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1、Theravenlonelymantriestoeasehis,sorrowforthelost1.enore,“bydistractinghismindwitholdbooksofforgottenlore.Hcisinterruptedwhileheisnearlynapping,*byawtappingonhischamberdoor.Asheopensupthedoor,hefindsdarknessthereandnothingmore.Intothedarknesshewhispers,*1.enore,“hopinghislostlovehadcomeback,butal1tha
2、tcouldbeheardwasanechothatmurmuredbacktheword1.enore!Withaburningsou,themanreturnstohischamber,andthistimehecanhearatappingatthewindowlattice.sheflungopentheshutter,wintheresteppedastatelyRaVen,“thebirdofill-omen(Poe,1850).TheravenperchedonthebustofPallas,thegoddessofwisdominGreekmythology,abovehisc
3、hamberdoor.ThemanaskstheRavenforhisname,andsurprisinglyitanswers,andcroaksNevermore.Themanknowsthatthebirddoesnotspeakfromwisdom,buthasbeentaughlby“someunhappymaster,“andthatthewordnevermore”isitsonlywstockandstore.wThemanwelcomestheraven,andisafraidthattheravenwi11begoneinthemorning,“ashisHopeshave
4、flownbefore”;however,theravenanswers,“Nevermore.Themansmiled,andpulledupachair,interestedinwhattheraven“meantincroaking,蝴evermore.?Thechair,where1.enoreoncesat,broughtbackpainfulmemories.Theman,whoknowstheirrationalnatureintheravenspeech,stillcannothelpbutasktheravenquestions.Sincethenarratorisaware
5、thattheravenonlyknowsoneword,hecananticipatethebird,sresponses.IstherebalminGilead?”-“Nevermore.Can1.enorebefoundinparadise?-“Nevermore.”Takethyformfromoffmydoor!w-“Nevermore.Finallythemanconcedes,realizingthattocontinuethisdialoguewou1dbepointless.Andhissou】fromoutthatshadowthattheraventhrowsonthef
6、loor,ShallbeliftedNevermore!*SymbolsInthispoem,oneofthemostfamousAmericanpoemsever,Poeusesseveralsymbolstotakethepoemtoahigherlevel.Themostobvioussymbolis,ofcourse,theravenitself.WhenPoehaddecidedtousearefrainthatrepeatedthewordnevermore,“hefoundthatitwouIdbemosteffectiveifheusedanon-reasoningcreatu
7、retouttertheword.Itwouldmakelittlesensetouseahuman,sincethehumancouldreasontoanswerthequestions(Poe,1850).InTheRavenwitisimportantthattheanswerstothequestionsarealreadyknown,toi1lustratetheself-torturetowhichthenarratorexposeshimself.Thiswayofinterpretingsignsthatdonotbeararealmeaning,isoneofthemost
8、profoundimpulsesofhumannature*(Quinn,2019:441).Poealsoconsideredaparrotasthebirdinsteadoftheraven;however,becauseofthemelancholytone,andthesymbolismofravensasbirdsofi1l-omcn,hefoundtheravenmoresuitableforthemoodinthepoem(Poe,1850).QuoththeParrot,“Nevermore?”AnotherobvioussymbolisthebustofPallas.Whyd
9、idtheravendecidetoperchonthegoddessofwisdom?Onereasoncouldbe,becauseitwouldleadthenarratortobe1ievethattheravenspokefromwisdom,andwasnotjustrepeatingitsonlystockandstore,“andtosignifythescholarshipofthenarrator.Anotherreasonforusing“Pallasinthepoemwas,accordingtoPoehimself,simplybecauseofthesonorous
10、nessoftheword,Pallas,itself”(Poe,1850).Alessobvioussymbol,mightbetheuseofmidnight”inthefirstverse,and”Decemberinthesecondverse.BothmidnightandDecember,symbolizcanendofsomething,andalsotheanticipationofsomethingnew,achange,tohappen.ThemidnightinDecember,mightverywellbeNewYCar拒eve,adatemostofusconnect
11、withchange.ThisalsoseemstobewhatViktorRydbergbelieveswhenheistranslatingwTheRaventoSwedish,sinceheusesthephrase”绘et$sistanattvarinne,(*Thelastnightoftheyearhadarrived*).KennethSilvermanconnectedtheuseofDecemberwithIhcdeathofEdgarIIImother(SiIvcrman,1992:241),whodiedinthatmonth;whetherthisistrueornot
12、is,however,notsignificanttoitsmeaninginthepoem.Thechamberinwhichthenarratorispositioned,isusedtosignifytheIonelinessoftheman,andthesorrowhefeelsforthelossof1.enore.Theroomisrichlyfurnished,andremindsthenarratorofhislostlove,whichhelpstocreateaneffectofbeautyinthepoem.Thetempestoutside,isusedtoevenmo
