05 (jesusmnietogarcia).pmd R K these threepoems. and demotiongeneralpossibilitiesforinnovation inPoe’s useoftraditionalprosodyin by consideringnumberofsyllablesandbeatsperline,instancespromotion Zante», andonefrommaturity, «To My Mother», andthenIwillanalysethemmetrically three sonnets,onefromearlyyouth,«To Science»,onefromhisintermediateperiod,«To general lackofappreciationsurroundingPoe’s byselecting poeticproduction.Iwillstart weakest. Inthefollowing pagesIintendtolookatsome ofthepossiblereasons forthis three genres, his poetry, exceptions,hasbeenprobablyconsidered withafew tobethe Edgar A.Poe fictionandpoetry. devotedhiswritingsmostlytocriticism,short Ofthese A P en lostres poemas. y, engeneral,elmodoquesepuededecirPoe innova lasformasdeprosodia tradicional considerando número desílabasynúmero deictusporverso,casos depromociónydemoción Zante», yotrodesumadurez,«Amimadre»,paraacontinuaciónanalizarlosmétricamente, se seleccionantressonetos,unodelaépocainicial,«Aciencia»,otrointermedia, laproducciónpoéticadePoe.de lafaltaapreciaciónquehadespertado Enprimerlugar, críticas másadversas.Enlaspáginasquesiguenvoy aintentaranalizarlasposiblesrazones géneros, probablementehasidosupoesía,conalgunaexcepción,laquerecibido las Edgar A.Poe escribióprincipalmentecríticaliteraria,narrativabreveypoesía.Delostres one ofthemostprominentfigures ofAmericanliterature writteninEnglish tothis tions inthecriticalliterature aroundhim,rangingfrom thosewhoconsiderhimas highly controversial foranumberofyears. We asser- canfindhighlycontradictory ALABRAS EY BSTRACT ESUMEN W 1. INTRODUCTION «THEPHILOSOPHY OFCOMPOSITION» ORDS A METRICALANALYSIS OF THREE SONNETS BYPOE Poe’s positionwithinthecanonofliterature writteninEnglishhasbeen

CLAVE : Poe; Metrical Analysis;«To Science»;«To Zante»;«To My Mother». «THE RHYTHMICAL CREATION«THE RHYTHMICAL OFBEAUTY»: : Poe; Análisismétrico;«Alaciencia»;Zante»;mimadre». 77 R EVISTA

DE Jesús M.Nieto García AND A POET’S JOB AND APOET’S F ILOLOGÍA Universidad deJaén , 28;enero 2010,pp. 77-94 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 78 nowadays fiction heismainlystudiedandrecognizedasawriterofshort suggesting three basicattitudes:«popularacclaim,measuredskepticism,andardent enthusiam»(H «Edgar becameacelebrity». 2002: 2).From amore technicalpointofview, M literary figure practicallythroughliterary justonepoem,«TheRaven» tionally, althoughlateinhisshortlife,heattainedfameandpublicrecognition asa his presence withinthecanonofliterature writteninEnglishtothepresent.Addi- double function,ascriticandshortfictionwriter, inmyview, more thanjustifies story, with great, classicalexamplesofsciencefiction,horrorand detection. This a fictionwriter, wecansayhepracticallyinventedor improved drasticallytheshort time andcircumstancehadworkedinhisfavor insteadofagainsthim».Secondly, as balanced reflections onPoe asacritic:«Poe mighthave becomeafirst-ratecriticif nally, Stern words (1977:549)offersinjustafew whatistomeoneofthemost (1998 [1964])andLjungquist (2002),whodealwiththisroleinsomedetail;fi- «[Poe] criticandtheorist»;especiallyParks wasreally thefirstAmericanliterary «the bestofhisearlycriticismisrelentlessly analytical»;Bloomfield (2007:88), (1977: 111),«heisbynature asmuchacriticwriter»;Symons (1978:181), hasbeenrecognisedhis worth bymanyresearchers. See, forinstance,Buranelli kinds ofactivitiesthathepractised:ascritic,fictionwriterandpoet.Asa recognised untilafterhisdeath»(2009:93). we can,asawhole,agree withAckroyd whenhesaysthat«Poe’s geniuswasnot true regarded inlife,andalsoofhislaterevolutionthecriticalworld,especiallywhen he beentakenseriouslyasanartist Andamongthesecond,Rans(1965:2),«[only]rarely has among theimmortals». greatest significanceinworld literature»; andSinclair (1977:14),«[...]hisinclusion world ingeneral.Amongthefirst,Buranelli (1977136),«theAmericanwriterof day tothosewhoreflect onthelow esteeemthathemayhavereceived by thecritical nent offantasyfictionintheEnglish language»,whereasS hope offinancialsuccess».ForA hispart, fictionbutrelatively instead, speakingabout«[his]professionamount ofshort andhis littlepoetry andreader-responsepoststructuralist, theoriesinthe1960s». wasnotrecognizedartist until the introduction intoAmerican criticismofstructuralist, published textsandthepresent. H unsurprising, then, that F unsurprising, then,that story,founder of[...]theshort thedetective story, criticism asitispracticedtoday».It evenliterary is sitions againanduntilhewasfullysatisfiedwiththem—see,onthis,the inahighlyconscious,almostpainful,way,he wrotehispoetry revisinghiscompo- teemed asthegreatest kindofcreativewriter»(Fisher 2008:105),and we know that hand, «Poe [...]desired, firstandforemost, tobeapoetbecausethewases- His complexifwe role reflectonthethree asawriterisparticularly main Finally, hispublicfigure asapoetisevenmore controversial. On theone 3 2 1 B L Cf. Special thewayreaders attentiondeserves have hisfirst seenhimasawriterbetween URANELLI INDSAY 78 (1977:88)offersareasonable explanationastowhyheproduced suchalarge (1953:163),« ISHER (2008: 122)describeshimas«awriterofmanyparts». AYES The Raven The Raven (2002: 1-3) offers an excellent summary ofthisevolution, (2002:1-3)offersanexcellent summary CKROYD 1 ». reflectionThis isapartial ofthewayhewas (2009:67-68)speaksofPoe as«thegreatest expo- did makePoe famous»;andS AY (1991: 13) suggests that «his true stature (1991:13)suggeststhat«histrue asan ZUMSKI (1998:13)refers tohimas«the 09/07/2010, 9:48 2 , it is also true that , itisalsotrue INCLAIR (1977:214), 3 . AYES , 05 (jesusmnietogarcia).pmd Composition» and«TheRaven» lateronwithinthissection. (Buranelli 1977:105) ever, mostofhispoeticcompositionshavebeensaidtobe«heroicallybadverse» mask deficientintellectualcontent» opinion arguesthathisrhymeandrhythmicalpatternsaresoblatantbecausethey ally, inconsideringreception ofPoe’s