The Raven
Simpsons Episode: http://www.yourenglishclass.com/the-simpsons-raven/
Edgar Allan Poe
Once upon a midnight dreary, while I pondered*, weak and weary*, a . [meditated, studied] [tired] Begins like a fairytale
Over many a quaint* and curious volume of forgotten lore*,
b
While I nodded, nearly napping, suddenly there came a tapping,
c
As of some one gently rapping, rapping at my chamber* door.
b
"'Tis some visitor," I muttered, "tapping at my chamber door-
.[example of alliteration]
[bedroom or study] andiaplosis
b
Only this, and nothing more."
b
Ah, distinctly I remember it was in the bleak* December,
d
And each separate dying ember* wrought its ghost* upon the floor.
b
e
From my books surcease of sorrow- sorrow for the lost Lenore-
b
For the rare and radiant maiden whom the angels name Lenore-
What is the effect of the repeated words?
d [internal rhyme]
Eagerly I wished the morrow*;- vainly* I had sought to borrow
Nameless here for evermore.
[archaic, old] [book of knowledge or myths]
[glowing wood fragment in fireplace] [formed ash]
[next day] [foolishly; to no avail]
[an end, a pause, a delay] andiaplosis
b
b
. Why is the word “here” italicized?
And the silken sad uncertain rustling of each purple curtain
Thrilled me- filled me with fantastic terrors never felt before;
[example of alliteration]
..
[unreal, imaginary; weird, strange]
So that now, to still the beating of my heart, I stood repeating,
"'Tis some visitor entreating entrance at my chamber door-
[begging, pleading for]
Some late visitor entreating entrance at my chamber door;This it is, and nothing more."
What’s the speaker’s state of mind?
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
[beg, ask for]
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.
[Lines 2, 4, 5, and 6 of each stanza rhyme, as here]
Deep into that darkness peering, long I stood there wondering,
fearing,
Doubting, dreaming dreams no mortals 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.
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-
[shutter]
.....[there, at that place]
Let my heart be still a moment and this mystery explore;'Tis the wind and nothing more."
Open here I flung the shutter, when, with many a flirt* and
flutter,
..[jerk]
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed
[majestic][the distant past]
[bow, gesture of respect]
he;
But, with mien of lord or lady, perched above my chamber doorPerched upon a bust of Pallas just above my chamber doorPerched, and sat, and nothing more.
[manner]
[small sculpture showing the head, shoulders, and
chest of a person][Athena, Greek goddess
of Wisdom]
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
[black][charming, coaxing]
.s [serious] [look on its face]
[tuft of feathers on head][cut] [coward]
craven*,
Ghastly grim and ancient raven wandering from the Nightly shoreTell 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 so plainly,
Though its answer little meaning- little relevancy bore;
See Note 1 below the end of the poem.
[Said, spoke]
[The narrator is surprised that the raven can speak.]
[The raven's answer made little sense.]
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber doorBird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the raven, sitting lonely on the placid* bust, spoke only
..[See Note 2 below the end of the poem.]
[peaceful]
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not a feather then he flutteredTill I scarcely more than muttered, "other friends have flown
beforeOn the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store*,
.[the only words it can speak]
Caught from some unhappy master whom unmerciful Disaster
[learned]
Followed fast and followed faster till his songs one burden boreTill the dirges* of his Hope that melancholy burden bore
[funeral hymns]
Of 'Never- nevermore'."
But the Raven still beguiling all my fancy 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-
.[sinister, threatening]
What this grim, ungainly, ghastly, gaunt and ominous bird of yore
[the bird is now the image of death]
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
[metaphor comparing the gaze to a fire]
This and more I sat divining,* with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
[trying to figure out]
..[personification]
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
[She will never again press her head to the cushion.]
Then methought the air grew denser, perfumed from an unseen censer*
Swung by Seraphim* whose footfalls tinkled on the tufted floor.
[vessel in which incense is burned]
.[Angels of the highest rank]
"Wretch," I cried, "thy God hath lent thee- by these angels he
hath sent thee
Respite*- respite and nepenthe*, from thy memories of Lenore!
