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The Raven Line By Line

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1845 narrative poem by Edgar Allan Poe

"The Raven" depicts a mysterious raven's midnight visit to a mourning narrator, every bit illustrated past John Tenniel (1858).

"The Raven" is a narrative verse form by American writer Edgar Allan Poe. First published in January 1845, the poem is oftentimes noted for its musicality, stylized language, and supernatural atmosphere. Information technology tells of a talking raven's mysterious visit to a distraught lover, tracing the man's tiresome descent into madness. The lover, frequently identified every bit a educatee,[1] [2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further distress the protagonist with its abiding repetition of the discussion "Nevermore". The poem makes use of folk, mythological, religious, and classical references.

Poe claimed to have written the poem logically and methodically, with the intention to create a poem that would appeal to both critical and popular tastes, equally he explained in his 1846 follow-up essay, "The Philosophy of Composition". The verse form was inspired in office by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of Fourscore by Charles Dickens.[3] Poe based the complex rhythm and meter on Elizabeth Barrett'southward verse form "Lady Geraldine'south Courting", and makes use of internal rhyme besides as alliteration throughout.

"The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The verse form was before long reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, simply it all the same remains ane of the most famous poems ever written.[4]

Synopsis [edit]

The Raven[5]


In one case upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, virtually napping, all of a sudden there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my bedroom door—
Only this and zilch more."

Ah, distinctly I recollect it was in the dour December;
And each split 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 hither for evermore.

And the silken, lamentable, uncertain rustling of each purple pall
Thrilled me—filled me with fantastic terrors never felt before;
So that at present, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating archway at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
Only the fact is I was napping, and so gently you came rapping,
And and then faintly you came borer, tapping at my bedroom door,
That I scarce was sure I heard you"—here I opened broad the door;—
Darkness in that location and nothing more.

Deep into that darkness peering, long I stood in that location wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
Merely 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 give-and-take, "Lenore!"—
Only this and nothing more than.

Back into the bedroom turning, all my soul within me burning,
Soon once more I heard a tapping somewhat louder than earlier.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my centre exist still a moment and this mystery explore;—
'Tis the current of air and aught more than!"

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;
Non the least obeisance made he; non a minute stopped or stayed he;
But, with mien of lord or lady, perched above my bedchamber door—
Perched upon a bust of Pallas merely above my chamber door—
Perched, and saturday, and null more.

Then this ebony bird beguiling my pitiful fancy into smile,
By the grave and stern decorum of the countenance it wore,
"Though thy crest exist shorn and shaven, thou," I said, "fine 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 hear discourse and then patently,
Though its reply little meaning—picayune relevancy bore;
For we cannot aid agreeing that no living human beingness
Ever yet was blessed with seeing bird to a higher place his chamber door—
Bird or beast upon the sculptured bosom to a higher place his bedchamber door,
With such proper noun as "Nevermore."

Only the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Cypher further then he uttered—not a feather so 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 earlier."
And then the bird said "Nevermore."

Startled at the stillness broken by respond 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 1 burden diameter—
Till the dirges of his Hope that melancholy burden diameter
Of 'Never—nevermore'."

But the Raven however beguiling my sad fancy into smiling,
Direct I wheeled a cushioned seat in forepart of bird, and bosom 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."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose peppery eyes now burned into my bosom'south core;
This and more I saturday divining, with my caput at ease reclining
On the cushion'due south velvet lining that the lamp-lite gloated o'er,
Only whose velvet-violet lining with the lamp-light gloating o'er,
She shall printing, ah, nevermore!

So, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose pes-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;
Carouse, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven "Nevermore."

"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 country enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is in that location lotion in Gilead?—tell me—tell me, I implore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!—prophet all the same, if bird or devil!
Past that Heaven that bends above united states—by that God nosotros both adore—
Tell this soul with sorrow laden if, inside 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."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Nighttime'due south Plutonian shore!
Exit no black plume as a token of that prevarication thy soul hath spoken!
Leave my loneliness unbroken!—quit the bosom to a higher place my door!
Have thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas only higher up my bedchamber door;
And his optics 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 flooring
Shall exist lifted—nevermore!

