Philosophy of composition of Edgar Allan Poe
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Oct 27, 2013
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About This Presentation
My report in my SURVEY OF LITERARY THEORIES class about Edgar Allan Poe's Philosophy of Composition.
Slide Content
Philosophy of Composition
Edgar Allan Poe Edgar Allan PoeE
Edgardar AalAgnrPoer
Poerarddaer
AAl
E
dardrAErAar
Ardr g
E
Aardger!dlgaAer
"dergAgnrgerAar
dgrdgnr#gg
E
Ad"rEnrr darAar
$gAar%a
born on January 19,
1809, in Boston,
Massachusetts
Son of Elizabeth and
David Poe Jr.
an editor, journalist,
poet, literary critic, and
short story writer
adopted by John and
Frances Allen
Edgardar AalAgnrPoer
Poerarddaer
AAl
E
dardrAErAar
Ardr g
E
Aardger!dlgaAer
"dergAgnrgerAar
dgrdgnr#gg
E
Ad"rEnrr darAar
$gAar%a
born on January 19,
1809, in Boston,
Massachusetts
Son of Elizabeth and
David Poe Jr.
an editor, journalist,
poet, literary critic, and
short story writer
adopted by John and
Frances Allen
E
Er&ad#ardgrrlrdr'derdggdger
(ngnrArAar"ndd)ArgA(Ar best known for his use of Gothic, horror,
mystery tales and psychological dramas E
d(rdrr(drA(dlr#dg&ral
Some of his most famous works include
Er&ad#ardgrrlrdr'derdggdger
(ngnrArAar"ndd)ArgA(Ar best known for his use of Gothic, horror,
mystery tales and psychological dramas E
d(rdrr(drA(dlr#dg&ral
Some of his most famous works include
E
"rrlrArAr#ggerrrar
"dgn r*rlgrgd(rAdd(er
"gdaerAar"dEnrAE r
E
rdar+dEgr,erP-or#rrAr#dger
./dger"r(nr"ddgrdl .r Despite his success as a writer, he lived in
poverty. He suffered from alcoholism,
depression, and possibly diabetes.
Died on October 7, 1849 with his last words,
"Lord, help my poor soul."
"rrlrArAr#ggerrrar
"dgn r*rlgrgd(rAdd(er
"gdaerAar"dEnrAE r
E
rdar+dEgr,erP-or#rrAr#dger
./dger"r(nr"ddgrdl .r Despite his success as a writer, he lived in
poverty. He suffered from alcoholism,
depression, and possibly diabetes.
Died on October 7, 1849 with his last words,
"Lord, help my poor soul."
Edgar rAdlnrPnoreAr ggr 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.
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.
"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."
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."
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.
-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.
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”.
that the author can establish the steps
toward the “tone at all points” and the
“development of the intention”.
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
Effect as achieved through:
•incident
•tone
ordinary incident and peculiar tone
peculiar incident and ordinary tone
peculiar tone and peculiar incident
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”
“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”
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.”
Poe believes that if a literary work is too long
to be read in one sitting then its “totality is at
once destroyed”
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.”
Poe believes that if a literary work is too long
to be read in one sitting then its “totality is at
once destroyed”
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,
“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,
“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
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
Poetry can embrace both Truth and Passion
but not in the expense of Beauty.
“Beauty is the sole legitimate province of the
poem.”
but not in the expense of Beauty.
“Beauty is the sole legitimate province of the
poem.”
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”
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”
“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
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
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”
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”
spoken by a non-reasoning creature
Raven
Equally capable of speech as
that of a parrot
Infinitely more in keeping with
the intended tone
Raven
Equally capable of speech as
that of a parrot
Infinitely more in keeping with
the intended tone
“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.”
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.”
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
"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
“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.”
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.”
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”
“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”
“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.”
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.”
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.”
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.”
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)
“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)
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
“The Raven” original because “nothing even
remotely approaching this combination has
ever been attempted.”
aided by: application of rhythm & alliteration
MODE
Locale:
the lover’s chamber
Locale:
the lover’s chamber
Method of Entry: the window
Time: tempestuous night
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.”
Bird’s position: “alight on the bust of Pallas”
and the plumage” “in keeping with the scholarship
of the lover”
“and for the sonorousness of the word, Pallas,
itself.”
