THE RAVEN.
ONCE upon a midnight dreary, while I pondered, weak and weary,
Like some of his other darker works, “The Tell Tale Heart,” for example, “The Raven” is set at night, an important element to the Gothic. Even in his poems and stories that are set during the day time, it tends to be a much gloomier day than most. Poe does this to instill a sense of anxiety and suspense in his audience, keeping them on the edge of their seats (Mohammed).
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 visiter,” I muttered, “tapping at my chamber door —
Only this, and nothing more.”
Ah, distinctly I remember it was in the bleak December,
Both the setting of midnight and December may symbolize the end of something- likely the narrator’s happiness (Source).
And each separate dying ember wrought its ghost upon the floor.
Again, this shows how Poe sets a physically dark scene, which he is well known for across many of his works. The “dying ember wrought its ghost upon the floor” is allowing the reader to envision the scene as gloomy; completely candlelit, the dying candles casting shadows. Visuals are everything in aesthetics, and by setting a visually dark scene, the overall aesthetic of the poem is dark.
The above image shines a light on the figure of the raven, but overall displays the dark aesthetic of the poem.
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.
This is the first time we get a glimpse into why the narrator is feeling weary, as mentioned in the first line. They have recently lost a loved one, and are coping with that grief. Grief is one of Poe’s most common themes, and contributes to the dark and gloomy aesthetic he is so well known for. In his short story, “Berenice,” we see grief in its full form, as the narrator, Egaeus, mourns the oncoming loss of his cousin and lover. Like “The Raven,” “Berenice” is also set in a gloomy tone- Egaeus is a very gloomy man, who lives a gloomy life in a gloomy mansion. As the short story continues, the audience is introduced to his cousin and lover, Berenice, the only bright spot in his life. As one can assume based on the tone of “The Raven,” Lenore was likely also one of the only bright spots in this narrator’s life. These are just two of many instances wherein Poe writes highly of a lover, only for the narrator to lose them and undergo the process of grief.
Perhaps Poe writing of the loss of a loved one is somewhat of a self insert for similar events in his own life. During his early years, he lost both his birth mother and his foster mother. More influential, however, was the loss of his wife, Virginia, after 14 years of marriage. Much like the title character in “Berenice,” she was his first cousin. In both the short story and his life, the wife was taken on as a student by her husband. Both wives were also ill for some amount of time before, unfortunately, passing away, leaving their husbands to be widowers. Despite many parallels in both the story and real life, however, “Berenice” was actually published in 1835, 12 years before Virginia’s death. These themes and feelings of grief Poe felt over his life likely contributed to why he wrote so many grief-centered pieces.
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 visiter entreating entrance at my chamber door —
Some late visiter 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;
Poe explicitly mentions a visual of darkness here, arguably the most important element of the Gothic. In Poe’s case, he uses it as a symbolism of vagueness, much like he does in almost all of his writing. Another example of this is seen at the beginning of his short story, “The Fall of the House of Usher:”
“… at length [I] found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was, but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit.”
“The Fall of the House of Usher” is written in such a way that we as the audience are inside the narrator’s mind. Due to this, we feel and sense what the narrator feels and senses. In this case, it is a sense of gloom and despair, feelings commonly associated with the Gothic. It is not until later in the story that it establishes why the narrator feels these senses, showcasing how Poe uses darkness in order to be vague and mysterious. Additionally, the first sight of the house is during a dull part of the day- while it may not be as dark as the night, the melancholy tone of it suits the “horrifying mood of Poe’s stories” (Mohammed).
But the silence was unbroken, and the darkness 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 I heard again 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 an instant 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.”
Finally, we see the first glimpse of the subject of the poem, the raven itself. Poe himself intended for the raven to symbolize ‘mournful, never-ending remembrance,’ though many scholars and readers have interpreted its symbolism in many other ways over the years. Though unconfirmed, many signs point to Poe having written a poem titled “Alone” early in his career. This poem centers around a demon from the narrator’s childhood, and the raven may very well be that same demon. As the poem progresses, the raven constantly repeats the word “Nevermore,” which, understandably, drives the narrator mad and is a symbolism for his impending doom (Allen 12).
