The Poem (Masterplots II: Poetry, Revised Edition)
“Annabel Lee” is in some ways a simple ballad—that is, a narrative poem intended to be recited or sung. The first four lines of the six-line first stanza are written in the traditional ballad stanza form. The rhyme scheme is abab, the first and third lines have four metrical feet, and the second and fourth lines have three feet. The language, too, is conventional for a ballad. The poem begins: “It was many and many a year ago,/ In a kingdom by the sea.” This is the language of fairy tales, of beautiful princesses and their admirers, of great deeds and tragic consequences.
The poem is written in the first person, spoken by a man who was once the lover of “the beautiful Annabel Lee.” The story, as it unfolds through six stanzas of six to eight lines each, is a simple one.
When the speaker and Annabel Lee were young (“I was a child and she was a child”), they loved each other passionately “in a kingdom by the sea.” There is some evidence that the couple were actually married; at one point the speaker refers to Annabel Lee as his “bride.” So great was their love that even the angels, who were “not half so happy in heaven,” were envious of it. In their jealousy, the angels sent a chilling wind and killed Annabel Lee.
There are hints that it was not only the angels who disapproved of this courtship. The narrator reveals resentment of Annabel Lee’s “highborn kinsmen” who take her away after...
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Forms and Devices (Masterplots II: Poetry, Revised Edition)
If “Annabel Lee” has become one of Poe’s most popular poems, its popularity is probably attributable to its haunting rhythm, its lulling repetition. Like many of Poe’s poems—and this is no slight to them—the sound is more significant than the thematic content. The story takes place “in a kingdom by the sea,” and Poe takes great pains to capture the sound of the sea in his poem. A wavelike cadence is suggested by the rhymes on the three-foot lines; all the shorter lines in the poem end with the same e sound.
The echoing of “sea,” “Lee,” and “me” throughout the poem is hypnotic. Like the sound of waves in the background, the reader gradually stops being aware of the repetitive sound but is stirred by it on a subconscious level. Internal rhyme also contributes to this wavelike rhythm. In phrases such as “can never dissever” and “chilling and killing,” the stressed syllables seem to receive a bit of additional stress because of the rhyme, and the effect is of regular, lulling pulses.
The poet uses the power of his rhythm to particular effect in stanza 5, where he breaks out of the established pattern of alternating three-and four-foot lines. In this stanza, he adds an extra three-foot line: “Of those who were older than we—/ Of many far wiser than we—.” The unexpected change in rhythm jars the reader out of a lulled, dreamlike state for a moment, so that the irony of these two lines is not...
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Compare and Contrast
Topics for Further Study
What Do I Read Next?
Bibliography and Further Reading
Bibliography (Masterplots II: Poetry, Revised Edition)
Burluck, Michael L. Grim Phantasms: Fear in Poe’s Short Fiction. New York: Garland, 1993.
Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1998.
Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005.
Irwin, John T. The Mystery to a Solution: Poe, Borges, and the Analytical Detective Story. Baltimore: Johns Hopkins University Press, 1994.
Kennedy, J. Gerald. A Historical Guide to Edgar Allan Poe. New York: Oxford University Press, 2001.
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