The subject,
and some lines of the original version, having been suggested by the
poet's friend, Mrs.
and some lines of the original version, having been suggested by the
poet's friend, Mrs.
Edgar Allen Poe
It will stick to the memory of everybody who reads it.
" In the
February number of the "American Review" the poem was published as
by "Quarles," and it was introduced by the following note, evidently
suggested if not written by Poe himself.
["The following lines from a correspondent-besides the deep, quaint
strain of the sentiment, and the curious introduction of some ludicrous
touches amidst the serious and impressive, as was doubtless intended by
the author-appears to us one of the most felicitous specimens of unique
rhyming which has for some time met our eye. The resources of
English rhythm for varieties of melody, measure, and sound, producing
corresponding diversities of effect, having been thoroughly studied,
much more perceived, by very few poets in the language. While the
classic tongues, especially the Greek, possess, by power of accent,
several advantages for versification over our own, chiefly through
greater abundance of spondaic: feet, we have other and very great
advantages of sound by the modern usage of rhyme. Alliteration is nearly
the only effect of that kind which the ancients had in common with
us. It will be seen that much of the melody of 'The Raven' arises from
alliteration, and the studious use of similar sounds in unusual places.
In regard to its measure, it may be noted that if all the verses were
like the second, they might properly be placed merely in short lines,
producing a not uncommon form; but the presence in all the others of
one line-mostly the second in the verse" (stanza? )--"which flows
continuously, with only an aspirate pause in the middle, like that
before the short line in the Sapphic Adonic, while the fifth has at the
middle pause no similarity of sound with any part besides, gives the
versification an entirely different effect. We could wish the capacities
of our noble language in prosody were better understood. "--ED. "Am.
Rev. "]
2. The bibliographical history of "The Bells" is curious.
The subject,
and some lines of the original version, having been suggested by the
poet's friend, Mrs. Shew, Poe, when he wrote out the first draft of the
poem, headed it, "The Bells, By Mrs. M. A. Shew. " This draft, now the
editor's property, consists of only seventeen lines, and read thus:
I.
The bells! -ah, the bells!
The little silver bells!
How fairy-like a melody there floats
From their throats--
From their merry little throats--
From the silver, tinkling throats
Of the bells, bells, bells--
Of the bells!
II.
The bells! -ah, the bells!
The heavy iron bells!
How horrible a monody there floats
From their throats--
From their deep-toned throats--
From their melancholy throats!
How I shudder at the notes Of the bells, bells, bells--
Of the bells!
February number of the "American Review" the poem was published as
by "Quarles," and it was introduced by the following note, evidently
suggested if not written by Poe himself.
["The following lines from a correspondent-besides the deep, quaint
strain of the sentiment, and the curious introduction of some ludicrous
touches amidst the serious and impressive, as was doubtless intended by
the author-appears to us one of the most felicitous specimens of unique
rhyming which has for some time met our eye. The resources of
English rhythm for varieties of melody, measure, and sound, producing
corresponding diversities of effect, having been thoroughly studied,
much more perceived, by very few poets in the language. While the
classic tongues, especially the Greek, possess, by power of accent,
several advantages for versification over our own, chiefly through
greater abundance of spondaic: feet, we have other and very great
advantages of sound by the modern usage of rhyme. Alliteration is nearly
the only effect of that kind which the ancients had in common with
us. It will be seen that much of the melody of 'The Raven' arises from
alliteration, and the studious use of similar sounds in unusual places.
In regard to its measure, it may be noted that if all the verses were
like the second, they might properly be placed merely in short lines,
producing a not uncommon form; but the presence in all the others of
one line-mostly the second in the verse" (stanza? )--"which flows
continuously, with only an aspirate pause in the middle, like that
before the short line in the Sapphic Adonic, while the fifth has at the
middle pause no similarity of sound with any part besides, gives the
versification an entirely different effect. We could wish the capacities
of our noble language in prosody were better understood. "--ED. "Am.
Rev. "]
2. The bibliographical history of "The Bells" is curious.
The subject,
and some lines of the original version, having been suggested by the
poet's friend, Mrs. Shew, Poe, when he wrote out the first draft of the
poem, headed it, "The Bells, By Mrs. M. A. Shew. " This draft, now the
editor's property, consists of only seventeen lines, and read thus:
I.
The bells! -ah, the bells!
The little silver bells!
How fairy-like a melody there floats
From their throats--
From their merry little throats--
From the silver, tinkling throats
Of the bells, bells, bells--
Of the bells!
II.
The bells! -ah, the bells!
The heavy iron bells!
How horrible a monody there floats
From their throats--
From their deep-toned throats--
From their melancholy throats!
How I shudder at the notes Of the bells, bells, bells--
Of the bells!
