英语论文简析爱伦坡的恐怖主义
本科生毕业论文(设计)册
学院 xxx学院
专业 XXXX
班级 XXXX级英语XX班
学生 XX
指导教师 XXX
XXXX大学本科毕业论文(设计)任务书
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论文(设计)题目: 简析爱伦坡的恐怖主义
学院: XXX学院 专业: XXXX 班级: XXXX级英语XX班
学生姓名:XXX 学号: XXXXXX5 指导教师: XXX 职称:XX
1、论文(设计)研究目标及主要任务
本论文的研究目标是分析爱伦坡的恐怖主义的形成、发展以及在其作品
中的表现。其主要任务是通过分析爱伦坡恐怖主义,加深读者对恐怖主义的
理解。
2、论文(设计)的主要内容
本论文分为三章,第一章介绍爱伦坡恐怖主义,并对同一时期的恐怖主
义进行对比,第二章介绍爱伦坡恐怖主义在其主要作品中的表现,最后一章
讨论了爱伦坡恐怖主义的发展以及其美学价值。
3、论文(设计)的基础条件及研究路线
本论文的基础条件是不同的美国文学研究者对爱伦坡恐怖主义的研究结果。
研究路线是对爱伦坡的恐怖主义从不同的角度进行详细的阐述,分析
其产生、发展以及价值。
4、主要参考文献
Aristotle, Rhetoric Trans. Ingram Bywriter. New York: Modern Literary, 1954.
Aristotle, Poetics..Trans. Seth Bernadette and Michael Davis,
Bend, Ind.:St. Augustine's press, 2002
爱伦.坡.爱伦.坡短篇小说集..陈良廷、徐汝春译。北京:外文文学出版,1982.
曹明伦译,《爱伦坡精品集》.安徽文艺出版社,1999
范明生.西方美学通史第1卷.上海:上海文艺出版社,1999.
教研室主任: 年 月 日
注:一式三份,学院(系)、指导教师、学生各一份
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XXXX大学本科生毕业论文(设计)开题报告书
XXXX大学本科生毕业论文(设计)文献综述
本科生毕业论文
题目:简析爱伦.坡的恐怖主义
作者姓名 XX
指导老师 XXX
所在学院 XXX学院
班级(系) XXXX
年级(届) XXXX届
结稿日期 XXXX年 5月8 日
XXXX大学外语学院教务处制
The analysis of Allan Poe's Terrorism
BY
XXX
Prof. XXXX, Tutor
A Thesis Submitted to Department of English
Language and Literature in Partial
Fulfillment of the
Requirement for the Degree of B.A in English
At XXXX University
May 8th, XXXX
摘要
爱伦坡是是美国文学历史上颇具争议的一位人物,他创作了大量的文学作品,都对美国文学史的发展产生了长远的影响。一方面,他对当时的主流美国文学潮流感到很厌烦,并且想逃离当时的美国。另一方面,文学自身独特的魅力深深地吸引着爱伦坡。更为重要的是他必须以写作谋生。萧伯纳曾经说过:美国文学史上有两位文学巨匠,一个是马克吐温,另一个是爱伦坡。这句话证明了爱伦坡确实对美国文学的发展发挥了巨大的作用。爱伦坡是美国著名的诗人、作者、文学编辑以及文学批评家。他被认为十九世纪的著名作家之一。他是美国哥特式小说和世界侦探小说的开山鼻祖。他的作品的神秘感和恐怖感空前绝后。在他短暂的一生中,他著有七十多部小说,其中很大一部分都是关于恐怖主义的。因此,论文现在研究的就是他的作品中恐怖主义的表现。
论文的第一部分主要讲述的是爱伦坡的恐怖主义。这一部分主要讲的是社会环境对爱伦坡的恐怖主义的影响以及爱伦坡恐怖主义和其他恐怖主义的对比。 论文第二部分主要讲述恐怖主义在爱伦坡作品中的具体表现。论文作者主要将精力集中在《厄舍屋的倒塌》《乌鸦》《黑猫》这三篇集中表现爱伦坡的恐怖主义的文章上。尽管这几篇文章都是描写爱伦坡恐怖主义特别好的文章,但是它们是用不同的文体来表现的,其中两篇是小说,一首是诗歌。这几篇文章从完全不同的角度展示了爱伦坡的恐怖主义,这都在很大程度上帮助读者更加深刻地了解爱伦坡的内心世界。最后一部分论文作者会提到其他能够很好体现爱伦坡恐怖主义的文章。
论文第三部分主要讲述的是爱伦坡恐怖主义的发展。如果读者想更好的了解恐怖主义,他就必须要了解恐怖主义由何而来,如何形成的。当提及爱伦坡的文学作品的时候,人们不得不提及他悲惨的个人生活。坦率说来,悲惨的生活确实为爱伦坡的文学创作做出了巨大的贡献。第二部分讲的是英国哥特式小说对爱伦坡做品德影响。最后文章也讲述了爱伦坡的恐怖主义的美学价值。
关键词:爱伦.坡 恐怖主义 黑猫 乌鸦
iii
Abstract
Allan Poe is a self-contradictory figure in the American literary history. He has created a large number of great works which have an everlasting influence on the development of American culture. On the one hand, he feels disgusted and awful about the general American literary trend and he wants to escape from it. While, on the other hand, he is fascinated by the charming literary works, what‟s more, he has to make a living on it. He is considered as one of the most distinguished writers in the nineteenth century. He is the creator of American gothic fiction and detective fiction. He developed mystery and terror to an unprecedented degree. In his whole life, he has written about seventy novels, most of which are concerned with terrorism. So, the thesis is here dealing with the terrorism in his woks.
In the first chapter, this thesis mainly deals with Allan Poe‟s terrorism. This part presents the social influence on Poe‟s terrorism and comparison between Allan Poe‟s terrorism and other terrorism.
In the second chapter, this thesis mainly deals with the terrorism reflected in
Allan Poe‟s works. The writer concentrates his attention on The Fall of the House of Usher, the Raven, Black Cat. Because these three works are the most successful works of Poe, and these three have a good description of Allan Poe‟s terrorism. Although all of them are trying to achieve the goal where is full of horror, they are in different style. Two of them are short stories, and the other one is a poem. The totally different genres present Allan Poe‟s terrorism from different angles, which can help readers have a better understanding of Allan Poe‟s interior world. In the last part, the writer will refer to some other works which help readers understand terrorism better.
