La morte misteriosa di Edgar Allan Poe e la sua biografia. L'influenza nella sua opera delle esperienze di vita e dei traumi subiti. L'ossessione della morte. Lettura in lingua originale inglese di brani tratti dal racconto The Premature Burial.
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CortometraggiTrascrizione
00:05Music
00:55Music
01:05Music
01:09Music
01:23I'm still alive! I'm still alive! I'm still alive! I'm still alive!
01:29I'm still alive! I'm still alive! I'm still alive! I'm still alive!
01:35I'm still alive! I'm still alive! I'm still alive! I'm still alive! I'm still alive!
01:42Calm down! Calm down!
01:44Look at me! Look at me, Mr. Boat! I'm Dr. Moran, you're at Church Hospital!
01:49Nurse! Nurse! Quick! The patient must be restrained!
01:58The literary genre that Po practiced most and with which he is most identified is that of the short story.
02:04story, or of the tale.
02:05The prevailing literary mode, meaning by mode a set of rhetorical-stylistic procedures and more or less thematic aggregations
02:13constant,
02:14it is that of the fantastic, which Po calls in the most varied ways, that is, the tale of the grotesque, the tale of the arabesque, the tale of the
02:21'nightmare and tale of terror.
02:23A very questionable vulgate gathers all these tales under the common label of Gothic, making explicit the debts and similarities.
02:31contracts from Po with the English novel of the late eighteenth century,
02:34represented by titles such as The Castle of Otranto by Horace Walpole, The Old English Baron by Clara Reeve, Vatek by
02:41William Beckford,
02:43The Udolpho Mysteries by Anne Radcliffe, The Monk by Matthew Lewis, Frankenstein by Mary Shelley, The Vampyre by John
02:49Polidori and finally Melmoth Lerrante by Charles Maturin.
02:52The influence on Po of Theodore Hoffman's collections of fantastic tales and night stories, both from 1817, is also visible.
03:01In the preface to his tales of the grotesque and the arabesque, Po himself wrote,
03:06I reaffirm that the terror is not of Germany but of the soul, obviously departing from the rather cumbersome European tradition.
03:14In truth, the closest model to Po is an American writer, today completely forgotten, called Charles Brockton.
03:20Brown,
03:21author, in the very last years of the eighteenth century, of some novels with extremely explanatory subtitles.
03:27Wieland or The Transformation, Ormond or The Secret Witness, Edgar Huntley or Diary of a Sleepwalker, Arthur Mervyn or Diary
03:36of the year 1793.
03:38Brown's novels combine the introspective invention of Rousseau and Di Stern with late-Enlightenment medical and scientific knowledge,
03:45giving shape to dark stories around still untold themes such as sleepwalking, madness and religious mania.
04:35Brown's novels combine Rousseau's introspective invention,
04:53During the whole of a dull, dark and soundless day in the autumn of the year,
04:58when the clouds hung oppressively low in the heavens,
05:01I had been passing alone on horseback,
05:04through a singularly dreamy tract of country,
05:07and at length found myself within view of the melancholy house of Usher.
05:13With the first glimpse of the building,
05:15a sense of insufferable gloom pervaded my spirit.
05:19What was it?
05:21I paused to think.
05:22What was it that so unnerved me in the contemplation of the house of Usher?
05:27Nonetheless, in this mansion of gloom,
05:31I now propose to myself a sojourn of some weeks.
05:34Its owner, Roderick Usher,
05:37had been one of my boom companions in boyhood,
05:40but many years had elapsed since our last meeting.
05:43A letter, however,
05:45had lately reached me,
05:46a letter from him.
05:48The writer spoke of acute bodily illness,
05:52of a mental disorder which oppressed him,
05:54and of an earnest desire to see me
05:57as his best and, indeed,
05:59his only personal friend.
06:02Upon my entrance,
06:03Usher greeted me with a lively warmth
06:06which had much in it.
06:08He entered at some length
06:10into what he conceived to be the nature of his malady.
06:13I feel, he said,
06:15that the period will arrive sooner or later
06:18when I must abandon life and reason together
06:21in some struggle with the grim phantasm
06:24fear.
