The idea of making the lover suppose, in the first
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.
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