Edgar Allan Poe Rhetoric And Style Analysis

introduce and emphasize the notions of doubles and tangible abstractions without ever revealing the true identity of Wilson’s double. Finally, despite, culminating in the most direct and paramount manifestation of the abstraction of William Wilson’s conscience in the prank incident, the reader is still unaware of the story’s conclusion, but is well aware of the complications and notions that lead to the conclusion. In his book “Edgar Allan Poe: Rhetoric and Style”, Brett Zimmerman details the critique of other authors that Poe’s style “in his Gothic tales, stylistic qualities [are] considered excessive, obnoxious … [and that] Poe’s ‘writing smells of the thesaurus’ and that his ‘vocabulary tends to be abstract’” However, this outwardly excessive

Utilizing adverbs such as “tremulous” to amplify “shake” and “violently” to amplify “move” create a perceivable image of interaction; here, the violent move is not truly an actual motion, rather, it is a physical manifestation of the intangible mental shock that the narrator experiences. However, it is important to note that, to the narrator, the most physically shocking and moving thing in this interaction was not the “finger” of this stranger, but the tone, the intangible abstraction of the “solemn admonition” in the “low whisper”. This abstraction had the electrical current of a “galvanic battery” to “shock” the non-physical soul of the protagonist. The complexity of this excerpt is seen through the multiple dependent clauses, lists of adjectives, and conjunctions; this complex and “serious” style is what Allen Tate, in his essay found in “Modern Criticism”, believes “makes the reading of more than one story an almost insuperable task” (Foster 389). However, this failed criticism does not truly comment on the Poe’s style, but rather, comments on the reader’s interpretation. This style doesn’t create an insuperable task of reading, but rather creates a gradually intensifying sense of Poe’s methodical complexity that incentivizes the reader to keep reading, while providing specific ambiguities through indirect concretizations like the aforementioned “shock” to

Throughout the short story, the manifestation of the narrator’s conscience as the second Wilson is never known until the end, and thus, is never understood as just another example of Poe’s consistent concretization, until the conclusion; as such, Poe infuses the transformation of other abstract ideas into physicality within the text to tease and elucidate the complex notion of a non-existent second Wilson. The externalization of the narrator’s perplexing internal struggle justifies Poe’s serious and outwardly grandiose style that creates both scenes of metaphorical and actual physicality. Simulating the roller-coaster like journey of self-doubt the narrator experiences, the short story and its meticulously written rhetoric teases the readers with possible knowledge of the second Wilson’s identity without complete certainty, but then hits them with an epiphany, like the one the narrator experiences, about the doppelganger's true identity. In order to understand “William Wilson”, one must not evaluate single excerpts, but the work as a whole, as a dynamic confession by the narrator; only by understanding the conclusion and recognizing its complexity, can one truly appreciate Poe’s mastery which stems from his ability to introduce both the themes and conclusion of the story to the reader