Dejection: An Ode" was originally written as a letter to Sara Hutchinson, the woman Coleridge loved. The much longer original version contained references to Sara and William Wordsworth that were removed. Coleridge revised the poem significantly, shortening it and making it less personal. The poem describes Coleridge's inability to write poetry and living in a state of paralysis due to his unrequited love for Hutchinson.
The document discusses Edgar Allan Poe's literary style and themes. Poe is considered one of the founders of detective fiction and is best known for his works of mystery and the macabre. His stories frequently dealt with themes of death and lost love. Two examples analyzed are his short story "The Tell-Tale Heart" about murder, insanity, and guilt, and his poem "The Raven" where a raven symbolizes death and torments the narrator over his lost love Lenore.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
The poem discusses the speaker's lost ability to see nature as divinely glorious in his childhood. As a child, he viewed nature as clothed in "celestial light" and the "glory and freshness of a dream." Now as an adult, he has lost this visionary perspective and can no longer see nature in this mystical way, no matter where he turns. The speaker laments this inability to recapture the sense of wonder he experienced as a child.
Robert Frost was an American poet born in 1874 in San Francisco who won 4 Pulitzer Prizes for his works including "A Boy's Will" and "North of Boston." He is considered one of the most influential poets in American literature for his realistic depictions of rural life and his command of American colloquial speech. Some of his most famous poems, including "Mending Wall," examine human nature and relationships between people.
This document summarizes Aristotle's concept of tragedy based on his definition and analysis of its key elements. The most important elements are plot, character, and hamartia (tragic flaw). A good plot involves a change in fortune from happiness to misery for a protagonist who is neither perfectly good nor bad. It also includes a peripety (reversal) or discovery. The plot aims to arouse emotions of pity and fear in the audience through the hero's downfall, culminating in a catharsis or release of these emotions. Character and hamartia relate to creating a believable yet imperfect hero. Other elements like language, spectacle, and thought/diction are less crucial but should still be done well.
Dejection: An Ode" was originally written as a letter to Sara Hutchinson, the woman Coleridge loved. The much longer original version contained references to Sara and William Wordsworth that were removed. Coleridge revised the poem significantly, shortening it and making it less personal. The poem describes Coleridge's inability to write poetry and living in a state of paralysis due to his unrequited love for Hutchinson.
The document discusses Edgar Allan Poe's literary style and themes. Poe is considered one of the founders of detective fiction and is best known for his works of mystery and the macabre. His stories frequently dealt with themes of death and lost love. Two examples analyzed are his short story "The Tell-Tale Heart" about murder, insanity, and guilt, and his poem "The Raven" where a raven symbolizes death and torments the narrator over his lost love Lenore.
The document provides an overview of the Theatre of the Absurd and Samuel Beckett's play Waiting for Godot. It explains that Theatre of the Absurd explores the absurdity of existence in a godless universe where life has no purpose or meaning. Waiting for Godot follows two homeless men, Vladimir and Estragon, who pass the time waiting endlessly and in vain for someone named Godot to arrive. Their dialogue shows how they try to maintain their friendship and identity through memory and conversation to avoid confronting the meaninglessness of their existence.
The poem discusses the speaker's lost ability to see nature as divinely glorious in his childhood. As a child, he viewed nature as clothed in "celestial light" and the "glory and freshness of a dream." Now as an adult, he has lost this visionary perspective and can no longer see nature in this mystical way, no matter where he turns. The speaker laments this inability to recapture the sense of wonder he experienced as a child.
Robert Frost was an American poet born in 1874 in San Francisco who won 4 Pulitzer Prizes for his works including "A Boy's Will" and "North of Boston." He is considered one of the most influential poets in American literature for his realistic depictions of rural life and his command of American colloquial speech. Some of his most famous poems, including "Mending Wall," examine human nature and relationships between people.
This document summarizes Aristotle's concept of tragedy based on his definition and analysis of its key elements. The most important elements are plot, character, and hamartia (tragic flaw). A good plot involves a change in fortune from happiness to misery for a protagonist who is neither perfectly good nor bad. It also includes a peripety (reversal) or discovery. The plot aims to arouse emotions of pity and fear in the audience through the hero's downfall, culminating in a catharsis or release of these emotions. Character and hamartia relate to creating a believable yet imperfect hero. Other elements like language, spectacle, and thought/diction are less crucial but should still be done well.
1) The poem depicts a world that is falling into disorder and chaos. Images of a falcon flying away from its handler and a "blood-dimmed tide" drowning innocence are used to represent this breakdown of traditional structures.
2) The narrator has a vision of a mysterious beast, with the body of a lion and head of a man, that seems to herald some kind of ominous change rather than the Christian vision of the Second Coming.
3) The poem presents a darker and more pessimistic view of the future as the speaker questions what kind of "rough beast" is heading to Bethlehem to be born, suggesting the end of the old world order and the birth of some unknown threat
This document discusses the characteristics of metaphysical poetry. It defines metaphysical poetry as highly intellectual poetry marked by ingenious comparisons, complex imagery, and subtle thought expressed through paradox. John Donne is cited as the founder of metaphysical poetry in the early 17th century. Major metaphysical poets included Donne, Herbert, Marvell, and Cowley. Characteristics highlighted include a conscious departure from previous styles, a dramatic tone, displays of scholarship, use of satire/irony, witty comparisons, and themes of platonic love.
1. The document provides context and summaries for William Wordsworth's poem "Tintern Abbey". It was written after the poet revisited the scenic area near Tintern Abbey on the River Wye in Wales.
2. The poem expresses how memories of communing with nature as a child still provide comfort to the poet, even though he has lost the ability to have pure communion with nature. These childhood memories provide sensations and tranquility.
3. In the present, though different than his youth, the poet finds he can now appreciate nature in a more mature way by considering its relationship to humanity. He believes nature still anchors his purest thoughts.
Concept of love & divine & elements of it in air and angel and a hymn...RindArshadAli00
Literary presentation, in which the types of Love by John Donne are also discussed. and also where the concept of love is depicted and how A Hymn to God Father is the Divine poem.
