Sample Student Research Project 2016: Essay
LITR
4328 American Renaissance / Model Assignments
Sample Student Research Project 2016:
Essay
Eric Howell
November 29, 2016
Through the Bottom of the Bottle: Poe and the Romantic Life
Early in the semester, we began to explore the infamous American Gothic poet,
Edgar Allan Poe. Much can be said about Poe and his emblematic work yet even
more can be learned. When Poe comes to mind, we immediately associate words such
as gloom, despair, darkness, and melancholy. The swooping of the raven, the
thumping of the hidden heart flashes before our eyes and within our ears,
consuming us into the gothic realm and idea of Edgar Allan Poe. It must be
stated that although I am familiar with Edgar Allan Poe and his works due to the
immense nature of his literary standing, I have never truly learned about his
works in a meaningful manner until this semester. Wading through the rich lines
of Poe’s Romance, I began to feel as if I could identify with one of
history’s darkest poets. An alarming thought at first, I shrunk at the idea of
sharing the same lens as such a dark, eerie man. Yet, as I have found within my
time of Dr. White’s American Renaissance course, there is more to such a
prolific literary figure, a complexity that we can only hope to understand.
One particular afternoon, our class discussion centered on Poe and his nature of
Gothicism, and, as with any lengthy discussion of Poe, his alcoholism and
addiction made its way into the conversation. After touching on the author’s use
of opium and alcohol, Dr. White made the point that while Poe was, indeed, a
functioning alcoholic, there was nothing romantic about such a fate. As an
individual with a similar disposition, something clicked within my brain.
Perhaps this was why I seemed to relate to the poetic lines of Poe? It was as if
I had known of Poe and understood his works my entire life, or rather I could
relate to him on a deeper, more personal level. Something deep within had
registered to what was without in relation to Poe’s lifestyle. The counter-idea
formulated in my mind: everything about Poe’s functioning alcoholism was
Romantic and gothic; that is, ideas and themes typically associated with
Romanticism can be applied to and drawn from Poe’s actual life and seemingly
transcend and manifest within his work.
Immediately, although briefly, I approached Dr. White after class, questioning
what he had meant by his comments concerning Poe and his affliction. Explaining
that he had simply meant that there was nothing pretty or glorious about leading
an alcoholic life, I was still not satisfied. It appeared as if Dr. White had
simply meant the traditional definition of “romantic” when discussing Poe’s life
and I had confused it with the literary definition of the word. However,
as all with a mind for literature can attest, I continued down the rabbit hole
of applying deeper meaning and symbolism to the given subject.
Romance, in the general sense of the word, is defined as displaying or
expressing love or strong affection. Happy passions running wild engulfed in a
realm of joy and idealistic nature, the very word evokes a sense of positive
emotion. However, in a literary sense, Romance can take on numerous meanings,
proving it to be a complex genre of literature. As described on the course site,
Romanticism is illustrated as feelings, emotions, and imagination taking
priority over logic and facts. In the world of literature, Romanticism means
belief in children’s innocence and wisdom, heroic individualism, and nostalgia,
taking place in the past or future; essentially, Romanticism is an abstract
setting in and of itself, as abstract as the works that lie within the
constraints of the genre. It is easy for me to see the error in my thinking when
confusing Dr. White’s use of the general definition when looking at these two
definitions side by side as they both can share similar meaning and possess an
underlying complexity and depth to no end, deepness much like Poe and the
alcoholic. While Poe does not fit the traditionally bright and flowery side of
Romanticism, he does indeed fit the opposite end of the spectrum, Gothicism.
Gothicism, a literary genre iconized by Poe, takes the elements of Romanticism
and flips them over, revealing the dark duality that inherits everything.
Characterized by sublime moments of darkness, illuminated by hues of red, gray,
and purple, Gothicism casts a shadowy literary channel that allows authors to
depict one of the most horrific entities within the universe, the mind. Grim
portraits of haunted reality are painted through the words and lines of Gothic
literature distorting reality, if only for a moment, and allowing the audience a
glimpse of the mind of Poe and authors alike.
