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Once upon a midnight dreary, while I pondered weak and weary.
Edgar Allan Poe
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Edgar Allan Poe
Age: 40 †
Born: 1809
Born: January 19
Died: 1849
Died: October 7
Author
Crime Writer
Essayist
Journalist
Literary Critic
Literary Theorist
Lyricist
Novelist
Playwright
Poet
Science Fiction Writer
Writer
Boston
Massachusetts
Poe
Edgar Poe
E. A. Poe
Nevermore
Quaint
Dreary
Midnight
Weary
Weak
Literature
Alliteration
Upon
Pondered
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In for ever knowing, we are for ever blessed but to know all were the curse of a fiend
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A mystery, and a dream, should my early life seem.
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To see distinctly the machinery--the wheels and pinions--of any work of Art is, unquestionably, of itself, a pleasure, but one which we are able to enjoy only just in proportion as we do not enjoy the legitimate effect designed by the artist.
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If any ambitious man have a fancy to revolutionize, at one effort, the universal world of human thought, human opinion, and human sentiment.
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A poem in my opinion, is opposed to a work of science by having for its immediate object, pleasure, not truth.
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With me poetry has been not a purpose, but a passion and the passions should be held in reverence: they must not they cannot at will be excited, with an eye to the paltry compensations, or the more paltry commendations, of mankind.
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It is by no means an irrational fancy that, in a future existence, we shall look upon what we think our present existence, as a dream.
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Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before.
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There are two bodies - the rudimental and the complete corresponding with the two conditions of the worm and the butterfly. What we call death, is but the painful metamorphosis. Our present incarnation is progressive, preparatory, temporary. Our future is perfected, ultimate, immortal. The ultimate life is the full design.
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Mysteries force a man to think, and so injure his health.
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Let us dismiss, as irrelevant to the poem per se, the circumstance ... which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.
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The unity of effect or impression is a point of the greatest importance. It is clear, moreover, that this unity cannot be thoroughly preserved in productions whose perusal cannot be completed at one sitting.
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There is no passion in nature so demoniacally impatient, as that of him who, shuddering upon the edge of a precipice, thus meditates a Plunge.
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I was a child and she was a child, In this kingdom by the sea But we loved with a love that was more than love- I and my Annabel Lee With a love that the winged seraphs of heaven Coveted her and me.
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There is something in the unselfish and self-sacrificing love of a brute, which goes directly to the heart of him who has had frequent occasion to test the paltry friendship and gossamer fidelity of mere Man.
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My next thought concerned the choice of an impression, or effect, to be conveyed: and here I may as well observe that, throughout the construction, I kept steadily in view the design.
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I have before suggested that a genuine blackguard is never without a pocket-handkerchief.
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I am walking like a bewitched corpse, with the certainty of being eaten by the infinite, of being annulled by the only existing Absurd.
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When a madman appears thoroughly sane, indeed, it is high time to put him in a straight jacket.
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