many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of ANNABEL LEE;
And this maiden she lived with no other thought
Than to love and be loved by me.
_I_ was a child and _she_ was a child,
In this kingdom by the sea:
But we loved with a love that was more than love--
I and my ANNABEL LEE;
With a love that the winged seraphs of heaven
Coveted her and me.
And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful ANNABEL LEE;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and me--
Yes!--that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my ANNABEL LEE.
But our love it was stronger by far than the love
Of those who were older than we--
Of many far wiser than we--
And neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful ANNABEL LEE.
For the moon never beams without bringing me dreams
Of the beautiful ANNABEL LEE;
And the stars never rise but I see the bright eyes
Of the beautiful ANNABEL LEE;
And so, all the night-tide, I lie down by the side
Of my darling, my darling, my life and my bride,
In her sepulchre there by the sea--
In her tomb by the side of the sea.
_ _Lenore_ ] [Illustration] The Raven and The Philosophy of Composition By Edgar Allan Poe Quarto Photogravure Edition Illustrated from Paintings by Galen J.Page 1
â The Philosophy of Composition.Page 2
Why such a paper has never been given to the world, I am much at a loss to sayâbut, perhaps, the autorial vanity has had more to do with the omission than any one other cause.Page 3
peep behind the scenes, at the elaborate and vacillating crudities of thoughtâat the true purposes seized only at the last momentâat the innumerable glimpses of idea that arrived not at the maturity of full viewâat the fully matured fancies discarded in despair as unmanageableâat the cautious selections and rejectionsâat the painful erasures and interpolationsâin a word, at the wheels and pinionsâthe tackle for scene-shiftingâthe stepladders and demon-trapsâthe cockâs feathers, the red paint and the black patches, which, in ninety-nine cases out of the hundred, constitute the properties of the literary histrio.Page 4
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.Page 5
â 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 causesâthat objects should be attained through means best adapted for their attainmentâno one as yet having been weak enough to deny that the peculiar elevation alluded to is most readily attained in the poem.Page 6
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.Page 7
Perceiving the opportunity thus afforded meâor, more strictly, thus forced upon me in the progress of the constructionâI first established in mind the climax, or concluding queryâthat query to which âNevermoreâ should be in the last place an answerâthat in reply to which this word âNevermoreâ should involve.Page 8
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 infiniteâand yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original thing.Page 9
The next point to be considered was the mode of bringing together the lover and the Ravenâand the first branch of this consideration was the locale.Page 10
By the grave and stern decorum of the countenance it wore, âThough thy crest be shorn and shaven, thou,â I said, âart sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shoreâ Tell me what thy lordly name is on the Nightâs Plutonian shore!â Quoth the Raven, âNevermore.Page 11
It is the excess of the suggested meaningâit is the rendering this the upper- instead of the under-current of the themeâwhich turns into prose (and that of the very flattest kind) the so-called poetry of the so-called transcendentalists.Page 12
ââTis some visitor,â I muttered, âtapping at my chamber doorâ Only this and nothing more.Page 13
â [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.Page 14
â [Illustration: _Copyright 1906 by The Harwell-Evans Co.Page 15
Retained anachronistic and non-standard spellings as printed.