y t h e Romantic

p o s t u r e and v i s i o n :

Th i s parody of t h e Romant ic i s t s t a n c e has f o r y e a r s been t aken w i t h a s t r a i g h t f a c e by r e a d e r s who have n o t caught P o e ' s complex s e n s e of w i t and i r o n y , and who i n s i s t on hanging on t o t h e s e n t i m e n t a l p i c t u r e of Poe as t h e y o u t h f u l v i s i o n a r y dream-poet (who, a l a s , d i e d s o young) . 1

The l aye red q u a l i t y of P o e t s t a l e s , t h e many p o i n t s of vicw

from which we may s e e h i s n a r r a t o r s , r e f e r us back t o a

t r a d i t i o n t h a t r e f u s e s t o r e s o l v e c o n t r a r i e s i n t o s t a t i c

o p p o s i t i o n s . P o e t s s e n s e of t h e I d e a l h o l d s b o t h t h e

sublime and t h e h o r r i b l e - - t h e d i v i n e and t h e demonic--the

s e r i o u s and t h e comic. Thus P o e t s u s e of i r o n y and double

p e r s p e c t i v e even i n t h e t a l e s t h a t a r e n o t obvious ly

s a t i r i c ( l i k e " L i g e i a " ) , f o r c e us t o r ecogn ize t h e s t r u c -

t u r a l r i c h n e s s and complexity of P o e t s a r t i n i t s consc ious

r e f u s a l of t h e d i d a c t i c . A s Thompson w r i t e s :

many of P o e t s Gothic t a l e s seem t o i nvo lve s u p e r n a t u r a l happenings; b u t i n s i n u a t e d i n t o them, l i k e c l u e s i n a d e t e c t i v e s t o r y , a r e d e t a i l s which beg in t o c o n s t r u c t d rama t i c frames around t h e n a r r a t i v e "vo ice" of t h e work. These dramat ic frames s u g g e s t t h e d e l u s i v e n e s s of t h e expe r i ence a s t h e f i r s t - p e r s o n n a r r a t o r r e n d e r s it. A s i n

Henry James and Joseph Conrad, t h e r e i s o f t e n i n Poe a t a l e w i t h i n a t a l e w i t h i n a t a l e ; and t h e meaning of t h e whole l ies i n t h e r e l a t i o n s h i p of t h e v a r i o u s impl ied s t o r i e s and t h e i r frames r a t h e r t h a n i n t h e e x p l i c i t meaning g iven t o t h e s u r f a c e s t o r y by t h e d r a m a t i c a l l y involved n a r r a t o r . . . .

Only w i t h i n t h e l a s t t e n t o f i f t e e n y e a r s have c r i t i c s begun t o exarn'ne P o e l s n a r r a t o r s a s c h a r a c t e r s i n t h e t o t a l e s i g n o f h i s t a l e s and poems, and t o s u s p e c t 8 a t even h i s most famous Gothic works-- l ike " U s h y and "LigeiaU--have i r o n i c double and t r i p l e p e r s p e c t i v e s p l a y i n g upon them: s u p e r n a t u r a l from one p o i n t of view, p sycho log ica l from ano the r p o i n t of view, and o f t e n bu r l e sque from y e t a t h i r d . 2

Here, f o r i n s t a n c e , i n "Some Words w i t h a Mummyt1 where P o e ' s

s a t i r i c and c a r i c a t u r a l i n t e n t i s c l e a r , t h e s h e e r h o r r o r

of t h e d i s s e c t i n g t a b l e i s n o t l o s t , b u t i n t e n s i f i e d . The

l a u g h t e r pushes t h e edges of h y s t e r i a :

W e sea rched t h e co rpse [Al lamis takeo ' s ] ve ry ca re - f u l l y f o r t h e u s u a l openings through which t h e e n t r a i l s a r e e x t r a c t e d , b u t , t o o u r s u r p r i s e , w e cou ld

h7- ---L C!isc~ver m n e . .,, L L L G A L L U ~ ~ of t h e party was at t h a t pe r iod aware t h a t e n t i r e o r unopened mummies a r e n o t un f r equen t ly met. The b r a i n it was customary t o withdraw through t h e nose; t h e i n t e s t i n e s through an i n c i s i o n i n t h e s i d e ; t h e body was then shaved, washed, and s a l t e d ; when l a i d a s i d e f o r s e v e r a l weeks, when t h e o p e r a t i o n of embalming, p r o p e r l y s o c a l l e d , began. (H:v6,120)

A f t e r t h e mummy awakes and t h e c o n v e r s a t i o n beg ins t h e comic

beg ins t o inform and r e s t a t e t h e g ro t e sque through i rony

s o a s t o sharpen P o e l s a t t a c k on t h e dehumanizing f e a t u r e s

of h i s s o c i e t y . I n t h i s s ense a r t may f u n c t i o n a s c r i t i c i s m ,

a s it does i n t h i s t a l e , w i thou t be ing reduced o r r e s t r i c t e d

t o t h e merely c r i t i c a l o r p r o p a g a n d i s t i c a lone . "Some

Words w i t h a Mummyn i s l aye red . It i s a s a t i r e and a t a l e

of t h e s u p e r n a t u r a l - - i t p r e s e n t s a q u a r r e l w i t h t h e n i n e t e e n t h

100

century's sense of "progress," as well as with its loss of

a public realm in which symbols and images of our partic-

ularity are shared. Note, for instance, in what terms

the mummy replies when the scientists question him on

Egypt's supposed "primitive" belief-in many gods: *

Mr. Gliddon I really am astony6hed to heat you talk in this style," said the Count, resuming his chair. "No nation upon thhfaee of the earth has ever acknowledged more than one god. The Scarabaeus, the Ibis, etc., were wlth us, (as similar creatures have been with others) the symbols, or media, through wk:ch we offered worship to the Creator too august to be more directly approached." (H:v6,129)

Allamistakeo it would seem can scarcely comprehend the

group's complete failure to grasp the ancient sense of "the

gods" as concrete images and living symbols of one invisible

power or deity. For the mummy the gods are the concrete

is revealed i r l

the world. But for the group of scientists who belong to

a culture which had conceptualized (anthropomorphized)

deity and abstracted divinity from the world, Allamistakeo's

words are equally incomprehensible. Poe juxtaposes the

ancient, as he understood it, and the modern visions. The

irony and burlesque of the tales move out of the failure

of language to heal the breach between them. As we re-

call, at one point in the conversation Mr. Gliddon is

"reduced" to sketching "a little carbuncle-nosed gentleman,"

meant to represent a politician, on the wall.

Somewhat earlier in "The Colloquy of Monos and Upa"

(1841) Poe attacks Democracy and the loss of the concrete

and particular in the public realm. In a lengthy digression

the angel, Monos, describes "man's general condition at

this [Poe ' s I epoch. " (H : v4,2 01) Through Monos, who speaks

from "outside" time, Poe attacks the modern notion of

"pogress" in history: -, -

You will remember that one or two of the wise among our forefathers--wise in fact, although not in the world's esteem--had ventured to doubt the propriety of the term "improvement," as applied to the progress of our civilization. (H:v,201-2)

Monos continues to describe how "the poetic intellect--that

intellect which we now feel to have been the most exalted

of allu--had lost its authority and been usurped by an

over-grown reason. In the realm of time the natural order

had been overturned and the poets alone "living and perish-

in9 amid the scorn of t h e ' ~ - - t i l F t ; r _ r i = r ~ s ' " ( ~ : v 4 , 2 0 2 ) vzrc

capable of looking upon "each advance in practical science

as a retrogradation in the true utility." (H:v4,202) Monos

proceeds to tell how even the arts themselves were

eventually corrupted and the good of intellect (divorced

from reason and imagination) destroyed. Through Monos'

vision of the nineteenth century Poe exposes the march of

"progress" in America as the outcome of the inversion of

the natural order in which reason submits to the authority

of the imagination. Rather than freeing the poetic

intelligence, Democratic institutions had exiled the

poets and the particularity the poetic intelligence

represents from the public realm. In Monos' words:

The great "movementu--that was the cant term-- went on: a diseased commotion, moral and physical. Art--the Arts--arose supreme, and, once enthroned, cast chains upon the intellect which had elevated them to power. Man, because he could not but acknowledge the majesty of Nature,,fell into childish exultation at his acquire and still increasing dominion over her elem nts. Even while P he stalked a God in his own fancyk an infantile imbecility came over him. As nigh- supposed from the origin of his disorder, he grew infected- with system, and with abstraction.

He enwrapped himself in generalities. ( H : v 4 , 2 0 3 )

With the refusal of the poet's place in the public realm,

the public life itself is turned back upon the general and

the abstract. The loss of particularity and the ability

to give and receive through particulars--the loss of living,

working images--defines Poe's sense of hell and the landscape

of hell. For as Monos continues:

Among other odd ideas, that of universal equality gained ground; and in the face of analogy and of God--in despite of the loud warning voice of the laws of gradation so visibly pervading all things in Earth and Heaven--wild attempts at an omni- prevalent Democracy were made. Yet this evil sprang necessarily from the leading evil--Knowledge. Man would not both know and succumb. Meantime huge smoking cities arose, innumerable. Green leaves shrank before the hot breath of furnaces. The fair face of Nature was deformed as with the ravages of some loathsome disease. (H:v4,203)

The result of a self-intoxicated Democracy's refusal of

particularity is the complete confusion of both natural

and supernatural orders. Monos describes the crisis of a

world from which beauty has withdrawn almost entirely

aLong with the mind's ability to perceive it--a world in

which man's d e s i r e t o impose c o n t r o l upon h i s world from

o u t s i d e has des t royed h i s a b i l i t y t o know it by s e t t i n g

himself i n accord w i t h it. Again we a r e con f ron ted w i t h

P o e ' s invaded Eden--"deformed as w i t h t h e ra3ages o f some / /

loathsome d i s e a s e . " Before t h e " e v i l d a y s u / of t b e " g r e a t L/'

movement'' Monos d e s c r i b e s a world of "ho ly , augus t and

b l i s s f u l days , when b l u e r i v e r s r a n undamrned, between h i l l s

unhewn, i n t o f a r f o r e s t s o l i t u d e s , p r imeval , odorous ,

and unexplored." (H:v.4,202)

I t i s w i t h t h e t r ans fo rma t ion of Eden i n t o i t s

oppos i te - -Poe ls He l l - - t ha t t h e importance of t h e f a c u l t y

"Tas te" emerges i n "The Colloquy." For Monos con t inues :

But now it appears t h a t w e had worked o u t o u r own d e s t r u c t i o n i n t h e p e r v e r s i o n of o u r tas te , o r r a t h e r i n t h e b l i n d n e g l e c t of i t s c u l t u r e i n t h e s choo l s . Fo r , i n t r u t h , it was a t t h i s c r i s i s &L-& J - - - J - - L I A Q L ~ a 3 LG a lone - - tha t f acui iy whicii, hoii i inq a middle p o s i t i o n between t h e pure i n t e l l e c t and t h e moral s e n s e , would never s a f e l y have been d i s r e g a r d e d - - i t was now t h a t t a s t e a l o n e could have l e d us g e n t l y back t o Beauty, t o Nature , and t o L i f e . (H:v.4,203-4)

By ho ld ing t h i s middle ground between i n t e l l e c t and moral

s e n s e , t a s t e a l o n e i s capable of r e s t o r i n g man t o h i s

p a r t i c u l a r i t y . The i n f e c t e d i n t e l l e c t and t h e p e r v e r t e d

moral s e n s e , c u t o f f from T a s t e , end i n i g n o r i n g g r a d a t i o n

i n Nature and N a t u r e ' s laws. T a s t e a l o n e (see t h e d i s c u s s i o n

of "Tas te" i n S e c t i o n One) , which s e i z e s p a r t i c u l a r s ,

f r e e s t h e mind t o d i s c o v e r u n i t y w i t h i n t h a t p a r t i c u l a r i t y . I

E The s o r t of Democratic i n s t i t u t i o n s Poe complains a g a i n s t

104

a r e t h o s e whose tendency i s t o impose a un i fo rmi ty and

coherence on t h e mind from wi thou t . Such a s t a t e demands

t h a t a r t be dogmatic and d i s c u r s i v e . T h i s was t h e danger

Poe saw i n t h e growing Democratic i n s t i t u t i o n s cr5 h i s day. /

When t a s t e i s overthrown, a s it i s i n P o e ' s circumscribed L,'

H e l l , t h e problem of a u t h o r i t y becomes a c r i t i c a l problem.

With t h e e x i l e of t h e p o e t from t h e p u b l i c realm t h e \

p o e t ' s image-making f a c u l t y , loosed on t h e p r i v a t e a l o n e ,

t u r n s back upon him. P o e ' s heroes a r e o f t e n men obsessed

w i t h " p a r t i c u l a r i t y " and l o s t i n t h e "pe rve r s ions" of t o t a l

s u b j e c t i v i t y , l i k e Egaeus of t h e t a l e "Bernice" (1835) who-

becomes possessed by a s i n g l e image--the image of B e r n i c e ' s

t e e t h . Here t h e overthrow of i n t e l l e c t and t h e p e r v e r s i o n

o f t h e moral s e n s e l e a d us i n t o Poe ' s i n t e r e s t i n i n s a n i t y

A + 1 - : - 1 -C-C-- n--1 --2 L ------ ---- U A A U LC) LL GALL= p a y LAAWIWY ~ ~ l a d . . 3 ~ a ~ e a a rue S luau L A C L U G ~ ale

men who c l i n g t o image and t h e image-producing f a c u l t y

when images a r e no longe r sha red publically--when image

i t s e l f ha s become fragmented. Images i ncapab le of

t r ansmis s ion have a t e r r i f y i n g tendency i n P o e ' s nightmare

realms t o r e t u r n t o haunt t h e mind t h a t invokes o r c a l l s

them up.

I n h i s i r o n i c s a t i r e s where Poe r e p e a t e d l y c r i t i c -

i z e s Democracy o r " t h e Mob," it becomes c l e a r t h a t t h e

p o l i t i c a l and psycho log ica l q u e s t i o n s o v e r l a p . I n o r d e r

t o " c l e a r t h e ground" P o e ' s i n t e g r i t y as an a r t i s t committed

t o t h e p a r t i c u l a r , l e a d s him t o make t h e d e s c e n t t o t h e ,

dark regions of consciousness--to explore themes of death,

insanity, revenge, and man's instinctual "perversityM--

that is, the irrational modes of consciousness. In tales

like "The Business Man" (~eb., 1840) and " ~ h e p n of ,the

Crowd" (~ec., 1840) Poe mocks the complacent k i q t y that

surrounded him for its shallow acceptance of such a

rationality--its ability to remain on the surface of thirgs

without experience. Even in his random observations of

this society the mind of the narrator of "The Man of the

Crowd," for instance, is forced back upon the particular:

At first my observations took an abstract and generalizing turn. I looked at the passengers i~ masses, and thought of them in their aggregate relations. Soon, however, I descended to details, and regarded with minute interest the innumerable varieties of figure, dress, air, gait, visage, and expression of countenance. (H:v.4,135)

D..& --*-- UUL. G V G L L as thz: particularity of the crowd eiiyayes h i m , tile

narrator is drawn to a recognition of the forces of general-

ization. Never is his comment on the loss of individuality

in the rising middle classes more pointed:

By far the greater number of those who went by had a satisfied business-like demeanor, and seemed to be thinking only of making their way through the press. Their brows were knit, and their eyes rolled quickly; when pushed against by fellow- wayfarers they evinced no symptom of impatience, but adjusted their clothes and hurried on. Others, still a numerous class, were restless in their movements, had flushed faces, and talked and gesticulated to themselves, as if feeling in solitude on account of the very denseness of the company around. When impeded in their progress, these people suddenly ceased muttering, but redoubled their gesticulations, and awaited, with an absent and overdone smile upon the lips, the

cour se of t h e persons impeding them. I f j o s t l e d , t hey bowed p r o f u s e l y t o t h e j o s t l e r s , and appeared overwhelmed w i t h confusion.--There was no th ing ve ry d i s t i n c t i v e about t h e s e two l a r c l a s s e s beyond what I have noted. T h e i r h a G i - ments belonged t o t h a t o r d e r which i s p o i n t termed t h e decen t . They were undoubtedly men, merchants , a t t o r n e y s , t radesmen, s tock - jobbers-- the E u p a t r i d s and t h e commonplaces of society--men o f l e i s u r e and men a c t i v e l y engaged i n a f f a i r s of t h e i r own--conducting b u s i n e s s upon t h e i r own r e s p o n s i b i l i t y . They d i d n o t g r e a t l y e x c i t e my a t t e n t i o n . (H:v4,136)

Thus P o e t s r e j e c t i o n of t h e "normal," grows o u t of an a c t i v e

r e s i s t a n c e t o t h i s parody of " r a t i o n a l i t y " i ncapab le of

e x c i t i n g t h e a t t e n t i o n o r t h e imagina t ion . The imagina t ion

becomes o n t o l o g i c a l , moving back through an e l emen ta l

n a r r a t i o n t o t h e beg inn ing of thought where consc iousness

i s l aye red and double - - tha t i s , n o t complete. The n a r r a t i v e

i t s e l f becomes an i n t e r r o g a t i o n of consc iousness . Therefore

o l d man--the s t r a n g e r , who i s a l s o an image of t h e p o e t ' s

s o u l (p syche ) . The o l d man becomes t h e ve ry embodiment

of t h e n a r r a t o r ' s own i r r a t i o n a l and demonic s e l f - - h i s

double--who moves i n a realm t h a t i s t h e extreme o p p o s i t e

of t h e world of t h e "crowd.''

With my brow t o t h e g l a s s , I was t h u s occupied i n s c r u t i n i z i n g t h e mob, when suddenly t h e r e came i n t o view a countenance ( t h a t of a d e c r e p i d o l d man, some s i x t y - f i v e o r s even ty y e a r s o f age , ) - - a countenence which a t once a r r e s t e d and absorbed my whole a t t e n t i o n , on account of t h e a b s o l u t e i d i o s y n c r a s y of i t s expres s ion . Any t h i n g even remotely resembling t h a t e x p r e s s i o n I had never seen be fo re . I w e l l remember t h a t my f i r s t t hough t , upon beholding it , was t h a t Re tszch ,

had he viewed it, would have g r e a t l y p r e f e r r e d it t o h i s own p i c t u r a l i n c a r n a t i o n s of t h e f i e n d . - A s I endeavored, du r ing t h e b r i e f minute of my ,/' o r i g i n a l survey , t o form some a n a l y s i s of t h e qean- i n g conveyed, t h e r e a r o s e con•’ used ly and paradoki-

\

tally w i t h i n my mind, t h e i d e a s of v a s t mental power, o f c a u t i o n , of penur iousness , of a v a r i c e , of c o o l n e s s , of ma l i ce , of b l o o d - t h i r s t i n e s s , of t r iumph, of merriment, of e x c e s s i v e t e r r o r , of intense--of extreme d e s p a i r . I f e l t s i n g u l a r l y a roused , s t a r t l e d , f a s c i n a t e d . ( ~ : v . 4 , 1 4 0 )

P o e ' s he roes c o n s t a n t l y embrace t h e rea lm o f t h e i r r a t i o n a l

and o p p o s i t i o n a l i n t h i s manner, s i n c e t h e world of

r a t i o n a l i t y would d i s s o l v e and reduce such a complexity--

such an o p p o s i t i o n of f o r c e s i n t e l l e c t u a l and emot iona l .

Poe was one of t h e f i r s t American writers t o exp lo re

t h e n o t i o n of an i n v e r s i o n of s a n i t y ( r a t i o n a l i t y ) and

i n s a n i t y ( i r r a t i o n a l i t y ) i n t h e world. Tha t i s , i n t h e

t a l e s and poems t h e "madman" who " d i s t o r t s " t h e world i n

f avo r of p o e t i c r e v e r i e , (where p sycho log ica l s t a t e s a r e

n o t s e p a r a t e d o u t one from a n o t h e r ) , i s t h e dreamer o r

poe t . Roderick Usher i s one of P o e ' s "mad" he roes i n t h i s

sense . The d i s i n t e g r a t i o n of h i s " reason" ( s i n c e i n t ime

r ea son has become i n f e c t e d ) i s an i n d i c a t i o n of Ushe r ' s

cosmic s a n i t y . I n "The System of D r . T a r r and P r o f e s s o r

Fea the r t1 t h e inmates t a k e over t h e asylum and cage t h e i r

keepers . I n "Hop-Frog" where Poe e x p l o r e s a revenge

theme, t h e "madt1 and pe r secu ted dwarf tars and f e a t h e r s

King and c o u r t , suspending t h e e n t i r e company from a

b l a z i n g chande l i e r . ' I n t h e s e t a l e s Poe s t r i k e s a g a i n

with the weapon of satire and irony at a shallow and naive

rationality, a grid of meaning, that would permanently

exile the instincts to the lower depths of the being or -

deny the presence of the irrational and ontological , i

entirely. Poe's "imp" of "The Imp of the Perverse" e k e s

that impulse by which, Poe writes, "we act for the reason

we should not." His "Angel of the oddn4 can be said to

represent that element of the unexpected that arises

always (almost dialectically) out of the expected.' These

tales are at once a criticism and rejection of the rational

world of sanity and an affirmation of "insanity." They

move toward a definition of a higher mode of rationality

that includes the irrational. If image has flown from the

"~ational'~ world, the Poe hero will enter and explore the

enclosure t h a t is his personal, experiential hell in crd~r

to recover it.

The place of madness, nonsense and the irrational

as qualitatively part of the composition of the real, has

become a philosophical problem in our time. Friedrich

Nietzsche, though he follows Poe in time, takes a similar

stance in his willingness to assert the irrational at all

costs--rather than submit to a vacuous rationality. In

his "Twilight of the Idols," for example, Nietzsche

writes:

The moralism of the Greek philosophers from Plato downwards is pathologically conditioned: likewise their estimation of dialectics. Reason- virtue=happiness means merely: one must imitate Socrates and counter the dark desires by produc- ing a permanent daylight--the daylight of reason. One must be prudent, clear, bright a\t any cost; every yeilding to the instincks, to /the uncon- scious, leads downwards. 6 \l

Through the Platonic tradition, argues Nietzsche, man has

abstracted an "interior soul" from the living world and

from his instincts. Hence Nietzsche views consciousness

in terms of a dialectic, the poles of which move simultan-

eously upward into the Apollonian (or what Poe would call

the Ideal) and downward into experience or the Dionysian--

which is for Poe the familiar realm of the irrational.

Poe, earlier, and in his own way would explode the notion

that reason=virtue=happiness. He takes his own unique

We see him, for instance, in the tales dealing with

the contemporary notion of "progress" in history as he

found it conjoined with a fanatic belief in the monster

"rationality." The potentialities of the machine itself

had captured the popular imagination in Poets time and he

was quick to take up the theme--to claim that territory

for the imagination. As Leo Marx writes in The Machine

in the Garden: "By now around [18501 the image of the

American machine has become a transcendent symbol: a

physical object invested with political and metaphysical

ideality'.' In the 1840's Poe is ahead of his time in

his peculiar fascination with the machine and his interest

in scientific discovery in his time. In a short essay,

"Maelzelts Chess Player" (February, 1836) he investigates

the mystery of a mechanical chess player, eventually to

discover in his analysis of it the esen e of a man \I hidden inside the machine--operating it from within. The

supposed pure "Automaton a pure machine, unconnected

with human agency" (H:v.14,6) when penetrated by the

poetic intelligence, is no pure machine at all. By

pressing the possibilities of mechanization in a Newtonian

universe to its limits, Poe uncovers the unexpected

phenomenon of a human hand and human intelligence at the

center of the machine. For Poe the machine becomes a

miraculous device only when it is inhabited--that is,

when t h e imagination.

for Poe it is the "machine" that is to provide the most

intriguing analogy of all to that most mysterious

machine--the machine of the rational mind. In a sense

"Maelzel's Chess-Player" is a preliminary study for

Eureka where Poe seeks the human hand and intelligence

at the center of the "machine" of the universe.

We have noted in the tales leading up to Eureka

Poe's exploration of two sorts of circumscribed space--

the Edenic and the Demonic realms. "The Pit and the

Pendulumt1 (1842) clearly locates us in Poe's hell, where

again his fascination is with the machine--the mechanization

111

of t h e g r i n d i n g pendulum i t s e l f - -wh ich i s a l s o a symbol

of t i m e . I n h i s realm of nightmare w e a r e t o f i n d P o e t s

n a r r a t o r s b u s i l y engaged i n t h e e x p l o r a t i o n o f t h e

r a t i o n a l mind--i ts wheels and p i n i o n s . Here qs t h e dreamer \ \

awakes from a kind of d e a t h - l i k e s t u p o r 3<b9omes h i s

b u s i n e s s t o measure t h e liinits of h i s e n c l o s u r e . A s he

descends p a i n f u l l y from s l e e p i n t o t h e a c t i v e c o n d i t i o n

of r e v e r i e w e have encountered b e f o r e i n t h e tales,

thought and s e n s e g r a d u a l l y become s e p a r a t e d . H e minute ly

d e s c r i b e s t h e p r o c e s s of awakening:

Arousing from t h e most profound of s lumbers , we break t h e gossamer web of some dream. Y e t i n a second a f t e r w a r d , ( s o f r a i l may t h a t web have been) w e remember n o t t h a t w e have dreamed. I n t h e r e t u r n of l i f e from t h e swoon t h e r e a r e two s t a g e s ; f i r s t , t h a t of t h e s e n s e of menta l o r s p i r i t u a l ; secondly , t h a t of t h e s ense of p h y s i c a l e x i s t e n c e . (H:v. 5,69)

The t a l e can be seen i n terms of a s t r u g g l e f o r a s e n s e of

"p l ace" and t h e s e p a r a t i o n of a r a t i o n a l consc iousness o u t

of t h e abyss of d i s a s s o c i a t e d images of t h i s s t a t e of

"swoon," which i s p r i m a r i l y p r e - l o g i c a l and preconsc ious .

The s e p a r a t i o n of t h e o r i g i n a l u n i t y i n t o " s p i r i t u a l 1 ' and

"phys i ca l " and t h e d e s c e n t i n t o t ime i s g iven i n terms of

p a i n and madness--"the madness of a memory which b u s i e s

i t s e l f among fo rb idden t h i n g s . " ( ~ : v . 5 , 7 0 ) Poe d e s c r i b e s

t h e d e s c e n t i n t o t h e oppres s ing p h y s i c a l i t y of thought

and t h e r e t u r n o f memory i n t h e fo l lowing terms:

Very suddenly t h e r e came back t o my s o u l motion and sound--the tumultuous motion of t h e h e a r t , and, i n my e a r s , t h e sound of i t s b e a t i n g . Then a pause i n which a l l i s blank. Then a g a i n sound, and motion, and touch--a t i n g l i n g sensa_tion pervading my frame. Then t h e m e r e con i o u s p e s s of e x i s t e n c e , w i t h o u t thought--a c o n d i t on h i c h l a s t e d long . Then, ve ry suddenly, thou I d a n d shudder ing t e r r o r , and e a r n e s t endeavor t o compre- hend mY t r u e s t a t e . Then a s t r o n g d e s i r e t o l a p s e i n t o i n s e n s i b i l i t y . Then a rush ing r e v i v a l of s o u l and a s u c c e s s f u l e f f o r t t o move (H:v.5,70)

P o e ' s a n a l y s i s of t h e s t a g e s of awakening from s l e e p i s

p s y c h o l o g i c a l l y exact- -but a t t h e same t i m e s l e e p becomes

an analogy f o r d e a t h which i s a p o i n t of u n i t y . Here and

i n "The Te l l -Ta le H e a r t , " t h e h e a r t i t s e l f s i g n a l s t h e

awareness of t h e body and of t ime. A f t e r an i n i t i a l

examinat ion of h i s immediate su r round ings , t h e n a r r a t o r

of "The P i t " l e a r n s f i r s t t h a t he i s a p r i s o n e r i n a k ind

o f c i r c u l a r room; and secondly t h a t he has been deceived

a s t o i t s a c t u a l dimensions and shape on f i r s t i n s p e c t i o n :

I n i t s s i z e I had been g r e a t l y mis taken. The whole c i r c u i t of i t s w a l l s d i d n o t exceed twenty- f i v e y a r d s . For some minutes t h i s occasioned m e a world of v a i n t r o u b l e ; v a i n indeed! For what could b e of less importance under t h e t e r r i b l e c i rcumstances which environed me, t han t h e mere dimensions of my dungeon? But by s o u l took a w i ld i n t e r e s t i n t r i f l e s , and I bus i ed myself i n endeavors t o account f o r t h e e r r o r I had committed i n my measurement. The t r u t h a t l e n g t h f l a s h e d upon m e . (H:v.5,76)

There i s a s e n s e i n such passages t h a t Poe is r e d e f i n i n g ,

even r e d i s c o v e r i n g consc iousness . What i s n o t a b l e about

t h e moment of awakening w i t h i n t h e nightmare e n c l o s u r e i s

t h e i n t r o d u c t i o n of t h e " r a t i o n a l " mind i n t o t h e world of

dream. The mind t a k e s a "wild i n t e r e s t i n t r i f l e s " a s a

means of combating f e a r . I t seeks a sense 'p f place--a

knowledge of who and where one i s . A s ~ e o r w o u l e t n o t e s

i n The Metamorphoses of t h e C i r c l e , t h e f i r s t t e r r o r i n '

Poe i s " t h e t e r r o r of th ink ingM--of consc iousness awakening

t o a s ense o f i t s own s e p a r a t e n e s s and v u l n e r a b i l i t y . 8

The n a r r a t o r of "The P i t " expe r i ences a s i m i l a r p a i n of

s e p a r a t e n e s s t h a t P o u l e t f i n d s i n Schopenhauer i n h i s

chap te r on "Romanticism" where he s t a t e s :

The more ou r thought d i v e r s i f i e s and e x t e r i o r i z e s i t s e l f , t h e more i t i n d i v i d u a l i z e s i t s e l f and becomes v u l n e r a b l e . To t h i n k i s t o s u f f e r . 9

The Poe hero is conf ron ted by t h e l-io~, t i l i t y of t h e " o u t e r "

world c u t o f f from h i s l i f e . Therefore as t h e dreamer of

t h e t a l e g r a d u a l l y awakes, t h e w a l l s of t h e dungeon beg in

c e n t e r of a c i r c u l a r enc losu re where l i e s t h e p i t o r abyss .

The s e l f becomes a vu lne rab le s u b j e c t i n a world of t h r e a t e n -

i n g o b j e c t s o r "machines." Throughout t h e t a l e t h e n a r r a t o r

c o n f r o n t s no human l i f e o t h e r t han h i s own. W e a r e shown

on ly t h e mechanism of t h e "pendulumu--the t o r t u r e r ' s dev ice .

The powers t h a t o p e r a t e it remain i n v i s i b l e . Thus t h e

a l t e r n a t i v e s i n Poe ' s h e l l remain double: by avoid ing

t h e o b l i v i o n of t h e p i t o r abyss t h e dreamer f i n d s himself

benea th t h e descending b l ade of t ime:

Looking upward, I surveyed t h e c e i l i n g of my p r i s o n . I t was some t h i r t y o r f o r t y f e e t overhead, and con- s t r u c t e d much a s t h e s i d e w a l l s . I n one of i t s

pane l s a ve ry s i n g u l a r f i g u r e r i v e t e d my whole a t t e n t i o n . I t was t h e p a i n t e d f i g u r e Time a s he is c o m o n l y r e p r e s e n t e d , s ave t h a l i e u of a s c y t h e , he he ld what, a t a c a u a l

c l o c k s . (H:v.5,77)

bo •’ g l a n c e , I supposed t o be t h e p i c t u r e d i a huge pendulum such a s we see on a n t i q u e .

The f i n a l f e a r i n "The P i t and t h e Pendulum" as i n

"The Premature B u r i a l " (L844), i s t h e f e a r of l i v i n g entomb-

ment--of being caught awake (consc ious) i n s i d e t h e dream,

unable t o s u s t a i n a world of mental c o l l a p s e . It i s o f t e n

i n Poe expressed as a f e a r of weigh t and i s i n s h o r t , t h e

f a m i l i a r f e a r of t h e dream c l o s i n g down upon i t s e l f . The

f e a r comes upon t h e dreamer n o t a s an e v e n t , b u t as a s t a t e

and t h e r e c o g n i t i o n of a s t a t e :

A f e a r f u l i d e a now suddenly drove t h e blood i n t o r r e n t s upon my h e a r t , and f o r a b r i e f p e r i o d , I once more r e l a p s e d i n t o i n s e n s i b i l i t y . Upon r ecove r ing , I a t once s t a r t e d t o my f e e k , t rembl ing convu l s ive ly i n every f i b r e . I thrust my arms w i l d l y above and around me i n a l l d i r e c t i o n s . I f e l t no th ing ; y e t dreaded t o move a s t e p , les t I should be impeded by t h e w a l l s of a tomb.

( ~ : v . 5 , 7 2 )

H i s v i s i o n i s of t h e body and t h e mind a s a p r i s o n , a tomb

of hype rac t ive consc iousness t o which t h e i n s i d i o u s o u t e r

world has a c c e s s . S ince t h e r a t i o n a l mind i t s e l f i s an

in s t rumen t by means o f which h i s to rmentors r e a c h him, t h e

d reamer ' s on ly a l t e r n a t i v e , ( f i n d i n g himself awake) , i s t o

m e d i t a t e i n t e n s e l y on t h e p a r t i c u l a r s of h i s p r i son- - to

exc lude a l l o t h e r thoughts b u t t h o s e t h a t p r e s e n t themselves

d i r e c t l y t o h i s s e n s e s . I n s o doing i t i s a s i f t h e s e l f

k P" momentarily f o r g e t s t o b e l i e v e i n i t s i l l u s i o n of s e p a r a t e n e s s

115

from t h e world it i n h a b i t s - - f e a r d i s a p p e a r s . h he t r u t h

a t l e n g t h f l a s h e d upon me," s a y s t h e pr isoner i") I n t h e 1 \

same manner t h e i d e a of rubbing meat on h i s banqaga's s o

t h a t t h e r a t s w i l l chew o f f h i s bonds i s a n i d e a of whichL,

ou r n a r r a t o r t e l l s U S , "a moiety o n l y f l o a t e d inde t e rmina t e -

l y through my b r a i n when I r a i s e d t h e food t o my burning

l i p s . The whole thought was now p re sen t - - f eeb le , s c a r c e l y

s ane , s c a r c e l y d e f i n i t e , - - b u t s t i l l e n t i r e . " (H:v.5,82)

The r a t i o n a l mind a f f o r d s bo th t h e means of t o r t u r e and

t h e means of escape . It i s a s i f when t h e r a t i o n a l mind

exhaus t s i t s e l f through a " p e r t i n a c i t y o f a t t e n t i o n "

(H:v.5 ,80) , t h e i n t u i t i o n i n t e r v e n e s i n a sudden f l a s h .

The p r i s o n e r i s f r e e d from t h e d e s c e n t o f t h e pendulum:

Free!--I had b u t escaped d e a t h i n one form o f agony, t o be d e l i v e r e d un to worse t han d e a t h i n some o t h e r . (H:v,5,84)

I t i s h e r e i n t h e n a r r a t i v e t h a t t h e w a l l s beg in t o h e a t

i n t e n s e l y and c l o s e i n , d r i v i n g t h e v i c t i m toward t h e p i t .

H e l l c o n f r o n t s him w i t h t h e f i n a l p a i r of o p p o s i t e s ; h o t

and co ld :

I shrank from t h e glowing meta l t o t h e c e n t r e of t h e c e l l . Amid t h e thought of t h e f i e r y d e s t r u c t i o n t h a t impended, t h e i d e a of t h e c o o l n e s s of t h e w e l l came over my s o u l l i k e balm. (H:v5,85)

But t h e dreamer i s saved from d e s p a i r and from t h e p i t by

what can on ly be i n t e r p r e t e d a s an a c t of a lmos t s u p e r n a t u r a l

i n t e rven t ion - -he lp comes from o u t s i d e t h e nightmare:

An o u t - s t r e t c h e d arm caught my own as I f e l l , f a i n t i n g , i n t o t h e abyss . I t was t h a t of Ccnerd , L a s a l l e . The French army had e n t e r e d Toledo. The I n q u i s i t i o n was i n t h e hands of i t s e n c m i e d

(H:v.5,87) \-

With t h e t e r m i n a t i o n of t h e dream t h e e v e n t s recorded e n t e r -

h i s to ry - - the Spa in of t h e I n q u i s i t i o n . Up t o t h e f i n a l

s en t ence i n t h e n a r r a t i v e t h e e v e n t s could have t aken p l a c e

anywhere i n o r o u t s i d e t ime . Here Poe f rames h i s n a r r a t i v e ,

h i s d e s c r i p t i o n of h e l l i n t h e r e a l o r known.

