Complete Tales & Poems of Edgar Allan Poe (Barnes & Noble Collectible Editions)

Product Information

Am fost în Ungaria medievală ("Metzengerstein"), pe lună ("Hans Phaall"), în Londra ("Regele ciumă"), Paris ("Crimele din Rue Morgue"), Norvegia ("O pogorâre în Maelstrom"), Italia ("Portretul oval") şi -în fine!- într-un ospiciu ("Sistemul doctorului Catran şi al profesorului Până"). Am râs, am rămas buimăcit, am trăit alături de personaje cu respiraţia luctuoasă. Am trecut -în fine!- prin zeci şi zeci de stări! It is the malpractice of the courts to confine evidence and discussion to the bounds of apparent relevancy. Yet experience has shown...that a vast, perhaps the larger portion of the truth, arises from the seemingly irrelevant. It is through the spirit of this principle, if not precisely through its letter, that modern science has resolved to calculate upon the unforeseen...The history of human knowledge has so uninterruptibly shown that to collateral, or incidental, or accidental events we are indebted for the most numerous and most valuable discoveries, that it has at length become necessary, in any prospective view of improvement, to make not only large, but the largest allowances for inventions that shall arise by chance, and quite out of the range of ordinary expectation. It is no longer philosophical to base, upon what has been, a vision of what is to be. Accident is admitted as a portion of the substructure.”

Annotated translations of passages in French, Latin, Greek or other foreign languages, along with Poe’s own notesdai oare seama ce minunată întâmplare a fost faptul că toate aceste evenimente s-au petrecut în acea singură zi a anului în care a fost destul de frig ca să facem foc, şi că fără foc sau amestecul câinelui, tocmai în clipa aceea când a intrat, eu n-aş fi luat cunoştinţă de capul de mort şi, prin urmare, n-aş fi ajuns niciodată în stăpânirea comorii?" The Murders in the Rue Morgue”, a detective story (in which Poe introduces M.Auguste Dupin), focusses on the process of detection, in particular, the role of rational analysis:

Lucrul interesant, specific acestei serii "criminale" (şi la propriu şi la figurat) e acela că autorul, Poe, da dovadă de o colosală erudiţie -îmbinând elemente ce aparţin unui cerc larg de ştiinţe, de sorginte reală şi umană deopotrivă. Ceea ce e "savuros", cel puţin pentru mine, e faptul că, deşi vizibilă această erudiţie, ea nu este deloc ostentativă, pedantă. Analizând-o îndeaproape, am observat că fiecare detaliu e la locul lui, iar nu pus acolo ca o dovadă a pedanteriei. Lipsind nuvela de elementul respectiv, cade tot firul. Acest fapt cere, din partea artistului, o muncă imensă. The narrator cannot be blamed for his fragility. He has lost his world: he has lost his beloved Ligeia. She was everything to him, and they both knew it. Nothing could lessen the blow of her death; nothing could take the pain away of her upcoming demise: nothing could save his mind in a world without her. They were living in harmony; their souls had achieved happiness and love; they were two lesser beings of one greater soul: they were at peace in their own transcendental plane, until she died. So, the narrator’s sense of self awareness and actuality has been destroyed. He is left with the tatters of a wonderful experience, and his own delusion.Collected here is the ultimate Kindle edition of the complete works of Edgar Allan Poe—all of his tales and poems in one convenient, easy-to-use volume at a fantastic price. The Tell-Tale Heart was the story through which I have had the pleasure to meet Edgar Allan Poe some years ago, and it proved to become one of the best short stories I've ever read. Basically, it's a murderer's confession, creating the impression of a mad narrator and raising the reader's interest in his arguments he builds up as part of his defense. As the story continues, Poe cleverly turns his reader from a witness of the events into a judge of guilt and innocence, a narrative structure admired by me.

The Masque of the Red Death - a wonderfully written allegory about life and death, and no matter how rich you may be or what you have in the world, you can't avoid deathEdgar Allan Poe was a master of macabre and suspenseful poetry. Some of his most famous poems include: The Mystery of Marie Roget” concerns another death about two years later than those in the previous story. Despite the amount of factual evidence available to the press, it concerns itself primarily with “suggestions”: The City in the Sea" - A poem about a sunken city ruled by Death, where the "ghouls" and "ghosts" wander. Misterul Mariei Roget" este net inferioară nuvelei "Crimele din Rue Morgue". Ambele îl au ca protagoniste pe legendarul Auguste Dupin, ambele se bazează pe deducţii logice, ambele "anchete" pleacă de la nimic concret şi ajung să fie explicate pe zece căi lăturalnice. So with Poe, we have tone being so central to his stories. The Masque of the Red Death drives almost on tone alone, details compounding upon details until the big reveal at the end with the falling action literally being everyone falling down super dead. Half the enjoyment is just in the atmosphere though, especially in stories like The Tell-Tale Heart where most of the narrative is insisting that he is not ‘ a madman’ and listing all the ways he meticulously plots and executes his murder as a sure sign he is in full control of his faculties. It isn’t convincing, of course, and the irony of it is practically the original “could a depressed person make this?!” meme. Here, let’s revise it:

The Premature Burial": 3 - read 1/2/2022. I have to respect that Poe was probably the first person to write about the fear of being buried alive (which was apparently a common fear in Victorian times), but I prefer Zola's "The Death of Olivier Becaille" more. Zola obviously took inspiration from this, though.incipitul scrierii, Poe insistă asupra relaţiei dintre fizică şi metafizică (şi asupra înclinaţiei oamenilor de a o explica pe ce-a de-a doua cu ajutorul principiilor celei dintâi), urmând ca apoi să înfăţişeze o lume în care metafizica (corelată cu divinitatea) să se arate că ceva ce nu poate fi explicat, dar care cere a fi simţit…