Free Edgar Allan Poes:The Philosophy of Composition Dissertation Example

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Edgar Allan Poes:The Philosophy of Composition

Category: Creative

Subcategory: Dissertation literature review

Level: University

Pages: 2

Words: 550

The Philosophy of Composition
Allan Poe in his philosophy of composition tries to lay a blueprint of what poets should consider in composing their works. Poe argues that every poet should consider the plot. [(2)] Poe argues that errors are committed while constructing poetic stories. To avoid the errors, writers should strive towards explaining events from page to page and composition of quality work. Explaining events requires detailed description, dialogue, authoritative comments, facts, and action to create the base of their narrative. [(3)]
Poets uphold cohesion of their poetic units. Originality plays an important role in applying creativity in poems. Impressions on the susceptibility of the heart, intellect, and the soul offer imaginative and creative images [(4)]. Exemplary and critical amalgamation of creative imprints demonstrates exquisitely poetic tones existent within the occurrences of the poem. Stylistic devices have helped poets tell their stories through the poem in a vivid manner.

Poe argues that no writer has achieved the ultimate point of completion. He points out that no writer that has succeeded in providing a procedural composition, embodying a systemic approach of composition. Poe indicated that writers’ ignorance has contributed to the omissions. Writers are unlikely to allow their audiences to have a glimpse of incidences behind the scenes, a taste of their ideas before maturity, the selections and rejections, and the painful erasing of words [(5)]. However, in cases that writer rediscover or re-establish their past influences, the steps are all forgotten [(6)].
Poe brings out reflections that help writers fulfill their expressed intentions. The appraisal turns on a hinge with the statement, “We commence, then, with this intention” [(9)]. He begins by stating that writers should consider the length of their work. Long literary texts should combine creative influences with stylistics devices to charm the readers to continuously read the text. Poe admits that poems read while sitting kill the charm of the text. Therefore, Poe praises poems that are brief and short [(10)]. Consequently, the length of the literary text influences the fulfillment of the poems’ creative style.
Poe argues that the choice of an impression or effect should reflect a universally appreciable work. [(13)]. In his poem Raven, he uses the beauty of a woman and her death to reflect a sad tone [(20)]. Poe describes melancholy as the face of the poem, indulging the readers into a sorrowful mood. The ultimate goal is to achieve artistic creativity in the composition of a poem. Poem affirms the need of repetition to establish poetic flow. Nevermore, has been used extensively at the end of each stanza, creating a synchronized flow.
Poe concludes his essay by illustrating how raven followed his given intentions and considerations. He begins Raven by setting the rhythm, length, and arrangement thus setting the tone of the following stanzas. [(23)]. The poem also employs originality through the combination of stanzas. Poe states that no such combination has ever been attempted [(25)]. The originality of the Rave was as a result of novel effects that were due to the application of the principles of rhyme and alliteration. The apparent use of locale, enabled readers to understand the setting of the poem. Poe demonstrates the chambers of his lover as richly furnished to further explain the subject of beauty [(27)]. Ultimately, the poem shows a force of contrast to portray the ultimate impression. “He comes in with a flirt and a flutter” notes the narrator [(31)]. The poem describes events systematically, and the reader regards Raven as symbolic, until the very last stanza, thus the intention of making him a representative of mournful and never-ending remembrance is witnessed [(37)].
Work cited
Poe Edgar, et.al. The Raven; the Philosophy of Composition. Mouton,1951

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