Bird’s position: “alight on the bust of Pallas”
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
“But the raven, sitting lonely on the placid
bust, spoke only,
That one word…”
-The Raven
Drop the fantastic - Tone of deep
seriousness
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
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
Dénouement is now proper;
Everything is within the
limits of the
• Accountable
• real
Everything is within the
limits of the
• Accountable
• real
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.”
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.”
“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
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
Raven as Emblematical
at very last line of the very last stanza
distinctly seen emblematical of
Mournful
Never-ending Remembrance
at very last line of the very last stanza
distinctly seen emblematical of
Mournful
Never-ending Remembrance
The Raven
Edgar Allan Poe
[First published in 1845]lgala aPlodaPeg e !a"dga#alPgegP!a"g $a lPa
"g e !
Agea l a a% la lPaeaAga&a&eoglaeg!
a 'dga#alPPgP!alg e al lo!aPPgl adgega ga a lo!
a&agalgaogl ae lo!ae loa a ad geaPe(
)*EagaAe!)a#agegP!a) loa a ad geaPe+
aaaaaaaaaaaaaaaa l ad!a lPaldloaeg()
,
d!aPl a#aegggeaa" aladgag $a-ggge!
lPag dag e gaP loaggea"eodaaodaladga&e(
n oge a#a"dgPadgaee".+aA l a#ad Paodaaee"
ea a$aeg ga&aee"+aee"a&eadgaa/gleg+
eadgae ega lPae P la Pgla"dadga logal ga/gleg+
aaaaaaaaaaaaaaaa 0 ggadgega&eagAgeeg(
Once upon a midnight dreary, while I pondered, weak and
weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door-
Only this, and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
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.
Edgar Allan Poe
[First published in 1845]lgala aPlodaPeg e !a"dga#alPgegP!a"g $a lPa
"g e !
Agea l a a% la lPaeaAga&a&eoglaeg!
a 'dga#alPPgP!alg e al lo!aPPgl adgega ga a lo!
a&agalgaogl ae lo!ae loa a ad geaPe(
)*EagaAe!)a#agegP!a) loa a ad geaPe+
aaaaaaaaaaaaaaaa l ad!a lPaldloaeg()
,
d!aPl a#aegggeaa" aladgag $a-ggge!
lPag dag e gaP loaggea"eodaaodaladga&e(
n oge a#a"dgPadgaee".+aA l a#ad Paodaaee"
ea a$aeg ga&aee"+aee"a&eadgaa/gleg+
eadgae ega lPae P la Pgla"dadga logal ga/gleg+
aaaaaaaaaaaaaaaa 0 ggadgega&eagAgeeg(
Once upon a midnight dreary, while I pondered, weak and
weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door-
Only this, and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
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.
lPadga$gla Palge laeloa&ag daegae l
EdegPag+a&gPaga"da& l ageeealgAgea&gag&eg.
1ad al"!aaadgag loa&a adg e!a#aPaegg lo!
)*EagaAeagleg loagle lga a ad geaPe+
a1ga gaAeagleg loagle lga a ad geaPe.+
aaaaaaaaaaaaaaaaEdaa!a lPaldloaeg()
,
eggl a aaoeg"aeloge.adg loadglalaloge!
)1e!)a Pa#!a)ea2 P !ae a ea&eoAglga#aeg.
3adga& aa#a" al lo!a lPaaogl a a gae lo!
lPaa& l a a ga lo!a loa a ad geaPe!
Ed a#a ega" aega#adg ePa )+adgega#aglgPa"Pgadga
Pe.+
aaaaaaaaaaaaaaaa- e$lgadgeg!a lPaldloaeg( And the silken sad uncertain rustling of each purple curtain
Thrilled me- filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
"'Tis some visitor entreating entrance at my chamber door-
Some late visitor entreating entrance at my chamber door;-
This it is, and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"- here I opened wide the
door;-
Darkness there, and nothing more.
EdegPag+a&gPaga"da& l ageeealgAgea&gag&eg.
1ad al"!aaadgag loa&a adg e!a#aPaegg lo!
)*EagaAeagleg loagle lga a ad geaPe+
a1ga gaAeagleg loagle lga a ad geaPe.+
aaaaaaaaaaaaaaaaEdaa!a lPaldloaeg()
,
eggl a aaoeg"aeloge.adg loadglalaloge!
