Edward H. Davidson
The Raven is the fulfillment of these metrical compositions pen in the twelve or thirteen years since the publication of the Poems of 1831. In it are the uses of pictorialism to suggest the inner workings of a ghastly sentience and also the religious necessity, the drive of a consciousness toward understanding. We need not concern ourselves with the debate over Poes sources and borrowings, whether the talk of the town bird came from Dickens Barnaby Rudge or whether the verse form was borrowed from Mrs. Brownings Lady Geraldines Courtship (a debt which Poe may sport silently acknowledge in his dedication of The Raven volume of poems To Miss Elizabeth Barrett Barrett, of England). These matters have been sufficiently discussed or even settled to allow us to pursue questions of the meaning of the poem and its relevance to Poes poetic concept and practice.
A year or so after the poem was published in January 1845, Poe published The Philosophy of Composition, an exposition of the poem-in-process which, in its own time as in after years, regulate a little light and much confusion on the poem.
We have had occasion to consider that essay in scathe of Poes theories of verse line and of art; here we might briefly respect that the essay was more an attempt to outline Poes view of what poetry should be and should do than it was a forthright demonstration of how The Raven came to be. Thus the poem is made, in its after history, to conform to a preconceived philosophy of poetic composition -- as if poems were written out of a schema or philosophy! Nonetheless, there are inevitable tips in the essay to what the poem was meant to be and how it came to have the form in which it was afterward resolved. Poe could not alleviate admitting us to the inner rationale of how the poem was made.
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