2

Name

ClassPeriod

2

3

1

2

6

4

5

9

7

8

Write down the steps for reading a poem as we work through the lecture together.

Show no ________________.Will I understand everything on the first reading? Is that okay/normal?

Read the ________________.

Then, ______________. Why?

Read the

Annotate.What does this mean?

Use a ___________________to look up any words I don’t know.

Identify the ______________.Why is this important?

Notice ________________ or

_________________.List two such words:

Figure out the ____________.This includes:

Last step?

3

1

2

6

4

5

9

7

8

Write down the steps for reading a poem as we work through the lecture together.

Show no ________________.Will I understand everything on the first reading? Is that okay/normal?

Read the ________________.

Then, ______________. Why?

Read the

Annotate.What does this mean?

Use a ___________________to look up any words I don’t know.

Identify the ______________.Why is this important?

Notice ________________ or

_________________.List two such words:

Figure out the ____________.This includes:

Last step?

3

Poetry Unit Vocabulary Study Guide

I. Figurative Language________________________________________________________________

A. Imagery____________________________________________________________________

B. Metaphor___________________________________________________________________

C. Simile _____________________________________________________________________

D. Allusion____________________________________________________________________

E. Personification______________________________________________________________

F. Apostrophe _________________________________________________________________

G. Hyperbole __________________________________________________________________

H. Understatement _____________________________________________________________

I. Litotes ____________________________________________________________________

J. Metonymy _________________________________________________________________

K. Synecdoche ________________________________________________________________

II. Sound Devices ____________________________________________________________________

A. Onomatopoeia ______________________________________________________________

B. Assonance _________________________________________________________________

C. Alliteration _________________________________________________________________

D. Consonance ________________________________________________________________

E. End Rhyme _________________________________________________________________

F. Internal Rhyme ______________________________________________________________

G. Perfect Rhyme ______________________________________________________________

H. Slant Rhyme ________________________________________________________________

4

III. Measuring Poetry __________________________________________________________________

A. Meter _____________________________________________________________________

B. Foot ______________________________________________________________________

C. Iambic Pentameter ___________________________________________________________

D. Stanza _____________________________________________________________________

1. Couplet ______________________________________________________________

2. Quatrain _____________________________________________________________

3. Sestet _______________________________________________________________

4. Octave ______________________________________________________________

E. Rhyme Scheme _____________________________________________________________

F. Lines _____________________________________________________________________

1. Enjambment _________________________________________________________

2. End Stopped Rhyme ___________________________________________________

3. Caesura _____________________________________________________________

G. Sonnet ____________________________________________________________________

1. Italian Sonnet _________________________________________________________

2. English Sonnet ________________________________________________________

5

____

__ A

lliter

atio

n

____

__Al

lusio

n

____

__As

sona

nce

____

__Ba

llad

____

__C

onso

nanc

e

____

__Di

ctio

n

____

__En

jam

bmen

t

____

__Fr

ee V

erse

____

__M

etap

hor

____

__M

eter

____

__O

nom

atop

oeia

____

__Rh

ythm

____

__Si

mile

____

__St

anza

____

__Sy

mbo

l

____

__Th

eme

____

__To

ne

____

__Ve

rse

A sin

gle

line

of p

oetry

.

A un

ified

gro

up o

f lin

es in

poe

try.

This

is of

ten

mar

ked

by sp

acin

g be

twee

n se

ctio

ns o

f the

poe

m.

The

cent

ral m

eani

ng o

r do

min

ant m

essa

ge th

e po

et is

try

ing

to d

elive

r to

the

read

er.

The

attitu

de th

e po

em’s

narra

tor (

this

may

or m

ay n

ot b

e th

e ac

tual

poe

t) ta

kes

tow

ards

a su

bjec

t or c

hara

cter

: ser

ious

, hu

mor

ous,

sarc

astic

, iro

nic,

con

cern

ed,

tong

ue-in

-chee

k, so

lem

n, o

bjec

tive,

etc

.

