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Edgar Allan Poe: Main Page | an Impressive Edgar Allan Poe Poetry Sampler | Thought Provoking Quotes by Poe | Poe's Sumptuous Beauty and Suggestiveness | Edgar Allan Poe : mysterious, dreamlike, and often macabre forces | Poe's Later Life and Mature Works | Edgar Allan Poe : Books and Reviews | Poe had an air of Objectivity and Spontaneity | Poe Admired Originality | Edgar Allan Poe Concerned with Terror and Sadness | Poe's Puzzle a Secret Nevermore | Katharena's Essential Poe, for the Morbidly Curious

• Meet Edgar Allan Poe
• Poetic Styles
• 100 Poems of Love
• Quotes by Poets
• Meet all the Poets
• I can't write Poetry!
• Publish Your Poetry!

Much of Edgar Allan Poe's best work is concerned with terror and sadness, but in ordinary circumstances the poet was a pleasant companion. He talked brilliantly, chiefly of literature, and read his own poetry and that of others in a voice of surpassing beauty. He admired Shakespeare and Alexander Pope. He had a sense of humour, apologizing to a visitor for not keeping a pet raven. If the mind of Poe is considered, the duality is still more striking. On one side, he was an idealist and a visionary. His yearning for the ideal was both of the heart and of the imagination. His sensitiveness to the beauty and sweetness of women inspired his most touching lyrics ("To Helen," "Annabel Lee," "Eulalie," "To One in Paradise") and the full-toned prose hymns to beauty and love in "Ligeia" and "Eleonora." In "Israfel" his imagination carried him away from the material world into a dreamland. This Pythian mood was especially characteristic of the later years of his life.

More generally, in such verses as "The Valley of Unrest," "Lenore," "The Raven," "For Annie," and "Ulalume" and in his prose tales his familiar mode of evasion from the universe of common experience was through eerie thoughts, impulses, or fears. From these materials he drew the startling effects of his tales of death ("The Fall of the House of Usher," "The Masque of the Red Death," "The Facts in the Case of M. Valdemar," "The Premature Burial," "The Oval Portrait," "Shadow"), his tales of wickedness and crime ("Berenice," "The Black Cat," "William Wilson," "Imp of the Perverse," "The Cask of Amontillado," "The Tell-Tale Heart"), his tales of survival after dissolution ("Ligeia," "Morella," "Metzengerstein"), and his tales of fatality ("The Assignation," "The Man of the Crowd"). Even when he does not hurl his characters into the clutch of mysterious forces or onto the untrodden paths of the beyond, he uses the anguish of imminent death as the means of causing the nerves to quiver ("The Pit and the Pendulum"), and his grotesque invention deals with corpses and decay in an uncanny play with the aftermath of death.