A s i n "The P i t and t h e Pendulum" Poe i n "A d e s c e n t

i n t o t h e ~ a e l s t r & , " (1841) a few y e a r s earl ier , e x p l o r e s

t h i s q u a l i t y of t h e " r a t i o n a l " mind which m e d i t a t e s upon

i t s enc losu re . I n "The ~ a e l s t r o m " t h i s f a c u l t y of concen-

t r a t i o n e n a b l e s t h e n a r r a t o r t o s u r v i v e t h e wh i r lpoo l - - l i ke

t h e " p i t " an image of envelopment. lo The f e a r of v e r t i g o

i n Poe, of hei-ng sucked into a vor tex , is defzatcd by

a l lowing t h e r a t i o n a l mind e n t r a n c e i n t o t h e w h i r l . I n

"The ~ a e l s t r o m " f e a r i s he ld i n abeyance by a k ind of

" in sane" f a s c i n a t i o n w i t h t h e mystery o f t h e mechanics of

t h e wh i r lpoo l i t s e l f . The consc ious mind heads f o r t h e

unknown, which is i n p a r t unconscious , b u t a l s o simply

unknown, unthought , a t t h e edge of p e r c e p t i o n . The

n a r r a t o r s t a t e s :

A f t e r a l i t t l e wh i l e I became possessed w i t h t h e k e e n e s t c u r i o s i t y abou t t h e w h i r l i t s e l f . I p o s i t i v e l y f e l t a wish t o e x p l o r e i t s d e p t h s , even a t t h e s a c r i f i c e I was going t o make; and my p r i n c i p l e g r i e f was t h a t I should never b e a b l e t o t e l l my o l d companions on s h o r e about t h e m y s t e r i e s I should s e e . . . . (H:v.2,2401

-, And l a t e r i n t h e n a r r a t i o n he con t inues : 1

I have a l r e a d y d e s c r i b e d t h e u n n a t u r a l c u r i o s i k y which had taken t h e p l a c e of my o r i g i n a l t e r r o r s . I t appeared t o grow upon m e a s I drew n e a r e r and n e a r e r t o my d r e a d f u l doom. I now began t o watch w i t h a s t r a n g e i n t e r e s t , t h e numerous t h i n g s t h a t f l o a t e d i n our company. I must have been d e l i r i o u s , f o r I even sought amusement i n s p e c u l a t i n g upon t h e r e l a t i v e v e l o c i t i e s o f t h e i r s e v e r a l s d e s c e n t s toward t h e foam below. (H:v.2,243-4)

The r a t i o n a l mind seeks t o l o s e i t s e l f i n accuracy s i m i l a r l y

i n "Berenice" (1835) where Egaeus t e l l s U S , "I was wont,

t o muse f o r l ong unwearied hours , w i t h my a t t e n t i o n r i v e t e d

t o some f r i v o l o u s d e v i c e on t h e margin o r i n t h e typography

o f a book. . . ." (H:v.2,19) T h i s "monomania" of t h e

" a t t e n t i v e f a c u l t i e s , " a s Egaeus names i t , w i t h which t h e

powers of m e d i t a t i o n "bus ied and b u r i e d themse lves , i n t h e

contempla t ion of even t h e most o r d i n a r y o b j e c t s o f t h e

u n i v e r s e , " !Hrv,2,19) becomes what Pee c a l l s t h e "daydrezm-

ing" f a c u l t y . A s he w r i t e s i n "Eleonora" (1841) : "They

who dream by day a r e cogn izan t of many t h i n g s which escape

t h o s e who dream o n l y by n igh t . " (H:v .4 ,236) A s P o e ' s

f a s c i n a t i o n w i t h t h e r a t i o n a l i n t e l l e c t i n c r e a s e s i n t a l e s

l i k e "The P i t and t h e Pendulum" we become i n c r e a s i n g l y

aware of t h e d e l i c a c y o f t h e l i n e s e p a r a t i n g t h e r a t i o c i n -

a t i v e m e d i t a t i o n and t h e hywogogic r e v e r i e . Both a r e

s t a t e s of a " l u c i d r ea son" (H:v.4,2362 and move i n t o t h e

r e g i o n s of madness which, as Poe s u g g e s t s , may be " t h e

l o f t i e s t i n t e l l i g e n c e . " (H:v.4,236) Thus, t h e c o n d i t i o n

of reason o r consc iousness i s n o t simply g i v e n , c u l t u r a l l y

o r o t h e r w i s e , b u t a l i v e i n an i n t e r p l a y w i t h t h e unreason- 1\

a b l e , t h e unconscious , t h e unknown, t h e unthought . i

/

The h e r e t o f o r e s imple o p p o s i t i o n of imagina t ion &d

reason i s complicated t h e moment we a r e aware t h a t t h e

r a t i o n a l mind h a s e n t e r e d t h e dream. Poe i s i n t e r e s t e d

f i n a l l y i n t h e r a t i o n a l i t y o r l o g i c of t h e unconscious

i t s e l f . A s Poe moves toward Eureka t h e r e i s a n i n t e n s i f y i n g

d e s i r e t o wrestle w i t h t h e r a t i o n a l mind on i t s own ground.

The c o n d i t i o n of l u c i d r ea son becomes less and l e s s

i r r e c o n c i l a b l e w i t h t h e da rk unde r s ide of consc iousness .

L ike Nie tzsche Poe comes t o g r i p s w i t h a world from which

meaning and t h e meaning of meaning i t s e l f ha s d i sappea red ,

r e f e r e n t i a l meaning i s i n q u e s t i o n , d i s c o u r s e i s d i s t u r b e d ,

and he s e t s t o work on t h e mind ' s exper ience o f t h i s

f r agmen ta t ion .

P o e ' s development of t h e d e t e c t i v e g e n r e can be

seen a s ano the r a t t e m p t t o come t o t e r m s w i t h t h e ra . t iona1

mind. Dupin, t h e d e t e c t i v e persona , embodies bo th imagin-

a t i v e ( i r r a t i o n a l ) and r a t i o n a l p o l e s of consc iousness . I n

"The Murders i n t h e Rue Morgue" (1841) Dupin is s imul tan- . eous ly a d e t e c t i v e and a kind of p o e t who s e q u e s t e r s h imself

i n an i n a c c e s s i b l e mansion--a c i rcumscr ibed world where w e

a r e t o l d t h a t t h e l i g h t of day i s never a l lowed t o e n t e r .

The n a r r a t o r w r i t e s t h a t :

A t t h e f i r s t dawn of t h e morning w e c l o s e d a l l t h e massy s h u t t e r s o f our o l d b u i l d i n g ; l i g h t i c L l a coup le of t a p e r s which, s t r o n g l y perfumed, threw o u t o n l y t h e g h a s t l i e s t and f e e b l e s t of r a y s . BY t h e a i d of t h e s e we then bus i ed our s o u l s i n dreams. . . . (H:v.4,318)

Through t h e Dupin f i g u r e Poe a t t e m p t s t o wed t h e dreamer t o

t h e a n a l y s t . The n a r r a t o r d e s c r i b e s Dupin ' s a n a l y t i c -

imag ina t ive powers as "merely t h e r e s u l t o f an e x c i t e d , o r

perhaps o f a d i s e a s e d , i n t e l l i g e n c e . " W e are reminded

of Roderick Usher from whose s i m i l a r l y "d i seased" mind we

a r e saved by t h e presence of t h e more r a t i o n a l consc iousness

of t h e n a r r a t o r who e scapes t o t e l l t h e tale. Dupin i s

p re sen ted i n "The Rue Morgue" i n t h e s e t e r m s :

H i s manner a t t h e s e moments [when t h e a n a l y t i c f a c u l t y is e x c i t e d ] was f r i g i d and a b s t r a c t ; h i s eyes w e r e v a c a n t i n e x p r e s s i o n ; wh i l e h i s v o i c e , u s u a l l y a r i c h t e n o r , r o s e i n t o a t r e b l e which would have sounded p e t u l a n t l y b u t f o r t h e deliberateliess aiid erliire d i s t i n c t n e s s of t h e e n u n c i a t i o n . Observing him i n t h e s e moods, I o f t e n d w e l t m e d i t a t i v e l y upon t h e o l d phi losophy of a double Dupin--the c r e a t i v e and t h e r e s o l v e n t .

(H:v. 4 , 1 5 2 )

The n a r r a t o r , who i s a l s o t h e dreamer, i s unable t o compre-

hend Dupin ' s i n t e l l i g e n c e o r " I d e a l i t y " excep t through

t h e metaphor o f t h e Bi-Par t Soul . And l i k e t h a t o f Roderick

Usher, Dupin ' s i n t e l l i g e n c e can o n l y be unders tood by t h e

world i n t e r m s of i n s a n i t y o r "d i seaseu - - a s an a b e r r a t i o n .

I n "The Murders i n t h e Rue Morgue" t h e complexity

and i r o n y of t h e n a r r a t i v e s t r u c t u r e grows o u t o f our

a t t i t u d e a s r e a d e r s t o Dupin ' s ambiva len t powers a s

d e t e c t . i v e . W e a r e aware n o t s o much of t h e merging o f -Ule

imag ina t ive and r ea son ing f a c u l t i e s , a s we are of t h e

n a r r a t o r ' s a t t e m p t t o r a t i o n a l i z e t h e i n t u i t i o n , t o b ~ e -

know and show how Dupin a r r i v e s a t h i s conc lus ions . I n

a s e n s e , w i t h t h e n a r r a t o r , through whose eyes w e view

t h e even t s of t h e n a r r a t i v e , we a r e "amused w i t h t h e fancy

of a double Dupin." Although t h e n a r r a t i v e opens by

s t a t i n g t h a t " t h e menta l f e a t u r e s d i scou r sed o f as t h e

a n a l y t i c a l , a re , i n themselves , b u t l i t t l e s u s c e p t i b l e

of a n a l y s i s , " (H:v. 4,146) t h e n a r r a t o r p roceeds t o

ana lyze them, t o t r a c e t h e r a t i o c i n a t i v e mind backwards

through t h e l a b y r i n t h of i t s deduc t ions and i n d u c t i o n s .

Dupin r e t r a c e s t h e s t e p s by which he i s a b l e seemingly

t o " read" h i s companion's thoughts :

I could n o t doubt t h a t you murmered t h e word ' s t e reo tomy ' a term ve ry a f f e c t e d l y a p p l i e d tu t h i s s p e c i e s of pavement. I know you could n o t s ay t o y o u r s e l f ' s t e reo tomy ' w i thou t be ing brought t o t h i n k of a tomies , and t h u s of t h e t h e o r i e s o f Epicurus ; and s i n c e , when w e d i s - cussed t h i s s u b j e c t n o t ve ry long ago, I mentioned t o you how s i n g u l a r l y , y e t w i t h how l i t t l e n o t i c e , t h e vague guesses of t h a t noble Greek had m e t w i t h con f i rma t ion i n t h e l a t e nebu la r cosmogony, I f e l t t h a t you could n o t avo id c a s t i n g your eyes upward t o t h e g r e a t nebula i n Or ion , and I c e r t a i n l y expected t h a t you would do so . You d i d l ook up; and I was now a s s u r e d t h a t I had c o r r e c t l y fol lowed your s t e p s . . . . (H:v.4,155)

The n a r r a t o r t e l l s us e a r l i e r i n t h e opening d i s c o u r s e on

method t h a t t h e a n a l y s t ' s r e s u l t s , "brought abou t by t h e

very s o u l and essence of method, have , i n t r u t h , t h e whole

a i r of i n t u i t i o n . " (H:v. 4,146) On one l e v e l Dupin ' s

exp lana t ion of h i s " i n t u i t i o n " i s a kind of hoaxu--a

121

l a b y r i n t h i n which t h e r a t i o n a l mind s e e k s t o l o s e i t s e l f .

The word "s tereotomy" has t o do w i t h c u t t i n g s o l i d s ( h e r e __ /'

" s t o n e c u t t i n g " ) and t h u s t i e s t h e c h a i n of r ea son ing t o t h e ' t

rea lm of f i x e d forms. The a s s o c i a t i o n i s e x a c t s i n c e t h e

purpose of Dupin ' s " r a t i o c i n a t i o n " i s t o move beyond f i x e d

forms. What i s impor t an t about Dupin ' s w i ld r ea son ing is

t h a t t h e "con t r ived" n a t u r e of t h e t e l l i n g makes u s aware

of t h e p re sence of an a c t i v e i n t e l l i g e n c e shap ing t h e

r e c o n s t r u c t i o n . The ep isode i n q u e s t i o n becomes a paradigm

of t h e e n t i r e t a l e where w e a l s o become aware of a n

i n t e l l i g e n c e un rave l ing a p l o t it has i t s e l f c o n s t r u c t e d .

Dupin might be b e s t d e f i n e d a s a man impersonat ing a

machine. For i n P o e ' s v i s i o n , a s w e have seen i n "Mae lze l ' s

Chess P l a y e r , " i f you s tudy a machine l o n enough you 3 m'h n d i scnve r a man hidden ics ide , runninr; t h e v c r k i q s .

imagina t ion i n "The Murders i n t h e Rue Morgue" i n h a b i t s

and a c t i v a t e s t h e machine of t h e r a t i o n a l mind. The f i n a l

i r o n y t h e n a r r a t i v e r e v e a l s i s t h a t o n l y t h e l o g i c of a \

Dupin, capab le of i n c l u d i n g madness, i s adequa te t o d i s c o v e r

t h a t t h e murders w e r e committed by no man a t a l l - - b u t by

an ape . The o r d i n a r y r a t i o n a l mind would seek a human

agency t o e x p l a i n them. A s Dupin p u t s it:

Ln t h e manner of t h r u s t i n g t h e co rpse up t h e chimney, you w i l ; admit t h a t t h e r e w a s something e x c e s s i v e l y outre--something a l t o g e t h e r i r r e c o n - c i l a b l e w i t h our common n o t i o n s of human a c t i o n , even when we suppose t h e a c t o r s t h e most depraved of men. ( ~ : v . 4 , 1 7 9 )

I n "The Te l l -Ta le Hear t" (1843) we w i t n e s s t h e

a b s o l u t e d i s e n t e g r a t i o n of r ea son i n t h e f ragmenta t ion of

consc iousness . Here t h e n a r r a t o r " r a t i o n a l l y " e x p l a i n s

t h e i r r a t i o n a l impulse t o murder an o l d man he " l o v e s . "

Reason i s pushed beyond i t s l i m i t s and Poe p a r o d i e s a

c o n d i t i o n o f " l u c i d r ea son" which, i r o n i c a l l y , t u r n s back

upon t h e n a r r a t o r a t t h e end o f t h e t a l e when h i s own

"over a c u t e n e s s o f t h e senses1 ' (H:v.5,91) b e t r a y s t o

c o n f e s s t h e "cr ime." One might s ay t h a t Poe e x p l o r e s

r ea son r u n wi ld i n i t s h y s t e r i c a l modes. With t h e

d i s p a s s i o n a t e i n t e n s i t y o f a Dupin t h e n a r r a t o r proceeds

abou t t h e murder of t h e o l d man whose on ly o f f e n s i v e n e s s

i s h i s eye--"the eye of a vu l tu re - -a p a l e b l u e eye , w i t h

a f i l m over it." ( ~ : v . 5 , 8 8 ) L ike B e r e n i c e ' s t e e t h , t h e

from t h e e n t i r e t y of t h e o l d man. I t a r o u s e s a g a i n t h e

" a t t e n t i v e f a c u l t i e s " of t h e imag ina t ion , which may d e a l

w i t h d u p l i c i t y . The n a r r a t o r knows t h e o l d man and h i s

t e r r o r s w e l l , f o r he i s h i s v e r y s e l f - - h i s double:

P r e s e n t l y I heard a s l i g h t g roan , and I knew it w a s t h e groan of m o r t a l t e r r o r . I t w a s n o t a groan of p a i n o r of g r i e f - -oh , no!-- i t was t h e low s t i f l e d sound t h a t a r i s e s from t h e bottom of t h e s o u l when over-charged w i t h awe. I knew t h e sound w e l l . Many a n i g h t , j u s t a t midnigh t , when a l l t h e world s l e p t , it has we l l ed up from my own bosom, deepening , w i t h i t s d r e a d f u l echo, t h e t e r r o r s t h a t d i s t r a c t e d me. (H:v.5,90)

Neve r the l e s s he murders him--the p o i n t be ing t h a t h i s a c t

i s unreasonable--absurd. Here t h e d i s c o u r s e of t h e n a r r a t i v e

becomes an argument f o r madness and a content ion t h a t

madness i t s e l f i s information. Poe, s tanding behind h i s

n a r r a t o r , explores t h e psychological and e x p e r i e n t i a l themes

of obsession and a mot ive less revenge:

Now t h i s i s t h e point. You fancy me mad. Madmen know nothing. But you should have seen m e . You - should have seen how wise ly I proceeded--with what caution--with what f o r e s i g n t wi th what d i s s imula t ion I went t o work! I was never kinder t o t h e o l d man than dur ing t h e whole week before I k i l l e d him.

( .~.v.5,88-9)

Poe ' s exp lo ra t ion of t h e r a t i o n a l i t y of madness impl ies a

view of t h e world i n which any complete embracing of t h e

senses and i n t e l l e c t must by na tu re lead i n t o a form of

h y s t e r i a . For by d e f i n i t i o n it i s a world which has

r e j e c t e d t h e information of t h e senses and a b s t r a c t e d man

from h i s d i r e c t experience. D i r e c t c o n t a c t wi th t h e world

unable t o d i s t i n g u i s h t h e bea t ing of t h e o ld man's h e a r t

from t h e bea t ing of o n e ' s own. The descent i n t o t h e

senses i n a world where a na ive o b j e c t i v i t y i s impossible ,

i s t h e descent i n t o t h e personal h e l l of o n e ' s own

experience.

Ed i th Cobb's r e c e n t "Work i n P rogress , " "The Ecology

of t h e Imagination i n Childhood, ltl ' enables us t o comprehend

t h e o r i g i n s of Poe ' s sense of t h e r a t i o n a l a s it evolves

i n t h e l a t e r t a l e s and i n Eureka--where it appears i n both

i t s sublime and h y s t e r i c a l modes. In Cobb's language, one

might argue t h a t Poe becomes i n t e r e s t e d n o t i n escaping .

i n t o dream, b u t of r e t u r n i n g c o n s c i o u s l y t o t h a t "p repube r t a l . ,

halcyon, middle age of ch i ldhood , approximately from f i v e

o r s i x t o e l even o r twelve--between t h e s t r i v i n g s of animal

i n fancy and t h e s torms of adolescence--when t h e n a t u r a l world

i s exper ienced i n some h i g h l y evoca t ive way, producing i n

t h e c h i l d a s ense of some profound c o n t i n u i t y w i t h n a t u r a l

p roces ses and p r e s e n t i n g o v e r t evidence of a b i o l o g i c a l

b a s i s of i n t u i t i o n . " I 2 Cobb a rgues t h a t t h e c h i l d ' s

" p l a s t i c i t y of response t o environment may be extended

through memory i n t o a l i f e l o n e renewal of t h e e a r l y power

t o l e a r n and t o evolve." [ i t a l i c s mine] l3 She h a s found

through he r s t u d i e s of gen ius t h a t c r e a t i v e t h i n k e r s and

writers tend t o r e t u r n i n memory to t h i s

middle-age range i n t h e i r e a r l y l i f e . . . i n o r d e r t o renew t h e power and impulse t o c r e a t e a t i t s ve ry s o u r c e , a sou rce w h i c h t h e y describe as t h e expe r i ence of emerging n o t o n l y i n t o t h e l i g h t of consc iousness b u t i n t o a l i v i n g sense of a dynamic r e l a t i o n s h i p w i t h t h e o u t e r world. I n t h e s e memories t h e c h i l d appea r s t o expe r i ence b o t h a s e n s e o f d i s c o n t i n u i t y , and awareness of h i s own unique s e p a r a t e n e s s and i d e n t i t y , and a l s o a c o n t i n u i t y , a renewal of r e l a t i o n s h i p w i t h n a t u r e as p roces s . 14

Poe, s i m i l a r l y , i s t o a rgue i n Eureka t h a t t h i s e a r l y "memory"

i s i n t u i t i v e l y o r p e r c e p t u a l l y , even b i o l o g i c a l l y based--

t h a t i s ,g rounded i n t h e i n s t i n c t s . In Eureka memory t r i g g e r s

t h e p o e t ' s r e d i s c o v e r y of h i s o r i g i n a l r e l a t i o n s h i p t o t h e

u n i v e r s e . A t t h e conc lus ion of Eureka Poe w r i t e s :

W e walk abou t amid t h e d e s t i n i e s of a world- e x i s t e n c e , encompassed by dim b u t eve r -p re sen t Memories of a Dest iny more vast - -very d i s t a n t i n t h e bygone t ime , and i n f i n i t e l y awful . We have a Youth p e c u l i a r l y haunted by such shadows; y e t never mis tak ing them f o r dreams. A s memories w e know them. During our Youth t h e d i s t i n c t i o n i s t o o c l e a r t o dece ive u s even f o r a moment.

(H:v. 16,311-312) . . . But now comes t h e p e r i o d a t which a con- v e n t i o n a l world-Reason awakens u s from t h e t r u t h of ou r dream. . . . (H:v.16,312) I have spoken of Memories t h a t haunt u s d u r i n g o u r youth. They sometimes pursue u s even i n our Manhood:--assume g r a d u a l l y less and l e s s i n d e f i n i t e shapes:--Now and t h e n speak t o us w i t h low v o i c e s . . . ."

(H:v.16,313)

I n he r e s s a y Cobb speaks of t h i s o r i g i n a l p e r c e p t u a l

c o n t i n u i t y between s e l f and world which some of u s a r e a b l e

t o r e g a i n through memory i n t h e fo l lowing t e r m s : "This

apprehension i s c e r t a i n l y n o t i n t e l l e c t u a l ; I b e l i e v e it

i s r a t i o n a l a t l e a s t i n a l i m i t e d s e n s e , a p r e v e r b a l

expe r i ence of an " a e s t h e t i c l o g i c . It 15 Cobb sees t h i s k i n d

of " r a t i o n a l i t y " as t h e b a s i s of t h e c h i l d ' s a c t i v e r e l a t i o n

t o t h e world. And t h e " a e s t h e t i c a l l y " r a t i o n a l d e s i r e t o

"animate t h e i nan ima te , " which she sees as " t h e prime

c h a r a c t e r i s t i c of a l l e f f e c t i v e metaphor, " i s e x a c t l y t h e

f o r c e t h a t f a s c i n a t e s Poe i n " M a e l z e l l s Chess P l aye r . "

F i r s t Poe an imates t h e mechanical c h e s s p l a y e r by apply ing

t h e r a t i o n a l mind t o i t s mystery and then i n Eureka he

a t t e m p t s t o an imate , as I have sugges ted , t h e mechanism o f

t h e inan imate Newtonian un ive r se . Cobb' s d e f i n i t i o n of

an " a e s t h e t i c l o g i c " moves us c l o s e r t o t h e k ind of

r a t i o n a l i t y t h a t i n t e r e s t s Poe and t h a t u l t i m a t e l y e n a b l e s

him t o draw away from h i s e a r l i e r s ense of a dichotomy

between t h e imaginat ive and t h e r a t i o n a l ( s c i e n t i f i c ) . cobb, t o o , i s b e s t a b l e t o d e f i n e man's f orm-making

impulse through t h e mataphor of t h e machine. "It i s t h e

a c t i v i t y of c r e a t i n g form, " she argues ,

which has f a s c i n a t e d t h e mind of man, most p a r t i c - u l a r l y a s t h e power t o animate t h e inanimate, t h e a b i l i t y t o make t h ings move i n t h e shape of working models and r e f i n e d machines, t h e power t o produce animation even i n t h e " s t i l l " image of t h e p l a s t i c ar ts . Th i s shaping f o r c e , t h i s d e s i r e t o master and t o c r e a t e motion, n o t only i s a t t h e b a s i s of a l l human t e c h n i c a l invent ion , b u t a l s o i s t h e prime c h a r a c t e r i s t i c of e f f e c t i v e metaphor. 16 [ i t a l i c s mine]

The n a r r a t o r of Eureka can be seen a s a kind of

cosmic Dupin whose l o g i c i s " a e s t h e t i c a l l y " grounded i n

~ o b b ' s sense. By combining t h e powers of t h e reason and

t h e in tu i t ion- -b r ing ing them toge the r i n t h e senses--he

sets o u t , l i k e Dupin, t o so lve a puzzle--but t h i s t i m e

it is t h e puzzle of t h e universe. Like Dupin, t h e n a r r a t o r

of Eureka--the poet--proceeds by meeting t h e opponent

Reason on i t s own ground. The emphasis i s again upon

method. I n "The Murders i n t h e Rue Morgue" t h e n a r r a t o r

d e s c r i b e s upi in' s "method" i n t h e p laying of draughts :

Deprived of o rd ina ry resources , t h e a n a l y s t throws himself i n t o t h e s p i r i t of h i s opponent, i d e n t i f i e s himself the rewi th , and n o t in f requen t ly s e e s t h u s , a t a g lance , t h e s o l e methods (sometimes indeed absurdly simple ones) by which he may seduce i n t o e r r o r o r hurry i n t o misca lcu la t ion . (H:v.4,147-8)

I n Eureka, a s i n t h e t a l e s of d e t e c t i o n , one might argue

t h a t t h e opponent i s t h e r a t i o n a l mind, because it l i m i t s ,

c l o s e s and is wi thout e x p e r i e n t i a l ground. I t is i n t h i s ,

s e n s e t h a t Eureka can be seen t o be c o n s t r u c t e d on a

d i a l e c t i c . W.B. Yeats exp res se s what is a ve ry s i m i l a r

a t t i t u d e toward " t h e opponent" i n " E x p l o r a t i o n s , " where

he writes:

A l l t h a t o u r opponent exp res se s must be shown f o r p a r t of ou r g r e a t e r e x p r e s s i o n , t h a t he may become our t h r a l l - - b e e n t h r a l l e d a s t hey say . Y e t o u r whole i s n o t h i s whole and he may break away and e n t h r a l l u s i n h i s t u r n , and t h e r e a r i s e between u s a s t r u g g l e l i k e t h a t of t h e sexes . A l l l i f e i s such a s t r u g g l e . 17

Through t h e d i a l e c t i c a l s t r u g g l e t h a t ensues from t h i s

b a t t l e between seemingly a n t a g o n i s t i c r e g i o n s of t h e mind,

Poe moves toward a s c i e n c e of t h e i n t u i t i o n i n Eureka t h a t

r e f u s e s s t a t i c a b s o l u t e s .

I n Eureka Poe pushes t h e r a t i o n a l mind t o i t s

l i m i t s i n o r d e r t o f r e e t h e " i n t u i t i o n , " which he t h e r e

b u t t h e c o n v i c t i o n a r i s i n g from t h o s e i n d u c t i o n s o r deduc t ions of which t h e p roces ses a r e s o shadowy a s t o escape our consc iousness , e l u d e our r e a s o n , o r d e f y our c a p a c i t y o f express ion ,

(H:v.16,197)

The "descen t t o t h e ground," t h e n , must be d e f i n e d i n terms

of t h o s e t h i n g s neces sa ry t o f r e e t h e i n t u i t i o n o r imagina t ion

i n a g iven , a unique nexus i n t i m e and space , t h a t i s P o e ' s

America.

CHAPTER V

FINAL STEPS TO EUREKA: THE DIALOGUES

I wish t o cons ide r t h e c l u s t e r of t a l e s which e n a c t

a conve r sa t ion o r d i a logue between two be ings , u s u a l l y male

and female , who have su rv ived a f i n a l a p o c a l y p t i c conf lag-

r a t i o n of t h e e a r t h t o t e l l t h e i r s t o r y . I a m r e f e r r i n g

s p e c i f i c a l l y t o "The Conversa t ion of E i r o s and Charmion, "

(1839) , "The Colloquy of Monos and Una" (1841) and "The

Power o f Words" (1845) . I n each of t h e s e d i a l e c t i c a l l y

s t r u c t u r e d t a l e s Poe n e a r s t h e edge of p e r c e p t i o n where

p r o s e b u r s t s i n t o t h e i n t e n s i t y of p o e t i c exp res s ion .

H e r e a s i n Eureka Poe speaks from w i t h i n a d i a l e c t i c o f

c o n t r a r i e s where he i s concerned p r i m a r i l y w i t h t h e mutua l ly

informing c o n d i t i o n s of l i f e and dea th- - the pr imary "begin-

n ing" and "end" of l i f e on t h e e a r t h i n bo th i t s cosmic and

e x p e r i e n t i a l s ense .

Many of t h e s c i e n t i f i c and p h i l o s o p h i c a l n o t i o n s

found i n Eureka a r e worked o u t i n t h i s group o f t a l e s .

P o e ' s a n g e l s , t h e s e "new-fledged" be ings , as h e c a l l s them,

speak from o u t of t h e o t h e r s i d e of death-- the o t h e r s i d e

of t h e . S i m i l a r l y i n "Mesmeric Reve la t ion" (1844) ,

which a l s o e n a c t s a d i a l o g u e o r c o n v e r s a t i o n , t h e mesmerized

mouthpieces a t t h i s s t a g e p repa to ry t o Eureka have t h e

advantage of posses s ing a s u p e r i o r knowledge of t h e

" p h y s i c a l - s p i r i t u a l " world. I n t h e d i s c u s s i o n t h a t fo l lows

I w i l l a t t e m p t t o show t h e way i n which Poe d e f i n e s s p i r i t -

u a l e x i s t e n c e c l e a r l y as a c o n t i n u a t i o n o f t h e p h y s i c a l

and e x p e r i e n t i a l i n t h e h i g h e s t degree .

The group of tales s h a r e s a s i m i l a r s t r u c t u r e (form)

a s w e l l as c o n t e n t . I n a l l t h r e e t h e r e i s a sense t h a t

consc iousness h a s b u r s t o u t of dream--that t h e dreamer

has come f u l l y awake i n s i d e t h e dream a t l a s t . I n "The

Conversa t ion of E i r o s and Charmion, " f o r i n s t a n c e , Charmion

g r e e t s E i r o s w i t h t h e s e words:

Dreams a r e w i t h u s no more; b u t o f t h e s e m y s t e r i e s anon. I r e j o i c e t o see you looking l i f e - l i k e and r a t i o n a l . The f i l m o f t h e shadow has a l r e a d y passed from o f f your eyes . (H:v.4,1) , [ i t a l i c s mine]

The s t y l i z a t i o n o f t h e language s u g g e s t s t h e announcement

of a d i scovery- - the d i scove ry t h a t r a t i o n a l i t y i s f r e e d

a t l a s t from t i m e and no longer t o be a s s o c i a t e d w i t h f a l l e n

v i s i o n . L ike C o l e r i d g e ' s h ighe r r e a s o n , r a t i o n a l i t y i s

r a i s e d beyond i t s e l f . I n terms of a p sychoana ly t i c

vocabulary one might s ay w e a r e a g a i n d e a l i n g w i t h t h e

r a t i o n a l i t y of t h e unconscious. Accordingly, t h e two I

be ings a r e renamed, perhaps s u g g e s t i v e of C l e o p a t r a ' s b

4

L maids i n "Antony and C l e o p a t r a , " who f i n d b i r t h on the

o t h e r s i d e of d e a t h h e r e i n P o e t s cosmos .' The ta le

beg ins w i t h a renaming t o c e l e b r a t e t h e occur rence o f t h a t

" r e b i r t h . " The name, E i r o s , invokes a s s o c i a t i o n s w i t h

t h e god Eros--the v a s t power and w i l l of l o v e i t s e l f and

w i t h Ir is , t h e "rainbow." One might n o t e t h a t t h e p o i n t

of P o e ' s l aye red and symbol ica l u s e of names, h e r e and

i n t h e poems, i s t h a t meaning i s cumulat ive and e v o c a t i v e

s o as t o sugges t mystery , " i n d e f i n i t e n e s s w - - t h e unknown. 2

E i r o s : Why do you c a l l m e E i r o s ?

Charmion: So henceforward w i l l you always be c a l l e d . You must f o r g e t , t o o , m y e a r t h l y name, and speak t o m e as Charmion.

E i r o s : T h i s i s indeed no dream! (H:v. 4 , l )

I n a l l t h r e e t a l e s t h e themes o f apoca lypse , a

t r a d i t i o n a l p a r t of a Heaven-Hell; Heaven-Earth d i a l e c t i c ,

i s c e n t r a l . I n "The Power o f Words" t h e a n g e l s proceed

t o d e s c r i b e " t h e f i n a l over throw of t h e e a r t h . " (H:v. 6,141)

becomes t h e u n i f y i n g theme of "The Conversa t ion of E i r o s

and Charmion." Here P o e ' s e a r l y i n t e r e s t i n t h e appearance

and d i sappearance o f a comet s i t e d by Tycho Brahe (see

" A 1 Aaraaf " ) , i s a g a i n taken up i n t o t h e n a r r a t i v e . The

u s e of t h i s p a r t i c u l a r image r e f l e c t s P o e ' s p e r s i s t e n t

i n t e r e s t i n t h e astronomy of h i s day, which h e t r ans fo rms

i n t o t h e a p o c a l y p t i c v i s i o n of t h e t a le . A comet approaches

t h e e a r t h , t h r e a t e n i n g t o t a l d e s t r u c t i o n t o i t s i n h a b i t a n t s :

We cou ld no l o n g e r app ly t o t h e s t r a n g e o r b any accustomed thoughts . I ts h i s t o r i c a l a t t r i b u t e s had d i sappea red . It oppressed u s w i t h a hideous nove l ty of emotion. W e saw it now as an a s t ronomica l phenomenon i n t h e heavens , b u t as an incubus upon o u r

h e a r t s , and a shadow upon ou r b r a i n s . It had t aken , w i t h i nconce ivab le r a p i d i t y , t h e c h a r a c t e r of a g i g a n t i c mant le of rare f lame, ex tending from hor izon t o hor izon . (H:v.4,6)

A s t h e comet ' s i n f l u e n c e b a t h e s t h e e a r t h w e a r e t o l d t h a t

"A wi ld l u x u r i a n c e of f o l i a g e , u t t e r l y unknown b e f o r e ,

b u r s t o u t upon every v e g e t a b l e t h i n g . " (H:v.4,7) The

f a m i l i a r menta l l andscape of he igh tened p e r c e p t i o n makes

i t s reappearance , b e f o r e " t h e f i n a l s ense of p a i n t h a t

was t h e w i ld s i g n a l f o r g e n e r a l l amen ta t ion and h o r r o r . "

(H:v. 4,7) A s i n "The Domaine of Arhheim" and "The P i t

and t h e Pendulum," t o c i t e on ly two examples, t h e

" luxur i ance" and i n t e n s i f i c a t i o n o f l i g h t and c o l o r warns

t h e r e a d e r t h a t consc iousness has been d r i v e n i n t o t h a t

r e g i o n o f p e r c e p t i o n t h a t l e a d s th rough a n n i h i l a t i o n . It

i s a s s o c i a t e d w i t h weight and t h e oppres s iveness of a k ind

of p h y s i c a l s i c k n e s s o r d i s e a s e :

A w i ld change had come over a l l men; and t h e f i r s t s ense of p a i n was t h e w i ld s i g n a l f o r g e n e r a l l amenta t ion and h o r r o r . The f i r s t s ense of p a i n l a y i n a r i g o r o u s c o n s t r i c t i o n of t h e b r e a s t and lungs , and an i n s u f f e r a b l e d ryness o f t h e s k i n .

(H:v.4,7)

Y e t h e r e i n t h e "d i a logues" t h e r e a d e r i s f o r c e d t o

assume t h a t consc iousness s u r v i v e s t h e a p o c a l y p t i c moment,

due t o t h e presence of P o e ' s " f l edged be ings" o r a n g e l s ,

who t e l l t h e t a l e . Charmion, add res s ing E i r o s , s t a t e s :

Your a l l o t t e d days of s t u p o r have exp i r ed ; and, to-morrow, I w i l l myself i n d u c t you i n t o t h e f u l l joys and wonders of your nove l e x i s t e n c e .

E i r o s . True, I f e e l no s t u p o r , none a t a l l . The wi ld s i c k n e s s and t h e t e r r i b l e da rkness

have l e f t me, and I hea r no longer t h a t mad, ru sh ing h o r r i b l e sound, l i k e t h e "vo ice of many wa te r s . " Yet my senses a r e bewi ldered , Charmion, w i t h t h e keeness of t h e i r p e r c e p t i o n o f t h e new..

(H:v.14,1-2)

The r e b i r t h i s an awakening t o a new way of p e r c e i v i n g t h e

world . Although t h e o t h e r s i d e of d e a t h and t i m e i s

f i c t i v e l y proposed a s o u t of t h i s world , Poe a r g u e s

pe rcep t ion . A s E i r o s s ays ;

I am overbur thened w i t h t h e majes ty of a l l th ings- - o f t h e unknown now known--of t h e s p e c u l a t i v e F u t u r e merged i n t h e augus t and c e r t a i n P r e s e n t . (H:v. 4 , 2 ) [ i t a l i c s mine]

A luminous concep t o f t h e " a f t e r l i f e " o r unknown i s s h a t t e r e d

by i ts a c t u a l i t y - - i t s e x p e r i e n t i a l n a t u r e , i t s shee r

p h y s i c a l "presence ."

I n "The Colloquy of Monos and Una," t h e awakening

sugges ted i n " E i r o s and Charmion" i s f u l l y explored . Here

Poe t r a c e s t h e r e v e r i e of wakefulness th rough t h e d e a t h

of t h e p h y s i c a l s e n s e s . The "Colloquy" i s n o t abou t t h e

d e a t h of t h e body and t h e b i r t h o f t h e s o u l i n any Neo-

P l a t o n i c s e n s e , b u t i s i n f a c t a d e n i a l of t h a t s e p a r a t i o n .