An o

bjec

t or a

ctio

n th

at m

eans

so

met

hing

mor

e th

an it

s lite

ral

mea

ning

.

A fig

ure

of sp

eech

that

mak

es a

co

mpa

rison

bet

wee

n tw

o th

ings

us

ing

conn

ectin

g w

ords

, suc

h as

“li

ke”

or “

as.”

Ex: L

ove

is lik

e a

battle

field

.

The

auth

or’s

spec

ific

wor

d ch

oice

.

A sto

ry/n

arra

tive

in p

oetic

form

.

The

repe

tition

of v

owel

soun

ds in

a

chun

k of

text

.Ex

: “Iv

an w

ill try

to li

ght t

he fi

re.”

A br

ief r

efer

ence

to a

real

or fi

ctio

nal

perso

n, e

vent

, pla

ce, o

r wor

k of

art.

The

repe

tition

of c

onso

nant

soun

ds,

but n

ot v

owel

s, in

a c

hunk

of t

ext.

Ex: A

wor

m n

amed

Mau

rice

took

the

gard

en b

y sto

rm.

This

occu

rs w

hen

one

line

ends

with

out a

pa

use

or a

ny p

unct

uatio

n an

d co

ntin

ues o

nto

the

next

line

.

Ex:

If th

is w

ere

a po

em,

th

is w

ould

be

an

exa

mpl

e of

the

tech

niqu

e.

A w

ord

that

soun

ds li

ke w

hat i

t mea

ns.

Ex: b

uzz,

clic

k, b

ang,

sizz

le

The

recu

rrenc

e of

stre

ssed

and

uns

tress

ed

soun

ds in

poe

try. D

epen

ding

on

how

soun

ds

are

arra

nged

, the

___

__ o

f a p

oem

may

be

fast

or sl

ow, c

hopp

y or

smoo

th.

The

mea

sure

d ar

rang

emen

t of

soun

ds/b

eats

in a

poe

m, i

nclu

ding

th

e po

et’s

plac

emen

t of e

mph

asis

and

the

num

ber o

f syl

labl

es p

er li

ne.

Poet

ry th

at d

oes n

ot rh

yme

or

have

a m

easu

rabl

e m

eter

.

A fig

ure

of sp

eech

that

mak

es a

co

mpa

rison

bet

wee

n tw

o th

ings

w

ithou

t usin

g co

nnec

ting

wor

ds,

such

as “

like”

or “

as.”

Ex: L

ove

is a

battle

field

.

The

occu

rrenc

e of

the

sam

e le

tter o

r sou

nd a

t th

e be

ginn

ing

of a

djac

ent o

r clo

sely

con

nect

ed

wor

ds.

Ex: “

From

forth

the

fata

l loi

ns o

f the

se tw

o fo

es;

A p

air o

f sta

r-cro

ss’d

love

rs ta

ke th

eir l

ife.”

AB

C

DE

F

GH

I

JK

L

MN

O

PQ

R

KNO

WTH

ELI

NG

OM

atch

the

item

s bel

ow to

th

e co

rrect

defi

nitio

n.

6

7

1. Simile & Metaphor a. Simile from “Stereo Hearts” _____________________________________________________ b. Metaphor from “A Red, Red Rose” _______________________________________________

2. Exaggeration a. “Stereo Hearts” ________________________________________________________________ b. “A Red, Red Rose” ______________________________________________________________

3. Rhyme Scheme a. “Stereo Hearts” ________________________________________________________________

Explanation ____________________________________________________________________ b. “A Red, Red Rose” ______________________________________________________________

Explanation ____________________________________________________________________ 4. Lines from the Burns poem that echo theme of Gym Class Heroes song:

a. ________________________________________________________________________________ b. ________________________________________________________________________________

5. Analyze the impending separation of the couple. ______________________________________________________________________________________

