originality. The extent to which this has been neglected in versification is one of the most
unaccountable things in the world. Admitting that there is little possibility of variety in mere
rhythm, it is still clear that the possible varieties of metre and stanza are absolutely infinite, and
yet, for centuries, no man, in verse, has ever done, or ever seemed to think of doing, an original
thing. The fact is that originality (unless in minds of very unusual force) is by no means a matter,
as some suppose, of impulse or intuition. In general, to be found, it must be elaborately sought,
and although a positive merit of the highest class, demands in its attainment less of invention
than negation.
Of course I pretend to no originality in either the rhythm or metre of the 'Raven.' The former is
trochaic- the latter is octametre acatalectic, alternating with heptametre catalectic repeated in the
refrain of the fifth verse, and terminating with tetrametre catalectic. Less pedantically the feet
employed throughout (trochees) consist of a long syllable followed by a short, the first line of the
stanza consists of eight of these feet, the second of seven and a half (in effect two-thirds), the
third of eight, the fourth of seven and a half, the fifth the same, the sixth three and a half. Now,
each of these lines taken individually has been employed before, and what originality the
'Raven' has, is in their combination into stanza; nothing even remotely approaching this has
ever been attempted. The effect of this originality of combination is aided by other unusual and
some altogether novel effects, arising from an extension of the application of the principles of
rhyme and alliteration.
The next point to be considered was the mode of bringing together the lover and the Raven- and
the first branch of this consideration was the locale. For this the most natural suggestion might
seem to be a forest, or the fields- but it has always appeared to me that a close circumscription of
space is absolutely necessary to the effect of insulated incident- it has the force of a frame to a
picture. It has an indisputable moral power in keeping concentrated the attention, and, of course,
must not be confounded with mere unity of place.
I determined, then, to place the lover in his chamber- in a chamber rendered sacred to him by
memories of her who had frequented it. The room is represented as richly furnished- this in mere
pursuance of the ideas I have already explained on the subject of Beauty, as the sole true poetical
thesis.
The locale being thus determined, I had now to introduce the bird- and the thought of introducing
him through the window was inevitable. The idea of making the lover suppose, in the first
instance, that the flapping of the wings of the bird against the shutter, is a 'tapping' at the door,
originated in a wish to increase, by prolonging, the reader's curiosity, and in a desire to admit the
incidental effect arising from the lover's throwing open the door, finding all dark, and thence
adopting the half-fancy that it was the spirit of his mistress that knocked.
I made the night tempestuous, first to account for the Raven's seeking admission, and secondly,
for the effect of contrast with the (physical) serenity within the chamber.
I made the bird alight on the bust of Pallas, also for the effect of contrast between the marble and
the plumage- it being understood that the bust was absolutely suggested by the bird- the bust of
Pallas being chosen, first, as most in keeping with the scholarship of the lover, and secondly, for
the sonorousness of the word, Pallas, itself.
About the middle of the poem, also, I have availed myself of the force of contrast, with a view of
deepening the ultimate impression. For example, an air of the fantastic- approaching as nearly to
the ludicrous as was admissible- is given to the Raven's entrance. He comes in 'with many a flirt
and flutter.'
Not the least obeisance made he- not a moment stopped or stayed he,
But with mien of lord or lady, perched above my chamber door.
In the two stanzas which follow, the design is more obviously carried out:-
Then this ebony bird, beguiling my sad fancy into smiling
