«The «The Fascinating Fascinating World of World of American American Poetry»Poetry»

The Poetry of the United The Poetry of the United States States of the XIX Centuryof the XIX Century

The poetry of the United States naturally arose first The poetry of the United States naturally arose first during its beginnings as the Constitutionally-unified during its beginnings as the Constitutionally-unified thirteen colonies (although prior to this, a strong thirteen colonies (although prior to this, a strong oral tradition often likened to poetry existed among oral tradition often likened to poetry existed among Native American societies). Unsurprisingly, most of Native American societies). Unsurprisingly, most of the early colonists' work relied on contemporary the early colonists' work relied on contemporary British models of poetic form, diction, and theme. British models of poetic form, diction, and theme. However, in the 19th century, a distinctive However, in the 19th century, a distinctive American idiom began to emerge. By the later part American idiom began to emerge. By the later part of that century, when Walt Whitman was winning of that century, when Walt Whitman was winning an enthusiastic audience abroad, poets from the an enthusiastic audience abroad, poets from the United States had begun to take their place at the United States had begun to take their place at the forefront of the English-language forefront of the English-language avant-gardeavant-garde..

Dark romanticism is a literary subgenre that Dark romanticism is a literary subgenre that emerged from the Transcendental philosophical emerged from the Transcendental philosophical movement popular in nineteenth-century movement popular in nineteenth-century America. Works of literature that were influenced America. Works of literature that were influenced by Transcendental thought but which didn't by Transcendental thought but which didn't completely embrace the movement comprise the completely embrace the movement comprise the category. Such works are notably less optimistic category. Such works are notably less optimistic than Transcendental texts about mankind, than Transcendental texts about mankind, nature, and divinity. Authors considered most nature, and divinity. Authors considered most representative of dark romanticism are Edgar representative of dark romanticism are Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Allan Poe, Nathaniel Hawthorne, Herman Melville, poet Emily Dickinson and Italian poet Ugo poet Emily Dickinson and Italian poet Ugo Foscolo.Foscolo.

Edgar Allan PoeEdgar Allan Poe(1809-1849)(1809-1849)

Poe was, perhaps, the most strange and extreme Poe was, perhaps, the most strange and extreme figure in romantic tradition of American literature. figure in romantic tradition of American literature. Brought in a society of merchants, lawyers and Brought in a society of merchants, lawyers and almost feudal landowners, Poe had to live and work almost feudal landowners, Poe had to live and work among the inheritors of northern bourgeois among the inheritors of northern bourgeois conscience. He disliked the general anti-poetic quality conscience. He disliked the general anti-poetic quality of American life, the prevailing commercial values of American life, the prevailing commercial values that had taken over America. Edgar Allan Poe was that had taken over America. Edgar Allan Poe was born in Boston. His mother, an itinerant actress, died born in Boston. His mother, an itinerant actress, died in 1811, and the boy was adopted by John Allan, a in 1811, and the boy was adopted by John Allan, a wealthy merchant.wealthy merchant.

From 1815 to 1820 the Allans lived in England, and From 1815 to 1820 the Allans lived in England, and the boy attended school there. When the family the boy attended school there. When the family returned to Richmond, he went to the local academy.returned to Richmond, he went to the local academy.

By his seventeen Poe received the normal education of a young By his seventeen Poe received the normal education of a young gentleman. In 1826 he went to the University of Virginia, but was gentleman. In 1826 he went to the University of Virginia, but was removed from there in 1827. The same year he ran off to Boston removed from there in 1827. The same year he ran off to Boston where he published “Tamerlane and Other Poems”. Then he where he published “Tamerlane and Other Poems”. Then he enlisted in the army and in 1830 entered the Military Academy of enlisted in the army and in 1830 entered the Military Academy of West Point. West Point.