6. Defend the statement that “Lyrics are poetry.” Use three poetic device examples from the Stereo Hearts song to prove your case. _______________________________________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________

7. Defend if it would be better to have a love like a red, red rose or a stereo.

______________________________________________________________________________________ _______________________________________________________________________________________

8. Which work is more effective? ______________________________ Why? ____________________

_______________________________________________________________________________________

8

9

1. Paradox line: Poem Line: _________________ Song Line: _________________

Summarize poem’s paradox: __________________________________________________________________________________

2. Slant Rhymes: a. (1st pair) ___________________________________________________________________ b. (2nd pair) __________________________________________________________________ c. How do they match the theme of the song?

____________________________________________________________________________ 3. “Breakeven” metaphor:

__________________________________________________________________________________ “Sonnet 30” simile __________________________________________________________________________________

4. Love refers to: ____________________________________________________________________ How? ____________________________________________________________________________

5. “Sonnet 30” exaggeration: __________________________________________________________________________________

6. “Sonnet 30” rhyme scheme: _______________________________________________________ How it differs/Preference & Why: __________________________________________________ __________________________________________________________________________________

7. Explain poet’s message: ___________________________________________________________ __________________________________________________________________________________

8. Which poem is more effective? Defend. ____________________________________________ __________________________________________________________________________________

9. What does this show us about human nature? ______________________________________

__________________________________________________________________________________

To receive credit, you must answer in complete, thoughtful sentences on a separate sheet of paper.

1. A paradox exists when a seemingly contradictory statement is given that, upon closer examination, reveals a compelling truth. Look over the lyrics from The Script’s song “Breakeven” and write a line that includes a paradox. Then, in your own words, summarize the paradox being discussed throughout the Edmund Spenser poem.

2. Most of the rhymes in The Script’s song are slant, meaning that the rhymes produce a similar sound but aren’t perfect rhymes. First, write two pairs of slant rhymes from the “Breakeven” lyrics. Then, explain how this usage of slant rhyme is especially appropriate, given the theme of the song.

3. Find and write down a metaphor from “Breakeven.” Then, find and write down a simile from “Sonnet 30.”

4. Look closely at the first line of “Sonnet 30.” Does “Love” in the line refer to the narrator’s feelings or to a woman? How do you know this?

The Script/Edmund Spenser – Compare and Contrast5. Spenser effectively uses exaggeration to make his point. Find and write down the line from “Sonnet 30” that effectively uses the technique of exaggeration.

6. Write down the rhyme scheme of “Sonnet 30,” and explain how it differs from the rhyme scheme in “Breakeven.”

Which structure do you prefer? Why?

7. The words “miraculous” and “wonderful” usually have a positive connotation for the

modern reader; however, the poet uses these two words for a different purpose in “Sonnet 30.”

Look closely at the lines where these two words appear and explain the poet’s message. (Hint: The last

two lines of the sonnet also touch on this message.)

8. Ultimately, which of these two pieces of writing do you find more effective in communicating the narrator’s thoughts to the audience? Explain why you prefer one work over the other.

9. These two pieces were written more than 400 years apart, yet focus on the same theme. What does this show us about human nature?

Questions

To receive credit, you must answer in complete, thoughtful sentences on a separate sheet of paper.

1. A paradox exists when a seemingly contradictory statement is given that, upon closer examination, reveals a compelling truth. Look over the lyrics from The Script’s song “Breakeven” and write a line that includes a paradox. Then, in your own words, summarize the paradox being discussed throughout the Edmund Spenser poem.

2. Most of the rhymes in The Script’s song are slant, meaning that the rhymes produce a similar sound but aren’t perfect rhymes. First, write two pairs of slant rhymes from the “Breakeven” lyrics. Then, explain how this usage of slant rhyme is especially appropriate, given the theme of the song.

3. Find and write down a metaphor from “Breakeven.” Then, find and write down a simile from “Sonnet 30.”

4. Look closely at the first line of “Sonnet 30.” Does “Love” in the line refer to the narrator’s feelings or to a woman? How do you know this?

