“The Raven” is published

Edgar Allan Poe’s The Raven, A
McGee of 303 and Learnstrong.net lectures on Edgar Allan Poe’s The Raven, A
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Images:
1. The Raven
2. 'The Raven' depicts a mysterious raven's midnight visit to a mourning narrator, as illustrated by John Tenniel (1858).
3. 'Not the least obeisance made he', as illustrated by Paul Gustave Doré (1884)
4. Manet's illustration of the raven flying through the window

Background from {[https://en.wikipedia.org/wiki/The_Raven]}
The Raven from Wikipedia, the free encyclopedia
"The Raven" depicts a mysterious raven's midnight visit to a mourning narrator, as illustrated by John Tenniel (1858).
"The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow descent into madness. The lover, often identified as a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further distress the protagonist with its constant repetition of the word "Nevermore". The poem makes use of folk, mythological, religious, and classical references.
Poe claimed to have written the poem logically and methodically, with the intention to create a poem that would appeal to both critical and popular tastes, as he explained in his 1846 follow-up essay, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of Eighty by Charles Dickens.[3] Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship", and makes use of internal rhyme as well as alliteration throughout.
"The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written.[4]

The Raven[5]

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 visiter," I muttered, "tapping at my chamber door—
Only this and nothing more."
show
—Edgar Allan Poe

"The Raven" follows an unnamed narrator on a dreary night in December who sits reading "forgotten lore" by a dying fire[6] as a way to forget the death of his beloved Lenore. A "tapping at [his] chamber door"[6] reveals nothing, but excites his soul to "burning".[7] The tapping is repeated, slightly louder, and he realizes it is coming from his window. When he goes to investigate, a raven flutters into his chamber. Paying no attention to the man, the raven perches on a bust of Pallas above the door.
Amused by the raven's comically serious disposition, the man asks that the bird tell him its name. The raven's only answer is "Nevermore".[7] The narrator is surprised that the raven can talk, though at this point it has said nothing further. The narrator remarks to himself that his "friend" the raven will soon fly out of his life, just as "other friends have flown before"[7] along with his previous hopes. As if answering, the raven responds again with "Nevermore".[7] The narrator reasons that the bird learned the word "Nevermore" from some "unhappy master" and that it is the only word it knows.[7]
Even so, the narrator pulls his chair directly in front of the raven, determined to learn more about it. He thinks for a moment in silence, and his mind wanders back to his lost Lenore. He thinks the air grows denser and feels the presence of angels, and wonders if God is sending him a sign that he is to forget Lenore. The bird again replies in the negative, suggesting that he can never be free of his memories. The narrator becomes angry, calling the raven a "thing of evil" and a "prophet".[8] Finally, he asks the raven whether he will be reunited with Lenore in Heaven. When the raven responds with its typical "Nevermore", he is enraged, and, calling the bird a liar, commands it to return to the "Plutonian shore"[8]—but it does not move. At the time of the poem's narration, the raven "still is sitting"[8] on the bust of Pallas. The narrator reciprocates the bird's final plight by permitting his own soul to be commensurately trapped beneath the raven's shadow and therefore "lifted 'nevermore'".[8]

Analysis
Poe wrote the poem as a narrative, without intentional allegory or didacticism.[2] The main theme of the poem is one of undying devotion.[9] The narrator experiences a perverse conflict between desire to forget and desire to remember. He seems to get some pleasure from focusing on loss.[10] The narrator assumes that the word "Nevermore" is the raven's "only stock and store", and, yet, he continues to ask it questions, knowing what the answer will be. His questions, then, are purposely self-deprecating and further incite his feelings of loss.[11] Poe leaves it unclear whether the raven actually knows what it is saying or whether it really intends to cause a reaction in the poem's narrator.[12] The narrator begins as "weak and weary," becomes regretful and grief-stricken, before passing into a frenzy and, finally, madness.[13] Christopher F. S. Maligec suggests the poem is a type of elegiac paraclausithyron, an ancient Greek and Roman poetic form consisting of the lament of an excluded, locked-out lover at the sealed door of his beloved.[14]