After being discharged from West Point in 1831, he went to After being discharged from West Point in 1831, he went to Baltimore where he began writing short stories and Baltimore where he began writing short stories and was was successfully engaged in writing articles and short stories for successfully engaged in writing articles and short stories for periodicals. periodicals. While living in Philadelphia from 1839 to 1844 Poe While living in Philadelphia from 1839 to 1844 Poe wrote his best stories which were collected as “Tales of the wrote his best stories which were collected as “Tales of the Grotesque and Arabesque” (1840). Further editorial troubles Grotesque and Arabesque” (1840). Further editorial troubles caused him once again to move to New York, where he published caused him once again to move to New York, where he published “The Raven and Other Poems and Tales”, both in 1845. By the “The Raven and Other Poems and Tales”, both in 1845. By the middle of the forties Poe was a well-known member of the New middle of the forties Poe was a well-known member of the New York literary circle. York literary circle.

Poe is a great literary figure whose contribution is Poe is a great literary figure whose contribution is outstanding both in the field of short fiction and the outstanding both in the field of short fiction and the field of poetry. As a short-story writer he is field of poetry. As a short-story writer he is considered the inventor of the detective story, considered the inventor of the detective story, particularly that of “ratiocination” (like “The Purloined particularly that of “ratiocination” (like “The Purloined Letter”); and he is as attractive in his stories of Letter”); and he is as attractive in his stories of “ratiocination” as in the stories of horror like “The Fall “ratiocination” as in the stories of horror like “The Fall of the House of Usher and The Black Cat”.of the House of Usher and The Black Cat”.

As a critic Poe laid down rules for creating a As a critic Poe laid down rules for creating a successful work of art in his “Philosophy of successful work of art in his “Philosophy of Composition”.Composition”.

As a poet Poe became a part of European merit due As a poet Poe became a part of European merit due to Mallarmé’s translations into French and Brusov’s to Mallarmé’s translations into French and Brusov’s and Balmot’s translations into Russian.and Balmot’s translations into Russian.

One of his most famous works is his One of his most famous works is his poem poem ""The RavenThe Raven".".

Edgar Allan Poe first published it in January 1845. Edgar Allan Poe first published it in January 1845. Noted for its musicality, stylized language and Noted for its musicality, stylized language and supernatural atmosphere, it tells of a talking supernatural atmosphere, it tells of a talking raven's mysterious visit to a distraught lover. The raven's mysterious visit to a distraught lover. The lover, often identified as a student, is lamenting lover, often identified as a student, is lamenting the loss of his love Lenore. The raven, sitting on a the loss of his love Lenore. The raven, sitting on a bust of Pallas, seems to further instigate his bust of Pallas, seems to further instigate his distress with its repeated word, "distress with its repeated word, "NevermoreNevermore.“.“

"The Raven" follows an unnamed narrator who "The Raven" follows an unnamed narrator who sits reading "ancient lore"s a method to forget sits reading "ancient lore"s a method to forget the loss of his love Lenore. A rapping is heard at the loss of his love Lenore. A rapping is heard at his window. When he goes to investigate, a raven his window. When he goes to investigate, a raven steps into his chamber. Paying no attention to the steps into his chamber. Paying no attention to the man, the raven perches on a bust of Pallas.man, the raven perches on a bust of Pallas.

The raven The raven perches on a perches on a bust of Pallas, a bust of Pallas, a symbol of symbol of wisdom meant to wisdom meant to imply the imply the narrator is a narrator is a scholar.scholar.

Amused by the raven's comically serious disposition, Amused by the raven's comically serious disposition, the man demands that the bird tell him its name. The the man demands that the bird tell him its name. The raven's only answer is "Nevermore." The raven raven's only answer is "Nevermore." The raven responds all the quesresponds all the questtions with "Nevermore." The ions with "Nevermore." The narrator is convinced that this single word is all that narrator is convinced that this single word is all that the bird can say.the bird can say.

