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By Root 2810 0

Lee” may also owe its inspiration to Annie Richmond, or to Virginia’s recent death, although there is reason to suspect that Poe was recalling his childhood love, Sarah Elmira Royster Shelton, by then a widow still living in Richmond. The poet’s visit there in 1848 fanned the embers of early passion; when he began courting her in 1849, he read the poem in her presence. Its poignant evocation of a fated love that outlasts death itself, compelling the speaker to “lie down” nightly beside the tomb of Annabel Lee, stands as Poe’s greatest lyric poem.

THE LAKE—TO—1

In spring of youth it was my lot

To haunt of the wide world a spot

The which I could not love the less—

So lovely was the loneliness

Of a wild lake, with black rock bound,

And the tall pines that towered around.

But when the Night had thrown her pall

Upon that spot, as upon all,

And the mystic wind went by

Murmuring in melody—

Then—ah then I would awake

To the terror of the lone lake.

Yet that terror was not fright,

But a tremulous delight—

A feeling not the jewelled mine

Could teach or bribe me to define—

Nor Love—although the Love were thine.

Death was in that poisonous wave,

And in its gulf a fitting grave

For him who thence could solace bring

To his lone imagining—

Whose solitary soul could make

An Eden of that dim lake.

SONNET—TO SCIENCE

Science! true daughter of Old Time thou art!

Who alterest all things with thy peering eyes.

Why preyest thou thus upon the poet’s heart,

Vulture, whose wings are dull realities?

How should he love thee? or how deem thee wise,

Who wouldst not leave him in his wandering

To seek for treasure in the jewelled skies,

Albeit he soared with an undaunted wing?

Hast thou not dragged Diana1 from her car?

And driven the Hamadryad from the wood

To seek a shelter in some happier star?

Hast thou not torn the Naiad from her flood,

The Elfin from the green grass, and from me

The summer dream beneath the tamarind tree?

FAIRY-LAND

Dim vales—and shadowy floods—

And cloudy-looking woods,

Whose forms we can’t discover

For the tears that drip all over.

Huge moons there wax and wane—

Again—again—again—

Every moment of the night—

Forever changing places—

And they put out the star-light

With the breath from their pale faces.

About twelve by the moon-dial

One more filmy than the rest

(A kind which, upon trial,

They have found to be the best)

Comes down—still down—and down

With its centre on the crown

Of a mountain’s eminence,

While its wide circumference

In easy drapery falls

Over hamlets, over halls,

Wherever they may be—

O’er the strange woods—o’er the sea—

Over spirits on the wing—

Over every drowsy thing—

And buries them up quite

In a labyrinth of light—

And then, how deep!—O, deep!

Is the passion of their sleep.

In the morning they arise,

And their moony covering

Is soaring in the skies,

With the tempests as they toss,

Like—almost any thing—

Or a yellow Albatross.

They use that moon no more

For the same end as before—

Videlicet1 a tent—

Which I think extravagant:

Its atomies,2 however,

Into a shower dissever,

Of which those butterflies,

Of Earth, who seek the skies,

And so come down again

(Never-contented things!)

Have brought a specimen

Upon their quivering wings.

INTRODUCTIONI

Romance, who loves to nod and sing,

With drowsy head and folded wing,

Among the green leaves as they shake

Far down within some shadowy lake,

To me a painted paroquet

Hath been—a most familiar bird—

Taught me my alphabet to say—

To lisp my very earliest word

While in the wild-wood I did lie

A child—with a most knowing eye.

Succeeding years, too wild for song,

Then roll’d like tropic storms along,

Where, tho’ the garish lights that fly

Dying along the troubled sky.

Lay bare, thro’ vistas thunder-riven,

The blackness of the general Heaven,

That very blackness yet doth fling

Light on the lightning’s silver wing.

For, being an idle boy lang syne,

Who read Anacreon,2 and drank wine,

I early found Anacreon rhymes

Were almost passionate sometimes