poetry, Fisher (2008:33)says that«negative in verse»—inapoetwhopublishednomore thaneightypoemsinall—.Addition- bad»,andHoffman goodorvery (1985:259)spokeabout«hisfiftyfailures be very Hayes 2002:191).For Stern hispart, (1977:587)wrotethat«[Poe’s] could poetry readingand fiveofhispoemsarereally andjudging(quotedbyKopley worth & tially coincidingwith William Carlos Williams’ judgementthatonlybetween three is hisformthatvulgar(...),unhappilycursedwithincorrigiblebadtaste»,par- Aldous Huxley (1998[1930]:37)declared that«[the]substanceofPoe isrefined; it 1985: 4,9),or«loosewriting»(Cohen1994:114).Additionally, manyyears ago unconsidered» (inS Haunted Palace», «Lenore», «Dreamland», and the«Coliseum»,[...]allhave beenhurriedand Russell Lowell in1844,hesaysthathis «bestpoems«TheSleeper», «TheConqueror Worm», «The phrase «Jingle Man» isthereverse ofthetruth»(1977:106). ononeofPoe’stary severalnicknames,that«heissometimesabadpoet,buttheimplicationof metaphorical» (M suggests that«the«mathematical»nature thatheascribestohisworkmayatfirstseemessentially lem» (inStern 1977:551-552) to itscompletionwiththeprecisionandrigidconsequenceofamathematicalprob- is referribleeithertoaccidentorintuition—thattheworkproceeded, stepbystep, losophy ofComposition»,that«noonepointin[thecomposition«TheRaven»] Poe in«ThePhi- describedhimselfasapoetinjustfew words whenheasserted, Hayes (2002:194),andFisher (2008:3,30-31),amongothers—. We cansaythat (1977: 61,88),Felman (1985[1980]:120),Ljungquist (2002:18),Kopley & commentaries by Lindsay (1953:130-131,159),Rans(1965:3,87),Buranelli written inthe1830’s. which from othercritics’ perceptioncontainssomeinteresting compositions,andalsohispoems ten duringthelastfive yearsof hislife,eliminatingfrompersonalcanonallearlypoetry, summarised by Buranelli (1977: 128), when he says that «Americans marvel that summarised byBuranelli (1977:128), whenhesaysthat«Americansmarvel onhimand,byextension,«Frenchview assessmentofhiswork». The wholeissueis ignorance ofEnglishversification», andSymons (1978:240)tocriticiseMallarmé’s ably ledAldousHuxley (1998[1930]:36-41) tospeakaboutBaudelaire’s «happy (Baudelairepoetry 1988[1857]:101-110). This highesteemby French criticsprob- fiction,asissometimesbelieved,butalsohis ings, notjustconcerningtheshort «foreign» origin. This probably comesfromBaudelaire’s definitepraiseofPoe’s writ- ers’ andcritics’ tendtodiffer according approach tohispoetry totheir«native» or we getfromthesedifferingopinionsonPoe, ithasevenbeenconsidered thatread- 6 5 4 Part oftheproblem mayhaveoriginatedinPoe himself. In aletterwrittentoJames Buranelli’s judgementisactuallynotasnegative asitseems. He alsosays,inacommen- See, however, Morisi’s commentariesonthisissue.Contradicting Poe’s judgement,she ORISI TERN 2008: 108). We willreturn totheconnectionbetween«ThePhilosophy of 1977: 23). This practicallylimitshisbestproduction tosomepoemswrit- 5 79 , «awfuldiction[...],hispoemsscarcelybearreading»(Bloom 4 . In spiteofhishighlypraisedtechnicalskills,how- 6 . And,tocompletetheseeminglynegative view 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 80 personal canon poetry, isnotcurrently whichasarule regarded ofgreat asworth meritwithinhis better poems,ormore neatlywritten,orhavingamore personalstyle,thanhisearly nally writtenin1831andthenrevised in1845,were ingeneralconsidered tobe last compositions,withtheonlypossibleexception of«To Helen», whichwasorigi- and meter. tions followed inagivencompositiontermsofversification, choice ofmeasure commonatthetime,familiarwithconven- siderations, hewasalso,asvery elementsmentionedasinitialcon- fromalltheimportant This suggeststhat,apart forthepresent thechoiceofmetricalform. lowed importantly article, and,very «The Raven»,then,heconsiderssuchdetailsasthe«lineofargument»tobefol- impression, topicandtone.In hisself-consciousanalysisofthecreative process for consider inaddressing acreative textisunityofeffect,followed by length,choiceof pieceofcriticaltheory,this short byconsideringthatthefirstelementto hestarts tion», hereflects onthecreative process followed towritehismostfamouspoem.In composition andwhodoesitsoconsciouslythat,in«ThePhilosophyofComposi- given totheworld». personalitytheyhave seem abletounderstandorappreciate themagisterialliterary Poe ishighlyesteemedinFrance, whileFrenchmen thatAmericansdonot marvel and practiceofpoeticcompositionpointstosomelinesthoughtthatmaybe rhyme andalliteration»(560).Allthisrelatively lengthyreflection onthetheory mentaries onversification withareflection on«theapplicationoftheprinciples within aline,isextensively employed intheheptameters,andfinishinghiscom- meters are usedinit,tothepointofsuggestingthatacaesura,ormedialpause ployed incombination,consideringthenstanzaicformandhow thesedifferent «The Raven», sayingthattrocheeoctameters,heptametersandtetrametersare em- this apparently irrelevant commentary, hegoesontoconsiderthemeterusedin words oftheversification. My firstobject(asusual)wasoriginality»(559).After that in«ThePhilosophy ofComposition»headmittedthat«Imayaswellsayafew 1829 and1849. We know tohim thatversificationprincipleswere soimportant forPoe.which asweknow wassoimportant strategies followeddifferent by literary theauthorindealingwith composition, number ofcompositionsfrom different stagesinhiscareer asapoetandcontrasting critics andscholarshaveintentionallyaddressed theissuebyconcentrating ona and practicegoby, tomyknowledge there arenotmanyempiricalstudieswhere agree that his early poetry isderivativeagree —see,forinstance,S thathisearlypoetry to begreat poetry. Charles B 193) andH In hisevolution asapoet,ontheotherhand,wemustalsoconsiderhow his Definitely, Poe toapplyinhisdealingwith isapoetwhohastheory In thenextpagesIwouldliketoaddress Poe’s evolutionasapoetbetween AUDELAIRE 7 This view, however, isfarfrom beinghomogeneous.In general,criticsonPoe