While we must all agree that there is truly nothing romantic about the life of
an alcoholic, a life marked by “pitiful and incomprehensible demoralization,”
led by despair and the lost touch with reality, we must also acknowledge the
connection between Gothic Romanticism and alcoholism. An alcoholic lifestyle is
pure Romanticism, in a sense. Poe is a prime model for this observation,
as his life and reality are spilled into lines of poetry and poured onto the
pages of history, providing a dark flash of what it means to be an alcoholic
writer under the far-reaching umbrella of Romanticism. Within this research
project, I hope to share my connection of Poe and how he led a Romantic life,
that is, a life filled with the very elements that make up the literary genre of
Romantic Gothicism.
On the surface level, from an outsider's perspective, obviously the
life and trials of an alcoholic can be interpreted as a futile tragedy lost in
the abyss of the bottle. Yet from the alcoholic's perspective, life is
Romanticism. From always longing for the next drink (never being within the here
and now), reminiscing on better days and hopefully brighter futures, becoming
completely immersed in feeling, while almost completely detached, both mentally
and physically (and almost certainly, spiritually), from "reality and its
complicated details." The emotions of an alcoholic rage from high-highs to
drastic lows, much like the writings within Romanticism. Through the struggle of
the disease, the host sets out on an internal quest to find him or herself, or
at most finding a way to fit within the norms of society. If ever having spoken
with an individual in the throes of alcoholism, one can identify that their
perception of the world and reality is often so lofty and askew that it can
literally be taken as a life-like poem from the Romantic or Gothic genre.
To establish the lofty connection between Romanticism, alcoholism, and Poe, we
must first put to rest a central myth surrounding such a mysterious man. Often,
Poe is accredited with the painstaking title of “opium addict.” This
misconception can be derived and misconstrued from the very writings of Poe
himself. Within Poe’s stories, some of his characters spoke of opium; however,
these characters and their drug use have somehow spilled over into Poe’s own
personal character over the years. The Edgar Allan Poe Society of Baltimore
offers a valuable assertion as to why individuals could assume Poe was under the
influence of opium, stating, “although some wondered if Poe’s wild imagination
was fired by drugs, no one seems to have seriously accused him of this habit
during his lifetime.” One of Poe’s most valuable gifts, his imagination, was so
innovative and contrarian that it often led others to believe he was under the
influence of some kind; however, those who knew him personally often refuted
such accusations. In fact, the only recorded instance where Poe ever directly
spoke of opium use was in a letter Annie Richmond in 1848. Within the letter,
Poe describes his attempt of suicide by use of laudanum (an opium-based narcotic
popular in Poe’s time). Poe portrays that his attempt of taking his own life was
thwarted by dozing into unconsciousness before he could ingest a lethal amount
of laudanum. The Edgar Allan Poe Society of Baltimore further supports the
counter-argument that Poe was not an opium abuser explaining, “if true, his
lapsing into unconsciousness before he could take the full dose is likely an
argument that his body was not accustomed to the drug.” The society also
acknowledges that this entire ordeal of suicide was so wildly romantic that it
could have potentially been nothing more than “one of Poe’s fanciful
fabrications created to impress his friend with depth and despair.”
To further dismiss the myth of Poe’s opium habit, we must interpret Dr. Thomas
Dunn English, a man that Poe proclaimed as his enemy. Poe and English were once
friends, but their friendship was terminated due to a scandal involving Poe,
which led to a fistfight between the two men. Their disdain for each other grew
over the years with each writing literary caricatures depicting one another. Dr.
Thomas Dunn English wrote a letter that was published by The New York Mirror slandering
Poe, which in turn cause Poe to sue the publication company for libel (Sova).
After the legal case, Poe and English perpetuated the ongoing feud, writing
stories that subliminally took shots at one another. English published a novel
about revenge titled The Power of the S.F., which included the character
Marmaduke Hammerhead. English’s character, Hammerhead, was the infamous author
of “The Black Crow” and used exact phrases that Poe used within The Raven such
as “nevermore” and “lost Lenore” and was fictionally portrayed by English as a
drunk and liar (Rust). Despite all of their animosity, Dr. Thomas Dunn English
professed, “had Poe the opium habit when I knew him, I should, both as a
physician and a man of observation, have discovered it in his frequent visits to
my rooms, my visits to his house, and our visits elsewhere. I saw no signs of
it” (Baltimore). Although the two had their differences, English made it clear
even he did not believe Poe to be an opium addict.