06:27I learned, moreover,
06:29another singular feature of his mental condition.
06:32He was enchained by certain superstitious impressions
06:36in regard to the dwelling which he tenanted,
06:39and whence, for many years,
06:41he had never ventured forth.
07:00Vote week!
07:03Vote week!
07:05Vote week!
07:05Vote for the week!
07:06Vote for the week!
07:08Say, vote week!
07:10Say, come on, vote for the week party, okay?
07:13Say, vote week!
07:14Vote for the week party!
07:17I really don't live here anymore.
07:19So what?
07:21Look, I've got to leave.
07:22I've got people waiting for me.
07:25Philadelphia.
07:28Are you feeling ill?
07:30What street am I on?
07:32What street am I on?
07:34Come with me, sir.
07:35I'll see you.
07:35What's up?
07:40Poe uses the genre of the Gothic tale
07:43like a sharp and extremely flexible instrument
07:46of exploring the dark recesses of the human psyche,
07:49of his contradictory and mysterious condition,
07:52going beyond traditional categories of character,
07:55conscience and will,
07:56and starting to draw a category
07:59which will be fully defined by psychoanalysis
08:01only at the end of the nineteenth century,
08:02the unconscious.
08:03The incessant analysis of desires,
08:05of fears, of phobias,
08:07of everything that goes beyond the sphere of the will
08:09and of conscience,
08:10make Poe a formidable forerunner of Sigmund Freud,
08:13with whom he shares the unshakeable certainty
08:16that everything that comes into the unconscious
08:17can be made the object of rational analysis
08:20and that everything that happens in the mind
08:22it never happens by chance.
08:24Exploring singular phenomena
08:25like metempsychosis,
08:27mesmerism,
08:27magnetism,
08:28hypnosis,
08:29the dream,
08:29catalepsy,
08:30and a vast array of paranormal experiences,
08:34Poe independently sketches concepts such as
08:36phobia,
08:37repetition compulsion,
08:38obsession,
08:39disturbing,
08:39death drive,
08:40which psychoanalysis would elaborate only a century later.
08:44After all,
08:44Freud himself,
08:45quoting Shakespeare's Hamlet,
08:47he writes about poets,
08:48they are precious allies
08:50and their testimony
08:51must be taken into careful consideration
08:53since they generally know
08:55a quantity of things between heaven and earth
08:57that our academic knowledge does not even suspect,
09:01particularly in the human sciences
09:02and have far surpassed each other
09:05we mere mortals
09:06since they draw on sources
09:07which have not yet been opened to science.
09:13He admitted,
09:14however,
09:15although with hesitation,
09:16that much of the peculiar gloom
09:18which thus afflicted him
09:20could be traced to a more natural
09:22and far more palpable origin,
09:25to the severe and long-continued illness,
09:28indeed,
09:28to the evidently approaching dissolution
09:31of a tenderly beloved sister,
09:33his sole companion for long years,
09:36his last and only relative on earth.
09:39The death of the Lady Madeleine
09:41had long baffled the skill of her physicians.
09:44A settled apathy,
09:46a gradual wasting away of the person,
09:48and frequent,
09:49although transient affections
09:51of a partially cataleptic character
09:53were the unusual diagnosis.
09:56For several days ensuing,
09:58her name was unmentioned
10:00by either Usher or myself,
10:02and during this period,
10:04I was busied in earnest endeavors
10:06to alleviate the melancholy of my friend.
10:08We painted and read together,
10:11or I listened,
10:12as if in a dream,
10:13to the wild improvisations
10:15of his speaking guitar.
10:17The words of one of these rhapsodies
10:19I have easily remembered.
10:20The verses,
10:22which were entitled,
10:23The Haunted Palace.
10:26One evening,
10:27having informed me abruptly
10:28that the Lady Madeleine was no more,
10:31he stated his intention
10:32of preserving her corpse
10:34for a fortnight,
10:35previously to its final internment,
10:37in one of the numerous vaults
10:39within the main walls
10:41of the building.
10:44The Haunted Palace.
10:45Mesmerism is an eighteenth-century theory
10:47due precisely to this German doctor
10:51Mesmer, Franz Mesmer.