Even so, the narrator pulls his chair directly in front of Even so, the narrator pulls his chair directly in front of the raven, determined to learn more about it. He the raven, determined to learn more about it. He thinks for a moment, not saying anything, but his thinks for a moment, not saying anything, but his mind wanders back to his lost Lenore. Finally, he asks mind wanders back to his lost Lenore. Finally, he asks the raven if Lenore is in heaven. When the raven the raven if Lenore is in heaven. When the raven responds with its typical "Nevermore," he shrieks and responds with its typical "Nevermore," he shrieks and commands the raven to return to the "Plutonian commands the raven to return to the "Plutonian shore," though it never moves. The narrator's final shore," though it never moves. The narrator's final admission is that his soul is trapped beneath the admission is that his soul is trapped beneath the raven's shadow and shall be lifted "Nevermore."raven's shadow and shall be lifted "Nevermore."

The main theme of the poem is one of undying The main theme of the poem is one of undying devotion. The narrator has a perverse conflict devotion. The narrator has a perverse conflict between desire to forget and desire to remember. between desire to forget and desire to remember. In fact, he seems to get some pleasure from In fact, he seems to get some pleasure from focusing on loss.focusing on loss.

Poe chose a raven as the central symbol in the Poe chose a raven as the central symbol in the story because he wanted a "non-reasoning" story because he wanted a "non-reasoning" creature capable of speech. He decided on a creature capable of speech. He decided on a raven, which he considered "equally capable of raven, which he considered "equally capable of speech" as a parrot, because it matched his speech" as a parrot, because it matched his intended tone.intended tone.

Poe may also have been drawing upon various Poe may also have been drawing upon various references to ravens in mythology and folklore. In references to ravens in mythology and folklore. In Norse mythology Odin possessed two ravens Norse mythology Odin possessed two ravens named Hugin and Munin representing thought named Hugin and Munin representing thought and memory, just as Poe's raven.and memory, just as Poe's raven.

The raven itself, Poe says, is meant to symbolize The raven itself, Poe says, is meant to symbolize Mournful and Never-ending RemembranceMournful and Never-ending Remembrance. This . This may imply an autobiographical significance to the may imply an autobiographical significance to the poem, alluding to the many people from Poe's life poem, alluding to the many people from Poe's life that had died.that had died.

Poe first brought "The Raven" to his friend and Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the Magazine in Philadelphia. Graham declined the poem, which may not have been in its final poem, which may not have been in its final version, though he gave Poe $15 as charity. Poe version, though he gave Poe $15 as charity. Poe then attempted to place the poem with The then attempted to place the poem with The American Review, which paid him $9 for it.American Review, which paid him $9 for it.

Though it was first sold to The American Review, Though it was first sold to The American Review, which printed it in February 1845, "The Raven" which printed it in February 1845, "The Raven" was first published in the Evening Mirror on was first published in the Evening Mirror on January 29, 1845 as an "advance copy.“January 29, 1845 as an "advance copy.“

The Raven, Poe's The Raven, Poe's work of dark work of dark romanticism, as romanticism, as illustrated by illustrated by Gustave Doré.Gustave Doré.

Edgar Allan PoeEdgar Allan Poe explains that every component of explains that every component of the poem is based on logic. No aspect of the the poem is based on logic. No aspect of the poem was an accident, he claims, but is based on poem was an accident, he claims, but is based on total control by the author. Even the term total control by the author. Even the term "Nevermore," he says, is used because of the "Nevermore," he says, is used because of the effect created by the long vowel sounds.effect created by the long vowel sounds.

Not the least Not the least obeisance made obeisance made he, as illustrated he, as illustrated by Gustave Doré by Gustave Doré (1884). Doré's (1884). Doré's illustrations were illustrations were meant to follow meant to follow specific lines of specific lines of the poem.the poem.

