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3. Bargaining: “Balm in Gilead”. “Night’s Plutonian Shore”, “Aiiden” The third stage of grief, bargaining, unfolds with nuanced complexity in both psychiatrist Elisabeth Kubler-Ross’s model and Edgar Allan Poe’s evocative poem, “The Raven.” As the speaker grapples with the grim reality of loss, elements of bargaining emerge, showcasing the psychological intricacies inherent in this stage. In “The Raven,” Poe skillfully navigates the speaker’s transition to the bargaining stage through subtle interactions with the symbolic raven. Desperate for a glimmer of hope, the speaker implores the bird, asking if there is “balm in Gilead.” In 1 Kings 17:1 – 5 “Elijah is said to be from Gilead, and to have been fed by ravens during a period of drought” (King James Bible, 2004). This plea is a poignant manifestation of the bargaining phase, where individuals seek to negotiate or alter the terms of their grief, searching for any possibility of solace. Kubler-Ross describes bargaining as an attempt to regain control and find meaning in the face of loss (Kubler-Ross, 1970). Similarly, the speaker’s engagement with the raven in “The Raven” reflects a yearning for a different narrative, a desperate negotiation with the forces of fate. “Night’s Plutonian shore” refers to the underworld ruled by Pluto, the Roman god of the dead. The narrator suggests that the raven is a being from the underworld, connecting it to the dead, including his lost love. This sets up the narrator’s pleading for information regarding Lenore from the raven (e-notes.com, 2023). Poe employs the rhythmic flow of language to convey the speaker’s emotional plea, heightening the sense of urgency and desperation. “Aidenn” is a poetic spelling of the word “Eden,” as in the Garden of Eden, the paradise of Adam and Eve before they were corrupted by sin. This allusion either refers the narrator’s asking if he’ll ever get to see Lenore in heaven again or it expresses a desire on the narrator’s part to return to a state of innocence. Either way, the narrator is crushed and angered when the raven predictably replies with “Nevermore.” (e-notes.com, 2023). The poem becomes a microcosm of the broader human experience with the third stage of grief (Holland, 2019). Through the speaker’s interaction with the raven, “The Raven” explores the delicate balance between hope and despair, characteristic of the bargaining phase. The poem transcends its literary form, offering a poignant reflection on the universal tendency to seek alternatives and negotiate with the intangible forces of loss. Ultimately, the convergence of Kubler-Ross’s conceptualization of bargaining and Poe’s artistic depiction in “The Raven” highlights the intricacies of this stage in the grieving process. Through linguistic finesse and emotional resonance, the poem illuminates the delicate dance individuals perform as they grapple with the inevitable complexities of bargaining in the aftermath of profound loss.

4. Depression: “Nepenthe” The fourth stage of grief, depression, unfolds as a poignant and brooding exploration in both psychiatrist Elisabeth Kubler-Ross’s model and Edgar Allan Poe’s timeless poem, “The Raven.” In the poem, the speaker’s plunge into despair is masterfully depicted, mirroring the emotional landscape of the depression stage. As the raven’s haunting refrain of “nevermore” persists, the speaker in “The Raven” succumbs to a profound melancholy. “The word “nepenthe” alludes to a drug that, according to the ancient Greeks, offered relief from sorrow. That the narrator references this mythological substance shows his education and his desperation to be relieved from his overwhelming depression (e-notes.com, 2023). Poe utilizes literary devices such as alliteration, rhyme, and meter to create a dark and mournful atmosphere reflective of the speaker’s sunken emotional state. The “soul within that shadow,” as Poe describes it, captures the essence of the depression stage, where an individual grapples with the profound sadness and a sense of hopelessness that often accompanies loss (Wortman, 1989). Kubler-Ross conceptualizes the depression stage as a period of mourning for what is lost, and this resonates deeply with the emotional journey of the speaker in “The Raven.” The relentless repetition of “nevermore” serves as a constant reminder of the permanence of the loss, contributing to the deepening sense of despair. Poe’s linguistic artistry amplifies the emotional weight of the depression stage, making “The Raven” a poignant exploration of the human response to grief (Holland, 2019). The poem transcends its literary form to become a mirror reflecting the universal experience of navigating the desolate landscapes of sorrow. In essence, the convergence of Kubler-Ross’s conceptualization of depression and Poe’s evocative depiction in “The Raven” offers a profound exploration of the complexities inherent in the fourth stage of grief. Through the carefully crafted words and melancholic lyricism, the poem serves as a timeless testament to the universality of the emotional journey through depression in the aftermath of significant loss.

