“The Poetic Principle” by Edgar Allen Poe: Summary and Critique

Introduction: “The Poetic Principle” by Edgar Allen Poe

“The Poetic Principle” by Edgar Allan Poe first appeared in Home Journal on August 31, 1850, as a reprint from his forthcoming volume The Literati. In this essay, Poe articulates his theory of poetry, emphasizing that poetry’s primary function is to evoke beauty and elevate the soul. He argues against the notion of long poems, asserting that genuine poetic excitement is fleeting and cannot be sustained throughout extended works. Poe criticizes the epic form and contends that poetry should not serve didactic purposes or convey moral truths. Instead, he believes poetry exists for its own sake, with beauty as its ultimate goal. The essay is significant in literary theory because it advocates for an aesthetic approach to poetry, focusing on emotion and beauty rather than moral instruction or intellectual rigor, thus contributing to discussions on the purpose and nature of art.

Summary of “The Poetic Principle” by Edgar Allen Poe

• Purpose of Poetry: Elevation of the Soul
  • Poe argues that true poetry must elevate the soul and induce a pleasurable excitement through beauty. He asserts that “a poem deserves its title only inasmuch as it excites, by elevating the soul” and that this elevation is the hallmark of a genuine poetic work.
• Rejection of Long Poems
  • Poe criticizes the concept of long poems, stating that the excitement needed to sustain a poem cannot endure for extended periods. He writes, “a long poem does not exist. I maintain that the phrase ‘a long poem’ is simply a flat contradiction in terms.” He explains that long works inevitably lead to alternating feelings of excitement and depression, which undermine their poetic unity.
• Criticism of Didactic Poetry
  • Poe rejects the idea that poetry should serve as a vehicle for moral or philosophical instruction. He strongly opposes the heresy of the didactic, stating that “it has been assumed, tacitly and avowedly… that the ultimate object of all Poetry is Truth,” but he argues that this is a misconception and that poetry’s primary goal should be the creation of beauty.
• Poetry for Its Own Sake
  • In contrast to didacticism, Poe advocates for poetry that exists for its own sake, purely for the appreciation of beauty. He declares, “this poem per se — this poem which is a poem and nothing more — this poem written solely for the poem’s sake,” emphasizing the intrinsic value of poetry beyond any external purpose.
• Music and Rhythm in Poetry
  • Poe highlights the vital role of rhythm and music in poetry, considering it an essential component of the art. He writes, “Music, in its various modes of metre, rhythm, and rhyme, is of so vast a moment in Poetry as never to be wisely rejected,” and he argues that rhythm and melody are key to achieving the aesthetic effects of poetry.
• Distinction Between Poetry and Truth
  • Poe makes a clear distinction between poetry and intellectual or moral truth. He asserts that poetry is governed by taste and beauty, whereas truth pertains to intellect and morality. He writes, “With the Intellect or with the Conscience, it has only collateral relations,” indicating that poetry should be judged by its aesthetic qualities rather than its moral content.
• Supernal Beauty as the Core of Poetry
  • Central to Poe’s poetic philosophy is the idea that poetry represents the human aspiration for a higher, supernal beauty. He describes poetry as “The Rhythmical Creation of Beauty” and suggests that it reflects humanity’s innate desire to grasp a fleeting sense of the divine through artistic expression.
• Importance of Emotional Impact
  • Poe stresses that the emotional effect of a poem is more important than its length or effort. He writes, “It is to be hoped that common sense… will prefer deciding upon a work of Art, rather by the impression it makes… than by the amount of ‘sustained effort’.” This emotional impact, especially one of melancholic beauty, is a crucial component of his poetic principle.

