Lexical and phonetic SDs in the poetry by Edgar Allan Poe

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THEME:

Lexical and phonetic SDs in the poetry by Edgar Allan Poe



CONTENTS

Introduction

1. The stylistic analysis of the poem “Ulalume” by Edgar Allan Poe

1.1 Lexical SDs

1.2 Phonetic SDs

2 The stylistic analysis of the poem “The Raven” by Edgar Allan Poe

2.1 Lexical SDs

2.2 Phonetic SDs

Conclusion

References

Appendix



INTRODUCTION

Topicality

Edgar Allan Poe (1809-1849) is considered to be one of the most prominent authors, poets, editors and literary critics of the nineteenth century. In addition to his exceptional talent he was very eccentric personality. Sometimes it is really difficult for the reader to understand Poe's idea. Actually, his creative work is not for everybody. But those, who manage to apprehend (better to say - to feel) the sense author was trying to convey, cannot but admire his endowments. (3; 204)

The most exciting enigma of the Poe's works - is his inexplicable ability to influence the reader's consciousness. “The Raven” and “Ulalume” (the poems, analyzed in the particular course paper) were written during the most difficult period of the author's life. His wife was seriously ill and all his thoughts were only with her. That is why both of them perfectly illustrate the author's psychological state and creative manner. So, main question of our work is: “How could Edgar Allan Poe achieve such a colossal effect on the reader?” (4; 296)

The topicality of the course paper “Lexical and phonetic SDs in the poetry by Edgar Allan Poe” consists in determination of the devices, which produce such a powerful psychological influence, since the poems of this writer are the most readable ones in the whole world. lexical phonetic stylistic device poe

The Object - lexical and phonetic stylistic devices in the poems “The Raven” and “Ulalume” by Edgar Allan Poe.

The Subject - the process of finding lexical and phonetic stylistic devices in the poems “The Raven” and “Ulalume” by Edgar Allan Poe, which influence the reader's perception.

The aim of the course paper lies in explaining and systemizing the lexical and phonetic stylistic devices in the poems by Edgar Allan Poe.

The tasks:

- to determine the lexical and phonetic stylistic devices in the poems: “The Raven” and “Ulalume” by Edgar Allan Poe;

- to concretize the types of particular lexical and phonetic stylistic devices;

- to grasp the purpose of their usage;

- to make the poems: “The Raven” and “Ulalume” by Edgar Allan Poe more understandable to the reader.

- To encourage the reader to investigate the creativity of Edgar Allan Poe in details.

The practical value of the course paper lies in determination and classification of the lexical and phonetic stylistic devices, applied in the poems: “The Raven” and “Ulalume”, which may lead to the usage of the above mentioned poems in the course of stylistics and improvement of understanding the nature of the effects caused by these poems.

The main body of the course work “Lexical and phonetic stylistic devices in the poetry by Edgar Allan Poe” is divided into two parts: “The stylistic analysis of the poem “Ulalume” by Edgar Allan Poe” and “The stylistic analysis of the poem “The Raven” by Edgar Allan Poe”, which in their turn are divided into two following subparts each: “Lexical SDs” and “Phonetic SDs”.

The part “Lexical SDs” includes: epithets (which are classified according to several classification (including ones by A.N.Veselovsky and I.R. Galpering) in order to illustrate their nature and purpose of usage better.), hyppalages, hyperboles, allusions, metaphors, similes, periphrases, metonymies, lexical anaphoras, lexical epistrophes, lexical anadiplosis and distant repetitions.

The part “Phonetic SDs” consists of: alliterations, assonances, different kinds of rhyming (including inner rhyme) and onomatopoeia.