Here consc iousness "descends" i n t o t h e body i t s e l f where

it d i s c o v e r s t h a t t h e knowledge of t h e world ga ined

through t h e f i v e s e n s e s i s f a l s e and d i s t o r t e d ( i n a c c u r a t e )

i n t e r m s of t h e newly d i scove red " s i x t h sense ." Conscious-

n e s s awakes t o a knowledge of a "Time" and "Place" w i t h

which it i s i n harmony. The re fo re , Monos says :

And now, from t h e wreck and chaos of t h e u s u a l s e n s e s , t h e r e appeared t o have a r i s e n w i t h i n me a s i x t h , a l l p e r f e c t . I n i t s e x e r c i s e I found a wi ld d e l i g h t - - y e t a d e l i g h t s t i l l p h y s i c a l , inasmuch a s t h e unders tanding had i n it no p a r t . (H:v.4,209)

be f u l l y developed by t h e French s y m b o l i s t s , and Baude la i r e

i n p a r t i c u l a r . The fo l lowing passage from "The Colloquy"

d e s c r i b e s t h e p r o c e s s of consc iousness descending i n t o

t h e s e n s e s i n o r d e r t o move through them and o u t . Monos

speaks:

The body descends i n t o qu ie sence and a s e n s e of powerless-

ness--"no muscle qu ive red ; no ne rve t h r i l l e d ; no a r t e r y

throbbedv--as t h e s i x t h s e n s e emerges. With t h i s s ense

t h e dreamer r e a d j u s t s " t h e i r r e g u l a r i t i e s of t h e c l o c k

upon t h e mante l , and of t h e watches of t h e a t t e n d e n t s . "

The s l i g h t e s t d e v i a t i o n from t h e t r u e propor t ion- - and t h e s e d e v i a t i o n s were omni-prevalent--affected m e j u s t a s v i o l a t i o n s of a b s t r a c t t r u t h were wont, on e a r t h , t o a f f e c t moral s ense . Although no two of t h e t ime-p ieces i n t h e chamber s t r u c k i n d i v i d u a l seconds a c c u r a t e l y t o g e t h e r , y e t I had no d i f f i c u l t y i n ho ld ing s t e a d i l y i n mind t h e t o n e s , and t h e r e s p e c t i v e momentary e r r o r s of each . And t h i s - - t h i s keen, p e r f e c t , s e l f - e x i s t i n s s en t imen t o f d u r a t i o n - - t h i s s en t imen t e x i s t i n g ( a s many could n o t p o s s i b l y have conceived it t o e x i s t ) independent- l y of any s;ccession o f e v e n t s - - t h i s i d e a - - t h i s s i x t h s e n s e , up-spr inging from t h e a s h e s of t h e rest , was t h e f i r s t obvious and c e r t a i n s t e p of t h e in tempora l s o u l upon t h e t h r e s h o l d of t h e temporal E t e r n i t y . (H:v.4,209)

The expe r i ence of t h e i n t e r m i n g l i n g of t h e v a r i o u s

s e n s e s t h a t Poe e x p l o r e s a s t h e mind p a s s e s through what

we c a l l d e a t h , i s a n a n t i c i p a t i o n o f t h e d o c t r i n e of

correspondences--as I have sugges ted e a r l i e r . Here, however,

t h e r e i s no a c t u a l " d o c t r i n e , " b u t t h e s eeds of what w i l l

I b rea thed no longe r . The p u l s e s were s t i l l . The h e a r t had ceased t o b e a t . V o l i t i o n had n o t d e p a r t e d , b u t was powerless . The s e n s e s w e r e u s u a l l y a c t i v e , a l though e c c e n t r i c a l l y so-- assuming o f t e n each o t h e r ' s f u n c t i o n s a t random. The t a s t e and sme l l were i n e x t r i c a b l y confounded, and became one sen t imen t , abnormal and i n t e n s e . The rosewa te r w i t h which your t e n d e r n e s s had moistened by l i p s t o t h e las t , a f f e c t e d m e w i t h sweet f a n c i e s of f l o w e r s - - f a n t a s t i c f l o w e r s , f a r more l o v e l y t han any of t h e o l d E a r t h , b u t whose p r o t o t y p e s w e have h e r e blooming around us . The e y e l i d s t r a n s p a r e n t and b l o o d l e s s , o f f e r e d no complete empediment t o v i s i o n . A s v o l i t i o n was i n abeyance t h e b a l l s would n o t r o l l i n t h e i r sockets--but a l l o b j e c t s w i t h i n t h e range of t h e v i s u a l hemisphere were seen w i t h more o r less d i s t i n c t n e s s ; t h e r a y s which f e l l upon t h e e x t e r n a l r e t i n a , o r i n t o t h e c o r n e r o f t h e eye , producing a more v i v i d e f f e c t t han t h o s e which s t r u c k t h e f r o n t o r a n t e r i o r s u r f a c e . (H:y.4,206-7)

One might n o t e t h a t i n Poe t h i s o b s e r v a t i o n t h a t one s e e s

more c l e a r l y o u t of t h e co rne r o f t h e eye than by looking a t

a t h i n g d i r e c t l y i s taken up i n many of t h e tales. I t

is t i e d t o h i s s e n s e of t h e i n d e f i n i t e ( i n a rea lm where

it i s imposs ib l e t o s e p a r a t e known from unknown and r e a l

from u n r e a l ) , and it i s a s i g n t h a t t h e dreamer has passed

i n t o t h e p r e l i m i n a r y s t a g e s o f "dea thn - - tha t i s , a s t a t e

of pe rcep t ion t h a t resembles d e a t h from t h e o u t s i d e , a t

t h e edges of o r d i n a r y pe rpec t ion . It i s t h e c o n s t a n t

i n t e r chang ing of l i f e and death-- the two ends of exper ience--

and t h u s a d e s c e n t . I n Monos' words:

a f t e r some days t h e r e came upon m e , as you have s a i d , a b r e a t h l e s s and mot ion le s s t o r p o r ; and t h i s w a s termed Death by t h o s e who s tood around m e . (H:v.4,206)

I n t h e t a l e "Hans hall" (1835) t h e n a r r a t o r , a s he i s

drawn i n t o a s i m i l a r p e r c e p t i o n of t h e unsepa ra t ed , w r i t e s :

I n t h e contempla t ion of t h e heavenly bod ie s it s t r u c k m e f o r c i b l y t h a t I could n o t d i s t i n g u i s h a s t a r w i t h n e a r l y as much p r e c i s i o n , when I gazed on it w i t h e a r n e s t , d i rect and undevia t - i n g a t t e n t i o n , a s when I s u f f e r e d my eye o n l y t o g l a n c e i n i t s v i c i n i t y a l o n e . (H:v.2,61)

I n Eureka t h i s p r i n c i p l e becomes a method of " see ing" by

which man comes t o p e r c e i v e t h i n g s i n t h e i r e n t i r e t y and

complexi ty r a t h e r than i n d i v i s i v e n e s s o r s e p a r a t i o n . But

h e r e i n "The Colloquy" Poe descends i n t o t h e expe r i ence

of d e a t h a s p r o c e s s and proposes n o t i n t e r p r e t a t i o n , b u t

e x t r a o r d i n a r y expe r i ence . T o t h e dreamer sounds p r e s e n t

themselves a s c o l o r s ; c o l o r s a s sounds. Death i s t h e

awakening of t h e d i v i d e d s e n s e s i n t o what Poe c a l l s t h e

"One Sent iment . " H e r e h e u ses t h e word "sen t iment" i n

i t s o l d e r s ense ( e i g h t e e n t h c e n t u r y ) where it t i e s t o

4 d i r e c t p e r c e p t i o n , n o t mere f e e l i n g : 6

Yet , i n t h e former i n s t a n c e , t h i s e f f e c t [ t h a t o f r a y s o f l i g h t from o b j e c t s f a l l i n g on t h e e y e b a l l s ] w a s s o f a r anomalous t h a t I a p p r e c i a t e d it on ly as sound--sound sweet o r d i s c o r d a n t as t h e m a t t e r s p r e s e n t i n g themselves a t my s i d e were l i g h t o r d a r k i n shade--curved o r angu la r i n o u t l i n e . The h e a r i n g a t t h e same t ime , a l t hough e x c i t e d i n d e g r e e , was n o t i r r e g u l a r i n ac t ion - - e s t i m a t i n g r e a l sounds w i t h a n ex t ravagance of p r e c i s i o n , n o t less than of s e n s i b i l i t y . Touch had undergone a m o d i f i c a t i o n more p e c u l i a r . Its impress ions were t a r d i l y r e c e i v e d , b u t p e r t i n - a c i o u s l y r e t a i n e d , and r e s u l t e d always i n t h e h i g h e s t p h y s i c a l p l e a s u r e . Thus t h e p r e s s u r e o f your s w e e t f i n g e r s upon my e y e l i d s , a t f i r s t on ly recognized t h r o u h v i s i o n , a t l e n g t h , a f t e r t h e n removal, Z i l l e d my whole be ing w i t a s e n s u a l d e l i g h t . A l l my p e r c e p t i o n s w e r e

ion% pure ly s e n s u a l . (H:v.4,207)

Pee moves o u t of Romantic P la ton ism by embracing t h e s e n s e s ;

by e n a c t i n g n a r r a t i v e l y a journey th rough t h e d i s s o l u t i o n

of s ense . Monos i s unable f i n a l l y t o s e p a r a t e thought

from fee l ing - - sensua l d e l i g h t from s p i r i t u a l e c s t a s y . I n

Eureka Poe w i l l defend what t h e g o e t " senses" o r i n t u i t s

as t r u t h . There where he i s a l s o d e a l i n g w i t h t h e

"beginning" and "end" of expe r i ence , p o e t r y can a t l a s t

be o f f e r e d a s a mode of knowledge of t h e world . Here

Monos d e s c r i b e s h i s d e s c e n t i n t o d e a t h as t h e mourners

s t a n d over him:

t h e m a t e r i a l f u r n i s h e d t h e p a s s i v e b r a i n by t h e s e n s e s w e r e n o t i n t h e l e a s t deg ree wrought i n t o shape by t h e deceased unders tanding . Of p a i n t h e r e was some l i t t l e ; of p l e a s u r e t h e r e was much; b u t of moral p a i n o r p l e a s u r e none a t a l l . Thus your w i ld sobs f l o a t e d i n t o my e a r w i t h a l l t h e i r mournful cadences , and w e r e a p p r e c i a t e d i n t h e i r eve ry v a r i a t i o n of sad tone ; b u t t hey were so• ’ t mus ica l sounds and no more: t h e y conveyed to the e x t i n c t r ea son no i n t i m a t i o n of t h e sorrows which gave them b i r t h ; w h i l e t h e l a r g e and c o n s t a n t tears which f e l l upon my f a c e , t e l l i n g t h e by- s t a n d e r s o f a h e a r t which broke , t h r i l l e d eve ry f i b r e of my frame w i t h e c s t a s y a l o n e . And t h i s w a s i n t r u t h t h e Death of which t h e s e bys t ande r s spoke r e v e r e n t l y , i n low whispers--you, sweet Una, g a s p i n g l y , w i t h loud c r i e s . (H:v.4,207-8)

Monos expe r i ences i n d e a t h t h e f u s i n g of t h e oppos i tes - -

p l e a s u r e and p a i n ; joy and sorrow, e t c . Here t h e t a l e is

c o n s i s t e n t a l s o w i t h P o e ' s t heo ry i n i t s r e j e c t i o n o f t h e

"Moral Sense" a s a pr imary concern of p o e t r y . Monos'

expe r i ence of p l e a s u r e and p a i n bypasses t h e "deceased

unders tanding" and t h e " e x t i n c t r e a s o n , " which tend both,

t o a b s t r a c t meaning from exper ience . Of moral p l e a s u r e

and p a i n " t h e r e was none." Thus h i s b e l o v e d ' s sobs a f f e c t

him a s "music" on ly . He i s incapab le of a t t a c h i n g t h e

concept "sorrow" t o he r t e a r s by moving i n t o a realm

of pu re f e e l i n g . 5 Again P o e ' s t a l e p i c k s up t h e t h r e a d s

of h i s c r i t i c a l s t a t e m e n t s on t h e m u s i c a l i t y of p o e t r y .

By descending i n t o t h e realm of s l e e p where "Death

i s imaged," t h e mind b reaks w i t h o r d i n a r y p e r c e p t i o n

( r ep re sen ted by t h e "deceased" unders tanding and t h e

" e x t i n c t r ea son" ) and becomes aware of Dea th ' s oppos i te - -

L i f e . Una, t h e be loved , i s t h e n p r e s e n t t o Monos a s

l i g h t and l i f e through t h e v a s t power of Love. Una

r e p r e s e n t s Psyche i n t h e t a le and s h e i s a s s o c i a t e d n o t

o n l y w i t h l i g h t , b u t w i t h wh i t enes s and music. Both

names--Monos and Una--mean "One," oneness o r u n i t y . But

it i s through t h e feminine p r i n c i p l e o f t h e t a l e t h a t

Love gu ides t h e s l e e p e r through d e a t h t o cosmic wakening.

"YOU a l o n e , " Monos s a y s of h e r , " h a b i t e d i n a whi t e r o b e ,

passed i n a l l d i r e c t i o n s mus ica l ly abou t me." (H:v.4,208)

Poe i s absorbed w i t h t h e presence and absence of t h e

beloved--the r e c o g n i t i o n , l o s s and recovery of h e r image

i n dea th . But h e r e t h e u s u a l p a t t e r n of t h e e a r l y poems

and t a l e s i s r e v e r s e d . For it i s Monos ( t h e mascul ine

p r i n c i p l e ) who descends f i r s t i n t o t h e g rave and Una

( t h e feminine p r i n c i p l e ) who hovers over h i s body--leading

him through t h e underworld of h i s p e r c e p t i o n s . I n ~ u r e k a

i t can be argued t h a t Beauty, t h a t i s , t h e p o e t ' s s ense of

t h e b e a u t i f u l , ( l i k e Una a feminine p r i n c i p l e ) becomes

such a d i v i n e g u i d e , l e a d i n g t h e p o e t t o a knowledge of

t h e "p l ace" he i n h a b i t s and t h u s of h i s cosmic i d e n t i t y .

Monos and Una a r e r e u n i t e d here i n "The ~ o l l o q u y " through

t h e twin f o r c e s of love and d e a t h . Death i t s e l f becomes

t h e purger o r c l e a n s e r of man's p e r c e p t i o n s . Thus Monos

writes:

And now it w a s , f a i r e s t and d e a r e s t , t h a t w e wrapped our s p i r i t s , d a i l y , i n dreams. Now it was t h a t , i n t w i l i g h t , we d i scou r sed of t h e days t o come, when t h e Ar t - sca r r ed s u r f a c e o f t h e E a r t h , having undergone t h a t p u r i f i c a t i o n which a l o n e could e f f a c e i t s r e c t a n g u l a r o b s c e n i t i e s , 6 should c l o t h e i t s e l f anew i n t h e ve rdu re and t h e mountain-slopes and t h e smi l ing waters of P a r a d i s e , and be rendered a t l e n g t h a f i t dwel l ing-p lace f o r man:-- f o r man t h e Death-purged--for man t o whose now e x a l t e d i n t e l l e c t t h e r e should be po ison in knGwedge no more--fzlr LL- --2- ---2 --- - - - - - L l l e : Lc=UCt=lllCU , L eye11er- a t e d , b l i s s f u l , and now immortal , b u t s t i l l f o r t h e m a t e r i a l , man. (H:v.4,205)

Faced w i t h t h e Romantic dilemma of t h e l o s s of t h e

image of t h e beloved a s w e l l as a n e c e s s i t y t o f a c e t h e

image of h i s own dea th- -Poe ls c h o i c e i s t o e x p l o r e pre -

c i s e l y what happens when he r image i s removed. A s Monos

descends i n t o t h e g r a v e , through Una, he f i n d s t h a t d e a t h

i s c o n t i n u a l l y t u r n i n g over i t s o t h e r f a c e . Descending

i n t o t h e darkness of t h e e a r t h he p e r c e i v e s h e r (Una)

as l i g h t ; descending i n t o t h e abyss o f a b s o l u t e p a s s i v i t y

o f t h e s e n s e s (power lessness , t o r p o r , v o i d ) h e p e r c e i v e s

139 h e r as s e n s a t i o n and a c t i v i t y (power) ; descending i n t o t he

p roces ses of t h e decay and slow p u t r e f a c t i o n of h i s own

body he p e r c e i v e s h e r as music and l i f e . Death and l i f e

a r e exper ienced a s a c o n s t a n t i n t e r change . Una 's p resence

makes him aware of he r absence and v i ce -ve r sa :

A t l e n g t h , a s sometimes happened on E a r t h t o t h e deep s lumberer , when some f l i t t i n g l i g h t s t a r t l e d him i n t o awaking, y e t l e f t him h a l f enveloped i n dreams--so t o me, i n t h e s tr ict embrace o f t h e Shadow, came t h a t l i g h t which a l o n e miqht have had power t o s t a r t l e - - t h e l i g h t of -enduring LOV;. Men t o i l e d a t t h e g rave i n which I l a y d a r k l i n g . They up- threw t h e damp e a r t h . Upon my mouldering bones t h e r e descended t h e c o f f i n o f Una.

And now a g a i n a l l was vo id . The nebulous l i g h t had been ex t ingu i shed . . . . ( ~ : v . 4 , 2 1 1 )

Gradua l ly i n "The Colloquy" consc iousness e n t e r s upon

a s e n s e of union w i t h t h e " p l a c e , " a p e r c e i v i n g through

t h e s e n s e s o f t h e l o c a l i t y i t s e l f . Monos becomes t h e spirit

of place-- the gen ius l o c i :

The consc iousness o f be ing had grown hour ly more i n d i s t i n c t , and t h a t of m e r e " l o c a l i t y " had, i n g r e a t measure, usurped i t s p o s i t i o n . he i d e a of e n t i t y was becoming merged i n t h a t o f p l a c e .

(H:v.4,211)

I n t e r m s of t h e images g iven i n t h e t a l e t h e body has

reached t h e f i n a l s t a g e s of decay and h a s begun t o merge

i n t o t h e s o i l . The c i rcumscr ibed space of t h e tomb

begins t o expand and open as consc iousness i n c l u d e s a

wider realm of a c t i v i t y . A l l s e n s e of " e n t i t y " d e p a r t s ,

and on ly " t h e a u t o c r a t s , P l a c e and Time" remain. But

t h e i rony of t h e t a l e i s t h a t "Time" and "Place" have become

abso lu tes i n terms of sense--they a r e n o t a b s t r a c t i o n s ,

The grave no longer c l o s e s down on i t s i n h a b i t a n t ; he

expands h i s consciousness i n t o it. I t becomes a " ~ o m e . ~ ~

Monos both i n h a b i t s and i s inhab i t ed by t h e "p lace . "

For t h a t which was not--for t h a t which had no form--for t h a t which had no thought--for t h a t which had no sent ience--for t h a t which was s o u l l e s s , b u t of which mat t e r formed no port ion-- f o r a l l t h i s nothingness , y e t f o r a l l t h i s immortal i ty , t h e grave was s t i l l a home, and t h e c o r r o s i v e hours , co-mates. (H:v.4,211)

This r e t u r n t o void i s Monos' f i n a l cond i t ion before t h e

completion of t h e p a i n f u l metamorphosis through dea th . I t

is i n t e r e s t i n g t o n o t e a t t h i s p o i n t t h a t t h e cond i t ion

Monos d e s c r i b e s i s c l o s e l y s i m i l a r t o t h e cond i t ion of

"un i ty" o r oneness i n Eureka. I n P o e ' s cosmic myth mat ter

and t h e r e f o r e normal, One. " (H:v. 1 6 , 2 1 1 ) There Poe

w r i t e s :

The abso lu te ly consol ida ted globe of globes would be ob jec t l e s s : - - the re fo re n o t f o r a moment could it cont inue t o e x i s t . Mat t e r , c r e a t e d f o r an end, would unquest ionably, on f u l f i l l m e n t of t h a t end, be Matter no longer . Le t us endeavor t o under- s tand t h a t it would d isappear and t h a t God would remain a l l i n a l l . (H:v.16,309)

Because nothingness o r void i s grounded i n experience t h e

r e t u r n t o a cond i t ion of a b s o l u t e u n i t y cannot be seen

a s a myst ica l s l i p p i n g away of t h e s o u l i n t o the cosmos.

Both here and i n Eureka Poe remains i n s i d e h i s d i a l e c t i c ,

r e f u s i n g t o t r anscend t h e o p p o s i t e s l i f e and d e a t h . H i s

a n g e l s become " t h e redeemed, r e g e n e r a t e d , b l i s s f u l , and

now immortal , b u t s t i l l . . . m a t e r i a l , man. Poe r e f u s e s

t o subsume body i n t h e a b s t r a c t i o n "Soul. "

"The Powers of Words" i s P o e ' s c r e a t i o n myth. I n

"Mesmeric Reve la t ion" (1844) w e are t o l d t h a t thought

c r e a t e s - - t h a t " A l l c r e a t e d t h i n g s a r e b u t t h e t hough t s of

God." (H:v.5,249) But i n "Thepower of Words" a p l a n e t

i s l i t e r a l l y spoken i n t o being through t h e p h y s i c a l power

of words. H e r e speech , language o r logos i t s e l f , becomes

a c r e a t i v e a c t i o n . For Oinos and Agathos , t h e a n g e l s o r

"new f ledged" be ings o f t h e t a l e , have " c r e a t e d " through

t h e i r l ove t h e p l a n e t t h e y d i s c o v e r :

Agathos. And wh i l e I t h u s spoke, d i d t h e r e n o t c r o s s your mind some thought of t h e p h y s i c a l power oi words? Is not eve ry work an impuise on t h e a i r ?

Oinos. But why, Agathos, do you weep--and why, oh why do your wings droop a s we hover above t h i s f a i r s tar--which i s t h e g r e e n e s t and y e t most t e r r i b l e of a l l w e have encountered i n our f l i g h t ? I t s b r i l l i a n t f l o w e r s look l i k e a f a i r y dream--but i t s f i e r c e vo lcanoes l i k e t h e p a s s i o n s of a t u r b u l e n t h e a r t .

Agathos. They a r e ! They a r e ! Th i s w i ld s t a r - - it i s now t h r e e c e n t u r i e s s i n c e , w i t h c l a s p e d hands, and w i t h s t reaming eyes , a t t h e f e e t of my beloved--I spoke i t - - w i t h a few p a s s i o n a t e s en t ences i n t o b i r t h . I t s b r i l l i a n t f l ower s a r e t h e d e a r e s t of a l l u n f u l f i l l e d dreams, and - i t s r a g i n g vo lcanoes a r e t h e p a s s i o n s of t h e most t u r b u l e n t and unhallowed of h e a r t s . (H:v.6,143-4)

Like Monos, Oinos h a s j u s t j o ined h i s beloved and i s y e t

unused t o t h e p l e a s u r e s of immor ta l i ty i n Aidenn. The

d i a logue i s a s e r i e s of q u e s t i o n s and r e sponses i n which

Agathos i n s t r u c t s Oinos i n t h e knowledge of " ange l s . "

The name "Oinos" is a s s o c i a t e d w i t h wine, "mania, I' o r

i n t o x i c a t i o n , wh i l e "Agathos" i s d e r i v e d from t h e word

"Agathismt'--according t o t h e Oxford Eng l i sh D i c t i o n a r y ,

" t h e d o c t r i n e t h a t a l l t h i n g s tend toward u l t i m a t e good

a s d i s t i n g u i s h e d from optimism which ho lds t h a t a l l t h i n g s

a r e now f o r t h e b e s t . "' Bringing t h e two t o g e t h e r one

might a rgue t h a t P o e t s a n g e l i c be ings a r e a s s o c i a t e d w i t h

t h a t " i n t o x i c a t i o n " t h a t r e s u l t s from g l impses o f t h e con-

d i t i o n " u l t i m a t e good" toward which a l l t h i n g s a r e

working. "Good" i n t h i s c o n t e x t is ever-changing and

t h u s n o n - m o r a l o r absclute. Onz might w e l l say that

Oinos and Agathos speak o u t o f t h a t p r i m i t i v e , mythic

c o n d i t i o n which sees t h i n g s i n t h e i r o r i g i n a l r e l a t i o n

t o t h e world. They are a b l e t o p a r t i c i p a t e imag ina t ive ly

( d i r e c t l y ) i n t h e r e s u l t s of t h e i r a c t i o n s because t h e y

a r e a b l e t o "sense" w i t h t h e p a s s i o n s t h e i d e n t i t y o f

thought and a c t i o n i n e v e n t . Agathos l e a d s Oinos s t e p

by s t e p through a c o n s i d e r a t i o n of t h e n a t u r e of God t o

t h e conc lud ing epiphany he ld i n image. The v i s i o n o f t h e

p l a n e t where t h e o p p o s i t e s ( I d e a l beau ty and d e a t h ,

t u rbu lence ) a r e h e l d , i s a r e v e l a t i o n of d i v i n i t y and

hence an answer t o t h e o r i g i n a l question--what i s God? ,

I•’ God i s a b s o l u t e good, t h e images of " f i e r c e vo lcanoes

l i k e t h e p a s s i o n s of a t u r b u l e n t h e a r t " and t h e t e r r i b l e

" b r i l l i a n t f l ower s" sugges t a c o n t r a d i c t i o n w i t h i n t h e

good i t s e l f . gain t h e o p p o s i t e s emerge c l e a r l y a s t h e

a n g e l s move toward t h e edges of p e r c e p t i o n . A s i n t h e

poem "Ulalume" (1847) ~ g a t h o s ' wings , l i k e ~ s y c h e ' s , droop

t o t h e ground, sugges t ing weight--physical opp res s ion .

n t e r r o r s h e spoke; l e t t i n g s i n k h e r Wings till they t r a i l e d i n t h e dust - -

n agony sobbed; l e t t i n g s i n k he r Plumes till they t r a i l e d i n t h e dust - -

T i l l t hey s o r r o w f u l l y t r a i l e d i n t h e d u s t . (M: 417)

The image of t h e vo lcanoes a l s o t i e "Ulalume" t o "The Power

of Words":

These were days when my h e a r t w a s v o l c a n i c A s t h e s c o r i a c r i v e r s t h a t r o l l - - A s t h e l a v a s t h a t r e s t l e s s l y r o l l

The i r su lphurous c u r r e n t s down Yaanek, I n t h e u l t i m a t e c l imes of t h e Pole--

Tha t groan a s t hey r o l l down Mount Yaanek I n t h e realms of t h e Borea l P o l e (M:416)

I n bo th t h e t a l e and t h e poem t h e u l t i m a t e p o l e s of

expe r i ence a r e d i scove red i n tumul t , agony and a sense of

p h y s i c a l d i s e a s e . The be ing i s i n c o n f l i c t ( h e a r t a g a i n s t

s o u l ) and t h e o p p o s i t e s emerge i n f u l l i n t e n s i t y .

U l t ima te ly God himself ( i n "The Power of Words") i s d e f i n e d

i n terms of c o n f l i c t , d i a l e c t i c and p o l a r i t y , and r e s i d e s

i n t h e human hea r t - - t he human p a s s i o n s . Oinos and Agathos

i n t h e i r e a r t h l y e x i s t e n c e c r e a t e d t h i s s t a r which they

now survey . Here P o e t s thought i s c l o s e t o t h a t o f

Swedenborg who e s t a b l i s h e s a c o r r e s p o n d e n t i a l r e l a t i o n

between human and d i v i n e love and wisdom, grounding d i v i n e

love i n t h e human pas s ions . 8

I n "The Power of Words" Poe d e f i n e s c r e a t i o n a s a

pr imary, unmediated a c t i o n . God has withdrawn from t h e

world a f t e r a primary a c t of c r e a t i o n and now t h e c r e a t i v e

f a c u l t y r e s i d e s i n man a l o n e . This becomes, i n terms of

n i n e t e e n t h c e n t u r y t h i n k i n g about t h e n a t u r e of God, a

h i g h l y h e r e t i c a l s t a t e m e n t and Poe i s aware of i t s

i m p l i c a t i o n s :

Oinos. Do you mean t o s ay t h e Crea to r i s n o t God?

Agathos. I mean t o say t h a t t h e De i ty does n o t c r e a t e .

Oinos. Explain!

Agathos. I n t h e beginning o n l y , he c r e a t e d . The seeming c r e a t u r e s which a r e now, throughout t h e universe, A nerneti~all~~ - -A- - snringifiq -c---- ifit= b e i q , can on ly be cons ide red a s t h e mediate o r i n d i r e c t , n o t as t h e d i r e c t o r immediate r e s u l t s of t h e Div ine c r e a t i v e power.

Oinos. Among men, my Agathos, t h i s i d e a would be cons ide red h e r e t i c a l i n t h e extreme. (H:v.6,140)

Only t h e "Angelic I n t e l l i g e n c e " now c r e a t e s , and P o e t s a n g e l

(Oinos) i s l e a d s t e p by s t e p t o t h e d i scove ry t h a t by

p a r t i c i p a t i n g i n t h e "mod i f i ca t ions o f o l d forms--or i n

o t h e r words ip t h e i r c r e a t i o n of newu--he t o o i s a c r e a t o r .

C r e a t i o n proceeds by metamorphosis i n a world of complete

i n t e r connec t e d n e s s . Thus "The Power of Words" i s a l s o a myth of cosmic

awakening. A s Agathos s t a t e s , "There a r e no dreams i n

of dream d i s a s s o c i a t e d from one h a l f of c o n s c i o u s n e ~ s ,

H i s a n g e l s i n h a b i t a realm where t h e d i s t i n c t i o n between

dreaming and waking consc iousness has no meaning. Here

t h e unconscious m a t e r i a l has been brought i n t o conscious-

nes s . Hence c r e a t i o n i s a h igh ly consc ious , mathemat ical

a c t i v i t y . " I t i s indeed demons t rab le , " s a y s Agathos,

t h a t eve ry impulse given t h e a i r , must , i n t h e end, - impress every i n d i v i d u a l t h i n g t h a t e x i s t s w i t h i n t h e u n i v e r s e ; and t h e be ing of i n f i n i t e unders tanding-- the be ing whom we have imagined-- might t r a c e them upward and onward i n t h e i r i n - f l u e n c e s upon a l l p a r t i c l e s of matter--upward and onward f o r e v e r i n t h e i r m o d i f i c a t i o n s of o l d forms--or i n o t h e r words i n t h e i r c r e a t i o n of new--until he found them ref lected--unimpres- s i v e a t l as t - -back from t h e th rone of t h e Godhead. And n o t o n l y could such a being do t h i s , b u t a t any epoch, should a given r e s u l t be a f f o r d e d him-- should one o f t h e s e numberless comets , f o r example, be p r e s e n t e d t o h i s inspec t ion- -he could have no d i f f i c u l t y i n de t e rmin ing , by the analytic r e t r o g r a d a t i o n , t o what o r i g i n a l impulse it was due. (H:v. 6,143)

By a rgu ing t h a t "secondary" c r e a t i o n i s t h e on ly form of

c r e a t i o n p o s s i b l e a t t h i s t i m e , Poe l o c a t e s d i v i n i t y i n

t h e human. Man does n o t c r e a t e new forms o u t of no th ing ,

b u t p a r t i c i p a t e s i n t h e a c t i v e metamorphosis of c r e a t e d

l i f e from form t o form. Poe i s n o t a rgu ing f o r t h e t o t a l

immanence o f De i ty e i t h e r , b u t r a t h e r , l o c a t i n g t h e

t e n s i o n between God a s immanent ( i ndwe l l i ng ) and God as

t r anscenden t w i t h i n t h e human h e a r t .

Aidenn, t o o , i s a realm of he igh tened c o n f l i c t and

ano the r c i r cumsc r ibed Eden--but t h i s t ime t h e enc losu re

has expanded d r a m a t i c a l l y . Because t h e u n i v e r s e i s f i n i t e

(as i n ~ u r e k a ) , i t s w a l l s a r e t h e d i s t a n t s t a r s :

Even t h e s p i r i t u a l v i s i o n , i s it now a t a l l p o i n t s a r r e s t e d by t h e cont inuous golden w a l l s of t h e un iverse?- - the w a l l s of t h e myriads of t h e s h i n i n g bod ie s t h a t m e r e number has appeared t o b lend i n t o u n i t y ? (H:v. 6,139)

W e s e e , t h e n , t h a t Poe never abandons h i s s e n s e of t h e

n e c e s s i t y of a u n i v e r s e of l i m i t a t i o n . I n Eureka he i s t o

a rgue a g a i n s t t h e a b s t r a c t n o t i o n of i n f i n i t y and main ta in

t h a t t h e u n i v e r s e i s a f i n i t e sphere . Poe s u s t a i n s

t h e e n c l o s u r e o f space i n Eureka, b u t a t t e m p t s t o t r i .nsform

it i n t o a c r e a t i v e c e n t r e r a t h e r t han a c o n f i n i n g p r i s o n .

I n "The Power of Words" Poe s e t s f o r t h most c l e a r l y

h i s s e n s e of t h e i n p e n e t r a b i l i t y of t h e e s s e n t i a l myskery

t h a t l ies a t t h e h e a r t of c r e a t i o n . H e r e and e l sewhere he

Oinos a s k s , "But does n o t The Most High know a l l ? " ,

Agathos r ep l i e s - - "Tha t ( s i n c e he i s t h e Most Happy) must

be s t i l l t h e one t h i n g unknown t o H i m . " (H:v.6,139) To

quench t h e t h i r s t f o r knowledge, Agathos t e l l s Oinos ,

"would be t o e x t i n g u i s h t h e s o u l ' s s e l f . " (H:v.6,140)

For l i m i t e d and l i m i t l e s s a r e p a r t of t h e t e x t u r e of human

thought . Thus, a l t hough space i s f i n i t e - - m a t t e r i s i n f i n i t e

and t h e p o s s i b l e combinations (forms) are i n • ’ i n i t e . Two

y e a r s e a r l i e r i n "Mesmeric R e v e l a t i o n , " t h e conve r sa t ion

between t h e mesmerized p a t i e n t , M r . Vankirk , and t h e

mesmeris t , r e v e a l s t h a t t h e n a t u r e of t h e " V o l i t i o n of

God" i s t h e one s e c r e t even " f l edged be ings" cannot

know.

The o rgans of man a r e adapted t o h i s rud imen ta l c o n d i t i o n , and t o t h a t on ly ; h i s u l t i m a t e c o n d i t i o n , be ing unorganized, is of un l imi t ed comprehension i n a l l p o i n t s b u t one--the n a t u r e of t h e v o l i t i o n of God--that i s t o s a y , t h e motion of t h e u n p a r t i c l e d m a t t e r . CH:v.5,251)

I n Eureka, t o o , t h e n a t u r e of Divine V o l i t i o n , t h a t o r i g i n a l

a c t which i m p e l l s t h e u n p a r t i c l e d m a t t e r i n t o i t s s e p a r a t e

s t a t e , i s robed i n mystery. Poe e x p r e s s e s t h e n o t i o n

t h a t God i s n e i t h e r s p i r i t nor m a t t e r a s we u s u a l l y conce ive

them, b u t t h a t which he c a l l s t h e " u n p a r t i c l e d " m a t t e r .

P o e ' s s e n s e t h a t t h i s u l t i m a t e "ma t t e r " i s God and t h a t

which w e c a l l " thought" i s t h i s "ma t t e r " i n motion draws

him i n t o a view of t h e world a s emanation (world and a n t i -

world) t o be found i n t h e Kabbalah, ~Gehme, and Swedenborg.

I n "The Power of Words" t h e u n p a r t i c l e d matter i s t h e

"medium of c r e a t i o n . " (H:v. 6,143) I n Co le r idge t o o Poe

would have found t h e d i s t i n c t i o n between i n i t i a l and

secondary a c t s o f c rea t ion- -wor ld and emanation ( a n t i -

world) . What i s g r a d u a l l y r e v e a l e d t o Oinos i s h i s own

d i v i n i t y as a p a r t i c i p a n t i n e l e m e n t a l . c r e a t i o n . H e p u t s

on d i v i n i t y on ly a s he becomes aware of t h e r e s u l t s of

h i s p h y s i c a l a c t i o n s i n t h e world o f h i s own expe r i ence .

" W e moved our hands," s a y s Agathos, "when w e were d w e l l e r s

on t h e e a r t h , and, i n s o doing, w e gave v i b r a t i o n t o t h e

atmosphere which e n g i r d l e d it. This v i b r a t i o n was

i n d e f i n i t e l y ex tended , till it gave impulse t o eve ry

p a r t i c l e of t h e e a r t h ' s a i r , which thenceforward, and f o r - - e v e r , was a c t u a t e d by t h e one movement of t h e hand."

(H:v. 6,141) T h i s e x p e r i e n t i a l l y proposed s e n s e of t o t a l

i n t e r c o n n e c t i o n of s e l f and world i s t o prove c e n t r a l t o

Eureka. There it becomes t h e p r i n c i p l e of " a b s o l u t e

r e c i p r o c i t y of adap t ion" I have d i s c u s s e d ear l ier . I n P o e ' s

cosmic myth t h e s p i r i t u a l p r i n c i p l e of t h e u n i v e r s e i s

r e f e r r e d t o v a r i o u s l y a s magnetism, e l e c t r i c i t y , l i g h t ,

s p i r i t , v i t a l i t y , consc iousness , t hough t , and r a r i f i e d

matter.

O f t h e two c o n d i t i o n s s e t f o r t h i n "Mesmeric

Reve la t ion" : t h e " rud imenta l and t h e complete , correspond-

i n g t o t h e two c o n d i t i o n s of t h e worm and of t h e b u t t e r f l y , "

(H:v.5,250) t h e a n g e l s symbolize t h e c o n d i t i o n o f t h e

b u t t e r f l y . They a r e be ings " d i v e s t e d of c o r p o r a t e i n -

v e s t i t u r e " and f r e e d of t h e " rud imenta l o rgans . " (H:v.5,249)

I n t h e " p a i n f u l metamorphosis" of d e a t h C~:v.5 ,250) man i

1 exchanges h i s rud imen ta l body w i t h i t s l i m i t e d powers o f k

p e r c e p t i o n f o r t h e complete o r " u l t i m a t e " body. Thus "man

w i l l never be b o d i l e s s , " (H:v.5,250) s a y s Vankirk:

The u l t i m a t e body t h u s escapes our rud imenta l s e n s e s , and w e p e r c e i v e on ly t h e s h e l l which f a l l s , i n decay ing , from t h e i n n e r form, n o t t h a t i n n e r form i t s e l f . . . . (H:v.5,250)

I n t h e s e terms a l l t h r e e d i a logue t a l e s are abou t t h e metamor-

p h o s i s through d e a t h and t h e f a l l i n g away of t h e rud imenta l

body. Consciousness awakes t o a knowledge of t h e world

because , a s Vankirk s tates:

t h i s e x t e r n a l world i s , t o t h e rud imenta l l i f e , l i m i t e d , th rough t h e i d i o s y c r a s y of i t s organs . But i n t h e u l t i m a t e , unorganized l i f e , t h e e x t e r n a l world r e a c h e s t h e whole body. (H:v.5,251)

The body r e t u r n s t o t h e world and becomes world. Oinos and

Agathos have e n t e r e d upon t h e " u l t i m a t e , unorganized" l i f e .

Th i s e x p l a i n s why t h e a n g e l ' s wings droop as t h e y sweep over

t h e p l a n e t t h e i r words have brought i n t o be ing . They have

moved i n t o t h a t s t a t e of power lessness which resembles

A n 5 t h = n A the f ' r . - A : - - - t - l l l ------ --- UbC* LII UIAL. UULILLF.II A -113 = iii abeyance . P O ~

speaks of t h e "mesmeric s t a t e " :

When I say t h a t it resembles d e a t h , I mean t h a t it resembles t h e u l t i m a t e l i f e ; f o r when I a m en t ranced t h e senses i n abeyance, and e r n a l t h i n a s

i of my rud imen ta l l i f e a r e - . . I p e r c e i v e extc

d i r e c t i y , w i thou t o rgans , through a medi& which I sl

- la11 employ i n t h e u l t i m a t e , unorsanized - - -

s t a t e . (H:v.5,250) [ i t a l i c s mine]

Thus he re and through t h e works, p h y s i c a l s i c k n e s s , l angour ,

e t c . r e p r e s e n t f o r Poe t h i s s t a t e i n which t h e o l d s e n s e s

g i v e way t o t h e new.

A b r i e f g l a n c e a t t h e d i a logue t a l e s demons t ra tes t h e

slow and c a r e f u l p h i l o s o p h i c a l and " s c i e n t i f i c " p r e p a r a t i o n

Poe made f o r Eureka. There he a t t e m p t s t o draw t h e s e . 5

i d e a s i n t o a v i s i o n of t h e world and a p o e t i c o r d e r . Before

t u r n i n g t o Eureka I want t o o f f e r t h e t a l e "The Sphinx"

(1845) a s an even l a t e r t u r n i n g p o i n t i n t h e development of

a d i a l o g u e between r a t i o n a l and i n t u i t i v e modes of

pe rcep t ion .

I n "The Sphinx" two p e r s p e c t i v e s a r e played o f f one

a g a i n s t t h e o t h e r , b u t a r e n o t y e t subsumed i n t o a l a r g e r

v i s i o n . H e r e t h e n a r r a t o r r e p r e s e n t s t h e dreamer, and

t h e h o s t , t h e r a t i o n a l i s t - - t h e s c i e n t i s t .