tendto OFFMAN 7 . Even ifitisgenerallyassumedthatapoettendstomature asyears 80 (1988[1857]:54),whoseesPoe’s asaforeteller ofwhatwaslater earlypoetry (1985: 36)—. The onlyclearexception tothisisthe famousFrench poet INCLAIR 09/07/2010, 9:48 (1953:60-61),S YMONS (1978: 05 (jesusmnietogarcia).pmd musical»; R «there canbelittledoubtinthe unionofPoetry withMusicS initspopular sense»(in dressing thewritingof a melody «The PhilosophyofComposition»practicallyremindusamusiccomposerad- faced apoeticcomposition,totheextentthatmanyofhisformercommentariesin aswehaveseen,thathewasextremelyimportantly—, careful aboutthewayhe was allowed by«thelanguageofthetribe»attime.Andthirdly —andmost meters, traditionandwritingpractices,helookedforthatdegree oforiginalitythat with allthetechnicallore behindthem.Secondly, that,given hisdeepknowledge of writteninEnglish, and ously more thanfamiliarwithtraditionalmetersinpoetry useful forthefollowing analysis.Initially, thatPoe wemaysimplyassert wasobvi- poem contributetoreaders’ orhearers’ pleasureby stimulatingtheirsense ofbeauty». a more positive vein,F criticalonthisissue,speakingaboutPoe’s[1930]), forinstance,isvery «muchtoomusicalmetre». In 574). It isnosurprisethat othercommentatorshave builtuponhiswords. AldousH content ofjingles»;finally,F rhythms andrhymeshecouldmuster, butalwaysinoriginalways—andnever withthefeel-good merely anexpressed preference forsweet sounds»;B —«And driv’n fromthewood»,line10of«To theHamadryad Science»—,because rical norm»inthethree poems,eitherbecauseanextrasyllableisused somewhere can befoundintheappendix.Next Iconsidered possibledeviationsfromthe«met- poet couldbeseenmore clearly. These, togetherwiththeactualmetricalanalysis, poems, Idecidedtousethefirsteditionsofallthree,sothatPoe’s evolutionasa cerning originaldatesofwritingandpublication,alsodifferent versions ofthe the iambicpentameter. Following Mabbott’s detailedinformationcon- (2000)very (1849) were selectedformetricalanalysis, bydeterminingtheversedesign,whichis (2002), whereIsuggestapossiblemethodofanalysispoeticmeter. the texts. forthiskind of analysisisoutlinedinNietoThe pointofdeparture García thor inlookingforapersonalvoicemaybereflected elementsin insomeimportant four-stress linewasafavoriteofPoe’s»—. In takenbytheau- anycase,theefforts was probablynotoneofPoe’s favoritepoeticforms—cf. Symons (1978:24),«[the] and thatthedegree of«originality»maybelittle,especiallywhenwe know thatthis tively difficulttoinnovate initsmeter, traditionallytheiambicpentameterform, stablepoeticform,thatitisrela- sonnets, consideringthatthistendstobeavery concentrate onthreesamplesofthesamepoeticformandmeter, namelythree The sonnets«To Science»(1829),«To Zante»(1837)and«To My Mother» To studythewayinwhichPoe evolved asaversifierover twentyyears, I will 8 TEXT SELECTIONANDGENERALCONSIDERATIONS ANS Poe andmusicin«ThePoetic reflected ontheconnectionbetweenpoetry Principle»: (1965: 30)writesthat«Poe’s isnot insistenceupontheclaimsofmusicinpoetry AGIN 81 (1998[1949])saysthat«Poe wasahighlygiftedwriter[...]hispoemsare ISHER 2. METHODEMPLOYED: (2008:103)reflects onthefactthat«[the]musical soundsina 8 . LOOMFIELD (2007:217)saysthat«heusedallthe 09/07/2010, 9:48 UXLEY TERN (1998 1977:

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JESÚS M. NIETO GARCÍA 82 of Shakespeare’s «Sonnet 183) proved through theexperimenthecarriedoutindetailedmetricalanalysis offered intheappendix,thiscannotbeonlypossibility, asChatman(1965:158- reader’s abilityinreadingitaloudthatisatstake.Secondly, concerningtheanalysis bearing inmindfortheanalysishere, asitisthenature ofthepoetictextandnot bring tothepoem;itisobviouslyfirstconceptandnotsecondthatIam sidered insomedetailthefollowing section. of thenineteenthcentury, leavingallother«deviationsfrom thenorm»tobecon- writteninEnglishthefirsthalf as wasthecaseinmetricaltraditionofpoetry line 13ofthesecondsonnet—forrhymingpurposesare considered tobefrequent, under analysis—andextrametricalsyllablesattheendoflines—«OpurpleZante!», uses atthetimeastrochaic initialinversion —«Science!»,line1ofthefirstsonnet for theanalysisofmeter. thatsuchcommon Ontheotherhand,itisnotlesstrue lysts, whopresented highlydiverging conclusions,even iftheyusedthesamemethod performance —asIstress inNietoperformance García (2002:283)— must considerthedifference betweenthesenseofcompetenceand atthisstage.Firstly, reflections areprobablynecessary a sequenceoftwo–.Afew we the samefoot,andsecondformofaspondaicortwostrong syllablesin again, thefirsttakingformofaphyrricfoot,thatis,twoweak syllableswithin «fixed», learnedkindofpoeticform,thesonnet–«-terof»,«Old Time» inline1, fit metricalcanonicity. Finally, Ialsoconsidered «irregular»feetinatraditional, «meet» in«Science!meetdaughterofOld Time line1—,tomakelines thouart!», treasure inthejewell’d skies»,line7ofthesamesonnet—ordemotion—theword the rhythmhasbeenadaptedthroughpromotion —theword «in»in«To seekfor with hismanagementofthenumbersyllables,examples ofpromotion,demo- topicsindealingwithPoe’sevolutionary rhythms.In thissectionIwanttodeal ant thanoursoftheincessantrhymingandunvaried metersheuses»—consider tion andrhyhtm»—Hoffman (1995)—«thetasteofhistimewasmore toler- early] periodwhichmightnoteasilybeattributedtoanother poetintermsofdic- tion». Additionally, bothSymons (1978:193)—«thereishardly apoemof[the Hoffman (1985:86),«Poe combinesthecharms ofrepetition withthoseofvaria- verse (basedonaccent)andGreek andLatinverse (basedonsyllabiclength)»;and Buranelli (1977:95),«hehadnoconceptionofthedifference betweenEnglish for instance,Lindsay(1953:187),«[where] Poe failedasapoetwasinhisrhythms»; generalinnature.studying theirevolution, See, althoughmosttreatmentsare very have dealtwithPoe’s rhythmsandhisknowledge ofmeter, bothgenerallyandby ing thathisstyleevolvedinthetwentyyearsbetween1829and1849.Other critics themes andideastoadoptametricalform,there maybesignificantdetailssuggest- «fixed» kindofcompositionasthesonnet,andwe seehow Poe adaptedconcepts, As isreflected intheappendix,evenifwejustcentre onsucharelatively 3. DEALING WITH POE’S VERSIFICATION:DEALING WITH 3. 