How The Raven Poet Signed Some Of His Letters

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Description: 436 unit 2: american romanticism Raven Edgar Allan Poe 5 10 15 One lonely midnight, as I meditated, weak and weary, On many strange and strange quantities of …

How The Raven Poet Signed Some Of His Letters

American Gothic How do people handle the loss of Raven? Poem by Edgar Allan Poe At some point in our lives, we all face RL 1, RL 4, RL 5, L 4 loss—of a loved one, a favorite pet, or even a cherished dream. ButVIDEO TRAILER KEYWORD: HML11-435A although the experience of loss is universal, people can choose many text analysis: sound devices in different ways to cope with the sadness and grief they feel. What people first published in 1845, “The Raven” became an instant hit. Part of what needs to be done to deal with their grief at the poetry’s popularity is due to Poe’s clever use of sound and moving on? devices, patterns of word sounds used to create musical effects. DISCUSSION Working in small groups, think of some ways people respond to a • Rhyme, the repetition of similar sounds, is one of the easiest serious loss. Discuss how they express sound devices to see. Poe adds variety by using the innermost of their own feelings and what they make into poetry, rhyming words contained within a line. to adapt to changes that loss Ah, I remember it was in dark December; creates. What patterns can you identify? • Repetition, of rhymes and of words and phrases, helps give Authors “The Raven” its unique rhythm. Online Like someone softly rapping, rapping on my bedroom door. Go to thinkcentral.com. • Alliteration, the repetition of the first consonant sounds, KEYWORD: HML11-435 is used to create rhythm or to emphasize key words. As I nodded, I almost fell asleep. . . • Onomatopoeia is the use of words with similar meanings, such as the word rustle in this example: And the silky, sad, uncertain rustle of each purple curtain As you read, notice how Poe combines these sound devices to form complex rhythmic patterns. . Review: Stanza and Rhyme Reading Skill Schemere: make inferences “The Raven” tells a story without telling all the important details directly. You will need to use clues in the poem to make inferences about the speaker’s situation. As you read, use a chart like the one shown to record your inferences and the clues that helped you. By the end of the poem, you can draw conclusions about what the speaker is experiencing. Inferences About Clues SpeakerState of MindRecent ExperiencesComplete the activities in your Reader/Writer Notebook. 435 The Analyze Visuals Raven What techniques did Edgar Allan Poe’s photographer use to make the raven on the page Early midnight was sad, as I pondered, faint and weary, 437 seem mysterious? In the many strange and wondrous amounts of forgotten lore— As I nodded, almost gasping, suddenly there was a knock, a SOUND DEVICES Like someone softly rapping, rapping on my bedroom door. Read lines 1–6 again. What is 5 “A visitor,” I whispered, “knocks at my chamber door— Poe’s pattern of interior poetry established in This One and nothing else.” a first stanza? Ah, I clearly remember it was in dark December; b MAKE PROPHECIES And each separate dying ember cast its ghost upon the floor. Read lines 9–12 again. What Eagerly I wished the tomorrow;—in vain I sought to borrow what this verse signifies 10 From my books end1 sorrow—sorrow for lost Lenore—for Lenore’s connection For the rare and radiant maiden who named by the angels Lenore— to the speaker. and the reason for his absence? No name here forever. b Give details to support your answer. And the silken, sad, uncertain rustling of each purple curtain thrilled me—I was filled with wondrous terrors never before felt; 15 So now, to quiet the beating of my heart, I stand and repeat “’A guest begs entrance at my chamber door;— Some late visitor requests entrance at my chamber door;— That yes and nothing else.” 1. surcease: an end.436 unit 2: american romanticism the raven 437 Now my soul is strong; hesitated then no more, c STANZA AND RHYME 20 “Sir,” said I, “o Madam, truly your pardon I implore; SCHEME Recall that a poem’s But the fact is I was napping, and so gently you came rapping, rhyme scheme is its And so faintly you came tapping, tapping