the reality of everyday manners and the profounder reality of a spiritual shadow upon the human heart. The grimness of fate is suggested by phrases which it requires a masterly hand to subdue to the meaning of the poem. '"Sir," said I, or "Madam,"' 'this ungainly fowl,' and the like, sustain the air of grotesqueness, and become a foil to the pathos, an approach to the tragical climax, of this unique production. Only genius can deal so closely with the grotesque, and make it add to the solemn beauty of structure an effect like that of the gargoyles seen by moonlight on the façade of Notre Dame.
"In no other lyric is Poe so self-possessed. No other is so determinate in its repetends and alliterations. Hence I am far from deeming it his most poetical poem. Its artificial qualities are those which catch the fancy of the general reader; and it is of all his ballads, if not the most imaginative, the most peculiar. His more ethereal productions seem to me those in which there is the appearance, at least, of spontaneity,—in which he yields to his feelings, while dying falls and cadences most musical, most melancholy, come from him unawares. Literal criticisms of The Raven are of small account. If the shadow of the bird could not fall upon the mourner, the shadows of its evil presence could brood upon his soul . . . . . Poe's Raven is the very genius of the Night's Plutonian shore, different from other ravens, entirely his own, and none other can take its place. It is an emblem of the Irreparable, the guardian of pitiless memories, whose burden ever recalls to us the days that are no more."
Baudelaire, who has made Poe a popular French