[the narrator is referring to himself]
[Rest, pause][Drug causing forgetfulness, oblivion]
Quaff, 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 land enchantedOn this home by horror haunted- tell me truly, I implore-
.[Poetic license: evil and devil don't rhyme]
Is there-- is there balm in Gilead?*- tell me- tell me, I implore!"
Quoth the Raven, "Nevermore."
...[Is there any cure for my deep depression?
See the Bible, Jeremiah 8:22]
"Prophet!" said I, "thing of evil- prophet still, if bird or
devil!
By that Heaven that bends above us- by that God we both adoreTell this soul with sorrow laden if, within the distant Aidenn,*
[Paradise, heaven, Eden]
It shall clasp a sainted maiden whom the angels name LenoreClasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."
"Be that word our sign in 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."
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 lamplight 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!
[The narrator will never again see Lenore.]
Note 1 The narrator believes the raven is from the shore of the River Styx in the Underworld, the abode of the dead in Greek
mythology. “Plutonian” is a reference to Pluto, the god of the Underworld.
Note 2 The narrator at first thinks the raven's name is "Nevermore." However, he later finds out that "Nevermore" means that he will
never again see the woman he loved.
Devices—Parallelism, Repetititon, Diacope, Andiaplosis, Epistrophe, Anaphora, Internal Rhyme, End rhyme,
Alliteration
Setting The chamber of a house at midnight. Poe uses the word chamber rather than bedroom apparently because chamber has a dark and
mysterious connotation.
First-Person Narrator (Persona) A man who has lost his beloved, a woman named Lenore. He is depressed, lonely,
and possibly mentally unstable as a result of his bereavement.
Date of Publication Jan. 29, 1845, in The New York Mirror from a copy prepared for The American Review.
Source of Inspiration The raven in Charles Dickens' 1841 novel, Barnaby Rudge, a historical novel about anti-Catholic riots in London in 1780 in
which a mentally retarded person (Barnaby) is falsely accused of participating. Barnaby owns a pet raven, Grip, which can speak. In the fifth
chapter of the novel, Grip taps at a shutter (as in Poe's poem). The model for Grip was Dickens' own talking raven, which was the delight of his
children. It was the first of three ravens owned by Dickens, all named Grip. After the first Grip died, it was stuffed and mounted. An admirer of
Poe's works acquired the mounted the bird and donated it to the Free Library of Philadelphia, where it is on display today.
Raven, a Glorified Crow A raven, which can be up to two feet long, is a type of crow. Ravens eat small animals, carrion, fruit, and seeds. They
often appear in legend and literature as sinister omens.
Motif The death of a beautiful woman, as lamented by her bereaved lover.
Word Choice As in his short stories, Poe is careful to use primarily words that contribute to the overall atmosphere and tone of the poem. These
words include weary, dreary, bleak, dying, sorrow, sad, darkness, stillness, mystery, ebony, grave, stern, lonely, grim, ghastly, and gaunt.
Sound and Rhythm The melancholy tone of "The Raven" relies as much on its musical sound and rhythmic pattern as on the meaning of the
words. To achieve his musical effect, Poe uses rhyming words in the same line (internal rhyme), a word at the end of one line that rhymes with a
word at the end of another line (end rhyme), alliteration (a figure of speech that repeats a consonant sound), and a regular pattern of accented and
unaccented syllables. This pattern uses a stressed syllable followed by an unstressed syllable, with a total of sixteen syllables in each line. Here is
an example (the first line of the poem):
.......ONCE u PON a MID night DREAR y, WHILE i POND ered WEAK and WEAR y
In this line, the capitalized letters represent the stressed syllables and the lower-cased letters, the unstressed ones. Notice that the line has
sixteen syllables in all. Notice, too, that the line has internal rhyme (dreary and weary) and alliteration (while, weak, weary).
Who Is Lenore? It is possible that Lenore, the idealized deceased woman in the poem, represents Poe’s beloved wife, Virginia, who was in poor
health when Poe wrote "The Raven." She died two years after the publication of the poem, when she was only in her mid-twenties.