In the third chapter, the thesis mainly deals with the development of Allan Poe‟s
terrorism. If he wants to have a better understanding of terrorism, he must know where it came from, how it came into being. Meanwhile, the circumstances which Poe lived in had a deep influence on his terrorism. What‟s more, when it comes to Allan Poe‟s works, it could not help mentioning his tragic personal life experience which makes a great contribution to this fruitful writer. In the second part, it discusses about the influence from British gothic fictions on Allan Poe‟s work. At last, it deals with the aesthetic value of Poe‟s terrorism.
Key words: Allan Poe Terrorism Black Cat Raven
iv
Table of Contents
Introduction ............................................................................................................................... 1
Chapter One. Allan Poe’s terrorism ........................................................................................ 3
A. Social Influence on Allan Poe‟s Terrorism ....................................................................... 3
B. Comparison between Allan Poe‟s Terrorism and Other Terrorism .................................. 4
Chapter Two. Allan Poe’s terrorism reflected in his works .................................................. 6
A. Terrorism in the Fall of the House of Usher .................................................................... 6
B Terrorism in Raven ............................................................................................................ 9
C Terrorism in Black Cat .................................................................................................... 11
Chapter Three. The development of Allan Poe’s terrorism ................................................ 13
A. The Contribution of Allan Poe‟s Living Environment and His Tragic Personal
Experience......................................................................................................................... 13
B. Influence of the British Gothic Fictions ......................................................................... 15
C. Its Aesthetic Value .......................................................................................................... 21
Conclusion ............................................................................................................................... 22
Notes ......................................................................................................................................... 24
Bibliography ............................................................................................................................ 25
Introduction
There has never been any doubt about Poe's enormous literary significancei, but, with regard to his ultimate artistic merit, there has been considerable disagreement. To some extent, he is little more than a successful charlatan, whose literary performances are only a virtuoso's display of stunning, but finally shallow, effects. Others, however, are struck by Poe's profound probing of the human psyche, his philosophical sophistication, and his revolutionary attitude toward literary language. There is no doubt that both sides of this argument are partly true in their assessments. Poe's work is very uneven, sometimes reaching great literary heights, at other times striking the honest reader as meaningless, pathetic, or simply wrong-headed. It is certain that the personal turmoil characterized so much of Poe's short life. Poe was extreme in his literary views and practices; and his literary values were not prized with balance and equilibrium.
Poe scorned the didactic element in poetry. At the same time, he was trying his best to separate beauty from morality. In his best poems, such as "The City in the Sea" , he achieved an intensification of sound sufficient to threaten the common sense of the poetic line and release a buried, even a morbid, sense that would enchant the reader by the sonic pitch of the poem. Poe defined poetry as "the rhythmic creation of beauty". He not only sought the dream buried beneath the poetic vision---Coleridge had already done that---but also abandoned the moral rationale that gave the buried dream a symbolic meaning. The content of the verse are the dream, or nightmare. However, some readers, such as T. S. Eliot, have found Poe's poetry extremely limited, both in its content and in its technique. While it is true that Poe was one of the few American poets to achieve international fame during the nineteenth century, critics point out that his influence on such literary movements as French symbolism and literary modernism was largely through the superb translations and criticisms of his writings by Baudelaire, Mallarme, and Valery. Poe's theory of the short story, as well as his own achievements in that genre, contributed substantially to the development of
the modern short story, both in Europe and in the United States. Poe himself regarded his talent for his poetry and criticism as of more importance than fiction writing. While the public preferred Allan Poe‟s detective stories and analytic tales. He personally preferred, however, for the works of the imagination, such as "Ligeia”, "The Fall of the House of Usher”, and "The Masque of the Red Death”, tales of horror beyond that of the plausible kind found in the analytic stories. However, just as with his poetry, readers have been strongly divided in their appreciation of the deeper worth of Poe's fiction. For most of them, they are at best merely an effective display in good terror stories but nothing more than an enjoyable experience in vicarious terror. This was Henry James‟ view, that other great master of the gothic story in the nineteenth century, who claimed that "an enthusiasm for Poe is the mark of a decidedly primitive stage of reflection." But others have found something far more profound in these carefully crafted pieces, a way of seeing into our unconscious, that place where, for a while at least, terrifying conflicts coexist. Just like Poe put it himself so well in the preface to his Tales of the Grotesque and Arabesque, "If in many of my productions terror has been the basis, I maintain that terror is not of Germany but of the soul.”ii
Chapter One Allan Poe’s terrorism
In the early 19th century, the main stream of American literature is Romanticism. Most of the great figures are romantic writers, while Allan Poe‟s theme is mainly about terrorism. The rapid development of the United States provides a fertile land for Allan Poe‟s terrorism. Meanwhile, there are some differences between Allan Poe‟s terrorism and other‟s.
2、 Social influence on Allan Poe's terrorism
In the end of the 18th century, Romanticism sprang up in American. From that period to the civil war, it was an important period in the American literature. The Sketch Book of Washington Irving marked the beginning of American Romanticism. Leaves of grasses is the top-ranking work in the romantic period. American literature enjoyed great prosperity in this period, which was also called “American renaissance”. The rapid development of the American economy facilitated the prosperity of American culture. Being free of the burden of history, America became an independent country in economy, politics and culture. Because of the foundation of the independent American government, the Americans feel great desire for their own culture to express their unique experienceiii. This young country bore a fertile land for the Romanticism. American economy continued to make progress at a rapid speed and American literature shared that prosperity. Therefore, on the basis of American Romanticism, Transcendentalism took it shape. It admitted that human beings have the ability to understand the truth, which can surpass the ability of sensory organ. Transcendentalism also believes that human beings are lofty and nature was sacred, so it advocated human should be self-independent
representative of Transcendentalism.
Imagination, intuitive perception, and personal expression are the main topics in the romanticism period. While the belief of American Romanticism lays in individualism. It also deals with westward expansion, democracy and equality. The very period in iv. Emerson was a typical
which Allan Poe lived was characterized by Romanticism, which intensively emphasized subjectiveness and self-expression, and despised objectiveness, imitation. Because of the activeness of the American literary world, many great figures enjoyed the freedom to express their thoughts. What‟s more, most of them put their thoughts in their works, so every character was active and vivid. When readers read their works, they can always have a deep understanding of writers‟ thoughts.
On the contrary, although Allan Poe had many characteristics belonging to the Romanticism period and he had inherited many good traditions and methods from the previous British literary works and American Romanticism, he was a predominant literary figure in the American history; he was something out of the general track of American literary world in his time. Allan was a unique figure standing in the pre-Romanticism period. Meanwhile, the uniqueness of history and culture of south have offered a fertile land for the rapid growth of Allan Poe‟s artistic works. Then Allan Poe became one of the most outstanding figures in American literature and even made great contribution to the development of American and the world‟s literature.
