C HARLES DICKENS, in a note now lying before me, alluding to an examination I once made of the mechanism of "Barnaby Rudge," says — "By the way, are you aware that Godwin wrote his 'Caleb Williams' backwards? He first involved his hero in a web of difficulties, forming the second volume, and then, for the first, cast about him for some mode of accounting for what had been done."
I cannot think this the precise mode of procedure on the part of Godwin — and indeed what he himself acknowledges, is not altogether in accordance with Mr. Dickens' idea — but the author of "Caleb William" was too good an artist not to perceive the advantage derivable from at least a somewhat similar process. Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before any thing be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention.
There is a radical error, I think, in the usual mode of constructing a story. Either history affords a thesis — or one is suggested by an incident of the day — or, at best, the author sets himself to work in the combination of striking events to form merely the basis of his narrative — designing, generally, to fill in with description, dialogue, or autorial comment, whatever crevices of fact, or action, may, from page to page, render themselves apparent.
I prefer commencing with the consideration of an effect. Keeping originality always in view — for he is false to himself who ventures to dispense with so obvious and so easily attainable a source of interest — I say to myself, in the first place, "Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?" Having chosen a novel, first, and secondly a vivid effect, I consider whether it can best be wrought by incident or tone — whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone — afterward looking about me (or rather within) for such combinations of event, or tone, as shall best aid me in the construction of the effect.
I have often thought how interesting a magazine paper
might be written by any author who would — that is to say, who could —
detail, step by step, the processes by which any one of his compositions
attained its ultimate point of completion. Why such
I am aware, on the other hand, that the case is by no means common, in which an author is at all in condition to retrace the steps by which his conclusions have been attained. In general, suggestions, having arisen pell-mell, are pursued and forgotten in a similar manner.
For my own part, I have neither sympathy with the repugnance alluded to, nor, at any time, the least difficulty in recalling to mind the progressive steps of any of my compositions; and, since the interest of an analysis, or reconstruction, such as I have considered a desideratum, is quite independent of any real or fancied interest in the thing analysed, it will not be regarded as a breach of decorum on my part to show the modus operandi by which some one of my own works was put together. I select "The Raven" as most generally known. It is my design to render it manifest that no one point in its composition is referrible either to accident or intuition — that the work proceeded step by step, to its completion with the precision and rigid consequence of a mathematical problem.
Let us dismiss, as irrelevant to the poem per se, the circumstance — or say the necessity — which, in the first place, gave rise to the intention of composing a poem that should suit at once the popular and the critical taste.
We commence, then, with this intention.
The initial consideration was that of extent. If
any literary work is too long to be read at one sitting, we must be content
to dispense with the immensely important effect derivable from unity of
It appears evident, then, that there is a distinct limit, as regards length, to all works of literary art — the limit of a single sitting — and that, although in certain classes of prose composition, such as "Robinson Crusoe," (demanding no unity), this limit may be advantageously overpassed, it can never properly be overpassed in a poem. Within this limit, the extent of a poem may be made to bear mathematical relation to its merit — in other words, to the excitement or elevation — again in other words, to the degree of the true poetical effect which it is capable of inducing; for it is clear that the brevity must be in direct ratio of the intensity of the intended effect: — this, with one proviso — that a certain degree of duration is absolutely requisite for the production of any effect at all.
Holding in view these considerations, as well as that degree of excitement which I deemed not above the popular, while not below the critical, taste, I reached at once what I conceived the proper length for my intended poem — a length of about one hundred lines. It is, in fact, a hundred and eight.
My next thought concerned the choice of an impression,
or effect, to be conveyed: and here I may as well observe that, throughout
the construction, I kept steadily in view the design of rendering the work
universally appreciable. I should be carried too far out of my immediate
topic were I to demonstrate a point upon which I have repeatedly insisted,
and which, with the poetical, stands not in the slightest need of demonstration
— the point, I mean, that Beauty is the sole legitimate province of the
poem. A few words, however, in elucidation of my real meaning, which some
of my friends have evinced a disposition to misrepresent. That pleasure
which is at once the most intense, the most elevating, and the most pure,
is, I believe, found in the contemplation of the beautiful. When, indeed,
men speak of Beauty, they mean, precisely, not a quality, as is supposed,
but an effect — they refer, in short, just to that intense and pure elevation
of soul — not of intellect, or of heart — upon which I have commented,
and which is experienced in consequence of contemplating "the beautiful."
Now I designate
Regarding, then, Beauty as my province, my next question referred to the tone of its highest manifestation — and all experience has shown that this tone is one of sadness. Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears. Melancholy is thus the most legitimate of all the poetical tones.
The length, the province, and the tone, being thus determined, I betook myself to ordinary induction, with the view of obtaining some artistic piquancy which might serve me as a key-note in the construction of the poem — some pivot upon which the whole structure might turn. In carefully thinking over all the usual artistic effects — or more properly points, in the theatrical sense — I did not fail to perceive immediately that no one had been so universally employed as that of the refrain. The universality of its employment sufficed to assure me of its intrinsic value, and spared me the necessity of submitting it to analysis. I considered it, however, with regard to its susceptibility of improvement, and soon saw it to be in a primitive condition. As commonly used, the refrain, or burden, not only is limited to lyric verse, but depends for its impression upon the force of monotone — both in sound and thought. The pleasure is deduced solely from the sense of identity — of repetition. I resolved to diversify, and so vastly heighten, the effect, by adhering, in general, to the monotone of sound, while I continually varied that of thought: that is to say, I determined to produce continuously novel effects, by the variation of the application of the refrain — the refrain itself remaining, for the most part, unvaried.