My h o s t was of a l e s s e x c i t a b l e temperament. . . H i s r i c h l y ph i lo soph ic i n t e l l e c t was n o t a t any t i m e a f f e c t e d by u n r e a l i t i e s . (H:v.6,238)

The p l o t un fo lds a s fo l lows : t h e n a r r a t o r (dreamer) observes

a f r i g h t e n i n g , "Sphinx- l ike" c r e a t u r e c r awl ing over a h i l l

j u s t o u t s i d e t h e c o t t a g e window by which t h e two gentlemen

t h e phenomenon, t h e dreamer i s s u r p r i s e d t o f i n d t h a t h i s

f r i e n d r e p o r t s no th ing unusual . I t i s g r a d u a l l y r e v e a l e d

t o t h e r e a d e r t h a t where t h e dreamer sees a "Sphinx," h i s

more r a t i o n a l f r i e n d observes o n l y a harmless i n s e c t

c r awl ing up t h e window pane:

"Ah, h e r e it i s ! " h e p r e s e n t l y exclaimed-- [ looking up i t s genus and s p e c i e s i n a book] " i t i s reascending t h e f a c e of t h e h i l l , and a ve ry remarkable looking c r e a t u r e , I admit it t o be . S t i l 1 , i . t i s by no means s o l a r g e o r s o d i s t a n t a s you imagined it; f o r t h e f a c t i s t h a t , a s it w r i g g l e s i t s way up t h i s t h r e a d , which some s p i d e r has wrought a long t h e window s a s h , I f i n d it t o b.e abou t t h e s i x t e e n t h of an i n c h i n i t s extreme l e n g t h and a l s o abou t t h e s i x t e e n t h o f an i n c h d i s t a n t from t h e p u p i l of my eye . (H:v.6,244)

The p o i n t of t h e t a l e i s n o t simply t h a t pe rcep t ion

i s r e l a t i v e t o t h e p e r c e i v e r . Poe s i d e s w i t h n e i t h e r

n a r r a t o r nor h o s t . The n a r r a t o r , who i s a b l e t o pe rce ive

i m a g i n a t i v e l y , t h a t i s i n image, and t o t r ans fo rm t h e

world of b a l d f a c t i n t o an o ther -wor ld ly l andscape , i s

unable t o "see" i n t h e s ense t h a t he i s b l inded by h i s own

f e a r . H e i s fo rced t o s u r r e n d e r h i s v i s i o n : "I w a s now

immeasurably a la rmed," he s t a t e s ,

f o r I cons ide red t h e v i s i o n e i t h e r a s an omen o f my d e a t h , o r , worse, a s t h e f o r e - runner of an a t t a c k of mania. ( ~ : v . 6 , 2 4 2 )

On t h e o t h e r hand, t h e h o s t , who i s a b l e t o s e e d i s p a s s i o n a t e l y - - ,

l o g i c a l l y and w i t h o u t f e a r - - i s unable t o p e r c e i v e imag ina t ive ly .

The i n s e c t s " c l a s s i f i a b i l i t y " a l o n e r e n d e r s it harmless t o

him. H e i s a b l e t o remove himself from t h e phenomenon by

i d e n t i f y i n g it.

Y e t t h e r e i s a b r i e f moment i n t h e t a l e when t h e

d reamer ' s v i s i o n t h r e a t e n s t o impose upon t h e h o s t . The

h o s t i s momentarily alarmed by t h e d reamer ' s d e s c r i p t i o n

of what he s e e s . We a r e t o l d t h a t he q u e s t i o n s h i s f r i e n d

" r i g o r o u s l y " on t h e m a t t e r . (H:v. 6,242) The n a r r a t o r

s t a t e s :

When I had f u l l y s a t i s f i e d him on t h i s head, he s ighed deep ly , as i f r e l i e v e d of some i n - t o l e r a b l e burden, and went on t o t a l k , w i t h what I thought a c r u e l calmness , of v a r i o u s p o i n t s of s p e c u l a t i v e phi losophy. (H:v.6,242) [ i t a l i c s mine]

152

H i s "knowledge" s p a r e s him from h i s f r i e n d ' s "mania." AS

i n t h e d i a l o g u e tales Poe seeks t h e e x p e r i e n t i a l t i e of

man t o t h e world he p e r c e i v e s imag ina t ive ly . So h i s

n a r r a t o r l e a v e s t h e problem of t h e d e s c r i p t i v e and explana-

t o r y t o h i s f r i e n d .

The d reamer ' s f e a r , however, i s coupled w i t h a s ense

of n a t u r a l a w e and wonderment, c l o s e d t o h i s more c i rcumspect

companion. H e i s capab le of p e r c e i v i n g t h a t k ind of beauty

and l a r g e n e s s i n t h e world which i s a l l i e d w i t h t h e t e r r i b l e .

H i s d e s c r i p t i o n of t h e "Sphinx" (wh ich , a l so r e p r e s e n t s

c l a s s i c a l l y t h e f i g u r a t i o n of a q u e s t i o n ) i s as fo l lows :

Extending forward, p a r a l l e l w i t h t h e p r o b o s c i s , and on each s i d e of i t , was a g i g a n t i c s t a f f , t h i r t y o r f o r t y f e e t i n l e n g t h , formed seemingly of pu re c r y s t a l , and i n shape a p e r f e c t prism,-- it r e f l e c t e d i n t h e most gorgeous manner t h e r a y s of t h e d e c l i n i n g sun. The t r u n k was f a sh ioned 1 : L - 2 -..-;r-n ... :tL tL- -.-m.. t, tL- ---tL w--m :t I A L G W G U Y = W I L L A L L A G U r G A LV L A & = G U I L L L . A L W A L L A. L

t h e r e were ou tspread two p a i r s of wings--each wing n e a r l y one hundred y a r d s i n length--one p a i r be ing p l aced above t h e o t h e r , and a l l t h i c k l y covered w i t h me ta l scales; each s c a l e a p p a r e n t l y some t e n o r twelve f e e t i n d i ame te r . I observed t h a t t h e upper and lower t i e r s o f wings were connected by a s t r o n g c h a i n . But t h e c h i e f p e c u l i a r i t y of t h i s h o r r i b l e t h i n g , was t h e r e p r e s e n t a t i o n o f a D e a t h ' s Head, which covered n e a r l y t h e whole s u r f a c e of i t s b r e a s t , and which was as a c c u r a t e l y t r a c e d i n g l a r i n g w h i t e , upon t h e dark ground of t h e body, a s i f it had been t h e r e c a r e f u l l y des igned by an a r t i s t . (H:v. 6,241)

What i s i r o n i c abou t t h i s passage i s t h a t t h e d reamer ' s

d e s c r i p t i o n i s a s " s c i e n t i f i c a l l y " e x a c t a s h i s f r i e n d ' s

i n t e r m s of p a r t i c u l a r i t y . H e f i n d s , n o t on ly Death, i n

t h e i n s e c t , b u t a c o r r e s p o n d e n t i a l r e l a t i o n between f i n i t e

153

and a b s o l u t e . I n Eureka Poe w i l l a l s o use a t e c h n i c a l

vocabulary and s c i e n t i f i c in format ion t o found a world-

view. H e u s e s " d e s c r i p t i v e and exp lana to ry" means--but n o t

t o c l o s e and complete i n c a t e g o r i e s and c l a s s i f i c a t i o n ,

b u t t o reopen " sc i ence" t o something t h a t i s a l i v e . I n

h i s cosmic myth t h e o l d dichotomy between r ea son and

imagina t ion i s r e s o l v e d i n t o a s i n g l e consc iousness through

which t h e two v i s i o n s o f "The Sphinx" s u r v i v e as a c t i v e

c o n t r a r i e s .

CHAPTER V I

EUREKA: POE'S COSMOGONIC POEM

One must come t o t e r m s w i t h P o e ' s d e s i r e as expressed

i n t h e "P re face" t h a t Eureka be r ead a s a poem, and n o t as

a p s e u d o - s c i e n t i f i c o r p h i l o s o p h i c a l t r e a t i s e on t h e n a t u r e

of t h e un ive r se . There , he concludes:

Never the less it i s as a Poem o n l y - t h a t I wish t h i s work t o be judged a f t e r I am dead.

(H:v. 16,184)

Yet a s I have s t a t e d i n t h e i n t r o d u c t i o n c r i t i c s have r e fused

p e r s i s t e n t l y t o t a k e Poe s e r i o u s l y . P a t r i c k Quinn , f o r

i n s t a n c e , i n The French Face of Edgar Poe states:

There i s no th ing of p o e t r y , romance, o r dream i n t h e d i s p u t a t i o u s t one of t h e book, and d e s p i t e v a 1 6 r y 1 s e s s a y on i t , Eureka must be p u t a s i d e as one of P o e ' s f a i l u r e s . . . . H e cou ld n o t d e a l w i t h h i s s u b j e c t d i r e c t l y and by o rde red demons t ra t ion . H e needed imagery and d rama t i c a c t i o n . Hence h i s succes s i n f i c t i o n . The s p e c i a l q u a l i t y of Poe r e s u l t s from h i s a t t e m p t t o e x p l o r e o n t o l o g i c a l problems through t h e medium of t h e imagina t ion r a t h e r than t h e i n t e l l e c t . 1

Quinn ' s e v a l u a t i o n of Eureka does n o t c o n s i d e r it as cosmo-

gony and a s my e a r l i e r u s e of E d i t h Cobb makes clear ,

ontology a s expe r i ence i s always t h e p o i n t of cosmogony.

Neve r the l e s s , l e t u s l i s t e n t o what v a l 6 r y h a s t o say abou t

Poe i n t h e e s s a y Quinn c i t e s b e f o r e t u r n i n g t o o u r de fense

of Eureka a s a poem. Valgry a rgues t h a t P o e ' s u n i v e r s e

155

i n Eureka, " i s formed on a p l an t h e profound symmetry of

which i s p r e s e n t , a s it were , i n t h e i n n e r s t r u c t u r e of

our mind. Hence, t h e p o e t i c i n s t i n c t w i l l l e a d u s b l i n d l y

t o t h e t r u t h v 2 O r a s Poe p u t s i t i n Eureka, "Man cannot

long o r widely err, i f he s u f f e r h imself t o be guided by h i s

p o e t i c a l , which I have mainta ined t o be h i s t r u t h f u l , i n

be ing h i s symmetr ica l , i n s t i n c t . " ( ~ : v . 1 6 , 3 0 2 ) The q u e s t i o n

of t h e grounds on which we a r e t o defend Eureka as a poem

must occupy t h e a t t e n t i o n of t h e audience which Poe h imse l f

e s p e c i a l l y d e l i n e a t e s . For he d e d i c a t e s Eureka:

To t h e few who love m e and whom I love-- to t h o s e who f e e l r a t h e r t han t o t h o s e who th ink- - to t h e dreamers and t h o s e who p u t f a i t h i n dreams as i n t h e on ly r e a l i t i e s - - I o f f e r t h i s book of T r u t h s , n o t i n i t s c h a r a c t e r o f T r u t h - T e l l e r , b u t f o r t h e Beauty t h a t abounds i n i t s Tru th ; c o n s t i t u t i n g it t r u e . tH:v.16,184)

of s c i e n c e and r a t i o n a l i t y and i t s tendency t o f a l l i n t o

d i g r e s s i o n , t h e a p p e a l i s n o t t o t h e mere s c i e n t i s t o r t h e

r a t i o n a l i s t a l o n e , b u t t o t h e "dreamer" o r p o e t . The u s e

of d i g r e s s i o n i s , indeed , a mark of i t s a u t h e n t i c i t y a s

cosmogony, f o r d i g r e s s i v e n e s s i s t r a d i t i o n a l l y a q u a l i t y of

t h e coamogonic form. I n s p i t e of P o e ' s e a r l y a t t e m p t t o

s e t t r u t h ( i n t e l l e c t ) o u t s i d e t h e p o e t i c concern , he commits

himself h e r e t o n o t on ly a sense of beau ty a s p r i m o r d i a l ,

b u t t o an e x t r a o r d i n a r i l y Kea ts ian i d e n t i f i c a t i c n of beau ty

w i t h t r u t h i n t h e s e n s e t h a t p o e t meant it when h e wro te

156

i n a l e t t e r t o Benjamin Bailey--"What t h e imagina t ion s e i z e s

as Beauty must be truth--whether it e x i s t e d b e f o r e o r not--

f o r I have t h e same Idea of a l l our Pas s ions a s of Love

they a r e a l l i n t h e i r subl ime, c r e a t i v e of e s s e n t i a l Beauty. lt3

But i n s t e a d of comparing Poe t o Kea ts , Co le r idge o r S h e l l e y ,

a l l of whom i n f l u e n c e d him, I wish t o move toward an a l t e r n a t e

method by which t o r ead Eureka on ~ o e ' s t e r m s , r e c a l l i n g

t h a t even i n t h e e a r l y cr i t ic ism he does n o t exc lude t r u t h

from p o e t r y , b u t a t t e m p t s t o c i r cumsc r ibe it w i t h i n t h e

o r d e r s o f t h e imagina t ion . 4 - P a t r i c k Quinn c o n s i d e r s Eureka a f a i l u r e a s a poem on

t h e grounds of i t s " d i s p u t a t i o u s t o n e , " i t s l a c k of imagery

( i n c o n t r a s t t o t h e image-centered t a l e s ) w i t h which t o

inform t h e p h i l o s o p h i c a l and s c i e n t i f i c i d e a s it s e t o u t t o

explore. I n t h e f i r s t place, I belizvc it czn be shown t h a t

Eureka i s n o t a t a l l devoid of image i n s p i t e of i t s d i s -

c u r s i v e n e s s - - t h a t , i n f a c t , image and i d e a a r e brought

c a r e f u l l y t o g e t h e r ; t h a t Eureka ' s method i s a demons t ra t ion

of t h e way i n which thought and f e e l i n g , i d e a and image,

s p r i n g i n t o consc iousness and a r e he ld s imul taneous ly . To

e x p l a i n o r d e s c r i b e t h e i l l u m i n a t i o n which ho lds image and

i d e a i s t h e method of s c i e n c e and philosophy--to r e - enac t

them g i v e s u s p o e t r y , i n t h i s c a s e cosmogonic poe t ry . The

poem f o r Poe draws consc iousness back t o t h e o r i g i n of

t h e sudden i l l u m i n a t i o n o r "epiphany," which John Senior

i n h i s book The Way Down and Out d e f i n e s as:

157

a s i g n i f i c a n t moment i n t h e consc iousness of t h e c h a r a c t e r , a moment when t h e u s u a l l y meaningless ebb and f low of i d e a s and percep t ions- - the " s t r e a m of consciousness"--suddenly makes a k ind of s ense .5

"These moments," Sen io r c o n t i n u e s , " a r e c r o s s r o a d s i n space-

t i m e when e v e r y t h i n g i s seen a s connected. . . . The

s i g n i f i c a n t moment i n t h e s t ream of consc iousness t u r n s o u t

t o be s s i g n i f i c a n t moment i n t h e r i v e r of t ime , through a l l

p o s s i b l e geography. "6 Sc ience , a s Poe found it i n t h e

e a r l y n i n e t e e n t h c e n t u r y and i n i t s most c o n s t r i c t e d s e n s e ,

had withdrawn p e r c e p t i o n from t h i s a c t i v e source o r p o i n t

of o r i g i n a t i o n which i s a c r o s s r o a d s , t o a p l a c e where t h e

image is l o s t - - t h a t i s , s e p a r a t e d o u t o r a b s t r a c t e d from

t h e "ideau--and s o r..~de use of t h e a b s t r a c t i o n a l o n e , s e t t i n g

t h e e x p e r i e n t i a l a s i d e . What Quinn f a i l s t o acknowledge

about Eureka i s t h a t t h e r e Poe sets up a c o r r e s p o n d e n t i a l

r e l a t i o n between t h e a c t i v i t y of t h e s c i e n t i s t and t h a t of

t h e poe t . When Quinn a t t a c k s p o e t s " a t t empt t o e x p l o r e

o n t o l o g i c a l problems through t h e medium of t h e imagina t ion

r a t h e r than t h e i n t e l l e c t , " he assumes t h a t t h e two f a c u l t i e s

( i n t e l l e c t and imagina t ion) a r e and must remain s e p a r a t e .

H e assumes t h a t t h e i n t e l l e c t a l o n e i s q u a l i f i e d t o e x p l o r e

" o n t o l o g i c a l " a s w e l l a s p h i l o s o p h i c a l q u e s t i o n s . For Poe

i n Eureka t h e i s s u e of " t h i n k i n g p o e t i c a l l y " i s p a r t of

t h e ontology.

What Quinn and numerous c r i t i c s l i k e him f a i l t o

see, i s t h a t Poe i s i n t e r e s t e d i n n o t on ly t h e i l l u m i n a t i o n s

158

themselves , but. i n t h e p e r i o d s of unconscious work t h a t

precede and f o l l o w them. W e have seen POe p l a y i n g w i t h t h e

r o l e " sub l imina l " consc iousness assumes i n mathemat ical

d i s cove ry i n t h e t a l e s of r a t i o c i n a t i o n . Thus when P-2e

d e d i c a t e s Eureka t o t h e dreamer, he i s a l s o add res s ing t h a t

a s p e c t of dreaming consc iousness which becomes luminous

through an i n t e n s e s t a t e of c o n c e n t r a t i o n which can on ly

be compared me taphor i ca l ly t o s c i e n t i f i c a c t i v i t y . L ike

Co le r idge , P o e ' s e a r l y mas t e r , Poe i s t o ma in t a in t h e

c e n t r a l i t y of t h e a s s o c i a t i v e f a c u l t y t h a t o r d e r s t h e

s t reaming f low of d i s a s s o c i a t e d s u b l i m i n a l images--that

" e s s e m p l a s t i c power" which, Co le r idge a r g u e s , g i v e s " u n i t y

t o m u l t i p l i c i t y . "' Poe knows t h a t t h e p o e t ' s t a s k i s t o

shape consc ious ly t h e phantasmagoria of dreams--the

"isonomia" o r f l o o d of d i s - a s s o c i a t e d p a r t s t h a t must be

brought over i n t o a whole. I n Eureka Poe comes t o t h e

r e a l i z a t i o n t h a t t h e " i l l u s i o n " through which a r t works

must f i n d a ground i n t h e r e a l world of o u t e r , p e r c e p t u a l l y

based , c o n c r e t e exper ience . Because of what Eureka a t t e m p t s

Poe i s d e a l i n g s imul taneous ly w i t h t h e t r a d i t i o n of t h e

p o e t a s " v a t e s , " o r s e e r and "maker" o r c ra f t sman.

I n one s e n s e Quinn i s c o r r e c t . Eureka simply f a i l s

i f we r e a d it a s phi losophy and as s c i e n c e . But because

Poe does n o t o f f e r it a s e i t h e r it canno t be judged on i t s

p h i l o s o p h i c a l o r s c i e n t i f i c m e r i t s a lone . The p h i l o s o p h i c a l

and s c i e n t i f i c " d i s c o v e r i e s " reached i n Eureka, i n d e e d , .

159

appear a s common-places of t h e day when set o u t s i d e t he work

i t s e l f . For i n s t a n c e , t h e t r a d i t i o n a l Romantic and Trans-

c e n d e n t a l i d e n t i f i c a t i o n of t h e p o e t w i t h God i s a meaningless

g e n e r a l i t y o u t of t h e c o n t e x t of t h e p r o c e s s of t h e d i scovery

of t h e way i n which human and d i v i n e rea lms ( f i n i t e and

i n • ’ i n i t e , e t c .) i n t e r s e c t o r depend on one ano the r .

Eureka ho lds up t o c r i t i c i s m as a cosmogonic poem

a lone . The r e l a t i v e absence of imagery i n Eureka when set

a g a i n s t t h e l y r i c poems of his e a r l y p e r i o d , o r a g a i n s t t h e

t a l e s , i s e x p l a i n a b l e on ly i n t h e s e t e r m s . For t r a d i t i o n a l l y

t h e cosmogonic myth concerns i t s e l f w i t h t h o s e r a w and

s a c r e d e n e r g i e s t h a t a r i s e i n t h e beginning of "mythic"

t ime o u t of Chaos and non-being i n t o Being, and w i t h t h e s e

a c t i v a t i n g e n e r g i e s i n t h e i r p r i m o r d i a l forms. T r a d i t i o n a l l y

a u t h e n t i c cosmogony i s less concerned with man h i ~ c e l f

and w i t h t h e i s o l a t e human psyche, t han it is w i t h t h e l a r g e r

" o u t s i d e " movements t h a t precede t h e appearance of man. Only

through symbolic " a n n i h i l a t i o n " (which i s s imul taneous ly

e x p e r i e n t i a l ) does t h e i n d i v i d u a l r ecove r h i s o r i g i n a l

r e l a t i o n t o t h e s e p r ima l forces--does he a c t i v e l y p a r t i c i p a t e

i n them and t h e y i n him. Thus it i s i n e v i t a b l e t h a t t h e

landscape i n Eureka i s n o t i n h a b i t e d by t h e heroes and

h e r o i n e s of t h e t a l e s - - t h a t t h e f a n t a s t i c images of dream

do n o t l i e a t i t s c e n t r e . To e f f e c t a r e t u r n t o a c e n t e r

where man i s subsumed i n Man i n t h i s way, language and

symbol themselves must r ecove r t h e i r o r i g i n a l func t ion- -

160

they must be t i e d t o expe r i ence and t o a c t u a l i t y and also

t o t h e world (Cosmos). I n t h i s s e n s e Eureka ' s c e n t r a l

concern i s w i t h language and t h e u s e we a r e t o make of it.

Again P o e ' s r e l a t i o n t o Co le r idge and t o a t r a d i t i o n where

language (both spoken work and thought ) i s i n t i m a t e l y r e l a t e d

t o a c t i o n , i s t h e on ly ground-from which w e can view Eureka

as a poem.

A s a cosmogonic poem, Eureka i s P o e ' s s i n g u l a r a t t e m p t

t o reproduce o r r e - enac t through symbolic exp res s ion (capable

of ho ld ing o p p o s i t i o n s i n a c t i v e r e l a t i o n ) t h e c r e a t i v e

p roces ses t h a t l i e o u t s i d e himself i n n a t u r e i n i t s l a r g e s t

sense-- to t ransmute " n a t u r e " a s such and s o p u r i f y and

t r a n s f i g u r e h imse l f . I n a s e n s e Eureka e n a c t s a kind of

r i t u a l p u r i f i c a t i o n . I t i s Poe ' s l a s t a t t e m p t t o descend--

te rn&v;rr.rh CL- I l - n . . m - l l - - L 1 - ^ - - - - l - J c - - - 2 - - : - - - I L LI A~ v ~i LA&= Q L L A L L ~ c ~ t : t z~ i r t zu , ~elurur~e pwr t i o n of

h i s being. Eureka ' s mys te r ious c e n t r e , which is bo th t h e

c e n t r e and p e r i p h e r y of P a s c a l ' s s p h e r e , i s a corresponden-

t i a l symbol f o r t h e unknown and always mys te r ious sou rce

of power t h a t molds b r u t e matter i n t o form. T h i s i s why

t h e concern i n Eureka i s w i t h t h e journey of " m a t t e r , "

w i t h p a r t i c l e s of a n o r i g i n a l " u n p a r t i c l e d " m a t t e r , through

i t s v a r i o u s s t a g e s of metamorphosis from t h e c o n d i t i o n of t h e

one (unsepa ra t ed ) t o t h e c o n d i t i o n o f t h e many ( s e p a r a t e d ) .

I n Eureka m a t t e r i s sen t imen t and on a continuum w i t h

thought o r " e l e c t r i c i t y . "* Given i n t h e s e t e r m s Poe s e t s

up a cosmos where thought i s a n a c t as much as i s bodily. -

161

motion through space . The though t s of t h e p o e t , who i n

speaking them b r i n g s t h e world through himself and o u t ,

have a kind of p h y s i c a l i t y and e x t e n t i o n i n t h e wor,ld. Again,

we a r e d r i v e n back t o Poe ' s earl ier s e n s e of " t h e power of

words. 11 9

I n Eureka t h e i d e a of Beauty i s interwoven w i t h n o t i o n s

of u n i v e r s a l o r d e r , harmony and rhythm--that i s , "music" i n

t h e Greek s e n s e o f p r o p o r t i o n , o r as Poe c a l l s p o e t r y i n

"The P o e t i c ~ r i n c i p l e " (and e a r l i e r ) "The Rhythmical C r e a t i o n

of Beauty." (H:v.14,275) The word "cosmogony" i n i t s a n c i e n t

s e n s e i s t i e d d i r e c t l y t o t h e word " p r o p o r t i o n . " Margaret

A l t e r t o n , i n he r O r i g i n s of P o e ' s C r i t i c a l Theory i d e n t i f i e s

P o e ' s sou rces i n Eureka. ' P o i n t i n g o u t t h a t he probably

s t u d i e d Pythagoras , P l a t o and Leucippus, s h e s tates:

t h a t i t s ve ry name means Kosmos o r o r d e r . 1 0

She a rgues t h a t from P l a t o he gained h i s s e n s e , as expressed

p a r t i c u l a r l y i n "The Col loquy," t h a t music means c r e a t i o n

i n i t s wides t s e n s e , t h a t i s , p r o p o r t i o n and adap t ion

g e n e r a l l y . "By g i v i n g , " s h e w r i t e s

t h e P l a t o n i c word t h e t r a n s l a t i o n o f "p ropor t ion" and n o t i t s u s u a l meaning of "music ," t h e real sense of music of t h e sphe re s comes t o l i g h t , and w i t h i t t h e P l a t o n i c s e n s e of unvarying l a w t h a t i s working i n t h e a s t ronomica l world. 12

I n "Marginal ia" (1849) where Poe deve lops some of t h e i d e a s

he i s t o expand i n Eureka, he speaks of " t h a t merely mathe-

m a t i c a l r e c o g n i t i o n of e q u a l i t y which seems t o be a t the,

r o o t of a l l Beauty." (H:v.16,137) I n Eureka Beauty becomes

t h e pa radox ica l p r o c e s s of t h a t d e s t r u c t i v e , b u t l a w f u l

and mathemat ical r e t u r n o f t h e many i n t o t h e one. I n

"Marginal ia" a g a i n (1849) Poe r e i t e r a t e s t h e n o t i o n t h a t

music i s p ropor t ion : "By t h e 'Music of t h e sphe re s" i s

meant t h e agreements--the adapt ions- - in a word, t h e pro-

por t ions--developed i n t h e a s t ronomica l laws." (H:v.16,163)

Now t h e "anima" o r Psyche of t h i s u n i v e r s a l harmony

who was d a r k ( L i g e i a ) i n t h e t a l e s i s i n Eureka a s s o c i a t e d

w i t h l i g h t o r t h e luminous c e n t r e from which "Light i s s u e s

by i r r a d i a t i o n . " (H:v.16,225) She i s e n t i r e l y pre-human,

t h a t is , a p r i m a l , t r a n s p e r s o n a l form of energy , and l i k e

L i g e i a , unde f inab le excep t th rough t h e symbols t h a t circum-

s c r i b e t h e i n t a n g i b l e c o r e of h e r be ing . I n Eureka l i g h t

i s associated both with thought and w i t h the higher levels - -

of consc iousness . I t i s t h a t s t r a n g e energy t h a t i s n e i t h e r

m a t e r i a l nor s p i r i t u a l - - b o t h wave and p a r t i c l e :

To t h i s in f luence- -wi thout d a r i n g t o touch it a t a l l i n any e f f o r t a t e x p l a i n i n g i t s awful na ture - - I have r e f e r r e d t h e v a r i o u s phenomena of e l e c t r i c i t y , h e a t , l i g h t , magnetism; and more--of v i t a l i t y , con- s c i o u s n e s s , and thought-- in a word, of s p i r i t u a l i t y . I t w i l l be s een , a t once , t h e n , t h a t t h e e t h e r t h u s conceived i s r a d i c a l l y d i s t i n c t from t h e e t h e r of t h e as t ronomers ; inasmuch a s t h e i r s i s m a t t e r and mine n o t . (H:v. 16,305-6)

One might draw an analogy between t h a t luminous c e n t r e where

t h e " r a r i f i e d m a t t e r " t ends t o coa lesce- - the c e n t r e of t h e

l i m i t e d sphe re i n Eureka, w i t h t h e wh i t e form t h a t r i s e s

b e f o r e Ar thu r Gordon Pym a t t h e end of h i s s e a journey i n

163

t h e n a r r a t i v e of 1837. Y e t t h e r e t h e q u e s t i o n of what i s

t h e n a t u r e of Pym's f i n a l " sea change" o r u l t i m a t e

c o n f r o n t a t i o n remains a mystery. Both " p l a c e s , " however, are

c e n t r e s o r s tates toward which t h e n a r r a t i v e moves--centres

of l i f e and dea th . They can be seen t o r e p r e s e n t ' t h a t zone

between t h e known and t h e unknown--the zone of bo th t h e

marvel lous and t h e t e r r i b l e . I n Eureka t h e p r o g r e s s i v e

c o l l a p s e of t h e u n i v e r s e i s r e f e r r e d t o t h e "awful Fu tu re . "

Unl ike t h e c o l l a p s e of t h e dream on t h e dreamer it i s n o t

a s i n k i n g i n t o da rkness b u t a b u r s t i n g i n t o l i g h t . A s Poe

e x p l a i n s :

Of t h i s End t h e new g e n e s i s d e s c r i b e d , c a n be b u t a v e r y p a r t i a l postponement. While undergoing c o n s o l i d a t i o n , t h e c l u s t e r s themselves , w i t h a speed p r o d i g i o u s l y accumula t ive , have been rush ing towards t h e i r own g e n e r a l center--and now, w i t h a thousandfold e l e c t r i c v e l o c i t y , commensurate on ly with their material grandeur 2nd with the spiritual remnants o f t h e t r i b e of S t a r s f l a s h , a t l e n g t h , i n t o a common embrace. The i n e v i t a b l e c a t a s t r o p h e i s a t hand. ( ~ : v . 1 6 , 8 0 8 )

One might a rgue t h a t as Poe moves through "The N a r r a t i v e of

Ar thur Gordon Pym" and toward Eureka b l ack becomes o r - i s

wh i t e ; da rkness i s in t e r changeab le w i t h l i g h t , t h a t i s ,

they a r e he ld i n a d i a l e c t i c of c o n t r a r i e s . On ano the r

l e v e l t h e da rk and f a i r women of P o e ' s imagina t ion a r e

he ld a c t i v e l y . The a l l u r e of t h e sou the rn p o l e i n "Pym"

i s analogous t o t h e magnet ic , p r imal c e n t r e of g r a v i t y o r

" a t t r a c t i o n " t h a t s lowly b u t i n e v i t a b l y draws a l l ma t t e r -

s p i r i t back t o i t s o b j e c t l e s s , image less sou rce i n Eureka.

164

Image i s r e t u r n e d t o imagelessness . And t h e p a r a l l e l be-

tween "Pym" and Eureka i s r e i n f o r c e d f u r t h e r by P o e t s u se of

t h e mys te r ious "Mare Tenebrarum" o r imaginary s e a o u t s i d e

t i m e and space i n bo th works, a s w e l l a s i n "Mellonta

Tauta . " (1849) Like C o l e r i d g e ' s Mariner , Pym i s drziwn i n t o

a haunted s e a .of t h e imag ina t ion , a mental l andscape t h a t

is grounded i n t h e a c t u a l . W e n o t e t h a t t h e i n t r o d u c t o r y

e p i s t l e t o Eureka, t o o , was found "corked i n a b o t t l e and

f l o a t i n g on t h e Mare Tenebrarum--an ocean w e l l d e s c r i b e d

by t h e Nubian geographer , Ptolemy Hephest ion, b u t l i t t l e

f r equen ted i n modern days u n l e s s by t h e T r a n s c e n d e n t a l i s t s

and some o t h e r d i v e r s from c r o t c h e t s . " (H:v.16,187-8) I n

t h e t a l e "Hans P f a a l l " (1835) t h e journey i s n o t through

t h e a u s t r a l s e a , b u t through space t o t h e moon. I n a s ense

both Poe'c l o n g e s t n a r r a t i v e s and h i s cosmsgoniz poem a r e

journeys of consc iousness i n t o and through a sea--a s e a

bo th of t i m e and space.

I n f i n a l response t o P a t r i c k Q u i n n t s remarks on

Eureka I would a rgue t h a t Poe is a b l e t o make u s e of a

t e c h n i c a l and s c i e n t i f i c vocabula ry because he a s s i g n s a

p l a c e f o r t h e i n t e l l e c t , and r a t i o c i n a t i v e i n t e l l i g e n c e ,

w i t h i n h i s cosmic o r d e r , e x a c t l y a s he does i n t h e t a l e s

of r a t i o c i n a t i o n w e have p r e v i o u s l y d i s c u s s e d and i n h i s

c r i t i c a l e s s a y s . I n Eureka it i s a s i f P o e t s l i f e l o n g

b a t t l e w i t h what he c a l l e d " t h e Heresy of t h e D i d a c t i c " i n

a r t i s a t s t a k e . H e must defend p o e t r y as a mode of

knowledge wi thou t committ ing h i s own he re sy . For he s u g g e s t s

t h a t t h e way i n which w e a r r i v e a t our s e n s e of t h e b e a u t i f u l

and t h e t r u t h f u l a r e p roces ses me taphor i ca l ly i d e n t i c a l - -

t h a t w e "know" t r u t h through ou r imag ina t ive p e r c e p t i o n o f

beau ty , t h a t i s , t h a t t h e s e n s e s t h i n k . Thus Poe defends #

t h e i n t u i t i o n a g a i n s t t h e r ea son on t h e one hand, w h i l e i n -

s i s t i n g upon t h e r a t i o n a l i t y of t h e i n t u i t i v e p roces ses on

t h e o t h e r . I t becomes ou r job as r e a d e r s t o d i s t i n g u i s h

between i n d u c t i v e and deduc t ive modes of t hough t , and t h e

s u p e r r a t i o n a l i t y of t h e i n t u i t i o n . I be labor t h i s p o i n t ,

perhaps , because t h e f a i l u r e t o make t h i s d i s t i n c t i o n c l e a r

has made Eureka i n a c c e s s i b l e t o t h e g e n e r a l r e a d e r f o r t o o

long. I n d u c t i v e and deduc t ive l o g i c , s a y s t h e l e t t e r -

w r i t e r of t h e s a t i r i c - i r o n i c e p i s t l e , a r e t h e

two narrow and crooked pa ths - - the one of c r eep ing and t h e o t h e r of crawling-- to which, i n t h e i r i g n o r a n t p e r v e r s i t y , t hey [mankind] have d a r e d t o c o n f i n e t h e Soul-- the Soul which l o v e s no th ing s o w e l l a s t o s o a r i n t h o s e r e g i o n s of i l l i m i t a b l e i n t u i t i o n which a r e u t t e r l y i ncogn izan t of ' p a t h . '

(H:v.16,195)

But t h e p o i n t i s n o t merely t h a t Poe i s a b l e t o use

s c i e n t i f i c and t e c h n i c a l language, b u t t h a t he chooses s u b j e c t

m a t t e r t h a t i s o r g a n i c a l l y r e l a t e d t o t h e form of t h e cos-

mology. S i n c e he d e f i n e s form and c o n t e n t i n terms of one

ano the r bo th h e r e and i n t h e e s s a y s th rough h i s n o t i o n of

u n i t y of e f f e c t , w e are t o see i n Eurcka t h a t a s t h e c o n t e n t - -- changes t o ho ld a wider range of thought s o must t h e form.

I n t h e s e terms w e can see Poe as one of t h e f i r s t i n America

166

t o r e d e f i n e p o e t i c form i n t h i s way. H i s c l a im t h a t Eureka

i s an innova t ion rests on t h i s r e d e f i n i t i o n of form which

beg ins t o move him away from classic Romanticism. H i s

r e j e c t i o n of t h e M i l t o n i c n a r r a t i v e f o r c e s him a s

Will iams p u t s i t - - " t o break t h e groundw-- into a t o t a l l y

o t h e r s o r t of n a r r a t i v e technique than t h a t h e had i n h e r i t e d

from h i s immediate p redeces so r s . Eureka must i n c l u d e

epis tomology, on to logy , e t c . s i n c e i t s b u s i n e s s i s t o re-

d e f i n e our modes of p e r c e p t i o n and t h u s t h e "poem" becomes

consc ious of i t s e l f .

Even tua l ly P o e ' s s e a r c h f o r a s c i e n c e of t h e i n t u i t i o n ,

t h e n , l e a d s h i m . t o t h e d i scove ry i n Eureka t h a t s c i e n c e i s a

mode of correspondences . W e have a l r e a d y seen him working

o u t h i s s e n s e of t h e c o r r e s p o n d e n t i a l n a t u r e of t h e p h y s i c a l

and Una" and t h o s e t a l e s of t h e pe r iod fo l lowing 1840 which

I have been c a l l e d t h e "metaphysical" o r "d i a logue" t a l e s .

I n Eureka, which i s t h e i s s u e of t h e s e t a l e s , he a r r i v e s a t

a f i n a l s e n s e of a c o r r e s p o n d e n t i a l r e l a t i o n between mind

and world; t h e c o n t r a r y c o n d i t i o n s of u n i t y and h e t e r o g e n e i t y

i n t h e i r appearances , and t h e c e n t r e and c i rcumference of a

u n i v e r s a l sphe re o r c i rc le , which u n l i k e t h a t of Pascal,

i s l i m i t e d r a t h e r t han i n f i n i t e .

But we must n o t e aga in t h a t P o e ' s knowledge of Sweden-

bo rg , P a s c a l , Co le r idge , Kea ts , S c h l e g e l and t h e Eng l i sh

and German ph i losophers - -h i s i n v e s t i g a t i o n s i n t o Neo-

P l a t o n i c and o c c u l t d o c t r i n e s , e t c . - - a l l n o u r i s h Eureka,

j u s t a s h i s i n t e r e s t i n Jeremiah N . Reynold 's s o u t h p o l a r

e x p e d i t i o n s i n f l u e n c e s "The N a r r a t i v e of Ar thur Gordon

Pym. "13 I t i s n o t t h e i n t e n t o f t h i s paper t o r e p e a t t h e

work of o t h e r s who have t r a c e d P o e ' s sou rces f o r Eureka,

b u t t o demons t ra te how Poe shaped t h a t i n fo rma t ion ( sc i en -

t i f i c and p h i l o s o p h i c a l ) i n t o a whole--a cosmic o r d e r .