82 XVIII » byanumberofdifferentequallywellinformedana- INTRODUCTION 09/07/2010, 9:48 that different readers can 05 (jesusmnietogarcia).pmd at timesdefeatshim». frequent and femininerhymes,sorare inEnglish,[which]works against[thenarrationofthestory] 3.1. S of feetthatdonotstrictlycoincidewiththeiambicpentameterline. fromthenorminhisuse ofmyanalysisonlineswherewill centreapart hedeparts end —end-stoppedlines,tobecontrastedwithcasesofenjambment—.Finally, I tion, andhisuseofpauses,bothinternallywithintheline—caesura—at be thecasethathemeantword «Fior» (´)tobeapure iamb(x´). Italian isnotirrelevant inapossiblediscussionconsideringitsmetricality;itcould d’oro! Fior diLevante!». We canobviously seethatthefactthislineiswrittenin a linethatisdefinitelyoddinitsnumberofsyllables,l.14«To Zante»: «Isola it presents justtensyllables.So, afteralloftheseconsiderations,there onlyremains thus more precious thisfinalversionbeingmore thantheoneIknew», «regular», as wemother Iknew»— canfindanotherforminalaterversionofthepoem:«Are these syllables.Even, forl.12of«To My Mother», —«Andthusare dearer thanthe had concerningthehighlyweakandunstablenature ofthevocalicsound inall thiswassimplyawayofmakingexplicitthefeelingmanypoets in performance; although admittedlynoneofthesespellingsbroughtwiththemanyactualchange «regular» admissionsofslightstandard deviationsfromthenorm,inpoems, and evenpossibly«motherI»(l.12,«To My Mother») canbealsoconsidered tobe (l. 10,«To Science»),«maiden»(l.7,«To Zante»), «Heavens» (l. 1, «To My Mother») thepresencethat thissyllableisadditional(10+1,forinstance).Likewise, of «driv’n» each linebymeansofthesymbol(x),andintabulatedanalysissuggesting extra metricalsyllableattheendofline,thisismarkedinscansionabove («died early»)and11(«sodearly»)of«To My Mother» ll. 2(«another»),4(«of«Mother»»), 5(«havecalledyou»), 7(«installedyou»),9 in ll.13-14of«To Zante»(«purple as´x´(x)and«Levante»x´(x)),in rhyme, where thelastbeatcoincideswithbutonesyllable,canbeobserved iambic pentameter. The exampleofextra-metricalsyllablesintheusefeminine in order toadaptthelinemetricallywithoutgreat ofthelineasan distortions other versions ofthispoem (Mabbott 2000:311),thisword waswritten«mem’ries», Syllable reduction appliesin«memories»(line3,«To Zante»),presented as´x;in tions. Iwouldliketooffersomeadditionalinformationconcerningthesecases. tion—, theirnumberseemstobequiteregular, tenperline,withjustafewexcep- lines asextra-metricalsyllables—seeNieto García (2002:302-303)onthisno- duction (Chatman1965:110-111)andconsideringoff-beatsyllablesattheendof how thenumberofsyllables,afteradaptingsomeexpressions through syllablere- YLLABLES In aquickanalysisofthetabulatedinformationinappendix,wecansee 9 W.H. A

PER UDEN

LINE (1998[1950]:61)warnsthereader against«themeterPoe chose,with its 83 9 . In alloftheseusesthe 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 84 ary realise anoffbeatwhenitoccursbetween twostressed syllables,orafteraline-bound- other». By contrast,demotionconsistsofthefollowing: «Astressed syllablemay ononesideandanunstressed syllableonthe syllables, orwithaline-boundary «An unstressed syllablemayrealise abeatwhenitoccursbetween two unstressed sounding poeticatall.Attridge (1982:167)proposes thefollowing promotion rule: theriskofnot the needtoadaptlinesissogreat thatthecompositionmayrun may endupinproducinglineswhichsomecriticsconsidertobe«unmetrical»,as of reallycreative ontheotherhand,usingtoomuchpromotionordemotion poetry; in producingarhythmthatisfartooregular tobeconsidered originaloreven«proper» ontheonehand,using nopromotionfor reading andnodemotionresults poetry: beat; see,forinstance,«fairISLE»,«meetDAUGHTer», or«whyPREYEST». syllables neatlyweaker, justtransferringpartoftheirprominence tothefollowing three poems—justthree cases inall—,again,doesnotimplymakingthedemoted in thepoemasawhole. commoninthese The useofdemotion,whichisnotvery than thepreceding andfollowing off-beat,inanycase,becauseofthesenserhythm a waythatthebeatsmarkedbypromotionnaturallysoundslightlymore prominent closer toa«naïve» reading—, but«by thatinFINity withwhichmy WIFE», insuch not bereally «by THAT inFINiTY with WHICH my WIFE» —thisisactually demotion. In otherwords, ifyou considerline13of«To My Mother», thisshould ance —orreading aloud—ofthesesyllablesislouder, andthesamehappenswith promotion ofasyllabledoesnotnecessarilymeanthat,assugestedabove, perform- pause paramounttotheeffectattainedby anend-stoppedline,andthisleadstoa follows amedialpause,aftertheinitialbeat. The actualresultistheinclusion ofa totheextentthat«mèet dáughter»actually to whichhegivesgreat importance, in Englishatthetime,asIintendtostudynextsection,ishisuseofpauses, in agiven sequenceinthisway. written What isprobablynotsocommoninpoetry sound completelynatural,atleastinwhataffectshismanagingofbeatsandoffbeats stylethatmightsound,intheend,too«elevated»reer to notforcingadeclamatory explanation mightbethatPoe simplyusedversificationprinciplesthroughhisca- demotion hardly everoccurs—two,one andnocases,respectively—.Apossible Science», sevenin«To Zante»,andsixteenagainin«To My Mother»—, whereas that promotionisrelatively frequent inthesethree poems—sixteencasesin«To 3.2. U evolution inPoe’s poetictechniqueregarding numberofsyllablesperline. 10 andbefore astressed syllable»(Attridge, generalterms,the 1982:169).In very SING 10 A simplestudyofnumbersaffectingpromotion anddemotionsuggests The useofpromotion anddemotionis,generally, ahighlycomplexmatter As ageneralrule,then,Iamsuggestingthatthereishardly anysenseof Or, we might add, afterapause.Seediscussionofanexamplebelow.

