36. Memnon: a gigantic statue of this Greek hero on the banks of the Nile was said to salute the rising sun with a musical note.
HYMN (Page 16)
Published in 1835 in the tale "Morella," and several times afterward in magazines and collections. As an expression of simple, religious trust and hope, this poem stands quite apart from all others by Poe.
TO ONE IN PARADISE (Page 17)
Published in 1835 as part of the tale called "The Visionary,"
afterward "The a.s.signation"; in 1839 in a magazine under the t.i.tle "To Ianthe in Heaven"; and several times afterward in magazines and in collections. It fits admirably into the story "The a.s.signation," where it contains this additional stanza, readily understood in its setting:
Alas! for that accursed time They bore thee o"er the billow, From Love to t.i.tled age and crime And an unholy pillow-- From me, and from our misty clime Where weeps the silver willow.
TO F---- (Page 18)
Appeared in 1835 under the t.i.tle "To Mary," and in 1842 and 1843, "To One Departed." It is not known to whom these forms were addressed. In 1845 it again appeared with the above t.i.tle, which is believed to refer to Mrs. Frances Sargent Osgood, a poet of the time, whom Poe greatly admired.
TO F----S S. O----D (Page 18)
First appeared in the _Southern Literary Messenger_(1835) as "Lines Written in an Alb.u.m," addressed to Eliza White, a young daughter of the editor of the _Messenger_; in 1839 the same lines were addressed "To ----," whose name is unknown; and in 1845 they were addressed under the above t.i.tle to Mrs. Osgood (see note on the preceding poem).
TO ZANTE (Page 18)
Published in 1837, 1843, and 1845. In form this is a regular Shakespearean sonnet. Zante is one of the princ.i.p.al Ionian islands, in ancient times called Zacynthus. Again the poet writes of a fair isle in the sea; point out other instances. Note the fondness for "no more," and find examples in other poems. As usual with Poe, the thread of thought is slight and indefinite; apparently the beautiful island has become "accursed ground" because of the death there of the "maiden that is no more."
1. fairest of all flowers. There is a zantewood, or satinwood, but it does not take its name from this island. Poe a.s.sociated the name of the island with the hyacinth, but there is no etymological connection. He probably derived his fancy from a pa.s.sage in Chateaubriand"s "Itineraire de Paris Jerusalem," page 53.
13. hyacinthine isle: a reference to the flowers of the island (see preceding note).
14. "Isola d"oro! Fior di Levante!" "Golden Isle! Flower of the Levant!" These are Italian terms for Zante; they occur in the pa.s.sage in Chateaubriand referred to in the note on line 1.
BRIDAL BALLAD (Page 19)
Published in 1837, 1841, 1845, and greatly improved in revision. The bride remembers her dead lover who died in battle, and wonders fearfully whether "the dead who is forsaken" knows and is unhappy.
SILENCE (Page 20)
Published in 1840, 1843, and 1845.
THE CONQUEROR WORM (Page 21)
Published in 1843 and 1845. The repulsive imagery recurs in several of the tales and poems, and shows one of the most morbid phases of Poe"s imagination (see Introduction, page xxiv). It would hardly meet Poe"s own test of beauty, but the grim power of this terrible picture is palpable enough.
9. Mimes: actors, who in this case are men; mankind.
13. vast formless things: doubtless the Fates (consult Gayley"s "Cla.s.sic Myths"); at any rate beings who exercise the same powers.
15. condor wings. The condor is a great vulture of South America; the word here suggests the Fates preying on human happiness, health, and life.
18. Phantom: happiness, or perhaps any object of human desire or ambition.
DREAM-LAND (Page 22)
Published in 1844 and 1845. The poem paints another of Poe"s extraordinary landscapes.
3. Eidolon: phantom, specter, shade.
6. ultimate dim Thule. "Thule" was used by the ancients to indicate extreme northern regions; the Romans used the phrase "Ultima Thule" to denote the most remote, unknown land. What does the allusion signify here?
THE RAVEN (Page 24)
Published in 1845 in various magazines, first in the New York _Evening Mirror_ of January 29. This is the most famous if not the best of Poe"s poems. There is a clear thread of narrative and greater dramatic interest than in any other of the author"s poems. If possible, read "The Philosophy of Composition," in which Poe gives a remarkable account of the composition of this poem, an account which is to be accepted, however, as explaining only the mechanical side of the work. This essay is included in Cody"s "Best Poems and Essays" (see Bibliography, page x.x.xi). Read the comment in the Introduction, page xxiv. Note the numerous alliterations.
34. thereat is. Was the idea phrased this way for any other purpose than to make a rhyme? Is it artistic?
38. Raven. Read an account of the bird in a natural history or an encyclopedia; it is frequently mentioned in English literature as a bird of ill omen.
41. Pallas: Minerva, G.o.ddess of wisdom. Consult Gayley"s "Cla.s.sic Myths." Is a bust of Pallas appropriate for a library?
47. Plutonian: from Pluto, G.o.d of the underworld.
64, 65. burden: thought or theme.
76-77. gloated ... gloating. It is impossible to say just what is suggested. It is characteristically vague. Find other examples in this poem.
80. tinkled on the tufted floor. Not very easy to imagine. In "Ligeia," Poe speaks of "carpets of tufted gold," apparently meaning fabrics of very thick and rich material. Perhaps we may think of the tinkling as proceeding from tiny bells.
81. "Wretch," etc. The lover addresses himself.
82. nepenthe: a name given in Homer"s "Odyssey" to a drug offered to Helen in Egypt, the effect of which was to banish all grief and pain. Later the term was sometimes used for opium.
89. balm in Gilead. Gilead is a district on the banks of the Jordan and the "balm" an herb of reputed medicinal value. The allusion here is to Jeremiah viii.22: "Is there no balm in Gilead? is there no physician there?" The lover means to ask if there is any remedy for his sorrow, any consolation. Perhaps he means, "Is there any solace after death?" or "Is there any solace either in this world or the next?"
93. Aidenn: Eden, Paradise, from the Arabic form _Adn_; coined by Poe for the rhyme.
101. This line, Poe said in "The Philosophy of Composition," first betrays clearly the allegorical nature of the poem.
106. the lamp-light o"er him streaming. In answer to criticism on this line, Poe explained, "My conception was that of the bracket candelabrum affixed against the wall, high up above the door and bust, as is often seen in the English palaces, and even in some of the better houses of New York."