Although Edgar Allan Poe may have had an imagination and writing style so
obscurely unique that others assume he must have been under the heavy thumb of
such a substance as opium, there is hardly a quiver of substantial proof.
However, this is not to say that Poe was completely free and liberated from all
vices. In fact, there appears to be more speculation and evidence surrounding
and concerning Poe as a full-blown alcoholic than harsher substances such as
opium. Alcohol is less romanticized, less glitzy and mysterious. A sobering fear
for many, anyone can drink alcohol and more so anyone can succumb to the
clutches of alcoholism. There seems to be less sex appeal in relation to alcohol
and alcoholism because of this fact; we all know the alcoholic. Yet in regards
to heavier drugs such as heroin (opium in Poe’s case), there lies a legendary
aurora around such a dangerous toxin.
When thinking of pop icons such as Kurt Cobain, Philip Seymour Hoffman, Jim
Morrison, Janis Joplin, the list goes on ad infinitum, they are cast into this
almost larger-than-life monumental, iconic role within American history. Their
bondage to heavy narcotics such as heroin somehow helps keep their flames of
fame burning over time, and their “rock star personas” create this legendary
status of almost mythical proportions. The same can be said about Poe and his
iconic status throughout the course of American history and literature,
especially when the idea of him being an opium addict is misconstrued and
misunderstood by so many. However, this is not to say that neither Poe nor the
aforementioned artists’ works are not what has kept them in the spotlight for so
long. First and foremost, these individuals’ masterful artistic expressions are
the main source of energy keeping their names fresh in the minds of modern
individuals. Simply put, society likes “bad boys” or “outsiders” and the use of
narcotics helps perpetuate our ideas of certain figureheads of history.
With the opium-addicted Poe myth and the literary “rock star persona” settled,
we must briefly focus Edgar Allan Poe’s battle with alcoholism. Much can be said
about Poe and alcoholism, yet even more, can be discovered when pairing existing
research of Poe and alcohol with modern facts concerning alcohol addiction. Poe
was a drinker, an alcoholic of the hopeless variety. In fact, according to the Edgar
Allan Poe Society of Baltimore, “Poe drank and often drank more than was
good for him, even after he had promised himself to stay away from alcohol”
(Baltimore) He carried a disposition of excess concerning spirits and hailed from
what can be presumed as a long line of drinkers, “It also seems likely that
Poe’s father (David Poe, Jr.) and brother (Henry Poe) were hard-core drinkers”
(Baltimore). While an individual’s genetics account for almost half of the
risk for alcoholism (National Institute on Alcohol Abuse), other
environmental factors such as home life or socioeconomic status, for example,
make up the remaining risk. However, the tragic catch for those whose immediate
family is alcoholic is that the individual has likely been placed at an even
higher risk due to their inherited genes and the makeup of their home life as
brought on by other alcoholics.
Poe’s and his alcoholic shortcomings are no secret to anyone with access to the
World Wide Web. Genetically predisposed to a vicious disease, Poe offered little
argument against himself not leading a functioning alcoholic life through his
actions. T.H. White, one of Poe’s former employers once explained in a letter
that Poe was his employee at Southern Literature Messenger but solely for
proofreading, not as editor. White explains, “he is unfortunately rather
dissipated, and therefore I can place very little reliance upon him. His
disposition is quite amiable” (Baltimore). Countless descriptions such as this
from those who knew Poe as well as many from his own hand provides insight into
a lifestyle of ups and downs caused by drink.
Yet how does this translate to the life of an alcoholic being Romantic?
Poe’s prolific lines provide us with a portal to enter a fascinating reality,
which he lived not just in his imagination but also in his every waking moment.
Looking at the world through the bottom of a bottle can warp such perceptions
into wild, almost hallucinatory, projections. Alcoholism is a disease which not
simply just plagues the victim while the bottle is in hand or mouth but
throughout every step of the day. I will simplify the working definition of
alcoholism as “a three-fold illness of the mind, body, and spirit.” Those
haunted by such an illness experience, simply put, “a body that cannot drink, a
mind that insists that they can, and a spiritual condition, or lack thereof,
that guarantees that they will.” Through this watered down working definition,
alcoholism is cast in a hue of Romanticism, or rather Gothic Romanticism. It is
almost as if a higher (or lower) law is working against this individuals in a
manner in which they have no control over. From the course site, the
characteristic of the gothic “ [a] haunted
space appears as a correspondence or
projection of a haunted mind” makes for a lovely substitution when regarding
alcohol. Alcoholics transcend the horrors of their mind to their reality making
it to where the alcoholic life seems to be the only real life.