—Edgar Allan Poe

"Not the least obeisance made he", as illustrated past Gustave Doré (1884)

"The Raven" follows an unnamed narrator on a dreary night in Dec who sits reading "forgotten lore" by a dying fire[6] equally a way to forget the expiry of his dearest Lenore. A "borer at [his] bedchamber door"[vi] reveals nothing, merely excites his soul to "called-for".[7] The borer is repeated, slightly louder, and he realizes it is coming from his window. When he goes to investigate, a raven flutters into his chamber. Paying no attending to the homo, the raven perches on a bosom of Pallas above the door.

Tickled by the raven's comically serious disposition, the man asks that the bird tell him its name. The raven's merely reply is "Nevermore".[vii] The narrator is surprised that the raven can talk, though at this bespeak information technology has said nothing farther. The narrator remarks to himself that his "friend" the raven will before long fly out of his life, just as "other friends have flown before"[7] along with his previous hopes. As if answering, the raven responds again with "Nevermore".[seven] The narrator reasons that the bird learned the word "Nevermore" from some "unhappy master" and that it is the only word it knows.[7]

Nevertheless, the narrator pulls his chair straight in front of the raven, determined to learn more virtually information technology. He thinks for a moment in silence, and his mind wanders dorsum to his lost Lenore. He thinks the air grows denser and feels the presence of angels, and wonders if God is sending him a sign that he is to forget Lenore. The bird again replies in the negative, suggesting that he can never exist gratuitous of his memories. The narrator becomes angry, calling the raven a "thing of evil" and a "prophet".[viii] Finally, he asks the raven whether he will be reunited with Lenore in Heaven. When the raven responds with its typical "Nevermore", he is enraged, and, calling the bird a liar, commands information technology to return to the "Plutonian shore"[8]—only it does not move. At the time of the verse form'southward narration, the raven "still is sitting"[8] on the bust of Pallas. The raven casts a shadow on the sleeping room floor and the despondent narrator laments that out of this shadow his soul shall exist "lifted 'nevermore'".[8]

Analysis [edit]

Poe wrote the poem as a narrative, without intentional allegory or didacticism.[2] The main theme of the poem is one of undying devotion.[9] The narrator experiences a perverse conflict betwixt desire to forget and desire to remember. He seems to get some pleasure from focusing on loss.[10] The narrator assumes that the word "Nevermore" is the raven's "only stock and store", and, yet, he continues to ask information technology questions, knowing what the answer will be. His questions, and then, are purposely self-deprecating and further incite his feelings of loss.[11] Poe leaves it unclear whether the raven actually knows what it is saying or whether information technology really intends to cause a reaction in the poem'due south narrator.[12] The narrator begins as "weak and weary", becomes regretful and grief-stricken, earlier passing into a frenzy and, finally, madness.[thirteen] Christopher F. S. Maligec suggests the verse form is a type of elegiac paraclausithyron, an ancient Greek and Roman poetic course consisting of the lament of an excluded, locked-out lover at the sealed door of his beloved.[14]

Allusions [edit]

Poe says that the narrator is a immature scholar.[15] Though this is not explicitly stated in the poem, it is mentioned in "The Philosophy of Composition". It is besides suggested past the narrator reading books of "lore" equally well as by the bosom of Pallas Athena, Greek goddess of wisdom.[1]

He is reading in the tardily night hours from "many a quaint and curious volume of forgotten lore".[6] Similar to the studies suggested in Poe's curt story "Ligeia", this lore may be about the occult or black magic. This is besides emphasized in the author's option to gear up the verse form in December, a month which is traditionally associated with the forces of darkness. The use of the raven—the "devil bird"—also suggests this.[16] This devil image is emphasized by the narrator's belief that the raven is "from the Dark's Plutonian shore", or a messenger from the afterlife, referring to Pluto, the Roman god of the underworld[10] (also known as Dis Pater in Roman mythology). A direct allusion to Satan also appears: "Whether Tempter sent, or whether tempest tossed thee here aground..."

