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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #55749 (https://www.gutenberg.org/ebooks/55749)
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-The Project Gutenberg EBook of The Raven and The Philosophy of Composition, by 
-Edgar Allan Poe
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Raven and The Philosophy of Composition
-
-Author: Edgar Allan Poe
-
-Illustrator: Galen J. Perrett
-
-Release Date: October 14, 2017 [EBook #55749]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE RAVEN, PHILOSOPHY OF COMPOSITION ***
-
-
-
-
-Produced by Richard Tonsing and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
-Internet Archive)
-
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-
-
-                               The Raven
-                                  and
-                     The Philosophy of Composition
-
-[Illustration]
-
-
-[Illustration:
-
-  _Copyright 1906 by The Harwell-Evans Co._
-
-  _Lenore_
-]
-
-[Illustration]
-
-
-
-
-                               The Raven
-                                  and
-                     The Philosophy of Composition
-
-
-                                   By
-                            Edgar Allan Poe
-
-                      Quarto Photogravure Edition
-             Illustrated from Paintings by Galen J. Perrett
-                    The Decorations by Will Jenkins
-
-[Illustration]
-
-                         Paul Elder and Company
-                       San Francisco and New York
-
-
-
-
-                                Contents
-
-
-                     Foreword
-                     The Philosophy of Composition
-                     The Raven
-
-------------------------------------------------------------------------
-
-
-
-
-                                Foreword
-
-
-The initial intention of the publishers to present “The Raven” without
-preface, notes, or other extraneous matter that might detract from an
-undivided appreciation of the poem, has been somewhat modified by the
-introduction of Poe’s prose essay, “The Philosophy of Composition.” If
-any justification were necessary, it is to be found both in the unique
-literary interest of the essay, and in the fact that it is (or purports
-to be) a frank exposition of the modus operandi by which “The Raven” was
-written. It is felt that no other introduction could be more happily
-conceived or executed. Coming from Poe’s own hand, it directly avoids
-the charge of presumption; and written in Poe’s most felicitous style,
-it entirely escapes the defect—not uncommon in analytical treatises—of
-pedantry.
-
-It is indeed possible, as some critics assert, that this supposed
-analysis is purely fictitious. If so, it becomes all the more
-distinctive as a marvelous bit of imaginative writing, and as such ranks
-equally with that wild snatch of melody, “The Raven.” But these same
-critics would lead us further to believe that “The Raven” itself is
-almost a literal translation of the work of a Persian poet. If they be
-again correct, Poe’s genius as seen in the creation of “The Philosophy
-of Composition” is far more startling than it has otherwise appeared;
-and “robbed of his bay leaves in the realm of poetry,” he is to be
-“crowned with a double wreath of berried holly for his prose.”
-
-
-
-
-                     The Philosophy of Composition.
-
-[Illustration]
-
-
-
-
-[Illustration]
-
-                     The Philosophy of Composition
-
-
-Charles Dickens, in a note now lying before me, alluding to an
-examination I once made of the mechanism of “Barnaby Rudge,” says—“By
-the way, are you aware that Godwin wrote his ‘Caleb Williams’ backwards?
-He first involved his hero in a web of difficulties, forming the second
-volume, and then, for the first, cast about him for some mode of
-accounting for what had been done.”
-
-I cannot think this the precise mode of procedure on the part of
-Godwin—and indeed what he himself acknowledges, is not altogether in
-accordance with Mr. Dickens’ idea—but the author of “Caleb Williams” was
-too good an artist not to perceive the advantage derivable from at least
-a somewhat similar process. Nothing is more clear than that every plot,
-worth the name, must be elaborated to its dénouement before anything be
-attempted with the pen. It is only with the dénouement constantly in
-view that we can give a plot its indispensable air of consequence, or
-causation, by making the incidents, and especially the tone at all
-points, tend to the development of the intention.
-
-There is a radical error, I think, in the usual mode of constructing a
-story. Either history affords a thesis—or one is suggested by an
-incident of the day—or, at best, the author sets himself to work in the
-combination of striking events to form merely the basis of his
-narrative—designing, generally, to fill in with description, dialogue,
-or autorial comment, whatever crevices of fact, or action, may, from
-page to page, render themselves apparent.
-
-I prefer commencing with the consideration of an effect. Keeping
-originality always in view—for he is false to himself who ventures to
-dispense with so obvious and so easily attainable a source of interest—I
-say to myself, in the first place, “Of the innumerable effects, or
-impressions, of which the heart, the intellect, or (more generally) the
-soul is susceptible, what one shall I, on the present occasion, select?”
-Having chosen a novel, first, and secondly a vivid effect, I consider
-whether it can be best wrought by incident or tone—whether by ordinary
-incidents and peculiar tone, or the converse, or by peculiarity both of
-incident and tone—afterward looking about me (or rather within) for such
-combinations of event, or tone, as shall best aid me in the construction
-of the effect.
-
-I have often thought how interesting a magazine paper might be written
-by any author who would—that is to say who could—detail, step by step,
-the processes by which any one of his compositions attained its ultimate
-point of completion. Why such a paper has never been given to the world,
-I am much at a loss to say—but, perhaps, the autorial vanity has had
-more to do with the omission than any one other cause. Most
-writers—poets in especial—prefer having it understood that they compose
-by a species of fine phrenzy—an ecstatic intuition—and would positively
-shudder at letting the public take a peep behind the scenes, at the
-elaborate and vacillating crudities of thought—at the true purposes
-seized only at the last moment—at the innumerable glimpses of idea that
-arrived not at the maturity of full view—at the fully matured fancies
-discarded in despair as unmanageable—at the cautious selections and
-rejections—at the painful erasures and interpolations—in a word, at the
-wheels and pinions—the tackle for scene-shifting—the stepladders and
-demon-traps—the cock’s feathers, the red paint and the black patches,
-which, in ninety-nine cases out of the hundred, constitute the
-properties of the literary histrio.
-
-I am aware, on the other hand, that the case is by no means common, in
-which an author is at all in condition to retrace the steps by which his
-conclusions have been attained. In general, suggestions, having arisen
-pell-mell, are pursued and forgotten in a similar manner.
-
-For my own part, I have neither sympathy with the repugnance alluded to,
-nor at any time the least difficulty in recalling to mind the
-progressive steps of any of my compositions; and, since the interest of
-an analysis, or reconstruction, such as I have considered a desideratum,
-is quite independent of any real or fancied interest in the thing
-analyzed, it will not be regarded as a breach of decorum on my part to
-show the modus operandi by which some one of my own works was put
-together. I select “The Raven,” as most generally known. It is my design
-to render it manifest that no one point in its composition is referable
-either to accident or intuition—that the work proceeded, step by step,
-to its completion with the precision and rigid consequence of a
-mathematical problem.
-
-Let us dismiss, as irrelevant to the poem, per se, the circumstance—or
-say the necessity—which, in, the first place, gave rise to the intention
-of composing a poem that should suit at once the popular and the
-critical taste.
-
-We commence, then, with this intention.
-
-The initial consideration was that of extent. If any literary work is
-too long to be read at one sitting, we must be content to dispense with
-the immensely important effect derivable from unity of impression—for,
-if two sittings be required, the affairs of the world interfere, and
-everything like totality is at once destroyed. But since, ceteris
-paribus, no poet can afford to dispense with anything that may advance
-his design, it but remains to be seen whether there is, in extent, any
-advantage to counterbalance the loss of unity which attends it. Here I
-say No, at once. What we term a long poem is, in fact, merely a
-succession of brief ones—that is to say, of brief poetical effects. It
-is needless to demonstrate that a poem is such, only inasmuch as it
-intensely excites, by elevating, the soul; and all intense excitements
-are, through a psychal necessity, brief. For this reason, at least
-one-half of the “Paradise Lost” is essentially prose—a succession of
-poetical excitements interspersed, inevitably, with corresponding
-depressions—the whole being deprived, through the extremeness of its
-length, of the vastly important artistic element, totality, or unity, of
-effect.
-
-It appears evident, then, that there is a distinct limit, as regards
-length, to all works of literary art—the limit of a single sitting—and
-that, although in certain classes of prose composition, such as
-“Robinson Crusoe” (demanding no unity), this limit may be advantageously
-overpassed, it can never properly be overpassed in a poem. Within this
-limit, the extent of a poem may be made to bear mathematical relation to
-its merit—in other words, to the excitement or elevation—again, in other
-words, to the degree of the true poetical effect which it is capable of
-inducing; for it is clear that the brevity must be in direct ratio to
-the intensity of the intended effect:—this, with one proviso—that a
-certain degree of duration is absolutely requisite for the production of
-any effect at all.
-
-Holding in view these considerations, as well as that degree of
-excitement which I deemed not above the popular, while not below the
-critical, taste, I reached at once what I conceived the proper length
-for my intended poem—a length of about one hundred lines. It is, in
-fact, a hundred and eight.