Criticism Some reviewers in Poe’s day, including poet Walt Whitman, criticized “The Raven” for its sing-song, highly emotional
quality. The poem is still criticized today–and often parodied–for the same reason. However, the consensus of critics and ordinary
readers appears to be that the poem is a meticulously crafted work of genius and fully deserves its standing as one of the most
popular poems in American literature. It is indeed a great work.
Summary It is midnight on a cold evening in December in the 1840s. In a dark and shadowy bedroom, wood burns in the fireplace
as a man laments the death of Lenore, a woman he deeply loved. To occupy his mind, he reads a book of ancient stories. But a
tapping noise disturbs him. When he opens the door to the bedroom, he sees nothing–only darkness. When the tapping persists,
he opens the shutter of the window and discovers a raven, which flies into the room and lands above the door on a bust of Athena (Pallas in the
poem), the goddess of wisdom and war in Greek mythology. It says “Nevermore” to all his thoughts and longings. The raven, a symbol of death,
tells the man he will never again ("nevermore") see his beloved, never again hold her–even in heaven.
Lines 1-2:
The opening lines identify the speaker as someone who feels tired and weak but is still awake in the middle of a gloomy night. He passes the time by reading a
strange book of ancient knowledge. The first line of the poem contains alliteration of w in “while,” “weak,” and “weary” to produce the effect of unsteadiness.
This line also sets the poem’s rhythmical pattern and provides the first example of the use of internal rhyme in “dreary” and “weary.”
Lines 3-6:
The speaker tells of becoming more tired and beginning to doze but being wakened by a sound that he assumes is a quiet knock. Internal rhymes of “napping,”
“tapping,” and “rapping” along with repetition of these last two words, create a musical effect. This effect is also produced by alliteration of n. These sound
devices and the steady rhythm of these lines are almost hypnotic. The use of “nothing more” is the first example of what will evolve into the refrain
“Nevermore.” In this first instance, the speaker presents the phrase in a low key, attached to his bland explanation that the tapping sound is “nothing more” than a
late visitor knocking at his door.
Lines 7-12:
In this second stanza the narrator tells what he remembers about the setting and action at the time of the Raven’s visit. It was December, the first month of winter
and a time when the nights are longest, creating a mood of mystery. A fireplace had been lit, but now the fire was going out, and it cast an eerie glow. To set the
mood, Poe uses mysterious and depressing words in these descriptions: “bleak,” “dying,” and “ghost.” To escape his heavy mood, the speaker has been reading;
he says it was a vain attempt to “borrow / From my books surcease of sorrow,” that is, to find something in his books that would take his mind off the sadness he
feels about his lost love, Lenore. He reveals that Lenore has died when he says that the angels call her by name. This time the word “evermore” is used in the
refrain.
Lines 13-18:
The speaker tells that he was in a state of heightened sensibility because of his mood, the late hour, and the eerie setting. Reading ancient folklore, possibly of a
supernatural nature, may also have added to his emotional state. The sound of the curtains as they move strikes his imagination wildly. Poe creates this sound by
using onomatopoeia, or words that sound like what they describe (“rustling”), and alliteration, repeating s in line 13 and f in line 14. The speaker tries to calm
down by telling himself twice that the tapping noise (introduced in stanza one) is only the sound of a visitor knocking on his door and “nothing more.” The
refrain works here as it did in the first stanza, but now it has been attached to a more emotionally charged situation.
Lines 19-24:
The speaker overcomes his emotional state and rationally calls out to the supposed visitor. But when he opens the door he finds only “darkness there and nothing
more.” The refrain this time has been employed to create a sense of mystery that follows a moment of rational behavior, overshadowing it.
Lines 25-30:
The lover tells that he stood looking out of his door, transfixed by the “darkness,” the “silence,” and the “stillness” while his imagination increased. Finally he
whispered the name of his deceased lover, “Lenore,” and he heard it echoed in the night. An abundance of words that use the sound d produces an alliteration that
suggests the strong, rhythmical heartbeat of an excited person. The refrain has now been used after a mysterious and also slightly frightening experience, the
“nothing more” contradicting the speaker’s agitated state.