Poe chose a raven as the central symbol in the story because he wanted a "non-reasoning" creature capable of speech. He decided on a raven, which he considered "equally capable of speech" as a parrot, considering information technology matched the intended tone of the verse form.[17] Poe said the raven is meant to symbolize "Mournful and Never-ending Remembrance".[eighteen] He was likewise inspired by Grip, the raven in Barnaby Rudge: A Tale of the Riots of Eighty by Charles Dickens.[19] One scene in particular bears a resemblance to "The Raven": at the end of the fifth chapter of Dickens's novel, Grip makes a noise and someone says, "What was that—him tapping at the door?" The response is, "'Tis someone knocking softly at the shutter."[20] Dickens's raven could speak many words and had many comic turns, including the popping of a champagne cork, simply Poe emphasized the bird'southward more dramatic qualities. Poe had written a review of Barnaby Rudge for Graham'due south Magazine saying, amongst other things, that the raven should have served a more symbolic, prophetic purpose.[20] The similarity did non go unnoticed: James Russell Lowell in his A Fable for Critics wrote the poetry, "Here comes Poe with his raven, like Barnaby Rudge / 3-fifths of him genius and two-fifths sheer fudge."[21] The Costless Library of Philadelphia has on display a taxidermied raven that is reputed to be the very one that Dickens owned and that helped inspire Poe's poem.[22]

Poe may likewise take been drawing upon various references to ravens in mythology and folklore. In Norse mythology, Odin possessed two ravens named Huginn and Muninn, representing thought and retention.[23] According to Hebrew sociology, Noah sends a white raven to cheque conditions while on the ark.[17] It learns that the floodwaters are offset to dissipate, but it does non immediately render with the news. It is punished by being turned black and being forced to feed on feces forever.[23] In Ovid's Metamorphoses, a raven also begins equally white before Apollo punishes it by turning it black for delivering a bulletin of a lover's unfaithfulness. The raven'south part as a messenger in Poe'due south poem may draw from those stories.[23]

Nepenthe, a drug mentioned in Homer's Odyssey, erases memories; the narrator wonders aloud whether he could receive "respite" this mode: "Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"

Poe also mentions the Balm of Gilead, a reference to the Book of Jeremiah (eight:22) in the Bible: "Is in that location no balm in Gilead; is there no physician there? why then is not the health of the daughter of my people recovered?"[24] In that context, the Balm of Gilead is a resin used for medicinal purposes (suggesting, peradventure, that the narrator needs to exist healed later on the loss of Lenore). In 1 Kings 17:1 – five Elijah is said to be from Gilead, and to have been fed by ravens during a period of drought.[25]

Poe also refers to "Aidenn", another word for the Garden of Eden, though the narrator uses it to ask if he shall reunite with his Lenore in Heaven.

Poetic construction [edit]

The verse form is made up of 18 stanzas of 6 lines each. Generally, the meter is trochaic octameter—viii trochaic anxiety per line, each foot having one stressed syllable followed past one unstressed syllable.[3] The outset line, for instance (with / representing stressed syllables and x representing unstressed):

Syllabic structure of a poesy[half dozen]
Stress / 10 / x / x / x / x / x / x / x
Syllable Once up- on a mid- night drea- ry, while I pon- dered weak and wea- ry

Poe, however, claimed the poem was a combination of octameter acatalectic, heptameter catalectic, and tetrameter catalectic.[15] The rhyme scheme is ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme. In every stanza, the "B" lines rhyme with the word "nevermore" and are catalectic, placing extra emphasis on the last syllable. The poem likewise makes heavy use of alliteration ("Doubting, dreaming dreams ...").[26] 20th-century American poet Daniel Hoffman suggested that the poem'south structure and meter is and so formulaic that it is bogus, though its mesmeric quality overrides that.[27]