-
-My next thought concerned the choice of an impression, or effect, to be
-conveyed; and here I may as well observe that, throughout the
-construction, I kept steadily in view the design of rendering the work
-universally appreciable. I should be carried too far out of my immediate
-topic were I to demonstrate a point upon which I have repeatedly
-insisted, and which, with the poetical, stands not in the slightest need
-of demonstration—the point, I mean, that Beauty is the sole legitimate
-province of the poem. A few words, however, in elucidation of my real
-meaning, which some of my friends have evinced a disposition to
-misrepresent. That pleasure which is at once the most intense, the most
-elevating, and the most pure, is, I believe, found in the contemplation
-of the beautiful. When, indeed, men speak of Beauty, they mean,
-precisely, not a quality, as is supposed, but an effect; they refer, in
-short, just to that intense and pure elevation of soul—not of intellect,
-or of heart—upon which I have commented, and which is experienced in
-consequence of contemplating “the beautiful.” Now I designate Beauty as
-the province of the poem, merely because it is an obvious rule of Art
-that effects should be made to spring from direct causes—that objects
-should be attained through means best adapted for their attainment—no
-one as yet having been weak enough to deny that the peculiar elevation
-alluded to is most readily attained in the poem. Now the object, Truth,
-or the satisfaction of the intellect, and the object, Passion, or the
-excitement of the heart, are, although attainable, to a certain extent,
-in poetry, far more readily attainable in prose. Truth, in fact, demands
-a precision, and Passion a homeliness (the truly passionate will
-comprehend me) which are absolutely antagonistic to that Beauty which, I
-maintain, is the excitement, or pleasurable elevation, of the soul. It
-by no means follows from anything here said, that Passion, or even
-Truth, may not be introduced, and even profitably introduced, into a
-poem—for they may serve in elucidation, or aid the general effect, as do
-discords in music, by contrast—but the true artist will always contrive,
-first, to tone them into proper subservience to the predominant aim,
-and, secondly, to enveil them, as far as possible, in that Beauty which
-is the atmosphere and the essence of the poem.
-
-Regarding, then, Beauty as my province, my next question referred to the
-tone of its highest manifestation—and all experience has shown that this
-tone is one of sadness. Beauty of whatever kind, in its supreme
-development, invariably excites the sensitive soul to tears. Melancholy
-is thus the most legitimate of all the poetical tones.
-
-The length, the province, and the tone, being thus determined, I betook
-myself to ordinary induction, with the view of obtaining some artistic
-piquancy which might serve me as a keynote in the construction of the
-poem—some pivot upon which the whole structure might turn. In carefully
-thinking over all the usual artistic effects—or more properly points, in
-the theatrical sense—I did not fail to perceive immediately that no one
-had been so universally employed as that of the refrain. The
-universality of its employment sufficed to assure me of its intrinsic
-value, and spared me the necessity of submitting it to analysis. I
-considered it, however, with regard to its susceptibility of
-improvement, and soon saw it to be in a primitive condition. As commonly
-used, the refrain, or burden, not only is limited to lyric verse, but
-depends for its impression upon the force of monotone—both in sound and
-thought. The pleasure is deduced solely from the sense of identity—of
-repetition. I resolved to diversify, and so heighten, the effect, by
-adhering, in general, to the monotone of sound, while I continually
-varied that of thought: that is to say, I determined to produce
-continuously novel effects, by the variation of the application of the
-refrain—the refrain itself remaining, for the most part, unvaried.
-
-These points being settled, I next bethought me of the nature of my
-refrain. Since its application was to be repeatedly varied, it was clear
-that the refrain itself must be brief, for there would have been an
-insurmountable difficulty in frequent variations of application in any
-sentence of length. In proportion to the brevity of the sentence, would,
-of course, be the facility of the variation. This led me at once to a
-single word as the best refrain.
-
-The question now arose as to the character of the word.
-
-Having made up my mind to a refrain, the division of the poem into
-stanzas was, of course, a corollary, the refrain forming the close of
-each stanza. That such a close, to have force, must be sonorous and
-susceptible of protracted emphasis, admitted no doubt; and these
-considerations inevitably led me to the long “o” as the most sonorous
-vowel, in connection with “r” as the most producible consonant.
-
-The sound of the refrain being thus determined, it became necessary to
-select a word embodying this sound, and at the same time in the fullest
-possible keeping with that melancholy which I had predetermined as the
-tone of the poem. In such a search it would have been absolutely
-impossible to overlook the word “Nevermore.” In fact, it was the very
-first which presented itself.
-
-The next desideratum was a pretext for the continuous use of the one
-word “Nevermore.” In observing the difficulty which I at once found in
-inventing a sufficiently plausible reason for its continuous repetition,
-I did not fail to perceive that this difficulty arose solely from the
-pre-assumption that the word was to be so continuously or monotonously
-spoken by a human being—I did not fail to perceive, in short, that the
-difficulty lay in the reconciliation of this monotony with the exercise
-of reason on the part of the creature repeating the word. Here, then,
-immediately arose the idea of a non-reasoning creature capable of
-speech; and, very naturally, a parrot, in the first instance, suggested
-itself, but was superseded forthwith by a Raven, as equally capable of
-speech, and infinitely more in keeping with the intended tone.
-
-[Illustration]
-
-I had now gone so far as the conception of a Raven—the bird of ill
-omen—monotonously repeating the one word, “Nevermore,” at the conclusion
-of each stanza, in a poem of melancholy tone, and in length about one
-hundred lines. Now, never losing sight of the object supremeness, or
-perfection, at all points, I asked myself—“Of all melancholy topics,
-what, according to the universal understanding of mankind, is the most
-melancholy?” Death—was the obvious reply. “And when,” I said, “is this
-most melancholy of topics most poetical?” From what I have already
-explained at some length, the answer, here also, is obvious—“When it
-most closely allies itself to Beauty: the death, then, of a beautiful
-woman is, unquestionably, the most poetical topic in the world—and
-equally is it beyond doubt that the lips best suited for such topic are
-those of a bereaved lover.”
-
-I had now to combine the two ideas, of a lover lamenting his deceased
-mistress and a Raven continuously repeating the word “Nevermore.” I had
-to combine these, bearing in mind my design of varying, at every turn,
-the application of the word repeated; but the only intelligible mode of
-such combination is that of imagining the Raven employing the word in
-answer to the queries of the lover. And here it was that I saw at once
-the opportunity afforded for the effect on which I had been
-depending—that is to say, the effect of the variation of application. I
-saw that I could make the first query propounded by the lover—the first
-query to which the Raven should reply “Nevermore”—that I could make this
-first query a commonplace one—the second less so—the third still less,
-and so on, until at length the lover—startled from his original
-nonchalance by the melancholy character of the word itself, by its
-frequent repetition, and by a consideration of the ominous reputation of
-the fowl that uttered it—is at length excited to superstition, and
-wildly propounds queries of a far different character—queries whose
-solution he has passionately at heart—propounds them half in
-superstition and half in that species of despair which delights in
-self-torture—propounds them not altogether because he believes in the
-prophetic or demoniac character of the bird (which, reason assures him,
-is merely repeating a lesson learned by rote) but because he experiences
-a phrenzied pleasure in so modeling his questions as to receive from the
-expected “Nevermore,” the most delicious because the most intolerable of
-sorrow. Perceiving the opportunity thus afforded me—or, more strictly,
-thus forced upon me in the progress of the construction—I first
-established in mind the climax, or concluding query—that query to which
-“Nevermore” should be in the last place an answer—that in reply to which
-this word “Nevermore” should involve the utmost conceivable amount of
-sorrow and despair.
-
-Here, then, the poem may be said to have its beginning—at the end, where
-all works of art should begin—for it was here, at this point of my
-pre-considerations, that I first put pen to paper in the composition of
-the stanza:
-
-  “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
-  By that heaven that bends above us—by that God we both adore—
-  Tell this soul with sorrow laden if, within the distant Aidenn,
-  It shall clasp a sainted maiden whom the angels name Lenore—
-  Clasp a rare and radiant maiden whom the angels name Lenore.”
-          Quoth the Raven, “Nevermore.”
-
-I composed this stanza, at this point, first that, by establishing the
-climax, I might the better vary and graduate, as regards seriousness and
-importance, the preceding queries of the lover; and, secondly, that I
-might definitely settle the rhythm, the meter, and the length and
-general arrangement of the stanza, as well as graduate the stanzas which
-were to precede, so that none of them might surpass this in rhythmical
-effect. Had I been able, in the subsequent composition, to construct
-more vigorous stanzas, I should, without scruple, have purposely
-enfeebled them, so as not to interfere with the climacteric effect.
-
-And here I may as well say a few words of the versification. My first
-object (as usual) was originality. The extent to which this has been
-neglected, in versification, is one of the most unaccountable things in
-the world. Admitting that there is little possibility of variety in mere
-rhythm, it is still clear that the possible varieties of meter and
-stanza are absolutely infinite—and yet, for centuries, no man, in verse,
-has ever done, or ever seemed to think of doing, an original thing. The
-fact is, that originality (unless in minds of very unusual force) is by
-no means a matter, as some suppose, of impulse or intuition. In general,
-to be found, it must be elaborately sought, and although a positive
-merit of the highest class, demands in its attainment less of invention
-than negation.
-
-Of course, I pretend to no originality in either the rhythm or meter of
-“The Raven.” The former is trochaic—the latter is octameter acatalectic,
-alternating with heptameter catalectic repeated in the refrain of the
-fifth verse, and terminating with tetrameter catalectic. Less
-pedantically—the feet employed throughout (trochees) consist of a long
-syllable followed by a short: the first line of the stanza consists of
-eight of these feet—the second of seven and a half (in effect
-two-thirds)—the third of eight—the fourth of seven and a half—the fifth
-the same—the sixth, three and a half. Now, each of these lines, taken
-individually, has been employed before, and what originality “The Raven”
-has, is in their combination into stanza: nothing even remotely
-approaching this combination has ever been attempted. The effect of this
-originality of combination is aided by other unusual and some altogether
-novel effects, arising from an extension of the application of the
-principles of rhyme and alliteration.
