Edgar Allan Poe : rhetoric and style by Poe, Edgar Allan; Poe, Edgar Allan; Zimmerman, Brett; Poe,

By Poe, Edgar Allan; Poe, Edgar Allan; Zimmerman, Brett; Poe, Edgar Allan

Critics have usually charged Edgar Allan Poe with sloppy writing. utilizing stylistics and classical rhetorical conception, Brett Zimmerman demonstrates that Poe used to be actually a super and planned lexical technician who different his prose kind in line with style and the area perspectives and the psychological well-being or affliction of his narrators. Zimmerman breaks new flooring in Poe stories through supplying a list of 3 hundred figures of speech and proposal within the author's oeuvre, together with his stories, own correspondence, literary feedback, booklet studies, and Marginalia. This incisive catalogue of literary and rhetorical phrases, provided in alphabetical order and amply illustrated with examples - as well as shut examinations of a few of Poe's most vital stories - overwhelmingly demonstrates Poe's rhetorical and linguistic dexterity placing an almost two-hundred-year-old serious debate to leisure by means of exhibiting Poe to be a conscientious craftsman of the top order

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5: z63) The main thought in this long structure is at the very end, but we must wade through twelve dependent clauses before we get there. " Clearly, long left-branching sentences can retard the pace of a passage; Poe does so deliberately and dius forces us to consider at torturous length the horrors of being buried alive (premature burials of various kinds occur several times in Poe's fiction and, as is well known, he himself may have suffered from taphephobia — fear of premature interment). " Here, style advances theme.

His examination of die chirography of over a hundred authors and editors is laced with deductions showing his belief that a signature can indicate much about a signatory's writing style, and that it also tells us about his or her mental qualities. If my logic is correct, then, a connection between style and personality can be made through the intermediary of the written name. One quote should suffice to demonstrate the link between chirography, literary style, and mental characteristics: writing of Judge Story, Poe says, "His chirography is a noble one — bold, clear, massive, and deliberate, betokening in the most unequivocal manner all the characteristics of his intellect.

Harrison, confirms and elaborates by quoting a former acquaintance of Poe, Col. Thomas H. Ellis, who paid tribute to Poe in the Richmond Standard on j May 1881: "Talent for declamation was one of his gifts. I well remember a public exhibition at the close of a course of instruction in elocution which he had attended ... and my delight when, in the presence of a large and distinguished company, he bore off the prize in competition with ... 2 It is hard to imagine a precocious Virginia boy being unaware of rhetoric, given his environment: "Little Edgar's childhood and youth were passed in an atmosphere of sociability, open-air sports, oratory, and elocution.

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