{"id":30304,"date":"2012-08-22T12:24:37","date_gmt":"2012-08-22T16:24:37","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=30304"},"modified":"2012-08-22T12:24:37","modified_gmt":"2012-08-22T16:24:37","slug":"woe-to-poe-inescapable-bloom","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/08\/22\/woe-to-poe-inescapable-bloom\/","title":{"rendered":"Woe to Poe: Inescapable Bloom"},"content":{"rendered":"

\"\"<\/a><\/p>\n

[Vincent Price as Prince Pospero in The Masque of the Red Death<\/em>]<\/p>\n

I thought I would post the following as a warm-up for the Frye centenary conference at the University of Toronto in October. This is the introductory part of the paper I am planning to give on Frye and Poe, and will doubtless end up in the trash bin, since this portion of the paper is largely a polemic directed at the unctuous Harold Bloom and a piece he wrote on Poe years ago now in <\/strong><\/em>The New York Review of Books<\/strong>. Bloom does not shoulder the responsibilities of the critic with much care. His review of a new edition of Poe\u2019s collected works was essentially an act of literary assassination.<\/strong><\/em><\/p>\n

I hope to follow with the remaining parts of this draft of the paper in the next week or two. . .<\/strong><\/em><\/p>\n

It might surprise readers not entirely conversant with Frye\u2019s writings that he should make such an important place in his writings for the work of Edgar Allan Poe. Surprising because critical responses to Poe\u2019s work have been, as Frye notes, remarkably \u201cschizophrenic\u201d from the beginning. \u201cThere have been no lack of people,\u201d as he puts it, \u201cto say that Poe is fit only for immature minds; yet Poe was the major influence on one of the subtlest schools of poetry that literature has ever seen.\u201d (CW 18:37) Part of this plentiful group of nay-sayers is Harold Bloom, self-appointed defender of the canon. Almost thirty years ago Bloom joined his voice to the chorus of Poe skeptics in a review of the two-volume Library of Congress edition of his works which appeared in the New York Review of Books<\/em> in 1984. Entitled \u201cInescapable Poe,\u201d it is an astonishing piece of criticism, consisting of little more than one glib dismissive after another, all to the effect that if Poe is a figure in the canon of literature and criticism it is only for the most spurious reasons, and not, most certainly not the fault of Harold Bloom. Poe, he says, \u201ccannot survive authentic criticism,\u201d by which, one suspects, Bloom means his own, authentic or not. Whatever valuable lessons Frye\u2019s polemical introduction to Anatomy of Criticism<\/em> had to offer, Bloom ignores them all. Instead of working to expand the diverse contexts informing our understanding of literature, to expand our woefully limited mental and spiritual horizons, Bloom chooses to base his judgment entirely on his taste, or rather distaste, and makes no effort to illuminate the admittedly often difficult and challenging, but ultimately fascinating symbolic framework of Poe\u2019s writing.<\/p>\n

Evaluation, in Bloom\u2019s hands, is an exact science. Rating Poe as an American poet of the 19th century\u2013after first exempting Whitman and Dickinson from adjudication (they are not to be sullied by comparison)\u2013he lists a dozen poets in their exact (Bloomian) order of importance. Poe fights for twelfth place with Sidney Lanier, both coming behind the alliterative and inglorious duo of\u00a0 Tuckerman and Timrod. Poe may be a very uneven poet, but on vision and originality alone he should get the highest marks. Like Blake, he is a visionary writer whose individual poems must be read as parts of a larger interpenetrating and intelligible whole, a whole whose imaginative consistency is evident from Poe\u2019s earliest writings, and whose symbolic undercurrents inform all of his later writings.\u00a0 No effort is made by Bloom to clarify this context. Instead, he short-circuits any understanding by preemptively pronouncing judgment.<\/p>\n

As for the tales, surely one of Poe\u2019s acknowledged strengths, Bloom deems them no better than Roger Corman\u2019s lurid and campy film versions, an intellectually dishonest judgment, to say the least, since they are little more than travesties, the tales only serving as the barest of pretexts. Poe\u2019s prose style Bloom particularly singles out as unfit for human consumption, adducing as an example the melodramatic opening passage of “Ligeia.” It seems not to have occurred to Bloom that the first-person narrator\u2019s portentous style might be consciously designed to fit the tale, as a number of very perceptive critics have pointed out.<\/p>\n

