Poe was also the principal forerunner of the “art for art’s sake” movement in nineteenth-century European literature. Whereas earlier critics predominantly concerned themselves with moral or ideological generalities, Poe focused his criticism on the specifics of style and construction that contributed to a work’s effectiveness or failure. In his own work, he demonstrated a brilliant command of language and technique as well as an inspired and original imagination.
Poe’s poetry and short stories greatly influenced the French Symbolists of the late nineteenth century, who in turn altered the direction of modern literature. It is this philosophical and artistic transaction that accounts for much of Poe’s importance in literary history.
Over the next few years Poe’s first short stories appeared in the Philadelphia Saturday Courier and his “MS. Found in a Bottle” won a cash prize for best story in the Baltimore Saturday Visitor.
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his financial problems were temporarily alleviated when he accepted an editorship at The Southern Literary Messenger in Richmond, bringing with him his aunt and his twelve-year-old cousin Virginia, whom he married in 1836. The Southern Literary Messenger was the first of several journals Poe would direct over the next ten years and through which he rose to prominence as a leading man of letters in America.
“The Tell-Tale Heart”—are often told by a first-person narrator, and through this voice Poe probes the workings of a character’s psyche. This technique foreshadows the psychological explorations of Fyodor Dostoyevsky and the school of psychological realism
The influence of Poe’s tales may be seen in the work of later writers, including Ambrose Bierce and H.P. Lovecraft, who belong to a distinct tradition of horror literature initiated by Poe. In addition to his achievement as creator of the modern horror tale, Poe is also credited with parenting two other popular genres: science fiction and the detective story.
In such works as “The Unparalleled Adventure of Hans Pfaall” and “Von Kempelen and His Discovery,” Poe took advantage of the fascination for science and technology that emerged in the early nineteenth century to produce speculative and fantastic narratives which anticipate a type of literature that did not become widely practiced until the twentieth century.
he was also influenced by earlier literary figures and movements. In his use of the demonic and the grotesque, Poe evidenced the impact of the stories of E.
T.A. Hoffman and the Gothic novels of Ann Radcliffe, while the despair and melancholy in much of his writing reflects an affinity with the Romantic movement of the early nineteenth century.
com/en/e-book/97801/edgar-allan-poe-and-his-influence-on-american-literature Laura Gandlgruber , 2000, Edgar Allan Poe and his influence on American Literature, Munich, GRIN Publishing GmbH, http://www.grin.com/en/e-book/97801/edgar-allan-poe-and-his-influence-on-american-literatureSource 2
His poems are important examples for what can be done with language, as they show the calculated musical effects of language that were to characterize Poe?s poetry.
His extraordinary manipulation of rhythm and sound is particularly evident in “The Bells” (1849)” Hear the sledges with the bells–Silver bells–What a world of merriment their melody foretells!How they tinkle, tinkle, tinkle,In the icy air of night!While the stars that oversprinkleAll the heavens, seem to twinkleWith a crystalline delight;Keeping time, time, time,In a sort of Runic rhyme,To the tintinnabulation that so musically wellsFrom the bells, bells, bells, bells,Bells, bells, bells,– From the jingling and the tinkling of the bells.”
Poe’s contribution to the development of the Symbolist movement or to the theory of “pure poetry” was nothing less than decisive.
Since these literary manifestations were by no means limited to France [page 2:] but made their appearance in several other countries, in analogous movements with an apparently common origin, I found myself attracted more and more by the idea of embarking on a general study of Poe’s reputation and influence abroad.
Today, Poe is recognized as one of the foremost progenitors of modern literature, both in its popular forms, such as horror and detective fiction, and in its more complex and self-conscious forms, which represent the essential artistic manner of the twentieth century. In contrast to earlier critics who viewed the man and his works as one, criticism of the past twenty-five years has developed a view of Poe as a detached artist who was more concerned with displaying his virtuosity than with expressing his “soul,” and who maintained an ironic rather than an autobiographical relationship to his writings. While at one time critics such as Yvor Winters wished to remove Poe from literary history, his works remain integral to any conception of modernism in world literature