Allusions
The raven perches on a bust of Pallas Athena, a symbol of wisdom meant to imply the narrator is a scholar. Illustration by Édouard Manet for Stéphane Mallarmé's translation, Le Corbeau (1875).
Poe says that the narrator is a young scholar.[15] Though this is not explicitly stated in the poem, it is mentioned in "The Philosophy of Composition". It is also suggested by the narrator reading books of "lore" as well as by the bust of Pallas Athena, Greek goddess of wisdom.[1]
He is reading in the late night hours from "many a quaint and curious volume of forgotten lore".[6] Similar to the studies suggested in Poe's short story "Ligeia", this lore may be about the occult or black magic. This is also emphasized in the author's choice to set the poem in December, a month which is traditionally associated with the forces of darkness. The use of the raven—the "devil bird"—also suggests this.[16] This devil image is emphasized by the narrator's belief that the raven is "from the Night's Plutonian shore", or a messenger from the afterlife, referring to Pluto, the Roman god of the underworld[10] (also known as Dis Pater in Roman mythology). A direct allusion to Satan also appears: "Whether Tempter sent, or whether tempest tossed thee here ashore..."
Poe chose a raven as the central symbol in the story because he wanted a "non-reasoning" creature capable of speech. He decided on a raven, which he considered "equally capable of speech" as a parrot, because it matched the intended tone of the poem.[17] Poe said the raven is meant to symbolize "Mournful and Never-ending Remembrance".[18] He was also inspired by Grip, the raven in Barnaby Rudge: A Tale of the Riots of Eighty by Charles Dickens.[19] One scene in particular bears a resemblance to "The Raven": at the end of the fifth chapter of Dickens's novel, Grip makes a noise and someone says, "What was that – him tapping at the door?" The response is, "'Tis someone knocking softly at the shutter."[20] Dickens's raven could speak many words and had many comic turns, including the popping of a champagne cork, but Poe emphasized the bird's more dramatic qualities. Poe had written a review of Barnaby Rudge for Graham's Magazine saying, among other things, that the raven should have served a more symbolic, prophetic purpose.[20] The similarity did not go unnoticed: James Russell Lowell in his A Fable for Critics wrote the verse, "Here comes Poe with his raven, like Barnaby Rudge / Three-fifths of him genius and two-fifths sheer fudge."[21] The Free Library of Philadelphia has on display a taxidermied raven that is reputed to be the very one that Dickens owned and that helped inspire Poe's poem.[22]
Poe may also have been drawing upon various references to ravens in mythology and folklore. In Norse mythology, Odin possessed two ravens named Huginn and Muninn, representing thought and memory.[23] According to Hebrew folklore, Noah sends a white raven to check conditions while on the ark.[17] It learns that the floodwaters are beginning to dissipate, but it does not immediately return with the news. It is punished by being turned black and being forced to feed on carrion forever.[23] In Ovid's Metamorphoses, a raven also begins as white before Apollo punishes it by turning it black for delivering a message of a lover's unfaithfulness. The raven's role as a messenger in Poe's poem may draw from those stories.[23]
Nepenthe, a drug mentioned in Homer's Odyssey, erases memories; the narrator wonders aloud whether he could receive "respite" this way: "Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Poe also mentions the Balm of Gilead, a reference to the Book of Jeremiah (8:22) in the Bible: "Is there no balm in Gilead; is there no physician there? why then is not the health of the daughter of my people recovered?"[24] In that context, the Balm of Gilead is a resin used for medicinal purposes (suggesting, perhaps, that the narrator needs to be healed after the loss of Lenore). In 1 Kings 17:1 - 5 Elijah is said to be from Gilead, and to have been fed by ravens during a period of drought.[25]
Poe also refers to "Aidenn", another word for the Garden of Eden, though Poe uses it to ask if Lenore has been accepted into Heaven.