3、 Comparison between Allan Poe’s terrorism and other terrorism
Among the great writing figures in the American Literary world, Allan Poe is most unique one. Because his creative technique and literary theories are totally different from the main stream of the literary field in his time, he was misunderstood by readers and contemporaries for quite a long time. It was not until the 20th century that Allan Poe‟s creation was accepted by the literary world. Although he was not accepted in American, he was widely welcomed by the European and Latin literary world. Poe‟s influence spread all over the world from France. There have appeared many Poe experts. The key notes of Allan Poe‟s work are killing, violence, death, nightmare and evil.
The general romanticism is associated with imagination, intuitive perception, and personal expression. While the belief of American Romanticism lies in the value of individualism. Irving‟s The Sketch Book, Hawthorne‟s scarlet letter, Whitman‟s leaves
of grass and many other romantic works all are praising beauty, love, and truth and limit redemption of human soul. They are totally different from Allan Poe‟s central idea. In other words, they are paying to different angles of human soul.
Chapter Two Allan Poe’s terrorism reflected in his works
Allan Poe is such a talent that presents his terrorism in his works successfully. Reading his works, readers can have good understanding of his terrorism.
A. Terrorism in the Fall of the House of Usher
The Fall of the House of Usher mainly tells such a story: the Narrator had got a letter from a boyhood acquaintance, Roderick Usher, begging that he come to him "posthaste." Usher had written to explain that he was suffering from a terrible mental and bodily illness, and he was longed for the companionship of "his only personal friend."v The plea seemed so heartfelt that the Narrator immediately set out for the Usher‟s ancestral home.
When the Narrator approached the ivy-covered, decaying old house, he was shocked by an overpowering sense of gloom which seemed to swallow the estate. The very sight of the manor caused within him "an illness, a sickening of the, an unredeemed dreariness."vi But even though the “eye-like” windows of the mansion seemed to be staring at him, he managed to cover up his fear and continue in his carriage up the path to the door. Although years had passed since they had last met, as he rode, he tried to recall Roderick Usher as if he had once known him. He thought of his old friend as an extremely reserved fellow, quite handsome but he possessed an eerie, morbid demeanor. The family of Roderick was famous for its particular musical genius and for the fact that there was no new branch of the family having ever been generated. For centuries, the title of the estate had been passed directly from father to son, so that the term "House of Usher" had come to refer not only to the family but also to the mansion. Unfortunately, though, Roderick was the last surviving male issue of the Usher clan. Finally, the carriage crossed over the creaking moat bridge to the door, and a servant admitted the Narrator. He was led through intricate
passageways and past hung armored trophies to Roderick Usher's inner chamber, a sorrowful room where sunlight had never entered.
It seemed that Usher himself looked equally shut in, almost terrifying: pallid skin like that of a corpse, lustrous eyes, and long hair that seemed to float about his head. What‟s more, he was plagued by a kind of sullen, intense, nervous agitation, similar to that of a drug-addict experiencing withdrawal. The list of his complaints was dismaying: He suffered a lot from a morbid acuteness of the senses; the most insipid food was alone endurable; he could not wear some other clothes but only garments of a certain texture; all flowers‟ odors were oppressive; his eyes were tortured even by faint light; and there were but peculiar sounds, and these from stringed instruments, which did not excite him with horror. But it was certain that Usher wasn't alone in the house, because the Narrator caught a fleeting glimpse of his friend--his twin sister, Madeline, who has been born an amazing resemblance to Roderick. Additionally, it became obvious that the brother and sister shared an eerie, almost supernatural, sympathetic bond. Roderick could sense just what Madeline was feeling about, and in turn she could read his every thought. Pathetically, though, beloved Madeline was terribly ill, a "gradual wasting away of the personvii" that was beyond the powers of physicians to cure. Just on the very night when the Narrator's arrived, Madeline was confined to bed; he never again saw her alive.
The Narrator had tried his best to comfort his depressed friend for weeks. They talked, painted, and read together. Usher himself even played the guitar. Once he improvised a wildly horrible ballad about a noble castle invaded by demons - a song which finally convinced the Narrator that Usher had been turned to be mad. During this time, the two former schoolmates discussed their opinions about different matters. One discussion was especially intensive: Usher believed that all matter, even inanimate objects, possessed some measure of intelligence; therefore the very stones of his house, he contended, were in essence alive. Indeed, he had long felt that the entire estate, with its dark atmosphere and personality, had, moulded the destinies of his family and made him what he was. Then one day Usher announced to his friend that Madeline was "no more," and that he planned to entomb her body in the dungeon
of the house rather than bury it. The two carried Madeline's encoffined corpse to the grim and moss-covered underground catacombs and put it in a vault. There they unscrewed the coffin and lifted the lid. Again the narrator was startled by the dead sister's resemblance to her brother; but he was even more shocked to note a blush on her cheek. However, they resealed the coffin and locked the vault's heavy iron door. Just one week after his beloved sister's death, an obvious change came over Roderick Usher; he acted more agitated than before and grew more and more pale. Often he would stare blankly into space, displaying the appearance of "laboring with some oppressive secret, which, to divulge, he struggled for the necessary courage." It happened at one late night when the Narrator found him unable to sleep. An inexplicable terror took hold of him a fright which was not at all soothed by the violent storm that raged outside. As he paced nervously about, suddenly .Usher dashed into the room. "There was a species of mad hilarity in his eyes ... hysteria in his whole demeanorviii." With an attempt to calm Usher, his friend pulled from the bookcase a second rate medieval romance and began to read aloud. But in the middle of a passage describing a knight who tears apart a wooden door, the Narrator thought he heard, somewhere in the house, the same cracking and ripping sound so vividly portrayed in the book. Undaunted, he continued to read this time, a passage that described the knight's fatal blow to a dragon, which then cried out with a long piercing wail. Again they immediately emanated from the darkness of the house with a similar shriek.
Although shaken, the Narrator kept reading. Now the book told of "the clangorous sound of a knight's shield falling to the ground" - and once again, just as the words left his lips, the Narrator heard a distinct metallic ringing noise. At this, he became totally unnerved and turned to Usher, who made a chilling announcement: he had buried his sister alive! All week he had listened to her stirring in her coffin; heard her struggles; felt the beating of her heart. "I heard them - many, many days agoix," he admitted. "Yet I dared not - I dared not speak!" And now - tonight ... the rending of her coffin and the grating of the iron hinges of her prison, and her struggles within the copper archway of the vault! The heavy and horrible beating of her heart.... Madman!