Poe based the structure of "The Raven" on the complicated rhyme and rhythm of Elizabeth Barrett's poem "Lady Geraldine's Courting".[fifteen] Poe had reviewed Barrett's piece of work in the January 1845 issue of the Broadway Journal [28] and said that "her poetic inspiration is the highest—we can conceive of nothing more august. Her sense of Art is pure in itself."[29] As is typical with Poe, his review also criticizes her lack of originality and what he considers the repetitive nature of some of her poesy.[30] About "Lady Geraldine'due south Courting", he said "I accept never read a poem combining so much of the fiercest passion with and so much of the most fragile imagination."[29]

Publication history [edit]

Poe kickoff brought "The Raven" to his friend and old employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 as charity.[31] Poe then sold the poem to The American Review, which paid him $ix for information technology,[32] and printed "The Raven" in its February 1845 issue under the pseudonym "Quarles", a reference to the English language poet Francis Quarles.[33] The verse form's offset publication with Poe'southward name was in the Evening Mirror on January 29, 1845, every bit an "advance copy".[15] Nathaniel Parker Willis, editor of the Mirror, introduced it equally "unsurpassed in English poetry for subtle formulation, masterly ingenuity of versification, and consequent, sustaining of imaginative lift ... It will stick to the retentivity of everybody who reads it."[4] Following this publication the poem appeared in periodicals across the Usa, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Sabbatum Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).[34] It has also appeared in numerous anthologies, starting with Poets and Verse of America edited by Rufus Wilmot Griswold in 1847.

The immediate success of "The Raven" prompted Wiley and Putnam to publish a drove of Poe'southward prose called Tales in June 1845; information technology was his commencement book in five years.[35] They also published a collection of his poetry called The Raven and Other Poems on November nineteen past Wiley and Putnam which included a dedication to Barrett as "the Noblest of her Sex".[36] The pocket-sized volume, his kickoff book of poetry in 14 years,[37] was 100 pages and sold for 31 cents.[38] In addition to the championship poem, it included "The Valley of Unrest", "Conjugal Ballad", "The City in the Ocean", "Eulalie", "The Conqueror Worm", "The Haunted Palace" and eleven others.[39] In the preface, Poe referred to them as "trifles" which had been altered without his permission equally they made "the rounds of the printing".[36]

Illustrators [edit]

An illustration by Édouard Manet, from Mallarmé's translation, depicting the beginning two lines of the verse form.

Subsequently publications of "The Raven" included artwork past well-known illustrators. Notably, in 1858 "The Raven" appeared in a British Poe anthology with illustrations by John Tenniel, the Alice in Wonderland illustrator (The Poetical Works of Edgar Allan Poe: With Original Memoir, London: Sampson Depression). "The Raven" was published independently with lavish woodcuts by Gustave Doré in 1884 (New York: Harper & Brothers). Doré died before its publication.[twoscore] In 1875, a French edition with English and French text, Le Corbeau, was published with lithographs by Édouard Manet and translation by the Symbolist Stéphane Mallarmé.[41] Many 20th-century artists and contemporary illustrators created artworks and illustrations based on "The Raven", including Edmund Dulac, István Orosz,[42] [43] and Ryan Cost.[44]

Composition [edit]