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
But the raven still beguiling all my sad soul 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.”
Here, this is a prime example of how the raven is the narrator’s demon: it is driving them mad, and reminding of something they so desperately long for, but will never get back. Grief is such a heavy feeling, one that can be all-consuming, and Poe leans into the darkness behind it by causing the narrator to go slightly mad.
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 [[lamp-light]] gloated o’er,
But whose velvet violet lining with the lamplight [[lamp-light]] gloating o’er,
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by angels whose faint 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! —
This line is a huge hint that, if he is the writer of “Alone,” this is the same demon who that narrator also dealt with, showcasing how Poe continues themes of grief and darkness over the entirety of his career.
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!”
“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;
In the end, Poe rounds out the poem by causing the narrator to succumb fully to the craziness the raven has brought to their house, once again playing into the darkness aesthetic. Succumbing to grief is a very real thing, but a very dark subject matter of which many writers choose not to approach. It is because Poe was willing to write so vulgarly about these tough subjects, and use other dark symbolism to do so, that he gets the reputation for being a dark writer.
And my soul from out that shadow that lies floating on the floor
Shall be lifted — nevermore!
Once again, the repetition of the word “nevermore” specifically is the main thing that the raven did to cause the narrator to go mad. Over the course of the last 170 years, Poe has stayed well known for the madness he displays, not only in his writing, but also in himself as a person and author. Such cases of his madness are well depicted in pop culture.
In an early episode of the popular tv show “Gilmore Girls,” an entire episode is dedicated to Poe. In the town of Stars Hollow, where the show is set, Poe fans from all over the country gather for a Poe convention, including a live reading of some of his works by Poe impersonators. There is some miscommunication among two of the impersonators, and both end up performing their own rendition of “The Raven.”
While neither impersonation is shown in its entirety, what we do see is an accurate depiction of both Poe’s aesthetic and the Gothic elements of “The Raven.” First, both readings are set in a dimly lit room, with a single spotlight shining only on Poe and the bust on which the raven sits. This is a visual representation of the darkness that Poe intended by setting the poem at nighttime, and well depicts what Poe meant to convey.
Whilst the renditions are being performed, the main characters, Lorelai and Rory, are shown commenting on Poe’s works and his madness. They make multiple references to how he was a troubled man, an alcoholic, and wrote depressing works based on his depressing life.
After both renditions of “The Raven” are read, the audience gets a glimpse into the life of Poe. Lorelai and Rory are approached by the first Poe, who begins speaking of his history. Overhearing a historical inaccuracy, the second Poe quickly jumps in to correct him. Both Poes then engage in argument about multiple aspects of Poe’s life, and the argument reveals many things that may have been contributors to Poe’s madness, such as being expelled from Westpoint and the death of his older brother, who was his only remaining family member after the death of his parents.
The visual aesthetic of darkness in a modern day performance of “The Raven,” Lorelai and Rory’s commentary on Poe’s madness, and the argument between the two Poes all show that Poe was clearly mad in his lifetime, and his madness was evident in his writing. Because it is so well represented in a modern day performance, we see that his madness has carried well through the years.
A still from the Gilmore Girls episode, showing how the dark aesthetic continues to be displayed even today.
Works Cited
Mohammed, Ghada A. “The Gothic Elements in Edgar Allan Poe’s “the Raven.”” Iraqi Academic Scientific Journals , 17 Mar. 2011, pp. 19–37, www.iasj.net/iasj/download/3feaf7da117069cf. Accessed 11 Dec. 2023.
Tate, Allen. “The Poetry of Edgar Allan Poe.” The Sewanee Review, vol. 76, no. 2, 1968, pp. 214–25. JSTOR, http://www.jstor.org/stable/27541613. Accessed 16 Nov. 2023.
Williams-Hogan, Jane. “Light and Dark in the Art of Edgar Allan Poe.” Sydney Open Journals, no. The Dark Side, 19 Sept. 2008.