10:52The idea was that inside the body
10:55of living beings
10:57there was a flow,
10:59a flow that could be conducted
11:03correctly through magnets
11:06and that therefore the pathologies
11:07were nothing more than
11:09an interruption in this flow.
11:11It was a theory that had
11:12a huge success,
11:14so much so that in the eighteenth century
11:16the scientific community
11:17he was divided between pro and anti Mesmer,
11:20to settle the matter
11:21Louis XVI thought about it
11:23who established the Royal Commission
11:25in which Franklin participated
11:27and Lavoisier himself
11:29and who established this commission
11:31that it was about something
11:32of unprovable
11:33and something more magical
11:35how scientific.
11:37Nevertheless, mesmerism continued,
11:40it was a huge success
11:41especially among artists.
11:43The idea was precisely
11:44to use these magnets
11:47to also induce altered states
11:49of consciousness,
11:51there were known cases of trans
11:53due to treatment
11:55with these magnets
11:56or rather cases of hypnosis.
11:59Here, mesmerism then
12:00in the nineteenth century it will tend to fade away
12:03with the rise of the scientific method
12:04and of medicine based
12:06on the evidence of efficacy.
12:07with the rise of the scientific method
12:37Baltimore...
12:41Baltimore...
12:42Baltimore...
13:06Baltimore...
14:37Baltimore...
14:47Baltimore...
14:56Baltimore...
15:01Baltimore...
15:17Baltimore...
15:18the time is narratively dry.
15:20The plots of his stories
15:21they are sparse
15:22and fall directly
15:24and quickly
15:25towards their dissolutions.
15:26But it happens
15:27that sometimes in these plots
15:28descriptive brackets are wedged in
15:30which have a double function,
15:32retarding or suggestive.
15:34Descriptions may concern
15:35remote eras or cultures
15:37in time and space,
15:39like antiquity or the Orient,
15:40but above all they concern the places
15:42where they take place
15:43the actions of the stories,
15:44that is, gardens, temples, castles, houses, cottages, taverns, and cemeteries.
15:49Poe is a master at handling
15:50what Vittor Go theorized in the same years
15:52and defines as a local color.
15:54An environmental painting
15:55which has at the same time
15:57a realistic effect
15:58and a suggestion function.
16:00Poe binds more univocally
16:02characters, action and environment
16:05as in contemporary dark stories
16:07by Eugène Balzac,
16:09for example
16:09The Great Bretèche and a Dark Affair.
16:11Finally, let us not forget
16:13that Poe's Gothic
16:13it is tinged with black humor
16:15of paradoxical, comic-satirical ideas
16:17and which, he himself writes,
16:20the ridiculous must be exaggerated into the grotesque,
16:23the frightening loaded into the horrible,
16:25the exaggerated witty in the burlesque,
16:28the strange transformed
16:29in the extraordinary and the mystical.
16:32Echid Alain Poe perfectly represents
16:35what the conditions are at that moment
16:37and represents a new way of seeing death,
16:42life, ethics, religion, identity, time.
16:47In his macabre tales
16:49there is also this evident return to the past
16:55which is an undefined past.
16:58There is this female death,
17:01the death of the woman who is represented,
17:04which is the most important poetic topos
17:08and which reconfigures the relationship between Eros and Thanatos.
17:12There are oriental atmospheres,
17:15there is a widespread belief in reincarnation.
17:18There is also something that is present in Ugo
17:23and which Poe represents very well
17:28and it is the tragic fatality
17:30which breaks dramatically in the flow of life.
17:34Of course this proves
17:37as in the nineteenth century,
17:40who is so fascinated by horror,
17:41the broadening of the horizons of rationality,
17:45the narrowing of the spaces of religion,
17:49of ethics, of morals,
17:51they do not console, they do not bring consolation to the spirit,
17:55they do not resolve the fundamental questions about existence
18:00and this makes men turn even more
18:05their sensations, their perceptions
18:08to something that can take them away from fear
18:13that this, let's say, spiritual desert entails.
18:38Learn more about the Heserath
18:41starts at all our spaces
18:42starts at all our spaces
18:45starts at all our spaces
19:08What was Edgar Allan Poe's life like?