-
-The next point to be considered was the mode of bringing together the
-lover and the Raven—and the first branch of this consideration was the
-locale. For this the most natural suggestion might seem to be a forest,
-or the fields—but it has always appeared to me that a close
-circumscription of space is absolutely necessary to the effect of
-insulated incident: it has the force of a frame to a picture. It has an
-indisputable moral power in keeping concentrated the attention, and, of
-course, must not be confounded with mere unity of place.
-
-I determined, then, to place the lover in his chamber—in a chamber
-rendered sacred to him by memories of her who had frequented it. The
-room is represented as richly furnished—this, in mere pursuance of the
-ideas I have already explained on the subject of beauty as the sole true
-poetical thesis.
-
-The locale being thus determined, I had now to introduce the bird—and
-the thought of introducing him through the window was inevitable. The
-idea of making the lover suppose, in the first instance, that the
-flapping of the wings of the bird against the shutter is a “tapping” at
-the door, originated in a wish to increase, by prolonging, the reader’s
-curiosity, and in a desire to admit the incidental effect arising from
-the lover’s throwing open the door, finding all dark, and thence
-adopting the half-fancy that it was the spirit of his mistress that
-knocked.
-
-I made the night tempestuous, first, to account for the Raven’s seeking
-admission, and, secondly, for the effect of contrast with the (physical)
-serenity within the chamber.
-
-I made the bird alight on the bust of Pallas, also for the effect of
-contrast between the marble and the plumage—it being understood that the
-bust was absolutely suggested by the bird—the bust of Pallas being
-chosen, first, as most in keeping with the scholarship of the lover,
-and, secondly, for the sonorousness of the word, Pallas, itself.
-
-About the middle of the poem, also, I have availed myself of the force
-of contrast, with a view of deepening the ultimate impression. For
-example, an air of the fantastic—approaching as nearly to the ludicrous
-as was admissible—is given to the Raven’s entrance. He comes in “with
-many a flirt and flutter.”
-
-  Not the least obeisance made he; not a minute stopped or stayed he;
-  But, with mien of lord or lady, perched above my chamber door.
-
-In the two stanzas which follow, the design is more obviously carried
-out:
-
- Then this ebony bird beguiling my sad fancy into smiling.
- By the grave and stern decorum of the countenance it wore,
- “Though thy crest be shorn and shaven, thou,” I said, “art sure no
-    craven,
- Ghastly grim and ancient Raven wandering from the Nightly shore—
- Tell me what thy lordly name is on the Night’s Plutonian shore!”
-         Quoth the Raven, “Nevermore.”
-
- Much I marvelled this ungainly fowl to bear discourse so plainly,
- Though its answer little meaning—little relevancy bore;
- For we cannot help agreeing that no living human being
- Ever yet was blessed with seeing bird above his chamber door—
- Bird or beast upon the sculptured bust above his chamber door,
-         With such name as “Nevermore.”
-
-The effect of the dénouement being thus provided for, I immediately drop
-the fantastic for a tone of the most profound seriousness—this tone
-commencing in the stanza directly following the one last quoted, with
-the line:
-
-  But the Raven, sitting lonely on that placid bust, spoke only, etc.
-
-From this epoch the lover no longer jests—no longer sees anything even
-of the fantastic in the Raven’s demeanour. He speaks of him as a “grim,
-ungainly, ghastly, gaunt, and ominous bird of yore,” and feels the
-“fiery eyes” burning into his “bosom’s core.” This revolution of
-thought, or fancy, on the lover’s part, is intended to induce a similar
-one on the part of the reader—to bring the mind into a proper frame for
-the dénouement—which is now brought about as rapidly and as directly as
-possible.
-
-With the dénouement proper—with the Raven’s reply, “Nevermore,” to the
-lover’s final demand if he shall meet his mistress in another world—the
-poem, in its obvious phase, that of a simple narrative, may be said to
-have its completion. So far, everything is within the limits of the
-accountable—of the real. A Raven, having learned by rote the single
-word, “Nevermore,” and having escaped from the custody of its owner, is
-driven at midnight, through the violence of a storm, to seek admission
-at a window from which a light still gleams,—the chamber-window of a
-student, occupied half in poring over a volume, half in dreaming of a
-beloved mistress deceased. The casement being thrown open at the
-fluttering of the bird’s wings, the bird itself perches on the most
-convenient seat out of the immediate reach of the student, who, amused
-by the incident and the oddity of the visitor’s demeanour, demands of
-it, in jest and without looking for a reply, its name. The Raven,
-addressed, answers with its customary word, “Nevermore,” a word which
-finds immediate echo in the melancholy heart of the student, who, giving
-utterance aloud to certain thoughts suggested by the occasion, is again
-startled by the fowl’s repetition of “Nevermore.” The student now
-guesses the state of the case, but is impelled, as I have before
-explained, by the human thirst for self-torture, and in part by
-superstition, to propound such queries to the bird as will bring him,
-the lover, the most of the luxury of sorrow, through the anticipated
-answer, “Nevermore.” With the indulgence, to the extreme, of this
-self-torture, the narration, in what I have termed its first or obvious
-phase, has a natural termination, and so far there has been no
-overstepping of the limits of the real.
-
-But in subjects so handled, however skilfully, or with however vivid an
-array of incident, there is always a certain hardness or nakedness which
-repels the artistical eye. Two things are invariably required: first,
-some amount of complexity, or, more properly, adaptation; and, secondly,
-some amount of suggestiveness—some under-current, however indefinite, of
-meaning. It is this latter, in especial, which imparts to a work of art
-so much of that richness (to borrow from colloquy a forcible term) which
-we are too fond of confounding with the ideal. It is the excess of the
-suggested meaning—it is the rendering this the upper- instead of the
-under-current of the theme—which turns into prose (and that of the very
-flattest kind) the so-called poetry of the so-called transcendentalists.
-
-Holding these opinions, I added the two concluding stanzas of the
-poem—their suggestiveness being thus made to pervade all the narrative
-which has preceded them. The under-current of meaning is rendered first
-apparent in the lines:
-
- “Take thy beak from out my heart, and take thy form from off my door!”
-         Quoth the Raven, “Nevermore.”
-
-It will be observed that the words, “from out my heart,” involve the
-first metaphorical expression in the poem. They, with the answer,
-“Nevermore,” dispose the mind to seek a moral in all that has been
-previously narrated. The reader begins now to regard the Raven as
-emblematical—but it is not until the very last line of the very last
-stanza, that the intention of making him emblematical of Mournful and
-Never-ending Remembrance is permitted distinctly to be seen:
-
- And the Raven, never flitting, still is sitting, still is sitting
- On the pallid bust of Pallas just above my chamber door;
- And his eyes have all the seeming of a demon’s that is dreaming,
- And the lamp-light o’er him streaming throws his shadow on the floor;
- And my soul from out that shadow that lies floating on the floor
-         Shall be lifted—nevermore!
-
-[Illustration: _Fordham Cottage_]
-
-
-
-
-                               The Raven
-
-[Illustration]
-
-
-[Illustration]
-
- Once upon a midnight dreary, while I pondered, weak and weary,
- Over many a quaint and curious volume of forgotten lore—
- While I nodded, nearly napping, suddenly there came a tapping,
- As of some one gently rapping, rapping at my chamber door.
- “’Tis some visitor,” I muttered, “tapping at my chamber door—
-     Only this and nothing more.”
-
-[Illustration]
-
- Ah, distinctly I remember it was in the bleak December,
- And each separate dying ember wrought its ghost upon the floor.
- Eagerly I wished the morrow;—vainly I had sought to borrow
- From my books surcease of sorrow—sorrow for the lost Lenore—
- For the rare and radiant maiden whom the angels name Lenore—
-     Nameless here for evermore.
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- And the silken, sad, uncertain rustling of each purple curtain
- Thrilled me—filled me with fantastic terrors never felt before;
- So that now, to still the beating of my heart, I stood repeating
- “’Tis some visitor entreating entrance at my chamber door—
- Some late visitor entreating entrance at my chamber door;—
-     This it is and nothing more.”
-
-[Illustration]
-
- Presently my soul grew stronger; hesitating then no longer,
- “Sir,” said I, “or Madam, truly your forgiveness I implore;
- But the fact is I was napping, and so gently you came rapping,
- And so faintly you came tapping, tapping at my chamber door,
- That I scarce was sure I heard you”—here I opened wide the door;—
-     Darkness there and nothing more.
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- Deep into that darkness peering, long I stood there wondering, fearing,
- Doubting, dreaming dreams no mortal ever dared to dream before;
- But the silence was unbroken, and the stillness gave no token,
- And the only word there spoken was the whispered word, “Lenore!”
- This I whispered, and an echo murmured back the word, “Lenore!”
-     Merely this and nothing more.
-
-[Illustration]
-
- Back into the chamber turning, all my soul within me burning,
- Soon again I heard a tapping somewhat louder than before.
- “Surely,” said I, “surely that is something at my window lattice;
- Let me see, then, what thereat is, and this mystery explore—
- Let my heart be still a moment and this mystery explore;—
-     ’Tis the wind and nothing more.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- Open here I flung the shutter, when, with many a flirt and flutter,
- In there stepped a stately Raven of the saintly days of yore.
- Not the least obeisance made he; not a minute stopped or stayed he;
- But, with mien of lord or lady, perched above my chamber door—
- Perched upon a bust of Pallas just above my chamber door—
-     Perched, and sat, and nothing more.