Poe had toyed with the long "o" sound throughout Poe had toyed with the long "o" sound throughout many other poems: "no more" in "Silence," many other poems: "no more" in "Silence," "evermore" in "The Conqueror Worm." The topic "evermore" in "The Conqueror Worm." The topic itself, Poe says, was chosen because "the death... of itself, Poe says, was chosen because "the death... of a beautiful woman is unquestionably the most a beautiful woman is unquestionably the most poetical topic in the world."poetical topic in the world."

Beyond the poetics of it, the lost Lenore may have Beyond the poetics of it, the lost Lenore may have been inspired by events in Poe's own life as well, been inspired by events in Poe's own life as well, either to the early loss of his mother Eliza Poe or the either to the early loss of his mother Eliza Poe or the long-illness endured by his wife Virginia.long-illness endured by his wife Virginia.

Later publications of "The Raven" included artwork Later publications of "The Raven" included artwork by well-known illustrators. Notably, in 1858 "The by well-known illustrators. Notably, in 1858 "The Raven" appeared in a British Poe anthology with Raven" appeared in a British Poe anthology with illustrations by John Tenniel, the illustrations by John Tenniel, the Alice in Alice in WonderlandWonderland illustrator. illustrator.

In part due to its dual printing, "The Raven" made In part due to its dual printing, "The Raven" made Edgar Allan Poe a household name almost Edgar Allan Poe a household name almost immediately–people began to identify poem with poet, immediately–people began to identify poem with poet, earning Poe the nickname "The Raven." The poem earning Poe the nickname "The Raven." The poem was soon widely reprinted, imitated, and parodied. was soon widely reprinted, imitated, and parodied.

Poe's popularity resulted in invitations to recite "The Poe's popularity resulted in invitations to recite "The Raven" and to lecture–in public and at private social Raven" and to lecture–in public and at private social gatherings.gatherings.

At one literary salon, a guest noted, "to hear [Poe] At one literary salon, a guest noted, "to hear [Poe] repeat the Raven... is an event in one's life. He would repeat the Raven... is an event in one's life. He would turn down the lamps till the room was almost dark, turn down the lamps till the room was almost dark, then standing in the center of the apartment he would then standing in the center of the apartment he would recite... in the most melodious of voices... So recite... in the most melodious of voices... So marvelous was his power as a reader that the auditors marvelous was his power as a reader that the auditors would be afraid to draw breath lest the enchanted would be afraid to draw breath lest the enchanted spell be broken."spell be broken."

Parodies sprung up especially in Boston, New York, Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by and Philadelphia and included "The Craven" by "Poh!," "The Gazelle," "The Whippoorwill," and "The "Poh!," "The Gazelle," "The Whippoorwill," and "The Turkey." Though it made Poe popular in his day, it Turkey." Though it made Poe popular in his day, it did not bring him significant financial success.did not bring him significant financial success.

Edgar Allan Poe was probably the most recognized Edgar Allan Poe was probably the most recognized American poet outside of America during this period. American poet outside of America during this period. Diverse authors in France, Sweden and Russia were Diverse authors in France, Sweden and Russia were heavily influenced by his works, and his poem "The heavily influenced by his works, and his poem "The Raven" swept across Europe, translated into many Raven" swept across Europe, translated into many languages. In the twentieth century the American languages. In the twentieth century the American poet William Carlos Williams said of Poe that poet William Carlos Williams said of Poe that he is he is the only solid ground on which American the only solid ground on which American poetry is anchored.poetry is anchored.

After its initial After its initial publication, The publication, The Raven was Raven was illustrated by illustrated by many well-many well-known artists, known artists, including including Édouard Manet Édouard Manet (1875).(1875).

