Complete Stories And Poems Of Edgar Allan Poe (160 page)

“Caught from some unhappy master, whom unmerciful Disaster Followed fast and followed faster--so, when Hope he would adjure, Stern Despair returned, instead of the sweet Hope he dared adjure-- That sad answer, ‘Nevermore!’”

It would be well if other, and famous, poets could be as sure of making their changes always improvements. Poe constantly rehandled his scanty show of verse, and usually bettered it.
The Raven
was the first of the few poems which he nearly brought to completion before printing. It may be that those who care for poetry lost little by his death. Fluent in prose, he never wrote verse for the sake of making a poem. When a refrain of image haunted him, the lyric that resulted was the inspiration, as he himself said, of a passion, not of a purpose. This was at intervals so rare as almost to justify the Fairfield theory that each was the product of a nervous crisis.

What, then, gave the poet his clue to
The Raven
? From what misty foundation did it rise slowly to a music slowly breathed? As usual, more than one thing went to the building of so notable a poem. Considering the longer sermons often preached on brief and less suggestive texts, I hope not to be blamed for this discussion of a single lyric,—especially one which an artist like Dore has made the subject of prodigal illustration. Until recently I had supposed that this piece, and a few which its author composed after its appearance, were exceptional in not having grown from germs in his boyish verse. But Mr. Fearing Gill has shown me some unpublished stanzas by Poe, written in his eighteenth year, and entitled, “The Demon of the Fire.” The manuscript appears to be in the poet’s early handwriting, and its genuineness is vouched for by the family in whose possession it has remained for half a century. Besides the plainest germs of “The Bells” and “The Haunted Palace” it contains a few lines somewhat suggestive of the opening and close of
The Raven
. As to the rhythm of our poem, a comparison of dates indicates that this was influenced by the rhythm of “Lady Geraldine’s Courtship.” Poe was one of the first to honor Miss Barrett’s genius; he inscribed his collected poems to her as “the noblest of her sex,” and was in sympathy with her lyrical method. The lines from her love-poem,

“With a murmurous stir uncertain, in the air, the purple curtain Swelleth in and swelleth out around her motionless pale brows,”

found an echo in these:

“And the silken sad uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before.”

Here Poe assumed a privilege for which he roughly censured Longfellow, and which no one ever sought on his own premises without swift detection and chastisement. In melody and stanzaic form, we shall see that the two poems are not unlike, but in motive they are totally distinct. The generous poetess felt nothing but the true originality of the poet. “This vivid writing!” she exclaimed,--“this power which is felt!... Our great poet, Mr. Browning, author of ‘Paracelsus,’ &c., is enthusiastic in his admiration of the rhythm.” Mr. Ingram, after referring to “Lady Geraldine,” cleverly points out another source from which Poe may have caught an impulse. In 1843, Albert Pike, the half-Greek, half-frontiersman, poet of Arkansas, had printed in “The New Mirror,” for which Poe then was writing, some verses entitled “Isadore,” but since revised by the author and called “The Widowed Heart.” I select from Mr. Pike’s revision the following stanza, of which the main features correspond with the original version:

“Restless I pace our lonely rooms, I play our songs no more, The garish sun shines flauntingly upon the unswept floor; The mocking-bird still sits and sings, O melancholy strain! For my heart is like an autumn-cloud that overflows with rain; Thou art lost to me forever, Isadore!”

Here we have a prolonged measure, a similarity of refrain, and the introduction of a bird whose song enhances sorrow. There are other trails which may be followed by the curious; notably, a passage which Mr. Ingram selects from Poe’s final review of “Barnaby Rudge”:

“The raven, too, might have been made, more than we now see it, a portion of the conception of the fantastic Barnaby. Its character might have performed, in regard to that of the idiot, much the same part as does, in music, the accompaniment in respect to the air.”

Nevertheless, after pointing out these germs and resemblances, the value of this poem still is found in its originality. The progressive music, the scenic detail and contrasted light and shade,—above all, the spiritual passion of the nocturn, make it the work of an informing genius. As for the gruesome bird, he is unlike all the other ravens of his clan, from the “twa corbies” and “three ravens” of the balladists to Barnaby’s rumpled “Grip.” Here is no semblance of the cawing rook that haunts ancestral turrets and treads the field of heraldry; no boding phantom of which Tickell sang that, when,

“shrieking at her window thrice, The raven flap’d his wing, Too well the love-lorn maiden knew The solemn boding sound.”