5. Acceptance: “Bust of Pallace” The fifth and final stage of grief, acceptance, unfolds with haunting inevitability in both psychiatrist Elisabeth Kubler-Ross’s model and Edgar Allan Poe’s classic poem, “The Raven.” The concluding stanza of the poem serves as a powerful manifestation of the speaker’s surrender to the permanence of grief, aligning seamlessly with Kubler-Ross’s conceptualization of acceptance. “Pallas” refers to the Greek goddess of wisdom, Pallas Athena. The bust of Pallas that the raven perches upon represents sanity, wisdom, and scholarship. When the raven perches upon this statue of Athena, it visually represents the way the speaker’s rationality is threatened by the raven’s message. The bird’s refusal to move from the statue to either leave the chamber entirely or perch anywhere else in the room further demonstrates how the speaker’s grief is immovable and gradually blocking his rational thought (SparkNotes.com, 2023). As the speaker grapples with the ominous presence of the raven and its unwavering proclamation of “nevermore,” the inevitable reality of the loss settles in. In the final lines of “The Raven,” the speaker acknowledges his fate, stating that “my soul from out that shadow that lies floating on the floor shall be lifted—nevermore!” (Poe, 1845). Here, Poe captures the essence of acceptance—the speaker succumbs to the understanding that the shadow of grief will forever linger. Kubler-Ross describes acceptance not as a passive resignation but as an active acknowledgment and adjustment to a new reality (Kubler-Ross, 1970). Similarly, in “The Raven,” the speaker actively acknowledges the unalterable nature of his loss. Poe’s poetic finesse is evident in the rhythm and language of the concluding stanza, reinforcing the weight of acceptance in the grieving process. The universal nature of the acceptance stage is palpable in both the poem and Kubler-Ross’s model. The speaker’s surrender to the inevitability of grief becomes a poignant reflection of the human experience with profound loss. Poe’s meticulous control of language and melancholic lyricism in “The Raven” transforms the acceptance stage into a timeless and recognizable exploration of the complexities inherent in the final phase of grieving. In essence, the convergence of Kubler-Ross’s conceptualization of acceptance and Poe’s poignant depiction in “The Raven” offers a profound exploration of the emotional and psychological landscape individuals traverse as they come to terms with the permanence of their grief (Thompson, 2016). Through this convergence, the poem transcends its literary form, becoming a visceral and enduring portrayal of the universal journey through the fifth stage of grief.

Music by Beethoven - Moonlight Sonata (click arrow to play) --> 

The Raven

By Edgar Allan Poe

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                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 blessed 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 farther 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 “                     .”

  

    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 all my 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 of 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!

Raven

Nevermore

1. Denial: “The Raven” In the opening scenes of "The Raven," the speaker is confronted with a mysterious rapping at his chamber door. Desperate to cling to a semblance of normalcy, he dismisses the disturbance as "only a visitor." This initial refusal to acknowledge the gravity of the situation exemplifies the essence of denial. Poe carefully crafts the speaker's attempts to rationalize the sounds, heightening the tension with each denial. "The Raven", not only delves into the depths of grief but also possibly draws upon mythological references, such as the Norse god Odin's ravens, Huginn and Muninn, symbolizing thought and memory. (Adams, 1972). This connection enriches the poem's exploration of the first stage of grief, denial, as defined by psychiatrist Elisabeth Kubler-Ross. This stage is vividly portrayed in Edgar Allan Poe's "The Raven," where the speaker grapples with the overwhelming denial of his tragic reality. The pivotal moment occurs with the entry of the raven, perching ominously above the speaker. The bird's grim proclamation of "Nevermore" serves as an unequivocal rejection of the speaker's attempts to deny the permanence of his loss. The raven becomes a symbolic force, compelling the speaker to confront the harsh reality he desperately seeks to evade. Poe employs alliteration and rhyme to intensify the ominous mood, underscoring the psychological struggle within the speaker. The parallels between the first stage of grief and "The Raven" are striking. Kubler-Ross describes denial as a defense mechanism (Tyrrell et. Al., 2023), a way for individuals to shield themselves from the initial shock of loss. Similarly, the speaker's denial in the poem serves as a psychological defense against the harsh truth of his lover's death. "The Raven" masterfully captures the nuances of denial, presenting it not as a passive response but as a tumultuous internal conflict. The poem becomes a poignant exploration of the human psyche when confronted with loss, offering a profound reflection on the universal experience of denial in the face of profound grief. In essence, the first stage of grief, as explained by Kubler-Ross, finds its poignant expression in the opening moments of "The Raven." Through Poe's meticulous crafting of language and the speaker's internal turmoil, the poem becomes a powerful lens through which to examine the complex emotional landscape of denial in the context of profound loss.

