In most of Poe's writings his sense of style and influential views are present through the uniqueness of his works. Regarded as the architect of the modern horror tales, Poe was also the principle forerunner of the "art for art's sake" movement in nineteenth-century European literature ("Poe Intro.", 2749). He is also credited with parenting two other popular genres: science fiction and the detective story (Keller, 1898). He demonstrates a b

Edgar Allan Poe's literary works focus on three main points: supernatural elements, unusual focuses, and first-person narratives. His usage of the supernatural compels the reader to finish his tale, seeing as what he wrote was intended to be read at just one sitting and not over a periods of time (Keller, 1898). His usage of narrators in short stories is a device to punctuate and reaffirm that everything can be defined by a naturalistic way or to arrive at an acceptable explanation or listener that will confirm his view of events (Heller, 1900). His short stories almost always are personal accounts or manuscripts of the protagonist (narrator) who have an intense preoccupation with the horrible; though, it is noticed that it was often the result of an immense, unused vital energy, stubborn chastity, or sometimes a deeply pressed sensibility (Baudelaire, 496-497). Poe's narrations are all manuscripts sent back from the edge of nothingness. With a unique single-mindedness and intensity, Poe's tales probe into a spirit world, which is at time dark and others beautiful, that underlies and destroys all "material phenomena of life, a world of the pit and the grave, of consciousness-after-death, of mystically alluring eyes, of torture, of the desire to kill, of guilt, of madness, and, in the end, utter and complete silence (Graham, 2758)." His stories maybe "narrowly obsessive and joyless," but their continuing power is founded on one recognizable and familiar vision of life: "that an awareness of death is the starting point of knowledge and reality is not solid but a flux that contains within it some destructive promise of eternity (Graham, 2758)." And yet at the same time Poe is, according to Kenneth Graham, "incorrigibly" reasonable with a mind that acts like a scientist's even as he perceives the inadequacy of science to attain "Truth." And yet, part of his creating imagination always clings to the solid and the rationale-a continual tension with part that envisions annihilation of the external world and the final loss of self. As a common of Poe's work is that out of conflict comes controlled energy and excitement that are distinguishing marks of his art. His narrators' descents into maelstroms, pits, tombs, and vaults describes an inborn tendency of the human mind to recognize coming destruction of the world in the "grating or vertical movements" of the galaxies. The desire of his narrators for destruction of man's mind, which, in its search for artistic symmetry that is identical with Consistency, or Truth, yearns, "to know and to be one with God who waits in the center of the final vortex." And so it is that create imaginatively is to also destroy (Graham, 497)." Baudelaire's gives an idea of the general character which predominates in the works of Poe. However, according to Charles Baudelaire there are 3 main conceptual aspects of Poe, or rather characters in Poe. Poe appears in three aspects: critic, poet, and storyteller. But, in the storyteller is also found the philosopher. One can perceive the characters of Poe through the man with relaxed nerves and the man whose patient and ardent will hurls defiance at difficulties, he whose gaze is "fixed as straight as a sword" on objects which increase in importance under his gaze with hurl defiance at difficulties, he whose gaze is fixed as straight as a sword--this man is Poe. And through Poe's female characters which are all luminous and sickly, with a voice like music they usual die of strange diseases. Also, they are Poe even through their strong aspirations, through their knowledge, and through their incorrigibly melancholy (Baudelaire, 407). <

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