Poe’s raven is a distinct conception; the incarnation of a mourner’s agony and hopelessness; a sable embodied Memory, the abiding chronicler of doom, a type of the Irreparable. Escaped across the Styx, from “the Night’s Plutonian shore,” he seems the imaged soul of the questioner himself,—of him who can not, will not, quaff the kind nepenthe, because the memory of Lenore is all that is left him, and with the surcease of his sorrow even that would be put aside.

The Raven
also may be taken as a representative poem of its author, for its exemplification of all his notions of what a poem should be. These are found in his essays on “The Poetic Principle,” “The Rationale of Verse,” and “The Philosophy of Composition.” Poe declared that “in Music, perhaps, the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles—the creation of supernal Beauty…. Verse cannot be better designated than as an inferior or less capable music”; but 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 suffice. Hence his theory, clearly fitted to his own limitations, that “a ‘long poem’ is a flat contradiction in terms.” The components of
The Raven
are few and simple: a man, a bird, and the phantasmal memory at a woman. But the piece affords a fine display of romantic material. What have we? The midnight; the shadowy chamber with its tomes of forgotten lore; the student,—a modern Hieronymus; the raven’s tap on the casement; the wintry night and dying fire; the silken wind-swept hangings; the dreams and vague mistrust of the echoing darkness; the black, uncanny bird upon the pallid bust; the accessories of violet velvet and the gloating lamp. All this stage effect of situation, light, color, sound, is purely romantic, and even melodramatic, but of a poetic quality that melodrama rarely exhibits, and thoroughly reflective of the poet’s “eternal passion, eternal pain.”

The rhythmical structure of
The Raven
was sure to make an impression. Rhyme, alliteration, the burden, the stanzaic form, were devised with singular adroitness. Doubtless the poet was struck with the aptness of Miss Barrett’s musical trochaics, in “eights,” and especially by the arrangement adopted near the close of “Lady Geraldine”:

“‘Eyes,’ he said, ‘now throbbing through me! Are ye eyes that did undo me? Shining eyes, like antique jewels set in Parian statue-stone! Underneath that calm white forehead, are ye ever burning torrid O’er the desolate sand-desert of my heart and life undone?’”

His artistic introduction of a third rhyme in both the second and fourth lines, and the addition of a fifth line and a final refrain, made the stanza of
The Raven
. The persistent alliteration seems to come without effort, and often the rhymes within lines are seductive; while the refrain or burden dominates the whole work. Here also he had profited by Miss Barrett’s study of ballads and romaunts in her own and other tongues. A “refrain” is the lure wherewith a poet or a musician holds the wandering ear,—the recurrent longing of Nature for the initial strain. I have always admired the beautiful refrains of the English songstress,—”The Nightingales, the Nightingales,” “Margret, Margret,” “My Heart and I,” “Toll slowly,” “The River floweth on,” “Pan, Pan is dead,” etc. She also employed what I term the Repetend, in the use of which Poe has excelled all poets since Coleridge thus revived it:

“O happy living things! no tongue Their beauty might declare: A spring of love gushed from my heart, And I blessed them unaware: Sure my kind saint took pity on me, And I blessed them unaware.”

Poe created the fifth line of his stanza for the magic of the repetend. He relied upon it to the uttermost in a few later poems,—”Lenore,” “Annabel Lee,” “Ulalume,” and “For Annie.” It gained a wild and melancholy music, I have thought, from the “sweet influences,” of the Afric burdens and repetends that were sung to him in childhood, attuning with their native melody the voice of our Southern poet.

