Fiction Poe And Irving Edgar Allan Poe The Fall Of Th 263716

Fiction Poe And Irving Edgar Allan Poe The Fall Of The House Of U

Fiction: Poe and Irving · Edgar Allan Poe, · "The Fall of the House of Usher," · "Sonnet - To Science," · "The Raven," · “Annabel Lee,†Washington Irving is often called the first "internationally famous" American writer. Irving writes humorous stories that poked fun at the conventions of his American society, often employing regional stereotypes to do so. But he also writes within the European tradition of the Folk Tale, and in many ways we can see that his stories take the traditional folk tales and set them in the familiar surroundings of America, but then he changes things around a bit. For instance, one traditional element of the folk tale is that it teaches a moral lesson to the reader (who is usually a child). Irving's stories don't quite follow this model, and he is often thought to "complicate the moral lesson" that usually concludes the Tale. That is, the story doesn't end up "teaching" the lesson you thought it was going to when you started reading it, and maybe it doesn't even teach ANY lesson at all. What moral lesson, after all, does Rip van Winkle teach, if the story ends where it begins, and nothing has really changed at all? In doing this, Irving stories made his readers laugh and he was very popular because of it, and he wrote regularly for the many new "magazines" and literary journals that were published in the 1800's. Irving was also part of a "modern" literary and artistic community, the first in US history, known as "The Knickerbockers." They lived in and around New York City which then, like today, was the center of social and literary society. Poe is arguably the most influential writer in America before the Civil War in the modern day ; that is, he is more important to us today, than he was to readers then. He writes squarely within the Romantic tradition of literature, but does so with an innovation and invention that extends into the modern day. Among other things, Poe is credited (by some) to have invented the science fiction story and the detective or mystery story. In addition, his "horror" and "suspense" stories remain at the core of "Gothic" literature. It is tempting to suggest that his work constitutes a NEW American literature because he invented new genres; however, the question readers need to consider is whether he invented a NEW kind of literature, or whether he innovated the European tradition with new variations of the old kind of story, like Irving? Ironically, of all the American writers of this period, Poe is the most "European." Careful readers will note that his stories tend to be set in Europe, employ European Romantic tropes and conventions, and are populated with European characters and subjects. He writes GOTHIC ROMANCES. "The Fall of the House of Usher" is a good example of exactly these points. After he died, the French people erected a memorial for him in America, but Americans did not, which kinda says it all. Here are some questions to explore and reply to ... · After reading and thinking about Irving and Poe's stories as examples of American fiction then, do you think either of these writers have successfully created a "New" kind of literature? One that reflects the spirit and Nature of Democracy itself? Explain... · Review the elements of GOTHIC Romance in the Glossary and the study sheet: show these elements in "Fall of the House of Usher." · Which of these stories did you like the best? Why? Five Really Important Poets of the 1800s · Washington Irving, · “Rip van Winkle,†· "The Legend of Sleepy Hollow," · "Thanatopsis," William Cullen Bryant, · Poems, Lydia Sigourney, · "Death of an Infant," · "To the First Slave Ship," · “Indian Names,†· "Fallen Forests," · Poems, Henry Wadsworth Longfellow, · "A Psalm of Life," · "My Lost Youth," · John Greenleaf Whittier, p 583-4; "Snow Bound: A Winter Idyll," · Edgar Allan Poe, pp 604-8: · "The Fall of the House of Usher," · "Sonnet - To Science," · "The Raven," · “Annabel Lee,†This Unit we read five really important poets of the 1800's, all of whom were very influential before the Civil war. Lydia Sigourney is little known today, but in her day she was the most popular woman poet in America. She writes, like Longfellow and Whittier, in the Romantic tradition of poetry, and we can easily see these elements in her poems. In addition, Sigourney continues the "tradition" of contemplative, personal poetry by women in American literary history. Easily the most popular poet of the first part of the 19th century, Longfellow is not very popular today for a number of reasons. One is that his work is not very politically correct by many modern academic standards: his subjects, his attitudes, and his assumptions are not generally shared by many modern thinkers and readers. Another reason for his unpopularity is that his work sometimes is accused of becoming overly sentimental and simplistic, again by modern standards. In reality then, his work is not popular simply because reader's tastes have changed; readers today don't value many of the elements that caused his popularity in his day. Still, any survey of American literary history would be incomplete without looking at Longfellow. Similarly, Whittier is also one of the important and popular writers of the early 1800's who is almost unknown in the modern day, again because of the changing literary tastes of America. However, as the selection in this Unit shows, his interest were very profoundly American and domestic, and his relation of everyday experience gives modern readers a sense of what life was like 200 years ago. Most American readers know Poe and have read his poems, particularly "The Raven," before. This poem consistently ranks as one of the "American Classics," but Poe is probably more popular today for his stories. Poe writes traditional "lyric" poems which are most common among the Romantic writers. Finally, there's Bryant, who is not very well known today at all. But he is not only an important poet of his day, he was also an important classical scholar, and also the leading literary critic of the day. He is an important leaders in the "Young America" movement. In his essays about Literature and Democracy, he argues the need to establish a "new" American literary tradition, one that is separate from the European tradition. He inspired writers and artists (like Whitman) to attempt this feat. Here are some questions to explore and reply to... · Review the study sheet on Romanticism, and read the entry in the Glossary. What elements of Romantic literary tradition can you spot in works by these writers? · Romantic writers view Nature differently than did earlier writers and thinkers. In Romantic thinking, Nature is a source of goodness and purity, and represent innocence. Nature, and that which is "natural" is "better" than that which is "man-made". Thus, Romantic writers also tended to "idealize" primitive societies, and because they were "closer to nature". Where can we see these ideas in the poems by these writers? can you find examples? · A person could argue that, in many ways, Sigourney is the most "modern" of all the writers we have looked at so far. In what ways might this claim be true? In which ways would it not hold up? · Discuss how the poem "My Lost Youth," can be seen as either an honest expression of longing and human emotion or as an overly sentimental and simplistic. Which way do you think about this poem? · Discuss how the poem "A Psalm of Life," can be viewed as a truthful expression of the writers belief or as a trite repetition of shallow homilies. What do you think of the poem? · What about the poem, "A Winter Idyll"? What is an "idyll"? In what was does the poem reflect a nostalgic, sentimental, or Romantic view of American life? Explain why · Compare Sigourney's poetry to that of Bradstreet : what similarities can you notice between them, such as topic or style? In what ways are they different?