The Script/Edmund Spenser – Compare and Contrast5. Spenser effectively uses exaggeration to make his point. Find and write down the line from “Sonnet 30” that effectively uses the technique of exaggeration.

6. Write down the rhyme scheme of “Sonnet 30,” and explain how it differs from the rhyme scheme in “Breakeven.”

Which structure do you prefer? Why?

7. The words “miraculous” and “wonderful” usually have a positive connotation for the

modern reader; however, the poet uses these two words for a different purpose in “Sonnet 30.”

Look closely at the lines where these two words appear and explain the poet’s message. (Hint: The last

two lines of the sonnet also touch on this message.)

8. Ultimately, which of these two pieces of writing do you find more effective in communicating the narrator’s thoughts to the audience? Explain why you prefer one work over the other.

9. These two pieces were written more than 400 years apart, yet focus on the same theme. What does this show us about human nature?

Questions

10

11

1. Describe the narrator’s tone in this poem. What is the narrator’s opinion of Miniver Cheevy?

2. What is the rhyme and meter of this poem? What effect does this structure give to the impact of the poem?

3. In the first quatrain, Miniver Cheevy is described as a “child of scorn.” What’s the narrator’s point in using this phrase?

4. The narrator tells us that Cheevy “dreamed of Thebes and Camelot, and Priam’s neighbors,” yet there is a different, darker way of viewing these historical places and events. Explain the possible downsides of living in any of these ancient times.

5. What two elements are personified in this poem? What’s ironic about Cheevy’s opinion of these two things?

6. Alliteration occurs frequently in the poem, as seen with Cheevy and child (line 1), Miniver mourned (line 13), and ripe renown (line 13). Locate and write down three other examples of alliteration in the poem.

7. Miniver Cheevy’s foolishness is clearly on display in the fifth quatrain. How so?

8. Does Miniver Cheevy have a job? Cite two lines that help answer this question.

9. If Miniver Cheevy had lived in an earlier time, do you believe he would have been a hero? Explain your thoughts and include a line of text from the poem that supports your stance.

10. Great poets, like Edwin Arlington Robinson, are purposeful in every word they pack into their short pieces. Look closely at the name of our central figure, Miniver Cheevy. Why, do you suppose, the author chose this unusual name for this man?

11. Why do you suppose many adults pine for the “good old days,” either an earlier era in history or their own youthful high school/college days? Is this generally a harmless or harmful thing? Why?

On a separate sheet of paper, answer the following questions.To receive credit, you must write complete, thoughtful sentences.

Miniver Cheevy Questions

1. Describe the narrator’s tone in this poem. What is the narrator’s opinion of Miniver Cheevy?

2. What is the rhyme and meter of this poem? What effect does this structure give to the impact of the poem?

3. In the first quatrain, Miniver Cheevy is described as a “child of scorn.” What’s the narrator’s point in using this phrase?

4. The narrator tells us that Cheevy “dreamed of Thebes and Camelot, and Priam’s neighbors,” yet there is a different, darker way of viewing these historical places and events. Explain the possible downsides of living in any of these ancient times.

5. What two elements are personified in this poem? What’s ironic about Cheevy’s opinion of these two things?

6. Alliteration occurs frequently in the poem, as seen with Cheevy and child (line 1), Miniver mourned (line 13), and ripe renown (line 13). Locate and write down three other examples of alliteration in the poem.

7. Miniver Cheevy’s foolishness is clearly on display in the fifth quatrain. How so?

8. Does Miniver Cheevy have a job? Cite two lines that help answer this question.

9. If Miniver Cheevy had lived in an earlier time, do you believe he would have been a hero? Explain your thoughts and include a line of text from the poem that supports your stance.

10. Great poets, like Edwin Arlington Robinson, are purposeful in every word they pack into their short pieces. Look closely at the name of our central figure, Miniver Cheevy. Why, do you suppose, the author chose this unusual name for this man?