1. The stylistic analysis of the poem “Ulalume” by Edgar Allan Poe

“Ulalume” is a salient poem, written by Edgar Allan Poe in 1847. As every poem it tells a story. A story, which is far from being encouraging and optimistic. It reflects the narrator's agony, caused by the death of his beloved woman. The atmosphere of the poem is both depressing and mysterious. The author reaches colossal effect on the reader with the help of the stylistic devices. The lexical ones contribute greatly to the representation of the sullen and frightening atmosphere, phonetic devices (especially rhyme) and lexical repetitions give the poem a musical quality, although it is not intended to be sung. (10)

In this part of our course paper, the crucial stylistic devices, which affect the perception of the poem greatly, are to be analyzed. This part is divided into two subparts: “Lexical stylistic devices” and “Phonetic stylistic devices” in order to represent the importance of their usage.

ULALUME

by: Edgar Allan Poe

HE skies they were ashen and sober;

The leaves they were crisped and sere--

The leaves they were withering and sere:

It was night, in the lonesome October

Of my most immemorial year;

It was hard by the dim lake of Auber,

In the misty mid region of Weir--

It was down by the dank tarn of Auber,

In the ghoul-haunted woodland of Weir.

 

Here once, through an alley Titanic,

Of cypress, I roamed with my Soul

Of cypress, with Psyche, my Soul.

These were days when my heart was volcanic

As the scoriac rivers that roll--

As the lavas that restlessly roll

Their sulphurous currents down Yaanek

In the ultimate climes of the Pole--

That groans as they roll down Mount Yaanek

In the realms of the Boreal Pole.

 

Our talk had been serious and sober,

But our thoughts they were palsied and sere--

Our memories were treacherous and sere--

For we knew not the month was October,

And we marked not the night of the year--

(Ah, night of all nights in the year!)

We noted not the dim lake of Auber,

(Though once we had journeyed down here)

Remembered not the dank tarn of Auber,

Nor the ghoul-haunted woodland of Weir.

 

And now, as the night was senescent

And star-dials pointed to morn--

As the star-dials hinted of morn--

At the end of our path a liquescent

And nebulous luster was born.

Out of which a miraculous crescent

Arose with a duplicate horn--

Astarte's bediamonded crescent

Distinct with its duplicate horn.

 

And I said--"She is warmer than Dian;

She rolls through an ether of sighs--

She revels in a region of sighs:

She has seen that the tears are not dry on

These cheeks, where the worm never dies,

And has come past the stars of the Lion

To point us the path of the skies--

To the Lethean peace of the skies--

Come up, in despite of the Lion,

To shine on us with her bright eyes--

Come up through the lair of the Lion,

With love in her luminous eyes."

 

But Psyche, uplifting her finger,

Said--"Sadly this star I mistrust--

Her pallor I strangely mistrust--

Oh, hasten!--oh, let us not linger!

Oh, fly!--let us fly!--for we must."

In terror she spoke, letting sink her

Wings till they trailed in the dust--

In agony sobbed, letting sink her

Plumes till they trailed in the dust--

Till they sorrowfully trailed in the dust.

 

I replied--"This is nothing but dreaming:

Let us on by this tremulous light!

Let us bathe in this crystalline light!

Its sybillic splendor is beaming

With Hope and in Beauty to-night:--

See! it flickers up the sky through the night!

Ah, we safely may trust to its gleaming,

And be sure it will lead us aright:

We safely may trust to a gleaming

That cannot but guide us aright,

Since it flickers up to Heaven through the night."

 

Thus I pacified Psyche and kissed her,

And tempted her out of her gloom--

And conquered her scruples and gloom;

And we passed to the end of a vista,

But were stopped by the door of a tomb--

By the door of a legended tomb;

And I said--"What is written, sweet sister,

On the door of this legended tomb?"

She replied--"Ulalume--Ulalume!--

'Tis the vault of thy lost Ulalume!"

 

Then my heart it grew ashen and sober

As the leaves that were crispèd and sere--

As the leaves that were withering and sere;

And I cried--"It was surely October

On this very night of last year

That I journeyed--I journeyed down here--

That I brought a dread burden down here!

On this night of all nights in the year,

Ah, what demon has tempted me here?