Poe capitalized on the success of "The Raven" by following it up with his essay "The Philosophy of Limerick" (1846), in which he detailed the poem's creation. His description of its writing is probably exaggerated, though the essay serves as an important overview of Poe's literary theory.[45] He explains that every component of the verse form is based on logic: the raven enters the bedchamber to avoid a storm (the "midnight dreary" in the "dour December"), and its perch on a pallid white bust was to create visual contrast confronting the nighttime blackness bird. No aspect of the poem was an accident, he claims, but is based on total control by the author.[46] Even the term "Nevermore", he says, is used because of the consequence created by the long vowel sounds (though Poe may have been inspired to use the word by the works of Lord Byron or Henry Wadsworth Longfellow).[47] Poe had experimented with the long o sound throughout many other poems: "no more than" in "Silence", "evermore" in "The Conqueror Worm".[ane] The topic itself, Poe says, was chosen because "the death... of a beautiful woman is unquestionably the most poetical topic in the world." Told from "the lips ... of a bereaved lover" is all-time suited to achieve the desired effect.[two] Beyond the poetics of it, the lost Lenore may have been inspired by events in Poe's ain life too, either to the early loss of his mother, Eliza Poe, or the long illness endured past his wife, Virginia.[ten] Ultimately, Poe considered "The Raven" an experiment to "suit at once the popular and disquisitional taste", attainable to both the mainstream and high literary worlds.[2] It is unknown how long Poe worked on "The Raven"; speculation ranges from a single mean solar day to x years. Poe recited a verse form believed to exist an early version with an alternate ending of "The Raven" in 1843 in Saratoga, New York.[3] An early typhoon may have featured an owl.[48]

In the summer of 1844, when the poem was probable written, Poe, his wife, and mother-in-law were boarding at the farmhouse of Patrick Brennan. The location of the house, which was demolished in 1888,[49] [50] has been a disputed signal and, while in that location are two unlike plaques marking its supposed location on W 84th Street, it most likely stood where 206 Due west 84th Street is now.[l] [51] [52]

Critical reception [edit]

Gustave Doré'southward analogy of the final lines of the poem accompanies the phrase "And my soul from out that shadow that lies floating on the floor/Shall be lifted—nevermore!"

In part due to its dual printing, "The Raven" fabricated Edgar Allan Poe a household name almost immediately,[53] and turned Poe into a national glory.[54] Readers began to identify poem with poet, earning Poe the nickname "The Raven".[55] The poem was before long widely reprinted, imitated, and parodied.[53] Though information technology made Poe pop in his day, it did not bring him significant financial success.[56] Equally he afterwards lamented, "I take made no money. I am as poor now as ever I was in my life—except in promise, which is by no means bankable".[37]

The New Earth said, "Anybody reads the Poem and praises it ... justly, we think, for it seems to u.s. full of originality and ability."[four] The Pennsylvania Inquirer reprinted it with the heading "A Beautiful Poem".[4] Elizabeth Barrett wrote to Poe, "Your 'Raven' has produced a awareness, a fit o' horror, here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by 'Nevermore'."[57] Poe's popularity resulted in invitations to recite "The Raven" and to lecture—in public and at individual social gatherings. At i literary salon, a guest noted, "to hear [Poe] repeat the Raven ... is an event in one's life."[58] Information technology was recalled by someone who experienced it, "He would plough downward the lamps till the room was almost dark, so standing in the middle of the apartment he would recite ... in the most melodious of voices ... And then marvelous was his ability as a reader that the auditors would be afraid to describe breath lest the enchanted spell be broken."[59]

Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by "Poh!", "The Gazelle", "The Whippoorwill", and "The Turkey".[55] One parody, "The Pole-Cat", caught the attention of Andrew Johnston, a lawyer who sent information technology on to Abraham Lincoln. Though Lincoln admitted he had "several hearty laughs", he had not, at that point read "The Raven".[60] However, Lincoln eventually read and memorized the poem.[61]

"The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller,[62] though it was denounced by William Butler Yeats, who called it "insincere and vulgar ... its execution a rhythmical pull a fast one on".[2] Transcendentalist Ralph Waldo Emerson said, "I see nothing in information technology."[63] A critic for the Southern Quarterly Review wrote in July 1848 that the poem was ruined by "a wild and unbridled extravagance" and that modest things like a borer at the door and a fluttering curtain would only affect "a kid who had been frightened to the verge of idiocy past terrible ghost stories".[64] An anonymous writer going past the pseudonym "Outis" suggested in the Evening Mirror that "The Raven" was plagiarized from a poem called "The Bird of the Dream" by an unnamed author. The writer showed 18 similarities betwixt the poems and was made as a response to Poe's accusations of plagiarism confronting Henry Wadsworth Longfellow. It has been suggested Outis was really Cornelius Conway Felton, if non Poe himself.[65] After Poe's death, his friend Thomas Holley Chivers said "The Raven" was plagiarized from one of his poems.[66] In particular, he claimed to have been the inspiration for the meter of the verse form besides as the refrain "nevermore".[67]