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DEMOTION 09/07/2010, 9:48 05 (jesusmnietogarcia).pmd «originality», ashesaidin«ThePhilosophy ofComposition». in versificationandinsteadlookedforafresher, freer approachtocomposition,or before hedied,seemed tohave foundavoice thatdidnotcare somuchfor«perfection» treading theforbiddenpathmore thannecessary. Finally, thePoe of1849,afewmonths the Poe of1837,eightyears later, maybemore keenonrespecting andnot theserules cially, promotion freely soundmonotonous—,whereas inorder nottomakehispoetry innovate from by departing anestablishednorm—thatis,usingdemotionand,espe- that thePoe ofearlyyouth wasaware ofpoeticprocesses andsimultaneouslytriedto linear one—sixteen,seven andsixteencases—,we maysomehow have theimpression poems, intheuseof, atleast,promotion? Althoughtheanswer doesnotseemtobea poems maybealsorelevant. Canwe appreciate ameaningfulevolution inthesethree be «outsidethenorm»,especiallyifweread throughthepoemsascompositionsand Science», sixin«To Zante», andfive in«To MyMother»–, lines thatmaybesaidto number oflines,inallthree, having more thanonepauseperline–three in«To arelativelycloser lookatthethree large sonnetsunderanalysis,wewillobserve make hisstyle,inthisrespect, tooemphatic,marked, oreven repetitive. If we takea above. This, initself, isnotalackofmeritinPoe’s compositions,butittendsto the reasons whyPoe’s hassometimesnot been takentooseriously, poetry aswe saw that suddenlyacquires afasterrhythm,toslow itdown again. This maybeoneof This ispracticallylikelisteningtoasymphonywithslow paceandsuddensilences all forseveral linesinasequenceor, more commonly, several pauseswithinaline. frequently findinPoe’sexpected iswhatwe very compositions:eithernopausesat grammar andtheotherby theendsoflines»(1973:38). What isprobably nottobe In Turner’s words, we find«adoublesystemofpotentialpauses,onecontrolled by lineor,at theendofevery ifthere isnosuchpause,tofind amedialpauseinstead. be thatforsilentreading we expectto findasinglepause orforpublicperformance, at leastamedialpauseinstead.It seemstobethecase,then,that,infacingapoem, are aware of,poetry we likely toexpectamajorpauseattheendofline,or are very thatifwedecidetohaveatraditionalstanceinthis,asreaderstrue ofAugustan style,apoet,oreven theideabehindatextmaydetermine,itisnotless as aliterary 3.3. U hardly anypositivecommentariesonthemiddleperiod. critics thinkthatPoe’s belongseithertohisearlyorlateperiod,with bestpoetry Zante» —onlysix—.Anditmayalsohelptoexplainwhy, aswesawabove, many —eleven lines—,andintherelatively low numberoflinesequallyadaptedin«To tion, oracombinationofboth,in«To Science»—twelve—and«To My Mother» fairly largeamountoflinesthathadtobeadaptedthroughdemotion,promo- would render itunmetrical. Attridge’s likethis.Anyotherpossibleinterpretations oftheline demotionrule possible interpretation where demotionispossibleinthiscontext,completing SING Although theuseofpausesinpoeticdiscourseisopentoasmanyvariations A secondquestionregarding theuseofpromotion anddemotioninthese

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CAESURAE This isreflected inthe 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 86 caesura-filled pentameters»—. in areader atagiven point—cf. Hoffman (1985:55):«thesinewy movement of pace willbe«presto» or«staccato»depending onthekindofeffecthewantstoattain thattheyarepracticallylikesymphoniesintheuseofpauses,their scious artifacts other factorthatImentionedabove: Poe’s poeticcompositionsare suchself-con- not identicalnumbers,butitisprobably muchmore interesting toreflect onan- in«Toand afourth Zante»and«To My Mother» —eighteenpausesineach—are that slightlyover onepauseperline—fifteenin«To Science»—versusnearlyone «To Science»and«To MyMother», apparently nothingmuchcanbesaid.It istrue fluidpaceinthelastthreethe endthrough lines. theuseofavery wife’s mother, objectofthesonnet—thenisgivenprominence, andpathosreigns at is thoughttobesolemninnature, thelinedevoted tohisown mother—nottohis the obviousgeneralfeelingofirregularitythatweget,itlooksasiffirstquatrain pauseless lines(12and13)anothersinglepausetoclosethepoem.Apart from line 9,apausebetween feetfourandfive inline10,afinal pauseinline11,two end-of-line pausesinthesecond,andthenthree pauses,twoofthemmedial,within facet ofrhythmicalanalysis:fourdoublepausesinthefirstquatrain,single, again: «nomore!». Finally, «To My Mother» seemstobeeven more irregular inthis using arefrain that,inaslightlyaltered form,Poe wasgoingtousein«TheRaven» again. Here therhythmbecomesespeciallyheavyinsecondhalf ofthesonnet, single pausesinlines11and12—onemedial,onefinal—,twodouble by apauselessline,three regular ones,nopausesinline7,three doublepauses,two pause againintheopeningline,thenasingleatendoffollowed vals. Something similarhappensin«To Zante», where wefindthefollowing: a ously playingwithrhythm,by me/...»—. The generalpoeticeffect,then,isoneoflackbalanceandcontinu- as thepauseinline13takesplacemiddleoffourthfoot,«grass,andfrom regular, onepauselessandfour regular —infact,thelasttwolinesarenotsoregular, lines follow, othertwowithpauseseach,onemore bearingnopauses,three with adoublepause,oneinternal,finalinthefirstline. Then, two«regular» think ofthekindeffectthismayhave over areader. Firstly, «To Science»opens 3.4. U nonical practicesatthetime. syllable reduction, initialtrochaicinversionandextra-metricalsyllableswere ca- have alsoseenthatsuchminoradaptations,asfarversification isconcerned,as tion —line14of«To Zante»,possiblyatetrameterinstead,aswe sawabove—. We undoubtedly isrecognized asaniambicpentameter, with just onepossibleexcep- larly throughpromotion, aninitiallyirregularpatterneasilybecomesa that «To My Mother». We havedeterminedsofarthat,through demotion,andparticu- are goingtofindmajordifferencesinthetwentyyearsbetween «To Science»and SING As forthesenseofevolutionintwenty yearsbetweenthefirstversions of It ismainlyinPoe’s dealingwithandadaptationoftraditionalfeetthatwe