Poetic structure
The poem is made up of 18 stanzas of six lines each. Generally, the meter is trochaic octameter – eight trochaic feet per line, each foot having one stressed syllable followed by one unstressed syllable.[3] The first line, for example (with / representing stressed syllables and x representing unstressed):

Poe, however, claimed the poem was a combination of octameter acatalectic, heptameter catalectic, and tetrameter catalectic.[15] The rhyme scheme is ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme. In every stanza, the "B" lines rhyme with the word "nevermore" and are catalectic, placing extra emphasis on the final syllable. The poem also makes heavy use of alliteration ("Doubting, dreaming dreams ...").[26] 20th-century American poet Daniel Hoffman suggested that the poem's structure and meter is so formulaic that it is artificial, though its mesmeric quality overrides that.[27]
Poe based the structure of "The Raven" on the complicated rhyme and rhythm of Elizabeth Barrett's poem "Lady Geraldine's Courtship".[15] Poe had reviewed Barrett's work in the January 1845 issue of the Broadway Journal[28] and said that "her poetic inspiration is the highest – we can conceive of nothing more august. Her sense of Art is pure in itself."[29] As is typical with Poe, his review also criticizes her lack of originality and what he considers the repetitive nature of some of her poetry.[30] About "Lady Geraldine's Courtship", he said "I have never read a poem combining so much of the fiercest passion with so much of the most delicate imagination."[29]

Publication history
Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 as charity.[31] Poe then sold the poem to The American Review, which paid him $9 for it,[32] and printed "The Raven" in its February 1845 issue under the pseudonym "Quarles", a reference to the English poet Francis Quarles.[33] The poem's first publication with Poe's name was in the Evening Mirror on January 29, 1845, as an "advance copy".[15] Nathaniel Parker Willis, editor of the Mirror, introduced it as "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift ... It will stick to the memory of everybody who reads it."[4] Following this publication the poem appeared in periodicals across the United States, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Saturday Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).[34] It has also appeared in numerous anthologies, starting with Poets and Poetry of America edited by Rufus Wilmot Griswold in 1847.
The immediate success of "The Raven" prompted Wiley and Putnam to publish a collection of Poe's prose called Tales in June 1845; it was his first book in five years.[35] They also published a collection of his poetry called The Raven and Other Poems on November 19 by Wiley and Putnam which included a dedication to Barrett as "the Noblest of her Sex".[36] The small volume, his first book of poetry in 14 years,[37] was 100 pages and sold for 31 cents.[38] In addition to the title poem, it included "The Valley of Unrest", "Bridal Ballad", "The City in the Sea", "Eulalie", "The Conqueror Worm", "The Haunted Palace" and eleven others.[39] In the preface, Poe referred to them as "trifles" which had been altered without his permission as they made "the rounds of the press".[36]

Illustrators
Later publications of "The Raven" included artwork by well-known illustrators. Notably, in 1858 "The Raven" appeared in a British Poe anthology with illustrations by John Tenniel, the Alice in Wonderland illustrator (The Poetical Works of Edgar Allan Poe: With Original Memoir, London: Sampson Low). "The Raven" was published independently with lavish woodcuts by Gustave Doré in 1884 (New York: Harper & Brothers). Doré died before its publication.[40] In 1875, a French edition with English and French text, Le Corbeau, was published with lithographs by Édouard Manet and translation by the Symbolist Stéphane Mallarmé.[41] Many 20th-century artists and contemporary illustrators created artworks and illustrations based on "The Raven", including Edmund Dulac, István Orosz,[42][43] and Ryan Price.[44]