-
-[Illustration]
-
- Then this ebony bird beguiling my sad fancy into smiling,
- By the grave and stern decorum of the countenance it wore,
- “Though thy crest be shorn and shaven, thou,” I said, “art sure no
-    craven,
- Ghastly grim and ancient Raven wandering from the Nightly shore—
- Tell me what thy lordly name is on the Night’s Plutonian shore!”
-     Quoth the Raven, “Nevermore.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- Much I marvelled this ungainly fowl to hear discourse so plainly,
- Though its answer little meaning—little relevancy bore;
- For we cannot help agreeing that no living human being
- Ever yet was blessed with seeing bird above his chamber door—
- Bird or beast upon the sculptured bust above his chamber door,
-     With such name as “Nevermore.”
-
-[Illustration]
-
- But the Raven, sitting lonely on the placid bust, spoke only
- That one word, as if his soul in that one word he did outpour.
- Nothing further then he uttered—not a feather then he fluttered—
- Till I scarcely more than muttered “Other friends have flown before—
- On the morrow he will leave me, as my hopes have flown before.”
-     Then the bird said, “Nevermore.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- Startled at the stillness broken by reply so aptly spoken,
- “Doubtless,” said I, “what it utters is its only stock and store
- Caught from some unhappy master whom unmerciful Disaster
- Followed fast and followed faster till his songs one burden bore—
- Till the dirges of his Hope that melancholy burden bore
-     Of ‘Never—nevermore.’”
-
-[Illustration]
-
- But the Raven still beguiling all my sad soul into smiling,
- Straight I wheeled a cushioned seat in front of bird and bust and door;
- Then, upon the velvet sinking, I betook myself to linking
- Fancy unto fancy, thinking what this ominous bird of yore—
- What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
-     Meant in croaking “Nevermore.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- This I sat engaged in guessing, but no syllable expressing
- To the fowl whose fiery eyes now burned into my bosom’s core;
- This and more I sat divining, with my head at ease reclining
- On the cushion’s velvet lining that the lamp-light gloated o’er,
- But whose velvet violet lining with the lamp-light gloating o’er,
-     She shall press, ah, nevermore!
-
-[Illustration]
-
- Then, methought, the air grew denser, perfumed from an unseen censer
- Swung by Seraphim whose foot-falls tinkled on the tufted floor.
- “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent
-    thee
- Respite—respite and nepenthe from thy memories of Lenore;
- Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
-     Quoth the Raven, “Nevermore.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
- Whether Tempter sent, or whether tempest tossed thee here ashore,
- Desolate yet all undaunted, on this desert land enchanted—
- On this home by Horror haunted—tell me truly, I implore—
- Is there—is there balm in Gilead?—tell me—tell me, I implore!”
-     Quoth the Raven, “Nevermore.”
-
-[Illustration]
-
- “Prophet!” said I, “thing of evil! prophet still, if bird or devil!—
- By that Heaven that bends above us—by that God we both adore—
- Tell this soul with sorrow laden if, within the distant Aidenn,
- It shall clasp a sainted maiden whom the angels name Lenore—
- Clasp a rare and radiant maiden whom the angels name Lenore.”
-     Quoth the Raven, “Nevermore.”
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-[Illustration]
-
- “Be that word our sign of parting, bird or fiend!” I shrieked,
-    upstarting—
- “Get thee back into the tempest and the Night’s Plutonian shore!
- Leave no black plume as a token of that lie thy soul hath spoken!
- Leave my loneliness unbroken!—quit the bust above my door!
- Take thy beak from out my heart, and take thy form from off my door!”
-     Quoth the Raven, “Nevermore.”
-
-[Illustration]
-
- And the Raven, never flitting, still is sitting, still is sitting
- On the pallid bust of Pallas just above my chamber door;
- And his eyes have all the seeming of a demon’s that is dreaming,
- And the lamp-light o’er him streaming throws his shadow on the floor;
- And my soul from out that shadow that lies floating on the floor
-     Shall be lifted—nevermore!
-
-[Illustration: _Copyright 1906 by The Harwell-Evans Co._]
-
-
-    Here ends The Raven, a poem, and The Philosophy of Composition,
-    a prose essay; the poem and the essay by Edgar Allan Poe, the
-    photogravure illustrations from paintings by Galen J. Perrett,
-    the initials and decorations by Will Jenkins, the typography
-    designed by J. H. Nash. Of this first Quarto Photogravure
-    Edition one thousand copies have been issued, printed on Arches
-    handmade paper. Published by Paul Elder and Company and done
-    into a book for them at the Tomoye Press, New York City.
-    Finished this Tenth Day of July, in the year Nineteen Hundred
-    and Seven.
-
-------------------------------------------------------------------------
-
-
-
-
-                          TRANSCRIBER’S NOTES
-
-
- 1. Added Table of Contents.
- 2. The punctuation for some lines in The Raven differs from other
-      published versions, i.e., “!” instead of “?” or “.” instead of
-      “!”.
- 3. Silently corrected typographical errors.
- 4. Retained anachronistic and non-standard spellings as printed.
- 5. Enclosed italics font in _underscores_.
-
-
-
-
-
-End of the Project Gutenberg EBook of The Raven and The Philosophy of
-Composition, by Edgar Allan Poe
-
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-<pre>
-
-The Project Gutenberg EBook of The Raven and The Philosophy of Composition, by
-Edgar Allan Poe
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: The Raven and The Philosophy of Composition
-
-Author: Edgar Allan Poe
-
-Illustrator: Galen J. Perrett
-
-Release Date: October 14, 2017 [EBook #55749]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK THE RAVEN, PHILOSOPHY OF COMPOSITION ***
-
-
-
-
-Produced by Richard Tonsing and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images generously made available by The
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-</pre>
-
-
-<div class='tnotes covernote'>
-
-<p class='c000'><strong>Transcriber's Note:</strong></p>
-
-<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p>
-
-</div>
-
-<div class='nf-center-c1'>
-<div class='nf-center c001'>
-    <div><span class='xxlarge'>The Raven</span></div>
-    <div><span class='large'>and</span></div>
-    <div><span class='xlarge'>The Philosophy of Composition</span></div>
-  </div>
-</div>
-
-<div  class='figcenter id001'>
-<img src='images/i_001.jpg' alt='' class='ig001' />
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_004.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><em class='ic005'>Copyright 1906 by The Harwell-Evans Co.</em><br /><br /><em>Lenore</em></p>
-</div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_005.jpg' alt='' class='ig001' />
-</div>
-
-<div>
-  <h1 class='c002'><span class='color_red'>The Raven<br /> <span class='small'>and</span><br /> <span class='xlarge'>The Philosophy of Composition</span></span></h1>
-</div>
-
-<div class='nf-center-c1'>
-<div class='nf-center c003'>
-    <div><span class='small'>By</span></div>
-    <div><span class='large'>Edgar Allan Poe</span></div>
-    <div class='c004'>Quarto Photogravure Edition</div>
-    <div><span class='small'>Illustrated from Paintings by Galen J. Perrett</span></div>
-    <div><span class='small'>The Decorations by Will Jenkins</span></div>
-  </div>
-</div>
-
-<div  class='figcenter id001'>
-<img src='images/i_007.jpg' alt='' class='ig001' />
-</div>
-
-<div class='nf-center-c1'>
-  <div class='nf-center'>
-    <div>Paul Elder and Company</div>
-    <div><span class='small'>San Francisco and New York</span></div>
-  </div>
-</div>
-
-<div class='chapter'>
-  <h2 id='Contents' class='c005'>Contents</h2>
-</div>
-<div class='lg-container-b c003'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'><a href='#Foreword'>Foreword</a></div>
-      <div class='line'><a href='#Philosophy'>The Philosophy of Composition</a></div>
-      <div class='line'><a href='#Raven'>The Raven</a></div>
-    </div>
-  </div>
-</div>
-
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-
-<div class='chapter'>
-  <h2 id='Foreword' class='c005'>Foreword</h2>
-</div>
-
-<p class='c006'>The initial intention of the publishers to present “The
-Raven” without preface, notes, or other extraneous matter
-that might detract from an undivided appreciation of the
-poem, has been somewhat modified by the introduction of
-Poe’s prose essay, “The Philosophy of Composition.”
