By Sebastian Langner
In distinction to the recent Criticism-school that have been triumphing until eventually the Nineteen Forties, and observed the textual content on my own because the sole foundation for literary feedback, Fiedler attempts to include biographical details at the writer and insights in his sociocultural setting into his analysis.
Surprisingly, his exam of Edgar Allan Poe's oeuvre seems as curtly because it is simplifying. He stylizes Poe because the darkish aspect of the yankee dream, a depressed and miserable madman, incarnating his fantasies into tales of doubtful advantage. Being an ardent opponent of the hot Criticism-school, Fiedler can't support yet relate the alternative of Poe's issues and characters exclusively to the writer himself, mentioning that “in Poe the incest topic belongs to the non-public global of his personal tortured psyche […].” For Fiedler, “The abnormal syndrome of kid -love, necrophilia, and incest in Poe is just too own and pathological to shed a lot mild at the basic which means of the latter topic in American literature and life.”4 rather than treating Poe as a singularity worthy extra research, he dismisses the author's paintings because the questionable fancies of a mentally deranged.
But the undeniable recurrence of the above-mentioned subject matters in Poe's paintings begs the query: Is Leslie Fiedler correct? Are Poe's pathological characters to be pointed out with the writer and his personal “tortured psyche”?
To resolution that query, and probably to rebut Fiedler's conception often is the target of this paper.
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Are Edgar Allan Poe's pathological characters to be identified with the authors own “tortured psyche”? by Sebastian Langner