Lines 31-36:
At this point the speaker has not completely regained his composure, as shown by the image of his “soul ... burning.” He returns to his room, but the tapping
sound resumes, even louder, and the speaker determines this time to investigate the window.
Lines 37-42:
The speaker finally reveals the source of the mysterious tapping noise — a bird. Upon opening the window, the speaker discovers a Raven who flies in and sits
on top of the speaker’s “bust of Pallas.” Alliteration of fl creates the sound of wings flapping. The description of the Raven is of first importance in this stanza.
The bird is “stately,” reminding the speaker of ancient times, perhaps seeming to fly out of the books that the speaker tells of reading in stanza one. The Raven
seems very purposeful, flying directly to perch on the high statue without regarding the narrator at all. Symbolism occurs in Poe’s choice of “Pallas” as the
Raven’s perch. “Pallas” represents the Greek Goddess of Wisdom, sometimes known as “Pallas Athene,” and so by placing the Raven above this bust Poe creates
a situation in which wisdom has been placed underneath the Raven, a bird associated with death.
Lines 43-48 The bird’s dramatic presence strikes the lover so that he begins to forget his sadness. He finds humor in the situation, and in jest, begins to speak out
loud, expressing his wonder about the Raven. He compares the bird to a lord whose “crest” (royal emblem) is missing. This comparison allows the reader to
visualize the bird’s sleek head and also to associate the bird with a character of dignity. In the suggestion that the bird has come from the “Plutonian shore,” Poe
calls upon the myth of Pluto, the God of the Underworld, the land of the dead in Greek mythology. The Raven, therefore, may be thought of as a creature from
the land of the dead. In this stanza the refrain reaches its permanent form of “Nevermore,” the answer given by the bird when spoken to regardless of what the
narrator says. The predictability of this answer allows the reader to note the narrator’s course of self-torture with each question that he asks, leading to a more
distressing response as the poem progresses.
Lines 49-60 The speaker tells of his amazement at the bird’s appearance, its position on the bust, and its ability to speak. There is no indication that the lover
truly believes the suggestions he made concerning the bird’s origins (the “Plutonian shore” referred to in line 47); on the contrary, the speaker notes that the
bird’s reply was irrelevant, meaning it did not make sense. In the closing lines of the tenth stanza (lines 55-60) the speaker again makes an audible comment
about the bird, and again the bird replies with the refrain. This time, though, as if the speaker had planned it, he has made a statement to which the response
“Nevermore” makes sense. He has predicted the Raven’s departure, and the Raven’s response indicates that he will never depart.
Lines 61-72 This time the speaker is “startled” in reaction to the Raven’s answer because the speaker thinks it makes sense. Still using his reason rather than his
emotions, the speaker rationalizes that the bird knows only this one word and has learned it by living with a person who himself used the word repeatedly in
response to his own bad luck. With this explanation, the speaker feels amused, and he settles down on a comfortable chair to contemplate the Raven.
Lines 73-78 In this, the thirteenth stanza, the speaker and the bird remain silent. A frightening image of the bird presents it with “fiery eyes” that “burned into”
the speaker’s heart. This description allows the reader to picture the Raven’s red eyes and also associate the bird with evil. Poe reveals the narrator’s silence in
the phrase “no syllable expressing,” a phrase that calls to mind the poem and its use of syllables and meter. The speaker’s silence is a brooding time during which
his mind wanders away from the Raven and back to the sorrows of lost love. The speaker thinks of Lenore as he sits on a “violet” colored “velvet” chair on
which the “lamp-light” flickers. Because Lenore used to sit in that romantic spot, the speaker now begins to think of her again.