11. Why do you suppose many adults pine for the “good old days,” either an earlier era in history or their own youthful high school/college days? Is this generally a harmless or harmful thing? Why?

On a separate sheet of paper, answer the following questions.To receive credit, you must write complete, thoughtful sentences.

Miniver Cheevy Questions

12

•

13

1. Seven Ages/Acts of a Man’s Life: ___________________________________ _______________________________________

___________________________________ _______________________________________ ___________________________________ ________________________________________ ___________________________________

2. Simile ______________________________________________________________________ a. ______________________________________________________________________ b. ______________________________________________________________________

3. Message ___________________________________________________________________ 4. Line from Poem

____________________________________________________________________________ Explanation ____________________________________________________________________________

5. Roles you play (ex. son, daughter: ____________________________________________________________________________ You truly your full self when you are…: ____________________________________________________________________________

6. Seven stages still apply? Defend. ____________________________________________________________________________ ____________________________________________________________________________

1. Look back over the poem and write down the seven roles that Shakespeare says each of us will play in life. All you need to write for this question is a list of the seven ages/acts of a man’s life.

2. What simile does Shakespeare use to describe the schoolboy? Does this comparison still fit children today? Does it fit you?

3. When describing the soldier, Shakespeare describes reputation as a “bubble.” What’s his message to the reader here?

4. According to the poem, what’s the most noticable way that elderly people begin to resemble small children? Write the line from the poem that supports your answer.

5. Some people would argue that there are not just seven ages that we pass through in our lives, but that we also play several roles within each day, altering ourselves depending on our company. What roles do you find yourself playing? When are you truly your full self?

7 Questions About The Seven Ages of Man

6. Shakespeare most likely wrote these lines in 1599. Do his seven ages still apply to people today? If so, what does this show us about humanity? If not, what new or different stages do you think would better reflect the life path of people today?

7. This poem, taken from the play As You Like It, is an example of an extended metaphor. Shakespeare takes the idea of life being a stage and people being actors on that stage (the metaphor) and extends the comparison throughout the poem. In the “Wheels of Life” cartoon (left), the artist makes a similar extended visual metaphor about age and our modes of travel. Make up your own extended metaphor about the cycle of life. Your extended metaphor can be a straight-forward paragraph

explanation, a poem, or even a drawing. Use your imagination as you create your comparison.

1. Look back over the poem and write down the seven roles that Shakespeare says each of us will play in life. All you need to write for this question is a list of the seven ages/acts of a man’s life.

2. What simile does Shakespeare use to describe the schoolboy? Does this comparison still fit children today? Does it fit you?

3. When describing the soldier, Shakespeare describes reputation as a “bubble.” What’s his message to the reader here?

4. According to the poem, what’s the most noticable way that elderly people begin to resemble small children? Write the line from the poem that supports your answer.

5. Some people would argue that there are not just seven ages that we pass through in our lives, but that we also play several roles within each day, altering ourselves depending on our company. What roles do you find yourself playing? When are you truly your full self?

7 Questions About The Seven Ages of Man

6. Shakespeare most likely wrote these lines in 1599. Do his seven ages still apply to people today? If so, what does this show us about humanity? If not, what new or different stages do you think would better reflect the life path of people today?

7. This poem, taken from the play As You Like It, is an example of an extended metaphor. Shakespeare takes the idea of life being a stage and people being actors on that stage (the metaphor) and extends the comparison throughout the poem. In the “Wheels of Life” cartoon (left), the artist makes a similar extended visual metaphor about age and our modes of travel. Make up your own extended metaphor about the cycle of life. Your extended metaphor can be a straight-forward paragraph

explanation, a poem, or even a drawing. Use your imagination as you create your comparison.