Well I know, now, this dim lake of Auber--

This misty mid region of Weir--

Well I know, now, this dank tarn of Auber--

This ghoul-haunted woodland of Weir."[9]

1.1. LEXICAL SDs

The skies were ashen and sober -epithets

According to the semantic classification of epithets by A. N. Veselovsky, both ashen and sober appear to be descriptive/characterizing epithets. I.R. Galperin would define both adjectives as associated epithets, as they point to the feature which is essential to the object. Addressing the structural classification, both epithets turn out to be simple ones, as they consist only of one word. [6; 91]

The leaves they were crisped and sere -epithets

From the semantic point of view, both adjectives are descriptive/characterizing epithets. Crisped and sere - are also associated and structurally simple epithets.

It was night, in the lonesome October - hypallage (metonymical/transferred epithet) [6; 84]. It is meant, that not October was lonely, but the particular person during that month.

Of my most immemorial year -hyperbole

Hyperbole is used here to create more striking effect, its usage emphasizes that long period of narrator's agonizing over death of his beloved.

It was hard by the dim lake of Auber - allusion, which may be reference to composer Daniel François Esprit Auber. [7; 185]

In the ghoul-haunted woodland of Weir -

1.By Veselovsky ghoul-haunted is considered to be a descriptive/characterizing epithet. According to Galperin, this epithet turns out to be unassociated one, since it adds a feature, which is not inherent in the concept. According to the structural classification, ghoul-haunted is being defined as compound epithet.

2. Weir - might be an allusion to Robert Walter Weir, a painter of the Hudson River School famous for his landscapes. [7; 185]

Of cypress, I roamed with my Soul - metaphor, personification, which is close to psychological parallelism: Soul is showed as a participant of the narrator's inner world.

Of cypress, with Psyche, my Soul. - allusion

The narrator personifies his soul as the ancient Greek Psyche, representing the irrational but careful part of his subconsciousness. [10]

There were days when my heart was volcanic

As the scoriac rivers that roll

As the lavas that restlessly roll - simile which applies connective -as.

Their sulphurous currents down Yaanek - allusion

Mount Yaanek, with its "sulphurous currents" in the "ultimate climes of the pole", has been associated with Mount Erebus, a volcanoin Antarctica first sighted in 1841. [8;211]

In the ultimate climes of the pole

That groan as they roll down Mount Yaanek - metaphor, personification

In the realms of the boreal pole. - periphrasis

Under boreal pole - the North Pole is meant.

But our thoughts they were palsied and sere - both adjectives are epithets (metaphorical, according to Veselovsky; unassociated, according to Galperin. Kukharenko would define them as figurative epithets; both are structurally simple, for they consist only of one word).

Our memories were treacherous and sere -epithet (metaphorical, according to Veselovsky; unassociated - to Galperin; figurative - to Kucharenko and simple, according to the structural classification).

(Ah, night of all nights in the year!) - periphrasis

October 31, Allhallows Eve is being meant.

And now, as the night was senescent, - epithet (metaphorical, unassociated, figurative and simple)

The primary meaning of senescent - is something, which is getting old, so senescent night means night, which is likely to be over soon.

And star-dials pointed to morn - metaphor, personification, as to point means to show something, to demonstrate.

At the end of our path a liquescent

And nebulous luster was born, -

1. A liquescent luster - melting soft light - epithet (metaphorical, unassociated, figurative and simple)

2. A liquescent and nebulous luster was born - metaphor, personification/animalification

And I said- "She is warmer than Dian - allusion

Dian - is a virgin moon goddess in Roman mythology. [10]

She revels in a region of sighs: - periphrasis

A region of sighs - Hades

And has come past the stars of the Lion - allusion

Lion: in astronomy, the constellation Leo, containing a very bright star. [10]

To point us the path to the skies - periphrasis

Skies is used in the meaning of Heaven.

To shine on us with her bright eyes - epithet (descriptive/characterizing, associated, affective and simple)

With love in her luminous eyes." - metonymy

Love was not only in her eyes, but filled up all her body and soul.

But Psyche, uplifting her finger - metaphor, personification;

Psyche, who is considered to be the narrator's soul, acquires the quality of a person.