Roland Barthes was a French literary theorist who argued against traditional literary analysis that centered on the author's biography. He believed the meaning of a text comes from the reader rather than being determined by the author's intentions or life experiences. According to Barthes, a text is composed of references to other texts and cultures rather than being an original creation, and it has multiple meanings that cannot be fully deciphered or limited by identifying the author. He concluded that the reader, not the author, gives a text its unity and understanding, and that "the birth of the reader must be at the cost of the death of the Author."
John Osborne wrote Look Back in Anger in 1956, drawing on his own experiences. It follows Jimmy Porter, a working class man married to Alison from an upper middle class family. Jimmy vents his anger at society through bitter tirades against Alison and her friend Helena. The play was considered revolutionary for using informal language and portraying disaffected youth. It helped launch the "Angry Young Men" movement in British theater.
Samuel Taylor Coleridge was an English poet, critic, and philosopher who was a leader of Romantic poetry. He divided imagination into primary and secondary forms. Primary imagination is a creative faculty possessed by all, while secondary imagination is the conscious, creative power of poets. Coleridge believed the purpose of poetry was to give pleasure, and defined a poem as having organic unity and seeking to produce immediate pleasure in readers through the willing suspension of disbelief. He saw imagination as the key distinguishing factor of a true poet.
Victorian Poet Christina rossetti's Poetic CharacteristicsMohsin Malik
This document covers the major characteristics of Victorian Poet Christina Rossetti. It highlights the poetic influences and his writing style as well.
Wordsworth's poem "Tintern Abbey" refers to a place he visited five years prior in Wales. In the poem, he compares his mature present state of mind to his pure childhood state, finding solace in nature and in reconnecting with memories of the past. Wordsworth sees memory as something that shapes the mind and provides comfort, as he tries to reconnect past experiences to his present through remembering his prior visit to Tintern Abbey.
Keats addresses an ancient Greek urn, praising its ability to depict an eternal scene of figures locked in a moment of antiquity. The urn tells a story through its images that is more charming than what Keats can describe with words. It represents the ideas that art provides enduring beauty and truth that can comfort humanity. While Keats ponders the figures and their scene, the urn remains as a symbol of permanence that will outlive his own fleeting generation.
The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain. The second stanza is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again. Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
This document summarizes Longinus's treatise "On the Sublime", which analyzes the concept of sublimity in language and its ability to elevate discourse. It defines sublimity as consisting of lofty language that sways readers through grandeur of thought, treatment of passions, figures of speech and thought, dignified expression through word choice and metaphor, and majestic structure. While sublimity cannot be innate, it can be developed through instruction and reason. The document outlines Longinus's influential views on sublimity that shaped Romantic literature and criticism.
Derrida identifies a "logocentrism" or privileging of speech in Western philosophy. Logocentrism holds that words express an external reality and that thought is derived from speech. Derrida criticizes logocentrism for relying on unexamined metaphysical assumptions about the relationship between language and reality. He questions the "metaphysics of presence" underlying logocentrism by exploring how meanings shift within linguistic systems. Critical examination of logocentrism is really about attentiveness to how specific languages materially shape communication and understanding.
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
John Donne was a 17th century English poet known for breaking away from traditional poetic forms and conventions. As a leader of the Metaphysical poets, Donne incorporated ingenious conceits and intellectual wit into his poetry. While his unconventional style was initially met with ambivalence, Donne influenced later poets and is now regarded as pre-eminent among the Metaphysical poets for bringing a more personal tone to poetry.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
This document summarizes T.S. Eliot's influential 1919 essay "Tradition and the Individual Talent". It discusses Eliot's views that tradition is not just imitation of the past, but requires hard work to understand the historical context of previous works. Eliot believed that poets must be impersonal and separate their emotions from the creative process, organizing their work in a way that escapes from personality rather than expressing it. The essay examines Eliot's conceptions of tradition, depersonalization of the poet, and how new works interact with and modify past traditions in literature.
The document provides context and analysis of key elements in Edgar Allan Poe's poem "The Raven". It discusses themes of love, nature, the supernatural, and madness in the poem. Specific symbols and their meanings are explained, such as Lenore representing idealized love, the raven representing darkness and death, and references to mythology, religion, and ancient traditions that influenced Poe's writing.
Dr. Martin Luther King Jr. delivers his iconic "I Have a Dream" speech at the March on Washington for Jobs and Freedom. In the speech, he discusses the signing of the Emancipation Proclamation 100 years prior, but how African Americans still faced injustice and discrimination. He calls for an end to racism and a fulfillment of the American ideals of equality and justice for all. He expresses his dream that one day black and white children will be able to join hands as brothers and sisters in a racially just nation.
1) The poem depicts a world that is falling into disorder and chaos. Images of a falcon flying away from its handler and a "blood-dimmed tide" drowning innocence are used to represent this breakdown of traditional structures.
2) The narrator has a vision of a mysterious beast, with the body of a lion and head of a man, that seems to herald some kind of ominous change rather than the Christian vision of the Second Coming.
3) The poem presents a darker and more pessimistic view of the future as the speaker questions what kind of "rough beast" is heading to Bethlehem to be born, suggesting the end of the old world order and the birth of some unknown threat
This document discusses the characteristics of metaphysical poetry. It defines metaphysical poetry as highly intellectual poetry marked by ingenious comparisons, complex imagery, and subtle thought expressed through paradox. John Donne is cited as the founder of metaphysical poetry in the early 17th century. Major metaphysical poets included Donne, Herbert, Marvell, and Cowley. Characteristics highlighted include a conscious departure from previous styles, a dramatic tone, displays of scholarship, use of satire/irony, witty comparisons, and themes of platonic love.
1. The document provides context and summaries for William Wordsworth's poem "Tintern Abbey". It was written after the poet revisited the scenic area near Tintern Abbey on the River Wye in Wales.
2. The poem expresses how memories of communing with nature as a child still provide comfort to the poet, even though he has lost the ability to have pure communion with nature. These childhood memories provide sensations and tranquility.
3. In the present, though different than his youth, the poet finds he can now appreciate nature in a more mature way by considering its relationship to humanity. He believes nature still anchors his purest thoughts.