I tell you that she stands without the door! At that time, the antique doors flung open, and there stood the hideous, bloodstained apparition of Lady Madeline. With her last burst of energy, and with a bloodcurdling scream, she fell on her brother, and "in her violent and now final death-agonies, bore him to the floor, a corpse, a victim to the terrors he had anticipated." Aghast, the Narrator fled away from the shadowy balls and from the house. At some distance, he glanced back. There, in the light of the "full, setting and blood red moon," he saw the massive House of Usher being rent into pieces by a whirlwind, and then swallowed up into the dark lake that surrounded it.
The brother-Roderick Usher knows his own mad and crazy mind very much. Firstly, Allan Poe took great pains to design the terrible scenes. The story takes place in a midnight, in a dilapidated old house, and with a violent storm. At the very beginning, readers are terrified by the terrible atmosphere and circumstances. Through describing of the three protagonists, Allan Poe presented the horror to us. Lady Madeline even never spoke a word in the whole story. She seldom appeared and had not stayed with the writer in the same room. Roderick Usher possessed the old house. He is an educated man who was born in a wealthy race. He had been very charming. The sense of terror is originated from the looking of the old house and the decoration inside, and also from Roderick Usher himself. The Narrator appeared in the story as a sound and conscious minded person. He came to help his boyhood friend with an apparent heart and no hesitation. To some extent, he was neurotic. He always denied what he had seen and heard and his feeling of horror. Generally speaking, these three characters all suffered mental disorder. In this story, supernatural horror is also what Poe intends to seek for. The story made the reader feel the supernatural feature of the old house continuously. The whole story described a picture which was “in a ghastly and inappropriate splendorx”. Allan Poe made the whole story under the control of the art effect of the horror.
B. Terrorism in Raven
Raven is created by Allan Poe in 1844.It mainly describe a story taking place between a man, who had lost his beloved one, and a raven. The fundamental key of this poet is miserable and full of doubt, which comes from the everlasting desperate
and nothingness. In order to get rid of the sadness and sorrows, the man is always addicted to reading books. But all the things are in vain, the more he reads books, the more he feels lonely and sorrowful. What‟s more, Allan has moulded two images to highlight the key note of this poet. The one is black color. As pure hue makes people feel happy or depressed, Poe adopted black background continuously, making the readers depressed and touch the sorrowness and fear lying at the bottom of the man‟s heart. Because Allan Poe deeply believed that the spirit of poem lying in death, especially the protagonists‟ and the beauty‟s death, he chose a gothic surroundings. At the beginning, the writer leaved readers a depressing and sorrowful impression on this poem. The story happened in a gloomy and cold midnight. A raven suddenly flew into the house and stayed on the door. In the narrow and closed house, there lied many things the hostess had used, and when the host stayed in the house lonely, he always thought of the happy time they had spent together. Then poet has reached sharply contrast through the description of the circumstance. In addition, the gothic Q&A also highlighted the man‟s desperation. No matter which question was asked, the raven just answered in one sentence “Nevermore”.”Nevermore” can be regarded as another special image. Apart from the original meaning it bears, it also has symbolic meaning. When coming in the scene and asked what is its name, the raven always say just one word “nevermore”. Although the man knows the answer got from the raven was still negative, he kept asking the same question and expected to get a satisfying answer. Therefore, the predetermined answer tortured the man a lot and makes the man lost in eternal grieveness. From the first to the last answer, the horror is intensified and strengthened with the repetition of the answer. Every time readers read through the poem, they always felt scared and terrified.
From the settings, readers are shown three sad and shrill pictures taking place in the midnight. There are many ominous images in this poem: the gloomy atmosphere, horrific scene, mysterious and melancholy man, and the ominous raven. In the gloomy and cold midnight, except the sound of the cold wind growls, everything is quiet. The outside world is covered by the dark night; the room is becoming bright now and then. All of a sudden, there is a set of hush knock on the door, but after the man opened the door, there are no people. After he comes back into the room, the knock raises again. A raven flew into the house standing on the door. However, why does the poet make these things taking place in the night? Because midnight means terror and mystery and most of ghosts and monsters appears in the midnight. The
terrifying circumstance lays the foundations to the appearance of the raven. At the same time, the poet set this story in a narrow, peaceful and wild house attentively. First of all, the closed and narrow space helps a lot to create the gothic atmosphere. Secondly, the small house is the sweet home for the beloved couples. However the house is still as before, the happiness was gone with the death of the hostess. The host looks at the empty house, then thinking of the hostess, which is such a sadness that is beyond comparison. In such settings, the poet can strike a chore between poet and the readers. Therefore, the readers show sympathy to the man spontaneously.
4、 Terrorism in Black Cat
In Black cat, Allan Poe presented us such a story which is created in a first-person narrative using an unreliable Narrator. The Narrator insists to tell us that from an early age he has loved animals. The couple had many pets, which includes a large black cat named Pluto. This cat and the Narrator loved each other very much. Their mutual friendship lasts for several years, until the Narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he intends to seize it, the panicked cat attacks the Narrator, and in a fit of rage, he seizes the animal, pulls a knife from his pocket, and deliberately gouges out the cat‟s eye.
From the moment onward, the cat flees in a panic when his master approaches. At the very beginning, the Narrator is remorseful and regrets his cruelty. But this feeling was soon replaced by irritation. And then came, as if to the final and irrevocable overthrow, the spirit of preserveness. He takes the cat out in the garden one morning and hangs it in the tree, where it dies. In that very night, a fire strikes his house mysteriously, forcing the Narrator and his servant to flee.
The next day, the Narrator returns to his home only to find, imprinted on the single wall surviving the fire, the figure of a gigantic cat, hanging by its neck from a rope. At first, the image scares the Narrator, but gradually he determines a logical explanation for it, that some other poeple had thrown the dead cat into the bedroom to wake him up in the fire, and begins to miss Pluto. Sometime later, he finds a similar cat in the tavern. It is the same size and colors as the original and is even missing an eye. The only difference is a large white patch on the animal‟s chest. The Narrator
takes it back to his house, but soon begins to loathe, even fear the creature, forms the shape of the gallows.
Then, one day when the Narrator and his wife are visiting the cellar in their now home, the cat gets under its master‟s feet and nearly trips him down in the stairs. In a fury, the man grabs an ax and tries to kill its master‟s cat, but he is stopped by his wife. He was enraged and he kills his wife with the ax instead. To conceal her body, he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. When the police came to look into this case, they find nothing and the Narrator goes free. The cat, which he intended to kill as well, has gone missing. On the last day of investigation, the Narrator accompanies the police into the cellar. There, completely confident in his own safety, the Narrator comments on the sturdiness of the building and raps on the wall he had built around his wife‟s body. But the room was suddenly filled with a wailing sound. The alarmed police tear down the wall and find his wife‟s corpse, and on her head, the horror of the Narrator, is the screeching black cat. As he words it: I had walled the monster up within the tomb!