Composition
Main article: The Philosophy of Composition
Poe capitalized on the success of "The Raven" by following it up with his essay "The Philosophy of Composition" (1846), in which he detailed the poem's creation. His description of its writing is probably exaggerated, though the essay serves as an important overview of Poe's literary theory.[45] He explains that every component of the poem is based on logic: the raven enters the chamber to avoid a storm (the "midnight dreary" in the "bleak December"), and its perch on a pallid white bust was to create visual contrast against the dark black bird. No aspect of the poem was an accident, he claims, but is based on total control by the author.[46] Even the term "Nevermore", he says, is used because of the effect created by the long vowel sounds (though Poe may have been inspired to use the word by the works of Lord Byron or Henry Wadsworth Longfellow).[47] Poe had experimented with the long o sound throughout many other poems: "no more" in "Silence", "evermore" in "The Conqueror Worm".[1] The topic itself, Poe says, was chosen because "the death... of a beautiful woman is unquestionably the most poetical topic in the world." Told from "the lips ... of a bereaved lover" is best suited to achieve the desired effect.[2] Beyond the poetics of it, the lost Lenore may have been inspired by events in Poe's own life as well, either to the early loss of his mother, Eliza Poe, or the long illness endured by his wife, Virginia.[10] Ultimately, Poe considered "The Raven" an experiment to "suit at once the popular and critical taste", accessible to both the mainstream and high literary worlds.[2] It is unknown how long Poe worked on "The Raven"; speculation ranges from a single day to ten years. Poe recited a poem believed to be an early version with an alternate ending of "The Raven" in 1843 in Saratoga, New York.[3] An early draft may have featured an owl.[48]
In the summer of 1844, when the poem was likely written, Poe, his wife, and mother-in-law were boarding at the farmhouse of Patrick Brennan. The location of the house, which was demolished in 1888,[49][50] has been a disputed point and, while there are two different plaques marking its supposed location on West 84th Street, it most likely stood where 206 West 84th Street is now.[50][51][52]

Critical reception
In part due to its dual printing, "The Raven" made Edgar Allan Poe a household name almost immediately,[53] and turned Poe into a national celebrity.[54] Readers began to identify poem with poet, earning Poe the nickname "The Raven".[55] The poem was soon widely reprinted, imitated, and parodied.[53] Though it made Poe popular in his day, it did not bring him significant financial success.[56] As he later lamented, "I have made no money. I am as poor now as ever I was in my life—except in hope, which is by no means bankable".[37]
The New World said, "Everyone reads the Poem and praises it ... justly, we think, for it seems to us full of originality and power."[4] The Pennsylvania Inquirer reprinted it with the heading "A Beautiful Poem".[4] Elizabeth Barrett wrote to Poe, "Your 'Raven' has produced a sensation, a fit o' horror, here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by 'Nevermore'."[57] Poe's popularity resulted in invitations to recite "The Raven" and to lecture – in public and at private social gatherings. At one literary salon, a guest noted, "to hear [Poe] repeat the Raven ... is an event in one's life."[58] It was recalled by someone who experienced it, "He would turn down the lamps till the room was almost dark, then standing in the center of the apartment he would recite ... in the most melodious of voices ... So marvelous was his power as a reader that the auditors would be afraid to draw breath lest the enchanted spell be broken."[59]
Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by "Poh!", "The Gazelle", "The Whippoorwill", and "The Turkey".[55] One parody, "The Pole-Cat", caught the attention of Andrew Johnston, a lawyer who sent it on to Abraham Lincoln. Though Lincoln admitted he had "several hearty laughs", he had not, at that point read "The Raven".[60] However, Lincoln eventually read and memorized the poem.[61]
"The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller,[62] though it was denounced by William Butler Yeats, who called it "insincere and vulgar ... its execution a rhythmical trick".[2] Transcendentalist Ralph Waldo Emerson said, "I see nothing in it."[63] A critic for the Southern Quarterly Review wrote in July 1848 that the poem was ruined by "a wild and unbridled extravagance" and that minor things like a tapping at the door and a fluttering curtain would only affect "a child who had been frightened to the verge of idiocy by terrible ghost stories".[64] An anonymous writer going by the pseudonym "Outis" suggested in the Evening Mirror that "The Raven" was plagiarized from a poem called "The Bird of the Dream" by an unnamed author. The writer showed 18 similarities between the poems and was made as a response to Poe's accusations of plagiarism against Henry Wadsworth Longfellow. It has been suggested Outis was really Cornelius Conway Felton, if not Poe himself.[65] After Poe's death, his friend Thomas Holley Chivers said "The Raven" was plagiarized from one of his poems.[66] In particular, he claimed to have been the inspiration for the meter of the poem as well as the refrain "nevermore".[67]
"The Raven" became one of the most popular targets for literary translators in Hungary; more than a dozen poets rendered it into Hungarian, including Mihály Babits, Dezső Kosztolányi, Árpád Tóth,[68] and György Faludy.[69] Balázs Birtalan wrote its paraphrasis from the raven's point of view,[70] with the motto Audiatur et altera pars ("let the other side be heard as well").

