_centuries, no man, in
verse has ever done, or ever seemed to think of doing, an original
thing_. The fact is that originality (unless in minds of very unusual
force) is by no means a matter, as some suppose, of impulse or
intuition. In general, to be found, it must be elaborately sought and,
although a positive merit of the highest class, demands in its
attainment less of invention than negation.

Of course I pretend to no originality in either the rhythm or metre of
the "Raven." The former is trochaic--the latter is octametre
acatalectic, alternating with heptametre catalectic repeated in the
_refrain_ of the fifth verse, and terminating with tetrametre
catalectic. Less pedantically, the feet employed throughout (trochees)
consists 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 _combinations into stanzas;_ 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 firs