)1e!)a Pa#!a)ea2 P !ae a ea&eoAglga#aeg.
3adga& aa#a" al lo!a lPaaogl a a gae lo!
lPaa& l a a ga lo!a loa a ad geaPe!
Ed a#a ega" aega#adg ePa )+adgega#aglgPa"Pgadga
Pe.+
aaaaaaaaaaaaaaaa- e$lgadgeg!a lPaldloaeg( And the silken sad uncertain rustling of each purple curtain
Thrilled me- filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating,
"'Tis some visitor entreating entrance at my chamber door-
Some late visitor entreating entrance at my chamber door;-
This it is, and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"- here I opened wide the
door;-
Darkness there, and nothing more.
-ggalad aP e$lgaggelo!aloa#aPadgega"lPgelo!
aaaaaaaa&g elo!
-lo!aPeg loaPeg alae agAgeaP egPaaPeg a
g&eg.
3adgaglga" ale$gl!a lPadgalgao Agala$gl!
lPadgal a"ePadgega$gla" adga"dgegPa"eP!a
)/gleg4)
Eda#a"dgegP!a lPa lagdaeegPa $adga"eP!a
)/gleg4)+
aaaaaaaaaaaaaaaa2geg ad!a lPaldloaeg(
,
3 $aladgad geaello!a a aa"dlagaello!
1la o la#adg ePa a loag"d aPgead lag&eg(
)1eg !)a Pa#!a)eg ad aagdloa a a"lP"a g5
/gagagg!adgl!a"d adgeg a!a lPada ge ag6eg+
/ga adg eagaa agla lPada ge ag6eg.+
aaaaaaaaaaaaaaaa*Eadga"lPa lPaldloaeg() Deep into that darkness peering, long I stood there wondering,
fearing,
Doubting, dreaming dreams no mortals ever dared to dream
before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word,
"Lenore!"
This I whispered, and an echo murmured back the word,
"Lenore!"-
Merely this, and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice:
Let me see, then, what thereat is, and this mystery explore-
Let my heart be still a moment and this mystery explore;-
'Tis the wind and nothing more."
aaaaaaaa&g elo!
-lo!aPeg loaPeg alae agAgeaP egPaaPeg a
g&eg.
3adgaglga" ale$gl!a lPadgalgao Agala$gl!
lPadgal a"ePadgega$gla" adga"dgegPa"eP!a
)/gleg4)
Eda#a"dgegP!a lPa lagdaeegPa $adga"eP!a
)/gleg4)+
aaaaaaaaaaaaaaaa2geg ad!a lPaldloaeg(
,
3 $aladgad geaello!a a aa"dlagaello!
1la o la#adg ePa a loag"d aPgead lag&eg(
)1eg !)a Pa#!a)eg ad aagdloa a a"lP"a g5
/gagagg!adgl!a"d adgeg a!a lPada ge ag6eg+
/ga adg eagaa agla lPada ge ag6eg.+
aaaaaaaaaaaaaaaa*Eadga"lPa lPaldloaeg() Deep into that darkness peering, long I stood there wondering,
fearing,
Doubting, dreaming dreams no mortals ever dared to dream
before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word,
"Lenore!"
This I whispered, and an echo murmured back the word,
"Lenore!"-
Merely this, and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice:
Let me see, then, what thereat is, and this mystery explore-
Let my heart be still a moment and this mystery explore;-
'Tis the wind and nothing more."
gladgega#a&loadgadge!a"dgl!a"da l a a&ea lP
aaaaaaaa&ge!
#ladgegaggPa a g ae Agla&adga l aP a&a eg.
0adgag ag lga Pgadg.ala algagPaea gP
aaaaaaaadg.
3!a"dagla&aePaea P !agedgPa Aga ad geaPe+
gedgPala aa&a a7a Aga ad geaPe+
aaaaaaaaaaaaaaaagedgP!a lPa !a lPaldloaeg(
,
Edgladagl aePagoloa a Pa& l alalo!
3 adgaoe Aga lPagelaPgea&adgalgl lgaa"eg(
)Edodad aegagadela lPad Agl!ad!)a#a P!a) eaegal
aaaaaaaae Agl!
