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Ours is a dedicationof the unique in your isolation,you can reach spirit as we fling our souls high. Ours is them. Poe's "Ligeia": Dream and Destruction W. Lawrence'ssubjective criticism put an end to the couple'sprurience,for of Edgar Allan Poe's "Ligeia"as a "tale "the spirit of Ligeia, leagued with the of love pushed over a verge" is almost spirit of her husband.
Lawrence the slow destruction of Rowena. Moreover, Of course, Lawrence's psychological Lawrence accuses the sinners of carry- assault upon "Ligeia" does not invite ing on their sublime eroticism for the acceptance by conservativecritics. Lawrence,I believe, is right James W.
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Gargano, an associate professor at in Washington and Jefferson College, has pub- treating "Ligeia"as a suggestive and lished many articles, especially on the works symbolic complex; to take it "literally," of Henry James. Fortunately, it is becoming for all its intensity, his vicarious drama more embarrassingto account for Poe is not ineluctably "real. Still, Lawrence seems perverse mask;he is for Poe a remarkablyinterest- in converting "Ligeia"into a transparent ing subject, a man who mistakes his case history of Poe's marriageto Virginia journeyinto madnessfor the culminating Clemm.
What finally render to his dreams. First of all, his emerges from the famous essay on Poe "hero" escapes into an Ideality which in Studies in American Literature is a provides such an encompassingsatisfac- work in which the typically Laurentian tion that the real world forever becomes story of "obscene"spirituallove engulfs a dismal, minatory abyss.
After the the critical analysisof Poe. Poe's story dramatizesthe ro- he descends into the real world by mantic's disenchantmentwith a world marrying Rowena "in a moment of drainedof its power to arousejoy and a mental alienation. His theme, typi- his alliancewith reality a profanationof cally romantic, has its affinities with his earlier "marriage"to the Ideal, he Wordworth's loss of the "visionary insanely "triumphs" over the actual gleam," Coleridge's "dejection," and world by resurrecting Ligeia and re- Shelley's sharp outbursts of disillusion- establishingas a permanentcondition the ment.
The narrator "Ligeia" resembles reign of the spirit she represents. How- height and color of his aspirationand the ever, Poe differs from most of the early symptom of his romantic disease. Her English romanticistsin his dramaticand rare and garishpoetic qualitiestransform thus relatively objective exploration of her into what might be regarded as an his literary problem;his stories, at their adolescent's personification of imagi- best, are not mere lyrical releases, but native and exalted being.
Appropriately, psychological investigations pursued she is compounded of vagueness, mys- through vicarious dramas or exciting tery, strange beauty, and wild passion. It is as if in his works he Obviously an apotheosis of the poetic experimentallyempowers a facet of the vision, she lacks a local habitation and self, often imagined as the total self, a name;the narratorcannot recall when to seek its full development or to dis- or where he first met her and, though cover its own destiny. Of course, Poe's she becomes his wife, he confesses that narrative thus becomes "personal" be- he never knew her "paternal name.
In- and departed like a shadow. Disenchantment is the bering souls of the daughters of Delos. In this inhabit. The brief bliss of Keats's heroes realm, he discovers a beauty "above or with Lamia or La Belle Dame Sans Merci has about it a frenzy which suggests apart from the earth"; he finds a spiritual Ideal forever exciting and worthy of the illicit and the sinful.
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Well might adoration. His experience is clearly mys- Poe's hero fear that his love for Ligeia tical, for it nourishes his whole being makes available to him "a wisdom too and yet remains ineffable. Indeed, in divinely precious not to be forbidden! His which he cannot anatomize. Like many life will be a continuous quest for it, another romantic idealist, he lives tensely a dream or nightmare of it; for he at the highest pitch of his passion and cannot finally admit to himself that "the transcendentalism in which [he and imagination.
He inhabits a sphere where the perpetual novelty of beauty arouses, Ligeia] were immersed" is irrecoverable. In other words, he has escaped queror Worm. Ligeia, then, eternal values immutably reign into a world that is fragmented, dreary, and is not, as Lawrence assumes, a fictional mutable. Incapable of making any real substitution for Poe's wife; she is, in- commitment to an invidiously, lower stead, a huge metaphor for the narrator's plane of existence, he must remain the romantic version of a Platonic "heaven.
In her effect upon her adorer, Ligeia The loss of his "vision" drives the has the combined force of Keats's night- narrator into an "utter abandonment" ingale, Grecian urn, and La Belle Dame which he describes as "incipient mad- Sans Merci or Lamia. By bringing Rowena into his in this second stage of his life, to plunge chamber of horrors, he refuses to sub- into substitute and counterfeit and equal- scribe to the values or accept the re- ly "forbidden" exictements. Certainly, sponsibilities which govern common his retreat into a gloomy English abbey humanity.
There is not even a hint that is a fascinated discovery and exploration he entertains a single gentle or chivalric of macabre and wild sensations. He be- feeling for his new wife.
Conducting a minor looking Kumalo finds his youngster has murdered a person.
He loathes the comes "a bounden slave in the trammels reality she represents, and while he of opium" and seeks incessant psychic delights in the pain he inflicts upon her agitation from the "creations" of a per- he "revelled in recollections of [Ligeia's] verted and ingenious imagination. The purity, of her wisdom, of her lofty, her tufted gold carpets of "Bedlam patterns" ethereal nature, of her passionate, her and the "gorgeous and fantastic dra- idolatrous love.
The "leaden-hued" Vene- tractable reality. He is aided in his tian glass, the Saracenic censer, the attempt by his unnatural seclusion, by "sarcophagus of black granite," and the his addiction to opium, and by the un- "strong continual current of wind behind wholesome stimulation induced by the the draperies," all make the "bridal lurid, Gothic furniture and devices that chamber" emblematic of mental and emo- clutter his "bridal chamber.
His conscious partici- In the excitement of my opium dreams pation in his unique doom and most of for I was habitually fettered in the Poe's characters consider themselves vic- shackles of the drug I would call aloud tims of fate is jealously cherished as upon her name, during the silence of the conferring extraordinary distinction upon night, or among the sheltered recesses him. Indeed, one sometimes wonders of the glens by day, as if, through the whether the bereft romantic is not more wild eagerness, the solemn passion, the happy with his heightened anguish than consuming ardor of my longing for the he was with his orignal vision.
Following both his The hysterical appeals for the return of abandonment to Ligeia and his abandon- Ligeia have of course a causal connection ment to sensuous excesses, his marriage with the illness of Rowena. Tales Vol. Volume I. XIX and XX centuries. Toklas 1 , H. Add to favorites.
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