Legacy
"The Raven" has influenced many modern works, including Vladimir Nabokov's Lolita in 1955, Bernard Malamud's "The Jewbird" in 1963 and Ray Bradbury's "The Parrot Who Knew Papa" in 1976.[71] The process by which Poe composed "The Raven" influenced a number of French authors and composers, such as Charles Baudelaire and Maurice Ravel, and it has been suggested that Ravel's Boléro may have been deeply influenced by "The Philosophy of Composition."[72] The poem is additionally referenced throughout popular culture in films, television, music, and video games.
The painter Paul Gauguin painted a nude portrait of his teenage wife in Tahiti in 1897 entitled Nevermore, featuring a raven perched within the room. At the time the couple were mourning the loss of their first child together and Gauguin the loss of his favourite daughter back in Europe.
The name of the Baltimore Ravens, a professional American football team, was inspired by the poem.[73][74] Chosen in a fan contest that drew 33,288 voters, the allusion honors Poe, who spent the early part of his career in Baltimore and is buried there.[75]

Notes
1. ^ Jump up to:a b c Meyers, 163
2. ^ Jump up to:a b c d e Silverman, 239
3. ^ Jump up to:a b c Kopley & Hayes, 192
4. ^ Jump up to:a b c d Silverman, 237
5. ^ "Edgar Allan Poe Society of Baltimore – Works – Poems – The Raven". Edgar Allan Poe Society of Baltimore. December 28, 2007.
6. ^ Jump up to:a b c d Poe, 773
7. ^ Jump up to:a b c d e Poe, 774
8. ^ Jump up to:a b c d Poe, 775
9. ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 21 ISBN 0-7910-6173-6
10. ^ Jump up to:a b c Kopley & Hayes, 194
11. ^ Hoffman, 74
12. ^ Hirsch, 195-6
13. ^ Hoffman, 73–74
14. ^ Maligec, Christopher F. S. (2009). "'The Raven' as an Elegiac Paraclausithyron". Poe Studies. 42: 87–97. doi:10.1111/j.1947-4697.2009.00015.x. S2CID 163043175.
15. ^ Jump up to:a b c d Sova, 208
16. ^ Granger, 53–54
17. ^ Jump up to:a b Hirsch, 195
18. ^ Silverman, 240
19. ^ Meyers, 162
20. ^ Jump up to:a b "Cremains / Ravens". palimpsest.stanford.edu. Archived from the original on February 23, 2008. Retrieved April 1,2007.
21. ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 20 ISBN 0-7910-6173-6
22. ^ "Poe's Raven Stuffed at Free Library". Philadelphia Magazine. October 31, 2011. Retrieved January 30, 2014.
23. ^ Jump up to:a b c Adams, 53
24. ^ Jeremiah 8:22
25. ^ 1 Kings 17:1 - 5
26. ^ Kopley & Hayes, 192–193
27. ^ Hoffman, 76
28. ^ Thomas & Jackson, 485
29. ^ Jump up to:a b Meyers, 160
30. ^ Peeples, 142
31. ^ Hoffman, 79
32. ^ Ostrom, 5
33. ^ Silverman, 530
34. ^ "The Poems of Edgar Allan Poe". Edgar Allan Poe Society of Baltimore. April 27, 2007. Retrieved September 20, 2007.
35. ^ Meyers, 177
36. ^ Jump up to:a b Thomas & Jackson, 591
37. ^ Jump up to:a b Peeples, 136
38. ^ Silverman, 299
39. ^ Sova, 209
40. ^ Scholnick, Robert J. "In Defense of Beauty: Stedman and the Recognition of Poe in America, 1880–1910", collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. p. 262. ISBN 0-9616449-2-3
41. ^ "Digital Gallery for Édouard Manet illustrations – Le corbeau". New York Public Library Digital Gallery. Retrieved September 20, 2007.
42. ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20,2007.—Anamorphic illustration for "The Raven"
43. ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20,2007.—the same illustration with a chrome-plated brass cylinder
44. ^ Price, Ryan. "Illustrations by Ryan Price". Ingram Gallery. Archived from the original on September 28, 2007. Retrieved September 20,2007.
45. ^ Krutch, 98
46. ^ Silverman, 295–296
47. ^ Forsythe, 439–452
48. ^ Weiss, 185
49. ^ Hemstreet, William (December 21, 1907). ""Raven" Mantel is in Brooklyn". The New York Times. New York. Retrieved June 15, 2017.
50. ^ Jump up to:a b Wolfe, Theodore F. (January 4, 1908). "Poe's Life at the Brennan House". The New York Times. New York. Retrieved June 15, 2017.
51. ^ "Edgar Allan Poe Street". Manhattan Past. Retrieved June 15, 2017.
52. ^ White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City. Oxford University Press. p. 383. ISBN [login to see] 867.
53. ^ Jump up to:a b Hoffman, 80
54. ^ Peeples, 133
55. ^ Jump up to:a b Silverman, 238
56. ^ Krutch, 155
57. ^ Krutch, 153
58. ^ Silverman, 279
59. ^ Krutch, 154
60. ^ Thomas & Jackson, 635
61. ^ Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his speeches and writings. New York: De Capo Press, 2001: 185. ISBN 0-306-81075-1.
62. ^ Meyers, 184
63. ^ Silverman, 265
64. ^ Thomas & Jackson, 739
65. ^ Moss, 169
66. ^ Moss, 101
67. ^ Parks, Edd Winfield. Ante-Bellum Southern Literary Critics. Athens, GA: University of Georgia Press, 1962: 182.
68. ^ Selected Works of E. A. Poe in the Hungarian Electronic Library
69. ^ Test és lélek ’Body and Soul’, literary translations by György Faludy at the website of Petőfi Literary Museum
70. ^ A költő (’The Poet’)
71. ^ Kopley & Hayes, 196
72. ^ Lanford, 243–265.
73. ^ "Naming Baltimore's Team: Ravens". Baltimore Ravens. Archived from the original on July 8, 2016. Retrieved June 22, 2016.
74. ^ "Franchise nicknames". Pro Football Hall of Fame. August 19, 2015. Retrieved August 19,2015.
75. ^ "Baltimore Ravens History". Pro Football Hall of Fame. Archived from the original on September 8, 2006. Retrieved August 25, 2006.