The Raven The Raven Once upon a midnight dreary, while I Once upon a midnight dreary, while I

pondered, weak and weary, pondered, weak and weary, Over many a quaint and curious volume of Over many a quaint and curious volume of

forgotten lore - forgotten lore - While I nodded, nearly napping, suddenly While I nodded, nearly napping, suddenly

there came a tapping, there came a tapping, As of someone gently rapping, rapping at As of someone gently rapping, rapping at

my chamber door. my chamber door. «’Tis some visitor», I muttered, «tapping «’Tis some visitor», I muttered, «tapping

at my chamber door: at my chamber door:      Only this and nothing more».      Only this and nothing more».

Deep into the darkness peering, long I Deep into the darkness peering, long I stood there, wondering, fearing, stood there, wondering, fearing,

Doubting, dreaming dreams no mortal Doubting, dreaming dreams no mortal ever dared to dream before; ever dared to dream before;

Put the silence was unbroken, and the Put the silence was unbroken, and the stillness gave nostillness gave no spoken, spoken,

And the only world there spoken was the And the only world there spoken was the whispered word, «Lenore!» whispered word, «Lenore!»

This I whispered, and an echo murmured This I whispered, and an echo murmured back the word, «Lenore!» back the word, «Lenore!»

     This, and nothing more.      This, and nothing more.

Open here I flung the shutter, when, with many a flirt Open here I flung the shutter, when, with many a flirt and flutter, and flutter,

In there stepped a stately Raven of the saintly days of In there stepped a stately Raven of the saintly days of yore. yore.

Not the least obeisance made he, not a minute Not the least obeisance made he, not a minute stopped or stayed he, stopped or stayed he,

But, with mien of lord or lady, perched above my But, with mien of lord or lady, perched above my chamber door - chamber door -

Perched upon a bust of Pallas just above my chamber Perched upon a bust of Pallas just above my chamber door - door -

Perched, and sat, and nothing more. Perched, and sat, and nothing more.

Then, this ebony bird beguiling my sad Then, this ebony bird beguiling my sad fancy into smiling fancy into smiling

By the grave and stem decorum of the By the grave and stem decorum of the countenance it wore, countenance it wore,

«Though the crest be shorn and shaven, «Though the crest be shorn and shaven, thou», I said, «art sure no craven, thou», I said, «art sure no craven, Ghastly, grim, and ancient Raven, Ghastly, grim, and ancient Raven, wandering from the nightly shore. wandering from the nightly shore.

Tell me what thy lordly name is on the Tell me what thy lordly name is on the night's Plutonian shore!» night's Plutonian shore!»

     Quoth the Raven, «Nevermore».      Quoth the Raven, «Nevermore».

Much I marvelled this ungainly fowl to hear Much I marvelled this ungainly fowl to hear discourse so plainly, discourse so plainly,

Though its answer little meaning, little Though its answer little meaning, little relevancy bore; relevancy bore;

For we cannot help agreeing that no living For we cannot help agreeing that no living human being human being

Ever yet was blessed with seeing bird Ever yet was blessed with seeing bird above his chamber door - above his chamber door -

Bird or beast upon the sculptured bust Bird or beast upon the sculptured bust above his chamber door - above his chamber door -

     With such name as «Nevermore».      With such name as «Nevermore».

But the Raven, sitting lonely on the placid But the Raven, sitting lonely on the placid bust, spoke only bust, spoke only

That one word, as if his soul in that one That one word, as if his soul in that one word he did outpour. word he did outpour.

Nothing farther then he uttered, not a Nothing farther then he uttered, not a feather then he fluttered; feather then he fluttered;

Till I scarcely more than muttered, «Other Till I scarcely more than muttered, «Other friends have flown before! friends have flown before!

On the morrow he will leave me, as my On the morrow he will leave me, as my hopes have flown before! » hopes have flown before! »

     Then the bird said, «Nevermore.»      Then the bird said, «Nevermore.»

