Analysis Of Edgar Allan Poe The Shadow Self

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Edgar Allan Poe and the Shadow Self
Edgar Allan Poe, known for his dark themes and his intricately complex thrillers is one of the most recognized poets in the West, however there are persistent misperceptions surrounding him and his work. Some literary critics “regarded his tales as nothing more than complicated machines for saying "boo," or may only have been conceived from a twisted, disturbed mind (Wilbur). However, the psychoanalyst, Carl Jung may have disagreed, seeing Poe’s deep understanding of his dark side as an integration of what he calls ‘the Shadow self.’ The Shadow is “that hidden, repressed, for the most part inferior and guilt-laden personality whose ultimate ramifications reach back into the realm of our animal ancestors” …show more content…

It is a natural and socially-encouraged belief that one’s dark side is something to be hidden and repressed at all costs; as a culture, we fear rejection and think repressing our weaknesses automatically qualifies us as ‘nice’ or socially desirable. On the contrary, Jung believed that true benevolence and characteristics that make one a ‘good person’ are actually not equivalent with harmlessness or a lack of darkness but rather, consciously seeking self-knowledge and one’s ability to dominate their own inner darkness as the true mark of morality. Poe was not simply a madman, or a disturbed individual with ‘mommy issues,’ his work is full of extremely complex psychological and literary material, spanning from poetry to detective stories. Across his many medias, Poe explores themes of insanity, mystery, time, and death, each revealing a part of human nature that be may preferable to forget. Using a psychoanalytic and Jungian perspective, Edgar Allan Poe’s macabre mysteries speak to the collective and individual Shadow in each of us, as the conquering of one’s own darkness leads to ultimate …show more content…

The subject of this story is a murderer repeatedly trying to prove not his innocence, but his sanity. The speaker begins his confession by addressing the audience, “You fancy me mad. Madmen know nothing” (Poe). The rest of the work is an argumentative confession, each image of an attempt to describe “how wisely [he] proceeded,” relying on the generally accepted stereotype of a madman in the 1800s— a raving lunatic completely lacking logical thought and purposeful action; but the reader knows that rationale is not this speaker’s issue; it is not a problem of the mind but of the soul or heart. The idea of ‘moral insanity’ was first introduced by Benjamin Rush in the late 1700s and changed the foundations of psychology and the implications of an insanity plea in court. In an article critiquing Poe’s work, Bynum explains that “where Rush broke with traditional psychiatric theory was in declaring that insanity did not necessarily involve a disorder of the intellect, that the moral faculties alone were capable of succumbing to disease.” Although modern culture and psychologists now identify this condition as ‘antisocial personality disorder,’ (the defining characteristic of both psychopaths and sociopaths), it was extremely controversial for medical professionals at the time. How does one diagnose or

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