Al Aaraaf
Poe's longest poem, inspired by the Quran and a supernova.
Wikipedia / Wikimedia Commons
Al Aaraaf is an early poem by American writer Edgar Allan Poe, first published in 1829. It is Poe's longest poem, at 422 lines, and tells of an afterlife in a place called Al Aaraaf, inspired by the A'raf described in the Quran. The poem was the major work in Poe's 1829 collection Al Aaraaf, Tamerlane, and Minor Poems, which received mostly negative reviews for its complexity, obscure references, and odd structure.
- type
- Poem
- author
- Edgar Allan Poe
- first_published
- 1829
- length
- 422 lines
- nationality
- American
- field
- Poetry
- known_for
- Longest poem by Poe, inspired by the Quran and Tycho Brahe's supernova
Lore & Background
Al Aaraaf was first published as the major poem in Poe's 1829 collection Al Aaraaf, Tamerlane, and Minor Poems. Poe claimed he wrote it before he was 15, though he later adapted that claim. The poem draws from Sura 7 of the Quran and was inspired by Tycho Brahe's identification of a supernova in 1572, which Poe identified with Al Aaraaf, a star that was a place between paradise and hell. Poe explained to a potential publisher that Al Aaraaf is a medium between Heaven and Hell where men suffer no punishment but do not attain heavenly enjoyment. The poem opens with God commanding Nesace, a spirit of beauty, to convey a message to other worlds. She rouses the angel Ligeia to awaken other seraphs, but two souls—the maiden-angel Ianthe and her seraph-lover Angelo—fail to respond, resulting in God not allowing them into heaven.
Reader's Guide
Al Aaraaf is significant as Poe's longest poem and as an early work that reveals his developing poetic skills, though it is often avoided by scholars due to its obscurity. The poem mixes historical facts, religious mythology, and imagination, focusing on the afterlife, ideal love, and ideal beauty. Its negative reception may have inspired Poe's later theory that poems should be kept short. Years later, in 1845, Poe used Al Aaraaf to hoax a Boston literary circle, presenting it as a new poem to prove that Bostonians did not know good literature. The poem's structure lacks consistent rhythm, instead emphasizing the flow of sound. Critic John Neal provided early encouragement, calling Poe's boast of superiority 'rather exquisite nonsense' but predicting he might someday make a magnificent poem. The poem's legacy includes its influence on Poe's poetic theory and its role in his later hoax.
Did You Know?
- Al Aaraaf is Poe's longest poem at 422 lines.
- The poem was inspired by Tycho Brahe's identification of a supernova in 1572.
- Poe used Al Aaraaf in 1845 to hoax a Boston literary circle, claiming it was a new poem.
- The poem draws from Sura 7 of the Quran.
Frequently Asked Questions
What is Al Aaraaf?
Al Aaraaf is a 422-line poem by Edgar Allan Poe, first published in 1829 as the centerpiece of his collection Al Aaraaf, Tamerlane, and Minor Poems. It stands as the longest poem Poe ever wrote.
What inspired Poe to write Al Aaraaf?
The poem's celestial setting is drawn from the Quranic concept of the A'raf, a liminal realm of judgment, and was also sparked by Poe's fascination with a supernova. Together these sources shaped his vision of a place between paradise and punishment.
How was Al Aaraaf received by critics in 1829?
The collection featuring the poem drew largely negative reviews, with readers and reviewers flagging its dense allusions, unusual structure, and perceived obscurity. Despite that early reception, it remains a notable early milestone in Poe's literary career.
What is the setting of Al Aaraaf?
The poem depicts an afterlife realm modeled on the Quranic A'raf, a celestial landscape where souls await final judgment rather than experiencing a straightforward heaven or hell. It presents a non-Western, cosmological vision of the afterlife.
Why is Al Aaraaf significant in Poe's body of work?
As Poe's longest poem and one of his earliest major publications, it reveals his early fascination with exotic religious imagery and cosmic scale. It predates his better-known gothic tales and ballads by several years, showing a different side of his imagination.
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