Chapter Three The development of Allan Poe’s terrorism
Allan Poe‟s terrorism did not take shape over night; it had taken some time to be formed. His living environment and his tragic personal life has made great contribution to the development of the terrorism. Apart from the influence of American society and his personal experience, the British gothic fiction also has a great influence on the production of his works.
A. The contribution of Allan Poe’s living environment and his tragic personal
experience
Allan Poe is a matter of art, whose life is rough and tough. His whole life is down and out, because he suffered a lot from hardness, troubles, sorrowness and disasters. No matter when he was alive or dead, he did not get the attention which he deserved. Besides Allan Poe himself, there were not anybody in the outside world held the same opinions on him. Emerson thought him as a poet with no real ability; Mark Twain said that Allan Poe‟s works was not worth reading. On the contrary, on the other side of the Atlantic Ocean, Allan Poe was very popular in the European literary world. Most of the famous European writers praised his talent very much. It is not until the early 20th century that Allan Poe is best known for his tales of mystery and the macabre; Poe was one of the earliest American practitioners of the short story and is generally regarded as the creator of the detective genre. He is further credited with contributing to the appearance of fiction. He was the first well-known American writer who is trying to make out a living through writing alone, resulting from a financially difficult life and career.
He was born in Boston, Massachusetts; at that time he was called as Edgar Poe He was orphaned at an early age when his mother died shortly after his father abandoned the family. Poe was adopted by John and Frances Allan, but they never formally adopted him. Therefore, there were not intimate relationships between he
and his step-parents. In his tenth, Allan Poe‟s relationship with his step-father was worsened. Then in the end, he cut off the relationship with his step-parents. Maybe because of the lack of warmness and safety, Allan Poe always thought of his biological mother. In order to seek comfort and support for his heart, he was determined to be addicted into corruption to express his rebel to his step-father. He is addicted into gamble, alcohol, horses and tobacco. He attended the University of Virginia for one semester but left due to lack of money. After enlisted in the Army and later failing as an officer's cadet at West Point, Poe parted away with the Allans. His publishing career began humbly, with an anonymous collection of poems, credited only to "a Bostonian".
Poe changed his focus to prose. After spending the next several years working for literary journals and periodicals, he became famous for his own style of literary criticism. Because of his work, he was forced him to move among many cities. In Baltimore in 1835, he married his 13-year-old cousin- Virginia. In January 1845 Poe published his poem, "The Raven", to enjoy an instant success. After the poem was published, His wife died of tuberculosis two years. He began to plan to produce his own journal, The Penn, though he died before it could be produced. On October 7, 1849, at age 40, Poe died in Baltimore; the cause of his death is unknown and has been variously attributed to alcohol, brain congestion, cholera, drugs, heart disease, rabies, suicide, tuberculosis, and other agents.
Allan Poe himself had enjoyed a very short and rough life. Before his death, he was so humble that nobody can recognize him. However, not long after his death, a widespread fame poured to him. Allan Poe became acknowledged by the masters and the commons in Americans and even in the international literary world, and then he was regarded as the towering writers, poets, novelists in the international literary world.
B. Influence from the British gothic fictions
In Poe's age,the price of books depreciated greatly because of the changes in print brought by the Industrial Revolution.So literary works were no longer only found in the aristocratic family, they began to have middle and under-class readers.So when writers created their stories they had to take the taste of the readers into consideration.Poe was not all exception for his livelihood.He made a research and found that people were extremely interested in the gothic novel which is full of horror and grotesquery.When reading Poe's short stories,the readers are not only impressed by the weird characters,but also greatly stroke by the hair-raisingly mysterious and somber atmosphere.In this sense,we can call Poe's short stories gothic fictions.As we can see,this kind of short stories takes a great proportion in Poe's literary works,and they almost share the striking characteristic:horror.Many Chinese students of English and American literature have no idea about what the Gothic is,but they certainly know about „'Frankenstein”, “Scarlet Letter” “The Black Cat", or “A Rose for Emily"‟,We do not need to categorize Mary Shelley, Poe,Hawthorne or Faulkner definitely as the Gothic writer, but excluding their works from the tradition of the gothic will certainly overlook some important points of their writing.Then what is the gothic? Even if we confine our defining task to gothic fiction, the most important,most popular, and most studied form of the gothic,the situation is still complicated,While the early gothic fiction is the fiction of the haunted castle,of heroine preyed on by unspeakable terrors,of the evil villain, of ghosts,vampires,and monsters,this is not the only literary meaning of the gothic because over the last two centuries,“gothic”has acquired a number of other usages.
Dimensions of Gothic of The Literature of Terror, provides a comprehensive and historical survey of different meanings of the Gothic in different contextsxi.Its original meaning, “to do with the Goths ”or with the barbarian northern tribes, is of more historical significance than of geographical one in the eighteenth century.Because of this,it was gradually used to describe things medieval and
opposite to "classical", which affected whole areas of eighteenth century--architectural,artistic and literary.In this case,it represented the medieval,the primitive and the wild.For the publishers of 1790s,"gothic" is paperback historical romance.In another case,it refers to a certain kind of American diction written by Southern writers.Punter calls it “New American gothic”. He can also refers to ghost story or horror fiction of H.P Lovecraft and Algernon Blackwood,closer to the original gothic.More contemporary, films of suspense and terror as those made by Alfred Hitchcock and Roman Polanski have also brought a new comprehension of “gothic”. Because the gothic is at once too popular, too diversified and too dimensional.Critics seem to prefer to beat around the bush to give us a straight and clear definition.One way of describing the genre is to turn to the figure of speech.Maggie Kilgore compares the rise of gothic novel to Frankenstein's monster rising from the laboratory table,or Dracula Creeping out of his coffin.Like Frankenstein's monster, the form of the gothic is a sort of ghostly assembly of the bits and pieces of the past.David Punter offers a bird's-eye view of the gothic by referring it as “the ghost of a history”.Psychoanalytic critics label the gothic “a dream literature” or a bit more exact, “a literature of nightmare".He would rather emphasize the gothic's long history and wide and lasting influence by seeing it as a big tree that is deep-rooted,flourishing and evergreen.While tropes can vivify the general impression of the gothic,they are not all academic definition that,in this case,is supposed to cover themes,style and other features of the gothic.In the same occasion, Punter sums up five approaches to defining the gothic.The first view is from the socio-psychological point.It sees the gothic rejuvenate as a movement in the cultural history.The second approach concentrates on the nature of plot by arguing that the original gothic achieved certain specific advances in this area through its narrative complexity and skills to set up suspense.The third approach is quite different from the second one and it sees this narrative complexity as a narrative difficulty, a purposefully irrevocable response to the taboo quality, such as incest or rape,of many terrific themes.From this point,this approach can be connected with the fourth one,
namely, the gothic represents a particular opposite attitude towards realism,a bourgeois prejudice.The last approach is thematic.Though witnessing that the gothic is associated with terror, with the unrecognized,this approach does not prove why some themes belong exclusively to the gothic successfully.