For i n Eureka Poe a r r i v e s a t a s e n s e of cor respondences ,

t h u s a n t i c i p a t i n g t h e French symbo l i s t movement, by a v a i l i n g

himself of eve ry t o o l t h e s c i e n c e , theo logy , metaphys ics ,

r e l i g i o n , and phi losophy of h i s day had t o o f f e r . H e

a t t e m p t s , f o r i n s t a n c e , t o "remake" Newton's l a w of g r a v i -

t a t i o n i n t o a cosmic Law of dynamic c o n t r a r i e s and t o show

f o r t h t h i s "Law" i n image. The commonplace l a w of g r a v i t y

and t h e more r e c e n t l y d i scove red f o r c e of " e l e c t r i c i t y "

which he r e c e i v e s th rough t h e i d e a s o f Mesmer become t h e

cosmic o r secondary p r i n c i p l e s ( l a w s ) of t h e man i f e s t world--

t h e p h y s i c a l and s p i r i t u a l p r i n c i p l e s o f a t t r a c t i o n and

r e p u l s i o n r e s p e c t i v e l y . Poe r e a c h e s t h e d i scove ry t h a t what he

conce ives a s subs tance i s no more o r less " s u b s t a n t i a l "

h t han h i s no t ion o f s p i r i t . Such a s t a t emen t i n v o l v e s a

complete r e d e f i n i t i o n of subs t ance and of o b j e c t . H e

d i s c o v e r s t h a t t h e v i s i b l e world is h e l d i n t h e oppos i t i on

of t h e s e p r ima l f o r c e s , a t t r a c t i o n and r epu l s ion - - fo rces

which a r e p r e s e n t i n p o t e n t i a l b e f o r e m a t t e r makes i t s

appearance a s phenomena. When a t t r a c t i o n and r e p u l s i o n

c e a s e , matter c e a s e s o r i s no more--is a b s e n t . " I n t h i s

view, ' s a y s Poe:

w e a r e enabled t o pe rce ive Mat te r as a Means-- n o t as an End. I t s purposes a r e t h u s s een t o have been comprehended i n i t s d i f f u s i o n ; and w i t h t h e r e t u r n i n t o Uni ty t h e s e purposes c e a s e . The a b s o l u t e l y c o n s o l i d a t e d g lobe of g lobes would be o b j e c t l e s s : - - t h e r e f o r e n o t f o r a moment could it c o n t i n u e t o e x i s t . Matter, c r e a t e d f o r an end, would unques t ionably , on f u l f i l m e n t of t h a t end, be Mat te r no longer . L e t u s endeavor t o unders tand t h a t it would $ i sappea r , and t h a t God would remain a l l i n a l l . (H:v.16,309)

I would sugges t t h a t much of Eureka ' s beau ty a s a poem,

and t h e r e f o r e i t s " t r u t h , I' rests on t h e n o t i o n of correspon-

dences t h a t u n d e r l i e s i t s s t ruc tu re - - and t h e enactment of

t h e s e correspondences i n image. For t h e cosmic e n e r g i e s

i n Eureka a r e p layed o u t on many l e v e l s a t once. Before

t u r n i n g t o a d e f i n i t i o n of cosmogony by which t o measure

E u r e k a , then, let us not forqet that as cosmogony, Eureka

i s t h e cu lmina t ion of P o e ' s a e s t h e t i c t heo ry . H e r e , t o o ,

t h e a e s t h e t i c r e s t s on a s e n s e of correspondences i n which

t h e u n i v e r s e i s ana logous , t h a t is cor responds symbo l i ca l ly ,

t o t h e work of a r t . Here Poe grounds a r t i n p e r c e p t i o n

and d i r e c t expe r i ence . One might a rgue t h a t i n Eureka t h e

d i v i s i o n of t h e " u n p a r t i c l e d m a t t e r " i n t o p a r t s o r t h e

d i v i d e d m a t t e r and s p i r i t of t h e u n i v e r s e , m i r r o r s macro-

cosmica l ly t h e d i v i s i o n of consc iousness i n t o i n t e l l e c t u a l

( r a t i o n a l ) and i n t u i t i o n a l ( i r r a t i o n a l ) mode:. on t h e

D microcosmic o r p e r s o n a l l e v e l . A s Poe t e l l s us i n Eureka, i

I

u n i v e r s e . One might say t h a t , l i k e 0siris i n t h e a n c i e n t

Egypt ian myth, God's body i s dismembered and s c a t t e r e d

throughout t h e u n i v e r s e i n Eureka. Thus Poe is a b l e t o

a s s e r t t h a t a t p r e s e n t , " t h e Awful p r e s e n t , " God e x i s t s on ly

i n t h e s c a t t e r e d m a t t e r and s p i r i t of t h e u n i v e r s e . For

t h i s r ea son p h i l o s o p h i c a l l y Eureka has been c a l l e d a

"mechanis t ic" t heo ry o f c r e a t i o n . I n s p i t e of t h e f a c t

t h a t P o e ' s i n fo rma t ion comes o u t of Newtonian and pre -

Newtonian s c i e n c e through men l i k e Kepler (1571-1630) and

LaPlace (1749-1827) h i s v i s i o n i s n o t n a i v e l y mechanical . 1 4

I n Eureka it becomes t h e a r t i s t ' s o r "dreamer ' s" t a s k t o r e -

a s s i m i l a t e God and s o t o remake e l emen ta l Beauty. The

a r t i s t c r e a t e s nothing--he simply makes t h e d i v i n e a g a i n

i n t e l l i g i b l e . S i m i l a r l y i n ~ e s i o d ' s " ~ h e o g o n y y o u r g r e a t e s t

example from a n t i q u i t y o f cosmic-mythmaking, t h e Muses do

n o t c rea te - - they p r e s e r v e what went b e f o r e . For t h i s r ea son

Poe chooses n o t t h e image-symbol of " t h e watch" t o r e p r e s e n t

t h e cosmos--but t h a t of t h e h e a r t .

The re fo re , fo l l owing t h e analogy between t h e u n i v e r s e

and t h e work of a r t , one can a rgue from what Poe g i v e s u s ,

t h a t on t h e microcosmic l e v e l consc iousness i s p r e s e n t l y

d i v i d e d i n t o t h e i n t u i t i v e and r a t i o n a l f a c u l t i e s . Con-

s c i o u s n e s s , h e l d i n t h e m a t t e r and s p i r i t of t h e u n i v e r s e ,

e x i s t s i n d i v i s i o n . J u s t as a t t r a c t i o n and r e p u l s i o n are - m a t t e r i n Eureka, s o i n t e l l e c t and i n t u i t i o n a r e conscious- - n e s s a s we know it. The w a r f a r e between t h e s e c o n t r a r y p b l e s

of t h e mind s u s t a i n s l i f e i n i t s p r e s e n t d i v i d e d o r , one

might say, " F a l l e n " c o n d i t i o n . Foe c a l l s it t h e "wrongful

c o n d i t i o n o f t heMany . " (H:v.16,263) Ye twhen human con-

s c i o u s n e s s i n i t s f r agmen ta t ion , whose domain i s f i n i t e l i k e

t h e f i n i t e sphe re of t h e u n i v e r s e , i s pushed t o t h e l i m i t s

of d i v i s i v e n e s s , t h e ba l ance i s u p s e t and t h e i n t u i t i o n

( th rough t h e p r i n c i p l e of g r a v i t y o r a t t r a c t i o n ) a t l a s t s

beg ins t o dominate r ea son (complete i t ) , drawing t h e

i n t e l l e c t w i t h i n i t s domain. The r a t i o n a l and i n t u i t i v e

modes o f thought draw t o g e t h e r by t h e same p r i n c i p l e s a s do

m a t t e r and s p i r i t :

Thus t h e two P r i n c i p l e s P rope r , A t t r a c t i o n - and Rewulsion--the M a t e r i a l and t h e S w i r i t u a l - - accompany each o t h e r , i n t h e strictest fe l low- s h i p , f o r e v e r . Thus The Body and The Soul walk hand i n hand. (H:v.16,244)

I t f o l l o w s by analogy t ha t in the final ccalescencz when

i n t e l l e c t and i n t u i t i o n merge , tha t consc iousness would,

l i k e m a t t e r , d i s appea r - - tha t i s , r e t u r n t o i t s und i f f e r en -

t i a t e d s t a t e . But i n Eureka t h e p o i n t i s t h a t on ly con-

s c i o u s n e s s a s w e know it i n t h e d i v i d e d c o n d i t i o n d i e s .

The d e a t h of t h e s e l f i s t h e b i r t h of t h e S e l f . O r a s Poe

writes a t t h e conc lus ion of Eureka:

Think t h a t t h e s e n s e of i n d i v i d u a l i d e n t i t y w i l l b e g r a d u a l l y merged i n t h e g e n e r a l consciousness-- t h a t Man, f o r example, c e a s i n g impercep t ib ly t o f e e l h imself Man, w i l l a t l e n g t h a t t a i n t h a t awful t r iumphant epoch when he s h a l l r ecogn ize h i s e x i s t e n c e a s t h a t of Jehovah. (H:v.16,314-15)

I n o t h e r words, as i n Swedenborg's cosmology, consc iousness

i n c r e a s e s a s it moves toward t h e c e n t r e of t h e s p h e r e which

is a l s o t h e c e n t r e of i n d i v i d u a l be ing . Man becomes God.

H e does n o t l o s e h i s i d e n t i t y , b u t f i n d s it subsumed i n a

new one through t h e d e a t h of t h e o l d .

Poe conc ludes Eureka w i t h a passage i n which he d i s -

c u s s e s man's i n a b i l i t y t o b e l i e v e i n h i s own m o r t a l i t y .

H e a rgues t h a t

No t h i n k i n g be ing l i v e s who, a t some luminous p o i n t o f h i s l i f e of t hough t , ha s n o t f e l t h imself l o s t amid t h e s u r g e s of f u t i l e e f f o r t s a t unde r s t and ing , o r b e l i e v i n g , t h a t any th ing e x i s t s g r e a t e r t han h i s own s o u l . (H:v.16,312)

Youth, he s t a t e s , c anno t b e l i e v e "That t h e r e was a p e r i o d

a t w h i c h w e d i d n o t e x i s t . " - ( ~ : v . 1 6 , 3 1 2 ) I t c a n n o t b e l i e v e

t h a t an i n t e l l i g e n c e e x i s t s g r e a t e r t han i t s own o r t h a t it

is i n r e ~ i o r to any ether s o u l . I I e r s Poe is not coraitting

a supreme a c t o f " h u b r i s , " b u t i n f a c t t h e ve ry o p p o s i t e .

He i s l o c a t i n g t h e p re sence of d i v i n i t y , of an i d e n t i t y w i t h

t h e d i v i n e , i n t h e dep ths of t h e s e l f , and t h u s acknowledg-

i n g an o u t e r o r d e r . The s e l f which "Youth" i d e n t i f i e s w i th

immor ta l i ty and d i v i n i t y i s n o t t h e e g o - s e l f , locked i n

m a t t e r , b u t t h e f r e e d cosmic S e l f aware of a p rope r i d e n t i t y

w i t h t h e God-centre. Such a c e n t r e i s bo th " i n n e r " and

" o u t e r . " Only through memory, Poe t e i l s u s , does t h e s o u l

r e - e s t a b l i s h connec t ion w i t h t h i s sou rce of energy and

d i v i n e potency.

I n Eureka, t h e n , Poe proposes a wor ld -p i c tu re i n which

cosmic law i s mi r ro red a c t i v e l y on a l l l eve l s - -a u n i v e r s e

of o r d e r , p r o p o r t i o n , and symmetry. I t i s a s i f a t t h e

p l a c e where thought and f e e l i n g merge, a s t hey do i n t h e

"Colloquy o f Monos and Una" and i n Eureka, h i g h e r o r

cosmic law i n t e r v e n e s . Through a s e r i e s of ep iphan ie s which

one can t r a c e through t h e poem, P o e t s s e n t i e n t , s p h e r i c a l

u n i v e r s e i s h e l d u l t i m a t e l y i n t h e image of a g r e a t rhy th -

m i c a l l y expanding and c o n t r a c t i n g h e a r t . The r e c o g n i t i o n

t h a t fo l lows upon t h e r e v e l a t i o n # o f t h e v i s i o n of t h e h e a r t

i s i t s e l f grounded i n t h e d o c t r i n e of correspondences . Poe

v e n t u r e s t h e s u p p o s i t i o n o f e t e r n a l renewal o r r e t u r n of

d i v i n e l i f e a t Eureka ' s conc lus ion where he w r i t e s :

Guiding ou r imag ina t ions by t h a t omniprevalent law of l a w s , t h e law of p e r i o d i c i t y , a r e w e n o t , indeed , more than j u s t i f i e d i n e n t e r t a i n i n g a b e l i e f - - l e t us s a y , r a t h e r , i n i ndu lg ing a hope-- t h a t t h e p roces ses we have h e r e ven tured t o contemplate w i l l be renewed f o r e v e r , and f o r e v e r ; 2 novel Universe swelling i n t s e x i s t e n c e , and t hen s u b s i d i n g i n t o no th ingness , a t every t h r o b of t h e Hea r t Divine? (H:v.16,311)

Here Poe pauses. H i s r e v e r i e l e a d s him s t r a i g h t t o t h e image

of t h e h e a r t i t s e l f and h e a s k s : "And now--this Hear t

Divine--what i s i t ? I t i s our own." (H:v.l6,311) A t t h i s

moment i n t h e poem t h e r e v e l a t i o n which s c i e n t i f i c i n v e s t i -

g a t i o n has sought o u t and t h e r e t u r n i n g proc lamat ion of t h a t

r e l e v a t i o n o f d i v i n i t y a r e fused-- the word i s momentarily

one w i t h t h e t h i n g . Even tua l ly w e s h a l l r e t u r n t o examine

t h e image of t h e u n i v e r s e as a g i g a n t i c h e a r t , an image

u n i t i n g a s it does "above" and "below1'--human and d i v i n e ,

i n t h e Hermetic and primary sense . For h e r e Eureka f a l l s ,

173

i n t o t h e mainstream o f e s o t e r i c , o c c u l t and p r i m i t i v e

t r a d i t i o n . I n John S e n i o r ' s t e r m s :

"Epiphany" i s no mere l i t e r a r y d e v i c e , b u t t h e n a t u r a l r e s u l t of a world view of t h e symbo l i s t movement i n l i t e r a t u r e , and f u r t h e r , t h a t no m a t t e r how misunderstood and misapp l i ed , t h i s is e s s e n t i a l l y t h e world view of a t r a d i t i o n o l d e r t han h i s t o r y - - " e s o t e r i c t r a d i t i o n , " o r t h e " p e r e n n i a l ph i losophy ." 15

Through i t s u s e of t h e c o r r e s p o n d e n t i a l symbol Eureka a l i g n s

i t s e l f w i t h t h a t p r i m i t i v e o r mythic world view i n which a l l

a u t h e n t i c cosmogonic p o e t r y i s grounded. Though w e must

keep i n mind t h a t t h e image of t h e u n i v e r s e a s a h e a r t i s

n o t o r i g i n a l w i t h Poe, excep t i n h i s use of it. Emerson's

s t a t emen t i n "The Over-Soul" reminds u s t h a t t h e image was

" i n t h e a i r , " s o t o speak , i n P o e ' s America:

I t i s t h e doubl ing of t h e h e a r t i t s e l f , nay, t h e i n f i n i t e enlargement of t h e h e a r t w i t h a power o r growth t o a new i n f i n i t y on eve ry s i d e . 16

Bes ides t h e f a c t t h a t t h e s e a r e ve ry d i f f e r e n t s t a t e m e n t s ,

bo th making u s e of t h e image o f t h e h e a r t , t h e p o i n t i s t h a t

o r i g i n a l i t y i s n o t t h e i s s u e h e r e . Again it i s t h e mode of

d i scovery- - the way i n which t h e image r e v e a l s i t s e l f , t h a t

draws Eureka i n t o t h e cosmogonic t r a d i t i o n . Poe i s n o t

simply say ing t h a t t h e u n i v e r s e i s l i k e a p u l s i n g h e e r t ,

b u t as I sugges ted i n Chapter I , t h a t me taphor i ca l ly and

t h u s l i t e r a l l y ( p e r c e p t u a l l y ) t h e world - i s a hea r t - -h i s

( t h e p o e t o r d reamer ' s own) h e a r t . Th i s i s n o t t o sugges t

e i t h e r , t h a t Emerson does n o t u s e t h e image of t h e h e a r t

174

metaphoric~=illy. I t i s simply t h a t i n Eureka, through t h e

image--or a s t h e image p a s s e s through him--the p o e t d i s c o v e r s

a "p lace" a t t h e c e n t r e of h i s own organism t h a t i s c o r r e s - 1

pondingly t h e c e n t r e of t h e world . Only be e n a c t i n g t h e

b i o l o g i c a l l y grounded image of t h e h e a r t does t h e i s o l a t e

p o e t p a r t i c i p a t e i n t h e d i v i n e . H i s h e a r t i s t h e world-

h e a r t . H e i s momentari ly God. But f o r Poe, a s w e s h a l l s e e ,

t h e problem of s u s t a i n i n g the' v i s i o n remains .

I n a s e n s e Poe makes Eureka h i s most s t a r t l i n g and

ambi t ious a t t e m p t t o open t h e c i rcumscr ibed Eden and H e l l

of t h e pre-1840 t a l e s by a s s e r t i n g a dynamic r e l a t i o n between

s e l f and t h e world . Even tua l ly I wish t o s u g g e s t why t h i s

a c t of g i v i n g b i r t h t o a cosmogony i s P o e t s l a s t major a c t

a s an a r t i s t , and why i n a s e n s e it i s a s a c r i f i c i a l , a

sel f -destructix.re a c t i = ~ - - d z s t r u ~ t i - iii tlie serlst: Gnat it

demands t h e o b l i t e r a t i o n of t h e o l d s e l f and t h e o l d p o e t i c

ground. But as a descendent of t h a t most a n c i e n t o f l i t e r a r y

( o r i g i n a l l y o r a l ) gen re s , t h e cosmogonic myth, Eureka i s a

unique exp res s ion of i t s t ime and p l a c e a s w e l l a s t h e

cu lmina t ion of a p o e t i c . Poe d i e d t h e year fo l lowing i t s

complet ion, s o it i s u l t i m a t e l y t h e cu lmina t ion of t h e whole

of h i s work. The on ly major poem t h a t fo l lows it i s "The

B e l l s , " where Poe t u r n s a g a i n t o t h e pure mus ica l and

rhy thmica l exp res s ion where meaning a s w e u s u a l l y d e f i n e

it i s caught up and subsumed i n pure sound. l7 "I have no

d e s i r e t o l i v e s i n c e I have done Eureka," s a y s Poe i n a .

175

l e t t e r t o h i s mother-in-law Maria Clemm--" I could accomplish

no th ing more. 1, 18

I t may s e r v e t o s e t Eureka a g a i n s t t h e o l d e s t cosmo-

gon ic poem i n t h e h i s t o r y of Western c i v i l i z a t i o n : H e s i o d l s

"Theogony." By us ing "The Theogony" as a k ind of model,

t h e way i n which Eureka i s a s e n s i t i v e response t o and

e x p r e s s i o n of t h e world of P o e ' s expe r i ence becomes c l e a r .

Poe must con•’ r o n t , n o t ' t h e 'monsters of t h e Hes iod ic l andscape ,

b u t t h e mechan i s t i c m o n s t r o s i t i e s of n i n e t e e n t h cen tu ry

America. L ike Hes iod ' s Zeus i n "The Theogony" Poe must

c h a i n , y e t d a r e n o t exc lude t h e monstrous from h i s o r d e r .

And P o e ' s monsters a r e n o t on ly t h e monsters of a r i s i n g

technology, b u t monsters of a disembodied r a t i o n a l i t y loosed

upon a world from which it c o n s i d e r s i t s e l f s e p a r a t e . P o e ' s

- 7 7 - m A L L U J C ;

is + L . . 1 1 I I I l l - - W L L Q L Lit: V QI ;VU3AY LClIIb Ill LUI LlUll I Ik!eIlilg I 'I

and " h i s f a i r y g u i d e Imag ina t ion , " (H:v.16,224) t h u s d e f i n e d

i n Romantic t e r m s .

I n Eureka t h e p o r t a l s of t h e "machine" c a l l e d t h e

u n i v e r s e open t o r e v e a l t h e consc iousness of t h e p o e t ,

a c t i v e l y engaged i n t h e bus ines s of world-making; of o r d e r i n g

expe r i ence , bo th consc ious and unconscious , i n t o a g r e a t e r

whole. A s Will iams s t a t e s i n "The Wedge, I' "The Poem i s a

Machine made of Words. " I 9 1 b e l i e v e Poe would a g r e e w i t h

him. For i n Eureka as t h e "mechanism" of t h e r a t i o n a l mind

i s harnessed t o t h e w i l l of t h e imagina t ion t h a t w i l l w e

recognize i n "L ige i aU- - the imagina t ion comes t o dwe l l i n ,

176

t h e machine, t o i n h a b i t i t , j u s t a s we s e e t h e l i t t l e man

i n h a b i t t h e c h e s s automaton i n "Maelzel ' s Chess P l a y e r . u 2 0

The " i n h a b i t e d " mechanism awakes t o a knowledge of i t s own

s e n t i e n c e , i n t e l l i g e n c e and d i v i n i t y i n ~ u r e k a - - i t s cosmic

l o c a t i o n . The d i scove ry t h a t t h e supposed machine i s no

machine a t a l l l e a d s t o t h e r e v e l a t i o n of a human u n i v e r s e .

D i v i n i t y a c t s thrbugh e x i s t i n g be ings and things-- through

t h e v o i c e of t h e p o e t who i s a b l e t o name t h e world .

Hes iod ' s "Theogony," any a u t h e n t i c cosmogonic myth,

i s c h a r a c t e r i z e d by a concern w i t h "beg innnigs . " Mircea

E l i a d e i n R i t e s and Symbols of 1 n i t i a t i o n 2 ' makes t h i s c l e a r

when he w r i t e s : "It i s imposs ib le t o exagge ra t e t h e importance

of t h i s obses s ion w i t h beg inn ings , which, i n sum, i s t h e

obsess:~on w i t h t h e a b s o l u t e beginning, t h e cosmogony. 2 2 1n

other wnrdc the prirr.ar.7 1 fur ic t icn sf t h e c~smsg~r;ic myth is

t o e n a c t a r e t u r n t o o r i g i n s ; t o t h e v e r y beginnings of

p r i m o r d i a l o r myth ic , a s opposed t o merely h i s t o r i c a l t ime .

Eureka s t a n d s a s a cosmogony i n t h e s ense t h a t i t s f i r s t

concern i$ w i t h t h e " o r i g i n a l " c o n d i t i o n , which Poe,

drawing on the P l a t o n i c t r a d i t i o n of t h e One and t h e Many,

chooses t o c a l l t h e " o r i g i n a l and t h e r e f o r e normal" (H:v.

16,211) c o n d i t i o n of t h e One:

Reac t ion i s t h e r e t u r n from t h e c o n d i t i o n of a s it i s and ought n o t t o be i n t o t h e c o n d i t i o n of a s it w a s , o r i g i : , - i l l y , and t h e r e f o r e ought t o be .

(H:v.l6,234)

And he con t inues : " . . . t h e g r e a t e s t of a l l conce ivab le

r e a c t i o n s must be t h a t produced by t h e tendency t o r e t u r n

i n t o t h e a b s o l u t e l y o r i g i n a l - - i n t o t h e supremely p r i m i t i v e . "

(H:v.16,234) I n t h e beginning of p r imord ia l t i m e , Poe

t e l l s u s , God c r e a t e d by an a c t of s h e e r w i l l o u t of h imself

t h e " u n p a r t i c l e d m a t t e r , " m a t t e r undivided i n t o p a r t s ;

p a r t i c l e s i n t h e i r "utmost conce ivab le s t a t e of . . . S i m p l i c i t y . " ( ~ : ~ . 1 6 , 2 0 6 ) The assumption of a b s o l u t e

s i m p l i c i t y , t h e n , becomes Eureka ' s s o l e assumption, t h a t i s ,

t h e o r i g i n a l i n t u i t i o n of t h e poem which t o p e r c e i v e r e q u i r e s

an a c t of " r a t i o n a l " f a i t h :

This w i l l be found t h e s o l e a b s o l u t e assumption of my Discourse . I use t h e word "assumption" i n i t s o r d i n a r y s e n s e ; y e t I ma in t a in t h a t even t h i s my pr imary assumption, i s v e r y , ve ry f a r i ndeed , from be ing r e a l l y a m e r e assumption. Nothing was eve r more ce r t a in ly - -no human conc lus ion was e v e r , i n f a c t , more regularly--more r i g o r o u s l y deduced: --but a l a s ! t h e p roces ses l i e o u t of t h e h u m a n a n a l y s i s - - a t a l l e v e n t s a r e beyond t h e u t t e r a n c e of t h e human tongue. ( ~ : v . 1 6 , 2 0 6 )

The b i r t h o f t h i s s imple u n p a r t i c l e d m a t t e r o u t of

fo rmlessness o r t h e Void i s t h e i n i t i a l o r primary a c t of

c r e a t i o n . I t i s t h e unexpla inab le mystery t h a t l i e s a t

t h e h e a r t of P o e t s cosmos. A l l o t h e r a c t s o r p r i n c i p l e s

a r e secondary a c t s of c r e a t i o n s e t o f f by t h e f i r s t . Hesiod,

t o o , d i s t i n g u i s h e s between an i n i t i a l and secondary a c t s

of c r e a t i o n . There , t o o , t h e n a r r a t i v e bo th beg ins and

ends i n Chaos from which a l l o t h e r e n e r g i e s and forms

emerge and t o which they r e t u r n . I n Eureka t h e Void o r

"p l ace" o u t of which m a t t e r ( a t t r a c t i o n and r e p u l s i o n ) a r e

born is t h e a b s o l u t e c e n t r e of non-being on which t h e world

of be ing , of e s sence , r e s t s . I n bo th Eureka and i n t h e

"Theogony" t h i s c o n d i t i o n of non-being, fo rmles snes s , un-

d i f f e r e n t i a t i o n o r Chaos i s t h e ground o r o r i g i n a l c o n d i t i o n .

The two c o n d i t i o n s of t h e one and t h e many, o r what Poe

p r e f e r s t o c a l l homogeneity and h e t e r o g e n e i t y , a r e a c t i v e

c o n t r a r i e s i n Eureka--they d e f i n e and have t h e i r l i f e i n one

a n o t h e r . I n i t s p a r t i c l e d o r d iv ided c o n d i t i o n matter

(consciousness) . s eeks " i n a word, t h e utmost p o s s i b l e

m u l t i p l i c i t y of r e l a t i o n o u t of t h e empha t i ca l ly i r r e l a t i v e

One." IH:v.16,208) I n t h e "Theogony" a l l s a c r e d forms

and d i v i n e e n e r g i e s (gods , goddesses , mons te rs , e t c . ) , ar ise

o u t of Chaos, C1'chasm"), t h a t realm i n which a l l m a n i f e s t

creaticn is grcunded. T h e r ~ , too, f o r m s i i l y has meaning

i n terms of t h e fo rmles s ; l i f e i n terms of d e a t h , darkness

i n terms of l i g h t , image i n terms of t h e image le s s , t h e

v i s i b l e i n t , m s of t h e i n v i s i b l e . This l i s t of c o n t r a r i e s

could be extended i n d e f i n i t e l y . Thus from whatever p o l e

one s t ands ; t h e d i a l e c t i c i n t h e cosmogonic o r d e r i s

dynamic, bo th i n Eureka and i n t h e "Theogony." A s Poe

s tates:

Right i s p o s i t i v e ; wrong i s nega t ive - - i s merely t h e nega t ion of r i g h t ; a s c o l d i s t h e nega t ion of heat- -darkness of l i g h t . That a t h i n g may be wrong, it i s neces sa ry t h a t t h e r e by some o t h e r t h i n g i n r e l a t i o n t o which it i s wrong.

(H:v.16,233)

17 9

Here "wrong" and " r i g h t n l o s e t h e i r moral i m p l i c a t i o n s . pee

i s simply i d e n t i f y i n g wrongfulness w i t h h e t e r o g e n e i t y o r

t h e realm of r e l a t e d n e s s . The c o n d i t i o n of u n i t y i s t h e

r i g h t f u l c o n d i t i o n beca&e it i s t h e o r i g i n a l condi t ion--

t h e c o n d i t i o n of i r r e l a t i o n . W e w i l l a g a i n t a k e up t h e

problem of d i a l e c t i c s i n Eureka a s a cosmic myth when set

a g a i n s t t h e "Theogony." For now it i s s u f f i c i e n t t o

r ecogn ize t h e way i n which Eureka a l l i g n s i t s e l f w i t h a

p r i m i t i v e and o c c u l t world view.

Eureka ' s i n i t i a l p r o p o s i t i o n t e l l s u s immediately t h a t

w e a r e d e a l i n g w i t h a cosmogonic myth: " In t h e O r i c i n a l

Uni ty of t h e F i r s t Thing, L i e s t h e Secondary Cause of a l l

Things , w i t h t h e G e r m of t h e i r I n e v i t a b l e A n n i h i l a t i o n . "

(H:v.16,185-6) I n t h e o p e n i n g p r o p o s i t i o n w e a r e t o l d t h a t

o r i g i n s , through t h e c r e a t i o n of t h e world a s w e know it

p r e s e n t l y , and f i n a l l y toward t h e "Ann ih i l a t i on" which i s

always " i n e v i t a b l e " i n t h e cosmogonic myth because it d e a l s ' -

w i t h t h e beginning and t h e end. The myth ica l p a s t and

p r e s e n t c o n t a i n the, seed o r "Germ" of t h e myth ica l f u t u r e .

Thus i n Eureka, t h e p o e t who i s a b l e t o t e l l of p a s t ,

p r e s e n t and f u t u r e w i t h one f o o t i n t h e world of t ime ,

assumes t h e r o l e of "Vates" o r p rophe t . For i n my th i ca l

t ime and space where a c t i o n i s symbol ic , t h e r e i s no r e a l

s e p a r a t i o n of p a s t , p r e s e n t a n d . f u t u r e i n any h i s t o r i c a l

s e n s e . A l l a c t i o n s occur i n t h e p r e s e n t . "Annih i la t ion" .

18 0

i s i n Eureka a k ind of i n i t i a t o r y dea th- - the d e a t h of t h e

o l d , d iv ided s e l f . I t i s a l s o t h e d e a t h of a l i m i t e d mode

of pe rcep t ion and a b i r t h i n t o a new way of p e r c e i v i n g t h e

world . W e s h a l l s e e how t h i s i s s o by examining c e r t a i n of

Eureka ' s concluding passages where it i s a s i f t h e pu re

l y r i c v o i c e i s t h e b a r e energy i t s e l f t h a t cha rges t h e

e n t i r e u n i v e r s e w i t h l i f e . There it i s a s i f t h e s e l f ha s

found a c e n t r e i n t h e l o c a l from which t o speak , and ,

b r i e f l y , a s i n g l e overcharged v o i c e f i l l s immensity.

I n Eureka t h e i l l u m i n a t i o n s o r e r u p t i o n s o f epiphany

through t h e d i a l e c t i c a l s t r u c t u r e s i g n i f y t h e presence of

t h e d i v i n e . Poe a t t e m p t s t o r ead t h e Creat ion--beginning

and end--with s c i e n t i f i c vocabula ry . Epiphany occu r s when

he i s f o r c e d by t h e e x p e r i e n t i a l n a t u r e of h i s c o n t e n t , t o

d rop from s t r i c t s c i e n t i f i c vocabulary i n t o analogy and

image. The image of t h e h e a r t b u r s t s f o r t h from t h e ground

i n . t h i s s ense . A t t h e s e moments t h e poem r e t u r n s us t o

p r imord ia l t ime--to t h y b e g i n n i n g s ; t o t h e a tempora l source

from which a l l images and a rche types f low. The o r i g i n a l

a c t of c r e a t i o n , "That of I r r a d i a t i o n from Uni ty , " (H:v.16,

2 3 7 ) i s renewed and made over f r e s h . The secondary a c t s

of c r e a t i o n ( t h e " p r i n c i p l e s " of a t t r a c t i o n , r e p u l s i o n ,

and i r r a d i a t i o n o r d i f f u s i o n ) i n which t h e p o e t p a r t i c i p a t e s

and which he r e d i s c o v e r s , make him i n t o a kind of god. But

a s i n Hesiod' s "Theogony," t h e p o e t does n o t c l a i m t o

c r e a t e , b u t t o r e c o r d and p re se rve t h e f low of e t e r n a l ,

forms. H e h imself becomes t h e l i n k w i t h t h e o u t e r o r d e r

i n Eureka.

Through h i s p a r t i c i p a t i o n i n t h e secondary a c t s of

c r e a t i o n t h e p o e t i n Eureka a r r i v e s a t a s e n s e of h i s own

immor ta l i t y . H e f i n d s it d i f f i c u l t t o imagine a t ime when

he d i d n o t e x i s t . A t t h e same t i m e he p a r t i c i p a t e s i n

t h o s e e n e r g i e s t h a t r e s i d e a t t h e c e n t r e of bo th h i s being

and t h e u n i v e r s e , and t o t h e e x t e n t t h a t h e i s a b l e t o

mediate between p o l e s of t h e d i a l e c t i c - - h e i s i n v u l n e r a b l e

t o anyth ing b u t mythic dea th . I mean t o sugges t mythic

d e a t h i s a t r a n s f o r m a t i o n , a metamorphosis o r change i n form.

H e h imself " b r i n g s ove r " t h e o u t e r images by moving them

through himself and o u t . Thus t h e p o r t i o n of him t h a t

r e s i d e s i n mythic t ime and space a t t h e c e n t r e of t h e

sphe re i s i n a sense divine--i-mmnrtal, Thus it i s ths t in

Eureka, Poe, musing on ch i ldhood , i s a b l e t o s t a t e :

But now comes t h e pe r iod a t which a c o n v e n t i a l World-Reason awakens us from t h e t r u t h of our dream. Doubt, S u r p r i s e and Incomprehens ib i l i t y a r r i v e a t t h e same moment. They say:--"You l i v e and t h e t ime Was when you l i v e d n o t . You have been c r e a t e d . 1 An ~ n t e i l i ~ e n c e e x i s t s g r e a t e r than your own; and it i s on ly through t h i s I n t e l l i g e n c e you l i v e a t a l l . " These t h i n g s w e s t r u g g l e t o comprehend and cannot : - -cannot , because t h e s e t h i n g s , being u n t r u e , are t h u s , of n e c e s s i t y , incomprehensible . (H:v.16,312)

I n Eureka, t h e n , a n n i h i l a t i o n i s a form of c r e a t i o n - - j u s t

as i t i s i n t h e t a l e "L ige i a . " I t i s t h e neces sa ry a c t of

c r e a t i o n . As. E l i a d e p u t s it: "Every r i t u a l r e p e t i t i o n o f

t h e cosmogony i s preceded by a symbolic r e t r o g r e s s i o n t o ,

Chaos. I n o r d e r t o be c r e a t e d anew, t h e o l d world must

f i r s t be annihilated'!L' I n Eureka t h e slow r e t u r n t o uni ty--

t h e g radua l coa l e scence of t h e subs t ance of t h e u n i v e r s e t o

a c e n t r e i n t h e l o c a l i s t h e r i t u a l a n n i h i l a t i o n - - t h e symbolic

r e t u r n t o a c o n d i t i o n of u n d i f f e r e n t i a t i o n . Poe i s c a r e f u l ,

we n o t e , t o d i s t i n g u i s h between a r e t u r n t o a c e n t e r i n t h e

a b s t r a c t and a r e t u r n t o a c e n t e r i n t h e l o c a l . By loos ing

h i s imagina t ion on Newton's law o f g r a v i t a t i o n , which he

f i r s t s t a t e s b a l d l y and s c i e n t i f i c a l l y , he a sks t h e r e a d e r

t o pause w i t h him f o r a moment,

i n contempla t ion o f t h e miraculous--of t h e i n e f f a b l e - - of t h e a l t o g e t h e r unimaginable complexi ty of r e l a t i o n involved i n t h e f a c t t h a t each atom a t t r a c t s every o t h e r atom. (H:v.16,217-18)

From t h i s r e v e r i e s p r i n g s t h e epiphany i n which t h e p o e t ,

through t h e image of t h e f i n g e r t h a t moves t h e speck of

d u s t , (H:v.16,218) r e a l i z e s t h a t t h e u n i v e r s e i s a s e n s i t i v e

network o r web. Here he a c t i v e l y p a r t i c i p a t e s i n t h e t o t a l

i n t e r c o n n e c t e d k s s of l i f e and names t h a t p r i n c i p l e t h e law

of "mutual r e c i p r o c i t y . " We s h a l l r e t u r n t o t h e emergence

o f t h e image i t s e l f . The r e c o g n i t i o n , however, a t t h i s

p o i n t l e a d s him on t o t h e d i scove ry t h a t t h e r e i s no u n i v e r s a l

c e n t r e i n t h e a b s t r a c t , b u t on ly a myriad of c e n t r e s i n

the l o c a l :

Each atom, forming one of a g e n e r a l l y uniform g lobe of atoms, f i n d s more atoms i n t h e d i r e c t i o n of t h e c e n t r e of c o u r s e , t han i n any o t h e r , and i n t h a t d i r e c t i o n , t h e r e f o r e , i s impelled--but i s - n o t t h u s impel led because t h e c e n t r e i s t h e p o i n t of i t s o r i g i n . I t i s n o t t o any p o i n t t h a t

t h e atoms are a l l i e d . It i s n o t any l o c a l i t y , e i t h e r i n t h e c o n c r e t e o r i n t h e a b s t r a c t , t o which I suppose them bound. Nothing l i k e l o c a t i o n was conceived as t h e i r o r i g i n . The i r sou rce l i e s i n t h e p r i n c i p l e , Uni tv . This i s t h e i r l o s t p a r e n t . (H:v.16,220)

I n o t h e r words, t h e r e i s no tendency t o a c e n t r e a s such , b u t

merely , a s Poe writes, " t h e tendency each t o each . " ( ~ : v . 1 6 ,

220) H e r e Poe r e a c h e s behind s c i e n c e ' s l a w t o g e t a t

p r i n c i p l e : Uni ty i s t h e o r i g i n a l source of "Universa l

Phaenomena." (H:v.16,221) L ike C o l e r i d g e ' s a n t e c e d e n t

p r i n c i p l e s o r "Laws, " Unity i s n e i t h e r c o n c r e t e nor a b s t r a c t ,

noumenal o r phenomenal--it l i e s behind t h e s e m a n i f e s t a t i o n s

i n t h e d u a l r ea lm, b u t i s none t h e less r e a l . A s i n t h e

e a r l y "Sonnet--Silenceu Poe i n s i s t s upon t h e i n c o r p o r e a l

' ' o ther . "

It i s through P o e ' s enact!: >lt of what he ca l l s " t h e

s t i l l more awful f u t u r e " of t h e u n i v e r s e (H:v.16,307) t h a t

t h e most powerful images r ise t o t h e s u r f a c e :

The e q u i l i b r i m between t h e c e n t r i p e t a l and \ c e n t r i f u g a l f o c e s of each system, be ing n e c e s s a r i l y des t royed upon a t t a i n m e n t of a c e r t a i n prox imi ty t o t h e nuc l eus of t h e c l u s t e r t o which it be longs , t h e r e must o c c u r , a t once , a c h a o t i c o r seemingly c h a o t i c p r e c i p i t a t i o n , of t h e moons upon t h e p l a n e t s , of t h e p l a n e t s upon t h e suns , and of t h e suns upon t h e n u c l e i ; and t h e g e n e r a l r e s u l t of t h i s p r e c i p i t a t i o n must be t h e g a t h e r i n g of t h e myriad now-exist ing s t a r s of t h e firmament i n t o an a lmos t i n f i n i t e l y less number,of a lmos t i n f i n i t e l y s u p e r i o r s p h e r e s . I n be ing immeasurably fewer , t h e wor lds of t h a t day w i l l be immeasurably g r e a t e r than our own. Then indeed , amid unfathomable a b y s s e s , w i l l be g l a r i n g unimaginable suns . But a l l t h i s w i l l be merely a c l i m a t i c magnif icence foreboding t h e g r e a t End. Of t h i s End t h e new g e n e s i s d e s c r i b e d can be b u t a v e r y p a r t i a l

postponement. While undergoing c o n s o l i d a t i o n , t h e c l u s t e r s themselves , w i t h a speed p r o d i g i o u s l y accumula t ive , have been rush ing towards t h e i r own g e n e r a l centre--and now, w i th a thousandfo ld e l e c t r i c v e l o c i t y , commensurate on ly w i t h t h e i r * m a t e r i a l grandeur and w i t h t h e s p i r i t u a l p a s s i o n of t h e i r a p p e t i t e f o r oneness , t h e majestic remnants o f t h e t r i b e of S t a r s f l a s h , a t l e n g t h , i n t o a comrnqn ernbrace. The i n e v i t a b l e c a t a s t r o p e i s a t hand. (~ :v .16 ,307-8 )

The c a t a s t r o p h e i s bo th amazingly b e a u t i f u l and amazingly

t e r r i b l e . Here P o e t s v o i c e aE.sumes t h e r o l e of "Vates" o r

p rophe t . And it i s through t h i s enactment of " the End,"

t h e " f i n a l epoch" t h a t t h e images of t h e poem become a c t i v e .

