The Raven by Edgar Allan Poe
page 16 of 32 (50%)
page 16 of 32 (50%)
![]() | ![]() |
|
again, verse which is really the "Poetry of Words" is "The Rhythmical
Creation of Beauty,"--this and nothing more. The _tone_ of the highest Beauty is one of Sadness. The most melancholy of topics is Death. This must be allied to Beauty. "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 a topic are those of a bereaved lover." These last expressions are quoted from Poe's whimsical analysis of this very poem, but they indicate precisely the general range of his verse. The climax of "The Bells" is the muffled monotone of ghouls, who glory in weighing down the human heart. "Lenore," _The Raven_, "The Sleeper," "To One in Paradise," and "Ulalume" form a tenebrose symphony,--and "Annabel Lee," written last of all, shows that one theme possessed him to the end. Again, these are all nothing if not musical, and some are touched with that quality of the Fantastic which awakes the sense of awe, and adds a new fear to agony itself. Through all is dimly outlined, beneath a shadowy pall, the poet's ideal love,--so often half-portrayed elsewhere,--the entombed wife of Usher, the Lady Ligeia, in truth the counterpart of his own nature. I suppose that an artist's love for one "in the form" never can wholly rival his devotion to some ideal. The woman near him must exercise her spells, be all by turns and nothing long, charm him with infinite variety, or be content to forego a share of his allegiance. He must be lured by the Unattainable, and this is ever just beyond him in his passion for creative art. Poe, like Hawthorne, came in with the decline of the Romantic school, and none delighted more than he to laugh at its calamity. Yet his heart was with the romancers and their Oriental or Gothic effects. His invention, so rich in the prose tales, seemed to desert him when he wrote verse; and his judgment told him that long romantic poems depend more upon incident than inspiration,--and that, to utter the poetry of romance, lyrics would |
|