8d aoea lPa lglae Agla" lPgeloa&eadga0od adeg+
Egaga"d ad aeP al gaaladga0od*al ladeg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() Open here I flung the shutter, when, with many a flirt and
flutter,
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed
he;
But, with mien of lord or lady, perched above my chamber door-
Perched upon a bust of Pallas just above my chamber door-
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," I said, "art sure no
craven,
Ghastly grim and ancient raven wandering from the Nightly shore-
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
aaaaaaaa&ge!
#ladgegaggPa a g ae Agla&adga l aP a&a eg.
0adgag ag lga Pgadg.ala algagPaea gP
aaaaaaaadg.
3!a"dagla&aePaea P !agedgPa Aga ad geaPe+
gedgPala aa&a a7a Aga ad geaPe+
aaaaaaaaaaaaaaaagedgP!a lPa !a lPaldloaeg(
,
Edgladagl aePagoloa a Pa& l alalo!
3 adgaoe Aga lPagelaPgea&adgalgl lgaa"eg(
)Edodad aegagadela lPad Agl!ad!)a#a P!a) eaegal
aaaaaaaae Agl!
8d aoea lPa lglae Agla" lPgeloa&eadga0od adeg+
Egaga"d ad aeP al gaaladga0od*al ladeg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() Open here I flung the shutter, when, with many a flirt and
flutter,
In there stepped a stately raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed
he;
But, with mien of lord or lady, perched above my chamber door-
Perched upon a bust of Pallas just above my chamber door-
Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore.
"Though thy crest be shorn and shaven, thou," I said, "art sure no
craven,
Ghastly grim and ancient raven wandering from the Nightly shore-
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
2da#a eAggPadalo l a&"aadg eaPegaa l !
Edodaa l"geagag llo+agaeggA l aeg.
ea"ga lladga oeggload alaAload laglo
nAgea ga" aga"daggloaePa Agadad geaPe+
3ePaeag aladgaegPaa Agadad geaPe!
aaaaaaaaaaaaaaaa'dadal ga a)0gAgeeg()
,
3adgae Agl!aloalg aladga Pa!a$gal
Ed alga"eP!a a&adaalad alga"ePadgaPPae(
0dloa&edgeadgladgagegP+ala a&g dgeadgladga&gegP+
Ea#a eg aegad lagegP!a)dgea&eglPad Aga&"l
aaaaaaaag&eg+
ladgaee"adga"ag Agag!a a adgad Aga&"lag&eg()
aaaaaaaaaaaaaaaaEdgladgaePa P!a)0gAgeeg()
, Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door-
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
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.
Nothing further then he uttered- not a feather then he fluttered-
Till I scarcely more than muttered, "other friends have flown
before-
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Edodaa l"geagag llo+agaeggA l aeg.
ea"ga lladga oeggload alaAload laglo
nAgea ga" aga"daggloaePa Agadad geaPe+
3ePaeag aladgaegPaa Agadad geaPe!
aaaaaaaaaaaaaaaa'dadal ga a)0gAgeeg()
,
3adgae Agl!aloalg aladga Pa!a$gal
Ed alga"eP!a a&adaalad alga"ePadgaPPae(
0dloa&edgeadgladgagegP+ala a&g dgeadgladga&gegP+
Ea#a eg aegad lagegP!a)dgea&eglPad Aga&"l
aaaaaaaag&eg+
ladgaee"adga"ag Agag!a a adgad Aga&"lag&eg()
aaaaaaaaaaaaaaaaEdgladgaePa P!a)0gAgeeg()
, Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door-
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not a feather then he fluttered-
Till I scarcely more than muttered, "other friends have flown
before-
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
2da#a eAggPadalo l a&"aadg eaPegaa l !
Edodaa l"geagag llo+agaeggA l aeg.
ea"ga lladga oeggload alaAload laglo
nAgea ga" aga"daggloaePa Agadad geaPe+
3ePaeag aladgaegPaa Agadad geaPe!
aaaaaaaaaaaaaaaa'dadal ga a)0gAgeeg()
,
3adgae Agl!aloalg aladga Pa!a$gal
Ed alga"eP!a a&adaalad alga"ePadgaPPae(
0dloa&edgeadgladgagegP+ala a&g dgeadgladga&gegP+
Ea#a eg aegad lagegP!a)dgea&eglPad Aga&"l
aaaaaaaag&eg+
ladgaee"adga"ag Agag!a a adgad Aga&"lag&eg()
aaaaaaaaaaaaaaaaEdgladgaePa P!a)0gAgeeg()
, Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door-
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
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.