AND

ADAPTING 86

TRADITIONAL making itfasterorslowing itdown atirregular inter-

FEET 09/07/2010, 9:48 double 05 (jesusmnietogarcia).pmd beats, ortwoinasequence,maybe,itself, andprovided otherbasicprinciples principles inallformsofcreative discourse,sothatasimpleaccumulation oftwooff- My Mother». Aswe know, variationandchange,toavoid monotony, are twobasic eight —buthalfofthemwithinthesameline,more onthislater–outofseventyin«To «irregular» feet, out ofseventy, in«To Science», nine outofsixty-ninein«To Zante»and sense ofevolution. different waystoaddvariation tothelanguageofpoetry, andalso thatwe findsome language inalltheseinstances?It ismycontentionboththattheseexamplesare three poems?Canwesaythatfindsignificantdifferences inthewayheuses how markthewayinwhichPoe adaptstraditionalmetricstosuithisformsinthese (xx´(x)) where twoiambswere expected: written inItalian –line14of«To Zante»–,andwherewecanfindananapaest within aline,in«To Science»: followed byaspondaicfoot(´´),asinthefollowing examplesfrom«To Science»: like toaddressinthissection.Namely, commontofindapyrrhicfoot(xx) itisvery How canwelookforareasonableexplanationtothese«oddities»thatsome- (13) «diLevante»(foot4,line14) Finally, wecanstillfindalinethat, saw, isdifficulttodetermine,asit (12) «grass,and»(foot4,line13) (11) «thingswith»(foot3,line2) Additionally, it isnotuncommontofindtheoddtrochaicfootinternally (10) «thanitssoul-life»(feet4-5,line14) (9) «er, whodiedearly»(feet4-5,line9) (8) «-er—myown moth-»(feet2-3,line9) (7) «bythatdearname»(feet2-3,line5) Finally, from«To My Mother»: (6) «-icalsadsound»(feet4-5,line9) (5) «-riesofwhatrad-»(feet2-3,line3) (4) «-estofallgent-»(feet2-3,line2) (3) «-rest ofallflowers» (feet4-5,line1) Also thefollowing examplesfrom«To Zante»: (2)«thee? orhow deem» (feet3-4,line5) (1)«–ter ofOld Time» (feet3-4,line1) There are someothercombinationsthatmustbeexplainedandIwould The senseofvariation,tobeginwith,canbeseeninthe presence ofjustsix 87 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 88 instance, inaletterheaddressed herinAugust 1835,where hewondered whatMrs.Clemmwould has already beenestablished,tofindthefirstofthese«irregular» combinations. trast, we seewe have to waituntilthesecondquatrain,inline5,whengeneraltone forms ofinnovating traditionalpoeticforms.If welookat«To My Mother», by con- be considered asblunders anddoubtsfrom ayoung, immature pen,ratherthanactual concerning thesetwopoeticcompositionsare laterconfirmed,theseirregularities might possible initialtrochaicinversion additionallyinline3.Althoughmetricalexpectations out ofthefirstfifteenfeetare alsoirregular —three pyrrhic,three spondees—,withone inversion inthefirstfoot,whichwesawwascanonical.In «To Zante»,nolessthansix are irregular —apyrrhic,aspondeeandtrochaic—,apartfromtheinitialtrochaic and «To Zante»are less«canonical»inthis.In «To Science»,three outofthefirsttenfeet know we are facinganiambicpentametercomposition.By contrast,both«To Science» and, additionally, afterreading thefirstquatrainof«To My Mother», we undoubtedly the great poetsinthiscultural tradition,withjustahandfulofpoemsasexceptions—, at thetime—andthismaybeoneofreasons whyPoe isnotconsidered tobeoneof lines. In otherwords, medialtrochaic inversion wasnotconsidered tobefullycanonical the generalmetricalsensationconveyedby thepoemafteritsfirsttwo,oreventhree, two otherinstancesofmedialinversion. What wasprobably notsoclearatthetimewas poetic text.Similarly, itisnotsimplyinitialtrochaicinversionthatwe find,wealsofind of versification are followed, enoughtobringwithitagivensense oforiginalitytoa mother, died when hewasnoteven three yearsold that hehasalwaysconsidered Maria ashis«other»mother, sinceElizabeth, hisreal specialconnectionwithher,he establishes,fromthetitle,avery sothatheexplains the compositionisapraisetoMaria Clemm, Virginia’s motherandPoe’s aunt,and good reason tosuggestwhythishappensprecisely atthispointwithinthepoem: where weexpected[x´x´x´],findxx´´´´(x)]. There is,however, a Or,ments, butalsothatitisclearlyatoddswiththefourth. tomakethingsclearer, we willseethislineclearlyagrees with the first,secondandthird «restrictive» ele- and demotioncoincidencebetweenthegeneralversedesign instance, study ofpoeticmeter, likenumberofbeats,syllables,lackpromotion of thescansionoffered intheappendix: unmetrical withintheiambicpentametertradition. The following isareproduction sense thatadoublesequenceofpyrrhicplusspondaicfeetmakesthelinepractically from «To Science»and«To Zante». We sawabove thatline9isdefinitelyodd,inthe 11 If weestablishaclinealongwhich placeanumberofelements inthe My mother—myown mother, whodiedearly, In addition,there isasecondwayinwhich«To My Mother» isdifferent /x´´(x)/ ´ ´ x x/ ´ ´ x / x ´ x The specialrelationship established betweenPoe andMaria Clemmcanbeseen,for 88 11 . This istheonlylinein 09/07/2010, 9:48 05 (jesusmnietogarcia).pmd his famous sentence «we must die together» (in S his famoussentence«wemustdietogether»(in need to use English in a truly