-If any justification were necessary, it is to be found both
-in the unique literary interest of the essay, and in the fact
-that it is (or purports to be) a frank exposition of the
-modus operandi by which “The Raven” was written. It
-is felt that no other introduction could be more happily conceived
-or executed. Coming from Poe’s own hand, it directly
-avoids the charge of presumption; and written in Poe’s
-most felicitous style, it entirely escapes the defect—not
-uncommon in analytical treatises—of pedantry.</p>
-
-<p class='c000'>It is indeed possible, as some critics assert, that this
-supposed analysis is purely fictitious. If so, it becomes
-all the more distinctive as a marvelous bit of imaginative
-writing, and as such ranks equally with that wild snatch of
-melody, “The Raven.” But these same critics would lead
-us further to believe that “The Raven” itself is almost
-a literal translation of the work of a Persian poet. If
-they be again correct, Poe’s genius as seen in the creation
-of “The Philosophy of Composition” is far more startling
-than it has otherwise appeared; and “robbed of his bay
-leaves in the realm of poetry,” he is to be “crowned with a
-double wreath of berried holly for his prose.”</p>
-
-<div class='nf-center-c1'>
-<div class='nf-center c001'>
-    <div><span class='xlarge'>The Philosophy of Composition.</span></div>
-  </div>
-</div>
-
-<div  class='figcenter id001'>
-<img src='images/i_011.jpg' alt='' class='ig001' />
-</div>
-
-<div  class='figcenter id003'>
-<img src='images/i_013.jpg' alt='' class='ig001' />
-</div>
-<div class='chapter'>
-  <h2 id='Philosophy' class='c005'>The Philosophy of Composition</h2>
-</div>
-
-<p class='c006'>Charles Dickens, in a note now lying before me, alluding to
-an examination I once made of the mechanism of “Barnaby
-Rudge,” says—“By the way, are you aware that Godwin wrote
-his ‘Caleb Williams’ backwards? He first involved his hero in
-a web of difficulties, forming the second volume, and then, for
-the first, cast about him for some mode of accounting for what
-had been done.”</p>
-
-<p class='c000'>I cannot think this the precise mode of procedure on the
-part of Godwin—and indeed what he himself acknowledges, is
-not altogether in accordance with Mr. Dickens’ idea—but the
-author of “Caleb Williams” was too good an artist not to perceive
-the advantage derivable from at least a somewhat similar
-process. Nothing is more clear than that every plot, worth the
-name, must be elaborated to its dénouement before anything be
-attempted with the pen. It is only with the dénouement constantly
-in view that we can give a plot its indispensable air of consequence,
-or causation, by making the incidents, and especially
-the tone at all points, tend to the development of the intention.</p>
-
-<p class='c000'>There is a radical error, I think, in the usual mode of constructing
-a story. Either history affords a thesis—or one is
-suggested by an incident of the day—or, at best, the author
-sets himself to work in the combination of striking events to
-form merely the basis of his narrative—designing, generally,
-to fill in with description, dialogue, or autorial comment, whatever
-crevices of fact, or action, may, from page to page, render
-themselves apparent.</p>
-
-<p class='c000'>I prefer commencing with the consideration of an effect.
-Keeping originality always in view—for he is false to himself
-who ventures to dispense with so obvious and so easily attainable
-a source of interest—I say to myself, in the first place,
-“Of the innumerable effects, or impressions, of which the heart,
-the intellect, or (more generally) the soul is susceptible, what
-one shall I, on the present occasion, select?” Having chosen
-a novel, first, and secondly a vivid effect, I consider whether
-it can be best wrought by incident or tone—whether by ordinary
-incidents and peculiar tone, or the converse, or by peculiarity
-both of incident and tone—afterward looking about me (or
-rather within) for such combinations of event, or tone, as shall
-best aid me in the construction of the effect.</p>
-
-<p class='c000'>I have often thought how interesting a magazine paper might
-be written by any author who would—that is to say who could—detail,
-step by step, the processes by which any one of his compositions
-attained its ultimate point of completion. Why such
-a paper has never been given to the world, I am much at a loss
-to say—but, perhaps, the autorial vanity has had more to do
-with the omission than any one other cause. Most writers—poets
-in especial—prefer having it understood that they compose
-by a species of fine phrenzy—an ecstatic intuition—and
-would positively shudder at letting the public take a peep behind
-the scenes, at the elaborate and vacillating crudities of thought—at
-the true purposes seized only at the last moment—at the
-innumerable glimpses of idea that arrived not at the maturity of
-full view—at the fully matured fancies discarded in despair as
-unmanageable—at the cautious selections and rejections—at
-the painful erasures and interpolations—in a word, at the
-wheels and pinions—the tackle for scene-shifting—the stepladders
-and demon-traps—the cock’s feathers, the red paint
-and the black patches, which, in ninety-nine cases out of the
-hundred, constitute the properties of the literary histrio.</p>
-
-<p class='c000'>I am aware, on the other hand, that the case is by no means
-common, in which an author is at all in condition to retrace the
-steps by which his conclusions have been attained. In general,
-suggestions, having arisen pell-mell, are pursued and forgotten
-in a similar manner.</p>
-
-<p class='c000'>For my own part, I have neither sympathy with the repugnance
-alluded to, nor at any time the least difficulty in recalling
-to mind the progressive steps of any of my compositions;
-and, since the interest of an analysis, or reconstruction, such
-as I have considered a desideratum, is quite independent of any
-real or fancied interest in the thing analyzed, it will not be regarded
-as a breach of decorum on my part to show the modus
-operandi by which some one of my own works was put together.
-I select “The Raven,” as most generally known. It is my
-design to render it manifest that no one point in its composition
-is referable either to accident or intuition—that the work proceeded,
-step by step, to its completion with the precision and
-rigid consequence of a mathematical problem.</p>
-
-<p class='c000'>Let us dismiss, as irrelevant to the poem, <span lang="la" xml:lang="la">per se</span>, the circumstance—or
-say the necessity—which, in, the first place,
-gave rise to the intention of composing a poem that should suit
-at once the popular and the critical taste.</p>
-
-<p class='c000'>We commence, then, with this intention.</p>
-
-<p class='c000'>The initial consideration was that of extent. If any literary
-work is too long to be read at one sitting, we must be content
-to dispense with the immensely important effect derivable from
-unity of impression—for, if two sittings be required, the affairs
-of the world interfere, and everything like totality is at once
-destroyed. But since, <span lang="la" xml:lang="la">ceteris paribus</span>, no poet can afford to
-dispense with anything that may advance his design, it but remains
-to be seen whether there is, in extent, any advantage to
-counterbalance the loss of unity which attends it. Here I say
-No, at once. What we term a long poem is, in fact, merely a
-succession of brief ones—that is to say, of brief poetical effects.
-It is needless to demonstrate that a poem is such, only inasmuch
-as it intensely excites, by elevating, the soul; and all intense
-excitements are, through a psychal necessity, brief. For
-this reason, at least one-half of the “Paradise Lost” is essentially
-prose—a succession of poetical excitements interspersed,
-inevitably, with corresponding depressions—the whole being
-deprived, through the extremeness of its length, of the vastly
-important artistic element, totality, or unity, of effect.</p>
-
-<p class='c000'>It appears evident, then, that there is a distinct limit, as
-regards length, to all works of literary art—the limit of a
-single sitting—and that, although in certain classes of prose
-composition, such as “Robinson Crusoe” (demanding no
-unity), this limit may be advantageously overpassed, it can
-never properly be overpassed in a poem. Within this limit, the
-extent of a poem may be made to bear mathematical relation to
-its merit—in other words, to the excitement or elevation—again,
-in other words, to the degree of the true poetical effect
-which it is capable of inducing; for it is clear that the brevity
-must be in direct ratio to the intensity of the intended effect:—this,
-with one proviso—that a certain degree of duration is absolutely
-requisite for the production of any effect at all.</p>
-
-<p class='c000'>Holding in view these considerations, as well as that degree
-of excitement which I deemed not above the popular, while not
-below the critical, taste, I reached at once what I conceived
-the proper length for my intended poem—a length of about one
-hundred lines. It is, in fact, a hundred and eight.</p>
-
-<p class='c000'>My next thought concerned the choice of an impression, or
-effect, to be conveyed; and here I may as well observe that,
-throughout the construction, I kept steadily in view the design
-of rendering the work universally appreciable. I should be carried
-too far out of my immediate topic were I to demonstrate a
-point upon which I have repeatedly insisted, and which, with the
-poetical, stands not in the slightest need of demonstration—the
-point, I mean, that Beauty is the sole legitimate province
-of the poem. A few words, however, in elucidation of my real
-meaning, which some of my friends have evinced a disposition
-to misrepresent. That pleasure which is at once the most intense,
-the most elevating, and the most pure, is, I believe, found
-in the contemplation of the beautiful. When, indeed, men speak
-of Beauty, they mean, precisely, not a quality, as is supposed,
-but an effect; they refer, in short, just to that intense and
-pure elevation of soul—not of intellect, or of heart—upon
-which I have commented, and which is experienced in consequence
-of contemplating “the beautiful.” Now I designate
-Beauty as the province of the poem, merely because it is an
-obvious rule of Art that effects should be made to spring from
-direct causes—that objects should be attained through means
-best adapted for their attainment—no one as yet having been
-weak enough to deny that the peculiar elevation alluded to is
-most readily attained in the poem. Now the object, Truth, or
-the satisfaction of the intellect, and the object, Passion, or the
-excitement of the heart, are, although attainable, to a certain
-extent, in poetry, far more readily attainable in prose. Truth,
-in fact, demands a precision, and Passion a homeliness (the
-truly passionate will comprehend me) which are absolutely antagonistic
-to that Beauty which, I maintain, is the excitement,
-or pleasurable elevation, of the soul. It by no means follows
-from anything here said, that Passion, or even Truth, may not
-be introduced, and even profitably introduced, into a poem—for
-they may serve in elucidation, or aid the general effect, as do
-discords in music, by contrast—but the true artist will always
-contrive, first, to tone them into proper subservience to the predominant
-aim, and, secondly, to enveil them, as far as possible,
-in that Beauty which is the atmosphere and the essence of the
-poem.</p>
-
-<p class='c000'>Regarding, then, Beauty as my province, my next question
-referred to the tone of its highest manifestation—and all experience
-has shown that this tone is one of sadness. Beauty
-of whatever kind, in its supreme development, invariably excites
-the sensitive soul to tears. Melancholy is thus the most legitimate
-of all the poetical tones.</p>
-
-<p class='c000'>The length, the province, and the tone, being thus determined,
-I betook myself to ordinary induction, with the view of
-obtaining some artistic piquancy which might serve me as a keynote
-in the construction of the poem—some pivot upon which
-the whole structure might turn. In carefully thinking over all
-the usual artistic effects—or more properly points, in the theatrical
-sense—I did not fail to perceive immediately that no
-one had been so universally employed as that of the refrain.