"The Raven" became one of the most popular targets for literary translators in Republic of hungary; more than a dozen poets rendered it into Hungarian, including Mihály Babits, Dezső Kosztolányi, Árpád Tóth,[68] and György Faludy.[69] Balázs Birtalan wrote its paraphrasis from the raven's point of view,[70] with the motto Audiatur et altera pars ("let the other side be heard likewise").

Legacy [edit]

"The Raven" has influenced many modern works, including Vladimir Nabokov'south Lolita in 1955, Bernard Malamud's "The Jewbird" in 1963 and Ray Bradbury's "The Parrot Who Met Papa" in 1976.[71] The procedure past which Poe composed "The Raven" influenced a number of French authors and composers, such as Charles Baudelaire and Maurice Ravel, and information technology has been suggested that Ravel's Boléro may have been deeply influenced by "The Philosophy of Composition".[72] The poem is additionally referenced throughout popular civilization in films, television, music, and video games.

The painter Paul Gauguin painted a nude portrait of his teenage wife in Tahiti in 1897 titled Nevermore, featuring a raven perched within the room. At the time the couple were mourning the loss of their first child together and Gauguin the loss of his favourite daughter dorsum in Europe.

The name of the Baltimore Ravens, a professional American football game team, was inspired by the verse form.[73] [74] [75] Chosen in a fan contest that drew 33,288 voters, the innuendo honors Poe, who spent the early role of his career in Baltimore and is cached there.[76]

The mantel of the room in which Poe penned "The Raven" was removed and donated to Columbia University before the demolition of the Brennan Farmhouse. It currently resides at the Rare Book & Manuscript Library, on the 6th floor of Butler Library.[77]

See likewise [edit]

  • Allusions to Poe'due south "The Raven"
  • Cultural depictions of ravens
  • "Lenore", an earlier verse form by Poe

Notes [edit]

