The Raven by Edgar Allan Poe

Here’s The Simpsons’ version with a little help from James Earl Jones… Click Here to Watch or read the original shown below.

 

By Edgar Allan Poe (1809-1849)

“The Raven” depicts a mysterious raven’s midnight visit to a mourning narrator, as illustrated by John Tenniel (1858).(1809–1849)\

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 visitor,” I muttered, “tapping at my chamber door—
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“’Tis some visitor entreating entrance at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

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.”

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of ‘Never—nevermore’.”

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
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.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
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 lamp-light 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!

 

 

Advertisement

Cat’s in the Cradle – Harry Chapin

The author of this song is Harry Chapin‘s wife, Sandra “Sandy” (Gaston).  She is introduced along with her and Harry’s son, Joshua.

 

Paul Revere’s Ride Poem

by Henry Wadsworth Longfellow

 

Listen my children and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
He said to his friend, “If the British march
By land or sea from the town to-night,
Hang a lantern aloft in the belfry arch
Of the North Church tower as a signal light,–
One if by land, and two if by sea;
And I on the opposite shore will be,
Ready to ride and spread the alarm
Through every Middlesex village and farm,
For the country folk to be up and to arm.”

Then he said “Good-night!” and with muffled oar
Silently rowed to the Charlestown shore,
Just as the moon rose over the bay,
Where swinging wide at her moorings lay
The Somerset, British man-of-war;
A phantom ship, with each mast and spar
Across the moon like a prison bar,
And a huge black hulk, that was magnified
By its own reflection in the tide.

Meanwhile, his friend through alley and street
Wanders and watches, with eager ears,
Till in the silence around him he hears
The muster of men at the barrack door,
The sound of arms, and the tramp of feet,
And the measured tread of the grenadiers,
Marching down to their boats on the shore.

Then he climbed the tower of the Old North Church,
By the wooden stairs, with stealthy tread,
To the belfry chamber overhead,
And startled the pigeons from their perch
On the sombre rafters, that round him made
Masses and moving shapes of shade,–
By the trembling ladder, steep and tall,
To the highest window in the wall,
Where he paused to listen and look down
A moment on the roofs of the town
And the moonlight flowing over all.

Beneath, in the churchyard, lay the dead,
In their night encampment on the hill,
Wrapped in silence so deep and still
That he could hear, like a sentinel’s tread,
The watchful night-wind, as it went
Creeping along from tent to tent,
And seeming to whisper, “All is well!”
A moment only he feels the spell
Of the place and the hour, and the secret dread
Of the lonely belfry and the dead;
For suddenly all his thoughts are bent
On a shadowy something far away,
Where the river widens to meet the bay,–
A line of black that bends and floats
On the rising tide like a bridge of boats.

Meanwhile, impatient to mount and ride,
Booted and spurred, with a heavy stride
On the opposite shore walked Paul Revere.
Now he patted his horse’s side,
Now he gazed at the landscape far and near,
Then, impetuous, stamped the earth,
And turned and tightened his saddle girth;
But mostly he watched with eager search
The belfry tower of the Old North Church,
As it rose above the graves on the hill,
Lonely and spectral and sombre and still.
And lo! as he looks, on the belfry’s height
A glimmer, and then a gleam of light!
He springs to the saddle, the bridle he turns,
But lingers and gazes, till full on his sight
A second lamp in the belfry burns.

A hurry of hoofs in a village street,
A shape in the moonlight, a bulk in the dark,
And beneath, from the pebbles, in passing, a spark
Struck out by a steed flying fearless and fleet;
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spark struck out by that steed, in his flight,
Kindled the land into flame with its heat.
He has left the village and mounted the steep,
And beneath him, tranquil and broad and deep,
Is the Mystic, meeting the ocean tides;
And under the alders that skirt its edge,
Now soft on the sand, now loud on the ledge,
Is heard the tramp of his steed as he rides.

It was twelve by the village clock
When he crossed the bridge into Medford town.
He heard the crowing of the cock,
And the barking of the farmer’s dog,
And felt the damp of the river fog,
That rises after the sun goes down.

It was one by the village clock,
When he galloped into Lexington.
He saw the gilded weathercock
Swim in the moonlight as he passed,
And the meeting-house windows, black and bare,
Gaze at him with a spectral glare,
As if they already stood aghast
At the bloody work they would look upon.

It was two by the village clock,
When he came to the bridge in Concord town.
He heard the bleating of the flock,
And the twitter of birds among the trees,
And felt the breath of the morning breeze
Blowing over the meadow brown.
And one was safe and asleep in his bed
Who at the bridge would be first to fall,
Who that day would be lying dead,
Pierced by a British musket ball.

You know the rest. In the books you have read
How the British Regulars fired and fled,—
How the farmers gave them ball for ball,
>From behind each fence and farmyard wall,
Chasing the redcoats down the lane,
Then crossing the fields to emerge again
Under the trees at the turn of the road,
And only pausing to fire and load.

So through the night rode Paul Revere;
And so through the night went his cry of alarm
To every Middlesex village and farm,—
A cry of defiance, and not of fear,
A voice in the darkness, a knock at the door,
And a word that shall echo for evermore!
For, borne on the night-wind of the Past,
Through all our history, to the last,
In the hour of darkness and peril and need,
The people will waken and listen to hear
The hurrying hoof-beats of that steed,
And the midnight message of Paul Revere.

