The Raven Audience Guide
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Table of Contents
Vocabulary
About the Work
The Raven by Edgar Allan Poe
Poe’s Life
The Five Stages of Loss and Grief
Modern Dance Primer
Further Exploration
Discussion Questions
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Vocabulary
Pallas – The Greek goddess Athena, associated with wisdom and war.
Balm in Gilead – the gum of a tree common in Arabia and the Middle East, it was used for medicine and
perfume in ancient times. Also the title of a play by American playwright Lanford Wilson.
Avant-garde – in French, the advance guard. Refers to people or works that are experimental or cutting
edge, or that push the boundaries of what has come before.
About the Work
This production of The Raven is devised and directed by CSULB undergraduate Lizzy Ferdinandi and
based on the poem by Edgar Allan Poe. Originally conceived for the student-directed and produced
Showcase Series in spring 2013, The Raven uses movement and dance to tell Poe’s haunting tale in a
nonverbal way. Ferdinandi chose to focus the piece on the shared human experiences of grief and love,
drawing inspiration from Poe’s own struggle to cope with the loss of his wife, which literary critics
believe inspired The Raven.
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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 doorOnly 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 LenoreFor the rare and radiant maiden whom the angels name LenoreNameless 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 doorSome 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 mortals 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 exploreLet 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 door3
Perched upon a bust of Pallas just above my chamber doorPerched, 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 shoreTell 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 doorBird 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 flutteredTill I scarcely more than muttered, "other friends have flown beforeOn 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 boreTill 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 yoreWhat 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 lamplight gloated o'er,
But whose velvet violet lining with the lamplight gloating o'er,
She shall press, ah, nevermore!
Then methought the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose footfalls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee- by these angels he hath sent thee
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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 enchantedOn this home by horror haunted- tell me truly, I imploreIs 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 adoreTell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name LenoreClasp 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 lamplight 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!
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Poe's Life
From http://www.poets.org/poet.php/prmPID/130
On January 19, 1809, Edgar Allan Poe was born in Boston, Massachusetts. Poe's father and mother, both
professional actors, died before the poet was three and John and Frances Allan raised him as a foster
child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding
schools and later to the University of Virginia, where Poe excelled academically. After less than one year
of school, however, he was forced to leave the University when Allan refused to pay his gambling debts.
Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, he moved to
Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other
Poems, was published that year. In 1829, he published a second collection entitled Al Aaraaf,
Tamerlane, and Minor Poems. Neither volume received significant critical or public attention. Following
his Army service, Poe was admitted to the United States Military Academy, but he was again forced to
leave for lack of financial support. He then moved into the home of his aunt, Mrs. Maria Clemm and her
daughter Virginia, in Baltimore, Maryland.
Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of
the Southern Literary Messenger in Richmond. He brought his aunt and twelve-year-old cousin, Virginia
Clemm, with him to Richmond. He married Virginia in 1836. Over the next ten years, Poe would edit a
number of literary journals including the Burton's Gentleman's Magazine and Graham's Magazine in
Philadelphia and the Broadway Journal in New York City. It was during these years that he established
himself as a poet, a short-story writer, and an editor. He published some of his best-known stories and
poems including "The Fall of the House of Usher," "The Tell-Tale Heart," "The Murders in the Rue
Morgue," and "The Raven." After Virginia's death from tuberculosis in 1847, Poe's life-long struggle with
depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an
editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was
found in a state of semi-consciousness. Poe died four days later of "acute congestion of the brain."
Evidence by medical practitioners who re-opened the case has shown that Poe may have been suffering
from Rabies.
Poe's work as an editor, a poet, and a critic had a profound impact on American and international
literature. His stories mark him as one of the originators of both horror and detective fiction. Many
anthologies credit him as the "architect" of the modern short story. He was also one of the first critics to
focus primarily on the effect of the style and of the structure in a literary work; as such, he has been
seen as a forerunner to the "art for art's sake" movement. French Symbolists such as Mallarmé and
Rimbaud claimed him as a literary precursor. Baudelaire spent nearly fourteen years translating Poe into
French. Today, Poe is remembered as one of the first American writers to become a major figure in
world literature.
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The 5 Stages of Loss and Grief
Pyschcentral.com
The stages of mourning and grief are universal and are experienced by people from all walks of life.
Mourning occurs in response to an individual’s own terminal illness or to the death of a valued being,
human or animal. There are five stages of normal grief that were first proposed by Elisabeth Kübler-Ross
in her 1969 book “On Death and Dying.”