  1. ^ a b c Meyers, 163
  2. ^ a b c d e Silverman, 239
  3. ^ a b c Kopley & Hayes, 192
  4. ^ a b c d Silverman, 237
  5. ^ "Edgar Allan Poe Society of Baltimore – Works – Poems – The Raven". Edgar Allan Poe Society of Baltimore. December 28, 2007.
  6. ^ a b c d Poe, 773
  7. ^ a b c d east Poe, 774
  8. ^ a b c d Poe, 775
  9. ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea Business firm Publishers, 2002. p. 21 ISBN 0-7910-6173-half dozen
  10. ^ a b c Kopley & Hayes, 194
  11. ^ Hoffman, 74
  12. ^ Hirsch, 195-6
  13. ^ Hoffman, 73–74
  14. ^ Maligec, Christopher F. S. (2009). "'The Raven' as an Elegiac Paraclausithyron". Poe Studies. 42: 87–97. doi:10.1111/j.1947-4697.2009.00015.x. S2CID 163043175.
  15. ^ a b c d Sova, 208
  16. ^ Granger, 53–54
  17. ^ a b Hirsch, 195
  18. ^ Silverman, 240
  19. ^ Meyers, 162
  20. ^ a b "Cremains / Ravens". palimpsest.stanford.edu. Archived from the original on Feb 23, 2008. Retrieved April i, 2007.
  21. ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom'southward BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea Business firm Publishers, 2002. p. 20 ISBN 0-7910-6173-vi
  22. ^ "Poe's Raven Blimp at Free Library". Philadelphia Magazine. Oct 31, 2011. Retrieved Jan 30, 2014.
  23. ^ a b c Adams, 53
  24. ^ Jeremiah 8:22
  25. ^ 1 Kings 17:1 – v
  26. ^ Kopley & Hayes, 192–193
  27. ^ Hoffman, 76
  28. ^ Thomas & Jackson, 485
  29. ^ a b Meyers, 160
  30. ^ Peeples, 142
  31. ^ Hoffman, 79
  32. ^ Ostrom, 5
  33. ^ Silverman, 530
  34. ^ "The Poems of Edgar Allan Poe". Edgar Allan Poe Order of Baltimore. April 27, 2007. Retrieved September 20, 2007.
  35. ^ Meyers, 177
  36. ^ a b Thomas & Jackson, 591
  37. ^ a b Peeples, 136
  38. ^ Silverman, 299
  39. ^ Sova, 209
  40. ^ Scholnick, Robert J. "In Defense of Beauty: Stedman and the Recognition of Poe in America, 1880–1910", collected in Poe and His Times: The Creative person and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. p. 262. ISBN 0-9616449-2-3
  41. ^ "Digital Gallery for Édouard Manet illustrations – Le corbeau". New York Public Library Digital Gallery. Retrieved September 20, 2007.
  42. ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —Anamorphic illustration for "The Raven"
  43. ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —the aforementioned illustration with a chrome-plated brass cylinder
  44. ^ Price, Ryan. "Illustrations by Ryan Cost". Ingram Gallery. Archived from the original on September 28, 2007. Retrieved September twenty, 2007.
  45. ^ Krutch, 98
  46. ^ Silverman, 295–296
  47. ^ Forsythe, 439–452
  48. ^ Weiss, 185
  49. ^ Hemstreet, William (Dec 21, 1907). ""Raven" Mantel is in Brooklyn". The New York Times. New York. Retrieved June 15, 2017.
  50. ^ a b Wolfe, Theodore F. (January 4, 1908). "Poe'south Life at the Brennan House". The New York Times. New York. Retrieved June 15, 2017.
  51. ^ "Edgar Allan Poe Street". Manhattan By . Retrieved June 15, 2017.
  52. ^ White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York Metropolis. Oxford Academy Press. p. 383. ISBN978-0195383867.
  53. ^ a b Hoffman, 80
  54. ^ Peeples, 133
  55. ^ a b Silverman, 238
  56. ^ Krutch, 155
  57. ^ Krutch, 153
  58. ^ Silverman, 279
  59. ^ Krutch, 154
  60. ^ Thomas & Jackson, 635
  61. ^ Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his speeches and writings. New York: Da Capo Press, 2001: 185. ISBN 0-306-81075-1.
  62. ^ Meyers, 184
  63. ^ Silverman, 265
  64. ^ Thomas & Jackson, 739
  65. ^ Moss, 169
  66. ^ Moss, 101
  67. ^ Parks, Edd Winfield (1962). Dues-Bellum Southern Literary Critics. Athens, GA: University of Georgia Press. p. 182.
  68. ^ Selected Works of E. A. Poe in the Hungarian Electronic Library
  69. ^ Test és lélek 'Body and Soul', literary translations past György Faludy at the website of Petőfi Literary Museum
  70. ^ A költő ('The Poet')
  71. ^ Kopley & Hayes, 196
  72. ^ Lanford, 243–265.
  73. ^ "Naming the Team". Baltimore Ravens . Retrieved October 17, 2022.
  74. ^ "Naming Baltimore's Team: Ravens". Baltimore Ravens. Archived from the original on July 8, 2016. Retrieved June 22, 2016.
  75. ^ "Franchise nicknames". Pro Football Hall of Fame. Baronial 19, 2015. Retrieved August 19, 2015.
  76. ^ "Baltimore Ravens History". Pro Football Hall of Fame. Archived from the original on September eight, 2006. Retrieved Baronial 25, 2006.
  77. ^ Waldman, Benjamin; Newman, Andy (Baronial 10, 2012). "Subsequently a Function in Poe'southward 'Raven,' the Grit of Obscurity". City Room . Retrieved June 12, 2021.

