Publisher: Createspace Independent Publishing Platform The Raven, Ligeia (1838), Lenore (1843), Ulalume (1847), and Annabel Lee (1849) are all explorations of this theme.Contributor(s): Poe, Edgar Allen (Author) His poetic and fictional personas yearn to be reunited with departed wives and lovers. Poe returned to the figure of the dead or dying beautiful woman throughout his career. In A Predicament (1839), aspiring author Zenobia narrates her own beheading. In Some Words with a Mummy (1845), a group of Egyptologists reanimate a mummy, who speaks to them with an unexpected eloquence. He asks his readers to consider at what point death truly occurs if the dead can still speak or inhabit the bodies of the living. In his work, Poe continually blurs the boundary between life and death. Poe, wrote Griswold, had a “morbid sensitiveness of feeling, a shadowy and gloomy imagination”. Griswold established this image in his 1849 obituary, in which he reflected that Poe was “a dreamer – dwelling in ideal realms – in heaven or hell”. They are influenced by the image of Poe as a melancholic loner, tormented by bereavement and alcoholism, and fascinated with the otherworldly. The posthumous “Poe” poems are not very good, but they attempt to capture the content or style of Poe’s living poems: dramatic and dark lyrics about the loss of loved ones and the crossover between the living and spirit worlds. Spiritualists produced these celebrity ghost writings to demonstrate the authenticity of their practice and the radical possibility of the living and the dead merging consciousnesses.ĭepression and language: analysing Edgar Allan Poe's writings to solve the mystery of his death Magazines and collections produced “original” posthumous texts on a monthly basis. The fever for spirit writing covered several well-known deceased writers and historical figures. Critics commented that, if mediumship is real, the Resurrexi “is unquestionably the most astonishing thing that Spiritualism has produced”, due to its accurate representation of Poe’s style. Borrowing well-known lines and phrases from The Raven, Doten makes use of the hypnotic repetitive sounds and rhymes common to Poe’s poetry. In her introduction, Doten describes the “mental intoxication” she experienced in encountering the turbulent spirit of Poe.Īmong the six texts is Resurrexi, a sequel to Poe’s famous 1845 poem The Raven. Lizzie Doten, a Massachusetts spiritualist lecturer, performed and published six “Poe” poems under the title Poems from the Inner Life (1864). These spirit poets really did believe they had Poe’s “brain in their hands”.
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