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dc.contributor.authorBechtold, Rebeccah B.
dc.date.accessioned2019-05-30T21:00:31Z
dc.date.available2019-05-30T21:00:31Z
dc.date.issued2018
dc.identifier.citationBechtold, R. (2018). Poe's Silent Music. Poe Studies 51, E30-E33. Johns Hopkins University Press. Retrieved May 28, 2019, from Project MUSE database.en_US
dc.identifier.issn1754-6095
dc.identifier.urihttps://muse.jhu.edu/article/723580
dc.identifier.urihttp://hdl.handle.net/10057/16321
dc.descriptionClick on the URI to access the article (may not be free).en_US
dc.description.abstractThat scarce awake, thy soul shall deem / My words the music of a dream," proclaims the speaker of Poe's "Serenade" to his love, Adeline [Works, 1:223]. In so doing, "Serenade," titled after a type of nocturnal music, highlights Poe's definition of the musical art in its highest form as an elusive, if still expressive, medium—what he would call the "indefinitiveness" of "true music," or "its ethereal, its ideal, its intrinsic and essential character," in his 1844 "Marginalia" [Writings, 2:153]. Charity McAdams's Poe and the Idea of Music reveals that this at-times vexed relationship between words and music, and the potential for connection to an otherworldly realm, recurs with startling regularity throughout Poe's writings.en_US
dc.language.isoen_USen_US
dc.publisherJOHNS HOPKINS UNIV PRESSen_US
dc.relation.ispartofseriesPoe Studies;v.55
dc.titleBook review: Poe's Silent Musicen_US
dc.typeBook reviewen_US
dc.rights.holder© Johns Hopkins University Pressen_US


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