Said- "Sadly this star I mistrust

Her pallor I strangely mistrust: - metaphor, personification

Star is described as human being, as a person who can be insincere.

Let us on by this tremulous light! - epithet (metaphorical, unassociated, figurative, simple)

With Hope and in Beauty to-night: - metaphor, personification

Ah, we safely may trust to its gleaming,

And be sure it will lead us aright

We safely may trust to a gleaming

That cannot but guide us aright, - metaphor, personification

Gleaming here is perceived as human, who may be relied on, who may show the right way.

Thus I pacified Psyche and kissed her,

And tempted her out of her gloom - metaphor, personification

Psyche is treated as human being.

And conquered her scruples and gloom - non-noun metaphor

conquered her scruples and gloom - here in meaning “pacified her”.

Then my heart it grew ashen and sober

As the leaves that were crisped and sere

As the leaves that were withering and sere - simile, which applies connectives - as (6; 103)

That I brought a dread burden down here - epithet (descriptive, unassociated, affective, simple).

The most common lexical repetitions (6; 135) in the particular poem are lexical anaphora and lexical epistrophe, which occur almost in every stanza.

THE skies they were ashen and sober;

The leaves they were crisped and sere--

The leaves they were withering and sere: - lexical anaphora

It was night, in the lonesome October

Of my most immemorial year;

It was hard by the dim lake of Auber,

In the misty mid region of Weir--

It was down by the dank tarn of Auber,

In the ghoul-haunted woodland of Weir. - lexical anaphora, lexical epistrophe

Here once, through an alley Titanic,

Of cypress, I roamed with my Soul

Of cypress, with Psyche, my Soul. - lexical anaphora

These were days when my heart was volcanic

As the scoriac rivers that roll--

As the lavas that restlessly roll - lexical anaphora

Their sulphurous currents down Yaanek

In the ultimate climes of the Pole--

That groans as they roll down Mount Yaanek

In the realms of the Boreal Pole. - lexical epistrophe

Our talk had been serious and sober,

But our thoughts they were palsied and sere--

Our memories were treacherous and sere - lexical anaphora

And now, as the night was senescent

And star-dials pointed to morn--

As the star-dials hinted of morn-- - lexical epistrophe

At the end of our path a liquescent

And nebulous luster was born.

Out of which a miraculous crescent

Arose with a duplicate horn--

Astarte's bediamonded crescent

Distinct with its duplicate horn. - lexical epistrophe

 

And I said--"She is warmer than Dian;

She rolls through an ether of sighs--

She revels in a region of sighs:

She has seen that the tears are not dry on - lexical anaphora, lexical epistrophe

These cheeks, where the worm never dies,

And has come past the stars of the Lion

To point us the path of the skies--

To the Lethean peace of the skies--

Come up, in despite of the Lion, -

To shine on us with her bright eyes

Come up through the lair of the Lion,

With love in her luminous eyes." - lexical anaphora, lexical epistrophe

But Psyche, uplifting her finger,

Said--"Sadly this star I mistrust--

Her pallor I strangely mistrust--

Oh, hasten!--oh, let us not linger!

Oh, fly!--let us fly!--for we must."

In terror she spoke, letting sink her

Wings till they trailed in the dust--

In agony sobbed, letting sink her

Plumes till they trailed in the dust--

Till they sorrowfully trailed in the dust. -lexical epistrophe

I replied--"This is nothing but dreaming:

Let us on by this tremulous light!

Let us bathe in this crystalline light!

Its sybillic splendor is beaming

With Hope and in Beauty to-night:--

See! it flickers up the sky through the night!

Ah, we safely may trust to its gleaming,

And be sure it will lead us aright:

We safely may trust to a gleaming

That cannot but guide us aright,

Since it flickers up to Heaven through the night." - lexical epistrophe

Thus I pacified Psyche and kissed her,

And tempted her out of her gloom--

And conquered her scruples and gloom;

And we passed to the end of a vista, - lexical anaphora

But were stopped by the door of a tomb--

By the door of a legended tomb;

And I said--"What is written, sweet sister,

On the door of this legended tomb?"