When looking at Alcoholics Anonymous, often called “the big book” by
those enthralled in the program of AA, elements of Gothic Romanticism are found
within the pages describing alcoholism and the effects on alcoholics. The
authors provide a Poe-esque example of the alcoholic life stating,
As we became subjects of King Alcohol, shivering denizens of his mad realm, the
chilling vapor that is loneliness settled down. It thickened, ever becoming
blacker. Some of us sought out sordid places, hoping to find understanding
companionship and approval. Momentarily we did --- then would come oblivion and
the awful awakening to face the hideous Four Horseman --- Terror, Bewilderment,
Frustration, Despair (Alcoholics p. 151).
This brief depiction of the world that alcoholics embrace fits Poe’s writing
style so well that one may wonder if it were King Alcohol or Poe himself who
influenced such writings as the same exact style can be read in Poe’s The
Fall of the House of Usher when Poe writes,
During the whole of a dull, dark, and soundless day in the autumn of the year,
when the clouds hung oppressively low in the heavens, I had been passing alone,
on horseback, through a singularly dreary tract of country, and at length found
myself, as the shades of the evening drew on, within view of the melancholy
House of Usher. I know not how it was—but, with the first glimpse of the
building, a sense of insufferable gloom pervaded my spirit.
While the similarities are so distinct, it would not make sense for the authors
of “the big book” to draw inspiration from Poe while writing a book to aid those
in throws of alcoholism, yet there is one commonality between Poe and the
authors: alcoholism.
Something as serious and tragic as addiction tends to shape the way individuals
view the world. Carving away at the mind, body, and spirit, alcohol becomes the
chisel and the individual the stone. Depression, the incessant mind challenging
the host to succumb to the bottle, alienation from society… these and many more
characteristics take a toll on human beings. The reality of an alcoholic is the
only one he or she knows or understands, and this reality is marked by
high-highs and low-lows, by initial conviviality followed by gloom, by the utter
trauma of not being able to resist what appears to be something bigger than
oneself. When looking through the bottle, like those affected such as Poe, we
can see where inspiration comes from.
The life of an alcoholic equates to despair, hopelessness, and darkness all
around, all of which are central themes of Poe’s writings. As a writer, I
believe that I draw inspiration for my writings from the life that surrounds me,
the reality my mind projects, as many other writers do. Poe, being no different,
tapped into an atrocious affliction, which provided audiences with vivid stories
and poems that make the hairs on their bodies rise. A literary world that
captivated readers simply because it was so foreign, Poe sculpted American
Gothicism by transferring his reality to the pen and page; a reality so few
understand due to the nature of alcoholism.
Although there is nothing truly romantic concerning the life of a full-blown
alcoholic, there are hints of Romanticism. Inspirations and influences based on
the very makeup of the literary genre manifest themselves into the lives of the
alcoholic and provide a unique sense of reality, a reality in which Poe owned
and made his own through his literary works. The influence Poe has left on
readers carries a magnitude in which alcoholism left on Poe himself.
Alcoholics Anonymous
The Edgar Allan Poe Society of Baltimore: http://www.eapoe.org/geninfo/poealchl.htm
National Institute on Alcohol Abuse and Alcoholism: https://www.niaaa.nih.gov/alcohol-health/overview-alcohol-consumption/alcohol-use-disorders/genetics-alcohol-use-disorders
Poe, Allan Edgar: The Fall of the House of Usher.
Rust, Richard D. "Punish with Impunity: Poe, Thomas Dunn English and 'The Cask
of Amontillado'" in The Edgar Allan Poe Review, Vol. II, Issue 2 – Fall,
2001, St. Joseph's University
Sova, Dawn B. Edgar Allan Poe: A to Z. Checkmark Books, 2001: 81, 83, 91.
"Great Star" flag of pre-Civil War USA