Fea r i s t ransformed i n t o awe. Awareness of immor ta l i t y

and permanence a r r i v e s w i t h t h e v i s i o n of m o r t a l i t y and

impermanence--one rush ing i n upon t h e o t h e r a s t h e o p p o s i t e s

s t r i v e t o g e t h e r i n t h a t f i n a l embrace. The s p i r i t u a l and

double i n upon one a n o t h e r . H e r e it i s as i f a l l o p p o s i t e s

indeed become a c t i v e i n t h e ve ry p roces s of t h e i r d e s t r u c t i o n

o r d e c o m p o s i t i o Z Thus it i s t h a t i n h i s d i s c u s s i o n of

a r c h a i c o r p r i m i t i v e thought , E l i a d e s t r e s s e s t h e neces sa ry

i n t e g r a t i o n of c r e a t i v e and d e s t r u c t i v e f o r c e s i n t h e

cosmogonic myth as they p l ay themselves o u t :

For a r c h a i c thought , no th ing b e t t e r exp res se s t h e i d e a of a n end , of t h e f i n a l complet ion of any th ing , t han d e a t h , j u s t as no th ing b e t t e r e x p r e s s e s t h e ' i d e a of c r e a t i o n , of making, b u i l d i n g , c o n s t r u c t i n g , t han t h e cosmogony. The cosmogonic myth s e r v e s a s a paradigm, t h e exemplary model, f o r every kind of making. . . .

S i n c e i n t h e eyes of t h e p r i m i t i v e s t h e cosmo- gony p r i m a r i l y r e p r e s e n t s t h e m a n i f e s t a t i o n of t h e c r e a t i v e power of t h e gods , and t h e r e f o r e a p rod ig ious i r r u p t i o n of t h e s a c r e d , i t i s p e r i o d i c a l l y r e i t e r a t e d i n o r d e r t o r e g e n e r a t e . t h e world and human s o c i e t y . For symbolic r e p e t - i t i o n of t h e - c r e a t i o n imp l i e s a r e a c t u a l i z a t i o n of t h e p r i m o r d i a l e v e n t , hence t h e p re sence of t h e Gods and t h e i r c r e a t i v e e n e r g i e s . The r e t u r n t o beg inn ings f i n d s exp res s ion i n a r e a c t i v a t i o n of t h e s a c r e d f o r c e s t h a t had then been mani fes ted f o r t h e f i r s t t i m e . 2 4

I n Eureka t h e re-enactment of d e s t r u c t i o n i s a l s o t h e re-

enactment of c r e a t i o n . The above passage from Eureka can be

seen a s an e r u p t i o n o f t h e s a c r e d and d i v i n e e n e r g i e s through

which w e s e n s e t h e presence of what Poe c a l l s God. Thus

o u r s ense of t h e meaning of " t h e d e s c e n t " is en r i ched i n

Eureka. Here t h e d e s c e n t i s back t o o r i g i n s , th rough

d e s t r u c t i o n , t o r e - c r e a t i o n . For through t h e a p o c a l y p t i c

of t h e i d e n t i t y of h i s h e a r t w i t h t h e H e a r t Divine. Poe

con t inues : ,

But are we he r& t o pause? Not so . On t h e Un ive r sa l agglomerat ion and d i s s o l u t i o n , we can r e a d i l y conce ive t h a t a new and perhaps t o t a l l y d i f f e r e n t s e r i e s of c o n d i t i o n s may ensue--another c r e a t i o n and i r r a d i a t i o n , r e t u r n i n g i n t o i t s e l f - - a n o t h e r a c t i o n and r e a c t i o n o f t h e Div ine W i l l . (H:v.16,311)

For t h e i s o l a t e p o e t who must t a k e t h e burden of t h e

r i t u a l enactment f o r h i s t i m e and p l a c e ( t h e neces sa ry

p e r i o d i c r e g e n e r a t i o n of t h e p r i m o r d i a l even t1 upon himself - -

t h e metamorphosis can on ly be " p a i n f u l . "25 And Poe r e f e r s

t o d e a t h r e p e a t e d l y a s " t h e p a i n f u l metamorphosis." ( s e e

186

"Mesmeric evel la ti on" ) I n Eureka t h e s i n g l e i n d i v i d u a l

is fo rced t o t a k e on t h e r e s p o n s i b i l i t y o f what was and

should be a communal a c t , a r i t u a l i n which t h e ' e n t i r e

community p a r t i c i p a t e s . Therefore when t h e i n d i v i d u a l poe t

t a k e s it upon himself t o r e a c t i v a t e t h o s e s ac red f o r c e s

and e n e r g i e s t h a t a r e bo th c r e a t i v e and d e s t r u c t i v e , he

r u n s t h e r i s k t h a t t h o s e e n e r g i e s might overwhelm him.

H e r u n s t h e r i s k t h a t t h e "daimon" o r media tor between t h e

human and t h e d i v i n e becomes t h e "demon." Because Poe must

b reak th rough a C a r t e s i a n system where image and i d e a are

n o t sha red i n symbol, it i s as i f t h e o n l y symbol he has

t o o f f e r up i s t h e symbol of h imse l f .

Thus i n Eureka t h e n a r r a t i v e v o i c e seems t o m u l t i p l y

i t s e l f - - a l m o s t it would s e e m i n an a t t e m p t t o se t up a

d i a i v y u e w i t h i t s e i f . The n a r r a t o r i s by t u r n s , f o r i n s t a n c e , ,

Dupin, t h e c o s m i c l d e t e c t i v e un rave l ing t h e s e c r e t of t h e

u n i v e r s e , t h e s c i e n t i s t , t h e as t ronomer , t h e metaphys ic ian ,

t h e ph i lo sophe r , and t h e c r i t i c . But du r ing t h e moments

of what I wish t o c a l l epiphany i n t h e poem, t h e many v o i c e s

b lend i n t o one , subsumed by t h e v o i c e of t h e p o e t which

t r anscends and c o n t a i n s t h e l o t . A t t h e s e moments i n t h e

poem t h e pure l y r i c vo ice r a i s e s t o a l e v e l of i n t e n s i t y

t h a t i s a lmos t in iposs ible t o s u s t a i n , a s w e l l a s dangerously

c l o s e t o t h a t edge where language f a i l s . I t i s t h e edge

where s i l e n c e i s t h e only answer and t h e poem p l a y s w i t h

Void--the absence of i d e a and image--the absence of meaning

187

i t s e l f . ~ x p e r i e n t i a l l y man f i n d s himself between silence

and speech. C r i t i c s have, of c o u r s e , a t t a c k e d P o e t s near

h y s t e r i a of t one i n t h e s e pas sages , t h e tendency toward

overs ta tement and r e p e t i t i o n . I would a rgue i n h i s defense

t h a t such passages are consc ious r e v e l a t i o n s of t h e

c o n d i t i o n of d i v i n e mania o r daimonic posses s ion i n keeping

w i t h t h e cosmogonic t r a d i t i o n i n which t h e p o e t becomes a

k ind of shaman o r v e s s e l through which t h e "mad" u t t e r a n c e

pours .

However un ique as an exp res s ion of i t s t i m e , I

b e l i e v e it can be shown t h a t Eureka i s a "mythologem" i n

t h e p r i m i t i v e and o r i g i n a l s ense of t h e word. I have found

C . ~ e r g n ~ i ' s e f i n i t i o n of mytholog ica l p o e t r y i n h i s Y "Prolegomena" t o Essays on a Sc i ence of tho lo^^^^ t o be a

a g a i n s t t h e a n c i e n t cosmogonic t r a d i t i o n . I n Eureka Poe i s

" s c i e n t i f i c " i n t h e mytholog ica l s ense of t h e word, a s we

have a l r e a d y no ted . I n t h i s s e n s e , however, he i s one of

t h e f i r s t American p o e t s t o r ecogn ize t h e need t o "demand

back" from s c i e n c e what had been l o s t . I n iXer6nyi1 s

t e r m s :

w e can no longer d i spense w i t h t h e freedom from fa l sehood t h a t t r u e s c i e n c e c o n f e r s upon us . What w e demand b e s i d e s t h i s freedom, o r r a t h e r "back" from s c i e n c e , i s j u s t t h i s f e e l i n g o f immediacy between o u r s e l v e s and s c i e n t i f i c s u b j e c t s . Sc i ence h e r s e l f must throw open t h e road t o mythology t h a t she blacked f i r s t w i t h h e r i n t e r p r e t a t i o n s and then w i t h h e r e x p l a n a t i o n s . . . . 27

188 Thi s "immediacy between o u r s e l v e s and s c i e n t i f i c s u b j e c t s "

i s e x a c t l y what Poe i s a f t e r i n Eureka. ~ e r 6 n ~ i ' s s t a t e -

ment becomes a k ind of de fense of Eureka and of Poe i n t h e 6

f a c e of a c c u s a t i o n s l i k e t h o s e of p a t r i c k Quinn , who

o b j e c t s t o P o e ' s u s e of s c i e n t i f i c m a t e r i a l . But w i t h t h e

weapon of s a t i r e , i r o n y and lampoon i n t h e i n t r o d u c t o r y

e p i s t l e , Poe sets s c i e n c e a g a i n s t sc ience- - the s c i e n c e s of

i n d u c t i v e and deduc t ive reasoning ( " t h e c r e e p i n g and

c rawl ing methods") a g a i n s t t h e s c i e n c e o f t h e Soul "which

loves no th ing s o w e l l as t o s o a r i n t h o s e r e g i o n s of

i l l i m i t a b l e i n t u i t i o n which a r e u t t e r l y i n c o g n i z a n t of

' p a t h . ' ' I (H:v.16,195) \

~ e r g n ~ i compares t h e "mythologem" o r body of m a t e r i a l

of which myth i s comprised t o music. A s he s t a t e s i n h i s

e s say : "Mythology i s t h e movement of t h i s m a t e r i a l : it i s

something s o l i d and y e t mobi le , s u b s t a n t i a l and y e t n o t

s t a t i c , capable of transformation'! 28 The m a t e r i a l which

comprises Eureka, drawn a s it i s from v a r i e d s o u r c e s , bo th

from t h e wor lds of " f a c t " and " f i c t i o n , " i s of t h i s p l a s t i c

n a t u r e . Through what Poe himself might i d e n t i f y w i t h

C o l e r i d g e ' s " e s semplas t i c power" t h e p o e t must a c t u a l i z e

t h e p o t e n t i a l i t y of form even i f it demands t h a t t h e

imagina t ion d i s s o l v e and d i s s i p a t e ( d e s t r o y ) i n o r d e r t o

c r e a t e . ~ e r g n ~ i a rgues t h a t a s i n music, where t h e a r t of

t h e composer and t h e world of sound, h i s m a t e r i a l , a r e

f u s e d , s o i n mythology, t h e shaper and t h e world he shapes

are brought t o g e t h e r and u n i f i e d . p e r c e p t i o n must be h e l d \

a t t h e edge between t h e s e worlds--e lse sound i s merely

"sound" o r n o i s e . Poe, who i s i n n a t e l y s e n s i t i v e $0 t h e

i n t i m a c i e s between music and p o e t r y , molds a rhy thmica l

u n i v e r s e whose rhythms a r e i n harmony w i t h t h e rhythms of

h i s own body--with rhythms we might c a l l b i o l o g i c a l . Man's

u n i v e r s e i s d i s c o v e r a b l e , accord ing t o Poe, through h i s

"Symmetrical i n s t i n c t " :

Now symmetry and c o n s i s t e n c y a r e c o n v e r t i b l e terms: -- thus Poe t ry and Tru th are one. A t h i n g is c o n s i s t e n t i n t h e r a t i o of i t s t r u t h - - t r u e i n t h e r a t i o of i t s c o n s i s t e n c y . A p e r f e c t c o n s i s t e n c y , I r e p e a t , can be no th ing b u t an a b s o l u t e t r u t h . W e may t a k e it f o r g r a n t e d , t hen , t h a t Man cannot long o r widely err, i f he s u f f e r h imself t o be guided by h i s p o e t i c a l , which I have main ta ined t o be h i s t r u t h f u l , i n be ing h i s symmetr ical , i n s t i n c t . ( ~ : v . 1 6 , 3 0 2 )

I n P o e ' s myth, as w e have a l r e a d y sugges t ed , t r u t h , l i k e

Beauty, i s symmetrical--man's s e n s e of p r o p o r t i o n and harmony

i n t h e under ly ing l a w s of c r e a t i o n l e a d him t o t h e d i scove ry

of bo th beau ty and t r u t h which, l i k e t h e body and t h e s o u l ,

"Walk Hand i n Hand." The p r i n c i p l e of analogy becomes a

s c i e n t i f i c law of t h e imagina t ion . Poe a r r i v e s a t a per -

c e p t u a l l y based knowledge of what ~ e r g n ~ i c a l l s t h e

"combined p i c t o r a l , meaningful , and mus ica l a s p e c t s of

mythology i n Eureka, where it i s imposs ib le t o s e p a r a t e

wh i l e d i s t i n g u i s h i n g image, meaning and music one from

ano the r . The image of t h e H e a r t , a g a i n , c o n t a i n s i t s

"meaning" i n t h e image i t s e l f and i n i t s own music--the

music of i t s rhy thmica l c o n t r a c t i o n s . The power of " g r a v ' i t ~ "

190

which i s t h e s t r o n g e s t f o r c e i n t h e u n i v e r s e , and which

draws a l l t h i n g s t o g e t h e r i n t h a t f i n a l " c o l l a p s e , " i s t o

be a s s o c i a t e d w i t h t h e power of Love i t s e l f - - l o v e t h e

origin* and d i v i n e Eros .

~ e r & ~ i a rgues t h a t as images stream o u t o r "unfo ld"

from t h e mythologem, t h a t which streams o u t becomes

o b j e c t i f i e d - - t h a t i s , it "has become an o b j e c t w i t h a v o i c e

of i t s own" which must be a l lowed " t o u t t e r i t s own meaning. 11 3 0

I n o t h e r words, i n a cosmogonic poem t h e forms and d i v i n e

p re sences t h a t a r e "born" o u t of Chaos soon t a k e on a l i f e

of t h e i r own--independent from t h a t of t h e i r sou rce . I n

Eureka image and meaning break f o r t h from t h e ground of

P o e t s "mythologem" t a k i n g on a l i f e of t h e i r own i n t h i s

v e r y way. Poe does n o t speak through t h e image--the image

i s allowed to spedk through him. It "utters its ow11

meaning. " Again t h e image of t h e Hear t may s e r v e as an

example. The image i t s e l f u t t e r s t h e s e c r e t of t h e i d e n t i t y

o f s e l f and world . Explana t ion b reaks down i n i t s f i g u r i n g

f o r t h . The s o l i d ground of P o e t s methodology makes i t s

appearance p o s s i b l e :

Eureka can a l s o be seen a s what ~ e r 6 n ~ i c a l l s an

" a e t i o l o g i c a l " myth. For p a r a d o x i c a l l y , it " i s h e l d t o

e x p l a i n i t s e l f and e v e r y t h i n g e l s e i n t h e u n i v e r s e n o t

because it was invented f o r t h e purpose of e x p l a n a t i o n ,

b u t because it posses ses among o t h e r t h i n g s t h e p r o p e r t y

of be ing exp lana to ry . "31 For t h i s r ea son a l o n e i s Poe ,

a b l e t o t r e a t of a s v a s t a s u b j e c t a s "The P h y s i c a l , Meta-

p h y s i c a l and Mathematical--of t h e M a t e r i a l and S p i r i t u a l

/' Universe--of i t s Essence, I ts O r i g i n , I ts C r e a t i o n , I ts

P r e s e n t Condi t ion and I t s ~ e s t i n y , " (H:v . l6 ,189 w i t h o u t

moving i n t o t h e rea lm of phi losophy o r becoming h o p e l e s s l y

l o s t i n g e n e r a l i t i e s . Eureka i s saved from t h e rea lm of

t h e merely e x p l a n a t o r y by i t s u s e of t h e c o r r e s p o n d e n t i a l

symbol and through t h e e r u p t i o n of l i v i n g images. P o e ' s

c l a i m t h a t i t s Beauty c o n s t i t u t e s E u r e k a ' s t r u t h i s d i r e c t l y

t i e d t o t h e f a c t t h a t Eureka "posses ses t h e p r o p e r t y of

being exp lana to ry" w i thou t "being inven ted f o r t h e purpose

o f e x p l a n a t i o n . " Poe e x p l a i n s LaP lace1s Nebular Cosmology 32

i n a l eng thy d i g r e s s i o n halfway through t h e t e x t , f o r

i n s t a n c e , i n o r d e r t o o f f e r an analogy and a c o n t r a s t i n g

un ive r se . He does n o t simply e x p l a i n L a P l a c e 1 s t h e o r y ,

b u t makes u s e of it t o c o n t r i b u t e t o and r e i n f o r c e h i s own

system. I n t h e c o n t e x t of t h e cosmic poem L a p l a c e ' s system

becomes a k ind of paradigm o r model w i t h i n t h e l a r g e r o r d e r .

W e should a g a i n n o t e t h a t d i g r e s s i o n used i n t h i s way is

a c h a r a c t e r i s t i c of t h e cosmogonic poem--which i s u s u a l l y

l o o s e l y s t r u c t u r e d l i k e t h e "Theogony." I n a s e n s e

d i g r e s s i o n i s perhaps t h e subs t ance of t h e poem. So, i n

s p i t e of Poe ' s unders tanding of A r i s t o t e l i a n "mimesis" i n

t h e e a r l y c r i t i c i s m and h i s P l a t o n i c s t a t e m e n t s as w e l l ,

Eureka a s a cosmogonic poem i s e x p r e s s i v e of a p re -

A r i s t o t e l i a n n o t i o n of a r t .

192 #

A s Kerenyi a r g u e s , " c l a r i t y s t r e a m s o u t of every

mythology--clar i ty a s r e g a r d s what i s , what happens, and

what i s supposed t o happen. " 3 3 A s w e have n o t e d , Eureka

i s cosmogonic i n i t s concern w i t h t h e o r i g i n s , t h e p r e s e n t

c o n d i t i o n and t h e f u t u r e d e s t i n y o f t h e un ive r se . Only

i n t h i s s e n s e does it have a beg inn ing , a middle and an end.

But a s Poe a r g u e s , " I n f a c t , wh i l e w e f i n d it imposs ib le

t o fancy an - end t o space , we have no d i f f i c u l t y i n p i c t u r i n g

t o o u r s e l v e s any one of an i n f i n i t y of beg inn ings . " (H:v .

16 ,205) Thus Poe i s a b l e t o choose a r b i t r a r i l y a s t a r t i n g

point- -here t h e n a t u r e of " t h e Godhead." (H:v.16,205) But

i n Eureka one "may ascend o r descen&," w r i t e s Poe:

Beginning a t o u r own p o i n t of view--at t h e E a r t h on which w e stand--we p a s s t o t h e o t h e r p l a n e t s of our system--thence t o t h e Sun--thence t o ou r system cons ide red co l l ec t ive ly - - and thence , through o t h e r sys tems , i n d e f i n i t e l y outwards; o r , commenc- i n g on high a t some p o i n t a s d e f i n i t e a s w e can make it o r conce ive it, we may come down t o t h e h a b i t a t i o n of Man: (H:v. 16,198)

Poe p r e f e r s t h e d e s c e n t , of c o u r s e , b u t he makes u s e of bo th

methods, g i v i n g u s bo th p o i n t s of view a t once.

L ike E l i a d e , ~ e r g n y i a rgues t h a t myth ' s pr imary

a e t i o l o g i c a l concern i s w i t h t h e "ground" (begrunden) o r

' f i r s t p r i n c i p l e s " of cosmic l i f e . 34 H e d e s c r i b e s t h e s e J C

A r i s t o t e l i a n a p x a I o r beg inn ings a s :

no mere " c a u s e s , " . t h e r e f o r e , b u t r a t h e r primary subs t ances o r primary s tates t h a t never a g e , can never be su rpas sed , and produce eve ry th ing always. . . . They form t h e ground o r founda t ion of t h e wor ld , s i n c e eve ry th ing r e s t s on them. 35

193

I n ~ e r g n ~ i ' s t e r m s mythology i s a " d i r e c t unques t ion ing

r e t u r n t o t h e ' & p X a ; , "I a spontaneous r e d r e s s i o n t o t h e

"ground. " For t h e mythmaker, he s t a t e s , " p r i m o r d i a l i t y

i s t h e same t h i n g as a u t h e n t i c i t y . 11 36

Eureka i s concerned w i t h " o r i g i n s " i n t h i s s e n s e ,

w i t h a s eek ing o u t of t h e f i r s t p r i n c i p l e s of cosmic l i f e .

The p r i n c i p l e under ly ing Newton's law of g r a v i t a t i o n is

t h e d e s i r e o r impulse of a l l m a t t e r and s p i r i t t o r e t u r n t o

a c e n t r e where matter and s p i r i t a r e one--to t h e p r i n c i p l e

Uni ty . A t t r a c t i o n , Repuls ion, and D i f f u s i o n become t h e

t r i n i t y of p r ima l f o r c e s i n P o e t s cosmogony. We must keep

i n mind, however, t h a t t h e s e a r e secondary p r i n c i p l e s - -

t h e f i r s t p r i n c i p l e being t h e o r i g i n a l f o r c e t h a t s e p a r a t e d

t h e u n p a r t i c l e d ( u n q u a l i f i e d ) m a t t e r .

Poe defines .the universe 2 s ;1 P=.scal ian sphere, "a -

Sphere of which t h e c e n t e r i s everywhere, t h e c i rcumf , ; rence

nowhere." ( ~ : v . 1 6 , 2 0 5 ) A f t e r proceeding t o adop t t h e

Godhead o r c e n t r e of t h e sphere as a "beg inn ing ," a contem-

p l a t i o n of t h a t c e n t r e l e a d s him through a series of assoc-

i a t i o n s i n t o t h e s t x t l i n g r e c o g n i t i o n t h a t " i n o r d e r t o

comprehend what he i s , we should have t o be God o u r s e l v e s . "

(H:v. 16,205) Almost immediately t h i s cons ide ra t ion - -o r

r e - c r e a t i o n of o r i g i n s - - l e a d s him t o t h e a c t i v e expe r i ence

of h i s own o r i g i n as an i d e n t i t y w i t h t h e God-centre. I n

~ e r 6 n ~ i ' s terms: "As a developed organism h e (man) e x p e r i -

ences h i s own o r i g i n thanks t o a k ind of i d e n t i t y , a s though

he were a r e v e r b e r a t i o n of it m u l t i p l i e d a thousandfo ld ,

and h i s o r i g i n were t h e f i r s t n o t e s t r u c k . 11'37 And i n

Eureka t h i s inmers ion of t h e s e l f i n t h e S e l f - c e n t r e o r

"ground" where t h e "two a p ~ a ; - - a b s o l u t e and relative--

c o i n c i d e , 1138 i s exper ienced a s j u s t such a r e v e r b e r a t i o n .

" I f I v e n t u r e t o d i s p l a c e , " muses Poe,

by even t h e b i l l i o n t h of an i n c h , t h e microscopic speck of d u s t which l i e s now upon t h e p o i n t of my f i n g e r , what i s t h e c h a r a c t e r of t h a t a c t upon which I have adventured? I have done a deed which shakes t h e Moon i n her p a t h , which c a u s e s t h e Sun t o be no longe r t h e Sun, and which a l t e r s f o r e v e r t h e d e s t i n y of t h e mul t i tud2nous myriads o f stars t h a t r o l l and glow i n t h e m a j e s t i c p resence o f t h e i r C r e a t o r . ( ~ : ~ . 1 6 , 2 1 8 )

A t t h i s moment of epiphany t h e image of t h e speck of d u s t

on t h e f i n g e r ho lds t h e e n t i r e movement of t h e poem a t t h a t

mid-point o r "abyss of t h e n u c l e u s , abou t which and from

n o t move and y e t t h e b r u t e p o t e n t i a l i t y f o r a c t i o n i s over-

whelmingly a c t i v e . The contemplat ion of t h e a c t becomes

a k ind of a c t i t s e l f . The pure p o t e n t i a l i t y o f t h e image

becomes t h a t c e n t r e o r " i d e a l s p o t where o r i g i n a t i o n and

o u r knowledge of t h e o r i g i n s are i d e n t i c a l . "40 Being i s

"grounded" i n an image t h a t i s bo th a c t i v e and pass ive--

t h a t ho lds w i t h i n it p r e s e n t , p a s t and f u t u r e . A t t h i s

mid-point human and d i v i n e e n e r g i e s may be said t o m e e t .

H e r e , t o o , s e l f and world are e n t i r e l y i n t e r connec ted . The

image i s a p e r f e c t r e p r e s e n t a t i o n of P o e ' s p h i l o s o p h i c a l

d o c t r i n e o f "mutual r e c i p r o c i t y . " The s imple d i sp lacement

of a speck of d u s t on a human f i n g e r becomes an a c t of

d i v i n e potency. I n t h e contemplat ion of t h e a c t i d e n t i t y

r e v e r b e r a t e s a " thousandfo ld" from t h e p l a c e of o r i g i n a t i o n - -

t h e p l a c e where t h e f i n g e r m e e t s t h e speck of d u s t by way

o f t h e p a r t i c i p a t i n g mind, j u s t a s w e have seen it reve rbe r -

a t e i n "The Power o f Words." Hence Poe a s k s , "Does n o t

s o e v i d e n t a brotherhood among t h e atoms p o i n t t o a common

parent.age?If ( ~ : v . 1 6 , 2 1 9 ) The common pa ren tage l i e s , of

c o u r s e , i n t h e f i r s t p r i n c i p l e Uni ty which i s on ly pe rce ived

through t h e imagina t ion .

With t h i s image Eureka explodes what Georges P o u l e t

i n The Metamorphoses of t h e C i r c l e c a l l s " t h e Romantic

consc iousness of t h e n o n - i d e n t i t y which d i s t i n g u i s h e s t h e

s e l f - c e n t r e frbm t h e c i r c u m f e r e n t i a l self. 11 4 1 In Eureka

t h e world i s a g a i n seen i n i t s p r i m i t i v e and s e n t i e n t whole-

n e s s , a s a s e n s i t i v e network. The c e n t r e i s aware, bo th

of i t s i s o l a t i o n , and of i t s t o t a l and a s t o n i s h i n g i n t e r -

r e l a t i o n w i t h t h e whole. I n t h e image of t h e f i n g e r t h a t

moves t h e u n i v e r s e , cause and e f f e c t are i n d i s t i n g u i s h a b l e .

T i m e and space a r e suddenly analogous. I n Eureka one might

say t h a t t h e s l e e p e r o r concen t r a t ed s e l f of t h e e a r l i e r

t a l e s d i s c o v e r s h i s a b s o l u t e i d e n t i t y w i t h t h e world .

By descending t o t h e d i v i n e midpoin t , Poe c o n s t r u c t s

o r "founds" an image of t h e u n i v e r s e whose geomet r i ca l

o r mathemat ical ( abso1u te ) ' f o rm i s t h a t of t h e sphe re and

whose o rgan ic e s sence ( r e l a t i v e form) i s he ld i n t h e image

of t h e b e a t i n g h e a r t . The r e c o g n i t i o n i n Eureka of an

i d e n t i t y w i t h t h e d i v i n e moves Poe toward what E d i t h

Cobb c a l l s "a p l a c e i n which t o d i s c o v e r a s e l f . The

"P lace" where " i t and I a r e one, u 4 3 i n Henr i Bergson ' s

t e r m s , i s i n Eureka t h e c e n t r e of a s e n t i e n t , f i n i t e s p h e r e ,

which i s s imul taneous ly t h e c e n t r e of t h e human organism.

I n t h e d e s c e n t t o t h i s c e n t r e where s e l f and world cor respond ,

t h e f o r g o t t e n s e c r e t of t h e d i v i n e o r i g i n s of t h e s e l f i s

r e t u r n e d t o memory.

I n s eek ing o u t " f i r s t p r i n c i p l e s " Poe moves beyond

t h e m u t a b i l i t y ' o f n a t u r a l l a w s t o r e a c h t h e a b s o l u t e o r

immutable "Laws" of which t h e unregenera ted phenomenal world

i s an exp res s ion . More c l e a r l y t han Emerson, Poe makes a

Eureka he w r i t e s :

That Nature and t h e God of Nature a r e d i s t i n c t no t h i n k i n g being can long doubt . By t h e former we imply merely t h e laws of t h e l a t t e r . But w i t h t h e ve ry i d e a of God, omnipotent , omnisc ien t , we e n t e r t a i n , a l s o , t h e i d e a of t h e i n f a l l i b i l i t y of h i s laws. With H i m t h e r e be ing n e i t h e r P a s t nor Future--with H i m a l l be ing Now. . . . H e who, d i v e s t i n g himself of p r e j u d i c e , s h a l l have t h e r a r e courage t o t h i n k a b s o l u t e l y f o r h i m s e l f , cannot f a i l t o a r r i v e , i n t h e end, a t t h e conc lus ion t h a t each l a w of Nature i s dependent a t a l l p o i n t s upon a l l o t h e r laws, and t h a t a l l are b u t consequences of one primary e x e r c i s e of t h e Divine V o l i t i o n . Such i s t h e p r i n c i p l e of t h e Cosmogony which, w i t h a l l neces sa ry d e f e r e n c e , I h e r e ven tu re t o sugges t and t o ma in t a in . (H:v.16,254-5)

197

P o e t s no t ion o? God i s n o t or thodox a s h i s r e j e c t i o n of

Mil ton s u g g e s t s , n e i t h e r i s it D e i s t i c o r P a n t h e i s t i c - -

it i s p r i m i t i v e . For t h e Godhead i s a non-moral f o r c e ,

a pure and o r i g i n a l a c t of wi l l - -"That a c t by which a God,

s e l f - e x i s t i n g , became a l l t h i n g s a t once , through d i n t of

h i s v o l i t i o n , wh i l e a l l t h i n g s were t h u s c o n s t i t u t e d a

p o r t i o n o f God." (H:v.16,225) P o e t s God does n o t c r e a t e

o u t of no th ing , b u t o u t of t h e u n p a r t i c l e d matter, t h a t i s ,

o u t of h imse l f . P o e t s God i s n o t a t r a n s c e n d e n t d i e t y ,

f o r he e x i s t s i n t h e d i f f u s e d ma t t e r and s p i r i t of t h e

u n i v e r s e . Thus P o e t s cosmic map OF what he ca l l s t h e

"Awful P r e s e n t " l o c a t e s d i v i n i t y , as I have sugges t ed , i n

t h e d i f f u s e d thought and m a t t e r of t h e un ive r se - - inca rna t e

i n t h e p o e t h imse l f . P o e t s cosmogony d i f f e r s from t h a t of

Hesiod, f o r Poe i s f o r c e d t o s e e k d i v i n i t y f i r s t through-

an i s o l a t e selfhood--and t h e whole e r a of Romanticism

s t a n d s behind him. A t p r e s e n t , Poe seems t o be sugges t ing

t h a t d i v i n i t y must be sought i n t h e dep ths of t h e s e l f

r a t h e r t han i n t h e n a t u r a l world from which it has f l e d .

Only by descending t o t h e

may t h e o r i g i n a l power be

But t h e d e s c e n t i n

hood f i n a l l y becomes what

very bottom of t h i s s e l fhood

a g a i n made o u t e r .

Eureka through an i s o l a t e s e l f -

~ e r 6 n ~ i c a l l s a " l e a p i n t o t h e

world ." Such a l e a p i n v o l v e s an exposure , making complete ly

v u l n e r a b l e t h e l y r i c a l "I." A s ~ e r i n ~ i s t a t e s :

S p i r i t u a l o r i g i n i s a s o r t of l e a p i n t o t h e world--and woe i s anyth ing t h a t wants t o become a c t u a l when it cor responds t o none of t h e p o s s i b l e a s p e c t s of t h e wor ld , when it can u n i t e w i t h none of them! 4 4

Whatever P o e t s problems w i t h Eureka, it i s a p r e c i s e

mapping o f t h e u n i v e r s e of h i s exper ience . I t is, t h e n ,

n o t on ly a cosmogony, b u t a cosmography. I t embodies

perhaps more than anyth ing else Poe wro te t h a t d r i v e t o t h e

"ground" of h i s expe r i ence of which W i l l i a m C a r l o s

Will iams speaks t h a t sets him a p a r t from h i s con temporar ies .

Nowhere i s h i s concern w i t h method more e x a c t i n g . Nowhere

i s he so i n s i s t e n t on f i n d i n g a c e n t r e i n t h e l o c a l from

which t o apprehend t h e d i v i n e .

NOTES

CHAPTER I

'Edgar A l l an Pee , Poe: Complete Poems, ed . w i t h an i n t r o d u c t i o n and n o t e s by Richard Wilbur (New York: D e l l P u b l i s h i n g , 1959) , p. 1 0 . The importance of Wilbur t o my d i s c u s s i o n has been i n d i c a t e d i n t h e i n t r o d u c t i o n . For a d i s c u s s i o n of Poe ' s consc ious use of symbol s e e a l s o Wi lbu r ' s e s s a y , "The House of Poe" (Libra ry o f Congress Anniversary Lec tu re , May 4 , 1959) .

*pee d e f i n e s S p i r i t as r a r i f i e d matter i n Eureka, b u t a l s o e a r l i e r i n "Mesmeric Reve la t ion" (August, 1844) and i n "Fac t s i n t h e C a s e of M. Valdemar" (December, 1845) . I n "Mesmeric Reve la t ion" he w r i t e s :

" H e (God) i s n o t s p i r i t , f o r he e x i s t s . Nor is he m a t t e r , as you unders tand it. But t h e r e a r e g r a d a t i o n s of m a t t e r of which man knows no th ing ; t h e g r o s s e r impe l l i ng t h e f i n e r , t h e f i n e r pervading t h e g r o s s e r . The atmosphere, f o r example, impels t h e e l e c t r i c p r i n c i p l e , wh i l e t h e e l e c t r i c p r i n c i p l e permeates t h e atmosphere These ijradations of m a t t e r i n c r e a s e i n r a r i t y o r f i n e n e s s , u n t i l w e a r r i v e a t a m a t t e r unpar t ic led- -wi thout p a r t i c l e s - - i n d i v i s i b l e - - o n e ; - and h e r e t h e law of impuls ion and permeation i s modif ied. The u l t i m a t e , o r u n p a r t i c l e d matter , n o t on ly permeates a l l t h i n g s b u t impels a l l things--and t h u s - i s a l l t h i n g s w i t h i n i t s e l f . Th i s m a t t e r i s God. What men a t t e m p t t o embody i n t h e word " thought , " i s t h i s m a t t e r i n motion." (H:v.5,245-6)

I n Eureka God i s d e f i n e d u l t i m a t e l y i n t e r m s o f m a t t e r i n - f i n i t e l y " r a r i f i e d " i n an unsepara ted c o n d i t i o n of a b s o l u t e u n i t y a t t h e ground of a l l o p p o s i t e s .

3 ~ h e e x a c t way i n which Eureka and t h e world view i t i m p l i e s can be seen t o l e a d Poe i n t o open form n a r r a t i v e , w i l l be d i scus sed i n Chapter V I . Here I would on ly sugges t t h a t t h e d i a l e c t i c a l i n t e r p l a y between world [form) and an t i -wor ld (void) i n ~ u r e k a t e n d s t o open t h e n a r r a t i v e a t any p o i n t t o t h e world . By vo id I d o n o t mean chaos , b u t t h e c o n d i t i o n bo th p r i o r t o and subsequent t o t h e coming of t h e world i n t o form o r o r d e r (cosmos) . Void i n P o e ' s s e n s e i s t i e d t o bo th " t h e beg inn ing" and " t h e end" of e x p e r i e n c e , o p p o s i t e s which e n t e r i n t o an a c t i v e i n t e r p l a y or p o l a r i t y . I t p l a y s w i t h i d e a , image, meaning and t h e i r absence .

4 ~ o e ' s i n s i s t e n c e t h a t 'Taste" i s s o l i d l y grounded i n n a t u r e i s t i e d t o t h i s s ense t h a t c r i t i c i s m i t s e l f i s n o t grounded i n mere op in ion . I n "Exordium" (1842) he w r i t e s :

"That t h e p u b l i c a t t e n t i o n , i n America, has of l a t e days , been more than u s u a l l y d i r e c t e d t o t h e ma t t e r of l i t e r a r y cr i t ic ism, i s p l a i n l y appa ren t . Our p e r i o d i c a l s a r e beginning t o acknowledge t h e impor- t a n c e of t h e s c i e n c e ( s h a l l w e s o t e r m i t ? ) , and t o d i s d a i n t h e f l i p p a n t o i n i o n which s o long has been made i t s s u b s t i t u t e . f- H : v . l l , l )

And i n t h a t same e s s a y he con t inues :

"our views of l i t e r a t u r e i n g e n e r a l having expanded, w e beg in t o demand t h e use--to i n q u i r e i n t o t h e o f f i c e s and province of c r i t i c i s m - - t o r e g a r d it more as a n a r t based immovably i n n a t u r e , less a s a mere system of f l u c t u a t i n g and convent iona l dogmas."