-The universality of its employment sufficed to assure me of its
-intrinsic value, and spared me the necessity of submitting it to
-analysis. I considered it, however, with regard to its susceptibility
-of improvement, and soon saw it to be in a primitive condition.
-As commonly used, the refrain, or burden, not only is
-limited to lyric verse, but depends for its impression upon the
-force of monotone—both in sound and thought. The pleasure
-is deduced solely from the sense of identity—of repetition. I
-resolved to diversify, and so heighten, the effect, by adhering,
-in general, to the monotone of sound, while I continually varied
-that of thought: that is to say, I determined to produce continuously
-novel effects, by the variation of the application of the
-refrain—the refrain itself remaining, for the most part, unvaried.</p>
-
-<p class='c000'>These points being settled, I next bethought me of the nature
-of my refrain. Since its application was to be repeatedly
-varied, it was clear that the refrain itself must be brief, for
-there would have been an insurmountable difficulty in frequent
-variations of application in any sentence of length. In proportion
-to the brevity of the sentence, would, of course, be the
-facility of the variation. This led me at once to a single word
-as the best refrain.</p>
-
-<p class='c000'>The question now arose as to the character of the word.</p>
-
-<p class='c000'>Having made up my mind to a refrain, the division of the poem
-into stanzas was, of course, a corollary, the refrain forming
-the close of each stanza. That such a close, to have force,
-must be sonorous and susceptible of protracted emphasis, admitted
-no doubt; and these considerations inevitably led me to
-the long “o” as the most sonorous vowel, in connection with
-“r” as the most producible consonant.</p>
-
-<p class='c000'>The sound of the refrain being thus determined, it became
-necessary to select a word embodying this sound, and at the
-same time in the fullest possible keeping with that melancholy
-which I had predetermined as the tone of the poem. In such
-a search it would have been absolutely impossible to overlook
-the word “Nevermore.” In fact, it was the very first which
-presented itself.</p>
-
-<p class='c000'>The next desideratum was a pretext for the continuous
-use of the one word “Nevermore.” In observing the difficulty
-which I at once found in inventing a sufficiently plausible reason
-for its continuous repetition, I did not fail to perceive that
-this difficulty arose solely from the pre-assumption that the word
-was to be so continuously or monotonously spoken by a human
-being—I did not fail to perceive, in short, that the difficulty
-lay in the reconciliation of this monotony with the exercise of
-reason on the part of the creature repeating the word. Here,
-then, immediately arose the idea of a non-reasoning creature
-capable of speech; and, very naturally, a parrot, in the first
-instance, suggested itself, but was superseded forthwith by a
-Raven, as equally capable of speech, and infinitely more in
-keeping with the intended tone.</p>
-
-<div  class='figcenter id002'>
-<img src='images/i_021.jpg' alt='' class='ig001' />
-</div>
-
-<p class='c000'>I had now gone so far as the conception of a Raven—the
-bird of ill omen—monotonously repeating the one word, “Nevermore,”
-at the conclusion of each stanza, in a poem of melancholy
-tone, and in length about one hundred lines. Now, never
-losing sight of the object supremeness, or perfection, at all
-points, I asked myself—“Of all melancholy topics, what, according
-to the universal understanding of mankind, is the most
-melancholy?” Death—was the obvious reply. “And when,”
-I said, “is this most melancholy of topics most poetical?”
-From what I have already explained at some length, the answer,
-here also, is obvious—“When it most closely allies itself to
-Beauty: the death, then, of a beautiful woman is, unquestionably,
-the most poetical topic in the world—and equally is it beyond
-doubt that the lips best suited for such topic are those of
-a bereaved lover.”</p>
-
-<p class='c000'>I had now to combine the two ideas, of a lover lamenting
-his deceased mistress and a Raven continuously repeating the
-word “Nevermore.” I had to combine these, bearing in mind
-my design of varying, at every turn, the application of the word
-repeated; but the only intelligible mode of such combination is
-that of imagining the Raven employing the word in answer to
-the queries of the lover. And here it was that I saw at once
-the opportunity afforded for the effect on which I had been depending—that
-is to say, the effect of the variation of application.
-I saw that I could make the first query propounded by
-the lover—the first query to which the Raven should reply
-“Nevermore”—that I could make this first query a commonplace
-one—the second less so—the third still less, and so on,
-until at length the lover—startled from his original nonchalance
-by the melancholy character of the word itself, by its frequent
-repetition, and by a consideration of the ominous reputation
-of the fowl that uttered it—is at length excited to superstition,
-and wildly propounds queries of a far different character—queries
-whose solution he has passionately at heart—propounds
-them half in superstition and half in that species of despair
-which delights in self-torture—propounds them not altogether
-because he believes in the prophetic or demoniac character of
-the bird (which, reason assures him, is merely repeating a lesson
-learned by rote) but because he experiences a phrenzied
-pleasure in so modeling his questions as to receive from the
-expected “Nevermore,” the most delicious because the most
-intolerable of sorrow. Perceiving the opportunity thus afforded
-me—or, more strictly, thus forced upon me in the progress of
-the construction—I first established in mind the climax, or
-concluding query—that query to which “Nevermore” should
-be in the last place an answer—that in reply to which this word
-“Nevermore” should involve the utmost conceivable amount of
-sorrow and despair.</p>
-
-<p class='c000'>Here, then, the poem may be said to have its beginning—at
-the end, where all works of art should begin—for it was here,
-at this point of my pre-considerations, that I first put pen to
-paper in the composition of the stanza:</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!</div>
-      <div class='line'>By that heaven that bends above us—by that God we both adore—</div>
-      <div class='line'>Tell this soul with sorrow laden if, within the distant Aidenn,</div>
-      <div class='line'>It shall clasp a sainted maiden whom the angels name Lenore—</div>
-      <div class='line'>Clasp a rare and radiant maiden whom the angels name Lenore.”</div>
-      <div class='line in8'>Quoth the Raven, “Nevermore.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c000'>I composed this stanza, at this point, first that, by establishing
-the climax, I might the better vary and graduate, as regards
-seriousness and importance, the preceding queries of the lover;
-and, secondly, that I might definitely settle the rhythm, the
-meter, and the length and general arrangement of the stanza,
-as well as graduate the stanzas which were to precede, so that
-none of them might surpass this in rhythmical effect. Had I
-been able, in the subsequent composition, to construct more
-vigorous stanzas, I should, without scruple, have purposely enfeebled
-them, so as not to interfere with the climacteric effect.</p>
-
-<p class='c000'>And here I may as well say a few words of the versification.
-My first object (as usual) was originality. The extent
-to which this has been neglected, in versification, is one of the
-most unaccountable things in the world. Admitting that there
-is little possibility of variety in mere rhythm, it is still clear
-that the possible varieties of meter and stanza are absolutely
-infinite—and yet, for centuries, no man, in verse, has ever
-done, or ever seemed to think of doing, an original thing. The
-fact is, that originality (unless in minds of very unusual force)
-is by no means a matter, as some suppose, of impulse or intuition.