References
• Adams, John F. "Classical Raven Lore and Poe's Raven" in Poe Studies. Vol. V, no. 2, December 1972. Available online
• Forsythe, Robert. "Poe's 'Nevermore': A Note", as collected in American Literature 7. January 1936.
• Granger, Byrd Howell. "Marginalia – Devil Lore in 'The Raven'" from Poe Studies vol. V, no. 2, December 1972 Available online
• Hirsch, David H. "The Raven and the Nightingale" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990. ISBN 0-9616449-2-3
• Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8
• Kopley, Richard and Kevin J. Hayes. "Two verse masterworks: 'The Raven' and 'Ulalume'", collected in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. New York: Cambridge University Press, 2002. ISBN 0-521-79727-6
• Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926.
• Lanford, Michael (2011). "Ravel and 'The Raven': The Realisation of an Inherited Aesthetic in Boléro." Cambridge Quarterly 40(3), 243–265.
• Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7
• Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969.
• Ostrom, John Ward. "Edgar A. Poe: His Income as Literary Entrepreneur", collected in Poe Studies Vol. 5, no. 1. June 1982.
• Peeples, Scott. Edgar Allan Poe Revisited. New York: Twayne Publishers, 1998. ISBN 0-8057-4572-6
• Poe, Edgar Allan. Edgar Allan Poe: Complete Tales & Poems. Edison, NJ: Castle Books, 2002. ISBN 0-7858-1453-1
• Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8
• Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001. ISBN 0-8160-4161-X
• Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co., 1987. ISBN 0-7838-1401-1
• Weiss, Susan Archer. The Home Life of Poe. New York: Broadway Publishing Company, 1907.

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Edgar Allan Poe: Love, Death and Women 2010
https://www.youtube.com/watch?v=xliPMeTx5zw

Images:
1. 1855 wood engraving of Edgar Allan Poe
2. 2008 42c Edgar Allan Poe Postage Stamp Scott #4377a
3. Sarah Elmira Royster Shelton (1810 – February 11, 1888) was an adolescent sweetheart of Edgar Allan Poe who became engaged to him shortly before his death in 1849
4. Traylor Miniature portrait of young Edgar Allan Poe