In our bereavement, we spend different lengths of time working through each step and express each
stage more or less intensely. The five stages do not necessarily occur in order. We often move between
stages before achieving a more peaceful acceptance of death. Many of us are not afforded the luxury of
time required to achieve this final stage of grief.
The death of your loved one might inspire you to evaluate your own feelings of mortality. Throughout
each stage, a common thread of hope emerges: As long as there is life, there is hope. As long as there is
hope, there is life.
Many people do not experience the stages in the order listed below, which is okay. The key to
understanding the stages is not to feel like you must go through every one of them, in precise order.
Instead, it’s more helpful to look at them as guides in the grieving process — it helps you understand
and put into context where you are.
1. Denial and Isolation
The first reaction to learning of terminal illness or death of a cherished loved one is to deny the reality of
the situation. It is a normal reaction to rationalize overwhelming emotions. It is a defense mechanism
that buffers the immediate shock. We block out the words and hide from the facts. This is a temporary
response that carries us through the first wave of pain.
2. Anger
As the masking effects of denial and isolation begin to wear, reality and its pain re-emerge. We are not
ready. The intense emotion is deflected from our vulnerable core, redirected and expressed instead as
anger. The anger may be aimed at inanimate objects, complete strangers, friends or family. Anger may
be directed at our dying or deceased loved one. Rationally, we know the person is not to be blamed.
Emotionally, however, we may resent the person for causing us pain or for leaving us. We feel guilty for
being angry, and this makes us more angry.
Remember, grieving is a personal process that has no time limit, nor one “right” way to do it.
The doctor who diagnosed the illness and was unable to cure the disease might become a convenient
target. Health professionals deal with death and dying every day. That does not make them immune to
the suffering of their patients or to those who grieve for them.
Do not hesitate to ask your doctor to give you extra time or to explain just once more the details of your
loved one’s illness. Arrange a special appointment or ask that he telephone you at the end of his day.
Ask for clear answers to your questions regarding medical diagnosis and treatment. Understand the
options available to you. Take your time.
3. Bargaining
The normal reaction to feelings of helplessness and vulnerability is often a need to regain control–
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If only we had sought medical attention sooner…
If only we got a second opinion from another doctor…
If only we had tried to be a better person toward them…
Secretly, we may make a deal with God or our higher power in an attempt to postpone the inevitable.
This is a weaker line of defense to protect us from the painful reality.
4. Depression
Two types of depression are associated with mourning. The first one is a reaction to practical
implications relating to the loss. Sadness and regret predominate this type of depression. We worry
about the costs and burial. We worry that, in our grief, we have spent less time with others that depend
on us. This phase may be eased by simple clarification and reassurance. We may need a bit of helpful
cooperation and a few kind words. The second type of depression is more subtle and, in a sense,
perhaps more private. It is our quiet preparation to separate and to bid our loved one farewell.
Sometimes all we really need is a hug.
5. Acceptance
Reaching this stage of mourning is a gift not afforded to everyone. Death may be sudden and
unexpected or we may never see beyond our anger or denial. It is not necessarily a mark of bravery to
resist the inevitable and to deny ourselves the opportunity to make our peace. This phase is marked by
withdrawal and calm. This is not a period of happiness and must be distinguished from depression.
Loved ones that are terminally ill or aging appear to go through a final period of withdrawal. This is by
no means a suggestion that they are aware of their own impending death or such, only that physical
decline may be sufficient to produce a similar response. Their behavior implies that it is natural to reach
a stage at which social interaction is limited. The dignity and grace shown by our dying loved ones may
well be their last gift to us.
Coping with loss is ultimately a deeply personal and singular experience — nobody can help you go
through it more easily or understand all the emotions that you’re going through. But others can be there
for you and help comfort you through this process. The best thing you can do is to allow yourself to feel
the grief as it comes over you. Resisting it only will prolong the natural process of healing.
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Modern Dance Primer
Born and raised in the twentieth century, modern dance is often contrasted against ballet for definition.
BY JESSICA MOORE
Ballet, the basis for all of Western theatrical dance, is a theatrical performance, using elements from a
rich tapestry of traditional movements. Most ballets consist of dancing and music only, although some
notable exceptions have included speeches from the characters.
All classical elements of ballet—defying gravity, seamless grace, adherence to form—are challenged in
modern dance. Modern dance, then, is a response to ballet, most specifically to the conventionality that
pioneer modern dancers, such as Isadora Duncan, found so confining.
The concept of modern dance germinated in Europe but matured in the United States—by 1930, the
U.S. was considered home to the developing form. During this time, experimental dancers were
choreographing pieces with few dancers and even fewer effects. This was a jarring development for
audiences, who were accustomed to 19th century ballets involving large casts and intricate scenery.
