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 27

unevenness on its
surface, which a delicate sense of feeling might enable me to detect. I
determined to make the experiment, and passed my finger very carefully
over the side which first presented itself--nothing, however, was
perceptible, and I turned the paper, adjusting it on the book. I now
again carried my forefinger cautiously along, when I was aware of an
exceedingly slight, but still discernible glow, which followed as it
proceeded. This, I knew, must arise from some very minute remaining
particles of the phosphorus with which I had covered the paper in my
previous attempt. The other, or under side, then, was that on which lay
the writing, if writing there should finally prove to be. Again I
turned the note, and went to work as I had previously done. Having
rubbed in the phosphorus, a brilliancy ensued as before--but this time
several lines of MS. in a large hand, and apparently in red ink, became
distinctly visible. The glimmer, although sufficiently bright, was but
momentary. Still, had I not been too greatly excited, there would have
been ample time enough for me to peruse the whole three sentences
before me--for I saw there were three. In my anxiety, however, to read
all at once, I succeeded only in reading the seven concluding words,
which thus appeared: _"blood--your life depends upon lying close."_

Had I been able to ascertain the entire contents of the note--the full
meaning of the admonition which my friend had thus attempted to convey,
that admonition, even although it should have revealed a story of
disaster the most unspeakable, could not, I am firmly convinced, have
imbued my mind with one tithe of the harrowing and yet indefinable
horror with which I was inspired by the fragmentary warning thus
received. And _"blood"_ too, that word of all words--so rife at all
times with mystery, and suffering, and terror--how trebly full of
import did it now appear--how chillily and heavily (disjointed, as it
thus was, from any foregoing words to qualify or render it distinct)
did its vague syllables fall, amid the deep gloom of my prison, into
the innermost recesses of my soul!

Augustus had, undoubtedly, good reasons for wishing me to remain
concealed, and I formed a thousand surmises as to what they could
be--but I could think of nothing affording a satisfactory solution of
the mystery. Just after returning from my last journey to the trap, and
before my attention had been otherwise directed by the singular conduct
of Tiger, I had come to the resolution of making myself heard at all
events by those on board, or, if I

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Text Comparison with The Raven and The Philosophy of Composition

Page 0
The Raven and The Philosophy of Composition [Illustration] [Illustration: _Copyright 1906 by The Harwell-Evans Co.
Page 1
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.
Page 2
I prefer commencing with the consideration of an effect.
Page 3
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.
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
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.
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
” I had now to combine the two ideas, of a lover lamenting his deceased mistress and a Raven continuously repeating the word “Nevermore.
Page 8
And here I may as well say a few words of the versification.
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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.
Page 10
” 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.
Page 11
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.
Page 12
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.
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there and nothing more.
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” [Illustration: _Copyright 1906 by The Harwell-Evans Co.
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The punctuation for some lines in The Raven differs from other published versions, i.