"Ne

2. Anger: “Nevermore” The second stage of grief, anger, unfolds with visceral intensity in both psychiatrist Elisabeth Kubler-Ross’s model and Edgar Allan Poe’s masterpiece, “The Raven.” In the poem, the speaker’s journey through anger is a turbulent exploration of emotions triggered by the grim revelation delivered by the raven. “When the raven says “nevermore,” it reminds the protagonist of the deepest truth that his lover is gone, never to be seen or heard from again. At other points in the poem, the Raven also says “evermore,” in which cases the raven speaks to the everlasting grief caused by the lover’s disappearance” (Birdgap.com, 2023) “Poe’s oft-repeated theme emphasizes the importance of memory because life consists of continuous loss. Poe uses “evermore” because loss will always be part of life; “nevermore,” because we can never hold onto what we have or who we love” (Bromley 2020). As the raven enters the scene with its ominous presence, its relentless refrain of “Nevermore” becomes a catalyst for the speaker’s emotional upheaval. The initial denial morphs into a torrent of anger, vividly expressed through the speaker’s reaction to the bird. Poe describes the speaker as “angry and excited,” capturing the raw and volatile nature of this stage. The bird’s declaration that the speaker will never be reunited with his lost love becomes a source of intense frustration and rage. The anger stage, as portrayed in “The Raven,” aligns with Kubler-Ross’s conceptualization as a normal response to the perceived injustice of the loss (Kubler Ross, 1970). The speaker’s outburst at the raven, a symbolic representation of death, mirrors the anger often directed at an external force during the grieving process. Poe employs vivid language and emotional imagery to convey the speaker’s tumultuous state, creating a palpable sense of the anger inherent in the second stage of grief. The repetition of the word “nevermore” acts as a relentless trigger, deepening the emotional intensity and emphasizing the permanence of the loss. In essence, the exploration of anger in “The Raven” becomes a microcosm of the broader human experience with grief. Kubler-Ross’s second stage finds a poignant echo in Poe’s portrayal, where anger becomes a pivotal and tumultuous phase in the speaker’s journey through the complexities of loss. Through linguistic artistry and emotional resonance, “The Raven” not only illustrates the universality of anger in grief but also serves as a timeless exploration of the human response to profound and irreversible loss.

“The Raven”

In the opening scenes of "The Raven," the speaker is confronted with a mysterious rapping at his chamber door. Desperate to cling to a semblance of normalcy, he dismisses the disturbance as "only a visitor." This initial refusal to acknowledge the gravity of the situation exemplifies the essence of denial. Poe carefully crafts the speaker's attempts to rationalize the sounds, heightening the tension with each denial.

"The Raven", not only delves into the depths of grief but also possibly draws upon mythological references, such as the Norse god Odin's ravens, Huginn and Muninn, symbolizing thought and memory. (Adams, 1972). This connection enriches the poem's exploration of the first stage of grief, denial, as defined by psychiatrist Elisabeth Kubler-Ross. This stage is vividly portrayed in Edgar Allan Poe's "The Raven," where the speaker grapples with the overwhelming denial of his tragic reality.

"Ne

2. Anger: “Nevermore” The second stage of grief, anger, unfolds with visceral intensity in both psychiatrist Elisabeth Kubler-Ross’s model and Edgar Allan Poe’s masterpiece, “The Raven.” In the poem, the speaker’s journey through anger is a turbulent exploration of emotions triggered by the grim revelation delivered by the raven. “When the raven says “nevermore,” it reminds the protagonist of the deepest truth that his lover is gone, never to be seen or heard from again. At other points in the poem, the Raven also says “evermore,” in which cases the raven speaks to the everlasting grief caused by the lover’s disappearance” (Birdgap.com, 2023) “Poe’s oft-repeated theme emphasizes the importance of memory because life consists of continuous loss. Poe uses “evermore” because loss will always be part of life; “nevermore,” because we can never hold onto what we have or who we love” (Bromley 2020). As the raven enters the scene with its ominous presence, its relentless refrain of “Nevermore” becomes a catalyst for the speaker’s emotional upheaval. The initial denial morphs into a torrent of anger, vividly expressed through the speaker’s reaction to the bird. Poe describes the speaker as “angry and excited,” capturing the raw and volatile nature of this stage. The bird’s declaration that the speaker will never be reunited with his lost love becomes a source of intense frustration and rage. The anger stage, as portrayed in “The Raven,” aligns with Kubler-Ross’s conceptualization as a normal response to the perceived injustice of the loss (Kubler Ross, 1970). The speaker’s outburst at the raven, a symbolic representation of death, mirrors the anger often directed at an external force during the grieving process. Poe employs vivid language and emotional imagery to convey the speaker’s tumultuous state, creating a palpable sense of the anger inherent in the second stage of grief. The repetition of the word “nevermore” acts as a relentless trigger, deepening the emotional intensity and emphasizing the permanence of the loss. In essence, the exploration of anger in “The Raven” becomes a microcosm of the broader human experience with grief. Kubler-Ross’s second stage finds a poignant echo in Poe’s portrayal, where anger becomes a pivotal and tumultuous phase in the speaker’s journey through the complexities of loss. Through linguistic artistry and emotional resonance, “The Raven” not only illustrates the universality of anger in grief but also serves as a timeless exploration of the human response to profound and irreversible loss.

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