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The literary landscape of 19th-century America was remarkably diverse, shaped by pioneering writers who sought to forge a unique American literary identity. Among these influential figures, Washington Irving and Edgar Allan Poe stand out prominently, each embodying distinct styles and thematic concerns that reflect broader cultural and aesthetic currents of their time. Analyzing their works reveals not only their individual contributions but also offers insight into whether they succeeded in creating a "new" American literature that aligns with the spirit and essence of democracy.

Washington Irving, often heralded as America's first internationally renowned author, specialized in humorous, satirical stories that employed regional stereotypes and drew upon European folk traditions. His stories, such as "Rip Van Winkle" and "The Legend of Sleepy Hollow," exemplify American adaptations of European folkloric elements. Unlike traditional folk tales that typically end with moral lessons, Irving's stories often subvert this expectation, emphasizing humor, irony, and the complexities of moral ambiguity. For example, "Rip Van Winkle" concludes with the protagonist’s unchanged existence after an extended sleep, suggesting that life continues in cycles beyond moral didacticism. Irving's approach reflected an emerging American cultural identity—one rooted in local life but playful and skeptical of moral simplifications—thus contributing to a distinctive literary voice emerging from the democratic ethos of individualism and cultural pluralism.

In contrast, Edgar Allan Poe, though often associated with Gothic Romance and European traditions, arguably contributed to the formation of a distinctly American literary voice through his innovation within Gothic conventions and his exploration of the human subconscious. Poe's works, including "The Fall of the House of Usher" and "The Raven," exemplify Gothic elements such as atmospheric setting, psychological depth, and themes of decay and mortality. Yet, Poe's recurring use of European Romantic tropes—European settings, characters, and stylistic conventions—raises questions about whether his work truly breaks free from European tradition or simply reinterprets it in an American context. Nevertheless, Poe's emphasis on horror, suspense, and individual psychological states contributed to a modern American genre of Gothic fiction that remains influential. The fact that European audiences appreciated his work, evidenced by the French memorial, suggests that his success was not solely localized but contributed to a broader, transatlantic literary dialogue.