The heyday of the gothic romance covered the late eighteen century and early nineteenth century.It was initiated in England by Horace Walpole's immensely successful.Making many readers afraid to go to bed at that time,this romance attracted vast attention after it came out.Byron called Walpole “the author of the last tragedy and the first romance in the language".Scott labeled the novel an “original‟‟ work created by a “great genius”. Yet in the eyes of a modern reader, this sensation-seeking novel may as well be accused of as being artificial, unconvincing and mediocre.Although of slight artistic merit,as an attempt to chip away the dominant neoclassicism of the eighteenth-century English literature, and as the founding text of an everlasting and wide—influencing genre, Frederick R Karl concludes the three differences between this novel and the romantic fiction: First of these is the gothic castle,whose atmosphere thins the line between supernatural and natural...Second are the climatic conditions,of storm,wind blasts,moonlight of which act as suitable background for the awesome castle. Third in this swirl of events and effect is the melancholy young mall who seems to carry a weight on his heart and shoulders—the Byronic hero of later years. Frederick does grasp some innovative elements of the gothic budding in this novel yet he forgets some other important qualities:the original reconciliation of past and present,the gothic family, the psychological possibilities, and the victim-heroine pattern, a young beauty whose chastity or property is seriously threatened by the villain-hero.These new features not only set the stock patterns of the later gothic romance,but also opened a new frontier for subsequent development,Karl further gives a somewhat objective comment on the value of this novel:As a novel,it is nonsense;as a vision,it gains significance.The wide popularity of this form,especially among the English middle-class ladies,invited numerous imitations and followers.By the end of the 1790th demand for such books had grown into all addition which resulted in the hasty manufacture of
multitudinous and mediocre gothic romance,a fact reflected by Jane Austen's famous parody of the Gothic novel,During the end of the nineteenth century, the gothic novel had traveled to the New Continent following the American Charles Brockden Brown's visit to London.The first professional man of letters in America and the first important American novelist.Brown drew his inspiration on the English gothic novelists.Especially William Godwin and Ann Radcliffe.It was he who began a powerful tradition in American gothic writing that survived throughout the nineteenth century in Edgar Allan Poe, Herman Melville,and Nathaniel Hawthorne to the twentieth century in Henry James and the contemporary Southern gothic.His first and best-known “Wieland'‟ is America‟s earliest memorable piece of plotted fiction written in great haste,Brown‟s creation has often been criticized for its crude structure,awkward action and stilted style.But rather than in its artistic merits,the importance of his work lies in that it pioneered in a seemingly over-ploughed field.It is in his fiction that some of the most pronounced characters of American gothic sprouted:exploration of the dark side of human nature,the Americanized setting of the strange and marvelous,and a scientific explanation for the mysterious events. In his contributing piece to Encyclopedia of the novel Victor sage marks 1820 as the end of the first stage in the evolution of the Gothic:„'It is at this historical point that the gothic novel broke up and became a scattered but now permanent movement".But before the gothic novel passed its heyday, two novels appeared which are among the most important gothic novel.One is Mary Shelley's "Frankenstein”;the other is Charles IL Maturin's “Melmoth”,the “Wanderer”.Similar To “The Monk""Melmoth" is over-detailed.What made it greatly admired by Thackeray, Baudelaire, Balzac and Oscar Wilde is that in this novel,"fear is taken out of the realm of the conventional and exalted into a hideous cloud over mankind's very destiny'‟.This appraisal is to some extent applicable to Frankenstein.Yet compared with the failure of "Melmoth‟‟ to appeal to the contemporary reader, Frankenstein has been approached continuously as a science fiction and as all allegorical story.
Edified by the British literature,Poe liked to read British gothic novel.Many of Poe's stories took place in the gothic environments,as such the declining aristocratic family or graves full odd and dead bodies.In his stories.The gothic medieval religious excruciation and crazy killing in revenge are the common plots,and the characters are always pale,seriously ill or mentally depressed and hysteria.Poe's gothic fictions inherited the environmental setting mode in traditional British Gothic novel:the stories happen in a closed and isolated space, which will not let the readers associate with their own ages.He created a new world.In which his readers will concentrate on the plot of atmosphere of the story.Poe believed that the finest art exists in a world different from one's own;in order to create such a world,all ambiguous time background is needed so as to bring the readers into an ideal wonderful world that is far away from their everyday life.Poe's story sometimes takes place at an unknown place such as in “The Fall of the House of Usher”,of in some large,old,decaying city near the Rhine such as in “Ligeia”.In another word,Poe's story seldom happens in a recognizable place.The characters in Poe's works have not a name or sometimes just are given a name randomly.What is emphasized by Poe is the final effect of his personal creation and its emotional function.The reason that “The Pit and the Pendulum” is regarded so great does not lie in knowing or not knowing the name of the Narrator of the story, but in that it brings the readers to a lifelike environment and feels these panic as the character does.But Poe was not a simple imitator of the traditional British gothic novel,he developed the gothic literature to a new begin.Compared with Walpole or Radcliffe,the "past" in Poe's short stories is more dark and terrible, such as in The Ht and the Pendulum,Compare with Byron and Coleridge, the Supernatural elements are much farther away from our realistic life.This is not only a question of geographical location,what is more important is the difference of the impressibility, Poe's imagination endowed more mysterious color and atmosphere to the rains,he was more straight forward to show us the crazy and the horror he felt when one was buffed alive.Miraculously Poe could combine the material like the wild shrieks and howls of the mad man and the gothic form and style together, then dug into human's sub-consciousness deeply, of even