Concept of love & divine & elements of it in air and angel and a hymn...RindArshadAli00
Literary presentation, in which the types of Love by John Donne are also discussed. and also where the concept of love is depicted and how A Hymn to God Father is the Divine poem.
Roland Barthes was a French literary theorist who argued against traditional literary analysis that centered on the author's biography. He believed the meaning of a text comes from the reader rather than being determined by the author's intentions or life experiences. According to Barthes, a text is composed of references to other texts and cultures rather than being an original creation, and it has multiple meanings that cannot be fully deciphered or limited by identifying the author. He concluded that the reader, not the author, gives a text its unity and understanding, and that "the birth of the reader must be at the cost of the death of the Author."
John Osborne wrote Look Back in Anger in 1956, drawing on his own experiences. It follows Jimmy Porter, a working class man married to Alison from an upper middle class family. Jimmy vents his anger at society through bitter tirades against Alison and her friend Helena. The play was considered revolutionary for using informal language and portraying disaffected youth. It helped launch the "Angry Young Men" movement in British theater.
Samuel Taylor Coleridge was an English poet, critic, and philosopher who was a leader of Romantic poetry. He divided imagination into primary and secondary forms. Primary imagination is a creative faculty possessed by all, while secondary imagination is the conscious, creative power of poets. Coleridge believed the purpose of poetry was to give pleasure, and defined a poem as having organic unity and seeking to produce immediate pleasure in readers through the willing suspension of disbelief. He saw imagination as the key distinguishing factor of a true poet.
Victorian Poet Christina rossetti's Poetic CharacteristicsMohsin Malik
This document covers the major characteristics of Victorian Poet Christina Rossetti. It highlights the poetic influences and his writing style as well.
Wordsworth's poem "Tintern Abbey" refers to a place he visited five years prior in Wales. In the poem, he compares his mature present state of mind to his pure childhood state, finding solace in nature and in reconnecting with memories of the past. Wordsworth sees memory as something that shapes the mind and provides comfort, as he tries to reconnect past experiences to his present through remembering his prior visit to Tintern Abbey.
Keats addresses an ancient Greek urn, praising its ability to depict an eternal scene of figures locked in a moment of antiquity. The urn tells a story through its images that is more charming than what Keats can describe with words. It represents the ideas that art provides enduring beauty and truth that can comfort humanity. While Keats ponders the figures and their scene, the urn remains as a symbol of permanence that will outlive his own fleeting generation.
The first stanza of the poem describes Khan's pleasure dome built alongside a sacred river fed by a powerful fountain. The second stanza is the narrator's response to the power and effects of an Abyssinian maid's song, which enraptures him but leaves him unable to act on her inspiration unless he could hear her once again. Together, they form a comparison of creative power that does not work with nature and creative power that is harmonious with nature.
This document provides a summary of Samuel Taylor Coleridge's 1817 work Biographia Literaria. It discusses that the work is a critical text divided into 24 chapters where Coleridge presents his views on the nature and functions of poetry. Specifically, it examines Coleridge's definition of a poem as an "organic whole" and his distinction between imagination and fancy. It also analyzes Coleridge's concept of primary imagination as the living power that mimics divine creation and shapes perception, as well as his description of the imagination's "esemplastic" ability to shape disparate ideas into one coherent whole.
This document summarizes Longinus's treatise "On the Sublime", which analyzes the concept of sublimity in language and its ability to elevate discourse. It defines sublimity as consisting of lofty language that sways readers through grandeur of thought, treatment of passions, figures of speech and thought, dignified expression through word choice and metaphor, and majestic structure. While sublimity cannot be innate, it can be developed through instruction and reason. The document outlines Longinus's influential views on sublimity that shaped Romantic literature and criticism.
Derrida identifies a "logocentrism" or privileging of speech in Western philosophy. Logocentrism holds that words express an external reality and that thought is derived from speech. Derrida criticizes logocentrism for relying on unexamined metaphysical assumptions about the relationship between language and reality. He questions the "metaphysics of presence" underlying logocentrism by exploring how meanings shift within linguistic systems. Critical examination of logocentrism is really about attentiveness to how specific languages materially shape communication and understanding.
The document provides an analysis of T.S. Eliot's modernist poem "The Waste Land" in 3 parts:
1. It summarizes the poem's structure consisting of 5 sections that use collages of images and allusions to myths.
2. It analyzes major themes of spiritual/cultural malaise in the modern world and the universality of the themes of life/death.
3. It discusses how characters like Tiresias and the use of mythical techniques give unity and provide cultural context for the poem's fragmented images.
John Donne was a 17th century English poet known for breaking away from traditional poetic forms and conventions. As a leader of the Metaphysical poets, Donne incorporated ingenious conceits and intellectual wit into his poetry. While his unconventional style was initially met with ambivalence, Donne influenced later poets and is now regarded as pre-eminent among the Metaphysical poets for bringing a more personal tone to poetry.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
This document summarizes T.S. Eliot's influential 1919 essay "Tradition and the Individual Talent". It discusses Eliot's views that tradition is not just imitation of the past, but requires hard work to understand the historical context of previous works. Eliot believed that poets must be impersonal and separate their emotions from the creative process, organizing their work in a way that escapes from personality rather than expressing it. The essay examines Eliot's conceptions of tradition, depersonalization of the poet, and how new works interact with and modify past traditions in literature.
The document provides context and analysis of key elements in Edgar Allan Poe's poem "The Raven". It discusses themes of love, nature, the supernatural, and madness in the poem. Specific symbols and their meanings are explained, such as Lenore representing idealized love, the raven representing darkness and death, and references to mythology, religion, and ancient traditions that influenced Poe's writing.
Dr. Martin Luther King Jr. delivers his iconic "I Have a Dream" speech at the March on Washington for Jobs and Freedom. In the speech, he discusses the signing of the Emancipation Proclamation 100 years prior, but how African Americans still faced injustice and discrimination. He calls for an end to racism and a fulfillment of the American ideals of equality and justice for all. He expresses his dream that one day black and white children will be able to join hands as brothers and sisters in a racially just nation.