Nothing further then he uttered- not a feather then he fluttered-
Till I scarcely more than muttered, "other friends have flown
before-
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
Edodaa l"geagag llo+agaeggA l aeg.
ea"ga lladga oeggload alaAload laglo
nAgea ga" aga"daggloaePa Agadad geaPe+
3ePaeag aladgaegPaa Agadad geaPe!
aaaaaaaaaaaaaaaa'dadal ga a)0gAgeeg()
,
3adgae Agl!aloalg aladga Pa!a$gal
Ed alga"eP!a a&adaalad alga"ePadgaPPae(
0dloa&edgeadgladgagegP+ala a&g dgeadgladga&gegP+
Ea#a eg aegad lagegP!a)dgea&eglPad Aga&"l
aaaaaaaag&eg+
ladgaee"adga"ag Agag!a a adgad Aga&"lag&eg()
aaaaaaaaaaaaaaaaEdgladgaePa P!a)0gAgeeg()
, Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning- little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blest with seeing bird above his chamber door-
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered- not a feather then he fluttered-
Till I scarcely more than muttered, "other friends have flown
before-
On the morrow he will leave me, as my hopes have flown before."
Then the bird said, "Nevermore."
1 egPa adgalgae$gla aeg aa a$gl!
)-g!)a Pa#!a)"d aageaaal a$a lPaeg!
: oda&eagald a gea"dalge&a- ge
"gPa& a lPa&"gPa& geaadaloalgaePglaeg+
EadgaPeoga&ada;gad ag ld aePglaeg
aaaaaaaaaaaaaaaa&a*0gAge+algAgeeg*()
,
3adgar Aglaagoloa a a& l alalo!
1e oda#a"dgggPa adlgPag ala&ela&aeP!a lPaa
lPaPe.
EdglaladgaAgAgal$lo!a#ag$a g&aal$lo
l ala& l !adl$loa"d adalaePa&a eg+
'd adaoe!alo l !aod !ao la lPalaePa&a
eg
aaaaaaaaaaaaaaaa2g lalae $loa)0gAgeeg() Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore-
Till the dirges of his Hope that melancholy burden bore
Of 'Never- nevermore'."
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust
and door;
Then upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore-
What this grim, ungainly, ghastly, gaunt and ominous bird of
yore
Meant in croaking "Nevermore."
)-g!)a Pa#!a)"d aageaaal a$a lPaeg!
: oda&eagald a gea"dalge&a- ge
"gPa& a lPa&"gPa& geaadaloalgaePglaeg+
EadgaPeoga&ada;gad ag ld aePglaeg
aaaaaaaaaaaaaaaa&a*0gAge+algAgeeg*()
,
3adgar Aglaagoloa a a& l alalo!
1e oda#a"dgggPa adlgPag ala&ela&aeP!a lPaa
lPaPe.
EdglaladgaAgAgal$lo!a#ag$a g&aal$lo
l ala& l !adl$loa"d adalaePa&a eg+
'd adaoe!alo l !aod !ao la lPalaePa&a
eg
aaaaaaaaaaaaaaaa2g lalae $loa)0gAgeeg() Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore-
Till the dirges of his Hope that melancholy burden bore
Of 'Never- nevermore'."
But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust
and door;
Then upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore-
What this grim, ungainly, ghastly, gaunt and ominous bird of
yore
Meant in croaking "Nevermore."
Eda#a aglo ogPalaoglo!aala gag6eglo
Eadga&"a"dga&ge ag gal"aelgPala a*aeg.
Eda lPaega#a aPAllo!a"da adg Pa ag gaegllo
ladgadl*aAgAgalload adga odao gPa*ge!
