The Narrative of Arthur Gordon Pym of Nantucket Comprising the details of a mutiny and atrocious butchery on board the American brig Grampus, on her way to the South Seas, in the month of June, 1827.

By Edgar Allan Poe

Page 129

were never disclosed. Their hair was of a finer
texture than that of the males. Among these naked villagers there might
have been ten or twelve who were clothed, like the party of Too-wit, in
dresses of black skin, and armed with lances and heavy clubs. These
appeared to have great influence among the rest, and were always
addressed by the title _Wampoo_. These, too, were the tenants of the
black skin palaces. That of Too-wit was situated in the centre of the
village, and was much larger and somewhat better constructed than
others of its kind. The tree which formed its support was cut off at a
distance of twelve feet or thereabout from the root, and there were
several branches left just below the cut, these serving to extend the
covering, and in this way prevent its flapping about the trunk. The
covering, too, which consisted of four very large skins fastened
together with wooden skewers, was secured at the bottom with pegs
driven through it and into the ground. The floor was strewed with a
quantity of dry leaves by way of carpet.

To this hut we were conducted with great solemnity, and as many of the
natives crowded in after us as possible. Too-wit seated himself on the
leaves, and made signs that we should follow his example. This we did,
and presently found ourselves in a situation peculiarly uncomfortable,
if not indeed critical. We were on the ground, twelve in number, with
the savages, as many as forty, sitting on their hams so closely around
us that, if any disturbance had arisen, we should have found it
impossible to make use of our arms, or indeed to have risen on our
feet. The pressure was not only inside the tent, but outside, where
probably was every individual on the whole island, the crowd being
prevented from trampling us to death only by the incessant exertions
and vociferations of Too-wit. Our chief security lay, however, in the
presence of Too-wit himself among us, and we resolved to stick by him
closely, as the best chance of extricating ourselves from the dilemma,
sacrificing him immediately upon the first appearance of hostile

After some trouble a certain degree of quiet was restored, when the
chief addressed us in a speech of great length, and very nearly
resembling the one delivered in the canoes, with the exception that the
_Anamoo-moos!_ were now somewhat more strenuously insisted upon than
the _Lama-Lamas!_ We listened in profound silence until the conclusion
of his harangue, when Captain Guy replied by assuring the chief of his
eternal friendship and good-will, concluding

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Text Comparison with The Raven and The Philosophy of Composition

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_ _Lenore_ ] [Illustration] The Raven and The Philosophy of Composition By Edgar Allan Poe Quarto Photogravure Edition Illustrated from Paintings by Galen J.
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It is felt that no other introduction could be more happily conceived or executed.
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Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen.
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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.
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A few words, however, in elucidation of my real meaning, which some of my friends have evinced a disposition to misrepresent.
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In such a search it would have been absolutely impossible to overlook the word “Nevermore.
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” 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.
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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.
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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.
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” 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.
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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.
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[Illustration: _Copyright 1906 by The Harwell-Evans Co.
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” [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.
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” [Illustration: _Copyright 1906 by The Harwell-Evans Co.
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