The Raven By Edgar Allan Poe

There is no universal definition of what makes good literature. Simply put, singularly defining good literature is impossible, if for no reason beyond people looking for different things when reading. Where one person would desire pure entertainment, another looks for the profound, another seeks education, and yet another searches for something else entirely. In spite of this distinction between individual preferences, Edgar Allen Poe still tried to universally define good literature. Using his poem “The Raven” as an example, Poe set out to demonstrate how, with the central tenants of method, length and unity of effect, good writing is actually produced. It is through these tenants that Amiri Baraka’s “Dutchman” was _____. Poe would find

A good work, according to Poe, is built meticulously around the desired effect. The method that the author employs in a piece of writing is crucial to its success. Poe broke down this method into separate portions - structure, tone, and locale. In the case of Baraka’s text, Poe would be unable to look past the first aspect of method: the structure. Poe was known for his reliance on the rigid rules of writing and insisted that “the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem.” Baraka’s style, in contrast, contained much more fluidity than Poe’s mathematical, scientific method would allow. Baraka relied more on jazz for structure; the heavy nature of his play’s dialogue led to seemingly optional use of grammar and abundant use of colloquialisms, creating a disjointed style of literature. Poe held beauty in such high esteem that he would find this disjointed style

The unity of effect is caused by the culmination of beauty, tone, climax and varied effect in the writing. Poe emphasized that beginning a piece must start with a desired effect on the reader. The first question an author must ask is “Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?” Once this is decided, the author can “diversify, and so vastly heighten, the effect.” Baraka did exactly this in his play. He began with his desired effect of rage and varied it by beginning the play with sexual tension, slowly moving it to confusion, before ultimately reaching rage. This progression made the final feeling significantly more intense than if it had been consistent throughout. Poe believed beauty was the primary reason people wrote and that “the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world.” The combination of beauty with loss creates a tone of melancholy that is “the most legitimate of all the poetical tones.” Though she does not die, Baraka’s play does prominently feature a beautiful woman. Baraka also does not utilize a melancholic tone; rather, he leaves an angry feeling with the reader, which is central to the unity of effect for the purpose of his piece. Poe believed that art could not be written specifically, unless