3a"dgaAgAgaAgalloa"dadga odao loa*ge!
aaaaaaaaaaaaaaaa1dgad aeg!a d!algAgeeg4
,
Edglagdodadga eaoeg"aPglge!age&gPa&ea lalggla
glge
1"loa a1ge da"dga&& al$gPaladga&gPa&e(
)'egd!)a#aegP!a)d a8Pad dagladgg+a adgga logadg
aaaaaaaad dagladgg
rgg+aegga lPalggldg!a&ead agega&a/gleg4
9 &&!ada% &&ada$lPalggldga lPa&eogadaa/gleg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
Then methought the air grew denser, perfumed from an unseen
censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee- by these angels he
hath sent thee
Respite- respite and nepenthe, from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
Eadga&"a"dga&ge ag gal"aelgPala a*aeg.
Eda lPaega#a aPAllo!a"da adg Pa ag gaegllo
ladgadl*aAgAgalload adga odao gPa*ge!
3a"dgaAgAgaAgalloa"dadga odao loa*ge!
aaaaaaaaaaaaaaaa1dgad aeg!a d!algAgeeg4
,
Edglagdodadga eaoeg"aPglge!age&gPa&ea lalggla
glge
1"loa a1ge da"dga&& al$gPaladga&gPa&e(
)'egd!)a#aegP!a)d a8Pad dagladgg+a adgga logadg
aaaaaaaad dagladgg
rgg+aegga lPalggldg!a&ead agega&a/gleg4
9 &&!ada% &&ada$lPalggldga lPa&eogadaa/gleg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
Then methought the air grew denser, perfumed from an unseen
censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee- by these angels he
hath sent thee
Respite- respite and nepenthe, from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
a )edg4)a Pa#!a)dloa&agA4+aedga!a&aePae
aaaaaaaaPgA4+
'dgdgeaEggeagl!aea"dgdgeaggagPadggadgega
deg!
-g ga ga alP lgP!aladaPggea lPagld lgP+
ladadga adeeead lgP+agagae !a#aeg+
#adgeg+aadgega ala8g P<+agag+agag!a#aeg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg()
,
)edg4)a Pa#!a)dloa&agA+aedga!a&aePae
aaaaaaaaPgA4
3 ad a;g Aglad aglPa Aga+a ad a8Pa"gada
Peg+
Egadaa"daee"a Pgla&!a"dladgaP laPgll!
#ad a a a lgPa Pgla"dadga logal ga/gleg+
: a ae ega lPae P la Pgla"dadga logal ga
/gleg()
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() "Prophet!" said I, "thing of evil!- prophet still, if bird or
devil!-
Whether Tempter sent, or whether tempest tossed thee here
ashore,
Desolate yet all undaunted, on this desert land enchanted-
On this home by horror haunted- tell me truly, I implore-
Is there- is there balm in Gilead?- tell me- tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil- prophet still, if bird or
devil!
By that Heaven that bends above us- by that God we both
adore-
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore-
Clasp a rare and radiant maiden whom the angels name
Lenore."
Quoth the Raven, "Nevermore."
aaaaaaaaPgA4+
'dgdgeaEggeagl!aea"dgdgeaggagPadggadgega
deg!
-g ga ga alP lgP!aladaPggea lPagld lgP+
ladadga adeeead lgP+agagae !a#aeg+
#adgeg+aadgega ala8g P<+agag+agag!a#aeg4)
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg()
,
)edg4)a Pa#!a)dloa&agA+aedga!a&aePae
aaaaaaaaPgA4
3 ad a;g Aglad aglPa Aga+a ad a8Pa"gada
Peg+
Egadaa"daee"a Pgla&!a"dladgaP laPgll!
#ad a a a lgPa Pgla"dadga logal ga/gleg+
: a ae ega lPae P la Pgla"dadga logal ga
/gleg()
aaaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg() "Prophet!" said I, "thing of evil!- prophet still, if bird or
devil!-
Whether Tempter sent, or whether tempest tossed thee here
ashore,
Desolate yet all undaunted, on this desert land enchanted-
On this home by horror haunted- tell me truly, I implore-
Is there- is there balm in Gilead?- tell me- tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil- prophet still, if bird or
devil!
By that Heaven that bends above us- by that God we both
adore-
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore-
Clasp a rare and radiant maiden whom the angels name
Lenore."