endowed philosophical signification to it.Brown was the first American writer who wrote gothic novels,but Edgar Allan Poe was the first American who created gothic novel in real sense.In America or even in Britain, Poe was not only the first writer who expatiated theories of gothic novel systematically, but also created a series of complementary works to support and develop his own theory of literary criticism.Many scholars regarded Poe's works as apocalypse for modem people.Poe had surpassed his age.This is where Poe's wisdom lies in his contribution to the development of gothic novel.Poe's gothic Fictions especially emphasized on the disclosure and description of the characters' psychological pain and honor, so Poe achieved great accomplishment in his profound and exquisite psychological analyze.This is also an important reason for the gothic novel to develop from popular to classical.From the day it made its public appearance,the gothic has been approached from the historical,political,psychological and artistic perspective to this day.Though arousing incessant and increasing critical interest,generally speaking, the gothic does not fare well in criticism.Early critics worried greatly about its "subversive" effect on the reader which made reading it a dangerous experience.It is true that the adventure always ends with good over evil.But more exciting is the process which indulges the reader into an unreal,fantastic world and exposes him/her to the abnormal sexual relations,violence and blood. That Mathew Lewis had to reedit his Monkish good example.Modern criticism focuses on its politically subversive power, an echo of the French Revolution of 1789 and a rebellion against the dominant bourgeois norm.Aiming at the particular appeal of the Gothic to the female reader, Some feminist critics argue that the gothic is especially poisonous to women for it keeps women at home--reading—by offering an illusory, romantic experience.Besides,in the gothic world,women are so helpless and at the mercy of men.Their happy marriages are granted by men who are young, handsome heroes coming to their rescue.All such debates are of political origin.From their artistic point of view, the gothic has long been a sitting target for its stock devices,flat characters as well as the narrative incoherence resulted from the often too long,
digressive subplots. Reasonable as the traditional abasement of the gothic may well be, all indifference to the pervasive and profound influence of this genre would certainly make the study of the gothic a partial one,So the "other" voice that emphasizes the importance and influence to the gothic deserves our attention because it may be out a rethinking of what is gothic in fiction
C. Its aesthetic value
One of the most emphasized elements in this thesis is to discuss the existential evidence of the feature of horror in Poe's gothic fictions from western literary theory and aesthetic point of view.The brightest features of the gothic fictions are horror, heartquake, pain and evil and the description about unusual and extreme event which pursue a strong literary effect.If he tries to search the theoretical basis existential value and aesthetic trait of the contents represented in the gothic fictions from the theoretic lay, it can be traced back to the ancient Greek literary theorist Aristotle's Poetics more than 2000 years ago and the theory of sublimity in the western world.When we read the gothic fictions as the so called “black novel”:these theories not only help to expand the space of reading,appreciating and thinking, but also to eliminate the “dead angle” that has long been stored up in our consciousness ,then change our prejudice to the gothic fiction radically.Western people pay much attention to the opposition and struggle between sense and sensibility, individual and society, individual and nature.They advocate the beauty of conflicts which is expressed by fierce clash and cruel finale on their aesthetic ideology.Therefore,the western literary creation since ancient Greece has the feature of romancing and revealing conflicts,violence and cruel , horror.He cannot say it is vulgar to describe honor,adventure, darkness and evil in literature.The purpose is not to seek sensory excitement,on the contrary, the pain caused by horror, adventure,darkness can be transferred into an aesthetic delight.What is more important is that the delight can implant a free and optimistic personality in the heart of the readers, which is an indispensable part to construct the aesthetic education.
Conclusion
Edgar Allan Poe is such a knowledgeable, learned and imaginative figure who was outstanding in American literary history. He could skillfully manipulate the words in his literary works to create everything people can think of by his sensitiveness and sternness. His pursuit of beauty labels him the first man who keeps to the principle of “art for art's sake.”Among the beauties represented in Poe's works.The reader think the beauty of terrors as the most striking one.
Terror has long been taken as a subject in western aesthetics. Trough the detailed description about Allan Poe‟s terrorism, this thesis helps readers have a better understanding of the differences between the general romanticism and Poe‟s terrorism and how the social circumstances influenced Allan Poe‟s terrorism. Meanwhile, the analysis of Allan Poe‟s terrorism in his works can also make readers fascinated by his charming literary works. And how his terrorism reflected in his works may drive readers to read more works. The totally different genres present Allan Poe‟s terrorism from different angles, which can help readers have a better understanding of Allan Poe‟s interior world. Through reading Allan Poe‟s works, readers can easily know where terrorism came from, how terrorism came into being. What‟s more, the circumstances which Poe lived in did have a deep influence on his terrorism.
There has never been any doubt about Poe's enormous literary significance, but, with regard to his ultimate artistic merit, there has been considerable disagreement. To some he is little more than a successful charlatan, whose literary performances are only a virtuoso's display of stunning, but finally shallow, effects. Others, however, are struck by Poe's profound probing of the human psyche, his philosophical sophistication, and his revolutionary attitude toward literary language. No doubt both sides of this argument are in part true in their assessments. Poe's work is very uneven, sometimes reaching great literary heights, at other times striking the honest reader as meaningless, pathetic, or simply wrong-headed. This is not surprising, considering the personal turmoil that characterized so much of Poe's short life. All in all, Allan Poe is
really a great literary figure in American and even international literary world. The aesthetic value of his gothic short stories may have an everlasting influence on the coming generation.
Notes:
1 Edgar Allan Poe, John Henry Ingram. The Works of Edgar Allan Poe. BiblioBazaar, 2010
1 Edgar Allan Poe.Tales of terror, Prentice Hall PTR, March 1st ,2003. P186
1 Wikipedia,Introduction to Allan Poe
1 Ibid.
1 Edgar Allan Poe,Poe: Poetry and Tales
1 Edgar Allan Poe,the fall of the house of the usher
1 Ibid.
1Corinne Demas, Great American Short Stories: From Hawthorne To
Hemingway,2004,P576
1 Rufus Wilmot Griswold, Nathaniel Parker Willis, James Russell Lowell,The works of the late Edgar Allan Poe,the second volume, 1853
1 William Harrison Ainsworth, Bentley's Miscellany, the eighth volume,1840
1 Andrew Smith, Gothic Literature, Edinburgh University Press, 2007 ,P 201
Bibliography:
Aristotle, Rhetoric. Trans. Ingram Bywriter. New York: Modern Literary, 1954.
Aristotle, Poetics..Trans. Seth Bernadette and Michael Davis,
Bend, Ind.: St. Augustine's press, 2002
Auden, Wyston Hugh. Introduction to Edgar Allan Poe: Selected prose and poetry. In
Graham Clarke. Edgar Allan Poe: Critical Assessments(Vol. Ⅰ).Mountfield: Helm Information Ltd.,1991:276
Beers, Henry A. A history of English romanticism in the Eighteenth century. New
York; Gordian Press, 1996.
Burke, Edmund. A Philosophical Enquiry into the origin of the Our Ideals of the
Sublime and beautiful. The Sublime: a Reader in British Eighteenth -Century Aesthetic Theory .Ed. Andrew Ashfield and Peter de Bolla. Cambridge: Cambridge University Press, 1996.
Chase, Lewis. Poe and his poetry. London: Gorge G. Harrap&Co.,1913
Fielder Leslie. Love and death in the American Novel. New York, Criterion Books,
1960.