She replied--"Ulalume--Ulalume!--

'Tis the vault of thy lost Ulalume!" - lexical epistrophe

Then my heart it grew ashen and sober

As the leaves that were crispèd and sere--

As the leaves that were withering and sere; - lexical anaphora

And I cried--"It was surely October

On this very night of last year

That I journeyed--I journeyed down here--

That I brought a dread burden down here!

On this night of all nights in the year,

Ah, what demon has tempted me here?

Well I know, now, this dim lake of Auber--

This misty mid region of Weir--

Well I know, now, this dank tarn of Auber--

This ghoul-haunted woodland of Weir." - lexical epistrophe

1.2. PHONETIC SDs

One can find a great many examples of alliteration in the poem “Ulalume” by Edgar Allan Poe:

Of my most immemorial year;

In the misty mid region of Weir;

In the ghoul-haunted woodland of Weir;

As the scoriac rivers that roll;

As the lavas that restlessly roll;

Our talk had been serious and sober;

We noted not the dim lake of Auber;

Distinct with its duplicate horn;

Said “Sadly this star I mistrust

Its sybillic splendor is beaming

Thus I pacified Psyche and kissed her;

And I said - “What is written, sweet sister;

She replied - “Ulalume - Ulalume!

`Tis the vault of thy lost Ulalume!”

That I brought a dread burden down here!

Very interesting kind of rhyming is applied in the poem. Let us take as example the first stanza:

THE skies they were ashen and sober;

The leaves they were crisped and sere--

The leaves they were withering and sere:

It was night, in the lonesome October

Of my most immemorial year;

It was hard by the dim lake of Auber,

In the misty mid region of Weir--

It was down by the dank tarn of Auber,

In the ghoul-haunted woodland of Weir.

The strophe consists of nine lines. The first four lines have a framing, or ring rhyme (sober - sere - sere - October). The rest ones - a cross rhyme. (year - Auber - Weir - Auber - Weir).



2. The stylistic analysis of the poem “The Raven” by Edgar Allan Poe

"The Raven" is a narrative poem by American writer Edgar Allan Poe, which first was published in January 1845. This poem is noted for its musicality, stylized language, and supernatural atmosphere. The tone of the poem is really depressing, As the previous analyzed poem, it tells a story about the lost love. The narrator has been tortured throughout the whole story, as he is getting the same answer to all his questions. Moreover, both narrator and reader know what the response is going to be. Poe was able to maintain a melancholy feeling throughout his poem using the refrain “nevermore” and following some very strict, self-set, rules. Every stanza in the poem uses the same rhyme scheme. He used many stylistic devices including alliteration, assonance, onomatopoeia and many others, illustration of which one can find in the following part. (12)

As the previous part, this one is also divided into two subparts: “Lexical stylistic devices” and “Phonetic stylistic devices”. But firstly, let us enjoy the poem!

The Raven 1845

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 visitor 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 blest 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 further 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 my sad 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 in 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! [11]

2.1 LEXICAL SDs

Over many a quaint and curious volume of forgotten lore - epithets

(descriptive/characterizing, associated , affective and simple).

Ah, distinctly I remember it was in the bleak December; - epithet (metaphorical, unassociated, figurative and simple).

And each separate dying ember wrought its ghost upon the floor. -

dying ember - epithet (metaphorical, unassociated, figurative and simple);

ember wrought its ghost upon the floor - metaphor, personification

Eagerly I wished the morrow; - vainly I had sought to borrow

From my books surcease of sorrow - sorrow for the lost Lenore - metaphor, personification (Books are being apprehended here as human beings).

For the rare and radiant maiden whom the angels name Lenore - epithets (rare - descriptive/characterizing, associated, affective and simple; radiant - metaphorical, unassociated, figurative and simple).

