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obvious phase, has a natural termination, and so far there has been no overstepping of the limits of the real.
But in subjects so handled, however skillfully, or with however vivid an array of incident, there is always a certain hardness or nakedness, which repels the artistical eye. Two things are invariably required, - first, some amount of complexity, or, more properly, adaptation; and, secondly, some amount of suggestiveness, some under-current, however indefinite, of meaning. It is this latter, in especial, which imparts to a work of art so much of that richness (to borrow from colloquy a forcible term) which we are too fond of confounding with the ideal. It is the excess of the suggested meaning, it is the rendering this the upper instead of the under current of the theme, which turns into prose (and that of the very flattest kind) the so-called poetry of the so-called transcendentalists.
Holding these opinions, I added the two concluding stanzas of the poem; their suggestiveness being thus made to pervade all the narrative which has preceded them. The undercurrent of meaning is rendered first apparent in the lines —
“ Take thy beak from out my heart, and take thy form from
off my door!”
It will be observed that the words," from out my heart,” involve the first metaphorical expression in the poem. They, with the answer, “ Nevermore,” dispose the mind to seek a moral in all that has been previously narrated. The reader begins now to regard the raven as emblematical; but it is not until the very last line of the very last stanza, that the intention of making him emblematical of mournful and never-ending remembrance is permitted distinctly to be seen:
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: And my soul from out that shadow that lies floating on the floor
Shall be lifted NEVERMORE!
3. - ANNABEL LEE,
It was many and many a year ago,
In a kingdom by the sea,
By the name of Annabel Lee;
Than to love and be loved by me.
I was a child, and she was a child,
In this kingdom by the sea;
I and my Annabel Lee,
Coveted her and me.
And this was the reason that long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
And bore her away from me,
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and me;
In this kingdom by the sea)
Chilling and killing my Annabel Lee.
But our love it was stronger by far than the love
Of those who were older than we,
Of many far wiser than we;
Nor the demons down under the sea,
Of the beautiful Annabel Lee.
For the moon never beams, without bringing me
dreams Of the beautiful Annabel Lee; And the stars never rise, but I feel the bright eyes
Of the beautiful Annabel Lee;
In the sepulcher there by the sea,
4.- THE HAUNTED PALACE.
In the greenest of our valleys
By good angels tenanted,
Radiant palace— reared its head. .
It stood there;
Over fabric half so fair.
Banners yellow, glorious, golden,
On its roof did float and flow;
Time long ago ;)
In that sweet day,
A wingéd odor went away.
Wanderers in that happy valley,
Through two luminous windows, saw Spirits moving musically,
To a lute's well-tunéd law,
The ruler of the realm was seen.
And all with pearl and ruby glowing
Was the fair palace door,
Through which came flowing, flowing, flowing
And sparkling evermore,
Was but to sing,
The wit and wisdom of their king.
But evil things, in robes of sorrow,
Assailed the monarch's high estate. (Ah, let us mourn! for never morrow
Shall dawn upon him desolate!)
That blushed and bloomed
Of the old time entombed.
And travelers now, within that valley,
Through the red-litten windows see
To a discordant melody;
Through the pale door
And laugh — but smile no more.