Sandy
Pecastaing
Université
Bordeaux Montaigne, France
Abstract
Published in
1848 – one year before Poe’s death – Eureka is one of the last direct legacies of
the English and French Enlightenments. This work is placed under the patronage
of Newton, Laplace and Humboldt to whom Poe dedicates his essay “with [his]
very profound respect”. The program of the American writer is ambitious. “I
design to speak of the Physical, Meta-physical and Mathematical – of the
Material and Spiritual Universe: – of its Essence, its Origin, its Creation,
its Present Condition and its Destiny.” Of the eighteenth century, Poe has kept
the spirit and pleasure of intellectual conquest, the taste for exploration of
all the fields of knowledge and imaginative writings. But he knows that he
belongs to another world, a world where Science – he says – has driven Diane
away from the forests and the poet from the public space. Eureka is above all a
“romance”, a prose poem. It is also a discourse in scientific language. Poe
translates the myth of Origin into astronomical formulas. “[The] myths decay
and symbols become secularized – Mircea Eliade writes –, but […] they never
disappear, even in the most positivist of civilizations, that of the nineteenth
century. Symbols and myths come from such depths: they are part and parcel of
the human being” (Mircea Eliade, Images and Symbols: Studies in Religious
Symbolism, tr. Philip Mairet). In composing Eureka, Poe extends the exercise of
rewriting beyond the limits of science. He speaks of the eternal return of
Poetry, and highlights the origin of myths of Origin. “In the Beginning Was the
Fable” (Paul Valéry, “Au Sujet d’Eurêka”).
Key Words: Poe, Cosmology, Universe, Origin, Poetry
No comments:
Post a Comment