“The Philosophy of Composition,” his analysis of
The Raven
, is a technical dissection of its method and structure. Neither his avowal of cold-blooded artifice, nor his subsequent avowal to friends that an exposure of this artifice was only another of his intellectual hoaxes, need be wholly credited. If he had designed the complete work in advance, he scarcely would have made so harsh a prelude of rattle-pan rhymes to the delicious melody of the second stanza,—not even upon his theory of the fantastic. Of course an artist, having perfected a work, sees, like the first Artist, that it is good, and sees why it is good. A subsequent analysis, coupled with a disavowal of any sacred fire, readily enough may be made. My belief is that the first conception and rough draft of this poem came as inspiration always comes; that its author then saw how it might be perfected, giving it the final touches described in his chapter on Composition, and that the latter, therefore, is neither wholly false nor wholly true. The harm of such analysis is that it tempts a novice to fancy that artificial processes can supersede imagination. The impulse of genius is to guard the secrets of its creative hour. Glimpses obtained of the toil, the baffled experiments, which precede a triumph, as in the sketch-work of Hawthorne recently brought to light, afford priceless instruction and encouragement to the sincere artist. But one who voluntarily exposes his Muse to the gaze of all comers should recall the fate of King Candaules.

The world still thinks of Poe as a “luckless man of genius.” I recently heard him mentioned as “one whom everybody seems chartered to misrepresent, decry or slander.” But it seems to me that his ill-luck ended with his pitiable death, and that since then his defence has been persistent, and his fame of as steadfast growth as a suffering and gifted author could pray for in his hopeful hour. Griswold’s decrial and slander turned the current in his favor. Critics and biographers have come forward with successive refutations, with tributes to his character, with new editions of his works. His own letters and the minute incidents of his career are before us; the record, good and bad, is widely known. No appellor has received more tender and forgiving judgement. His mishaps in life belonged to his region and period, perchance still more to his own infirmity of will. Doubtless his environment was not one to guard a fine-grained, ill-balanced nature from perils without and within. His strongest will, to be lord of himself, gained for him “that heritage of woe.” He confessed himself the bird’s unhappy master, the stricken sufferer of this poem. But his was a full share of that dramatic temper which exults in the presage of its own doom. There is a delight in playing one’s high part: we are all gladiators, crying
Ave Imperator!
To quote Burke’s matter of fact: “In grief the pleasure is still uppermost, and the affliction we suffer has no resemblance to absolute pain, which is always odious, and which we endeavor to shake off as soon as possible.” Poe went farther, and was an artist even in the tragedy of his career. If, according to his own belief, sadness and the vanishing of beauty are the highest poetic themes, and poetic feeling the keenest earthly pleasure, then the sorrow and darkness of his broken life were not without their frequent compensation.

In the following pages, we have a fresh example of an artist’s genius characterizing his interpretation of a famous poem. Gustave Dore, the last work of whose pencil is before us, was not the painter, or even the draughtsman, for realists demanding truth of tone, figure, and perfection. Such matters concerned him less than to make shape and distance, light and shade, assist his purpose,—which was to excite the soul, the imagination, of the looker on. This he did by arousing our sense of awe, through marvellous and often sublime conceptions of things unutterable and full of gloom or glory. It is well said that if his works were not great paintings, as pictures they are great indeed. As a “literary artist,” and such he was, his force was in direct ratio with the dramatic invention of his author, with the brave audacities of the spirit that kindled his own. Hence his success with Rabelais, with “Le Juif-Errant,” “Les Contes Drolatiques,” and “Don Quixote,” and hence, conversely, his failure to express the beauty of Tennyson’s Idyls, of “Il Paradiso,” of the Hebrew pastorals, and other texts requiring exaltation, or sweetness and repose. He was a born master of the grotesque, and by a special insight could portray the spectres of a haunted brain. We see objects as his personages saw them, and with the very eyes of the Wandering Jew, the bewildered Don, or the goldsmith’s daughter whose fancy so magnifies the King in the shop on the Pont-au-Change. It was in the nature of things that he should be attracted to each masterpiece of verse or prose that I have termed unique. The lower kingdoms were called into his service; his rocks, trees and mountains, the sky itself, are animate with motive and diablerie. Had he lived to illustrate Shakespeare, we should have seen a remarkable treatment of Caliban, the Witches, the storm in “Lear”; but doubtless should have questioned his ideals of Imogen or Miranda. Beauty pure and simple, and the perfect excellence thereof, he rarely seemed to comprehend.