Hammond, Carla. Seven Founders of American literature. Winston Salem: John F.
Blair
Hennessy, Braden. The gothic Novel. London Group Limited, 1978.
Karl, Frederick R. The Adversary Literature. New York: Farrar, Straus and Giroux,
1974.
Keech, James M. The Survivals of the Gothic Response. Nineteenth-Century
Literature Criticism 28.Ed. Laurie Lanzen Harris. Detroit: Gale Research Company, 1981.
Lewis A Lawson. Poe and the Grotesque: A Bibliography, 1695-1965, Poe Newsletter,
1968, (1):9-10.
Lovecraft, Howard Phillips. Supernatural Horror in Literature. New York: Dover
Publications, 1973.
May, Charles E. Edgar Allan Poe-A study of the short fiction. Boston: Dwayne
Publishers, 1991. South
Moore, Geoffrey. Great American Poets: Edgar Allan Poe. New York: Clarkson
N.Potter,Inc.,1988:18
Niemeyer, Mark. Poe and Popular Pulture. The Cambridge Companion to Edgar
Allan Poe.Ed. Kevin J. Hayes. Cambridge University Press, 2002.
People, Scott. Edgar Allan Poe Revisited. London: J. M. Dent&Sons, 1971.
Pennell, Melisa McFarland. Masterpieces of American Romantic Literature. Beijing:
China Renmin University Press,2007
Qinn, Arthur Hobson. Edgar Allan Poe: A critical Bibliography. New York: Cooper
Square Publishers,1972
Ransome, Arthur. Edgar Allan Poe: A Critical Study. New York: Haskell House
Publishers,1972
Vines, Lois Davis. Valery and Poe: A Literary Legacy. New York: New York
University Press, 1992
爱伦.坡.爱伦.坡短篇小说集.陈良廷、徐汝春译。北京:外文文学出版,1982. 曹明伦译,《爱伦坡精品集》.安徽文艺出版社,1999
范明生.西方美学通史第1卷.上海:上海文艺出版社,1999.
蒋孔阳.西方美学通史(第一卷 古希腊罗马美学).上海:上海文艺出版社,1999.
[英]马库斯.坎利夫.方杰.美国的文学.北京:中国对外翻译出版公司,1985 中外比较文学史(上古时期).山东:山东教育出版社,1998.
XXXX大学本科生毕业论文(设计)评议书
i Edgar Allan Poe, John Henry Ingram. The Works of Edgar Allan Poe. BiblioBazaar, 2010
ii Edgar Allan Poe.Tales of terror, Prentice Hall PTR, March 1st ,2003. P186
iii Wikipedia,Introduction to Allan Poe
iv Ibid.
v Edgar Allan Poe,Poe: Poetry and Tales
vi Edgar Allan Poe,the fall of the house of the usher
vii Ibid.
viiiCorinne Demas, Great American Short Stories: From Hawthorne To
Hemingway,2004,P576
ix Rufus Wilmot Griswold, Nathaniel Parker Willis, James Russell Lowell,The works of the late Edgar Allan Poe,the second volume, 1853
x William Harrison Ainsworth, Bentley's Miscellany, the eighth volume,1840 xi Andrew Smith, Gothic Literature, Edinburgh University Press, 2007 ,P 201
Bibliography:
Aristotle, Rhetoric. Trans. Ingram Bywriter. New York: Modern Literary, 1954. Aristotle, Poetics..Trans. Seth Bernadette and Michael Davis,
Bend, Ind.: St. Augustine's press, 2002
Auden, Wyston Hugh. Introduction to Edgar Allan Poe: Selected prose and poetry. In
Graham Clarke. Edgar Allan Poe: Critical Assessments(Vol. Ⅰ).Mountfield: Helm Information Ltd.,1991:276
Beers, Henry A. A history of English romanticism in the Eighteenth century. New
York; Gordian Press, 1996.
Burke, Edmund. A Philosophical Enquiry into the origin of the Our Ideals of the
Sublime and beautiful. The Sublime: a Reader in British Eighteenth -Century Aesthetic Theory .Ed. Andrew Ashfield and Peter de Bolla. Cambridge: Cambridge University Press, 1996.
Chase, Lewis. Poe and his poetry. London: Gorge G. Harrap&Co.,1913
Fielder Leslie. Love and death in the American Novel. New York, Criterion Books,
1960.
Hammond, Carla. Seven Founders of American literature. Winston Salem: John F.
Blair
Hennessy, Braden. The gothic Novel. London Group Limited, 1978.
Karl, Frederick R. The Adversary Literature. New York: Farrar, Straus and Giroux,
1974.
Keech, James M. The Survivals of the Gothic Response. Nineteenth-Century
Literature Criticism 28.Ed. Laurie Lanzen Harris. Detroit: Gale Research Company, 1981.
Lewis A Lawson. Poe and the Grotesque: A Bibliography, 1695-1965, Poe Newsletter,
1968, (1):9-10.
Lovecraft, Howard Phillips. Supernatural Horror in Literature. New York: Dover
Publications, 1973.
May, Charles E. Edgar Allan Poe-A study of the short fiction. Boston: Dwayne
Publishers, 1991. South
Moore, Geoffrey. Great American Poets: Edgar Allan Poe. New York: Clarkson
N.Potter,Inc.,1988:18
Niemeyer, Mark. Poe and Popular Pulture. The Cambridge Companion to Edgar
Allan Poe.Ed. Kevin J. Hayes. Cambridge University Press, 2002.
People, Scott. Edgar Allan Poe Revisited. London: J. M. Dent&Sons, 1971.
Pennell, Melisa McFarland. Masterpieces of American Romantic Literature. Beijing:
China Renmin University Press,2007
Qinn, Arthur Hobson. Edgar Allan Poe: A critical Bibliography. New York: Cooper
Square Publishers,1972
Ransome, Arthur. Edgar Allan Poe: A Critical Study. New York: Haskell House
Publishers,1972
Vines, Lois Davis. Valery and Poe: A Literary Legacy. New York: New York
University Press, 1992
爱伦.坡.爱伦.坡短篇小说集.陈良廷、徐汝春译。北京:外文文学出版,1982. 曹明伦译,《爱伦坡精品集》.安徽文艺出版社,1999
范明生.西方美学通史第1卷.上海:上海文艺出版社,1999.
蒋孔阳.西方美学通史(第一卷 古希腊罗马美学).上海:上海文艺出版社,1999.
[英]马库斯.坎利夫.方杰.美国的文学.北京:中国对外翻译出版公司,1985 中外比较文学史(上古时期).山东:山东教育出版社,1998.