Literary Terms/Concepts in “The Poetic Principle” by Edgar Allen Poe

Literary Term/Concept	Explanation	Reference from “The Poetic Principle”
Aestheticism	The belief that art, including poetry, should exist for beauty and its emotional impact, not for moral or didactic purposes.	“this poem per se — this poem which is a poem and nothing more — this poem written solely for the poem’s sake.”
Unity of Effect	The idea that every element of a poem should contribute to a single emotional or aesthetic effect.	“If, to preserve its Unity… the result is but a constant alternation of excitement and depression.”
Poetic Beauty	Poe emphasizes that poetry’s highest aim is the creation and appreciation of beauty.	“The Rhythmical Creation of Beauty.”
Didacticism (Criticism of)	Poe rejects the notion that poetry should serve a moral or instructional purpose, opposing didactic poetry.	“It has been assumed… that the ultimate object of all Poetry is Truth… but this is a mistake.”
Ephemeral Nature of Poetry	Poe argues that poetic excitement cannot be sustained over long periods, making short poems more effective.	“I hold that a long poem does not exist… After the lapse of half an hour… the poem is, in effect, no longer such.”
Lyric Poetry	A type of poetry that expresses personal emotions and ideas, which Poe views as central to poetry’s purpose.	“The Iliad… intended as a series of lyrics.”
Melancholy	Poe suggests that true beauty in poetry often has an undertone of sadness, a hallmark of great poetry.	“this certain taint of sadness is inseparably connected with all the higher manifestations of true Beauty.”
Music and Rhythm in Poetry	Poe highlights the importance of rhythm, rhyme, and music in poetry to create beauty and emotional effect.	“Music, in its various modes of metre, rhythm, and rhyme, is of so vast a moment in Poetry.”
Imagination vs. Truth	Poe distinguishes between the imaginative aspect of poetry and the pursuit of truth, assigning poetry to the realm of beauty rather than factual accuracy.	“Poetry has no concern whatever either with Duty or with Truth.”

Contribution of “The Poetic Principle” by Edgar Allen Poe to Literary Theory/Theories

Examples of Critiques Through “The Poetic Principle” by Edgar Allen Poe

Literary Work	Critique Through “The Poetic Principle”	Reference from “The Poetic Principle”
Paradise Lost by John Milton	Poe criticizes long poems like Paradise Lost for failing to maintain consistent poetic excitement and unity throughout. He suggests that it should be seen as a series of shorter poems rather than a coherent epic.	“This great work, in fact, is to be regarded as poetical, only when… we view it merely as a series of minor poems.”
The Iliad by Homer	Poe argues that The Iliad likely began as a collection of lyric poems rather than a unified epic, implying that its length diminishes its aesthetic effect. He criticizes the blind imitation of this epic form in modern times.	“In regard to the Iliad, we have… very good reason for believing it intended as a series of lyrics.”
The Columbiad by Joel Barlow	Poe mocks the idea that the length or material grandeur of a poem like The Columbiad should be a measure of its worth, stating that mere size cannot elicit admiration in poetry.	“There can be nothing in mere bulk… which has so continuously elicited admiration from these saturnine pamphlets!”
The Princess by Alfred Tennyson	Poe praises Tennyson for the ethereal quality of his poetry, particularly in The Princess, noting that it evokes a pure and elevating poetic sentiment, in line with Poe’s idea of poetry as the rhythmical creation of beauty.	“No poet is so little of the earth, earthy. What I am about to read is from his last long poem, ‘The Princess.'”

Criticism Against “The Poetic Principle” by Edgar Allen Poe

• Overemphasis on Aesthetic Beauty at the Expense of Meaning
  • Critics argue that Poe’s focus on beauty as the sole purpose of poetry limits its scope, ignoring the capacity of poetry to address complex human experiences, moral questions, or intellectual inquiries.
• Rejection of Long Poems as Contradictory to Historical Legacy
  • Poe’s dismissal of long poems as inherently flawed is seen as overly rigid. Epic works like The Iliad and Paradise Lost are widely regarded as masterpieces, suggesting that long poems can indeed sustain poetic excitement and achieve unity.
• Neglect of the Didactic Function of Poetry
  • Poe’s rejection of didacticism overlooks the rich tradition of moral and philosophical poetry, from Dante to Wordsworth, where poetry serves to enlighten readers, not just to evoke beauty.
• Subjectivity of Aesthetic Experience
  • The notion that beauty should be the primary goal of poetry is highly subjective, as what constitutes “beauty” varies widely among readers and cultures. Poe’s theory could be criticized for offering an overly narrow, individualized definition of poetry’s value.
• Undervaluing the Role of Passion and Emotion in Poetry
  • While Poe emphasizes beauty and aesthetic elevation, critics might argue that he underplays the importance of deep emotional engagement, such as passion, sorrow, or empathy, which are central to many celebrated poems.