14

• ____________________________ • sea creatures • feet • ice cream • brothers and/or sisters • summer vacation • Disney films (use any you want) • zoo animals • learning to ride a bike • Your favorite T.V. show or video game • school lunches • birthday parties

• puppies and/or kittens • money • life after high school • getting a driver’s license • Mexican food • social media (Facebook/Twitter/etc.) • YouTube • The Hunger Games • hoodie sweatshirts • working out • iPods/iPads • homework • your feet and/or your hands

Possible Shakespearean Sonnet Topics

15

1

A

2

B

3

A

4

B

16

17

1. Main Message ____________________________________________________________________________

2. Rhyme Scheme ____________________________________________________________________________ Meter/Syllable Pattern ____________________________________________________________________________

3. Personification

a. ______________________________________________________________________

b. ______________________________________________________________________

4. ____________________________________________________________________________

____________________________________________________________________________

5. ____________________________________________________________________________

____________________________________________________________________________

6. ____________________________________________________________________________

____________________________________________________________________________

7. ____________________________________________________________________________

____________________________________________________________________________

8. ____________________________________________________________________________

____________________________________________________________________________

18

O me! O life!... of the questions of these recurring; Of the endless trains of the faithless — of cities fill’d with the foolish; Of myself forever reproaching myself, (for who more foolish than I, and who more faithless?) Of eyes that vainly crave the light — of the objects mean — of the struggle ever renew’d; Of the poor results of all — of the plodding and sordid crowds I see around me; Of the empty and useless years of the rest — with the rest me intertwined; The question, O me! so sad, recurring — What good amid these, O me, O life? Answer.

That you are here — that life exists, and identity; That the powerful play goes on, and you will contribute a verse.

– Walt Whitman,1891

1. Read the poem closely and summarize the first seven lines into just one sentence, using your own words. Then, summarize the message of the last two lines, again using just one sentence and your own words.

2. This poem is built in free verse, meaning it doesn’t rhyme and reads more like prose than poetry. Notice, though, the unique structure and Whitman’s dramatic use of white space between the two sections. What is

O Me! O Life! – Walt Whitman

his reason for physically structuring the poem in this way?

3. In the third line, the speaker adds himself to the pathetic crowd of the “faithless” and “foolish.” What effect does this have on the reader?

4. In a thesaurus, look up the word “sordid” and write down two synonyms. In your experience, do you think this word is appropriate to describe large groups of people? Why or why not? Be sure to give an example from our modern lives as you explain your answer.

5. In line four, the speaker says that our eyes “vainly crave the light.” This is an example of symbolism. What does “light” refer to here?

6. Also in line four, the speaker mentions “the objects mean.” To what, do you suppose, this phrase refers?

7. Walt Whitman is one of the most celebrated poets in the canon of American literature. After examining this poem, what do you think Whitman’s verse has turned out to be? What do you want your verse to be?

Questions

On a separate sheet of paper, answer the following questions with thoughtful, complete sentences.

Walt Whitman, 1819-1892

Laura Randazzo

19

20

21

22

PoemsImightliketouse…

1. _____________________________________________________________________________________________________

by__________________________________________________________________________________________________

2. _____________________________________________________________________________________________________

by__________________________________________________________________________________________________

3. _____________________________________________________________________________________________________

by__________________________________________________________________________________________________

4. _____________________________________________________________________________________________________

by__________________________________________________________________________________________________

5. _____________________________________________________________________________________________________

by__________________________________________________________________________________________________

23

24

1. Extended metaphor: a. _________________________________________________________ b. _________________________________________________________ c. _________________________________________________________ d. _________________________________________________________

2. Emotional Contrast __________________________________________________________________________________________ Point being made? ________________________________________________________________________ __________________________________________________________________________________________

3. Answer: __________________________________________________________________________________ Line from poem: __________________________________________________________________________

4. List/Explain the different reactions from the sailor. _________________________________________ __________________________________________ _________________________________________ __________________________________________

5. Why does Whitman break the rhyming pattern? ___________________________________________________________________________________________