The document discusses Edgar Allan Poe's works and philosophy of composition. It analyzes three of his seminal works - "The Fall of the House of Usher", "The Murders in the Rue Morgue", and "The Philosophy of Composition" - examining their themes, symbols, and exploration of the human mind and emotions. Poe viewed literary works as carefully constructed to achieve a specific emotional effect. He illustrated this view through his analysis of how he wrote "The Raven" to suit both popular and critical taste.
Based on Edgar Allen Poe's "Philosophy of Composition" where he describes the process by which he composed "The Raven." There is also an overview of poetic devices.
This document is an introduction to a collection of critical essays about Sigmund Freud. It argues that Freud's work has become influential in culture and thought in a way that has made psychoanalysis seem like a natural truth rather than a literary achievement. It aims to show how Freud can be seen as both a theorist of literature and a practitioner of literature in his own writing. The introduction provides an overview of how literature has incorporated Freud and increasingly understood the unconscious as a literary rather than scientific concept, moving from seeing it as a reservoir of instincts to understanding it in linguistic terms.
The document summarizes elements of romanticism found in several poems from Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge. It discusses how the poems focus on nature as a source of knowledge and truth, reject organized religion and education, feature suffering souls, and explore the limitations of reason through themes of imagination, emotion, and memory.
Martin Luther King Jr. delivered his iconic "I Have a Dream" speech during the 1963 March on Washington. In the speech, King reflected on the Emancipation Proclamation that was signed 100 years prior, but stated that African Americans were still not truly free from injustice and inequality. King spoke of his dream that one day, people would be judged not by the color of their skin but by the content of their character. He expressed his hope that one day, justice and equality would ring out across America.
T.S. Eliot's essay argues that a poet's ability to relate their emotions to those expressed in previous works of literature is as important as their direct self-expression. The essay compares tradition, represented by references to other works, with an individual poet's talent or ability. Eliot supports his argument by providing examples from works like Othello and Ulysses that show similar emotions expressed across different works. He disagrees with the trend of his era that valued works primarily for their direct expression of the poet's ideas over references to literary tradition.
Tradition and the individual talent by deepti GuptaDeep Gupta
T.S. Eliot was an American-born British essayist, publisher, playwright, literary and social critic who lived from 1888 to 1965. One of his most well-known works is the essay "Tradition and the Individual Talent" published in 1919, which discusses the relationship between tradition and an artist's individual talents. The essay argues that tradition is not just blindly following previous generations, but is obtained through hard work and an understanding of history. It also introduces Eliot's concept of "depersonalization," where a poet distances themselves from raw emotion and personality. The presentation provides context and analysis of key parts of Eliot's influential essay.
1. Read the Additional Policies and Procedures handout independently and write down any questions.
2. Go to the new assigned seat indicated by the number on the handout given at the door.
3. Questions about the handout will be reviewed as a class.
Wordsworth's preface to Lyrical Ballads outlines his poetic experiment of using simpler language focused on rural subjects and ordinary people. He argues poetry should be a spontaneous expression of emotion that avoids artificial conventions. The preface also discusses using the language of real people, though admits some editing was done, and explores how this collection was a departure from 18th century poetry.
Tradition and the individual talent neoMohammad Raza
The document discusses T.S. Eliot's essay "Tradition and the Individual Talent". It provides an overview of the essay's publication history and analyzes its key ideas in three parts: [1] Eliot's concept of tradition, [2] his theory of the impersonality of poetry, and [3] a conclusion summing up the discussion. The document examines Eliot's views on acquiring and utilizing tradition through a historical sense and a dynamic conception of the relationship between past and present works. It also addresses criticisms of Eliot's theory and defends the value of tradition for poets.
This document provides a character summary and biography of Sir Philip Sidney. Some key points:
- Sidney embodied the Renaissance ideal as a soldier, scholar, poet, critic, courtier and diplomat with broad interests.
- He was well-educated at Shrewsbury School and Oxford before traveling throughout Europe.
- Sidney held several political roles under Queen Elizabeth I, advising her on foreign affairs and serving in Parliament.
- He volunteered to fight for the Protestant cause in the Netherlands and died at age 31 from an injury sustained in battle.
- Sidney wrote the influential works The Defense of Poesy and Arcadia, as well as the sonnet sequence Astrophil and St
Feminist criticism aims to advocate for equal rights and representation of women in society and literature. It examines how patriarchal systems have historically marginalized and misrepresented women. Early feminist critics in the 19th century like Wollstonecraft argued women deserve equal education and opportunities. In the 1960s-70s, feminist criticism emerged as a lens to analyze literature's portrayal of gender. Critics explore common archetypes used in works like the virgin, mother, and whore that reduce women. The field continues to diversify with no single approach, working to incorporate more female authors and perspectives.
This document is a paper submitted by Solanki Pratiksha M. about T.S. Eliot's essay "Tradition and Individual Talent". It discusses key points from Eliot's essay such as his concept of tradition, the historical sense, and his theory of depersonalization. The document also examines Eliot's views on modernism, postmodernism, plurality, and the relationship between the past and present in literary works.
This document is a preface by William Wordsworth for his book Lyrical Ballads. It provides context about Wordsworth and defines his views on poetry. Specifically, it notes that Wordsworth wrote Lyrical Ballads with Coleridge and defines poetry as a "spontaneous overflow of powerful feelings" that are "recollected in tranquility." It also discusses Wordsworth's beliefs that poetry should use simple language, focus on nature, present morality, and have no difference between the language of poetry and prose.
Matthew Arnold was a 19th century English poet and critic. In his famous work "The Study of Poetry", Arnold argues that poetry has a higher purpose to interpret life, provide consolation, and sustain humanity as science and philosophy prove unstable. He believes poetry will increasingly be turned to for its spiritual and intellectual benefits. Arnold advocates for a high standard and strict judgment of poetry, assessing it based on the seriousness of its subject matter and excellence of style. He promotes looking to classical poets like Homer and Milton as the best models of poetry's "grand style".
