t 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 for the effect of
contrast between the marble and the plumage--it being understood that
the bust was absolutely _suggested_ by the bird--the bust of _Pallas_
being chosen, first, as most in keeping with the scholarship of the
lover, and, secondly, for the sonorousness of the word, Pallas, itself.

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,
_But with mien of lord or lady_, perched above my chamber door.

In the two stanzas which follow, the design is more obviously carried
out:

Then this ebony bird beguiling my _sad fancy_ into smiling
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."

The effect of the denouement 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,

But the Raven, sitting lonely on that placid bust, s