(H:v.11,2)

'see t h e t a l e by t h i s name. "The Power of Words" ( June , 1845) , f o r Poe ' s " c r e a t i o n myth." (H:v.6,139) W e s h a l l be t u r n i n g t o it i n Chapter V . I n "Marginal ia" (1846) Poe w r i t e s :

"NOW, s o e n t i r e i s my f a i t h i n t h e power of words, t h a t , a t t i m e s , I have bzlievzd it possible t o embody even t h e evanescence of f a n c i e s such a s I have

-

a t tempted t o d e s c r i b e . " (H:v.16,89)

' ~ i l l i a rn C a r l o s W i l l i a m s . i n h i s essay on Poe i n I n t h e American Gra in , i s t h e f i r s t Go d e f i n e c l e a r l y P o e ' s s t r u g g l e a s a s t r u g g l e w i t h method. P o e ' s concern , writes Wil l iams, "was t o d e t a c h a 'method' from t h e smear of common usage - - i t i s t h e work of n ine - t en ths of h i s c r i t i c i s m . " (Wil l iams, p . 221) W i l l i a m s t u r n s u s back t o t h e c r i t i c i s m where he a rgues t h a t it i s Poe ' s l a b o r t o " c l e a r t h e groundu--to c o n f r o n t America w i t h f r e s h terms by f i r s t f o r c i n g himself " t o l i f t h i s head through a s u c c e s s f u l b a n a l i t y . " (Wil l iams, p . 226) Will iams a rgues t h a t P o e ' s b a t t l e for " o r i g i n a l i t y " was a w a r w i t h t h e c o n c e p t u a l i z i n g f a c u l t i e s which a l l o w man t o a b s t r a c t him- s e l f from d i r e c t experience--and s o w i t h a c r i t i c i s m and an a e s t h e t i c which con ten ted i t s e l f " t o be c a l l e d by somebody e l s e ' s terms." (Wil l iams, p . 226) Will iams c i t e s t h e fo l lowing passage from P o e ' s "Orion" (1844) on t h e impor- t a n c e of method t o c r i t i c i s m :

" I f a man--if an Orphic i s t - -or Seer--or whatever e l s e he may choose t o c a l l h i m s e l f , wh i l e t h e rest of t h e world c a l l s him an a s s - - i f t h i s gentleman have an i d e a which he does n o t unders tand h i m s e l f , t h e b e s t t h i n g he can do i s t o say no th ing abou t i t; . . . b u t i f he have any i d e a which i s a c t u a l l y i n t e l l i g i b l e t o h i m s e l f , and i f he s i n c e r e l y wishes t o r ende r it i n t e l l i g i b l e t o o t h e r s , w e t h e n ho ld it a s i n d i s p u t a b l e t h a t he should employ t h o s e forms of speech which a r e t h e b e s t adapted t o f u r t h e r h i s o b j e c t . He should speak t o t h e peop le ' s i n t h a t p e o p l e ' s o r d i n a r y tongue. H e should a r r ange words such a s a r e h a b i t u a l l y employed f o r t h e p r e l i m i n a r y and i n t r o d u c t o r y i d e a s t o be conveyed--he should a r r ange them i n c o l l o c a t i o n s such a s t h o s e i n which we a r e accustomed t o see t h o s e words a r r anged . " "Meantime w e e a r n e s t l y a s k i f bread-and-but ter be t h e v a s t IDEA i n ques t ion - - i f bread-and-but ter be any p o r t i o n of t h i s v a s t IDEA? For w e have o f t e n observed t h a t when a SEER has t o speak of even s o u s u a l a t h i n g a s b read-and-but te r , he can never be induced t o mention it o u t r i g h t . . . ." (H:v.11,252-3)

See a l s o P o e ' s s t a t e m e n t on t h e importance of c l a r i t y and s i m p l i c i t y of method i n "Rufus Dawes" (October , 1842) :

"The w i l d e s t and most e r r a t i c e f f u s i o n of t h e Muse, n o t u t t e r l y w o r t h l e s s , w i l l be found more o r l e s s indebted t o method f o r whatever of v a l u e it embodies; and we s h a l l d i s c o v e r , conve r se ly , t h a t , i n any a n a l y s i s of e v e n ' t h e w i l d e s t e f f u s i o n , w e l abour w i thou t method on ly t o l abour w i t h o u t end. " (H :v .11,133)

7 ~ i l l i a m s c i t e s t h i s passage and c a l l s a t t e n t i o n t o P o e ' s use of t h e p r o v i n c i a l "we," (Wil l iams, p . 218) which i n d i c a t e s t h a t Poe had a s e n s e of belonging t o a s o c i a l and p o l i t i c a l community where thought and language i s o r should be a sha red a c t i v i t y . I w i l l be d i s c u s s i n g P o e ' s s e n s e of t h e p o l i t i c a l i n Chapter I V .

8~ . H . Lawrence 's e s s a y , "Edgar A l l a n Poe , " i s c i t e d i n E r i c W. C a r l s o n ' s , The Recogni t ion of Edgar A l l a n Poe (Ann Arbor: Univexs i ty of Michigan P r e s s , 1966) , p. 1 1 4 .

' c i t ed i n The Recogni t ion of Edgar A l l a n Poe, p . 111.

losir Maurice Bowra, The Romantic magin nation (London: Oxford U n i v e r s i t y P r e s s , 1961) , pp. 174-196.

' '~owra, p . 180.

' * ~ o e ' s use of i r o n y w i l l be d i s c u s s e d i n Chapter The i r o n i c mode of t h e i n t r o d u c t o r y e p i s t l e t o ~ u r e k a , where Poe t a k e s up t h e theme of t h e "pe rve r s ion of T a s t e , " i s a c l e a r example of h i s a t t e m p t t o " c l e a r t h e ground" and frame t h e n a r r a t i o n w i t h a f i c t i o n a l dev ice .

1 3 ~ o r a f u l l e r d i s c u s s i o n of "The Longfellow War, I' - s e e Ar thur Hobson Quinn ' s b i o g r a p h i c a l s t u d y , Edgar A l l a n Poe : A C r i t i c a l Biography ( ~ e w York: Appleton-Century C r o f t s , 1 9 6 3 ) , pp. 153-455. See a l s o t h e Har r i son e d i t i o n - - - of t h e Complete Works on "The Longfellow War" (H:v.12,41- 1 0 6 ) .

14wi lbu r , e d . , p . 2 9 .

1 6 ~ s Poe w r i t e s i n t h e "Preface" t o Eureka: "I p r e s e n t t h e Composition as an A r t P roduc t a lone : l e t us s ay as a Romance; o r , i f I be n o t u rg ing t o l o f t y a c l a i m , a s a Poem.'' (H:v.16,183)

17-rt is within the scope o: this ------ L- L----- pap'SL LU LLQLt:

i n d e t a i l P o e ' s u s e of e a r l i e r myth, excep t where it t u r n s up i n t h e works I am c o n s i d e r i n g . P o e t s u s e of "Psyche" (see Chapter 111) i s one example of t h e way i n which he t u r n s back t o a n e a r l i e r image of t h e "Soul ." See Roy M i k i t s "To Reconc i le t h e People and t h e S tones" (unpubl ished M.A. t h e s i s , Simon F r a s e r U n i v e r s i t y , 1969) f o r an e x c e l l e n t d i s c u s s i o n of t h e importance of t h e Greek world f o r Emerson and W i l l i a m C a r l o s W i l l i a m s . I would a rgue t h a t i t s importance f o r Poe i s s i m i l a r . Miki a rgues t h a t t h e r e t u r n t o e a r l i e r sou rces i s a r e t u r n t o modes o f thought where t h e p roces s of a b s t r a c t i n g thought from image ( r e f l e c - t i v e thought ) had n o t y e t set i n . I n h i s c h a p t e r on Emerson, Miki w r i t e s :

"Emerson t u r n s t o a mode o f thought t h a t c o n t a i n s expe r i ence by being an e x t e n s i o n of it. Once a g a i n t h e Greek world , p r e c i s e l y because it c o n c r e t i z e d i t s r e l a t i o n t o t h e u n i v e r s e through i t s mythology, i s impor tan t t o Emerson. " (Miki, p . 60)

I would a rgue w i t h Miki, t h a t f o r Poe a l s o t h e i n t e r e s t i n e a r l y myth i s an i n t e r e s t i n t h e "pr imary."

1 8 ~ o r a f u l l e r d i s c u s s i o n of P o e ' s sou rces s e e Margaret A l t e r t o n ' s O r i g i n s of P 0 e ' s C r i t i c a l Theory (New York: R u s s e l l & R u s s e l l , 1 9 6 5 ) , and K i l l i s Campbe l l l s , " ~ o e ' s Reading," U n i v e r s i t y of Texas S t u d i e s i n E n g l i s h , V (1925) , 166-96.

1 9 ~ a m p b e l l , p . 192. Campbell a l s o p o i n t s o u t t h a t Poe was f a m i l i a r w i t h t h e Koran, u s ing " S a l e ' s t r a n s l a t i o n and h i s ' P re l imina ry Discourse . "I (Campbell, p . 193) .

'O1n "P inak id i a " (1836) Poe a rgues :

"No man doub t s t h e immor ta l i t y o f t h e soul--yet of a l l t r u t h s t h i s t r u t h o f immor ta l i t y i s t h e most d i f f i c u l t t o prove by any mere series of sy l log i sms . "

(H:v.14,40-41)

I n Eureka Poe w i l l t a k e up h i s no t ion of man's b l i n d adherence t o two "narrow and crooked p a t h s t o t r u t h - - t h e one of c r eep ing and t h e o t h e r of crawling-- to which, i n t h e i r i g n o r a n t p e r v e r s i t y , t hey have da red t o c o n f i n e t h e Soul-- t h e Soul which l o v e s no th ing s o w e l l a s t o s o a r i n t h o s e r e g i o n s u t t e r l y i ncogn izan t of path! " (H:v. 16,195) Again Poe i s a r g u h g t h a t phi losophy and s c i e n c e have ignored a middle ground between knowledge of " f a c t " ( d e t a i l ) and a b s t r a c t i o n (ax iomat ic t r u t h ) - - t h a t i s , d i r e c t expe r i ence .

21 See P o e ' s c r i t i c i s m of t h e Transcendentalists i n "Boston and t h e Bostonians" (1845) and h i s comments on Emerson's handwr i t ing i n "A Chapter on Autography" (18 4 1 ) . Here Poe i s generous w i t h Emerson, commending s e v e r a l of h i s poems, b u t naming him a "myst ic f o r mys t i c i sm ' s sake" and accus ing him of o b s c u r i t y . (H:v. 15,250) A s Ar thu r Quinn p o i n t s o u t i n h i s b iography:

" P s e . . . t r e a t e d h i s contemporary [ ~ m e r s o n ] more j u s t l y t han d i d Emerson, who d i smis sed Poe much l a t e r w i t h t h e p h r a s e , ' t h e jin~le-man!" ( ~ u i n n , p . 328 ) .

2 2 ~ o y M i k i ' s t h e s i s , "To Reconc i le t h e People and t h e S t o n e s , " shows u s how t h e C h r i s t i a n terms a r e brought over i n t o Emerson's t o t a l v i s i o n . The "Over-Soul" o r p r i n c i p l e of u n i t y i n t h e wor ld , Emerson ca l l s the Holy Ghost. M i k i s u b s t a n t i a t e s t h e way in which Emerson n g r ~ ~ n d ~ n h i s n o t i o n of "Soul ." I n M i k i ' s words:

"The most well-known of Emerson's t e r m s , t h e metaphor 'Over-Soul' i s perhaps an u n f o r t u n a t e d e s c r i p t i o n of t h e s o u r c e because it s u g g e s t s , e s p e c i a l l y when taken l i t e r a l l y , a cause t h a t

e x i s t s o u t s i d e of and "over" t h e world.. But it must be unders tood i n t h e c o n t e x t of metamorphosis: a s t h e ' s e c r e t ' cause i n h e r e s i n t h e p h y s i c a l i t y of o b j e c t s , s o t h e Ovel-Soul i n h e r e s i n t h e p h y s i c a l i t y of man's l i f e . " (Miki, p . 52)

23 '~esmer i sm" has come t o mean f o r u s s imply t h e "hypnot ic" o r t r a n c e c o n d i t i o n used i n modern psychology, b u t through t h e phi losophy of Franz Anton Mesmer, Poe i s drawn i n t o a p sycho log ica l o r d e r ve ry d i f f e r e n t from t h e one i n which w e f e e l a t home. "Mesmerism" f l o u r i s h e d a t t h e end of t h e 1 8 t h and t h e beginning of t h e 1 9 t h c e n t u r i e s i n Europe and h i t America between June and J u l y of 1841. The i n t e r e s t i n M e s m e r ' s p r o p o s i t i o n s w a s i n t e n s e i n t h e U.S. and c l i n i c s w e r e set up f i r s t i n Boston f o r t h e s tudy of "Animal Magnetism. " Poe picked up t h e s u b j e c t as a journa l - i s t s e n s i t i v e t o popular i n t e r e s t around 1841 and w e can see him adap t ing M e s m e r ' s n o t i o n s t o h i s own s e n s e of d u a l i t y i n t h e f i c t i o n . See ''A Ta l e of t h e Ragged Mountains, " (Apr i l , 1844) "Mesmeric Reve la t ion" (August, 1844) , and "Fac t s i n t h e Case of M . Valdemar" (December, 1845) f o r t h e development toward Eurek i of Mesmer's i d e a s . Sidney E . Lind -- i n h i s a r t i c a l , "Poe and Mesmerism," (PMLA, L X I I [1947], 1086) pc ' n t s o u t t h a t Poe used Townshend's F a c t s i n Mesmerism f o r much of h i s i n fo rma t ion . I n "A Chapter of Sugges t ions" (1845) Poe s t a t e s t h a t t h e "mesmeric c o n d i t i o n i s t h e extreme of r e v e r i e , " (H:v .14,187) t h u s l i n k i n g t h e mesmeric ----- L L Q I I L C zendiLioii to his own selise oL i l e i y i l t e r l e d sensitivity a t t h e b r i n k of s l e e p o r d e a t h . S e v e r a l good books on Mesmer a r e : Margaret Goldsmi th ' s Franz Anton Mesmer--the H i s to ry of an I d e a o on don: A . Barker , 1934) , Ann J e n s e n ' s and Mary Lou Watkins ' Franz Anton Mesmer--Physician Extra- o r d i h a i r e (New York: H a r r e t t P u b l i c a t i o n s , 1967) and Rober t Da rn ton ' s Mesmerism and t h e Ena of t h e Enlightenment i n France ( (Cambridge: Harvard U n i v e r s i t y Press, 1 9 6 8 ) . W e should n o t e t h a t Mesmer, b o r n . i n 1734, was n o t known f o r h i s t h e o r i e s u n t i l a f t e r h i s d e a t h . Y e t h i s s e n s e of t h e world and , c o r r e s p o n d e n t i a l l y , t h e human body a s s a t u r a t e d i n a k ind of " e l e c t r i c f l u i d " connec t ing a l l t h i n g s , draws him i n t o t h e same t r a d i t i o n s t h a t nour ished Emanuel Swedenborg and Jacob ~ 6 e h m e (see Chapter 11) . Poe ' s own a t t r a c t i o n - r e p u l s i o n p r i n c i p l e i s a kind of "magnet ic ," r e c i p r o c a l a c t i o n and r e a c t i o n by which t h e p a r t s co- inhere i n t h e whole of t h e cosmos. Margaret Goldsmith w r i t e s i n he r book on Mesmer's b a s i c p r o p o s i t i o n s , t h a t f o r Mesmer:

" t h e human body . . . i s s a t u r a t e d w i t h t h i s e l e c t r i c f l u i d , which can be connected up w i t h t h e s i m i l a r f l u i d i n o t h e r l i v i n g m a t t e r , such a s p l a n t s and t r e e s . " (Goldsmith, p . 109)

Thi s u n i v e r s a l l y d i f f u s e d , con t inuous " s u b t l e t f l u i d n per- vading a l l t h i n g s becomes " e l e c t r i c i t y " i n Eureka and i s so named t h e " s p i r i t u a l " p r i n c i p l e o f t h e u n i v e r s e . It i s the " u n p a r t i c l e d m a t t e r " t h a t i s s o p h y s i c a l , w e must c a l l it " s p i r i t n - - f o r l a c k of a b e t t e r vocabula ry . Mesmer's v i s i o n , l i k e P o e ' s , r e s t s on a sense of b i p o l a r i t y - - t h e p o l e s of magnetic energy r e s i d i n g bo th i n t h e body ( s e l f ) and i n t h e world , p o l e s which under t h e mesmer i s t ' s guidance may be "communicated, a l t e r e d , d e s t r o y e d , and r e i n f o r c e d . " (Goldsmith, 109-113)

2 4 ~ i l l i a m s makes t h i s p o i n t b e s t i n I n t h e American Gra in , where he s t a t e s :

''It i s n a t u r a l t h a t t h e French ( f o r e i g n e r s , unacquainted w i t h American c o n d i t i o n s ) should be a t t r a c t e d by t h e SURFACE of h i s gen ius and copy t h e wrong t h i n g , ( b u t t h e e x p r e s s i v e t h i n g ) , t h e s t r a n g e , t h e b i z a r r e ( t h e r e c o i l ) w i thou t s ens ing t h e a c t u a l i t y , of which t h a t i s t h e complement,--and w e g e t f o r Poe a REPUTATION f o r t h e e c c e n t r i c g e n i u s , maimed, t h e c u r i o u s , t h e s i ck - - a t leas t t h e unexp la inab le crop-up, u n r e l a t e d t o h i s ground--which had become h i s i n h e r i t a n c e . " CWilliams, p . 222)

2 5 ~ i l b u r , e d . , p . 32.

7 C

""see Ar thur Hobson Q u i n n t s b i o g r a p h i c a l s tudy f o r in format ion on Poe I s l i f e- -his "chi ld-wif e , " V i r g i n i a Clemm, whom Poe marr ied i n 1 8 3 6 ; h i s arguments w i t h h i s f o s t e r f a t h e r , John A l l a n ; h i s r e p u t a t i o n f o r " d i s s o l u t e " behavior ; h i s d r i n k i n g , h i s use of d r u g s , e t c . Qu inn , by g i v i n g u s t h e f a c t s of h i s l i f e , makes it e v i d e n t t h a t our image of Poe must be balanced by our knowledge of P o e ' s work as an e d i t o r and c r i t i c , h i s a t t e m p t s t o s t a r t h i s own magazine, "The S t y l u s , " and h i s devo t ion t o h i s f ami ly .

2 7 ~ e e e s p e c i a l l y Marie Bonaparte I s i n t r o d u c t i o n and t h e c h a p t e r s on "The N a r r a t i v e o f Ar thur Gordon Pym" and Eureka. (L i f e and Works of Edgar ~ l l a h Poe hondon: Imago P u b l i c a t i o n s , 19491, 594-636). Th i s work was f i r s t pub l i shed i n 1917.

2 8 ~ e e B a u d e l c i r e ' s poem "Correspondences, " i n any e d i t i o n of t h e poems. For t h e French view of Poe it i s h e l p f u l t o look a t P a t r i c k F . Q u i n n r s , The French Face of ~ d ~ a r Poe (Carbondale : sou the rn ~ l l i n o i s U n i v e r s i t y Press, 1957) .

2 9 ~ w i l l be d i s c u s s i n g t h e s i g n i f i c a n c e of Poe ' s d e s c e n t of t h e r a t i o n a l mind i n t o exper ience i n Chapter V .

NOTES

CHAPTER I1

l ~ l o ~ d S t o v a l l , " P o e t s Debt t o Co le r idge , I 1 UTSE, X - (1930) , 70-127. For f u r t h e r d i s c u s s i o n of Poe and Co le r idge s e e Margaret A l t e r t o n t s O r i g i n s of P o e t s C r i t i c a l Theory. S t o v a l l demons t ra tes f a i r l y c o n c l u s i v e l y t h a t Poe was f a m i l i a r w i t h t h e Biographia L i t e r a r i a (1817) as e a r l y o r e a r l i e r t han 1829, t h e d a t e of t h e p u b l i c a t i o n of "A1 Aaraa f . " S tova l l a l s o a rgues t h a t most of t h e i d e a s Poe ho lds i n common w i t h Sch lege l on " u n i t y o f i n t e r e s t " o r " e f f e c t " comes through Co le r idge f i r s t . ( S t o v a l l , p . 81) . I t i s h e l p f u l t o ou r d i s c u s s i o n t o n o t e t h a t as l a t e as 1844 i n a l e t t e r t o James R . Lowel l , Poe s t i l l c o n s i d e r s Co le r idge one of t h e " s o l e " p o e t s :

" I am profoundly e x c i t e d by music , and by some poems-- t h o s e of Tennyson especially--whom, w i t h Keats, S h e l l e y , Co le r idge Coccas iona l ly ) , and a few o t h e r s of l i k e thought and e x p r e s s i o n , I r e g a r d a s t h e s o l e p o e t s . " ( ~ o h n Kard Ostram, e d . , L e t t e r s of ~ d g a r m a n Poe , I [New York: Gordian P r e s s , 19661, pp. 257-258.

2 S t o v a l l , pp. 70-74. S t o v a l i w r i t e s t h a t Poe:

"is much impressed w i t h t h e e r u d i t i o n of t h e Biographia L i t e r a r i a . H i s p r a i s e of i t s a u t h o r , t h e r e f o r e , i s spontaneous and genuine ; h i s o c c a s i o n a l s t r i c t u r e s , on t h e o t h e r hand, which seem mild enough when compared w i t h h i s f l i p p a n t r i d i c u l e of Wordsworth, may be charged t o t h e c o n c e i t of youth. H i s r e f e r e n c e s t o Co le r idge are most f a v o r a b l e around 1836; a f t e r t h a t t hey a r e most ly noncomrnital o r de roga to ry . Corresponding t o t h i s change t h e r e i s p e r c e p t i b l e i n h i s work an i n c r e a s - i n g r e l u c t a n c e t o acknowledge h i s o b l i g a t i o n s t o Co le r idge . H i s p a s s i o n f o r o r i g i n a l i t y made him s u s p i c i o u s of o t h e r s and i n o r d i n a t e l y apprehens ive les t u n w i t t i n g l y he should l a y himself open t o t h e charge of i m i t a t i o n . ( ~ t o v a l l , p . 73)

'owen Barf i e l d , What Coler idge Thought, (Middletown : Wesleyan U n i v e r s i t y P r e s s , 1971) . See p a r t i c u l a r l y Barf i e l d ' s c h a p t e r s , "Thoughts and Thinking ," "Natura ta and Na tu rans , " "TWO Forces o f , One Power," and "Coler idge and t h e cosmology of Sc ience ."

'AS S t o v a l l w r i t e s : t h a t

"Poe had r ead t h e Biographia L i t e r a r i a (1817) b e f o r e t h e " L e t t e r t o B " goes w i thou t s ay ing , f o r t h e c r i t i c a l t h e o r i e s t h e r e mentioned were unques t ionably borrowed from C o l e r i d g e ' s book. These same t h e o r i e s , moreover . . . w e r e conceived a t l e a s t as e a r l y as 1829, t h e d a t e of t h e p u b l i c a t i o n of "A1 Aaraaf . " I t is h igh ly p robab le , t h e r e f o r e , t h a t Poe had r e a d t h e Biographia L i t e r a r i a a t t h a t d a t e o r e a r l i e r . The ve ry f a c t t h a t Co le r idge w a s one of t h e most famous and i n f l u e n t i a l p o e t s and c r i t i c s l i v i n g a t t h e t ime would have l e d t h e young American p o e t and c r i t i c t o r ead h i s l i t e r a r y autobiography a t h i s f i r s t o p p o r t u n i t y . " ( S t o v a l l , p . 81)

6 ~ n t h a t rev iew Poe w r i t e s :

"We f e e l even a deeper i n t e r e s t i n t h i s book than i n t h e l a t r ~ Table-Talk. But w i t h us (we are n o t ashamed t o c o n f e s s i t) t h e most t r i v i a l memorial of Co le r idge i s a t r e a s u r e of i n e s t i m a b l e p r i c e . (H:v.9,51)

' I ~ t o v a l l , p. 125. S t o v a l l i s r e f e r r i n g t o C o l e r i d g e ' s posthumous e s s a y , "Hin t s Toward t h e Formation of a More Comprehensive Theory of L i f e " where ( l i k e Poe i n Eureka) Co le r idge d e f i n e s t h e " e s s e n t i a l dual ism of Nature" i n t e r m s of a t t r a c t i o n and repulsion.

' c i t e d i n "Poe' s Debt t o Co le r idge , " p . 126. -

1 3 ~ h e 'Le t t e r c o l l e c t i o n of P o e t s " L e t t e r t o M r . . II \

t o B " was p r i n t e d as a p r e f a c e t o a e a r l y p o e m s i n 1831, where it w a s t i t l e d , The i d e n t i t v of B i s u n c e r t a i n . accord-

i n g t o Ar thur K b s o n Quinn , who*suggezs t h a t he was 'p robably Poe I s p u b l i s h e r , E l a m B l i s s . Poe t s d i s t i n c t i o n between I d e a l o r Superna l beauty and t h e everyday beauty i n t ime , i s i m p l i c i t i n " L e t t e r t o B ," though n o t expressed i n t h o s e t e r m s u n t i l t h e rake-~aleck" review of 1836.

14poe probably i s responding t o Co le r idge I s s t a t emen t i n t h e ~ i o g r a p h i a L i t e r a r i a , Chapter X V I I I , t h a t " t h e p r o p e r t of pas s ion i s n o t t o create; b u t t o s e t i n i n c r e a s e d a c t i v i t y (David P e r k i n s , e d . , Eng l i sh Romantic Wr i t e r s [New York: Harcour t , Brace and World, 19671, p . 464 ) . U l t i m a t e l y bo th Poe and Co le r idge deny pas s ion t h e c r e a t i v e func t ion- - in t h e s e n s e of b r i n g i n g something o u t of no th ing . A s w e s h a l l s e e , it i s through Co le r idge t h a t Poe d e r i v e s h i s s e n s e of an a b s o l u t e and dynamic r e l a t i o n between deep t h i n k i n g and deep f e e l i n g .

1 5 ~ h e image of t h e volcano s u g g e s t s t h a t what i s "unconscious" i s n o t " repressed"- -bu t s imply n o t b rought over i n t o form. Note P o e ' s u se of "vo lcan ic" imagery i n t h e poem "Ulalume." (1847) :

These were days when my h e a r t was v o l c a n i c A s t h e s c o r i a c r i v e r s t h a t r o l l - - A s t h e l a v a s t h a t r e s t l e s s l y r o l l -

The i r su lphurous c u r r e n t s down Yaanek, I n t h e u l t i m a t e c l i m e s of t h e Pole--

That groan as they r o l l down Mount Yaanek, I n t h e realms of t h e Boreal Po le .

1 6 c i t e d i n Eng l i sh Romantic Writers, p. 454.

i7 The r e l a t i o n of music t o p o e t r y i s c e n t r a l through- o u t t h e c r i t i c i s m . I n h i s review of Longfe l low 's Ba l l ads ( "Bal lads and o t h e r Poems," A p r i l , 1842) Poe w r i t e s :

" I t i s i n Music, perhaps , t h a t t h e s o u l most n e a r l y a t t a i n s t h a t end upon which w e have commented-- t h e c r e a t i o n o f Superna l beauty." (H:v.11,74-5)

And f u r t h e r on he con t inues :

" I t may b e , indeed , t h a t t h i s augus t aim i s h e r e even p a r t i a l l y o r i m p e r f e c t l y a t t a i n e d , i n f a c t . The e lements of t h a t beauty which i s f e l t i n sound, m a y be t h e mutual o r common h e r i t a g e of E a r t h and Heaven. I n t h e s o u l ' s s t r u g g l e a t combinat ion it i s t h u s n o t imposs ib le t h a t a ha rp may s t r i k e n o t e s n o t u n f a m i l i a r t o t h e a n g e l s . . . . Conten t ing o u r s e l v e s , t h e r e f o r e , w i t h t h e f i r m c o n v i c t i o n t h a t music t i n i t s m o d i f i c a t i o n s of rhythm and rhyme) i s of s o v a s t a moment i n Poesy as never t o be neg lec t ed by him who i s t r u l y p o e t i c a l - - i s of s o mighty a f o r c e i n f u r t h e r i n g t h e g r e a t a i m i n t ended t h a t he i s mad who r e j e c t s i t s a s s i s t a n c e - - c o n t e n t w i t h t h i s

i d e a we' s h a l l n o t pause t o main ta in i t s a b s o l u t e e s s e n t i a l i t y , f o r t h e m e r e s a k e of rounding a d e f i n i t i o n . We w i l l b u t add, a t t h i s p o i n t , t h a t t h e h i g h e s t p o s s i b l e development of t h e P o e t i c a l Sent iment i s t o be found i n t h e union of song w i t h music, i n i t s popular s ense . " (H:v.11,75)

Both h e r e and f i n a l l y i n "The P o e t i c P r i n c i p l e " Poe d e f i n e s p o e t r y a s "The Rhythmical C r e a t i o n of Beauty." (H:v.11,275) The above s t a t e m e n t b r i n g s t o mind t h e poem " I s r a f e l " (1831) where t h e p o e t s t r i k e s chords on t h e l y r e , " n o t un fami l i a r t o t h e a n g e l s . " But more impor t an t ly h e r e , such s t a t e m e n t s a l l ow us t o come t o t e r m s w i t h P o e t s use of exaggera ted rhythms, rhyme and t h e b a l l a d form i n t h e p o e t r y . P o e l s a i m is t o j o i n music i n i t s h ighe r P l a t o n i c s e n s e of "p ropor t ion , "harmony" and "order" - - toge ther w i t h music i n t h e "popular" s e n s e o f song o r b a l l a d .

1 8 c i t e d i n P o e l s Debt t o Co le r idge , p. 8 7 .

1 9 ~ h i s i s n o t n e c e s s a r i l y t o say one bypasses t h e s e n s e s , f o r one moves i n t o t h e Superna l rea lm i n Poe th rough them. The p o i n t i s t h a t an i n t u i t i v e l e a p i s r e q u i r e d which no amount o f cause and e f f e c t r ea son ing can impel. I n t h e poem "A1 Aaraaf" (1829) t h e Superna l realm mid-way between heaven and e a r t h i s c r e a t e d and s u s t a i n e d through t h e power of music. There Nesace, t h e s p i r i t of Beauty and r u l e r of t h e s t a r , s i n g s t h e s t a r il-!to be ing and awakens t h e s p i r i t s o f A 1 Aaraaf w i t h song. The "L ige i a" of t h e poem, l i k e t h e L i g e i a of t h e t a l e by t h e same name, i s t h e s p i r i t of u n i v e r s a l "harmony" whose "Harshes t idea /Wi l l t o melody r u n . " (M: 109)

2 0 ~ h e e n t i r e "Drake-Halleck" e s s a y i s much indebted t o C o l e r i d g e ' s Biographia L i t e r a r i a , Chapter X I V . Two months la ter i n June , 1836, Poe w r i t e s i n h i s review of L e t t e r s , Conversa t ions and R e c o l l e c t i o n s of S.T. Cole r idge :

" I t has always been a m a t t e r o f wonder t o u s t h a t t h e Biographia L i t e r a r i a h e r e mentioned i n t h e f o o t - n o t e has never been r e p u b l i s h e d i n America. It i s , pe rhaps , t h e most deep ly i n t e r e s t i n g of t h e p r o s e w r i t i n g s of Co le r idge , and a f f o r d s a c l e a r e r view i n t o h i s mental c o n s t i t u t i o n t h a n any o t h e r of h i s works. Why cannot some of our p u b l i s h e r s under take i t ? They would be r ende r ing an impor t an t s e r v i c e t o t h e cause of p sycho log ica l s c i e n c e i n A m e r i c a , by i n t r o d u c i n g a work of g r e a t scope and power i n i t s e l f , and w e l l c a l c u l a t e d t o do away w i t I ~ t h e g e n e r a l l y r e c e i v e d impress ion h e r e e n t e r t a i n e d of t h e myst ic ism of t h e w r i t e r . (H:v.9,52)

This passage speaks f o r i t s e l f on t h e e x t e n t t o which Poe recognized t h e importance of oler ridge's thought "psycho- logical ly1 ' - -and ought t o do away w i t h some of ou r n o t i o n s of P o e ' s "mysticism." H e c a l l s h e r e f o r an a r t t h a t is grounded i n expe r i ence . Poe reviewed t h i s c o l l e c t i o n of C o l e r i d g e ' s work (which c o n t a i n s some of t h e l e t t e r s ) as w e l l a s "Table Ta lk" i n 1844. ( ~ : ~ . 1 6 , 6 1 )

C i t e d i n E n g l i s h Romantic W r i t e r s , p . 459. The complete s t a t e m e n t i s a s fo l lows :

"Remember t h a t t h e r e i s a d i f f e r e n c e between form a s proceeding, and shape a s super induced;-- the l a t t e r i s e i t h e r t h e d e a t h o r t h e imprisonment of t h e t h i n g ; --the former i s i t s s e l f - w i t n e s s i n g and s e l f e f f e c t e d sphe re of agency."

2 2 ~ i t e d i n E n g l i s h Romantic Writers, p . 464.

2 3 ~ n t h e " L e t t e r t o B " Poe encourages h i s contem- p o r a r i e s n o t t o t r u s t a g e - o l d a u t h o r i t y f o r i t s own sake on t h e b a s i s of t h e m e r e op in ion of o t h e r s , b u t t o look f o r themselves:

"This n e i g h b o r ' s op in ion h a s , i n l i k e manner, been adopted from one above him, and s o , a scend ing ly , t o a few g i f t e d i n d i v i d u a l s who knee l around t h e summit, behold ing , f a c e t o f a c e , t h e master s p i r i t - -L WUG s talids upon t he pinnac i e . '' (H : v. 7 , xxxi j

Likewise i n " F i f t y Sugges t ions" (Text: "Graham's Magazine," May, June , 1845) Poe a l s o complains a g a i n s t t h o s e who a l l o w i n d i r e c t op in ion t o d e f i n e t h e terms o f t h e i r exper ience :

"The world i s i n f e s t e d , j u s t now, by a new sect o f p h i l o s o p h e r s , who have n o t y e t suspec t ed themselves of forming a s e c t , and who, consequent ly , have adopted no name. They a r e t h e ' B e l i e v e r s i n every- t h i n g Old. "' (H:v.14,179)

Even tua l ly t h i s compla in t a g a i n s t a u t h o r i t y w i l l l e a d Poe i n t o t h e b u s i n e s s o f f i n d i n g a consc ious methodology which does n o t s e p a r a t e form from c o n t e n t and man from d i r e c t c o n t a c t w i t h h i s world . Speaking of t h e a r t o f " v e r s i f i - c a t i o n " i n America i n t h e "Ra t iona l e of V e r s e " (March,

1 1843) Poe complains t h a t :

"They [our v e r s i f i e r s ] p re t end t o no a n a l y s i s ; t hey propose no th ing l i k e system; t hey make no a t t e m p t t o even r u l e ; eve ry th ing depends upon ' a u t h o r i t y . ' ' ' ( ~ : v . 1 4 , 2 1 1 )

Again t h e problem o f a u t h o r i t y i s l i nked t o t h e l a c k of a methodology.

2 4 ~ o e ' s i n t e r e s t i n 'phrenology" ( t h e s tudy of a c o r r e s p o n d e n t i a l r e l a t i o n between mental f a c u l t i e s and t h e conformation o f t h e human s k u l l ) a s a s c i e n c e informs much of h i s work and it i s i n t e r e s t i n g t o s e e him a d a p t i n g i t s terminology t o t h e c r i t i c i s m . I t i s an i n t e r e s t Poe s h a r e s w i t h Co le r idge , who a l s o u s e s t h e term " I d e a l n t o d e s c r i b e t h e beauty t h e imagina t ion s e i z e s i n p roces s . See C o l e r i d g e ' s "Poe t ry i s I d e a l " (1811), c i t e d i n E n g l i s h oma antic Writers (p . 501) . See a l s o P o e ' s e s say : "Phrenology, and t h e Moral I n f l u e n c e o f Phrenology" (H:v.8,252), where he c o n s i d e r s it as a s c i ence .

2 5 ~ n t h e n o t e Poe w r i t e s :

"The consc iousness of t h i s t r u t h was possessed by no mor t a l more f u l l y t han by S h e l l e y , a l t hough he has only once e s p e c i a l l y a l l u d e d t o i t . "&:v .8 ,283) Then fo l low l i n e s from S h e l l e y ' s 'Hymn t o I n t e l l e c t u a l Beauty. ' (H:v.8,283)

2 6 ~ a r f i e l d , pp. 1 1 0 - 1 1 1 .

