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verses which is always evidence of a finely strung nervous system.

ANNABEL LEE.

" It was many and many a year ago,

In a kingdom by the sea,
That a maiden there lived whom you may know

By the name of Annabel Lee;
And this maiden she lived with no other thought

Than to love and be loved by me.

I was a child and she was a child,

In this kingdom by the sea.
But we loved with a love that was more than love

I and my Annabel Leer
With a love that the winged seraphs of heaven

· 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;
So that her high-born kinsmen came

And bore her away from me,
To shut her up in a sepulchre

In this kingdom by the sea."

The next line is a striking proof of that mixture of puerility and beauty, which, like the conflict of his own discordant

nature, renders his writings as well as himself a problem to his fellow men.

There is great force and beauty in

“ The wind came out of the cloud by night,"

and yet how immediately he spoils the effect for the sake of the jingle of " chilling and killing—"

“ The angels, not half so happy in heaven,

Went envying her and me
Yes !_that was the reason (as all men know

In this kingdom by the sea)
That the wind came out of the cloud by night,

Chilling and killing my Annabel Lee.

“ But our love, it was stronger by far than the love

Of those who are older than wem

Of many far wiser than we-
And neither the angels in heaven above,

Nor the demons down under the sea,
Can ever dissever my soul from the soul

Of the beautiful Annabel Lee.

“For the moon never beams without bringing me dreams

Of the beautiful Annabel Lee; 1
And the stars never rise, but I feel the bright eyes

Of the beautiful Annabel Lee:
And so, all the night-tide, I lie down by the side
Of my darling—my darling--my life and my bride,

In her sepulchre there by the sea-
In her tomb by the sounding sea.”

Well known as the “ Raven” is, we should leave the poetical idea of him incomplete without illustrating our remarks by a quotation. We have printed the stanzas differently in shape to the method he has followed, but the words are of course unaltered.

“Once upon a midnight dreary,
While I pondered weak and weary,
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 visitor,' I muttered,
Tapping at my chamber door

Only this, and nothing more.'”

The next stanza closes with one of the finest touches of poetical imagery and pathos.

“ For the rare and radiant maiden
Whom the angels name Lenore."

As Coleridge says, “ beautiful exceedingly."

The mechanical structure of the verse is very apparent when read with attention to the pauses. Nevertheless, it is a poem which will always give pleasure to the reader, even though it be read for the hundredth time; for, notwithstanding the marked arith

POE

metic of the shape, it is one of those few productions which bear repetition without palling.

“ Deep into that darkness peering,
Long I stood there, wondering, fearing,
Doubting, dreaming dreams no mortal

Ever dared to dream before ;
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.”

The last stanza is very felicitous.

How visibly the poet's intention to produce effect by the outer shape of verse is here made apparent :

" 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.'”

“ 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

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