To be fair, Bloom does check off one box:\u00a0 Poe\u2019s affinity for a certain type of mythic story-telling. But he immediately crosses it out by referring to the \u201cdreadful universalism pervading Poe\u2019s weird tales.\u201d He\u00a0 confesses, in fact, that he was haunted and traumatized by them as a little boy–a hypersensitive little boy, to be sure.\u00a0 Poe\u2019s \u201creductive\u201d and \u201cbizarre myths,\u201d he assures us, would be much better handled by more stylistically gifted writers.<\/p>\n

He then, perhaps most astonishingly, speaks contemptuously of Poe\u2019s critical writings, including \u201cThe Poetic Principle\u201d and \u201cThe Philosophy of Composition,\u201d\u00a0 as completely unoriginal and contributing nothing to the history of criticism. Near the end of his review, Bloom invidiously compares Poe\u2019s intellectual powers to those of Emerson, a writer whose influence on the literature and criticism of the last two centuries is almost imperceptible by comparison.<\/p>\n

It is as if Bloom is somehow personally offended by the existence of Edgar Allan Poe, or at least of any claim he might have to literary stature and influence.\u00a0 It is hard to treat Bloom\u2019s sneering as a good example of the \u201cauthentic criticism\u201d he claims Poe cannot survive. Everything has its place, but Bloom is not content and must pillory Poe and deny him any legitimate place in the literary universe, without making the least effort to ascertain what that place might be. The fact that Poe is \u201cinescapable,\u201d as the great evaluator snidely puts it\u2013that he continues to be read and to be popular, and to fascinate and engross even the most sophisticated literary critics and theorists\u2013he can only explain by the ineradicable existence of poor judgment, even among the highly educated. There is, it appears, no accounting for bad taste.
\nWhat a different view of Poe we find in Frye\u2019s writings, and how bracing and liberating it is. Jean O\u2019Grady\u2019s invaluable index to the Collected Works<\/em> shows clearly Frye\u2019s extensive interest in the great American writer. Frye does in fact refer to him just that way. In his essay on Thomas Beddoes in Studies in Romanticism<\/em>, he compares the romantic English writer\u2019s interest in death and the grotesque to that of\u00a0 \u201chis great American contemporary, Edgar Allan Poe.\u201d In the Late Notebooks<\/em> he goes so far as to say that<\/p>\n

[t]he greatest literary genius this side of Blake is Edgar Allan Poe\u2014that\u2019s why he\u2019s regarded as fit only for adolescents, or French poets who don\u2019t really know English.\u00a0 I don\u2019t apply this to the poetry, but there\u2019s no prose tale, however silly, that doesn\u2019t hit an archetype in the bullseye. . . . (CW 5:165)<\/p><\/blockquote>\n

Poe features perhaps most significantly in Anatomy of Criticism<\/em>, where he is summoned at several key moments to illustrate various aspects of the structural poetics that Frye sets out in detail in that work. He is first invoked in the very good company of Bunyan, Richardson, and Dickens, not to mention Shakespeare and the Bible, as an example of the particular association of archetypes and myths\u00a0 prevalent in \u201cfairy tales and folk tales\u201d with\u201cprimitive and popular literature\u201d–literature, that is, as Frye defines these terms, \u201cwhich affords an unobstructed view of archetypes.\u201d .\u00a0 . .<\/p>\n

(To be cont\u2019d . . .)<\/p>\n","protected":false},"excerpt":{"rendered":"

[Vincent Price as Prince Pospero in The Masque of the Red Death] I thought I would post the following as a warm-up for the Frye centenary conference at the University of Toronto in October. This is the introductory part of the paper I am planning to give on Frye and Poe, and will doubtless end […]<\/p>\n","protected":false},"author":19,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"class_list":["post-30304","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nWoe to Poe: Inescapable Bloom - The Educated Imagination<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/macblog.mcmaster.ca\/fryeblog\/2012\/08\/22\/woe-to-poe-inescapable-bloom\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Woe to Poe: Inescapable Bloom - The Educated Imagination\" \/>\n<meta property=\"og:description\" content=\"[Vincent Price as Prince Pospero in The Masque of the Red Death] I thought I would post the following as a warm-up for the Frye centenary conference at the University of Toronto in October. 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