In the following essay, Pahl closely examines both “The Raven” and Poe's essay, “The Philosophy of Composition.”

In the following essay, Wardrop offers a critical examination of symbols and language in “The Raven.”

In the following essay, Green considers the life experiences that may have influenced Poe's writing of “The Raven,” and discusses whether or not Poe's essays “The Poetic Principle” and “The Philosophy of Composition” provide adequate explanations of the work from the poet's perspective.

In the following essay, Freedman conducts an analysis of structure and symbolism in “The Raven.”

In the following essay, Person offers a critical assessment of the relationship between Poe's famous poem and the essay, “The Philosophy of Composition,” in which he purports to explain the poem's creation.

In the following essay, Jones explores the archetype of the “Anonymous Young Man” of nineteenth-century literature as it appears in “The Raven.”

In the following essay, which is believed to have been originally delivered as a lecture by Poe in 1845, the poet discusses the process of composition that resulted in “The Raven.”

In the following essay, Smith examines “The Raven” as an expression of Poe's despair as an orphan and an outcast.

In the following essay, Eddings analyzes “The Raven” as a work of satire and parody.

In the following essay, Erkkila explores the racial overtones of Poe's use of black and white, dark and light, in “The Raven.”

In the following essay, Fruit discusses the relationship between “The Raven” and “Lenore,” another poem published by Poe in 1845.

In the following essay, Jones argues that “The Raven; or The Power of Conscience,” a poem that appeared in 1839, may have been an inspiration for Poe's similarly titled poem of 1945.

In the following excerpt, Baguley offers a reading of “The Raven” based on Michael Guiomar's Principes d'une esthétique de la mort. According to Baguley, the raven becomes “a harbinger … of irretrievable, even Diabolical or Infernal, destruction” in Poe's poem.

In the following essay, Colwell and Spitzer offer a systematic comparison of parallels between Herman Melville's “Bartleby, the Scrivener: A Story of Wall Street” and Poe's “The Raven.”

In the following essay, Stewart suggests that “The Raven” may have been inspired by Samuel Warren's story “The Bracelets,” which appeared in 1832.

In the following essay, Courson offers her perspective on the significance of Poe's commentary on the composition of “The Raven.”

In the following essay, Graham presents a brief examination of Poe's use of voice and language structure to evoke mood, tone, and meaning in “The Raven.”

In the following essay, Lees suggests that the inspiration of Poe's poem, “The Raven,” may have come from a poem titled “The Owl,” published in 1826.

In the following excerpt, Porges offers a biographical context for the writing and publication of “The Raven.”

In the following excerpt, Hammond highlights the aspects of Poe's personal life that were reflected in the themes and tone of “The Raven,” and asserts that Poe's original inspiration for the poem originated with a book review of Barnaby Rudge that the poet wrote in 1841.

In the following essay, Burch summarizes the points set forth by British literary critic Clement Mansfield Ingleby in a critical essay about “The Raven” that was dated 1850, but never published.

In the following excerpt, Green opines that Poe's essay, “The Poetic Principle,” offers a reasonable explanation of the genesis and development of “The Raven.”