6. Describe “Elegy for JFK”’s rhyme or meter. ___________________________________________________________________________________________ How does this emphasize theme? ___________________________________________________________

7. What would be joyful about this tragedy? ___________________________________________________ 8. Technique used? _________________________________________ Effect: __________________________

___________________________________________________________________________________________ 9. Which poem: _________________________________ Why? _______________________________________

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But the Raven, sitting lonely on that placid bust, spoke onlyThat one word, as if his soul in that one word he did outpour.Nothing further then he uttered; not a feather then he fluttered—Till I scarcely more than muttered, “Other friends have flown before—On the morrow he will leave me, as my Hopes have flown before.” Then the bird said, “Nevermore.” Startled at the stillness broken by reply so aptly spoken,“Doubtless,” said I, “what it utters is its only stock and storeCaught from some unhappy master whom unmerciful DisasterFollowed fast and followed faster till his songs one burden bore—Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore.’” But the Raven still beguiling all my sad soul into smiling,Straight I wheeled a cushioned seat in front of bird and bust and door;Then, upon the velvet sinking, I betook myself to linkingFancy unto fancy, thinking what this ominous bird of yore—What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.” This I sat engaged in guessing, but no syllable expressingTo the fowl whose fiery eyes now burned into my bosom’s core;This and more I sat divining, with my head at ease recliningOn the cushion’s velvet lining that the lamplight gloated o’er,But whose velvet-violet lining with the lamplight gloating o’er She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censerSwung by Seraphim whose foot-falls tinkled on the tufted floor.“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent theeRespite—respite and nepenthe from thy memories of Lenore!Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven, “Nevermore.” “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!Whether Tempter sent, or whether tempest tossed thee here ashore,Desolate yet all undaunted, on this desert land enchanted—On this home by Horror haunted—tell me truly, I implore—Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven, “Nevermore.” “Prophet!” said I, “thing of evil—prophet still, if bird or devil!By that Heaven that bends above us—by that God we both adore—Tell this soul with sorrow laden if, within the distant Aidenn,It shall clasp a sainted maiden whom the angels name Lenore—Clasp a rare and radiant maiden whom the angels name Lenore.’ Quoth the Raven, “Nevermore.” “Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—“Get thee back into the tempest and the Night’s Plutonian shore!Leave no black plume as a token of that lie thy soul hath spoken!Leave my loneliness unbroken!—quit the bust above my door!Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven, “Nevermore.” And the Raven, never flitting, still is sitting, still is sittingOn the pallid bust of Pallas just above my chamber door;And his eyes have all the seeming of a demon’s that is dreamingAnd the lamplight 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!

nce 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.” Ah, distinctly I remember it was in the bleak December,And each separate dying ember wrought its ghost upon the floor.Eagerly I wished the morrow;—vainly I had sought to borrowFrom my books surcease of sorrow—sorrow for the lost Lenore—For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore. And the silken sad uncertain rustling of each purple curtainThrilled me—filled me with fantastic terrors never felt before;So that now, to still the beating of my heart, I stood repeating“’Tis some visitor entreating entrance at my chamber door—Some late visitor entreating entrance at my chamber door; This it is and nothing more.” Presently my soul grew stronger; hesitating then no longer,“Sir,” said I, “or Madam, truly your forgiveness I implore;But the fact is I was napping, and so gently you came rapping,And so faintly you came tapping, tapping at my chamber door,That I scarce was sure I heard you”—here I opened wide the door;—— Darkness there and nothing more. Deep into that darkness peering, long I stood there wondering, fearing,Doubting, dreaming dreams no mortals ever dared to dream before;But the silence was unbroken, and the stillness 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 again I heard a tapping something 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 a minute 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. 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.” Much I marvelled this ungainly fowl to hear discourse so plainly,Though its answer little meaning—little relevancy bore;For we cannot help agreeing that no living human beingEver yet was blessed with seeing bird above his chamber door—Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”

RavenTheBy Edgar Allan PoeO

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AcrosticPoetry