2 7 ~ o e would have r e c i e v e d Hegel f i r s t through Coler idge , E,, a. -- A W L as B a r f i e l d p o i n t s out, Zoie r idge adop t s " ~ e g e i i a n (more p r o p e r l y ~ i c h t e a n ) terminology' ' (Barf i e l d , r . 31) , when he w r i t e s of t h e two p r ima l powers a t t h e ground of l i f e . I n "The F r i e n d , " Co le r idge w r i t e s :

"The p r i n c i p l e may be t h u s expressed . The i d e n t i t y o f t h e s i s and a n t i t h e s i s i s t h e subs t ance of a l l be ing ; t h e i r o p p o s i t i o n t h e c o n d i t i o n of a l l e x i s - t ence o r being- mani fes ted ; and eve ry th ing o r phenomenon i s t h e exponent of a s y n t h e s i s a s long as t h e o p p o s i t e e n e r g i e s a r e r e t a i n e d i n t h a t s y n t h e s i s . " ( c i t e d i n What Co le r idge Thought, p . 3 1 )

S i m i l a r l y in Eureka, Poe, l i k e Co le r idge , and Hegel, w i l l draw on bo th t h e ~ o l o g y of phi losophy and of s c i e n c e t o exp res s h i s s ense of an under ly ing p o l a r i t y t h a t "man i f e s t s " i t s e l f i n t ime by ho ld ing o p p o s i t i o n s a c t i v e l y . Poe quo te s Hegel d i r e c t l y on t h e "va lue" of phi losophy i n "Marg ina l ia" ( June , 1849) :

" ' P h i l o s o p h y , ' s a y s Hegel , ' i s u t t e r l y u s e l e s s and f r u i t l e s s , and , f o r t h i s ve ry r e a s o n , i s t h e sub- l i m e s t of a l l p u r s u i t s , t h e most dese rv ing a t t e n t i o n , and t h e most worthy of our z e a l . I'

Poe mentions Swedenborg s e v e r a l t i m e s i n t h e c r i t i c i s m and he was c e r t a i n l y f a m i l i a r w i t h Swedenborg's Heaven and H e l l , s i n c e it i s one of t h e books i n Ushe r ' s l i b r a r y . ( ~ : v . 3 , 2 8 7 ) A l so one should n o t e t h a t "~wedenborgianism" w a s c u r r e n t l y popula r i n America of t h e 18 40 ' s and Swedenborg s o c i e t i e s had been e s t a b l i s h e d i n a l l t h e major c i t i e s on t h e c o a s t ( p a r t i c u l a r l y i n t h e n o r t h ) . Poe of t e n a s s o c i a t e s t h e "Swedenborgians" w i t h T ranscenden ta l i sn , New England and Emerson. A good b a s i c i n t r o d u c t i o n t o Swedenborg's s ense of cosmic dua l i sm i s h i s Angel ic Wisdom Concerning t h e Divine Love and t h e Divine Wisdom (London : Swedenbory S o c i e t y , 1833) . Poe and Swedenborg a r e p a r t i c u l a r l y a l l i e d i n t h e i r shared s e n s e of a p r ima l ( i n • ’ i n i t e / u n c r e a t e d , f i n i t e / c r e a t e d ) d u a l i t y . Through Swedenborg Poe would have p icked up a sense of "communication by correspondence" between a l l o p p o s i t e s - - f i n i t e and i n f i n i t e ; c r e a t e d and uncrea ted . Also Swedenborg i s c l e a r on t h e n o t i o n t h a t t h e e q u i l i b r i u m of a l l t h i n g s i s from a c t i o n and r e a c t i o n ; i n t h e Divine Love and Wisdom. P o e ' s cosmos moves from a p o i n t of u n i t y t o a s ta te of d i f f u s i o n and back a g a i n , through a s i m i l a r s ense of a p r i n c i p l e of a c t i o n and r e a c t i o n . n-- -.-- ...--L-L~-- cut; w a a pluuauly familiar with the thought of the German ph i lo sophe r Jacob ~ 6 e h m e , though t h e r e i s no d i r e c t r e f e r e n c e t o him i n t h e works. Y e t i t i s l i k e l y t h a t Poe r ece ived Boehme b o t h through Swedenborg and Co le r idge , a s w e l l a s h i s of t e n mentioned s t u d i e s i n t h e "German ph i lo sophe r s . " Through ~ o e h m e would have come an unders tanding o f "emanation;" of world a s t h e o u t e r form o r " f i g u r e " of an i n n e r s p i r i t u a l r e a l m . For Boehme's thought , t o o , i s grounded i n a s e n s e of a c t i v e l y jo ined o p p o s i t e s . Eureka can be seen as an unfo ld ing of world and an t i -wor ld i n t h i s sense . L ike Swedenborg, Boehme moves w i t h i n a con t r a r ium i n c l u d i n g a v a s t range of dynamical ly r e l a t e d oppos i t ions- -appear ing , d i s - appear ing and r eappea r ing . They a r e g iven i n terms o f f i n i t e -

1 i n f i n i t e , good-ev i l , d a r k n e s s - l i g h t , e t c . Through Boehme L comes a l s o t h e n o t i o n w e f i n d i n Eureka of t h e un ive r se as k t h e d i f f u s e d o r s c a t t e r e d s u b s t a n n d y ) of God. God i s 1 f o r B6ehrne and f o r Poe i n Eureka, bo th s p i r i t u a l emanation i and subs t ance . The s p i r i t u a l " e t h e r " i s a t once p h y s i c a l

and s p i r i t u a l . I n Boehme's words i n The Aurora (London: James C la rke , 19691:

" I n t h e Holy Ghost a l o n e , who i s i n God, and a l s o i n t h e whole n a t u r e , o u t of which a l l t h i n g s were made, i n him a l o n e c a n s t thou s e a r c h i n t o t h e whole body o r c o r p o r e i t y of God, which i s n a t u r e . . . ." (Boehrne, p . 53)

See Boehxte ' s The Aurora (London : James C la rke , ..1960) and The S i g n a t u r e of a l l Things ,where we r e c e i v e Boehrne's under s t a n d i n g of n a t u r e a s a b a t t l e g r o u n d o r f i e l d of two f o r c e s i n oppos i t i on :

"Seeing then t h e r e a r e s o many and d i v e r s e forms, t h a t t h e one always produces and a f f o r d s o u t of its p r o p e r t y a w i l l d i f f e r e n t i n one from a n o t h e r , we h e r e i n unders tand t h e c o n t r a r i e t y and combat i n t h e Being o f a l l b e i n g s , how t h a t one does oppose, po ison , and k i l l a n o t h e r , t h a t i s , overcome i t s e s sence , and t h e s p i r i t of t h e e s s e n c e , and i n t r o d u c e it i n t o a n o t h e r form, whence s i c k n e s s and p a i n s a r i se , when one e s sence d e s t r o y s ano the r . . . t h e one h e a l s a n o t h e r , and b r i n g s it t o h e a l t h ; and i f t h i s were n o t , t h e r e were no n a t u r e , b u t an e t e r n a l s t i l l n e s s , and no w i l l ; f o r t h e c o n t r a r y w i l l make t h e mot ion, and t h e o r i g i n a l of t h e s eek ing , t h a t t h e o p p o s i t e sound s e e k s t h e r e r t , and y e t i n t h e seek ing it only e l e v a t e s and more i n k i n d l e s i t s e l f . I' (BGehme, p . 13)

The above s t a t e m e n t i s an a lmos t e x a c t condensa t ion of t h e " p l o t " of t h e t a l e "L ige i a . " Through B6ehme one might a rgue t h a t t h e "combat" (which i s t h e theme of t h e ta le) i s t o s e e L i g e i a h e r s e l f r e v e a l e d through a s t r u g g l e of opposing powers. L i g e i a h e r s e l f i s u l t i m a t e l y r e v e a l e d through t h a t combat-- she i s t h e v i s i b l e m a n i f e s t a t i o n of t h a t which i s e v e r d e s t r o y i n g and renewing i t s e l f . The p o e t must " w i l l " t o see (imagine) t h e d i v i n e i n t h e world by r e v i v i n g L i g e i a from t h e d i s e a s e of d e a t h i t s e l f . H e must s ing lehandedly c a t c h t h e energy she i s a t t h a t p o i n t of i n t e r f u s i o n of oppos i tes - - t h e c r e a t i v e and d e s t r u c t i v e powers she a l o n e ho lds . Again it i s always i n p rox imi ty t o d e a t h t h a t t h e d i v i n e "man i f e s t s " i t s e l f i n t h e world f o r Poe. I n "L ige i a" he w r i t e s :

"Why s h a l l I pause t o r e l a t e how, t ime a f t e r t i m e , u n t i l nea r t h e p e r i o d of t h e g ray dawn, t h i s h ideous drama of r e v i f i c a t i o n was r e p e a t e d ; how each t e r r i f i c r e l a p s e was o n l y i n t o a s t e r n e r and a p p a r e n t l y more i r redeemable d e a t h ; how each agony wore t h e a s p e c t of a s t r u q q l e w i t h some i n v i s i b l e f o e ; and how each s t r u q q l e w a s succeeded by I know n o t what of w i l d change i n t h e p e r s o n a l appearance of t h e corpse?" (H:v. 2 , 2 6 6 - 7 ) [ i t a l i c s mine]

2 8 ~ i t e d i n What C o l e r i d g e Thought, p .

2 9 ~ i t e d i n What Co le r idge Thought from "an e x t r a c t from C o l e r i d g e ' s n o t e s w r i t t e n on h i s copy of t h e D e D iv i s ione Naturae o f John Scotus Er igena ." (p . 25)-

3 0 ~ n h i s c h a p t e r "Natura ta and Naturansl ' B a r f i e l d p o i n t s o u t t h a t Co le r idge d e f i n e s "Natura" as " t h a t which i s about t o be bo rn , t h a t which i s always becoming. (p. 2 2 ) Therefore t h e s e powers may be seen t o cor respond t o l i f e and d e a t h a s i n t e r p e n e t r a t i n g o p p o s i t e s - - " n a t u r a t a U be ing a l i v e , a c t i v e . O r a s B a r f i e l d writes:

"Thus, t h e d i s t i n c t i o n between n a t u r a n a t u r a n s and n a t u r a n a t u r a t a r e v e a l s i t s e l f a s resembling i n q u a l i t y t h a t d i s t i n c t i o n between t h e a c t o f thought and i t s p roduc t . . . n a t u r a n a t u r a t a be ing [and he quo te s Co le r idge ] ' t h e p roduc t ive power suspended and, a s it were, quenched i n t h e produc t . "' [p. 24)

I n a manner s i m i l a r t o t h a t of Co le r idge , Poe c r i t i c i s e s A r i s t o t l e ' s f a i l u r e t o d i s t i n g u i s h c l e a r l y between what Co le r idge c a l l s " n a t u r a na tu rans" and " n a t u r a n a t u r a t a W - - t h e laws which g i v e rise t o phenomena and phenomena them- s e l v e s . Th i s i s c l e a r l y argued i n Eureka a t t h e opening of t h e t r e a t i s e . I n "Marginal ia" (Nov. 1 8 4 4 ) Poe w r i t e s :

"The f a c t i s , t h a t A r i s t o t l e ' s T r e a t i s e on Morals i s n e x t i n succes s ion t o h i s book on P h y s i c s , and t h i s he supposes t h e r a t i o n a l o r d e r of s tudy . H i s E t h i c s , t h e r e f o r e , commence w i t h t h e w o r d - - ~ & ~ ; T; $ v a ~ ~ a whence w e t a k e t h e word Metaphysics." CH:v.16,25)

By "metaphysics" A r i s t o t l e meant s imply, " a f t e r Phys i c s . " B a r f i e l d a rgues t h a t a s Co le r idge saw it, t h e f a i l u r e t o make t h i s d i s t i n c t i o n l e a d him i n t o t h e r e d u c t i v e c l a s s i f i - c a t i o n of r e a l i t y i n t o phenomena ( t h i n g s ) and noumena ( a b s t r a c t i o n s ) - - l eav ing no middle ground. (Barf i e l d , p . 2 4 ) .

3 1 ~ i t e d i n Eng l i sh Romantic Writers, p . 4 4 4 .

3 2 ~ i t e d i n What Co le r idge Thought, p . 31.

3 6 ~ i t e d i n What Co le r idge Thought, pp. 30-31.

3 8 ~ a r f i e l d , pp. 29-30.

3 9 ~ o e r e f e r s t o C o l e r i d g e ' s d e f i n i t i o n of t h e Secondary Imaginat ion i n Chapter X I 1 1 of t h e ~ i o g r a p h i a L i t e r a r i a . I t remains P o e ' s working d e f i n i t i o n of t h e Imagina t ion :

"The imagina t ion then , I cons ide r e i t h e r as pr imary, o r secondary. The primary Imaginat ion I hold t o be t h e l i v i n g Power and Prime Agent of a l l human Pe rcep t ion , and a s a r e p e t i t i o n i n t h e f i n i t e mind of t h e e t e r n a l a c t of c r e a t i o n i n t h e i n f i n i t e I AM. (Ci ted i n Eng l i sh Romantic W r i t e r s , p . 452)

400f t h e t a l e "L ige i a" (1838) . 41~0e l i n k s t h i s remark, which c r y s t a l l i z e s t h e theme

o f t h e t a l e , t o Joseph G l a n v i l l e , one o f t h e "Cambridge P l a t o n i s t s " of t h e 1 6 t h c e n t u r y who explored t h e s u p e r n a t u r a l i n Saducismus Tr iumpha tus ;o r rFu l l and P l a i n Evidence Concern- i n g Witches and A p p a r i t i o n s (London: Be t teswor th and J. B a t t e y , 1966) . David Galloway i n a n o t e t o "L ige i a" i n h i s Penguin e d i t i o n o f t h e S e l e c t e d Wri t ings of ~ d ~ a r Al lan Poe, p o i n t s o u t t h a t G l a n v i l l e ' s " idea l i sm" . . . embraced a n c i e n t Hebrew Cabbalism." (p. 527) Hence P o e ' s i n t e r e s t i n Glan- v i l l e a g a i n l i n k s t h e s t o r y " L i ~ e F a " t o t r a d i t i c n s which view t h e world as an animate whole.

4 2 ~ n Eureka Poe uses t h e term "Divine V o l i t i o n . " Div ine V o l i t i o n has t h e r e a double mode of o p e r a t i o n i n t h e " d i f f u s i v e " and t h e " c o n c e n t r a l i z i n g " powers of a t t r a c t i o n and r e p u l s i o n .

4 3 ~ i t e d i n Eng l i sh Romantic Writers from "The S ta t e sman ' s Manual" (1816) on "Symbol and A l l e g o r y , " p . 503.

NOTES

CHAPTER I11

4 ~ n a n o t e t o t h e poem Mabbott n o t e s t h a t "To One i n Pa rad i se" was p r i n t e d f i r s t i n P o e t s t a l e "The Vis ionary" which became "The Ass igna t ion . " The poem w a s p robably w r i t t e n b e f o r e t h e end of 1833. I would add t h a t it w a s a t t h i s t ime t h a t Poe began t o devote himself a lmos t e n t i r e l y t o s h o r t - s t o r y w r i t i n g .

5 ~ a t e r i n "Y ' i rg ina l ia" (Text: "Southern L i t e r a r y Messenger," J u n e , 1849) Poe w i l l d e f i n e a r t a s " t h e r ep ro - duc t ion o f what t h e Senses p e r c e i v e i n Nature through t h e v e i l of t h e Soul . " (H:v.16,164) Through t h e hypnogogic c o n d i t i o n of t r a n c e o r r e v e r i e one moves back through t h e perceptions of t h e f i v e s e n s e s i n s e p a r a t i o n , i n t o a rea lm o r "ground" of Soul p e r c e p t i o n s which g i v e r i se t o t h e s e n s e s . I n t h e s e t e r m s t o p e r c e i v e th rough t h e " v e i l of t h e Soul" i s n o t t o p e r c e i v e w i t h t h e f i v e s e n s e s a s w e know them ( i n s e p a r a t i o n ) , b u t through a " s i x t h " t o which t h e y g i v e r ise.

"here have been s e v e r a l good s t u d i e s t r a c i n g t h e p a r a l l e l s between P o e t s " N a r r a t i v e of Ar thur Gordon Pym" and M e l v i l l e ' s Moby-Dick. See , f o r i n s t a n c e , John J . McAleer ts "Poe and Goth ic Elements i n Moby-Dick,"ESQ, No. 2 7 , 34) .

I Char l e s Olson, C a l l M e Ishmael (San F ranc i sco : C i t y L i g h t s , 1947) , p. 103.

NOTES

CHAPTER I V

L G.R. Thompson, e d . , Grea t S h o r t Works of Edgar

A l l a n Poe (New York: Harper & Row, l97O) , p . 17 .

he he Cask of Amonti l lado" (Nov. 1946) i s perhaps Poe ' s c l a s s i c t a l e of revenge. "The System of D r . T a r r and P r o f e s s o r eat her" was pub l i shed November, 1845, and "Hop- Frog" i n March, 1849.

4 ~ e e P o e ' s "The Angel of t h e Odd: An Extravagenza, " October , 1844.

5 ~ o e I s s e n s e of t h e unexpected a s it a r i s e s o u t of t h e expected i s s t r u c t u r a l l y a way of s u s t a i n i n g d rama t i c i n t e n s i t y - - a b a s i c p r i n c i p l e of suspense. Thus f e a r a r i s e s n o t j u s t o u t of a series of l i n e a r e v e n t s , b u t appea r s o u t o f an enactment of t h o s e e v e n t s as a s t a t e .

'E'riedrich Nie t z sche , T w i l i g h t of t h e I d o l s and t h e An t i -Chr i s t (New York: Hazel1 Watson & Viney, 1 9 6 8 ) , p . 3 3 . To Nie t z sche , S o c a r t e s r e p r e s e n t s t h e beginning o f d i a l e c t i c a l thought and t h e end i n Greek c u l t u r e of a form of d i s c o u r s e which i s grounded i n and r e f e r s t o expe r i ence .

I Leo Marx, The Machine i n t h e Garden (New York: Oxford U n i v e r s i t y P r e s s , 1 9 6 4 ) , p; 106.

' ~ e o r ~ e s P o u l e t , The Metamorphoses of t h e c i rc le ( ~ a l t i m o r e : Johns Hopkins P r e s s , 1 9 6 6 ) , p . 195.

l 0 ~ h o u g h t h e images of t h e wh i r lpoo l and t h e p i t a r e s i m i l a r i n t h a t t hey bo th r e p r e s e n t d i s o r i e n t a t i o n , t h e abyss and a moving toward t h e edges of p e r c e p t i o n f o r Poe, it i s impor t an t t o n o t e t h e i r d i f f e r e n c e s f o r him a s w e l l .

The f e a r s t hey invoke a r e d i s t i n c t and P o e t s c h o i c e of symbol i s u s u a l l y e x a c t t o s u i t t h e " e f f e c t " he wishes t o envoke i n sthe r e a d e r . The " p i t " i n "The P i t and t h e ~ e n d u l u m " i s h o r r i f y i n g because of i t s a b s o l u t e mot ionless- n e s s and i t s i n v i s i b i l i t y , wh i l e t h e f e a r of t h e w h i r l i s a f e a r of a qu i ck , sudden motion t h a t sucks up a l l i n i t s p a t h .

' ' ~ d i t h Cobb, "Work i n P rog res s : The Ecology of t h e Imaginat ion i n Chi ldhood," Daedulus, 88 (1959) , 357-548.

17w.E3. Yea t s , E x p l o r a t i o n s , "Pages from a d i a r y w r i t t e n i n 1930," (New York: MacMillan, 1 9 6 2 ) , p . 302.

NOTES

CHAPTER V

l 9 ' ~ n t o n y and C leopa t r a " a l s o d e a l s w i t h p a t t e r n s of l i f e and d e a t h , image and i l l u s i o n a s a v a s t rhythm. E i r o s and Charmion, C l e o p a t r a ' s maids , d i e w i t h h e r a t t h e end of t h e p l ay .

2 ~ t i s a l s o impor t an t t o n o t i c e t h a t P o e ' s i n t e r e s t i n language and t h e r o o t s o f words (etymology) i s p a r t of h i s consc ious methodology. Again he i s d e a l i n g w i t h t h e l o s s and recovery of meaning and t h e meaning of meaning--to i n s i s t upon a n u l t i m a t e mystery a t t h e ground o f l i f e .

3 ~ n May, 1829, Poe wrote t o I s a a c Lea, of t h e P u b l i s h e r s Carey, Lea & Carey:

"I send you, f o r your t e n d e r e s t c o n s i d e r a t i o n , a poem-- I t s t i t l e i s "A1 Aaraafl'--from t h e A 1 Aaraaf of t h e Arab ians , a medium between Heaven and H e l l where men s u f f e r no punishment, b u t y e t d o n o t a t t a i n t h a t t r a n q u i l and even happiness which t h e y suppose t o be t h e c h a r a c t e r i s t i c of heavenly enjoyment. . . . I have p laced t h i s "A1 Aaraaf" i n t h e c e l e b r a t e d s t a r d i scovered by Tycho Brahe which appeared and d i sappea red s o suddenly- - I t i s r e p r e s e n t e d a s a messenger s t a r of t h e De i ty , and , a t t h e t ime of i t s d i s c o v e r y by Tycho, a s on an embassy t o our world. One of t h e p e c u l i a r - i t i e s o f A 1 Aaraaf i s t h a t , even a f t e r d e a t h , t h o s e who make c h o i c e of t h e s t a r a s t h e i r r e s i d e n c e do n o t enjoy immor ta l i ty - -bu t , a f t e r a second l i f e of h igh exc i tement , s i n k i n t o f o r g e t f u l n e s s and d e a t h . . . ." (M: 92)

Even a s l a t e a s t h e "d i a logue t a l e s " Poe y e t r e f u s e s t h e " t r a n q u i l and even happiness1' of t h e t r a d i t i o n a l C h r i s t i a n heaven--seeking a s u p e r n a l rea lm where t h e o p p o s i t i o n s are h e l d i n exper ience .

'~0 .e draws upon t h e e i g h t e e n t h c e n t u r y meaning of t h e word " sen t imen t , " t o sugges t an i n t e l l e c t u a l o r emotional " p e r c e p t i o n , " r a t h e r t han "a t ende r and r e f i n e d f e e l i n g . " (OED) I t i s a l s o a term which comes o u t of h i s i n t e r e s t i n Phrenology where t h e term i s "used a s t h e name

f o r t h e c l a s s of ' f a c u l t i e s ' ( i nc lud ing Vene ra t ion , S e l f - esteem, Benevolence, Wonder, e tc . ) which are concerned w i t h emotion, and t o which ' o rgans ' are a s s igned a t t h e t o p of t h e b r a i n . " (OED). Thus t h e t e r m r e l a t e s t o t h e body as w e l l a s t h e mind, drawing t h e mental and p h y s i c a l t o g e t h e r .

5 ~ d i t h ~ b b b ' s s e n s e of " a e s t h e t i c l o g i c " i s a g a i n he lpfu l - -enabl ing us t o g e t a t Poe ' s d i s t i n c t i o n between knowledge of t h e s e n s e s "heightened i n d i s s o l u t i o n , " and knowledge of t h e "deceased unders tanding ." Again Poe borrows C o l e r i d g e ' s language t o d i s t i n g u i s h t h e two k inds of r ea son .

' cons t an t ly w i t h i n Poe ' s symbolism t h e r e c t a n g u l a r shape i s a s s o c i a t e d w i t h f a l l e n v i s i o n and t h e landscape of h e l l - - t h e sphe re o r c i r c u l a r shape, w i t h Superna l beauty. I n Eureka t h e u n i v e r s e i s s p h e r i c a l and symmetrical--so as t o sugges t u n i t y of v i s i o n , and a u n i v e r s e of l i m i t a t i o n ( s p a c i a l ) w i t h i n l i m i t l e s s space.

' I ~ ~ a t h i s m was a c u r r e n t l y popular d o c t r i n e i n t h e n i n e t e e n t h c e n t u r y .

8 ~ n Swedenborg's thought t h e r e i s a marr iage o r a c t i v e correspondence between t h e body and t h e mind, human l o v e and d i v i n e wisdsm. Thc influx of sne i n t o t h e o ther is c a l l e d love . I n t h e image of t h e sun , l ove and wisdom con- j o i n t o produce l i g h t i n a c o n t i n u a l p roces s of a c t i o n and r e a c t i o n . When i n "The Colloquy" Una descends i n t o t h e e a r t h a s l i g h t , s h e symbol izes such an i n f l u x and i l l u m i n a t i o n of t h e da rkness of t h e grave . Poe, however, i s f a r from Swedenborg,in h i s r e f u s a l t o see language as t r a n s p a r e n t . L i g h t can a s e a s i l y r e p r e s e n t t h e demonic i n h i s thought . Thus he remains always i n s i d e t h e expe r i ence of o p p o s i t e s . H i s main d e b t t o Swedenborg comes through h i s no t ion of correspondences . See Swedenborg's Angel ic Wisdom Concerning t h e Divine Love and t h e Divine Wisdom o on don: Swedenborg S o c i e t y , B r i t i s h and Fore ign , 1833) .

NOTES

CHAPTER V I

'patr ick F. Quinn, The French Face of Edqar Poe (Carbondale: Southern I l l i n o i s Univers i ty P r e s s , 1957) , p. 269.

2 ~ a u l ~ a l 6 r ~ ' s "Au s u j e t d l lur ;ka t " f i r s t appeared i n ~ a r i g t 6 , 1923.

3 ~ e e any e d i t i o n of Xeats ' l e t t e r s f o r t h e l e t t e r t o Bailey (~ovember 2 2 , 1817) .

4 ~ h e sense of beauty a s pr imordia l i n Keats--"whether it e x i s t e d be fo re o r notn- -a lso t i e s h i s poet ry t o t h e ogto logica l - - the beginnings o r "ground" of being and becoming which i s fundamental t o cosmogonic thought. Knowledge i s based on d i r e c t pe rcep t ion , s o problems of epistemology-- whether beauty exists i n i t s e l f previous ly o r otherwise is n o t t h e issue--but t h a t we remake it through ourse lves by p a r t i c i p a t i n g i n it. P o e t s argument i n Eureka i s t h a t percept ion is primary,

'3ohn Sen io r , The Way Down and Out (New York: Green- wood P r e s s , 1968) , p. x i i . S e n i o r ' s work on symbolism is u s e f u l t o Poe c r i t i c i s m because of t h e way i n which it moves toward a d e f i n i t i o n of t h e r o o t s of the symbolis t movement--of which Poe can be seen t o be a forerunner i n America.

6 ~ e n i o r , p . x i i -x iv .

7 ~ e e again C o l e r i d g e l s c o n s t a n t use of t h e t e r m running throughout t h e ~ i o g r a p h i a L i t e r a r i a , as we l l a s h i s " P r i n c i p l e s of Genial c r i t i c i s m : Essay Third." I n "On Poesy o r A r t " ( c i t e d i n David Pe rk ins , English Romantic ~ r i t e ; s , p . 495) he writes:

"This u n i t y i n mul te i ty I have elsewhere s t a t e d a e t h e p r i n c i p l e of beauty. It i e equa l ly t h e source of pleasure i n v a r i e t y , and i n fact a higher term includ- ing both."

H e r e Co le r idge pauses and then con t inues t o l i n k t h i s f i r s t p r i n c i p l e between t h e o p p o s i t e s "sameness and v a r i e t y " o r " u n i t y i n m u l t e i t y " t o h i s n o t i o n of form a s a "proceeding."

"Remember t h a t t h e r e i s a d i f f e r e n c e between form as proceeding , and shape as super induced;-- the l a t te r i s e i t h e r t h e d e a t h o r t h e imprisonment of t h e th ing ; - - t h e former i s i t s s e l f - w i t n e s s i n g and s e l f - e f f e c t e d sphe re of agency." CPerkins, p . 495)

'pee d e f i n e s t hough t as analogous t o e l e c t r i c i t y i n t h e p h y s i c a l world i n "Mesmeric Reve la t ion . " I n t h i s t a l e he a l s o moves through h i s own s e n s e of oler ridge's d i s t i n c t i o n between though t s and t h e p r o c e s s of t h ink ing :

"Motion i s t h e a c t i o n of mind--not of t h i n k i n g . The - * p a r t i c l e d m a t t e r , or God, i n qu ie scence , i s ( a s n e a r l y as w e can conce ive it) what men c a l l mind. And t h e power of self-movement ( e q u i v a l e n t i n e f f e c t t o human v o l i t i o n ) i s , i n t h e u n p a r t i c l e d matter, t h e r e s u l t of i t s u n i t y and omniprevalence. . . ." (H:v.5,246)

For Poe, t h a t which i m p e l l s t h e " u n p a r t i c l e d " o r " i n f i n i t e l y r a r i f i e d " matter i s l i n k e d t o t h e s p i r i t u a l p r i n c i p l e i n t h e u n i v e r s e and t o M e s m e r ' s n o t i o n o f e l e c t r i c i t y " pervading a l l t h i n g s a s an e t h e r . I t i s c l o s e l y t i e d t o what i n C o l e r i d g e ' s thought i s " t h e two f o r c e s of One Powerw--through which a l l o p p o s i t e s appear and i n which they a r e i n d i v i d u a l i z e d . Again Owen B a r f i e l d ' s d i s c u s s i o n o f t h i s ground of i n t e r p e n e t r a t i n g o p p o s i t e s i n What Co le r idge Thought, i s e x c e l l e n t . For Co le r idge , t o o , e l e c t r i c i t y i s a good analogy t o t h e p r i n c i p l e of " p o l a r i t y . " A s B a r f i e l d p o i n t s o u t i n t h e c h a p t e r , "Two Forces of One Power," " p o l a r i t y " i s t h e l a w behind e l e c t r i c i t y which " r e i g n s th rough a l l n a t u r e . " T h i s law i s a k ind of u l t i m a t e phenomena, "behind which t h e unders tanding cannot go." A s Poe s t r a i n s toward a s i m i l a r s ense of u l t i m a t e p r i n c i p l e s he w r i t e s i n "Mesmeric Reve la t ion" :

"But t h e c o n s i d e r a t i o n of t h e a tomic c o n s t i t u t i o n being now taken away, t h e n a t u r e of t h e mass i n e v i t a b l y g l i d e s i n t o what w e conce ive s p i r i t , s i n c e it i s imposs ib le t o imagine what i s n o t . When w e f l a t t e r o u r s e l v e s t h a t w e have formed i t s concep t ion , we have merely dece ived our unders tanding by t h e c o n s i d e r a t i o n of i n f i n i t e l y r a r i f i e d m a t t e r . " (H:v.5,247)

'PO, ' s s e n s e of t h e correspondences between macrocosm and microcosm comes p r i m a r i l y through Swedenborg and t ies P o e t s thought t o t h e e s o t e r i c t r a d i t i o n s i n which Swedenborg was immersed.

1 • ‹#a rga re t A l t e r t o n , O r i g i n s of Poe ' s C r i t i c a l Theory (New York: R u s s e l l & R u s s e l l , 1965) , p. 111.

1 3 ~ h e pub l i c about t h e t ime Poe wrote "The Narra t ive of Arthur Gordon Pym" was g r e a t l y i n t e r e s t e d i n an expedi t ion then s e t t i n g o u t t o explore t h e ~ n t a r c t i c r eg ions , f a the red by a J . N . Reynolds, w i t h whom Poe was b r i e f l y acquainted. For a f u l l e r d i scuss ion of p o e t s use of Kepler, Newton, LaPlace, Herschel l , D r . Nichol, Alexander Von Hurnboldt, James Hogg, e t c . , s e e Margaret ~ l t e r t o n ' s Or ig ins of Poe ' s c r i t i c a l - - Theory and Arthur Hobson Quinn ' s Edgar Al lan Poe: A C r i t i c a l Biography.

141n Eureka t h e Keplers, Newtons and LaPlaces become r e p r e s e n t a t i v e s of t h e i d e a l imaqinat ive s c i e n t i s t . Poe ' s a t tempt i s t o push t h e i r t h e o r i e s beyond t h e i r own n a t u r a l l i m i t a t i o n s a s m e r e s c i ence , by in fus ing them wi th imaginat ive -

l i f e .

1 5 ~ e n i o r , p . x iv .

16palph Waldo Emerson, Complete Works of Ralph Waldo Emerson, ed. by Edward Waldo Emerson, I (Boston: Bellknap Press , 1903) , p . 293.

1 7 " ~ h e B e l l s " was f i r s t publ ished i n November, 1849, s h o r t l y a • ’ t e r t h e completion of Eureka. I would suggest t h a t Poe ' s i n t e n t i o n i n t h i s poem i s t o push sound beyond i t s bounds, making t h e e a r aware n o t s o much of b e l l s themselves, b u t a hideous y e t e n t h r a l l i n g clanging and r o a r i n g which b e l l s suggest b u t cannot a lone r e c r e a t e . Here i n a d i f f e r e n t way than i n Eureka, dropping d i s c o u r s e , Poe p lays wi th sound and t h e absence of sound, meaning and t h e absence of meaning i n sound--the breakdown and remaking of meaning through pure " e f f e c t . "

l8I?rom a "Le t t e r t o Maria C l e m , " J u l y 7 , 1849, c i t e d i n John Ward Ostrom's e d i t i o n of The L e t t e r s of Edgar Allan Poe, - Vol. I1 (New York: Gordian Press, 1966) , p. 4 5 2 .

" ~ i l l i a m Car los Williams, Complete Col lec ted Poems, (Norfolk: New Di rec t ions , 1938) , pp. 1-64.

2 0 ~ have d iscussed "Maelzel ' s Chess P layer" i n an e a r l i e r chap te r .

' l ~ i r c e a E l i ade , R i t e s and Symbols of I n i t i a t i o n (New York: Harper & Bros., 1965) , p. x i i i .

2 2 ~ l i a d e , p. x i i i .

2 3 ~ b i d . , - p. x i i i .

2 4 ~ b i d . , - pp. x i i - x i i i .

2 5 ~ e e Poe s d e s c r i p t i o n of t h e "pa in fu l metamorphosisll i n t o e t e r n a l l i f e i n "The Colloquy of Monos and Una." Here Monos enac t s a descent i n t o t h e grave through t h e realm of dea th with Una a s h i s guide.

2 6 ~ . G . Jung and C . Kergnyi, Essays on a Science of Mythology (Princeton: Pr ince ton Unive r s i ty P r e s s , 1969) , pp. 1 - 2 4 .

2 7 ~ u n g and Ker;nyi, pp. 1 -2 .

3 2 ~ o e s t u d i e d t h e C e l e s t i a l Mechanics of P i e r r e Simon LaPlace (1749-1827) q u i t e throughly and adapted h i s "Nebular Cosmology" t o Eureka. I t i s i n t e r e s t i n g t o note t h a t LaPlace1s no t a b l e work i n ma thema t i c s included development of a theory of p r o b a b i l i t i e s . Poe argues t h a t t h e assumptions on which LaPlace grounds h i s t h e o r i e s (mathematical) a r e t h e same a s those on which he (Poe) grounds h i s imaginat ive v i s i o n . Both men conf ine themselves t o a d e f i n i t i o n of l i m i t e d space and t o a sense of g r a v i t y a s t h e "omniprevalent law" governing t h e motion of a d i f f u s e d mat ter i n t h e universe of l i m i t a t i o n . LaPlace 's t h e o r i e s , according t o Poe, a r e imaginat ive " leaps" from which he , l i k e t h e poe t , moves o u t . P o e t s a n a l y s i s of LaPlace 's not ion t h a t t h e sun threw o f f a s e r i e s of nebular r i n g s of mat ter which coalesced i n t o t h e p l a n e t s , te rminates a s fol lows:

" H i s [ ~ a P l a c e ' s ] o r i g i n a l idea seems t o have been a compound of t h e t r u e Epicurean atoms wi th t h e f a l s e nebulae of h i s contemporaries; and thus h i s theory p resen t s us with t h e s ingu la r anomaly of a b s o l u t e t r u t h deduced, a s a mathematical r e s u l t , from a hybird datum of a n c i e n t imagination i n t e r t a n g l e d wi th modern inacumen. LaPlace1s r e a l s t r e n g t h l a y , i n f a c t , i n an almost miraculous mathematical ins t inc t : - -on t h i s he r e l i e d ; and i n no i n s t a n c e d i d it f a i l o r deceive him:--in t h e c a s e of t h e Nebular Cosmogony, it l e d him, b l indfo lded , through a l a b y r i n t h of E r r o r , i n t o one of t h e most luminous and stupendous temples of Truth." (H:v.16,266)

p o e t s argument i s t h a t where men l i k e LaPlace r e l y on t h e i r percept ive powers of i n t e l l i g e n c e ( imaginat ive) , t h e i r s c i e n t i f i c genius does n o t f a i l them. A s Poe has t o l d us i n

' t h e f i r s t sentence of Eureka :

"I s h a l l be so r a s h , moreover, a s t o cha l l enge t h e conclus ions , and t h u s , i n e f f e c t , t o ques t ion t h e s a g a c i t y , of many of t h e g r e a t e s t and most j u s t l y reverenced of men." (H:v.16,185)

P o e t s seeming brashness and audac i ty i n chal lenging t h e g r e a t - est s c i e n t i f i c minds of h i s day, must be a t t r i b u t e d i n p a r t t o h i s argument wi th t h e methods of sc ience and t h e l i m i t a t i o n s it had imposed upon t h e man of genius . For here we f i n d him p r a i s i n g LaPlace1s genius i n s p i t e of those l i m i t a t i o n s . Where LaPlace f e l l down, Poe seems t o be saying , is where he r e l i e d on secondhand information r a t h e r than h i s own two eyes :

"The f a c t i s , t h i s g r e a t man had, very p roper ly , an i n f e r i o r f a i t h i n h i s own merely pe rcep t ive powers. I n r e s p e c t , t h e r e f o r e , t o t h e a c t u a l ex i s t ence of nebulae--an e x i s t e n c e s o conf iden t ly maintained by h i s t e l e s c o p i c contemporaries-- [ t h e e m p i r i c i s t s ] --he depended l e s s upon what he saw than upon what he heard." (H:v.16,266)

3 3 ~ u n g and ~ e r g n ~ i , p. 6 .

l l ~ e o r g e s P o u l e t , The Metamorphoses o f the C i r c l e ( ~ a l t i m o r e : J o h n s ~ o p k i n s P r e s s , 1 9 6 6 1 , p . 92.

43 H e n r i B e r g s o n , Matter a n d M e m o r y be on don: G . A l l e n Co . , lgll), p. 120 .

4 4 J u n g a n d ~ e r g n ~ i , p. 21 .

SELECTED BIBLIOGRAPHY

Primary Sources

Poe, Edgar A l l a n . C o l l e c t e d Works of Edgar A l l a n Poe. Ed i t ed by Thomas Ol ive Mabbott. Vol. I . Cambridge: Belknap P r e s s of Harvard U n i v e r s i t y P r e s s , 1969.

. Complete Works of Edgar A l l an Poe. 2nd ed . Ed i t ed by James A . Har r i son . 16 v o l s . New York: A.M.S. P r e s s , 1965.

. L e t t e r s of Edgar A l l a n Poe. Ed i t ed by John Ward Ostrom. 2 v o l s . New York: Gordian P r e s s , 1966.

. Poe: Complete Poems. Ed i t ed w i t h a n i n t r o d u c t i o n and n o t e s by Richard Wilbur..New York: D e l l , 1959.

. S e l e c t e d P rose and P o e t r y of Edgar A l l a n Poe. Ed i t ed w i t h an i n t r o d u c t i o n by W.H. Auden. New York: Halt, R i n e h a r t and Winston, 1965.

. S e l e c t e d Wri t ings o f Edgar A l l a n Poe. Ed i t ed w i t h an i n t r o d u c t i o n and n o t e s by David Galloway. Harmondsworth: Penguin, 1967.

. T a l e s of t h e Grotesque and Arabesque. G louces t e r : P e t e r Smith , 1965.

I Secondary Sources

A l t e r t o n , Margaret . O r i g i n s of Poe ' s C r i t i c a l Theory. N e w York: R u s s e l l & R u s s e l l , 1965.

v' Bachelard, Gaston. The P o e t i c s of Space. New York: Orion P r e s s , 1958.

- Barf i e l d , Owen. What Co le r idge Thought. Middletown : Wesleyan U n i v e r s i t y P r e s s , 1971.

Bergson, Henri . Matter and Memory. Trans . by Margaret P a u l and W . S c o t t Palmer. London: G . A l l e n , 1911,

B i e r l y , Cha r l e s H . H . "Eureka and t h e Drama of t h e S e l f : A s tudy of t h e elations ship Between P o e t s Cosmology - and H i s F i c t i o n . " DA, X V I I I , 228-29.

~ 6 e h m e , Jacob . The Aurora. Ed i t ed by C . J . B . and D.S.H. Trans . by John Sparrow, London: James C l a r k e , 1960.

. The S i g n a t u r e of a l l Things and o t h e r Wr i t i ngs . Cambridge: James C l a r k e , 1969.

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