This document summarizes T.S. Eliot's essay "Tradition and the Individual Talent". The essay is divided into three parts: Eliot's concept of tradition, his theory of the impersonality of poetry, and a conclusion. Eliot argues that a poet must be steeped in tradition through painstaking study in order to create new works of art. A poet surrenders their personality and emotions to tradition, acting as a medium for their fusion. Their work is then judged based on how it compares and contributes to the ongoing tradition, rather than as an expression of personal feelings or experiences.
Roland Barthes was a 20th century French philosopher known for his theories on structuralism, post-structuralism and semiotics. He developed theories related to narratives in films, television and other media. Barthes proposed that all narratives share structural features combined in different ways. His "Enigma Code" theory stated that any text portrays a mystery to engage audiences. Barthes also developed the concept of five codes that group signifiers by their role in a text: the hermeneutic code, proairetic code, semantic code, symbolic code and cultural code. These codes were meant to create "writerly texts" that bring out multiple meanings rather than presenting information in a straightforward, linear "readerly"
Literary devices, poetic structures, and techniques are essential for analyzing poems. Some key elements discussed include:
1) Literary devices like metaphor, simile, personification and irony are used to create vivid impressions or hidden meanings. Meter, rhyme, and punctuation are also important for poetic flow.
2) Poetic structures include stanzas made of lines, with techniques like enjambment, caesura and end-stopped lines controlling the rhythm.
3) Understanding devices and structures is necessary to fully appreciate poems and extract their intended messages, thoughts, and ideas. Poetry aims to communicate through creative use of language.
This document provides an overview of key literary elements and poetic devices used in poetry. It defines poetry as a unique form of literature that uses lines and stanzas with musical and rhythmic language. Some key elements discussed include the poet and speaker's point of view, form, line and stanza structure, sound effects like rhyme, rhythm, alliteration and onomatopoeia. Figurative language devices like simile, metaphor, personification and symbolism are also outlined. Different types of poetry are briefly defined, including lyric, narrative, and free verse poems.
This document provides an introduction to English literature, including definitions of poetry and its key elements. It discusses different types of poetry such as lyric poetry, narrative poetry, sonnets, and ballads. It also covers common poetic devices including metaphor, personification, and rhyme. Finally, it briefly profiles some famous English poets such as T.S. Eliot, John Keats, John Milton, and Robert Frost.
Poetry is not prose. Prose is the ordinary language people use in speaking or writing.
Poetry is a form of literary expression that captures intense experiences or creative perceptions of the world in a musical language.
This document provides an overview of different types of poetry, including dramatic poetry, narrative poetry, lyrical poetry, and definitions of poetic devices and terms. It discusses dramatic poetry as using dialogue or monologue to dramatize action, narrative poetry as telling a story, and lyrical poetry as expressing personal thoughts and emotions. It also defines common poetic elements and forms such as similes, metaphors, personification, rhyme, rhythm, and poetic structures like haiku, cinquain, and limerick.
Poetry is a form of literature that uses specific forms like lines and stanzas to express ideas and feelings. A poem has a poet who authors it and may have a speaker who narrates it. Poems use elements like rhythm, meter, rhyme, figurative language and other devices. They come in forms like lyric, narrative, and concrete poems and use styles like free verse and blank verse. The document provides details on these various elements of poetry.
The document discusses Edgar Allan Poe's famous poem "The Raven" and how it can be interpreted from different perspectives, including what the raven symbolizes to Poe and why the poem is so impactful. It analyzes Poe's poem "The Raven" through a psychoanalytic lens, examining what the poem reveals about Poe's own psychology and experiences with grief and loss following the death of his wife. The document delves into a psychological analysis of Poe's poem to gain insight into the author's mindset when writing this iconic work.
Poetry is a type of literature that uses specific forms like lines and stanzas to express ideas and feelings. Poems have various elements including point of view, form, meter, rhyme, and figurative language. Some common poetry forms are the sonnet, narrative poem, and concrete poem. Poems use devices such as simile, metaphor, personification and symbolism to convey meaning in creative ways.
This document provides an overview of key poetic elements and terms. It defines poetry as a type of literature that expresses ideas or tells stories using specific forms like lines and stanzas. It discusses point of view in poetry, including the poet and speaker. It also outlines common poetic forms like stanzas, meter, rhyme schemes, and different types of poetry including lyric, narrative, concrete, and free verse. Additionally, it explains various literary devices and techniques used in poetry such as simile, metaphor, imagery, symbolism, and allusion.
The document provides an overview of poetry, including its defining features, forms, devices, and types. It discusses how poetry differs from prose in its use of figurative language, concise expression, and poetic elements like meter, rhyme, and stanzas. Various poetic forms, terms, and devices are defined, such as sonnets, rhyme schemes, onomatopoeia, and imagery. Examples are provided to illustrate different concepts.
This document provides context and analysis of the poem "The Tide Rises, the Tide Falls" by Henry Wadsworth Longfellow. It discusses that the poem depicts the natural cycle of the tide to represent the cycle of life. It also notes that Longfellow was one of the most popular American poets in the 19th century and was known for his lyrical and memorable works that related to common experiences. The document then analyzes elements of the poem such as its speaker, mood, theme, form, and literary devices.
The document provides an overview of key poetic elements and literary devices used in poetry. It defines elements such as stanzas, rhyme schemes, imagery, tone, mood, diction, persona, repetition, and themes. It also explains common poetic forms like couplets, quatrains, and tercets. Examples are given for many elements, such as imagery, repetition, and rhyme schemes. The document serves as a reference for understanding the building blocks of poetry.
The document is a lesson plan for analyzing Edgar Allan Poe's poem "The Raven." It includes instructions for students to rewrite stanzas of the poem in prose, identify literary devices like rhyme and symbolism, and present their analysis to the class. Students are asked to explore their own fears in a journal entry and consider how Poe used such themes in the gloomy narrative poem.
This document defines and explains the key elements of poetry. It discusses that poetry uses imaginative language and rhythmic devices to evoke emotion. Some core elements defined include stanzas, rhyme schemes, imagery, diction, persona, refrain, repetition, theme, symbolism, and literary devices such as metaphor, simile and personification. It provides examples for most elements to illustrate their usage and effect.