-In general, to be found, it must be elaborately sought, and
-although a positive merit of the highest class, demands in its
-attainment less of invention than negation.</p>
-
-<p class='c000'>Of course, I pretend to no originality in either the rhythm
-or meter of “The Raven.” The former is trochaic—the latter
-is octameter acatalectic, alternating with heptameter catalectic
-repeated in the refrain of the fifth verse, and terminating with
-tetrameter catalectic. Less pedantically—the feet employed
-throughout (trochees) consist of a long syllable followed by a
-short: the first line of the stanza consists of eight of these
-feet—the second of seven and a half (in effect two-thirds)—the
-third of eight—the fourth of seven and a half—the fifth
-the same—the sixth, three and a half. Now, each of these
-lines, taken individually, has been employed before, and what
-originality “The Raven” has, is in their combination into
-stanza: nothing even remotely approaching this combination
-has ever been attempted. The effect of this originality of combination
-is aided by other unusual and some altogether novel
-effects, arising from an extension of the application of the
-principles of rhyme and alliteration.</p>
-
-<p class='c000'>The next point to be considered was the mode of bringing
-together the lover and the Raven—and the first branch of this
-consideration was the locale. For this the most natural suggestion
-might seem to be a forest, or the fields—but it has always
-appeared to me that a close circumscription of space is
-absolutely necessary to the effect of insulated incident: it has
-the force of a frame to a picture. It has an indisputable moral
-power in keeping concentrated the attention, and, of course,
-must not be confounded with mere unity of place.</p>
-
-<p class='c000'>I determined, then, to place the lover in his chamber—in a
-chamber rendered sacred to him by memories of her who had
-frequented it. The room is represented as richly furnished—this,
-in mere pursuance of the ideas I have already explained
-on the subject of beauty as the sole true poetical thesis.</p>
-
-<p class='c000'>The locale being thus determined, I had now to introduce
-the bird—and the thought of introducing him through the window
-was inevitable. The idea of making the lover suppose, in
-the first instance, that the flapping of the wings of the bird
-against the shutter is a “tapping” at the door, originated in
-a wish to increase, by prolonging, the reader’s curiosity, and in
-a desire to admit the incidental effect arising from the lover’s
-throwing open the door, finding all dark, and thence adopting
-the half-fancy that it was the spirit of his mistress that knocked.</p>
-
-<p class='c000'>I made the night tempestuous, first, to account for the
-Raven’s seeking admission, and, secondly, for the effect of contrast
-with the (physical) serenity within the chamber.</p>
-
-<p class='c000'>I made the bird alight on the bust of Pallas, also for the
-effect of contrast between the marble and the plumage—it being
-understood that the bust was absolutely suggested by the
-bird—the bust of Pallas being chosen, first, as most in keeping
-with the scholarship of the lover, and, secondly, for the
-sonorousness of the word, Pallas, itself.</p>
-
-<p class='c000'>About the middle of the poem, also, I have availed myself
-of the force of contrast, with a view of deepening the ultimate
-impression. For example, an air of the fantastic—approaching
-as nearly to the ludicrous as was admissible—is given to the
-Raven’s entrance. He comes in “with many a flirt and flutter.”</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>Not the least obeisance made he; not a minute stopped or stayed he;</div>
-      <div class='line'>But, with mien of lord or lady, perched above my chamber door.</div>
-    </div>
-  </div>
-</div>
-
-<p class='c000'>In the two stanzas which follow, the design is more obviously
-carried out:</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>Then this ebony bird beguiling my sad fancy into smiling.</div>
-      <div class='line'>By the grave and stern decorum of the countenance it wore,</div>
-      <div class='line'>“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,</div>
-      <div class='line'>Ghastly grim and ancient Raven wandering from the Nightly shore—</div>
-      <div class='line'>Tell me what thy lordly name is on the Night’s Plutonian shore!”</div>
-      <div class='line in8'>Quoth the Raven, “Nevermore.”</div>
-    </div>
-    <div class='group'>
-      <div class='line'>Much I marvelled this ungainly fowl to bear discourse so plainly,</div>
-      <div class='line'>Though its answer little meaning—little relevancy bore;</div>
-      <div class='line'>For we cannot help agreeing that no living human being</div>
-      <div class='line'>Ever yet was blessed with seeing bird above his chamber door—</div>
-      <div class='line'>Bird or beast upon the sculptured bust above his chamber door,</div>
-      <div class='line in8'>With such name as “Nevermore.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c000'>The effect of the dénouement being thus provided for, I
-immediately drop the fantastic for a tone of the most profound
-seriousness—this tone commencing in the stanza directly following
-the one last quoted, with the line:</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>But the Raven, sitting lonely on that placid bust, spoke only, etc.</div>
-    </div>
-  </div>
-</div>
-
-<p class='c000'>From this epoch the lover no longer jests—no longer sees
-anything even of the fantastic in the Raven’s demeanour. He
-speaks of him as a “grim, ungainly, ghastly, gaunt, and ominous
-bird of yore,” and feels the “fiery eyes” burning into his
-“bosom’s core.” This revolution of thought, or fancy, on the
-lover’s part, is intended to induce a similar one on the part of
-the reader—to bring the mind into a proper frame for the
-dénouement—which is now brought about as rapidly and as
-directly as possible.</p>
-
-<p class='c000'>With the dénouement proper—with the Raven’s reply,
-“Nevermore,” to the lover’s final demand if he shall meet his
-mistress in another world—the poem, in its obvious phase, that
-of a simple narrative, may be said to have its completion. So
-far, everything is within the limits of the accountable—of the
-real. A Raven, having learned by rote the single word, “Nevermore,”
-and having escaped from the custody of its owner, is
-driven at midnight, through the violence of a storm, to seek
-admission at a window from which a light still gleams,—the
-chamber-window of a student, occupied half in poring over a
-volume, half in dreaming of a beloved mistress deceased. The
-casement being thrown open at the fluttering of the bird’s wings,
-the bird itself perches on the most convenient seat out of the
-immediate reach of the student, who, amused by the incident and
-the oddity of the visitor’s demeanour, demands of it, in jest and
-without looking for a reply, its name. The Raven, addressed,
-answers with its customary word, “Nevermore,” a word which
-finds immediate echo in the melancholy heart of the student,
-who, giving utterance aloud to certain thoughts suggested by
-the occasion, is again startled by the fowl’s repetition of
-“Nevermore.” The student now guesses the state of the case,
-but is impelled, as I have before explained, by the human thirst
-for self-torture, and in part by superstition, to propound such
-queries to the bird as will bring him, the lover, the most of the
-luxury of sorrow, through the anticipated answer, “Nevermore.”
-With the indulgence, to the extreme, of this self-torture, the
-narration, in what I have termed its first or obvious phase, has
-a natural termination, and so far there has been no overstepping
-of the limits of the real.</p>
-
-<p class='c000'>But in subjects so handled, however skilfully, or with however
-vivid an array of incident, there is always a certain hardness
-or nakedness which repels the artistical eye. Two things
-are invariably required: first, some amount of complexity,
-or, more properly, adaptation; and, secondly, some amount of
-suggestiveness—some under-current, however indefinite, of
-meaning. It is this latter, in especial, which imparts to a work of
-art so much of that richness (to borrow from colloquy a forcible
-term) which we are too fond of confounding with the ideal. It
-is the excess of the suggested meaning—it is the rendering
-this the upper- instead of the under-current of the theme—which
-turns into prose (and that of the very flattest kind) the
-so-called poetry of the so-called transcendentalists.</p>
-
-<p class='c000'>Holding these opinions, I added the two concluding stanzas
-of the poem—their suggestiveness being thus made to pervade
-all the narrative which has preceded them. The under-current
-of meaning is rendered first apparent in the lines:</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>“Take thy beak from out my heart, and take thy form from off my door!”</div>
-      <div class='line in8'>Quoth the Raven, “Nevermore.”</div>
-    </div>
-  </div>
-</div>
-
-<p class='c000'>It will be observed that the words, “from out my heart,”
-involve the first metaphorical expression in the poem. They,
-with the answer, “Nevermore,” dispose the mind to seek a
-moral in all that has been previously narrated. The reader begins
-now to regard the Raven as emblematical—but it is not
-until the very last line of the very last stanza, that the intention
-of making him emblematical of Mournful and Never-ending
-Remembrance is permitted distinctly to be seen:</p>
-
-<div class='lg-container-b'>
-  <div class='linegroup'>
-    <div class='group'>
-      <div class='line'>And the Raven, never flitting, still is sitting, still is sitting</div>
-      <div class='line'>On the pallid bust of Pallas just above my chamber door;</div>
-      <div class='line'>And his eyes have all the seeming of a demon’s that is dreaming,</div>
-      <div class='line'>And the lamp-light o’er him streaming throws his shadow on the floor;</div>
-      <div class='line'>And my soul from out that shadow that lies floating on the floor</div>
-      <div class='line in8'>Shall be lifted—nevermore!</div>
-    </div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_031.jpg' alt='' class='ig001' />
-<div class='ic002'>
-<p><em>Fordham Cottage</em></p>
-</div>
-</div>
-
-<div class='chapter'>
-  <h2 id='Raven' class='c005'>The Raven</h2>
-</div>
-
-<div  class='figcenter id001'>
-<img src='images/i_033.jpg' alt='' class='ig001' />
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_035.jpg' alt='O' /><span class="hidden">O</span></span>nce upon a midnight dreary, while I pondered, weak and weary,</div>
-      <div class='line'>Over many a quaint and curious volume of forgotten lore—</div>
-      <div class='line'>While I nodded, nearly napping, suddenly there came a tapping,</div>
-      <div class='line'>As of some one gently rapping, rapping at my chamber door.</div>
-      <div class='line'>“’Tis some visitor,” I muttered, “tapping at my chamber door—</div>
-      <div class='line in4'>Only this and nothing more.”</div>
-  </div>
-
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_037.jpg' alt='A' /><span class="hidden">A</span></span>h, distinctly I remember it was in the bleak December,</div>
-      <div class='line'>And each separate dying ember wrought its ghost upon the floor.</div>
-      <div class='line'>Eagerly I wished the morrow;—vainly I had sought to borrow</div>
-      <div class='line'>From my books surcease of sorrow—sorrow for the lost Lenore—</div>
-      <div class='line'>For the rare and radiant maiden whom the angels name Lenore—</div>
-      <div class='line in4'>Nameless here for evermore.</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_039.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_041.jpg' alt='A' /><span class="hidden">A</span></span>nd the silken, sad, uncertain rustling of each purple curtain</div>
