An Exploration of Edgar Allan Poe's "Sonnet – To Science"

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Edgar Allan Poe, a prominent figure in American romanticism, penned the poem "Sonnet – To Science," which found its place in the poetry collection "Al Aaraaf, Tamerlane, and Minor Poems" published by Hatch & Dunning in 1829. This essay delves into the intricate layers of Poe's sonnet, examining its structure, themes, and the poet's stance on the relationship between science and poetry.

The Structure of "Sonnet – To Science"

"Sonnet – To Science" adheres to the classic format of a Shakespearean sonnet, consisting of fourteen lines with a rhyme scheme of ABAB CDCD EFEF GG.

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However, it is noteworthy that in this case, both B and C rhyme with each other, deviating slightly from the conventional pattern. The sonnet follows an iambic pentameter, a metrical structure commonly found in Shakespearean sonnets, which contributes to the poem's musicality and rhythm.

The Personification of Science and Poetry

Poe employs personification as a key stylistic device in "Sonnet – To Science" to amplify the emotional depth of the poem.

He personifies both science and poetry, addressing them directly as "Science!" and "he," respectively. This choice of personification underscores the intense competition and conflict between the two domains, enhancing the reader's empathy for poetry as the perceived victim.

By characterizing science as a "Vulture, whose wings are dull realities" and poetry as a bird that "soared with an undaunted wing," Poe sets the stage for the adversarial relationship between the two. The metaphor of the vulture implies that science preys on the weaker poetry, a motif that runs throughout the poem.

Poe's Discontent with Science

Poe's discontent with science becomes evident as the poem unfolds. He questions why science has chosen poetry, symbolized as "the poet's heart," as its target. The use of rhetorical questions, such as "Why preyest thou thus upon the poet's heart?" serves to highlight Poe's sense of blame and frustration towards science.

In the second stanza, Poe's disapproval of science intensifies. He raises doubts about whether one can love science or consider it wise. He accuses science of preventing the poet from seeking the treasures hidden in the celestial skies, portraying science as an obstacle to the imaginative and spiritual pursuits of poetry.

The metaphor of both science and poetry seeking the "treasure in the jewelled skies" underscores the competition between the two realms. While they share the quest for knowledge, science is portrayed as more efficient and victorious, leaving poetry at a disadvantage.

Returning to the first stanza, Poe hints at the reasons for science's dominance. He describes science's wings as "dull realities" and emphasizes its methodical scrutiny with "peering eyes." This portrayal suggests that science is grounded in the tangible and supported by empirical evidence, whereas poetry relies on the ethereal and abstract.

The Impact of Science on Mythology and Nature

In the third stanza, Poe delves into the repercussions of science on mythology and nature. He employs metaphors drawn from classical mythology to illustrate his point. For instance, he accuses science of "dragging Diana from her car," referring to the Roman goddess of hunting and the moon. In doing so, Poe suggests that science has debunked mythological beliefs and diminished their power.

Poe further explores the impact on nature by mentioning the Hamadryad, a nymph from Greek and Roman mythology that inhabits trees. The metaphor of "driven the Hamadryad from the wood" signifies the disruption of the natural world by scientific progress.

He continues with the metaphor of Naiads and Elves, both creatures closely associated with nature. The forceful verbs "dragged," "driven," and "torn" used in the stanza depict the brutal consequences of science on these natural entities, highlighting the destructive aspect of scientific advancement.

The most poignant moment in the poem comes in the final lines when Poe refers to himself with "me" and laments, "And from me the summer dream beneath the tamarind tree?" This personalization intensifies the emotional impact, as Poe suggests that science has stolen his youthful dreams and poetic inspiration.

Conclusion

"Sonnet – To Science" by Edgar Allan Poe serves as a profound commentary on the conflict between science and poetry in the early 19th century. Through skillful personification, metaphors drawn from mythology, and poignant language, Poe conveys his discontent with science's encroachment on the realm of poetry.

The poem reflects Poe's belief that science, with its empirical focus and tangible evidence, has supplanted the imaginative and spiritual pursuits of poetry. It has disrupted mythological beliefs and eroded the harmony of the natural world.

Ultimately, "Sonnet – To Science" stands as a poignant lamentation for the fading poetic inspiration in the face of scientific progress. Poe's exploration of this theme invites readers to contemplate the complex interplay between science and the humanities, a dialogue that continues to resonate in our contemporary world.