Background from {[https://www.cliffsnotes.com/literature/p/poes-short-stories/edgar-allan-poe-biography]}
Edgar Allan Poe Biography
Edgar Allan Poe was born January 19, 1809, and died October 7, 1849; he lived only forty years, but during his brief lifetime, he made a permanent place for himself in American literature and also in world literature. A few facts about Poe's life are indisputable, but, unfortunately, almost everything else about Poe's life has been falsified, romanticized, slanderously distorted, or subjected to grotesque Freudian interpretations. Poe, it has been said at various times, was a manic depressive, a dope addict, an epileptic, and an alcoholic; moreover, it has been whispered that he was syphilitic, that he was impotent, and that he fathered at least one illegitimate child. Hardly any of Poe's biographers have been content to write a straight account of his life. This was particularly true of his early biographers, and only recently have those early studies been refuted. Intrigued with the horror and mystery of Poe's stories and by the dark romanticism of his poetry, his early critics and biographers often embroidered on the facts of his past in order to create their own imaginative vision of what kind of man produced these "strange" tales and poems. Thus Poe's true genius was neglected for a long time. Indeed, probably more fiction has been written about this American literary master than he himself produced; finally, however, fair and unbiased evaluations of his writings and of his life are available to us, and we can judge for ourselves what kind of a man Poe was. Yet, because the facts are scarce, Poe's claim to being America's first authentic neurotic genius will probably remain, and it is possible that Poe would be delighted.
Both of Poe's parents were professional actors, and this fact in itself has fueled many of the melodramatic myths that surround Poe. Poe's mother was a teenage widow when she married David Poe, and Edgar was their second son. Poe's father had a fairly good reputation as an actor, but he had an even wider reputation as an alcoholic. He deserted the family a year after Poe was born, and the following year, Poe's mother died while she was acting in Richmond, Virginia.
The children were parceled out, and young Poe was taken in as a foster-child by John Allan, a rich southern merchant. Allan never legally adopted Poe, but he did try to give him a good home and a good education.
When Poe was six years old, the Allans moved to England, and for five years Poe attended the Manor House School, conducted by a man who was a good deal like the schoolmaster in "William Wilson." When the Allans returned to America, Poe began using his legal name for the first time.
Poe and his foster-father often quarreled during his adolescence and as soon as he was able to leave home, Poe enrolled at the University of Virginia. While he was there, he earned a good academic record, but Mr. Allan never allowed him the means to live in the style his social status demanded. When Poe tried to keep up with his high-living classmates, he incurred so many gambling debts that the parsimonious Mr. Allan prevented his returning for a second year of study.
Unhappy at home, Poe got money somehow (probably from Mrs. Allan) and went to Boston, where he arranged for publication of his first volume of poetry, Tamerlane and Other Poems (1827). He then joined the army. Two years later, when he was a sergeant-major, he received a discharge to enter West Point, to which he was admitted with Mr. Allan's help. Again, however, he felt frustrated because of the paltry allowance which his foster-father doled out to him, so he arranged to be court-martialed and dismissed.