-      <div class='line'>Thrilled me—filled me with fantastic terrors never felt before;</div>
-      <div class='line'>So that now, to still the beating of my heart, I stood repeating</div>
-      <div class='line'>“’Tis some visitor entreating entrance at my chamber door—</div>
-      <div class='line'>Some late visitor entreating entrance at my chamber door;—</div>
-      <div class='line in4'>This it is and nothing more.”</div>
-  </div>
-
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_043.jpg' alt='P' /><span class="hidden">P</span></span>resently my soul grew stronger; hesitating then no longer,</div>
-      <div class='line'>“Sir,” said I, “or Madam, truly your forgiveness I implore;</div>
-      <div class='line'>But the fact is I was napping, and so gently you came rapping,</div>
-      <div class='line'>And so faintly you came tapping, tapping at my chamber door,</div>
-      <div class='line'>That I scarce was sure I heard you”—here I opened wide the door;—</div>
-      <div class='line in4'>Darkness there and nothing more.</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_045.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_047.jpg' alt='D' /><span class="hidden">D</span></span>eep into that darkness peering, long I stood there wondering, fearing,</div>
-      <div class='line'>Doubting, dreaming dreams no mortal ever dared to dream before;</div>
-      <div class='line'>But the silence was unbroken, and the stillness gave no token,</div>
-      <div class='line'>And the only word there spoken was the whispered word, “Lenore!”</div>
-      <div class='line'>This I whispered, and an echo murmured back the word, “Lenore!”</div>
-      <div class='line in4'>Merely this and nothing more.</div>
-  </div>
-
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_049.jpg' alt='B' /><span class="hidden">B</span></span>ack into the chamber turning, all my soul within me burning,</div>
-      <div class='line'>Soon again I heard a tapping somewhat louder than before.</div>
-      <div class='line'>“Surely,” said I, “surely that is something at my window lattice;</div>
-      <div class='line'>Let me see, then, what thereat is, and this mystery explore—</div>
-      <div class='line'>Let my heart be still a moment and this mystery explore;—</div>
-      <div class='line in4'>’Tis the wind and nothing more.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_051.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_053.jpg' alt='O' /><span class="hidden">O</span></span>pen here I flung the shutter, when, with many a flirt and flutter,</div>
-      <div class='line'>In there stepped a stately Raven of the saintly days of yore.</div>
-      <div class='line'>Not the least obeisance made he; not a minute stopped or stayed he;</div>
-      <div class='line'>But, with mien of lord or lady, perched above my chamber door—</div>
-      <div class='line'>Perched upon a bust of Pallas just above my chamber door—</div>
-      <div class='line in4'>Perched, and sat, and nothing more.</div>
-  </div>
-
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_055.jpg' alt='T' /><span class="hidden">T</span></span>hen this ebony bird beguiling my sad fancy into smiling,</div>
-      <div class='line'>By the grave and stern decorum of the countenance it wore,</div>
-      <div class='line'>“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,</div>
-      <div class='line'>Ghastly grim and ancient Raven wandering from the Nightly shore—</div>
-      <div class='line'>Tell me what thy lordly name is on the Night’s Plutonian shore!”</div>
-      <div class='line in4'>Quoth the Raven, “Nevermore.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_057.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_059.jpg' alt='M' /><span class="hidden">M</span></span>uch I marvelled this ungainly fowl to hear discourse so plainly,</div>
-      <div class='line'>Though its answer little meaning—little relevancy bore;</div>
-      <div class='line'>For we cannot help agreeing that no living human being</div>
-      <div class='line'>Ever yet was blessed with seeing bird above his chamber door—</div>
-      <div class='line'>Bird or beast upon the sculptured bust above his chamber door,</div>
-      <div class='line in4'>With such name as “Nevermore.”</div>
-  </div>
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_061.jpg' alt='B' /><span class="hidden">B</span></span>ut the Raven, sitting lonely on the placid bust, spoke only</div>
-      <div class='line'>That one word, as if his soul in that one word he did outpour.</div>
-      <div class='line'>Nothing further then he uttered—not a feather then he fluttered—</div>
-      <div class='line'>Till I scarcely more than muttered “Other friends have flown before—</div>
-      <div class='line'>On the morrow he will leave me, as my hopes have flown before.”</div>
-      <div class='line in4'>Then the bird said, “Nevermore.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_063.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_065.jpg' alt='S' /><span class="hidden">S</span></span>tartled at the stillness broken by reply so aptly spoken,</div>
-      <div class='line'>“Doubtless,” said I, “what it utters is its only stock and store</div>
-      <div class='line'>Caught from some unhappy master whom unmerciful Disaster</div>
-      <div class='line'>Followed fast and followed faster till his songs one burden bore—</div>
-      <div class='line'>Till the dirges of his Hope that melancholy burden bore</div>
-      <div class='line in4'>Of ‘Never—nevermore.’”</div>
-  </div>
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_067.jpg' alt='B' /><span class="hidden">B</span></span>ut the Raven still beguiling all my sad soul into smiling,</div>
-      <div class='line'>Straight I wheeled a cushioned seat in front of bird and bust and door;</div>
-      <div class='line'>Then, upon the velvet sinking, I betook myself to linking</div>
-      <div class='line'>Fancy unto fancy, thinking what this ominous bird of yore—</div>
-      <div class='line'>What this grim, ungainly, ghastly, gaunt, and ominous bird of yore</div>
-      <div class='line in4'>Meant in croaking “Nevermore.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_069.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_071.jpg' alt='T' /><span class="hidden">T</span></span>his I sat engaged in guessing, but no syllable expressing</div>
-      <div class='line'>To the fowl whose fiery eyes now burned into my bosom’s core;</div>
-      <div class='line'>This and more I sat divining, with my head at ease reclining</div>
-      <div class='line'>On the cushion’s velvet lining that the lamp-light gloated o’er,</div>
-      <div class='line'>But whose velvet violet lining with the lamp-light gloating o’er,</div>
-      <div class='line in4'>She shall press, ah, nevermore!</div>
-  </div>
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_073.jpg' alt='T' /><span class="hidden">T</span></span>hen, methought, the air grew denser, perfumed from an unseen censer</div>
-      <div class='line'>Swung by Seraphim whose foot-falls tinkled on the tufted floor.</div>
-      <div class='line'>“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee</div>
-      <div class='line'>Respite—respite and nepenthe from thy memories of Lenore;</div>
-      <div class='line'>Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”</div>
-      <div class='line in4'>Quoth the Raven, “Nevermore.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_075.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_077.jpg' alt='“P' /><span class="hidden">“P</span></span>rophet!” said I, “thing of evil!—prophet still, if bird or devil!—</div>
-      <div class='line'>Whether Tempter sent, or whether tempest tossed thee here ashore,</div>
-      <div class='line'>Desolate yet all undaunted, on this desert land enchanted—</div>
-      <div class='line'>On this home by Horror haunted—tell me truly, I implore—</div>
-      <div class='line'>Is there—is there balm in Gilead?—tell me—tell me, I implore!”</div>
-      <div class='line in4'>Quoth the Raven, “Nevermore.”</div>
-  </div>
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_079.jpg' alt='“P' /><span class="hidden">“P</span></span>rophet!” said I, “thing of evil! prophet still, if bird or devil!—</div>
-      <div class='line'>By that Heaven that bends above us—by that God we both adore—</div>
-      <div class='line'>Tell this soul with sorrow laden if, within the distant Aidenn,</div>
-      <div class='line'>It shall clasp a sainted maiden whom the angels name Lenore—</div>
-      <div class='line'>Clasp a rare and radiant maiden whom the angels name Lenore.”</div>
-      <div class='line in4'>Quoth the Raven, “Nevermore.”</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_081.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-
-
-<div class='lg-container-l c008'>
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_083.jpg' alt='“B' /><span class="hidden">“B</span></span>e that word our sign of parting, bird or fiend!” I shrieked, upstarting—</div>
-      <div class='line'>“Get thee back into the tempest and the Night’s Plutonian shore!</div>
-      <div class='line'>Leave no black plume as a token of that lie thy soul hath spoken!</div>
-      <div class='line'>Leave my loneliness unbroken!—quit the bust above my door!</div>
-      <div class='line'>Take thy beak from out my heart, and take thy form from off my door!”</div>
-      <div class='line in4'>Quoth the Raven, “Nevermore.”</div>
-  </div>
-
-  <div class='raven'>
-      <div class='line'><span class="firstchar"><img src='images/i_085.jpg' alt='A' /><span class="hidden">A</span></span>nd the Raven, never flitting, still is sitting, still is sitting</div>
-      <div class='line'>On the pallid bust of Pallas just above my chamber door;</div>
-      <div class='line'>And his eyes have all the seeming of a demon’s that is dreaming,</div>
-      <div class='line'>And the lamp-light o’er him streaming throws his shadow on the floor;</div>
-      <div class='line'>And my soul from out that shadow that lies floating on the floor</div>
-      <div class='line in4'>Shall be lifted—nevermore!</div>
-  </div>
-</div>
-
-<div  class='figcenter id002'>
-<img src='images/i_087.jpg' alt='' class='ig001' />
-<div class='ic005'>
-<p><em>Copyright 1906 by The Harwell-Evans Co.</em></p>
-</div>
-</div>
-<p class='c009'>Here ends The Raven, a poem, and The Philosophy
-of Composition, a prose essay; the poem and the essay
-by Edgar Allan Poe, the photogravure illustrations
-from paintings by Galen J. Perrett, the initials and
-decorations by Will Jenkins, the typography designed
-by J. H. Nash. Of this first Quarto Photogravure
-Edition one thousand copies have been issued, printed on
-Arches handmade paper. Published by Paul Elder
-and Company and done into a book for them at the
-Tomoye Press, New York City. Finished this Tenth
-Day of July, in the year Nineteen Hundred and Seven.</p>
-
-<div class='pbb'>
- <hr class='pb c004' />
-</div>
-<div class='tnotes'>
-
-<div class='chapter'>
-  <h2 class='c005'>TRANSCRIBER’S NOTES</h2>
-</div>
- <ol class='ol_1 c003'>
-    <li>The book used a gothic font. The font was chosen to approximate the feel of the
-    original.
-
-    </li>
-    <li>Added Table of <a href='#Contents'>Contents</a>.
-
-    </li>
-    <li>The punctuation for some lines in The Raven differs from other published versions,
-    i.e., “!” instead of “?” or “.” instead of “!”.
-
-    </li>
-    <li>Silently corrected typographical errors.
-
-    </li>
-    <li>Retained anachronistic and non-standard spellings as printed.
-    </li>
-  </ol>
-
-</div>
-
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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