This I sat engaged in guessing, but no syllable This I sat engaged in guessing, but no syllable expressing expressing

To the fowl, whose fiery eyes now burned into my To the fowl, whose fiery eyes now burned into my bosom's core; bosom's core;

This and more I sat divining, with my head at ease This and more I sat divining, with my head at ease reclining reclining

On the cushion's velvet lining that the lamplight On the cushion's velvet lining that the lamplight gloated o‘er - gloated o‘er -

But whose velvet violet lining with the lamplight But whose velvet violet lining with the lamplight gloating o'er, gloating o'er,

     She shall press, ah, nevermore!      She shall press, ah, nevermore!

And the Raven, never flitting, still is sitting, And the Raven, never flitting, still is sitting, still is sitting still is sitting

On the pallid bust of Pallas just above my On the pallid bust of Pallas just above my chamber door; chamber door;

And his eyes have all the seeming of a And his eyes have all the seeming of a demon's that is dreaming, demon's that is dreaming,

And the lamplight o'er him streaming And the lamplight o'er him streaming throws his shadow on the floor; throws his shadow on the floor;

And my soul from out that shadow that lies And my soul from out that shadow that lies floating on the floor floating on the floor

     Shall be lifted - nevermore!       Shall be lifted - nevermore! 

The Raven The Raven depicts a depicts a mysterious mysterious raven's midnight raven's midnight visit to a visit to a mourning mourning narrator, as narrator, as illustrated by John illustrated by John Tenniel (1858Tenniel (1858).).

ВоронВорон Как-то в полночь, в час угрюмый, утомившись от Как-то в полночь, в час угрюмый, утомившись от

раздумий,раздумий, Задремал я над страницей фолианта одного,Задремал я над страницей фолианта одного,

И очнулся вдруг от звука, будто кто-то вдруг И очнулся вдруг от звука, будто кто-то вдруг застукал,застукал,

Будто глухо так застукал в в двери дома моего.Будто глухо так застукал в в двери дома моего. «Гость, - сказал я, - там стучится в двери дома «Гость, - сказал я, - там стучится в двери дома

моего,моего, Гость – и больше ничего.Гость – и больше ничего.

Тьмой полночной окруженный, так стоял я, Тьмой полночной окруженный, так стоял я, погруженныйпогруженный

В грезы, что еще не снились никому до этих пор;В грезы, что еще не снились никому до этих пор; Тщетно ждал я так, однако тьма мне не давала Тщетно ждал я так, однако тьма мне не давала

знака,знака, Слово лишь одно из мрака донеслось ко мне: Слово лишь одно из мрака донеслось ко мне:

«Линор!»«Линор!» Это я шепнул, и эхо прошептало мне: «Линор!»Это я шепнул, и эхо прошептало мне: «Линор!»

Прошептало, как укор.Прошептало, как укор.

Только приоткрыл я ставни – вышел Ворон Только приоткрыл я ставни – вышел Ворон стародавний,стародавний,

Шумно оправляя траур оперенья своего;Шумно оправляя траур оперенья своего; Без поклона, важно, гордо, выступил он чинно, Без поклона, важно, гордо, выступил он чинно,

твердо;твердо; С видом леди или лорда у порога моего,С видом леди или лорда у порога моего,

Над дверьми на бюст Паллады у порога моегоНад дверьми на бюст Паллады у порога моего Сел – и больше ничего.Сел – и больше ничего.

И, очнувшись от печали, улыбнулся я вначале,И, очнувшись от печали, улыбнулся я вначале, Видя важность черной птицы, чопорный ее задор,Видя важность черной птицы, чопорный ее задор, Я сказал: «Твой вид задорен, твой хохол облезлый Я сказал: «Твой вид задорен, твой хохол облезлый

черен,черен, О зловещий древний Ворон, там, где мрак Плутон О зловещий древний Ворон, там, где мрак Плутон

простер,простер, Как ты гордо назывался там, где мрак Плутон Как ты гордо назывался там, где мрак Плутон

простер?»простер?» Каркнут Ворон: «Каркнут Ворон: «NevermoreNevermore».».