at my chamber door, pattern of end rhyme. That I scarce was sure I heard you”—here I opened the door wide;— Describe the rhyme scheme of this poem. Darkness there and nothing else. c How does Poe use repetition as part of the 25 In the depths of that darkness peering, long I stood there wondering, afraid, the rhyme scheme? Doubting, dreaming dreams no mortal dared dream before; But the silence was not broken, and the silence gave no sign, d SOUND DEVICES And the only word spoken there was the whispered word, “Lenore!” Read lines 37–38 again. I whispered it, and an echo whispered back the word “Lenore!” What example of onomatopoeia can 30 Only this and nothing else. Look for it? Back in the room turning, all my soul inside me is burning, e SOUND DEVICES After a while again I heard a tapping a little louder than before. Identify the alliteration in “Certainly,” said I, “certainly that is something in my window lattice; lines 45–46. What words Let me see, then, what is there, and the mystery explore that this— is emphasized by the use 35 Let my heart be still and this mystery explore;— this method? ‘Tis air and nothing else!” Open here I dropped the shield, when, with many flirting and waving, There stepped a stately Crow of the holy days of yore. not for a minute did he stop or stay; 40 But, with my4 of lord or lady, perched above my chamber door— Leaning on a bust of Pallas5 just above my chamber door— Sat, and sat, and nothing else. d After this black wood bird deceives my sad desire to smile, By the grave and stern manner of the face it wears, 45 “Though thy crest be clipped and shaven, thou,” said I, “thou surely no crave, 6 Gloomy and ancient Raven that wanders from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian7 shore!” Quoth the Raven, “Not anymore.” e I was greatly astonished at this rude bird to hear the discourse so plainly, 50 Though its answer was of little meaning—it was of little relation; For we cannot help but agree that there is no living man 2. days of the past: days of old. 3. obeisance (I-bAPsEns): an act of respect. 4. mien (mCn): appearance. 5. bust of Pallas: statue of the head and shoulders of Pallas Athena, Greek goddess of wisdom. 6. craven: coward. 7. Plutonian: related to Pluto, Roman god of the dead and ruler of the underworld. 438 unit 2: american romanticism Ever blessed to see a bird above the door of his room— f MAKE INFERENCES Bird or animal in the sculpture chest above his bedroom door, Read lines 58–59 again. What does this With such a name as “Nevermore.” the comment suggests about the speaker’s past55 But the Crow, sitting sad on the silent chest, spoke only of experiences and his That was a word, as if his soul in that one word he poured out. current mood? Explain. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— g SOUND DEVICES In the morrow he will leave me, as I once hoped.” Identify the sound device used in lines 71–72. What60 Then the bird said, “No more.” The characteristics of the crow are emphasized by the use of Surprised at the silence that is broken by the appropriately worded response, this device? “No doubt,” said I, “what it utters is its only stock and store Caught from a sad lord merciless Calamity Followed fast and faster followed till his songs were a burden8 the carried—65 Till the lamentations9 of his Hope’s melancholy burden brought Of ‘ Never—nevermore.'” But still the Raven beguiling all my fancy in smiling, Straight I wheel a cushioned seat before the bird , and bust and door; Then, sinking in the velvet, I prepared myself to associate70 Fancy with the fancy, wondering what was this frightful bird of old— What was this fierce, rugged, ghastly, thin, and frightful bird of old that Love say croaking, “No more.” g This I sit engaged in divination, but no syllable declares To the bird whose fiery eyes now burn in my breast;75 This and more I sit in divination, 10 that my head is lying loosely On the velvet lining of the pillow with the light of the lamp. gloated o’er, But that velvet violet lining in the lamp-light gloating o’er, He must press, ah, nevermore! Then, in thought, the air grew denser, perfumed from an invisible censer80 Seraphim11 swung with foot-falls tickling the peaked floor. “Pitiful,

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