The document provides an overview of various poetic elements and literary devices used in poetry. It defines common poetic terms like imagery, metaphor, simile, rhyme scheme, and free verse. It also explains different types of poetry like narrative, dramatic, and lyrical poetry. Elements like theme, tone, symbolism, and irony are also discussed in the document.
The document provides an overview of key poetic elements and literary devices used in poetry. It defines common poetic terms like imagery, metaphor, simile, rhyme scheme, and free verse. It also explains different types of poetry like narrative, dramatic, and lyrical poetry. Elements like theme, tone, symbolism, and irony are also discussed in the context of analyzing poems.
The document discusses various elements of poetry such as stanzas, rhyme schemes, imagery, symbolism and themes. It defines different types of stanzas including couplets, tercets, quatrains and explains rhyme schemes like ABAB. It also explores poetic devices like imagery, symbolism, repetition and refrains that poets use to convey meaning and emotion.
The document provides an overview of various poetic elements and literary devices used in poetry. It defines common poetic terms like imagery, metaphor, simile, rhyme scheme, and free verse. It also explains different types of poetry like narrative, dramatic, and lyrical poetry. Elements of poetry like stanzas, lines, and refrain are explored with examples to illustrate their usage.
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2. Edgar Allan Poe
Edgar Allan Poe
born on January 19,
born on January 19,
1809, in Boston,
1809, in Boston,
Massachusetts
Massachusetts
Son of Elizabeth and
Son of Elizabeth and
David Poe Jr.
David Poe Jr.
an editor, journalist,
an editor, journalist,
poet, literary critic, and
poet, literary critic, and
short story writer
short story writer
adopted by John and
adopted by John and
Frances Allen
Frances Allen
3. best known for his use of Gothic, horror,
best known for his use of Gothic, horror,
mystery tales and psychological dramas
mystery tales and psychological dramas
Some of his most famous works include
Some of his most famous works include
4.
5.
6.
7.
8.
9. Despite his success as a writer, he lived in
Despite his success as a writer, he lived in
poverty. He suffered from alcoholism,
poverty. He suffered from alcoholism,
depression, and possibly diabetes.
depression, and possibly diabetes.
Died on October 7, 1849 with his last words,
Died on October 7, 1849 with his last words,
"Lord, help my poor soul."
"Lord, help my poor soul."
10. Philosophy of Composition
Philosophy of Composition
an essay by Edgar Allan Poe which was published in
1846.
analyzes the elements that contribute the construction of
a good writing.
discusses how he crafted his poem 'The Raven'
according to his methods of focusing on order and
beauty (aesthetic).
sets out the successful method by which he wrote his
popular works and offers it to other hopeful writers as a
guideline for creating their own literary masterpieces.
11. "It is my design to render it manifest that no one
point in its composition is referable either to
accident or intuition- that the work proceeded
step by step, to its completion, with the precision
and rigid consequence of a mathematical
problem."
12. Writing Backwards
-Denouement
“Nothing is more clear than that every plot, worth
the name, must be elaborated to its denouement
before any thing be attempted with the pen”
Every plot must be elaborated to its
denouement.
The denouement must be constantly in view.
13. only with the “denouement” in mind
that the author can establish the steps
toward the “tone at all points” and the
“development of the intention”.
14. CONSIDERATION OF AN EFFECT
Effect as achieved through:
• incident
• tone
ordinary incident and peculiar tone
peculiar incident and ordinary tone
peculiar tone and peculiar incident
15. LENGTH or “extent”
“if any literary work is too long to be read at one
sitting, we must be content to dispense with the
immensely important effect derivable from
unity of impression”
A poem should be read “at one sitting” to
sustain the “unity of impression”
16. Poe believes that if a literary work is too long
to be read in one sitting then its “totality is at
once destroyed”
Length must be proportional with the intensity
of the intended effect
“the proper length for my intended poem--a
length of about one hundred lines. In is, in
fact, one hundred and eight.”
17. CHOICE OF AN IMPRESSION
“I kept steadily in view the design of rendering
the work universally appreciable”
The three main categories to which Poe
believes a literary work is found favorable
with the general public is: Beauty, Truth, and
Passion
Truth, or the satisfaction of the intellect,
Passion, or the excitement of the heart,
18. “When, indeed, men speak of Beauty, they
mean, precisely, not a quality, as is supposed, but
an effect- they refer, in short, just to that intense
and pure elevation of soul- not of intellect, or of
heart- upon which I have commented, and which
is experienced in consequence of contemplating
the "beautiful”.
“Universally appreciable” = Beauty
19. “Beauty is the sole legitimate province of the
poem.”
Poetry can embrace both Truth and Passion
but not in the expense of Beauty.
20. TONE and PIVOT
defers to "experience" rather than "inspiration" as
the arbiter of the best choice of tone for poetry:
"all experience has shown that this tone is one
of sadness"
“Beauty of whatever kind, in its supreme
development, invariably excites the sensitive soul to
tears”
21. “Melancholy is thus the most legitimate of
poetical tones.”
Poe decides upon using the refrain,
-“a phrase, verse, or group of verses repeated at
intervals throughout a song or poem, especially at
the end of each stanza”, or a “a repeated
utterance or theme”
Refrain is repeated in monotone both in sound
and thought, and is not varied/changed
22. Character of the word
The word in the refrain must be:
a single word
sonorous - “o” as the most sonorous vowel
susceptible of protracted emphasis – “r” as
the most producible consonant
keeps with the intended tone
“Nevermore”
23. spoken by a non-reasoning creature
Raven
Equally capable of speech as
that of a parrot
Infinitely more in keeping with
the intended tone
24. “I had now gone so far as the conception of a
Raven, the bird of ill-omen, monotonously
repeating the one word "Nevermore" at the
conclusion of each stanza in a poem of
melancholy tone, and in length about one
hundred
lines.”
25. SUBJECT
"Of all melancholy topics what, according to the
universal understanding of mankind, is the
most melancholy?"
Death
“When is this most melancholy of topics most
poetical?”
“When death allies itself to Beauty
26. “The death, then, of
a beautiful woman is,
unquestionably, the
most poetical topic
in the world – and
equally is it beyond
doubt that the lips
best suited for such
topic are those of a
bereaved lover.”