Lines 79-84 Once the thought of Lenore re-enters the speaker’s mind, his imagination and emotions again became active. He imagines that he smells the incense
of angels. Quite likely, the couch on which he sits has the lingering scent of Lenore’s perfume from the times she sat there before her death, but this rational
explanation does not occur to the speaker. He prefers to think of the scent as a gift from God, noticing it provides a soothing experience that may help him forget
his sadness. He cries out to himself, calling himself “Wretch.” By this he means that he has sunk to a wretched state of grief. But now he hopes that with the
angels’ help — a potion of forgetfulness known as nepenthe — he has a chance to rest from the grief, to forget Lenore. When he suggests this out loud, the
Raven who has also almost been forgotten, reasserts his presence with his one word, “Nevermore.” In the context of the lover’s thoughts, the bird’s statement
means that the speaker will never have a moment’s rest from the sadness he feels over Lenore’s death.
Lines 85-90 In reaction to the Raven’s response in the preceding line (line 84) the speaker calls the bird a “Prophet,” and because the prophecy foretells of more
suffering for the speaker, he calls the bird “evil” and suggests that it may be a “devil.” He does not know if the Raven is merely a bird seeking refuge after a
“tempest” (storm) or if it is an evil being “sent” by the “Tempter,” that is, the devil. The speaker notes that the bird remains “undaunted” even though it is
“desolate” and it seems “enchanted” even though it is in this sad house referred to as a “desert land,” a “home by Horror haunted.” This manner of referring to
the bird and the speaker’s home reveals that the speaker is becoming more distraught and less reasonable. After making these statements about the Raven, the
speaker continues speaking out loud by asking “is there balm in Gilead?” (Gilead was known in Biblical times for its healing plants), meaning will he ever find a
remedy for his sorrow. As expected, the Raven answers “Nevermore,” and the speaker will be thrown into a deeper frenzy of despair.
Lines 91-96 Setting himself up for more disappointment, the speaker continues to address the bird. He repeats the first line of the previous stanza, an indication
that more of the same type of exchange will continue. This time the speaker asks if he will be reunited with Lenore after he himself dies, in an afterlife he refers
to as “the distant Aidenn.” In Poe’s “The Philosophy of Composition” he identifies the speaker as one who has a penchant for self-torture, and this question with
its anticipated answer of “Nevermore” provides proof of the speaker’s character. In addition to the question itself, the speaker’s description of himself as a “soul
with sorrow laden” and his description of Lenore as a “sainted” and “rare and radiant maiden” reveal how low he places himself and how inaccessible and high
he places Lenore in his memories of her.
Lines 97-102 The speaker has lost his composure, as shown in the use of the word “shrieked.” He yells to the Raven that it should leave and that it has spoken a
lie. Note that the speaker’s command for the Raven to depart — “leave loneliness unbroken” — could be interpreted to mean that he wishes to preserve his
miserable state, another indication of his tendency to indulge in grief. The imagery used to describe the Raven continues to suggest its association with evil; the
words, “fiend,” “tempest,” “night’s Plutonian shore,” “black plume,” “lie,” and the image of the Raven’s “beak” in the narrator’s “heart” reveal
Lines 103-108 In this last stanza, the speaker describes his present situation. Until now, the poem has been a retelling of events that lead up to this stanza. Now
the speaker reveals that the Raven remains in his room and that he, himself, remains despondent. Final associations of the bird with evil occur in the words
“demon” and “shadow.” The connection between the Raven’s “shadow” and the speaker’s “soul” in the last line of the poem suggests that the speaker believes
himself to be cursed by the bird’s presence. The symbolism of the physical location of the Raven, on top of the “pallid bust of Pallas” and above the “chamber
door” must be noted. Since the bird has been associated with death and evil in the poem, his location suggests that these forces have overpowered wisdom, as
represented by Pallas. The speaker can not escape his condition because his wisdom and its ability to produce rational behavior have been overpowered by his
emotional response to Lenore’s death. Since the symbolic Raven and bust of Pallas preside over the door, the entrance and exit to the speaker’s “chamber” or
residence, the speaker has no escape from the situation. One may note that the word “chamber” calls to mind the chambers of the heart, the legendary residence
of emotional love. So the speaker, it seems, will never emerge above his depression over the loss of his love, Lenore; his ability to be reasonable will always be
overshadowed by his thoughts of Lenore’s death. His “soul” will “nevermore” feel happiness.