And the silken, sad, uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; -

silken, sad, uncertain rustling - epithets (metaphorical, unassociated, figurative and simple);

rustling of each curtain thrilled me - filled me… - metaphor, personification

Presently my soul grew stronger; hesitating then no longer, - metaphor, personification;

But the silence was unbroken, and the stillness gave no token, -

unbroken - epithet (metaphorical, unassociated, figurative and simple);

stillness gave no token - metaphor, personification

This I whispered, and an echo murmured back the word, "Lenore!" - metaphor, personification

Back into the chamber turning, all my soul within me burning - metaphor (soul is compared with fire).

In there stepped a stately Raven of the saintly days of yore - metaphor, personification

Then this ebony bird beguiling my sad fancy into smiling, - epithet (tautological, associated, affective and simple);

“ Ghastly grim and ancient Raven wandering from the Nightly shore -  Quoth the Raven "Nevermore.” - metaphor, personification

Startled at the stillness broken by reply so aptly spoken, - epithet (metaphorical, unassociated, figurative and simple);

Caught from some unhappy master whom unmerciful Disaster -

unmerciful -epithet (metaphorical, unassociated, figurative and simple);

unmerciful Disaster -mataphor, personification

Till the dirges of his Hope that melancholy burden bore - metaphor, personification

Straight I wheeled a cushioned seat in front of bird, and bust and door; - epithet (descriptive/characterizing, associated, affective, simple);

Then, upon the velvet sinking, I betook myself to linking - epithet (metaphorical, unassociated, figurative and simple);

Fancy unto fancy, thinking what this ominous bird of yore - epithet

The poem is filled with lexical repetitions. Every stanza contains at least one kind of it. Due to these devices, the poem has extremely euphonious and a pleasant to the ear sounding.

As of some one gently rapping, rapping at my chamber door - lexical anadiplosis "'Tis some visitor," I muttered, "tapping at my chamber door - lexical epistrophe Only this and nothing more." From my books surcease of sorrow - sorrow for the lost Lenore - lexical anadiplosis For the rare and radiant maiden whom the angels name Lenore - lexical epistrophe Nameless here for evermore. "'Tis some visitor entreating entrance at my chamber door -  Some late visitor entreating entrance at my chamber door; - lexical epistrophe This it is and nothing more." And so faintly you came tapping, tapping at my chamber door, - lexical anadiplosis That I scarce was sure I heard you" - here I opened wide the door; - lexical epistrophe Darkness there and nothing more. And the only word there spoken was the whispered word, "Lenore?" This I whispered, and an echo murmured back the word, "Lenore!" - lexical epistrophe Merely this and nothing more. Let me see, then, what thereat is, and this mystery explore -  Let my heart be still a moment and this mystery explore; - lexical epistrophe 'Tis the wind and nothing more!" 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. - lexical anaphora Ever yet was blest with seeing bird above his chamber door -  Bird or beast upon the sculptured bust above his chamber door, - lexical epistrophe With such name as "Nevermore." Till I scarcely more than muttered "Other friends have flown before -  On the morrow he will leave me, as my hopes have flown before." - lexical epistrophe Then the bird said "Nevermore." Followed fast and followed faster till his songs one burden bore -  Till the dirges of his Hope that melancholy burden bore - lexical epistrophe Of 'Never - nevermore.'" Fancy unto fancy, thinking what this ominous bird of yore -  What this grim, ungainly, ghastly, gaunt and ominous bird of yore - lexical epistrophe Meant in croaking "Nevermore." 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, - lexical epistrophe She shall press, ah, nevermore! Respite - respite and nepenthe, from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!" - lexical epistrophe Quoth the Raven "Nevermore." On this home by Horror haunted - tell me truly, I implore -  Is there - is there balm in Gilead? - tell me - tell me, I implore!" - lexical epistrophe Quoth the Raven "Nevermore." It shall clasp a sainted maiden whom the angels name Lenore -  Clasp a rare and radiant maiden whom the angels name Lenore." - lexical epistrophe Quoth the Raven "Nevermore." Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! - quit the bust above my door! - lexical anaphor Take thy beak from out my heart, and take thy form from off my door!" Quoth the Raven "Nevermore." - lexical epistrophe And the Raven, never flitting, still is sitting, still is sitting - successive repetition 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 - lexical anaphora Shall be lifted - nevermore! - lexical epistrophe. It will not be a surprise if the reader notices the distant repetition throughout the text of the poem. Without difficulty, according to the above mentioned distant repetition, one can understand that the “key” word of the text is - “Nevermore!”, which greatly supports the plot and contributes to the general understanding of the text . (6; 136)