19:38From the trauma of loss, from the trauma of loneliness, a deep sense of depressive anguish most likely comes.
19:47It is clear that from this depression, so to speak, even inclusive, deep of our poet, it is very likely that he has
19:55all his creativity and genius that accompanied him in his productions and writings were also unraveled.
20:08But the measured rocking movement of Usher was undisturbed.
20:12I rushed to the chair in which he sat.
20:15I placed my hand upon his shoulder.
20:17He spoke in a low, hurried and gibbering murmur.
20:20Don't hear it.
20:22Yes, I hear it and have heard it.
20:26Long, long, long, many minutes, many hours, many days have I heard it.
20:32Yet I dared not.
20:34Oh, pity me, miserable wretch that I am.
20:37I dared not.
20:39I dared not speak.
20:41We have put her living in the tomb.
20:44Here he sprang furiously to his feet and shrieked out his syllables as if in the effort he were giving
20:51up his soul.
20:53Madman, I tell you that she now stands without the door.
20:57As if in the superhuman energy of his utterance there had been found the potency of a spell.
21:02The huge antique panels to which the speaker pointed through slowly back.
21:07But then there did stand the lofty and enshrouded figure of the Lady Madeline of Usher.
21:14There was blood upon her white robes.
21:17And the evidence of some bitter struggle upon every portion of her emaciated frame.
21:22For a moment she remained trembling and reeling to and fro upon the threshold.
21:28Then, with a low moaning cry, fell heavily inward upon the person of her brother.
21:34And in her violence and now final death agonies bore him to the floor a corpse and a victim to
21:41the terrors he had anticipated.
21:44From that chamber and from that mansion I fled aghast.
21:48And I turned to see the mighty walls rushing asunder and the deep and dank tarn at my feet closed
21:55suddenly and silently over the fragments of the house of Usher.
22:03The story The Fall of the House of Usher was first published in 1839 in the pages of the periodical
22:10The Grams Lady and Gentleman's Magazine.
22:13The first-person narrator of the story, about whom we know nothing, receives a letter from his childhood friend Roderick
22:19Usher
22:19who invites him to stay in the family home, whose squalor ends up infecting the people who live there
22:25and who becomes the true protagonist of the story.
22:28The main theme is the sensitivity, the exasperated sensoriality of the protagonist which ends up infecting the narrator too,
22:35a sort of acute hyperesthesia mixed with hypochondria and anxiety.
22:39Poe's tale is inspired by Theodor Hoffman's story "The Entailed Man."
22:44At one point the narrator, to explain the protagonist's obsessions, mentions Fuseli's chimeras,
22:49Heinrich Fuseli, the late eighteenth-century Swiss painter who was the first to explore the depths of dreams and oneiric experiences,
22:56with paintings such as The Nightmare, The Nightmare Abandons the Bed of Two Sleeping Maidens and Lady Macbeth Sleepwalking.
23:03Freud finds in a specific passage of this story an almost exact definition of his category of the uncanny.
23:09Poe's narrator writes,
23:11While the objects surrounding me, the carved wood of the ceilings, the dark tapestries on the walls,
23:17the ebony black of the floors, the illusory heraldic trophies that vibrated as I passed,
23:22they should, I thought, have been familiar to me, I was amazed that they triggered emotions in me that I did not know.
23:29In Ray Bradbury's 1950 collection of short stories The Martian Chronicles we find a story entitled
23:35Usher 2, which is a sort of sequel to Poe's story.
23:39In the 1910s and 1980s respectively Claude Debussy and Philip Glass created some
23:44of the lyrical versions, numerous television film versions, among the cinematic ones certainly
23:50The most important are The Quick and the Dead from 1960 by Roger Corman and Usher's Les Scrimines
23:57from 1982 by Jesus Franco, in which we find two characters called Archer and Seward,
24:03which build a bridge with Bram Stoker's novel Dracula, also establishing a sort of
24:08comparison between the character of Usher and the court Dracula.
24:11The relationship between reasoning and the unconscious also finds expression in another narrative genre,
24:17which is the so-called psychological thrillers, which we will talk about in the next episode.
24:50Thank you all.
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