distinctiveway.need touseEnglishinatruly Metrical devia- andpartial virtuosity creative voice,distinguishedby thecombinationoftechnical knowledge andthe earlier compositions,andafinalperiod,whenheseemstohavefoundproper senseofaudacityweperceivepractice asapoet,weseemtomissthecertain in establish apropercreative styleandwhere, probablybecauseofarelative lack of clearinthewayhecan all—, asecondone,whenheisprobablystillnotvery affectingcanonicalmetricsatthetime—thoughnot comply withmostoftherules etry, aninitialone,whereheisstilllookingforapropercreative voiceandtendsto We«visionary»—. have alsoseenhow there existthree different stagesinPoe’s po- same patternsinahighlyconsciousform,tocreatebeautyoutoflanguage—the applying strictmetricalpatterns–the«logical»inhim–,butalsobyavoidingthese different creative periods,thatPoe frequentlycombinedthesetworoles, very by seen, inthisanalysisofmetricalformandvariationthree of hissonnetsfrom one, whatJ.Symons Poe (1978:177)calls«Visionary andLogicalPoe». We have original poet,althoughthishasnotalwaysbeenadmittedbysomeofhiscritics. as wehaveseen.In anycase,we cannotdenythathewasaconscientiousandhighly been toeverybody’s liking,andsomeofthemmaynothave beentotallysuccessful, longer. The effectsheachievedthrough apparent certain «oddities»maynothave possibly goneonproducingbetterandpoeticcompositions,hadhelived «mature» Poe wasamuchmoreprofessional writer, andalsoonewhowouldhave senseofevolutionodd attimes,wecanseeacertain whichallows usto saythat mechanistic meter»—.Althoughsomeofthesedepartures fromthenormmaylook lively displacementofstresses, by whichwedistinguishaflexiblerhythmfrom how from thenorm—cf. hesometimesdeparts Hoffman (1985:55):«themore writteninEnglish acomposition,andalso bines traditionalelementsofpoetry second quatrain,oncetheoverall rhythmofthepoemhasbeensettled. this admissionofapossiblyoddkindpersonalrelationship, offered afterthe somebody whoinfactwasnothismother, ofthisodditycentres andalargepart on line andtheoddityresulting fromdevoting apoementitled«To My Mother» to as ifPoe hadwantedtoestablishanunseenconnectionbetweentheoddityof and therefore makeitprominent,salient,or, intechnicalterms,foregrounded. It is that heisusingtechnicalknowledge tomakethelinedeviatefromagivenpattern poem whereheexplicitlyrefers tothisrelationship, anditisnotamisstosuggest them both at once (in S them bothatonce(in do if later,Virginia, whom hewouldmarry went tolivewithNeilson Poe, asifhewasafraidtolose Edgar A.Poe hasbeenreferred tointhecriticalliterature as two peoplein As afinalbriefreflection withinthissection,we haveseenhow Poe com- TERN 89 1977:13).Much later, inanotherletterdatedJuly 7 4. CONCLUSION TERN 1977: 48). 09/07/2010, 9:48 th 1849,hewrote

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JESÚS M. NIETO GARCÍA 90 H —— (1995):«EdgarAllanPoe: ofthebeautiful», The Artist F B —— (1988[1857]):«Nuevas notassobreEdgar Poe», inCharlesBaudelaire, B H two hundred yearsafterPoe’s birth. preceding hascontributedtothrow lightonwhatisstillahighlycontroversial issue ments concerninghiscompositions.Ihopethattheanalysispresented inthepages judg- method, Ihavetriedtoexplainwhywesometimesfindsuchcontradictory tions from thenormare sometimesdifficulttotrace.By applyingananalytical C C A A A B F F B H ISHER ELMAN AGIN URANELLI LOOM AUDELAIRE UDEN TTRIDGE CKROYD LOOMFIELD OHEN HATMAN AYES UXLEY OFFMAN , N. Bryllion (1998[1949]):«Poe’s, N.Bryllion Genius Was inCreating aSelf andaStyle», inBonnie , Kevin J.(2002): «Introduction»,, inKevinJ.Hayes(ed.), , Benjamin F. (2008): , W.H. (1998[1930]):«Poe’s Theatricality Is EssentialtoHis Work», inBonnieSzumski , Harold, (1985):«Introduction», inHarold Bloom (ed.), , Tom (1994): , Aldous (1998[1930]): «Poe, Is a Terrible Poet», inBonnieSzumski(ed.), , Shoshana (1985[1980]):«OnReading Poetry: ReflectionsontheLimitsandPossibilities , Peter (2009): Allan Poe 19. drid: Visor, 81-110.CarmenSantos,translator. Allan Poe (ed.), Allan Poe , Seymour (1965): , Derek (1982): House, 1-14. sea House, 119-140. of Psychoanalytical Approaches», inHarold Bloom (ed.), Szumski (ed.), Adamsmedia. University Press. , Daniel(1985): , Vincent (1977): , Charles(1988[1856]):«EdgarPoe: suvida ysusobras»,inCharlesBaudelaire, , Shelley Costa(2007): Readings onEdgarAllan Poe , San Diego (CA):Greenhaven Press, 36-43. , Madrid: Visor, 43-79.CarmenSantos, translator. , Cambridge: Cambridge University, Cambridge:Cambridge Press, 1-6. 90 Anti-Mimesis from PlatotoHitchcock Poe: aLife Cut Short Readings onEdgarAllan Poe The RhythmsofEnglish Poetry Poe Poe Poe Poe Poe Poe Poe The Cambridge Introduction toEdgarAllan Poe Edgar Allan Poe A ofEnglishTheory Meters BIBLIOGRAPHY The Everything Guide toEdgar Allan Poe , San Diego (CA):Greenhaven Press, 57-64. , Indiana: Twayne. , London: Vintage. , San Diego (CA):Greenhaven Press, 64-74. , New, York: Vintage. , The Hague: Mouton. Hague: The , , London:Longman. , Cambridge:CambridgeUniversity Press. The American Poetry Review The Cambridge CompaniontoEdgar Edgar Allan Poe Edgar Allan Poe 09/07/2010, 9:48 , Cambridge:Cambridge R A ECIBIDO Edgar Allan Poe CEPTADO , New York: Chelsea , New York: Chel- Readings onEdgar , Avon (Mass.): : octubre 2009 : enero 2010 24/6:11- Edgar , Ma- 05 (jesusmnietogarcia).pmd L S P M S R M K T S P N M S L ZUMSKI YMONS TERN INCLAIR JUNGQUIST INDSAY OE ARKS ANS URNER OPLEY IETO ORISI AY ABBOTT , Edgar Allan(1977[1846]):«ThePhilosophyofComposition»,inPhilip van Doren Stern , CharlesE.