On the Wording of Images and Dispersion: Poe’s Breathing Method. A Canvas and Dialectic of Flowing Waters Within

Abstract

This essay, not an evaluative but a descriptive, inspecting and interpreting one, intends to theorize about the cognitive hallmarks within Edgar Allan Poe’s fictional universe of nemesis, rhetorical grotesque semantics, foregrounded and highlighted macabre philosophical vestiges, both in terms of the constants and prisms playing a fundamental role in his encoding creative process depicting reality –context of utterance– and productively transforming it into an abiding and refuge-like paradise of the ineffable –context of reference–, as well as on the significant choices and pragmatic maxims involved in his gradual and methodic regression into madness as a purely literary and individual quest for the Sublime. The lines that follow are also impelled, as a second articulation of our proposition, to provide the reader with some of the most prominent and notorious features in Poe’s prose and poetry: his patterns of impact and scars of defamiliarization, his peculiar and obsessive delineation of sequenced states heading for the last glimpse of unity after self-annihilation, the disciplined wording or orchestration of microeffects towards the knowledge of the Absolute, aiming to establish a parallelism between the different seasons covering the envisioning of the innerly maturing self and the explicit pattern of dawning colours that founds the definition of the erotically desirable, the mannequin of the supernal or macroeffect of everlasting existence categorized by inner metaphors and intrinsically artistic inventions.