27. APPLICATION
“I had now to combine the two ideas of a lover
lamenting his deceased mistress and a Raven
continuously repeating the word "Nevermore."
“A Raven employing the word “Nevermore”
in answer to the queries of the lover”
28. “The lover’s first query must be a commonplace
one – the second less so – the third still less, and
so on – until at length the lover, startled from his
original nonchalance by the melancholy character
of the word itself, is at length excited to
superstition and consequently brought him to the
most intolerable sorrow.”
29. Poe made his choice by imagining the last
refrain of the poem:
“I first established in mind the climax, or
the concluding query, to which
“Nevermore” would be the last answer
must involve the utmost conceivable
amount of sorrow and despair.”
30. RHYTHM AND METRE
“The former is trochaic – the latter is octameter
catalectic, alternating with heptameter catalectic repeated
in the refrain of the fifth verse, and terminating with
tetrameter catalectic.”
(foot= 2 syllables)
1st line: 8 feet (16 syllables)
2nd line: 7 and half feet (15 syllables)
3rd line: 8 feet (16 syllables)
4th line: 7 and half feet (15 syllables)
5th line: the same (15 syllables)
6th line: 3 and half feet (7 syllables)
31. The combination of such into stanza makes
“The Raven” original because “nothing even
remotely approaching this combination has
ever been attempted.”
aided by: application of rhythm & alliteration
36. Bird’s position: “alight on the bust of Pallas”
“for the effect of contrast between the marble
and the plumage” “in keeping with the scholarship
of the lover”
“and for the sonorousness of the word, Pallas,
itself.”
37. THE APPROACHING DENOUEMENT
“But the raven, sitting lonely on the placid
bust, spoke only,
That one word…”
-The Raven
Drop the fantastic - Tone of deep
seriousness
38. From this epoch:
lover no longer jests
no longer sees anything fantastic in the
raven's demeanour
Revolution of thought, or fancy
to induce a similar one on the part of
the reader
to bring the mind into a proper frame
for the denouement as rapidly and as
directly as possible
39. Dénouement is now proper;
Everything is within the
limits of the
• Accountable
• real
40. But for a poem to be really “rich” it must have
two things:
Complexity or adaptation
Some amount of suggestiveness
(but not too much) or
undercurrent
-implied meaning
“I added the two concluding stanzas of the
poem- their suggestiveness being thus made to
pervade all the narrative which has preceded
them.”
41. “Take thy beak from out my heart, and take thy
form from off my door!
Quoth the Raven ‘Nevermore!’”
first metaphorical expression:
"from out my heart"
The answer “Nevermore” disposes the
mind to seek a moral in all that has
been previously narrated
42. Raven as Emblematical
at very last line of the very last stanza
distinctly seen emblematical of
Mournful
Never-ending Remembrance
43. The Raven
Edgar Allan Poe
[First published in 1845]
Once upon aamidnight dreary, while IIpondered, weak and
Once upon midnight dreary, while pondered, weak and
weary,
weary,
Over many aaquaint and curious volume of forgotten lore,
Over many quaint and curious volume of forgotten lore,
While IInodded, nearly napping, suddenly there came aatapping,
While nodded, nearly napping, suddenly there came tapping,
As of some one gently rapping, rapping at my chamber door.
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," IImuttered, "tapping at my chamber door"'Tis some visitor," muttered, "tapping at my chamber doorOnly this, and nothing more."
Only this, and nothing more."
Ah, distinctly IIremember it was in the bleak December,
Ah, distinctly remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
And each separate dying ember wrought its ghost upon the floor.
Eagerly IIwished the morrow;- vainly IIhad sought to borrow
Eagerly wished the morrow;- vainly had sought to borrow
From my books surcease of sorrow- sorrow for the lost LenoreFrom my books surcease of sorrow- sorrow for the lost LenoreFor the rare and radiant maiden whom the angels name LenoreFor the rare and radiant maiden whom the angels name LenoreNameless here for evermore.
Nameless here for evermore.
44. And the silken sad uncertain rustling of each purple curtain
And the silken sad uncertain rustling of each purple curtain
Thrilled me- filled me with fantastic terrors never felt before;
Thrilled me- filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, IIstood repeating,
So that now, to still the beating of my heart, stood repeating,
"'Tis some visitor entreating entrance at my chamber door"'Tis some visitor entreating entrance at my chamber doorSome late visitor entreating entrance at my chamber door;Some late visitor entreating entrance at my chamber door;This it is, and nothing more."
This it is, and nothing more."
Presently my soul grew stronger; hesitating then no longer,
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness IIimplore;
"Sir," said I, "or Madam, truly your forgiveness implore;
But the fact is IIwas napping, and so gently you came rapping,
But the fact is was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
And so faintly you came tapping, tapping at my chamber door,
That IIscarce was sure IIheard you"- here IIopened wide the
That scarce was sure heard you"- here opened wide the
door;door;Darkness there, and nothing more.
Darkness there, and nothing more.
45. Deep into that darkness peering, long IIstood there wondering,
Deep into that darkness peering, long stood there wondering,
fearing,
fearing,
Doubting, dreaming dreams no mortals ever dared to dream
Doubting, dreaming dreams no mortals ever dared to dream
before;
before;
But the silence was unbroken, and the stillness gave no token,
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word,
And the only word there spoken was the whispered word,
"Lenore!"
"Lenore!"
This IIwhispered, and an echo murmured back the word,
This whispered, and an echo murmured back the word,
"Lenore!""Lenore!"Merely this, and nothing more.
Merely this, and nothing more.
Back into the chamber turning, all my soul within me burning,
Back into the chamber turning, all my soul within me burning,
Soon again IIheard a tapping somewhat louder than before.
Soon again heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice:
"Surely," said I, "surely that is something at my window lattice:
Let me see, then, what thereat is, and this mystery exploreLet me see, then, what thereat is, and this mystery exploreLet my heart be still aamoment and this mystery explore;Let my heart be still moment and this mystery explore;'Tis the wind and nothing more."