(1991): , Geoffrey (1965): , Edd , Edd Winfield (1998[1964]):«Poe Critic», inBonnie Szumski(ed.), asLiterary , Philip vanDoren, (ed.)(1977): G , Eve Célia(2008):«TheOuLiPoe, orConstraintand( , RichardH andKevinJ. , Julian (1978): , Philip (1953): , George W. (1973): , Bonnie(1998):«Edgar AllanPoe: ABiography», inBonnieSzumski(ed.), , David (1977): ARCÍA , ThomasOllive (ed.)(2000): Faber. guage Teaching inAntonioBueno González etal.(eds.), Theory?», (ed.), Edgar Allan Poe Edgar Allan Poe 124. phy ofComposition»andtheOulipianManifestos», (ed.), in KevinJ.Hayes Edgar Allan Poe Illinois Paperback. bridge University Press, 191-204. , Kent, (2002):«Thepoetascritic»,inKevinJ.Hayes(ed.), , Jesús M.(2002):«RhythmandMetre inEnglish Poetry: How canweApply the The Portable Poe The Tell-Tale Heart; The Life and Works of Edgar Allan PoeThe Tell-TaleAllan Edgar and Worksof Life Heart; The Edgar Allan Poe The Haunted Man;APortrait ofEdgarAllan Poe , Jaén: dePublicaciones Servicio delaUniversidad. Edgar Allan Poe Edgar Allan Poe: AStudy oftheShort Fiction , Cambridge:CambridgeUniversity Press, 7-20. , San Diego (CA):Greenhaven Press, 13-30. , San Diego (CA):Greenhaven Press, 75-80. 91 Stylistics AYES , Harmondsworth: Penguin,, Harmondsworth: 549-565. The Cambridge CompaniontoEdgar Allan Poe (2002):«Two «TheRaven»and«Ulalume»», verse masterworks: , Harmondsworth: Penguin., Harmondsworth: The Portable Poe , Edinburgh: Oliver andBoyd. Edgar Allan Poe: CompletePoems , London:Dent&Sons. , Harmondsworth: Penguin., Harmondsworth: Studies inApplied Linguistics andLan- Contre- Comparative Literature , Boston(Mass.): Twayne. The Cambridge Companionto ) , London:Hutchinson. Performance , Cambridge(Mass.): First 09/07/2010, 9:48 , Cambridge:Cam- , London:Faber & : «ThePhiloso- 60/2:107- Readings on Readings on

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JESÚS M. NIETO GARCÍA 92 Note: syll. =syllablesperline;p.s .=promotedsyllables;d.s.=demotedb. =beatsper line;p. =pausesperlin h leetaltig ihtypeigee.1 1 5 2 0 5 0 1 10 0 10 Who alterest allthingswiththypeeringeyes. Science! meetdaughterofOld Time thouart! h umrdembnahtesrbey 02051 5 1 0 5 1 2 1 0 5 10 5 1 0 0 0 10 1 5 (1829) 1 1 10 The summerdream beneaththeshrubbery? 0 10 1 5 2 The Elfin from thegreen grass,andfrom me 5 0 1 11 0 The gentleNaiad 2 from herfountain-flood, 5 1 10 0 To seekashelterinsomehappierstar? 0 10 5 1 fromthewood And driv’n theHamadryad 2 2 0 10 Hast thounotdragg’d Diana fromhercar? 5 5 2 0 1 0 Albeit hesoarwithanundauntedwing! 10 1 5 0 To seekfortreasure inthejewell’d skies, 10 1 10 Who wouldstnotleave himinhiswandering 1 10 How shouldhelove thee?orhow deemtheewise, Vulture, whosewingsare dullrealities? Why prey’st thouthusuponthepoet’s heart, ´x ´x´/ x x´ ` x x´ x´ ´x´ x ´/ x `x´ ´x x x´ x´x´x`x ´/ x ´ ()x`x´x`x´ x ` x ´ x ` x ´(x) x ´`x´´/ ´ x /x ´ ´ x x´x` x x´x‘/ ´ x ´ x ´x/ x´x´x`x´x´/ xx´x/x´´´x x´/ x/()´xx´´x´/ ´ x ´ ´ x x ´ (´) / ´x x ´x´x`x´/`xx´ ´x´x ´x`/ x x` ´ x x´ ´x x´/ ´ x x ´ x´ x´ ´ / ´ x ´ x ` x ´ x ´ (´) `x´x`x´x`x` 92 «SONNET — TO SCIENCE»    yl ..ds .p. b. d.s. p.s. syll. 09/07/2010, 9:48 e 05 (jesusmnietogarcia).pmd ´ / ´ ´ x x ´ x ` x / ´ (´) omr—omr pntyvratsoe!1 2 0 5 5 0 0 1 1 2 1 5 10 11 5 1 0 more! No 0 5 0 0 0 No more—nomore uponthyverdant slopes! 0 10 5 10 1 1 How manyvisionsofamaidenthatis 0 5 10 2 How manythoughtsofwhatentombedhopes! 0 0 5 10 0 How bliss! manyscenesofwhatdeparted 1 10 At sightoftheeandthineatonceawake! 1 10 How manymemoriesofwhatradianthours Thy gentlestofallgentlenamesdosttake! Fair isle,thatfromthefairest ofallflowers, Ioadoo ird eat! + 2 4 0 0 9+1 (1837) «Isola d’oro!Fior diLevante!» Thy memory Transforming all! Thy charmsshallplease ecfrhIhl h lwreaeldsoe 00051 5 0 0 10 O hyacinthineisle!purple Iholdthyflower-enamelledHenceforth shore, ´x` x´x´/ ´ `x x x´ x´/x´/x´xx´´ x´xx´´x´ x´/ x / (x) ´ x ´ x / ´ x ´ x ` x /´xx´()/ (x) ´ x x ´ x/ ´ x x ´ x´/x´x`x´x´ / x´x`x´/x´x´/ ´xx´xx´´x´ x´x´x´x´x´/ ´´ x´x´x´/ x ´ x x´x´/x ´ x ´x x´x´ x´ / ´xx´ ´xx´x´x´x´/ xx´x`x´ ´(x)x` aa,ta aia a on 00052 5 0 0 10 alas,thatmagicalsadsound no more! Acre rud1 1 5 0 1 10 Accursed ground 93 at!1+ 2 5 0 1 10+1 Zante!   no more  «TO ZANTE» —100052 yl ..ds .p. b. d.s. p.s. syll. 09/07/2010, 9:48

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JESÚS M. NIETO GARCÍA 94 a id mn hi unn em flv,1 2 5 0 2 1 5 10 0 2 None sodevotionalast 11 Can find,amongtheirburningtermsoflove, The angels,whisperingtoone Because Ifeelthat,intheHeavens above, Therefore bythatdearnameI a errt ysu hnissu-ie 01051 0 5 5 0 0 1 0 3 10 5 10 0 1 (1849) 11 1 Was dearertomysoulthanitssoul-life. 5 By thatinfinitywithwhichmywife 0 And thusare dearer thanthemotherIknew 1 1 10 5 0 2 My mother—myown mother, 10 In settingmy Virginia’s spiritfree. wher ofhearts, And fillmyheart You whoare more thanmotheruntome, a u h ohro yef u o 02051 5 0 2 10 Are mothertotheone Was butthemotherofmyself;you /‘x´() / ´ (x)x ´ x ‘ x/ ´ x ` x ´ x´x `x ´x ´/ x´x ´x´x` x´(x)x´x (x) ´ x ´ x / ´ x ´ x ´ x x / (x) ´ x ´ x ´ x ` x ´ x ´x ´ x´/ x´/x` ´ x´x x`x´x`x x´ ` x´x`x´ xx´´/ / (x) ´ ´ x / x ´ ´ x / x ´ x `xx´x´x`x´/ x / (x) ´ x ´ x ` x ´ x x / (x) ´ ´ x x´ ` x ´ / x x´ `x´x‘ x x´/xx` ´ x / (x) ´ x ´ x ´ ´ x x x ´ 94 I loved so hat of«M another, long havecalledy who diedearly, e Deathinstalledyo dearly, other,»   «TO MYMOTHER»  u 010051 5 0 0 10+1 ou— 010051 5 0 0 10+1 u 011052 5 0 2 1 5 10+1 0 1 10+1 011051 5 0 3 1 5 10+1 0 0 10+1 yl ..ds .p. b. d.s. p.s. syll. 09/07/2010, 9:48