Posted at 11.21.2018
The Painter in Edgar Allan Poes "The Oval Portrait". This paper will give an in depth analysis of the Gothic sentiments in the type of the Painter in Edgar Allan Poes short storyline "The Oval Family portrait, " shared in 1850. As being a writer Poe catered to Gothic books which combines romanticism and macabre in the setting up, plot and characters. There is the ever present twist and trip to the dark part of feelings, such as obsessions, fatal love and incomprehensible madness in the majority of Poe's short reviews. These same dark sentiments were reflected in "The Oval Portrait. "
The report has four people in play: the wounded narrator who enters an empty chateau in Apennines, Italy without agreement; his valet called Pedro; the bride-to-be in the family portrait/ painting; and the painter, the renowned partner of the bride-to-be who became obsessed with capturing the beauty of his young bride-to-be in his canvas.
The Painter's personality in the story was introduced in the fifth paragraph of the storyplot, quite near to the end of an unexpected climax. The whole story only consists of six paragraphs or two internet pages, yet the romanticism and dark imagery will leave one's mouth wide open and the mind surging and craving for a rational justification of the Painter's mad obsession and fatal love.
It was the Narrator who launched the Painter's character in the storyplot. The story opens with the Narrator occupying an abandoned chateau, regarding his valet Pedro.
He was wounded, but there was no description given on what triggered his wounds.
The story extended with the Narrator reading a publication he had present in the room, and with the discovery of the portrait that was hidden in the shadows of the area. Poe creates:
It was the family portrait of a girl just ripening into womanhood. I glanced at the painting hurriedly, and then sealed my eye. Why I did so this was not at first obvious even to my own belief. But while my lids remained thus shut, I ran over in my mind my reason for so shutting them. It was an impulsive activity to get time for thought- to ensure that my eyesight had not deceived me- to relaxed and subdue my nice for a far more sober and even more certain gaze. In a very few moments I again viewed fixedly at the painting. (par 3).
The narrator proceeded to describe the portrait as a mere head and shoulder portrait of a female framed in "oval, richly gilded and filigreed in Moresque" (Poe par 4). He was so transferred by the life-like appearance of the lady in the portrait that he eagerly considered the book to find the tale behind it. And he begins to read about the young bride-to-be:
"She was a maiden of rarest beauty, and not more lovely than packed with glee. And evil was the hour when she noticed, and adored, and wedded the painter" (par 6).
She was further portrayed as a adoring partner who despite hating her husband's fine art submissively posed for him so that he could immortalize her rare beauty along with his brushes, pallet and canvas. She placed her present for him for many weeks in their turret-chamber where they were undisturbed for foods or snooze.
Meanwhile, the Painter's nature was "passionate, studious and austere (par 6). Poe proved the Painter's losing enthusiasm with the punishing and unrelenting work that continued for days and nights and days without noticing that his young bride's health was declining her, which she had been slipping from him though she held her pose and her unchanging giggle for him.
The Painter was, in Poe's words:
A passionate, and crazy, and moody man, who became lost in reveries; so that he would not observe that the light which fell so ghastly in that lone turret withered medical and the spirits of his bride, who pined visibly to all but him (par 6).
The painter was so enamored by his obsession that he could portray his young bride well. Finally feeling satisfied with the results, the Painter arrived to realize that he was exhausted and spent. Pulling all the combine emotions of accomplishment and exhaustion he cried out "This is indeed life itself" (par 6), and appreciated his young bride-to-be. . . But as the Painter considered the object of his opus, the cherished young bride-to-be, he discovers her dead.
Here the viewers see Gothic sentiments of obsession and fatal love or the femme fatale. The Painter's mad obsession was focused only on mirroring his young bride's beauty in his canvass. There was nothing else that organised his attention. It used him to the idea that he didn't see her as a individual. From being a young bride she was changed into an inanimate object, and then her mankind was eerily ignored as it faded in to the darkness of the turret-chamber where in fact the session was held. In Poe's words, the Painter was "entranced" by the art, as though an bad spell enveloped his being and directed all his energy towards canvas. Her mankind ceased for the painter when he no longer noticed her as his partner and only revered about how her beauty would be captured in his artwork.
Her death strengthened art's importance as her beauty, with whom the Painter craved for, was immortalized in the canvass. There would be no concern for the indicators of ageing, the lines that would crease the face, or the sagging cheeks or bulging hand bags under the sight as the young bride's beauty won't deteriorate in the family portrait. This symbolizes a disturbing contrast of fine art and decay.
Meanwhile, the young bride's adoration and love for the painter can be described in the Gothic element of "fatal love. " She enjoyed him to her fatality succumbing to his painful wishes without any complaints; providing him her life for his art's sake, and her last breath for the last brush stroke that made him feel alive.