Quoth the Raven, "Nevermore."
a )3gad a"ePaeaolala elo!aePaea&glP!)a#adeg$gP!
aaaaaaaa elo+
)8gadgga $aladgagga lPadga0od*al la
deg4
/g Agala $aga a a$gla&ad agad aad da
$gl4
/g Aga alglgale$gl4+a%adgaa Aga aPe4
E $gad ag $a&eaa adg e!a lPa $gad a&ea&ea&&a
aaaaaaaaPe4)
aaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg()
, "Be that word our sign in parting, bird or fiend," I shrieked,
upstarting-
"Get thee back into the tempest and the Night's Plutonian
shore!
Leave no black plume as a token of that lie thy soul hath
spoken!
Leave my loneliness unbroken!- quit the bust above my door!
Take thy beak from out my heart, and take thy form from off
my
door!"
Quoth the Raven, "Nevermore."
aaaaaaaa elo+
)8gadgga $aladgagga lPadga0od*al la
deg4
/g Agala $aga a a$gla&ad agad aad da
$gl4
/g Aga alglgale$gl4+a%adgaa Aga aPe4
E $gad ag $a&eaa adg e!a lPa $gad a&ea&ea&&a
aaaaaaaaPe4)
aaaaaaaaaaaaaaa9dadgar Agl!a)0gAgeeg()
, "Be that word our sign in parting, bird or fiend," I shrieked,
upstarting-
"Get thee back into the tempest and the Night's Plutonian
shore!
Leave no black plume as a token of that lie thy soul hath
spoken!
Leave my loneliness unbroken!- quit the bust above my door!
Take thy beak from out my heart, and take thy form from off
my
door!"
Quoth the Raven, "Nevermore."
lPadgar Agl!algAgea&lo!aaalo!aaalo
ladga Paa&a a7a Aga ad geaPe.
lPadag gad Aga adgaggloa&a aPgl*ad aa
Peg lo!
lPadga oda*geadaeg loade"adad P"a
ladga&e.
lPa aa&eaad ad P"ad aga& loala
dga&e
aaaaaaaaaaaaaaaa1d aga&gP+algAgeeg4 And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is
dreaming,
And the lamplight o'er him streaming throws his shadow
on the floor;
And my soul from out that shadow that lies floating on
the floor
Shall be lifted- nevermore!
ladga Paa&a a7a Aga ad geaPe.
lPadag gad Aga adgaggloa&a aPgl*ad aa
Peg lo!
lPadga oda*geadaeg loade"adad P"a
ladga&e.
lPa aa&eaad ad P"ad aga& loala
dga&e
aaaaaaaaaaaaaaaa1d aga&gP+algAgeeg4 And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is
dreaming,
And the lamplight o'er him streaming throws his shadow
on the floor;
And my soul from out that shadow that lies floating on
the floor
Shall be lifted- nevermore!
Sources:,
d5=="""(eP(=P=>>?@=lg+&+g+dd +&+:l a
d5=="""(oog((d=e<
ABeA7B%ABgeABegA"gBPAB PAe7 BAgPA@::o97BeAd
CDC>C>"""( g dge og(C>"g ogC>eeooC>&g
C>odge egC>>@ lPC>>@g
C>>@(BgA@E@F#Eg?89-9BoA97:08-">GA
H A#I13JE
d5=="$( l"ge(=9='d GPgGEdgG3G&G G Kg
d5== ge (=l=??L@@@?+1 e +&+nPo e+ l+g+Edg+
dd +&+:l(+ +/l P
2glP eaM>@>Nadd a&a:la(
d5==l g("ePeg(=>@@?=@=>L= e +&+dg+dd +&+
l=
d5=="""(P(=l g=l@@@@?@=
d5=="""(dgg(Pg=6=e Agl=/ge eg=/eg=Edgr Agl(d
d5=="""(glg(==dd +l=eg&geglg
d5=="""(ge &lP l(eo=g ello=g =>DJ
http://www.scribd.com/doc/221490/Outline-of-Poes-Philosophy-of-Composition
https://www.google.com.ph/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CCgQFjAA&url=htt
p%3A%2F%2Fwww.myteacherpages.com%2Fwebpages%2Frspriggs%2Ffiles
%2Fgothicliterature%2520and%2520poe
%2520ppt1.ppt&ei=0u4uUpP0KITpiAeu9oGQDQ&usg=AFQjCNGilDmw2_v
Jpa1bv4IV8SAB17OuUA
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http://allpoetry.com/column/9960009-Summary-of-Edgar-Allan-Poes-The-
Philosophy-of-Composition.-by-Lunadia
Mendaros (2012) Philosophy of Composition ppt.
