…because I’m just in the sort of mood where I spend several hours thinking about a poem, and writing a ridiculously long post about it. I’m even feeling contrary enough to leave the whole damn thing without a “more” break in it.
Dreamland
By a route obscure and lonely,
Haunted by ill angels only,
Where an Eidolon
On a black throne reigns upright,
I have reached these lands but newly
From an ultimate dim Thule
From a wild weird clime that lieth, sublime,
Out of SPACE—out of TIME.
Bottomless vales and boundless floods
Little attention has been given to the close similarity between the imagery of Poe’s “Dream-Land” (1844) and that of various opium-dream accounts or opium-inspired poetry which, as an avid reader of magazines and contemporary poetry, Poe very easily might have encountered. Alethea Hayter’s Opium and the Romantic Imagination [Berkeley: Univ. of California Press, 1970], though demonstrating that opium-dream imagery occurs frequently in other Poe works, makes only a passing reference to the poem. But the landscape of “Dream-Land” — “a wild weird clime that lieth, sublime, / Out of SPACE — out of TIME” — has enough in common with recurring images in opium-inspired writings to link it closely with the genre. The “bottomless vales,” the “boundless floods,” the “chasms, and caves,” the “shrouded forms” of the dead, and other elements of Poe’s poem have their counterparts in George Crabbe’s narrative poem “Sir Eustace Grey” (1807), Thomas De Quincey’s The Confessions of an English Opium-Eater (1821-22), and Walter Colton’s “Turkish Sketches: Effects of Opium” in the Knickerbocker Magazine for April 1836 (VII, 421-423). Though all of these accounts describe the pleasures as well as the pains of opium, only the latter have particular relevance here.
Enormous distortions of the sense of time and space, which “Dream-Land” effectively conveys, are characteristic of the opium dream [Hayter, p. 48]. De Quincey’s description is especially memorable:
The sense of space, and in the end, the sense of time, were both powerfully affected. Buildings, landscapes &c. were exhibited in proportions so vast as the bodily eye is not fitted to receive. Space swelled, and was amplified to an extent of unutterable infinity. This, however, did not disturb me so much as the vast expansion of time; I sometimes seemed to have lived for 70 or 100 years in one night, nay, sometimes had feelings representative of a millennium passed in that time, or, however, of a duration far beyond the limits of any human experience. [Edward Sackville-West, ed., Confessions of an English Opium-Eater, together with Selections from the Autobiography of Thomas De Quincey, (New York: Chanticleer Press, 1950), p. 328.]
Extracted from “Poe’s ‘Dream-Land’ and The Imagery of Opium Dreams” in Poe Studies, vol. VIII, no. 1, June 1975, page 24.,
And chasms, and caves, and Titan woods
1 capitalized : any of a family of giants born of Uranus and Gaea and ruling the earth until overthrown by the Olympian gods
2 : one that is gigantic in size or power : one that stands out for greatness of achievement
I think it’s obvious that “titan woods” would mean the giant forest, and would be used in this kind of poem to conjure images of large trees and the sense of being somewhere that is vastly bigger than you. That sense that your surroundings are happening at a larger scale than you can convey a kind of helplessness and isolation. By using the capitalized form though, Poe makes allusion to the Titans of Greek legend, and suddenly our giant forest becomes the ancient forest; forests older than the gods themselves, and on a scale to dwarf gods, much less we mere mortals. What a great image.
With forms that no man can discover
For the dews that drip all over;
Mountains toppling evermore
Into seas without a shore
It’s also worth comparing with Paradise Lost, Book II, starting at around line 890:
Before thir eyes in sudden view appear
The secrets of the hoarie deep, a dark
Illimitable Ocean without bound,
Without dimension, where length, breadth, and highth,
And time and place are lost; where eldest Night
And Chaos, Ancestors of Nature, hold
Eternal Anarchie, amidst the noise
Of endless warrs and by confusion stand.
Of course we quickly leave the surging ocean and Chaos behind, and walk on only with King Night…;
Seas that restlessly aspire,
Surging, unto skies of fire
This actually interferes with my enjoyment of the poem. I have to work quite hard to mentally render “skies of fire” as a dream world’s exaggerated view of the ridiculously starry sky one would see on a cloudless and clear night, far from any source of light.
Lakes that endlessly outspread
Their lone waters—lone and dead,
Their still waters—still and chilly
With the snows of the lolling lily
By the lakes that thus outspread
Their lone waters, lone and dead,—
Their sad waters, sad and chilly
With the snows of the lolling lily,—
By the mountains—near the river
Murmuring lowly, murmuring ever,—
By the gray woods,—by the swamp
Where the toad and the newt encamp,—
By the dismal tarns
Where dwell the Ghouls
By each spot the most unholy—
In each nook
There the traveller meets aghast
Sheeted Memories of the past
Shrouded forms that start and sigh
As they pass the wanderer by—
White-robed forms of friends
In agony, to the Earth—and Heaven.
For the heart whose woes are legion
’Tis a peaceful, soothing region—
For the spirit that walks in shadow
’Tis—oh, ’tis an Eldorado
But the traveller, travelling through it,
May not—dare not openly view it;
Never its mysteries are exposed
To the weak human eye unclosed
So wills its King
The uplifting of the fringed lid;
And thus the sad Soul that here passes
Beholds it but through darkened glasses
By a route obscure and lonely,
Haunted by ill angels only.
Where an Eidolon, named NIGHT,
On a black throne reigns upright,
I have wandered home
From this ultimate dim Thule
So, what do we make of that? There are a few obvious readings:
- it’s the tale of a dreamer’s journey through a land where he can encounter things denied to Day, albeiit in a vague and dreamlike way
- it’s a journey in sleep from the physical world to an unchanging world of permanence, which borders another unchanging world where the dead live
- the dreamer gets a view behind the curtains of the normal world into the world of Plato’s forms, which can not be directly apprehended, but which are available indirectly to the dreaming mind
- a dreamer plagued in life by much pain and many deaths, comes in sleep to soothe himself with ghosts composed of memories (and maybe the implication that there is no afterlife at all outside of memory and dreams)
…and so on.
However, one of the most interesting readings is the one espoused in Dennis W. Eddings’ article ” Poe’s ‘Dream-Land’: Nightmare or Sublime Vision?,” from Poe Studies, vol. VIII, no. 1, June 1975: “A topsy-turvy, nightmare world is indeed the subject of the poem; that world, however, is not the world of dreams but the physical world of everyday affairs.” Now that’s a take on the poem that’s worth chewing over.
Which brings us to “Dream-Land.” I believe that in this poem Poe is setting forth his basic vision that physical life is a dream, a nightmare state of separation from the sublime Unity of the Spiritual Universe. We read the poem correctly only when we realize that the garish landscape it describes is not the nightmare of sleep and the tormented mind, but the inevitable nightmare of physical existence.
…
The poem begins with the speaker awakening, losing contact with the sense of the Ideal which has come to him in sleep, continues with a lengthy description of Dream-Land which is the every-day world of physical reality, and concludes with a return to sleep, to the sense of the Ideal.
If you’ve read this far, you should read Eddings’ full argument. It’s a good one.
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