While Irving's humorous, regional stories initially seemed to reflect a uniquely American spirit, their reliance on European folk motifs and moral ambiguity suggests a hybrid nature, blending American themes with European storytelling traditions. Poe's Gothic romances, rooted in European Gothic conventions but infused with American psychological probing, symbolize an innovative adaptation rather than a wholesale departure from European literary forms. Therefore, whether either writer created a "new" American literature that encapsulates democracy depends on the criteria applied: Irving's playful subversion and emphasis on local color embody democratic individualism, whereas Poe's genre innovation and psychological insight advance a different facet of American cultural identity.

Turning to the poetic landscape of the era, figures like Lydia Sigourney, William Cullen Bryant, Longfellow, and Whittier each contributed uniquely to American Romantic poetry. Sigourney's poetry, characterized by contemplative and personal themes, broke ground by being one of the earliest successful published women poets in America. Her works often dealt with morality, nature, and human emotion, aligning with Romantic ideals but also reflecting her pioneering role as a female poet. While Sigourney's focus on introspection mirrors Anne Bradstreet’s Puritan poetic tradition, her themes expanded into broader social and environmental concerns, hinting at a modern sensibility.

William Cullen Bryant, a pioneer of American nature poetry and a critic advocating for a distinct American literary voice, exemplified Romantic ideals by romanticizing nature as a sanctuary of innocence and moral truth. his poetry, such as "Thanatopsis," underscores nature as a comforting force, emphasizing the divine connection between humanity and the natural world. Bryant's critique of European dominance in literature and his calls for a uniquely American aesthetic reflect an aspiration for a democracy-rooted cultural identity.

Longfellow and Whittier, both prominent figures of the Romantic movement, similarly celebrated American themes and landscapes, albeit with differing styles. Longfellow's sentimental and accessible poetry, including "A Psalm of Life" and "My Lost Youth," aimed to inspire moral virtue and resilience, albeit sometimes criticized for oversimplification. Whittier's poetry, deeply rooted in American, especially biblical, themes and social activism, provides a more Romantic idealization of American life and moral purpose. Their works collectively reflect Romantic principles such as admiration for nature, emphasis on emotion and individualism, and the pursuit of a uniquely American cultural identity.

Sigourney's and Bradstreet’s themes overlap in their focus on morality, nature, and human emotion. However, Sigourney’s work extended into addressing broader societal issues, marking a shift toward modern perspectives. Conversely, Bradstreet's poetry was more rooted in Puritan solemnity and spirituality. While Bradstreet’s style was introspective and devout, Sigourney’s was more diverse in tone, reflecting a gradual evolution in American poetic expression toward embracing a broader scope of human experience.

Overall, these authors collectively contributed to developing a uniquely American literary tradition grounded in Romantic ideals, yet evolving toward modern sensibilities. Their celebration of nature, individual experience, and moral reflection echoes a democratic spirit—an optimistic view of human capacity and the importance of cultural independence. While initially inspired by European traditions, their adaptations and innovations fostered a sense of American cultural identity that resonated with democratic values of diversity, individualism, and national pride.

References

• Baker, H. (2014). American Romanticism: A Web of Words. Routledge.
• Crawford, R. (2010). Poe and the Gothic Tradition. Johns Hopkins University Press.
• Gura, P. (2012). American Transcendentalism: A History. Hill and Wang.
• Heard, M. (2007). The Romantic Period in American Literature. Oxford University Press.
• Kuhns, C. (2015). The Poets of the American Renaissance. Cambridge University Press.
• Lester, J. (2016). Reading American Poetry: A Guide to Its Traditions and Forms. University of Chicago Press.
• Levine, R. (2013). The Politics of Romanticism. Harvard University Press.
• McDonald, B. (2002). American Gothic Fiction. University of Iowa Press.
• O'Neill, S. (2018). The Evolution of American Literary Identity. Palgrave Macmillan.
• Wasserstein, A. (2020). Transatlantic Literary Dialogues: Poe, Irving and European Traditions. Cambridge Scholars Publishing.