These points being settled, I next bethought me of
the nature of my refrain. Since its application was to be
repeatedly varied, it was clear that the refrain itself must be
brief, for there would have been an insurmountable difficulty in frequent
The question now arose as to the character of the word. Having made up my mind to a refrain, the division of the poem into stanzas was, of course, a corollary: the refrain forming the close to each stanza. That such a close, to have force, must be sonorous and susceptible of protracted emphasis, admitted no doubt: and these considerations inevitably led me to the long o as the most sonorous vowel, in connection with r as the most producible consonant.
The sound of the refrain being thus determined, it became necessary to select a word embodying this sound, and at the same time in the fullest possible keeping with that melancholy which I had predetermined as the tone of the poem. In such a search it would have been absolutely impossible to overlook the word "Nevermore." In fact, it was the very first which presented itself.
The next desideratum was a pretext for the continuous use of the one word "nevermore." In observing the difficulty which I had at once found in inventing a sufficiently plausible reason for its continuous repetition, I did not fail to perceive that this difficulty arose solely from the pre-assumption that the word was to be so continuously or monotonously spoken by a human being — I did not fail to perceive, in short, that the difficulty lay in the reconciliation of this monotony with the exercise of reason on the part of the creature repeating the word. Here, then, immediately arose the idea of a non-reasoning creature capable of speech; and, very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, as equally capable of speech, and infinitely more in keeping with the intended tone.
I had now gone so far as the conception of a Raven — the bird of ill omen — monotonously repeating the one word, "Nevermore," at the conclusion of each stanza, in a poem of melancholy tone, and in length about one hundred lines. Now, never losing sight of the object supremeness, or perfection, at all points, I asked myself — "Of all melancholy topics, what, according to the universal understanding of mankind, is the most melancholy?" Death — was the obvious reply. "And when," I said, "is this most melancholy of topics most poetical?" From what I have already explained at some length, the answer, here also, is obvious — "When it most closely allies itself to Beauty: the death, then, of a beautiful woman is, unquestionably, the most poetical topic in the world — and equally is it beyond doubt that the lips best suited for such topic are those of a bereaved lover."
I had now to combine the two ideas, of a lover lamenting
his deceased mistress and a Raven continuously repeating the word "Nevermore"
— I had to combine these, bearing in mind my design of varying, at every
turn, the application of the word repeated; but the only intelligible
mode of such combination is that of imagining the Raven employing the word
Here then the poem may be said to have its beginning — at the end, where all works of art should begin — for it was here, at this point of my preconsiderations, that I first put pen to paper in the composition of the stanza:
"Prophet," said I, "thing of evil! prophet still if bird or devil!I composed this stanza, at this point, first that, by establishing the climax, I might the better vary and graduate, as regards seriousness and importance, the preceding queries of the lover — and, secondly, that I might definitely settle the rhythm, the metre, and the length and general arrangement of the stanza — as well as graduate the stanzas which were to precede, so that none of them might surpass this in rhythmical effect. Had I been able, in the subsequent composition, to construct more vigorous stanzas, I should, without scruple, have purposely enfeebled them, so as not to interfere with the climacteric effect.
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."
And here I may as well say a few words of the versification.
My first object (as usual) was 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
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 heptameter catalectic repeated in the refrain of the fifth verse, and terminating with tetrameter 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 combination 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
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,In the two stanzas which follow, the design is more obviously carried out: —
But with mien of lord or lady, perched above my chamber door.
Then this ebony bird beguiling my sad fancy into smilingThe effect of the dénouement being thus provided for, I immediately drop the fantastic for a tone of the most profound seriousness: — this tone commencing in the stanza directly following the one last quoted, with the line,
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 being
Ever 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."
But the Raven, sitting lonely on that placid bust, spoke only, etc.From this epoch the lover no longer jests — no longer sees any thing even of the fantastic in the Raven's demeanor. He speaks of him as a "grim, ungainly, ghastly, gaunt, and ominous bird of yore," and feels the "fiery eyes" burning into his "bosom's core." This revolution of thought, or fancy, on the lover's part, is intended to induce a similar one on the part of the reader — to bring the mind into a proper frame for the dénouement — which is now brought about as rapidly and as directly as possible.
With the dénouement proper — with the
Raven's reply, "Nevermore," to the lover's final demand if he shall meet
his mistress in another world — the poem, in its obvious phase, that of
a simple narrative, may be said to have its completion. So far, every thing
is within the limits of the accountable — of the real. A raven, having
learned by rote the single word, "Nevermore," and having escaped from the
custody of its owner, is driven, at midnight, through the violence of a
storm, to seek admission at a window from which a light still gleams —
the chamber-window of a student, occupied half in poring over a volume,
half in dreaming of a beloved mistress deceased.
But in subjects so handled, however skilfully, or
with however vivid an array of incident, there is always a certain hardness
or nakedness, which repels the artistical eye. Two things are invariably
required — first, some amount of complexity, or more properly, adaptation;
and, secondly, some amount of suggestiveness — some under current, however
indefinite of meaning. It is this latter, in especial, which imparts to
a work of art so much of that richness (to
Holding these opinions, I added the two concluding stanzas of the poem — their suggestiveness being thus made to pervade all the narrative which has preceded them. The under-current of meaning is rendered first apparent in the lines —
"Take thy beak from out my heart, and take thy form from off my door!"It will be observed that the words, "from out my heart," involve the first metaphorical expression in the poem. They, with the answer, "Nevermore," dispose the mind to seek a moral in all that has been previously narrated. The reader begins now to regard the Raven as emblematical — but it is not until the very last line of the very last stanza, that the intention of making him emblematical of Mournful and Never-ending Remembrance is permitted distinctly to be seen:
Quoth the Raven "Nevermore!"
And the Raven, never flitting, still is sitting, still is sitting,
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And 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.
[S:1 - Graham's, 1846]