Poe's next four years were spent in Baltimore, where he lived with an aunt, Maria Clemm; these were years of poverty. When Mr. Allan died in 1834, Poe hoped that he would receive some of his foster-father's fortune, but he was disappointed. Allan left him not a cent. For that reason, Poe turned from writing poetry, which he was deeply fond of — despite the fact that he knew he could never live off his earnings — and turned to writing stories, for which there was a market. He published five tales in the Philadelphia Saturday Courier in 1832, and because of his talent and certain influential friends, he became an editorial assistant at the Southern Literary Messenger in Richmond in December 1835.
The editor of the Messenger recognized Poe's genius and published several of his stories, but he despaired at Poe's tendency to "sip the juice." Nevertheless, Poe's drinking does not seem to have interfered with his duties at the magazine; its circulation grew, Poe continued producing stories, and while he was advancing the reputation of the Messenger, he created a reputation of his own — not only as a fine writer, but also as a keen critic.
Poe married his cousin, Virginia Clemm, in 1836, when she was fourteen years old. He left the Messenger the following year and took his aunt and wife to New York City. There, Poe barely eked out a living for two years as a free-lance writer. He did, however, finish a short novel, The Narrative of Arthur Gordon Pym, and sold it to the Messenger, where it was published in two installments. Harper's bought out the magazine in 1838, but Poe never realized any more money from the novel because his former boss had recorded that the Narrative was only "edited" by Poe.
From New York City, the Poes moved to Baltimore, and for two years, the young family lived in even more dire poverty than they had in New York City. Poe continued writing, however, and finally in May 1839, he was hired as a co-editor of Burton's Gentleman's Magazine. He held this position for a year, during which he published some of his best fiction, including "The Fall of the House of Usher" and "William Wilson."
Because of his drinking, Poe lost his job the following year. This was unfortunate because his Tales of the Grotesque, which had been published several months earlier, was not selling well. Once again, Poe and his wife found themselves on the edge of poverty, but Poe's former employer recommended Poe to the publisher of Graham's, and once again Poe found work as an editor while he worked on his own fiction and poetry.
In January 1842, Poe suffered yet another setback. His wife, Virginia, burst a blood vessel in her throat. She did recover, but Poe's restlessness began to grow, as did the frequency of his drinking bouts, and he left Graham's under unpleasant circumstances. He attempted to found his own magazine and failed; he worked on cheap weeklies for awhile and, in a moment of despair, he went to Washington to seek out President Tyler. According to several accounts, he was so drunk when he called on the President that he wore his cloak inside out.
Shortly afterward, Poe moved his family to New York City and began working for the Sunday Times. The following year was a good one: James Russell Lowell praised Poe's talent and genius in an article, and Poe's poem "The Raven" was published and received rave reviews. Seemingly, Poe had "made it"; "The Raven" was the sensation of the literary season. Poe began lecturing about this time and, shortly afterward, a new collection of his short stories appeared, as well as a collection of his poetry.
Most biographers agree that Poe died of alcoholism — officially, "congestion of the brain." However, in 1996, cardiologist R. Michael Benitez, after conducting a blind clinical pathologic diagnosis of the symptoms of a patient described only as "E.P., a writer from Richmond," concluded that Poe died not from alcoholic poisoning, but from rabies. According to Dr. Benitez, Poe had become so hypersensitive to alcohol in his later years that he became ill for days after only one glass of wine. Benitez also refutes the myth that Poe died in a gutter, stating that he died at Washington College Hospital after four days of hallucinating and shouting at imaginary people."
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