'Tis the wind and nothing more."
46. Open here IIflung the shutter, when, with many aaflirt and
Open here flung the shutter, when, with many flirt and
flutter,
flutter,
In there stepped aastately raven of the saintly days of yore;
In there stepped stately raven of the saintly days of yore;
Not the least obeisance made he; not aaminute stopped or stayed
Not the least obeisance made he; not minute stopped or stayed
he;
he;
But, with mien of lord or lady, perched above my chamber doorBut, with mien of lord or lady, perched above my chamber doorPerched upon aabust of Pallas just above my chamber doorPerched upon bust of Pallas just above my chamber doorPerched, and sat, and nothing more.
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," IIsaid, "art sure no
"Though thy crest be shorn and shaven, thou," said, "art sure no
craven,
craven,
Ghastly grim and ancient raven wandering from the Nightly shoreGhastly grim and ancient raven wandering from the Nightly shoreTell me what thy lordly name is on the Night's Plutonian shore!"
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Quoth the Raven, "Nevermore."
47. Much IImarvelled this ungainly fowl to hear discourse so plainly,
Much marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber doorEver yet was blest with seeing bird above his chamber doorBird or beast upon the sculptured bust above his chamber door,
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
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.
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not aafeather then he flutteredNothing further then he uttered- not feather then he flutteredTill IIscarcely more than muttered, "other friends have flown
Till scarcely more than muttered, "other friends have flown
beforebeforeOn the morrow he will leave me, as my hopes have flown before."
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Then the bird said, "Nevermore."
48. Much IImarvelled this ungainly fowl to hear discourse so plainly,
Much marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber doorEver yet was blest with seeing bird above his chamber doorBird or beast upon the sculptured bust above his chamber door,
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
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.
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not aafeather then he flutteredNothing further then he uttered- not feather then he flutteredTill IIscarcely more than muttered, "other friends have flown
Till scarcely more than muttered, "other friends have flown
beforebeforeOn the morrow he will leave me, as my hopes have flown before."
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Then the bird said, "Nevermore."
49. Startled at the stillness broken by reply so aptly spoken,
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden boreFollowed fast and followed faster till his songs one burden boreTill the dirges of his Hope that melancholy burden bore
Till the dirges of his Hope that melancholy burden bore
Of 'Never- nevermore'."
Of 'Never- nevermore'."
But the Raven still beguiling all my fancy into smiling,
But the Raven still beguiling all my fancy into smiling,
Straight IIwheeled aacushioned seat in front of bird, and bust
Straight wheeled cushioned seat in front of bird, and bust
and door;
and door;
Then upon the velvet sinking, IIbetook myself to linking
Then upon the velvet sinking, betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yoreFancy unto fancy, thinking what this ominous bird of yoreWhat this grim, ungainly, ghastly, gaunt and ominous bird of
What this grim, ungainly, ghastly, gaunt and ominous bird of
yore
yore
Meant in croaking "Nevermore."
Meant in croaking "Nevermore."
50. This IIsat engaged in guessing, but no syllable expressing
This sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
To the fowl whose fiery eyes now burned into my bosom's core;
This and more IIsat divining, with my head at ease reclining
This and more sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
She shall press, ah, nevermore!
Then methought the air grew denser, perfumed from an unseen
Then methought the air grew denser, perfumed from an unseen
censer
censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," IIcried, "thy God hath lent thee- by these angels he
"Wretch," cried, "thy God hath lent thee- by these angels he
hath sent thee
hath sent thee
Respite- respite and nepenthe, from thy memories of Lenore!
Respite- respite and nepenthe, from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
Quoth the Raven, "Nevermore."
51. "Prophet!" said I, "thing of evil!- prophet still, if bird or
"Prophet!" said I, "thing of evil!- prophet still, if bird or
devil!devil!Whether Tempter sent, or whether tempest tossed thee here
Whether Tempter sent, or whether tempest tossed thee here
ashore,
ashore,
Desolate yet all undaunted, on this desert land enchantedDesolate yet all undaunted, on this desert land enchantedOn this home by horror haunted- tell me truly, IIimploreOn this home by horror haunted- tell me truly, imploreIs there- is there balm in Gilead?- tell me- tell me, IIimplore!"
Is there- is there balm in Gilead?- tell me- tell me, implore!"
Quoth the Raven, "Nevermore."
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil- prophet still, if bird or
"Prophet!" said I, "thing of evil- prophet still, if bird or
devil!
devil!
By that Heaven that bends above us- by that God we both
By that Heaven that bends above us- by that God we both
adoreadoreTell this soul with sorrow laden if, within the distant Aidenn,
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp aasainted maiden whom the angels name LenoreIt shall clasp sainted maiden whom the angels name LenoreClasp aarare and radiant maiden whom the angels name
Clasp rare and radiant maiden whom the angels name
Lenore."
Lenore."
Quoth the Raven, "Nevermore."
Quoth the Raven, "Nevermore."
52. "Be that word our sign in parting, bird or fiend," IIshrieked,
"Be that word our sign in parting, bird or fiend," shrieked,
upstartingupstarting"Get thee back into the tempest and the Night's Plutonian
"Get thee back into the tempest and the Night's Plutonian
shore!
shore!
Leave no black plume as aatoken of that lie thy soul hath
Leave no black plume as token of that lie thy soul hath
spoken!
spoken!
Leave my loneliness unbroken!- quit the bust above my door!
Leave my loneliness unbroken!- quit the bust above my door!
Take thy beak from out my heart, and take thy form from off
Take thy beak from out my heart, and take thy form from off
my
my
door!"
door!"
Quoth the Raven, "Nevermore."
Quoth the Raven, "Nevermore."
53. And the Raven, never flitting, still is sitting, still is sitting
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is
And his eyes have all the seeming of a demon's that is
dreaming,
dreaming,
And the lamplight o'er him streaming throws his shadow
And the lamplight o'er him streaming throws his shadow
on the floor;
on the floor;
And my soul from out that shadow that lies floating on
And my soul from out that shadow that lies floating on
the floor
the floor
Shall be lifted- nevermore!
Shall be lifted- nevermore!