13、resignifytheisolationofthisman,toshowasharpcontrastbetweenthecalmnessinthechamberandthetempestuousnight.Thephrase“fromoutmyheart,“Poeclaims,isused,incombinationwiththeanswerNevermore,“toletthenarratorrealizethatheshouldnottrytoseekamoralinwhathasbeenpreviouslynarrated(Poe,1850).WordsPoehadanextensiv
14、evocabulary,whichisobvioustothereadersofbothhispoetryaswellashisfiction.Sometimesthismeantintroducingwordsthatwerenotcommonlyused.InTheRaven,“theuseofancientandpoeticlanguageseemsappropriate,sincethepoemisaboutamanspendingmostofhistimewithbooksofforgottenlore.*Seraphim.,inthefourteenthverse,“perfume
15、dbyanunseencenser/Swungbyseraphimwhosefoot-fallstinkledisusedtoillustratetheswift,invisiblewayascentspreadsinaroom.Aseraphimisoneofthesix-wingedangelsstandinginthepresenceofGod.Nepenthe./fromthesameverse,isapotion,usedbyancientstoinduceforgetfulInesofpainorsorrow.BalminGilead.wfromthefollowingverse,
16、isasoothingointmentmadeinGilead,amountainousregionofPalestineeastoftheJordanriver.Aidenn,fromthesixteenthverse,isanArabicwordforEdenorparadise.Plutonian,characteristicofPluto,thegodoftheunderworldinRomanmythology.ThePhilosphyofC(MsitionEdgarAllanPoewroteanessayonthecreationOf”TheRaven,“entitledThePh
17、iIosophyofComposition.InthatessayPoedescribestheworkofcomposingthepoemasifitwereamathematicalproblem,andderidesthepoetsthatclaimthattheycomposebyaspeciesoffinefrenzy-anecstaticintuition-andwouldpositivelyshudderatlettingthepublictakeapeepbehindthescenes.WhetherPOewasascalculatingasheclaimswhenhewrot
18、e*TheRavenwornotisaquestionthatcannotbeanswered：itis,however,unlikelythathecreateditexactlylikehedescribedinhisessay.Thethoughtsoccurringintheessaymightwel1haveoccurredtoPoewhiIehewascomposingit.InThePhiIosophyofComposition,“Poestressestheneedtoexpressasingleeffectwhentheliteraryworkistobereadinones
19、itting.Apoemshouldalwaysbewrittenshortenoughtobereadinonesitting,andshould,therefore,strivetoachievethissingle,uniqueeffect.Consequently,Poefiguredthatthelengthofapoemshouldstayaroundonehundred1ines,andTheRaven”is1081ines.Themostimportantthingtoconsiderin“PhiIosophy”isthefactthatTheRaven,aswellasman
20、yofPoe,stales,iswrittenbackwards.Theeffectisdeterminedfirst,andthewholeplotisset：thenthewebgrowsbackwardsfromthatsingleeffect.Poestalesofratiocination,z,e.g.theDupintales,arewritteninthesamemanner.NothingismoreclearIhanthateveryplot,worththename,mustbeelaboratedtoitsdenouementbeforeanythingbeattempt
21、edwiththepen”(Poe,1850).ItwasimportanttoPoetomakeTheRaven*universallyappreciable.*Itshouldbeappreciatedbythepubic,aswellasthecritics.PoechoseBeautytobethethemeofthepoem,sinceBcaulyisthesolelegitimateprovinceofthePOenr(Poe,1850).AfterchoosingBeautyastheprovince,Poeconsideredsadnesstobethehighestmanif
22、estationofbeauty.Beautyofwhateverkindinitssupremedevelopmentinvariablyexcitesthesensitivesoultotears.Melancholyisthusthemostlegitimateofallthepoeticaltones”(Poe,1850).Ofal1melancholytopics,Poewantedtousetheonethatwasuniversallyunderstood,andtherefore,hechoseDeathashistopic.Poe(alongwithotherwriters)
23、belicvedthatthedeathofabeautifulwomanwasthemostpoeticaluseofdeath,becauseitcloselyal1iesitselfwithBeauty.Afterestablishingsubjectsandtonesofthepoem,PoestartedbywritingthestanzathatbroughtIhenarrators“interrogationoftheraventoaclimax,thethirdversefromtheend,andhemadesurethatnopreceedingstanzawould“su
24、rpassthisinrythmicaleffect.PoethenworkedbackwardsfromthisstanzaandusedthewordNevermore”inmanydifferentways,sothatevenwiththerepetitionofthisword,itwouldnotprovetobemonotonous.Poebuildsthetensioninthispoemup,stanzabystanza,butaftertheclimaxingstanzahetearsthewholethingdown,andletsthenarratorknowthatthereisnomeaninginsearchingforamoralintheravensnevermore”.TheRavenisestablishedasasymbolforthenarrator*swMournfulandnever-endingremembrance.”Andmysoulfromoutthatshadow,that1iesfloatingonthefloor,shallbelifted-nevermore!*