On a philosophical level, modern dance grew out of the need to express ideas singular to the twentieth
century that could not be expressed through the older language of ballet. One of these ideas,
conversely, was the avant-garde concept of themelessness. Around the end of World War II,
choreographers began developing minimal dances without theme or emotion, with no pretense of
inspiring the audience.
Characteristics of modern dance
A defining characteristic of modern dance is the singular use of space. While the ballet dancer faces the
audience, the modern dancer uses all orientations. In a sense, performing for the audience is not the
driving purpose behind a modern dance piece. The dancer's relationship to the music is also noticeably
different than in ballet—the ballet dancer's movements correspond to the music; the modern dancer's
movements may disregard it entirely. Music may be entirely absent, leaving the sound of the dancer's
movements as the only backdrop.
In modern dance, choreographers often dance in their own pieces. The same artist will often be involved
in lighting, costume, and scenery design. This is a striking departure from ballet, where the dancer
aspires to choreography and rarely continues dancing once that goal is achieved. The difference is
practical: while ballet is built around a concrete "dance language" of steps, each piece of modern dance
introduces a new language. Because of this, it is often easier for the dancers if the choreographer
dances alongside them.
Some pioneers of modern dance
Isadora Duncan (1878-1927)
With a singular talent that constantly challenged accepted notions of dance, Duncan made a lasting
mark on the cultural landscape of the twentieth century. Her dances included free movements heavily
influenced by natural forces, and by ancient cultures, especially classic Greece. Her loose hair and bare
feet were symbolic of her interest in expanding boundaries of acceptability and returning dance to the
fundamental level of the body. All of Duncan's movements focused on the solar plexus and the torso,
and breathing was of utmost importance. She is considered the inventor of modern dance.
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Ruth St. Denis (1877-1968)
Ruth St. Denis co-founded the Denishawn dance center, the first major school for experimental dance
instruction, with her husband, Ted Shawn. The school became the leading influence in American modern
dance throughout the 1920s. The second wave of theatrical dance grew from St. Denis' and Shawn's
influence. St. Denis believed that dance should transcend the physical realm and enter the spiritual. She
believed that dance was capable of dealing with complex philosophical themes. Known for incorporating
Asian dance forms into her works, she encouraged her students to experiment with forms of dance
other than ballet.
Martha Graham (1894-1991)
Graham studied at the Denishawn school, and was heavily influenced by their teachings. She began to
evolve into her own style during the 1930s, focusing on muscle control. Her dances appeared jarring and
often lacked rhythm, which was upsetting to audiences accustomed to flowing movement. Graham was
the first modern dance choreographer to reach across to other genres of modern art for collaboration.
She worked with composer Aaron Copland and sculptor Isamu Noguchi to produce "Appalachian
Spring," considered a landmark in modern dance.
Alvin Ailey (1931-1989)
Ailey formed the internationally acclaimed Alvin Ailey American Dance Theater in 1958; the company is
credited with giving exposure to many African-American and Asian dancers. Ailey's pieces fuse modern
with elements of jazz, ballet, and African dance, and draw heavily upon African-American themes. Ailey's
high-energy dance and choreography styles were shaped by his studies with Lester Horton, Martha
Graham, and Charles Weidman.
Paul Taylor (b. 1930)
Taylor was a soloist with Martha Graham's company when he formed his own troupe, the Paul Taylor
Dance Company. Taylor studied under Antony Tudor and danced for the legendary George Balanchine,
as well as for Martha Graham. He collaborated on several pieces with his friends Robert Rauschenberg
and Jasper Johns. Taylor's choreography is celebrated worldwide for its raw emotion.
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Further Exploration
Annotated, online version of The Raven from Thinkport learning resources
http://knowingpoe.thinkport.org/writer/annotated_play.asp
The History of Modern Dance, compiled by Ballet Austin
http://www.balletaustin.org/education/documents/HistoryofModernDanceStudentHandout.pdf
More on Romantic Literature from the Norton Anthology of English Literature
http://www.wwnorton.com/college/english/nael/romantic/welcome.htm
Pina: Documentary film about modern dance theater choreographer Pina Bausch
Available at CSULB Library: http://library.calstate.edu/longbeach/books/record?id=b2768328
Discussion Questions
1. What is the difference between non-verbal theater and dance? Is there one?
2. In which stage of the Five Stages of Loss would you characterize the speaker in Poe’s poem?
The protagonist in the performance?
3. How does seeing The Raven acted out affect your understanding of the original work?
4. What sort of stories are best told without words?
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