AS Literature - Unseen - Unseen General

By Thomas Chai

Reading Insert:

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.


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.


Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal 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!”


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.”


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 blessed 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 farther 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.”


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.”


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 lamp-light gloated o’er,

But whose velvet-violet lining with the lamp-light gloating o’er,

She shall press, ah, nevermore!


Then, methought, the air grew denser, perfumed from an unseen censer

Swung by Seraphim whose foot-falls 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.”


“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.”


“Be that word our sign of 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.”


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 lamp-light 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!

AS Literature - Unseen - Unseen General

By Thomas Chai

Question:

Discuss the presentation of grief in the following poem (The Raven).

Essay:

The Raven is a symbol of reality, a reality of loss that the narrator fears and constantly tries to avoid. In this poem, Edgar Allen Poe takes an early psychological dive into how melancholy distorts one’s perception of the world, and how denial painfully imprisons us in the past.


Immediately the poem opens with a withered narrator, ‘weak and weary’, whose depressive diction of ‘dreary’ evokes in the readers an impression of someone who has crumbled: a shadow of their former selves. This is accompanied by the slant rhyme of an elongated /ea/ sound that sounds drained of life and vocalizes the narrator’s slow and sluggish movements. The theme of being stuck in the past is hinted at through the ‘quaint and curious volumes of forgotten lore’. He ‘ponders …wearily’, almost obsessing over the ‘forgotten’ stories, symbolic of memories. It quickly gives a subtle nod to his grief and mourning for the lost ‘Lenore’. His word choice of ‘quaint’ here is interesting as it suggests an almost paradoxical attraction to his memories, which as we can imagine, sweet as they may be, likely comes with a sharp melancholy and pain upon appreciation. Moreover, this theme of recurring painful memories prevails throughout the length of the poem through the repeating stanza structure, in which the 2nd line of every stanza rhymes with the 4th and 5th, the latter two always being a polyptotonic couplet. This perfect rhyme echoes the name ‘Lenore’ 4 times out of 18 stanzas, aurally welding an almost metallic attachment to her and a grief that’s desperate and raw.


The rhyme scheme also highlights the motif of the ‘door’ which occupies the rhyming couplet a total of 5 times and appears elsewhere in almost every stanza. Allen Poe’s ‘chamber door’ is undoubtedly an important symbol that reflects this fantastical hope of Lenore being the one knocking; every time he has that thought it ‘thrills me’, ‘fills me with fantastic terrors’, for he is scared of opening the door to find anything else. Evidently, the aural imagery of ‘rapping’ and ‘tapping’ is always accompanied by the reminder that ‘tis some visitor… and nothing more’, but he has that ‘thrilling’ hope every time he thinks about the door. It is possible to interpret this through a Freudian lens, as the persona is experiencing regression to cope with grief, because part of his mind is still situated in a time when Lenore was alive as he cannot part with that reality. But behind the door is never Lenore. Instead, he finds that outside is a Raven, and the Raven says only one line: ‘Nevermore’.


The introduction of Raven is a volta, and it quickly becomes the target of the persona’s verbal abuse, but it withstands it all without budging, because the Raven speaks the truth, and the truth is powerfully apathetic. The Raven is first characterized with a ‘stern decorum’, which adds to the semantic field of death, making the raven part of that gloomy and repressive setting that builds the eerie postmortem atmosphere. It is also noteworthy that the persona says the Raven is ‘Name[d] as Nevermore’, because through the narrative of the poem we expect to find Lenore outside, yet we find ‘Nevermore’, which rhymes, but holds a juxtaposing empty and nihilistic connotation. ‘Nevermore’ is a stark chant that the persona’s lover is gone and will not return, and its implications are deeply personal, for it implies that the persona’s happiness, the persona’s most treasured experiences in life will never happen again. Consequently, the certainty of Lenore’s death is almost torturous to the persona by the Raven, and with each utterance of ‘Nevermore’, the persona becomes more and more enraged.


By the end of the poem he pleads ‘Take thy beak from out my heart and take thy form from off my door!’ The imagery of ‘beak’ in his ‘heart’ is grotesque and sharply resemblant of the persona’s pain, which is associated with the heart because it is emotional. These final imperatives ‘take’ are a desperate attempt to ward away reality, yet the Raven sits ‘Never flitting, still is sitting, still is sitting’. The epizeuxis of ‘still is sitting’ reinforces the idea that the raven, a symbol of truth, is almost a force of nature that man cannot be rid of, and ‘still’ implies that despite the persona’s best attempt, he has not succeeded in coping. Once again, this can be viewed through a psychoanalytic perspective, where the Raven may be a shard of the persona’s ego, wrestling with the persona’s subconscious to try and integrate reality. And the ID - much more primitive and driven by the pleasure principle - hides far away from painful reality, ultimately leading to the persona suppressing and denying the truth. But the Id’s denial cannot patch visceral pain, because reality perches like an immovable weight in the place of Lenore, and painful as it may be to the persona, he can never shift reality back: ‘my soul shall be lifted – Nevermore!’ In the end, Poe seems to delineate that sometimes, it is simply too painful to move on, but it is also painful to not.


‘The Raven’ situates the persona’s melancholy between hiding from reality and being exposed to it. Grief bends the human mind into a vicious cycle of denial, and the inability to face reality is guaranteed to backfire, because reality leaks from every fissure, and it always burns. Yet grief is a mystifying force. It seems to hold us back from that molten, crackling reality from consuming us all at once, and by the end, the readers entertain the idea that maybe, it is part of the human condition to be trapped by our emotions, and perhaps it is okay to not move on. Perhaps it is fine to hide from reality, because the world, the truth, is a sharp and scary thing.

Reading Insert:

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.


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.


Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal 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!”


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.”


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 blessed 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 farther 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.”


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.”


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 lamp-light gloated o’er,

But whose velvet-violet lining with the lamp-light gloating o’er,

She shall press, ah, nevermore!


Then, methought, the air grew denser, perfumed from an unseen censer

Swung by Seraphim whose foot-falls 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.”


“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.”


“Be that word our sign of 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.”


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 lamp-light 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!

Notes

About the essay

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Written by Thomas Chai

ACG Parnell

Score Gained: 24/25

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