References [edit]

  • Adams, John F. "Classical Raven Lore and Poe's Raven" in Poe Studies. Vol. V, no. 2, December 1972. Available online
  • Forsythe, Robert. "Poe's 'Nevermore': A Note", as collected in American Literature 7. January 1936.
  • Granger, Byrd Howell. "Marginalia – Devil Lore in 'The Raven'" from Poe Studies vol. Five, no. 2, Dec 1972 Available online
  • Hirsch, David H. "The Raven and the Nightingale" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990. ISBN 0-9616449-ii-3
  • Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State Academy Press, 1972. ISBN 0-8071-2321-8
  • Kopley, Richard and Kevin J. Hayes. "Two verse masterworks: 'The Raven' and 'Ulalume'", nerveless in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. New York: Cambridge Academy Press, 2002. ISBN 0-521-79727-6
  • Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926.
  • Lanford, Michael (2011). "Ravel and 'The Raven': The Realisation of an Inherited Aesthetic in Boléro." Cambridge Quarterly 40(three), 243–265.
  • Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-vii
  • Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969.
  • Ostrom, John Ward. "Edgar A. Poe: His Income every bit Literary Entrepreneur", collected in Poe Studies Vol. v, no. i. June 1982.
  • Peeples, Scott. Edgar Allan Poe Revisited. New York: Twayne Publishers, 1998. ISBN 0-8057-4572-six
  • Poe, Edgar Allan. Edgar Allan Poe: Complete Tales & Poems. Edison, NJ: Castle Books, 2002. ISBN 0-7858-1453-ane
  • Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8
  • Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001. ISBN 0-8160-4161-Ten
  • Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co., 1987. ISBN 0-7838-1401-1
  • Weiss, Susan Archer. The Home Life of Poe. New York: Broadway Publishing Visitor, 1907.

External links [edit]

Spoken Wikipedia icon

This audio file was created from a revision of this article dated 6 Dec 2014 (2014-12-06), and does non reflect subsequent edits.

  • Edgar Allan Poe at Curlie
  • The Raven illustrated by Gustave Doré. From the Collections at the Library of Congress
  • Le Corbeau = The Raven: Poëme avec illustrations par Édouard Manet. From the Collections at the Library of Congress
  • Quaint and Curious—A collection of 19th century parodies and pastiches of "The Raven"

Text [edit]

  • "The Raven"—Full text of the showtime printing, from the American Review, 1845
    • Page scans at the Internet Archive
  • "The Raven"—Full text of the final authorized printing, from the Richmond Semi-Weekly Examiner, 1849
  • "Le Corbeau"—The French Translation of "The Raven" by Stéphane Mallarmé
  • "Le Corbeau"—The French Translation of "The Raven" by Charles Baudelaire
  • "Bela"—The Basque Translation by Jon Mirande, 1950.
  • "Ha-orev"—Hebrew translation by Vladimir Jabotinsky, 1914.
  • "Der Raab"—Yiddish translation past Vladimir Jabotinsky.
  • "Voron"—Russian translation by Avdotij Vyvihov.

[edit]

  • The Poe Decoder—Essay on the symbols, words and limerick of "The Raven"
  • The Raven. With Literary and Historical Commentary by John H. Ingram. London G. Redway. 1885.

Illustrated [edit]

  • Illustrations from The Raven, Gustave Doré illustrations from the University at Buffalo Libraries' Rare & Special Books drove
  • The Raven illustrated past Édouard Manet at Project Gutenberg
  • The Raven illustrated by Gustave Doré at Project Gutenberg

Audio [edit]

  • Reading of 'The Raven' and text by Classic Poetry Aloud (MP3)
  • Readings of 'The Raven' in unlike languages, at Internet Archive
  • The Raven public domain audiobook at LibriVox

The Raven Line By Line,

Source: https://en.wikipedia.org/wiki/The_Raven

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