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 if some one gently rapping, rapping at my chamber door. "'Tis some visitor," I muttered, "tapping at my chamber door--Only this and nothing more.
Interpretation
This quote encapsulates an atmosphere of mystery and curiosity during a moment of introspection.
In this passage, Edgar Allan Poe sets a melancholic and eerie scene as the narrator reflects on forgotten knowledge while feeling tired and vulnerable. The midnight hour enhances the sense of suspense as he hears a tapping at his door, representing the intrusion of the unknown and perhaps the inevitability of confronting one's thoughts and fears.
In practice
This quote could be used in a discussion about the creative process in literature.
But evil things, in robes of sorrow, Assailed the monarch's high estate; (Ah, let us mourn, for never morrow Shall dawn upon him desolate!) And round about his home the glory That blushed and bloomed, Is but a dim-remembered story Of the old time entombed.
Most writers - poets in especial - prefer having it understood that they compose by a species of fine frenzy - an ecstatic intuition - and would positively shudder at letting the public take a peep behind the scenes.
...the agony of my soul found vent in one loud, long and final scream of despair.
Where the good and the bad and the worst and the best have gone to their eternal rest.
I could have clasped the red walls to my bosom as a garment of eternal peace. "Death," I said, "any death but that of the pit!" Fool! might I have not known that into the pit it was the object of the burning iron to urge me?
In our endeavors to recall to memory something long forgotten, we often find ourselves upon the very verge of remembrance, without being able, in the end, to remember.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
I believe that basically you write for two people; yourself to try to make it absolutely perfect; or if not that then wonderful. Then you write for who you love whether she can read or write or not and whether she is alive or dead.
Everyone who makes a film is at the major distributors' mercy.
If you take a few days to write an outline, you're just making up scenes that you think will work, that you think will be interesting. But as you write it, other ideas occur - better ideas that have to do with what you're writing.
I'm very aware of the presence of a reader, and that probably is a reaction against a lot of poems that I do read which seem oblivious to my presence as a reader.
The writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true.
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