Representative Quotations from “The Poetic Principle” by Edgar Allen Poe with Explanation

Quotation	Explanation
“I hold that a long poem does not exist.”	Poe argues that long poems cannot maintain the necessary level of emotional and aesthetic excitement throughout their length.
“A poem deserves its title only inasmuch as it excites, by elevating the soul.”	Poe defines true poetry as that which elevates the soul, emphasizing that poetry’s value lies in its emotional and spiritual effect.
“The Rhythmical Creation of Beauty.”	This is Poe’s core definition of poetry. He asserts that the purpose of poetry is to create beauty through rhythm and musicality.
“With the Intellect or with the Conscience, it has only collateral relations.”	Poe distinguishes poetry from intellectual truth or moral duty, suggesting that poetry’s primary concern is beauty, not truth or ethics.
“A long poem is simply a flat contradiction in terms.”	Poe reiterates his belief that sustained poetic excitement is impossible in long works, reinforcing his preference for shorter poems.
“The demands of Truth are severe… We must be cool, calm, unimpassioned.”	Poe explains that the search for truth requires a rational, unpoetic approach, unlike the emotive and aesthetic nature of poetry.
“All excitements are, through a psychal necessity, transient.”	Poe claims that poetic excitement is fleeting and cannot be prolonged, supporting his critique of long poems.
“This poem per se… this poem written solely for the poem’s sake.”	Poe advocates for art-for-art’s-sake, suggesting that poetry’s value lies in its form and beauty, not in conveying a moral or message.
“This certain taint of sadness is inseparably connected with all the higher manifestations of true Beauty.”	Poe believes that true beauty in poetry is often accompanied by a sense of melancholy, which enhances its emotional depth.
“Perseverance is one thing and genius quite another.”	Poe criticizes the idea that sustained effort (such as in epic poetry) is equivalent to genius, asserting that emotional impact is more important.

Suggested Readings: “The Poetic Principle” by Edgar Allen Poe

1. Tate, Allen. “The Poetry of Edgar Allan Poe.” The Sewanee Review, vol. 76, no. 2, 1968, pp. 214–25. JSTOR, http://www.jstor.org/stable/27541613. Accessed 17 Oct. 2024.
2. Bradford, Adam. “Inspiring Death: Poe’s Poetic Aesthetics, ‘Annabel Lee,’ and the Communities of Mourning in Nineteenth-Century America.” The Edgar Allan Poe Review, vol. 12, no. 1, 2011, pp. 72–100. JSTOR, http://www.jstor.org/stable/41506434. Accessed 17 Oct. 2024.
3. Hovey, Kenneth Alan. “Critical Provincialism: Poe’s Poetic Principle in Antebellum Context.” American Quarterly, vol. 39, no. 3, 1987, pp. 341–54. JSTOR, https://doi.org/10.2307/2712883. Accessed 17 Oct. 2024.
4. Riddel, Joseph N. “The ‘Crypt’ of Edgar Poe.” Boundary 2, vol. 7, no. 3, 1979, pp. 117–44. JSTOR, https://doi.org/10.2307/303167. Accessed 17 Oct. 2024.
5. Gooder, R. D. “Edgar Allan Poe: The Meaning of Style.” The Cambridge Quarterly, vol. 16, no. 2, 1987, pp. 110–23. JSTOR, http://www.jstor.org/stable/42966653. Accessed 17 Oct. 2024.