Celebrate Paul Revere’s Ride

Born January 1, 1735, Paul Revere was a silversmith and ardent colonist.  He took part in the Boston Tea Party and was principal rider for Boston’s Committee of Safety.  In that role, he devised a system of lanterns to warn the minutemen of a British invasion, setting up for his famous ride on April 18, 1775.

Read Henry Wadsworth Longfellow’s poem that immortalized Paul Revere in the history books:  Click Here to read about the Midnight Ride.  

 

What few know is the horse’s side of the story as told by Steve Martin and the Steep Canyon Rangers…….   Click Here to Hear More.

Paul Revere warns all that “The British are Coming!”

Remembrance Day – Poppy Day

In Flanders Fields

Photo Source: Valerie Corner

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly.
Scarce heard amid the guns below.

We are the dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved, and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

World War I Colonel John McCrae, a surgeon with Canada’s First Brigade Artillery, penned the poem “In Flanders Fields.”

Colonel John McCrae was a surgeon with Canada’s First Brigade Artillery. The poem expressed McCrae’s grief over the “row on row” of graves of soldiers who had died on Flanders’ battlefields, located in a region of western Belgium and northern France. The poem presented a striking image of the bright red flowers blooming among the rows of white crosses and became a rallying cry to all who fought in the First World War. The first printed version of it reportedly was in December 1915, in the British magazine Punch.

McCrae’s poem had a huge impact on two women, Anna E. Guerin of France and Georgia native Moina Michael. Both worked hard to initiate the sale of artificial poppies to help orphans and others left destitute by the war. By 1920, when Guerin, with the help of the American Legion, established the first poppy sale in the U.S., the flower was well known in the allied countries — America, Britain, France, Canada, Australia and New Zealand — as the “Flower of Remembrance.” Proceeds from that first sale went to the American and French Children’s League.

Guerin had troubles with the distribution of the poppies in early 1922 and sought out Michael for help. Michael had started a smaller-scaled Poppy Day during a YMCA conference she was attending in New York and wanted to use the poppies as a symbol of remembrance of the war. Guerin, called the “Poppy Lady of France” in her homeland, and Michael, later dubbed “The Poppy Princess” by the Georgia legislature, went to the Veterans of Foreign Wars (VFW) for help.

The poppy was adopted as the official memorial flower of the VFW at its national convention in Seattle, Wash., in August 1922, following the first nationwide distribution of poppies ever conducted by any veterans organization.

France’s “Poppy Lady” Anna E. Guerin

In 1923, faced by a shortage of poppies from French manufacturers, the VFW relied on New York florists to make up the difference. This was a huge setback, however, and led to the idea by VFW officials to use unemployed and disabled veterans to produce the artificial flower. This concept was approved in late 1923 and the first poppy factory was built in Pittsburgh, Pa., in 1924. This provided a practical means of assistance to veterans and also ensured a steady, reliable source of poppies. Veterans at Department of Veterans Affairs medical facilities and veterans homes help assemble the poppies, and each year the VFW distributes roughly 14 million worldwide.

Georgia’s “Poppy Princess” Moina Michael

It was around the same time the first poppy factory was built that the VFW registered the name “Buddy Poppy” with the U.S. Patent Office. The term “Buddy” was coined by the poppy makers as a tribute to their comrades who did not come home from the war or who were scarred and crippled for life.

The VFW celebrated the 75th anniversary of the Buddy Poppy as its official flower in 1997. While profits from its sales have helped countless veterans and their widows, widowers and orphans over the years, the poppy itself survives as a perpetual tribute to those who have given their lives for the nation’s freedom.

Information Source: United States Department of Veterans Affairs

 

 

In 1492…. He sailed the Ocean Blue

“To err is human.  To forgive, divine.”  — English poet, Alexander Pope

And… well… then there’s fortunate mistakes.  For example, Explorer Christopher Columbus meant to arrive in India… but instead he discovered a New World.  There is some controversy regarding that as well… so let’s just say, he “landed” in the New World and made his mark.

An artist’s depiction of Christopher Columbus arriving in the “New World.”

 

Here is the most popular Columbus Day poem in the United States. It’s used to help teach the history of Columbus.

IN 1492

In fourteen hundred ninety-two
Columbus sailed the ocean blue.

He had three ships and left from Spain;
He sailed through sunshine, wind and rain.

He sailed by night; he sailed by day;
He used the stars to find his way.

A compass also helped him know
How to find the way to go.

Ninety sailors were on board;
Some men worked while others snored.

Then the workers went to sleep;
And others watched the ocean deep.

Day after day they looked for land;
They dreamed of trees and rocks and sand.

October 12 their dream came true,
You never saw a happier crew!

“Indians! Indians!” Columbus cried;
His heart was filled with joyful pride.

But “India” the land was not;
It was the Bahamas, and it was hot.

The Arakawa natives were very nice;
They gave the sailors food and spice.

Columbus sailed on to find some gold
To bring back home, as he’d been told.

He made the trip again and again,
Trading gold to bring to Spain.

The first American? No, not quite.
But Columbus was brave, and he was bright.