2.1. PHONETIC SDs

In order to reach the musical effect, the author applies a great many of phonetic stylistic devices:

Alliteration

Once upon a midnight dreary, while I pondered, weak and weary, While I nodded, nearly napping, suddenly there came a tapping,

From my books surcease of sorrow - sorrow for the lost Lenore - 

For the rare and radiant maiden whom the angels name Lenore -  And the silken, sad, uncertain rustling of each purple curtain

Doubting, dreaming dreams no mortal ever dared to dream before; Open here I flung the shutter, when, with many a flirt and flutter, Perched upon a bust of Pallas just above my chamber door -  Perched, and sat, and nothing more. "Though thy crest be shorn and shaven, thou," I said, "art sure no craven,

Bird or beast upon the sculptured bust above his chamber door,

I scarcely more than muttered "Other friends have flown before - 

"Doubtless," said I, "what it utters is its only stock and store

Till the dirges of his Hope that melancholy burden bore

What this grim, ungainly, ghastly, gaunt and ominous bird of yore [13]

Assonance

And the silken, sad, uncertain rustling of each purple curtain

Thrilled me - filled me with fantastic terrors never felt before;

On the morrow he will leave me, as my hopes have flown before." [13]

Every stanza in the poem follows the same type of rhyming. As example, let us analyze the first strophe to perceive this phenomenon better.

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."

The first three lines are not rhymed (weary - lore - tapping), but the other three use a triple rhyme (door - door - more).

The lack of rhyming in the first three lines, do not affect the musicality of the poem considerably. The author finds another method to reach the particular effect, by using an internal rhyme (within the line).

Internal rhyme

Once upon a midnight dreary, while I pondered, weak and weary, Eagerly I wished the morrow; - vainly I had sought to borrow

So that now, to still the beating of my heart, I stood repeating,

Presently my soul grew stronger; hesitating then no longer

But the fact is I was napping, and so gently you came rapping, Deep into that darkness peering, long I stood there wondering, fearing, But the silence was unbroken, and the stillness gave no token, Back into the chamber turning, all my soul within me burning, Open here I flung the shutter, when, with many a flirt and flutter, Then this ebony bird beguiling my sad fancy into smiling

Much I marvelled this ungainly fowl to hear discourse so plainly, Nothing further then he uttered - not a feather then he fluttered

Startled at the stillness broken by reply so aptly spoken,

Caught from some unhappy master whom unmerciful Disaster

This I sat engaged in guessing, but no syllable expressing [13]

The use of the onomatopoeia makes the poem sound more realistic and lively.

Onomatopoeia (indirect onomatopoeia, according to I.R.Galperin [6; 159]) : tapping, rapping, muttered, rustling, beating, murmured, flirt, flutter, croaking, shrieked, flitting.[13]



CONCLUSION

Working on the course paper “Lexical and phonetic stylistic devices in the poetry by Edgar Allan Poe” turned out to be implicitly valuable experience. Despite discovering that Edgar Allan Poe was a really prominent personality in all the fields he tried his hand at, it occurred to me, that stylistic analysis of the poetry could be really interesting. Even of such difficult for perception poems as “Ulalume” and “The Raven”. As it has been already stated in the introductory part, the particular analysis of the poems is elaborated with the educational purpose. And as the practice has already shown, “Ulalume” and “The Raven” are the wide fields of research. It would be rather informative for students to spend their time analyzing above mentioned poems in order to improve both their knowledge of stylistics and understanding of the Po's works.