Выкрик птицы неуклюжей на меня повеял стужей, Выкрик птицы неуклюжей на меня повеял стужей, Хоть ответ ее без смысла, невпопад, был явный Хоть ответ ее без смысла, невпопад, был явный

вздор;вздор; Ведь должны все согласиться, вряд ли может так Ведь должны все согласиться, вряд ли может так

случиться,случиться, Чтобы в полночь села птица, вылетевши из-за Чтобы в полночь села птица, вылетевши из-за

штор,штор, Вдруг на бюст над дверью села, вылетевши из-за Вдруг на бюст над дверью села, вылетевши из-за

штор,штор, Птица с кличкой «Птица с кличкой «NevermoreNevermore».».

Ворон же сидел на бюсте, словно этим словом Ворон же сидел на бюсте, словно этим словом грустигрусти

Душу всю свою излил он навсегда в ночной Душу всю свою излил он навсегда в ночной простор.простор.

Он сидел, свой клюв сомкнувши, ни пером не Он сидел, свой клюв сомкнувши, ни пером не шелохнувши,шелохнувши,

И шепнул я вдруг вздохнувши: «Как друзья с И шепнул я вдруг вздохнувши: «Как друзья с недавних пор,недавних пор,

Завтра он меня покинет, как надежды с этих пор».Завтра он меня покинет, как надежды с этих пор». Каркнул ворон: «Каркнул ворон: «NevermoreNevermore».».

Так, в полудреме краткой, размышляя над Так, в полудреме краткой, размышляя над догадкой,догадкой,

Чувствуя, как Ворон в сердце мне вонзал горящий Чувствуя, как Ворон в сердце мне вонзал горящий взор.взор.

Тусклой люстрой освещенный, головою Тусклой люстрой освещенный, головою утомленнойутомленной

Я хотел склониться, сонный, на подушку на узор,Я хотел склониться, сонный, на подушку на узор, Ах, она здесь не склонится на подушку, на узорАх, она здесь не склонится на подушку, на узор

Никогда, о, Никогда, о, nevermore!nevermore!

И сидит, сидит над дверью Ворон, оправляя И сидит, сидит над дверью Ворон, оправляя перья,перья,

С бюста бледного Паллады не слетает с этих пор,С бюста бледного Паллады не слетает с этих пор, Он глядит в недвижном взлете, словно демон Он глядит в недвижном взлете, словно демон

тьмы в дремоте,тьмы в дремоте, И под люстрой, в позолоте, на полу, он тень И под люстрой, в позолоте, на полу, он тень

простер,простер, И душой из этой тени не взлечу я с этих пор.И душой из этой тени не взлечу я с этих пор.

Никогда, о, Никогда, о, nevermore!nevermore! Перевод М. ЗенкевичаПеревод М. Зенкевича

Использованная литература:Использованная литература: Анастасьев Н.А., Милославская С.К. Хрестоматия по Анастасьев Н.А., Милославская С.К. Хрестоматия по

американской литературе, американской литературе, XIXXIX в. (романтизм): Учеб. в. (романтизм): Учеб. пособия для студентов пед. ин-тов по спец. № 2103 пособия для студентов пед. ин-тов по спец. № 2103 «Иностр. яз.»/Сост., вступит. статья и коммент. Н.А. «Иностр. яз.»/Сост., вступит. статья и коммент. Н.А. Анастасьева, С.К. Милославской. – М.: Просвещение, Анастасьева, С.К. Милославской. – М.: Просвещение, 1983. – 240 с., ил.1983. – 240 с., ил.

Американская поэзия в русских переводах. Американская поэзия в русских переводах. XIXXIX--XXXX вв. вв. Сост. С.Б. Джимбинов. На англ. яз с параллельным русск. Сост. С.Б. Джимбинов. На англ. яз с параллельным русск. текстом. М.: Радуга. – 1983.- 672 с.текстом. М.: Радуга. – 1983.- 672 с.

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