http://itsnotlate.wordpress.com/2009/08/26/summary-of-the-philosophy-of-
composition/
http://www.imdb.com/name/nm0000590/bio
http://www.heise.de/ix/raven/Literature/Lore/TheRaven.html
http://www.enotes.com/topics/philosophy-composition/reference
http://www.poetryfoundation.org/learning/essay/237848
d5=="""(eP(=P=>>?@=lg+&+g+dd +&+:l a
d5=="""(oog((d=e<
ABeA7B%ABgeABegA"gBPAB PAe7 BAgPA@::o97BeAd
CDC>C>"""( g dge og(C>"g ogC>eeooC>&g
C>odge egC>>@ lPC>>@g
C>>@(BgA@E@F#Eg?89-9BoA97:08-">GA
H A#I13JE
d5=="$( l"ge(=9='d GPgGEdgG3G&G G Kg
d5== ge (=l=??L@@@?+1 e +&+nPo e+ l+g+Edg+
dd +&+:l(+ +/l P
2glP eaM>@>Nadd a&a:la(
d5==l g("ePeg(=>@@?=@=>L= e +&+dg+dd +&+
l=
d5=="""(P(=l g=l@@@@?@=
d5=="""(dgg(Pg=6=e Agl=/ge eg=/eg=Edgr Agl(d
d5=="""(glg(==dd +l=eg&geglg
d5=="""(ge &lP l(eo=g ello=g =>DJ
http://www.scribd.com/doc/221490/Outline-of-Poes-Philosophy-of-Composition
https://www.google.com.ph/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&ved=0CCgQFjAA&url=htt
p%3A%2F%2Fwww.myteacherpages.com%2Fwebpages%2Frspriggs%2Ffiles
%2Fgothicliterature%2520and%2520poe
%2520ppt1.ppt&ei=0u4uUpP0KITpiAeu9oGQDQ&usg=AFQjCNGilDmw2_v
Jpa1bv4IV8SAB17OuUA
http://wiki.answers.com/Q/What_does_The_Bust_of_Pallas_symbolize
http://allpoetry.com/column/9960009-Summary-of-Edgar-Allan-Poes-The-
Philosophy-of-Composition.-by-Lunadia
Mendaros (2012) Philosophy of Composition ppt.
http://itsnotlate.wordpress.com/2009/08/26/summary-of-the-philosophy-of-
composition/
http://www.imdb.com/name/nm0000590/bio
http://www.heise.de/ix/raven/Literature/Lore/TheRaven.html
http://www.enotes.com/topics/philosophy-composition/reference
http://www.poetryfoundation.org/learning/essay/237848
Image Sources:d5==dPdPeg Plo(="+
lgl=e l=nPlPG- =- +r Agl(7o
d5==gl("$gP (eo="$=g5Edg1lr Agl(lo
d5=="""(Al og&lg eel(= =L@@=
Ed gga3lo
d5==gl("$gP (eo="$=EdgGr Agl
d5=="""(od(lg=dg+e Agl+e gP+g=
d5=="""( e(gP= =gl= e"e$=DLL
http://childhoodreading.com/wp-
content/illustrations/Edmund_Dulac/Dulac-Raven.jpg
http://en.wikipedia.org/wiki/File:TheSimpsonsRaven.png
http://www.vintagefineartprints.com/buy/1868010/
Ushabelle Bongo
http://en.wikipedia.org/wiki/The_Raven
http://www.gothic.net/the-raven-illustrated-poem/
http://www.artic.edu/aic/collections/artwork/111366
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http://childhoodreading.com/wp-
content/illustrations/Edmund_Dulac/Dulac-Raven.jpg
http://en.wikipedia.org/wiki/File:TheSimpsonsRaven.png
http://www.vintagefineartprints.com/buy/1868010/
Ushabelle Bongo
http://en.wikipedia.org/wiki/The_Raven
http://www.gothic.net/the-raven-illustrated-poem/
http://www.artic.edu/aic/collections/artwork/111366
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