Text: Edgar Allan Poe (ed. W. P. Trent), “The Bells,” Poems and Tales (1897 and 1898), pp. 16-20


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[page 16:]

THE BELLS.*

I

HEAR the sledges with the bells,

Silver bells!

What a world of merriment their melody foretells!

How they tinkle, tinkle, tinkle,

[[5]]

In the icy air of night!

While the stars that oversprinkle

All the heavens, seem to twinkle

With a crystalline delight;

Keeping time, time, time,

10

[[n]]

In a sort of Runic rhyme,

To the tintinnabulation that so musically wells

From the bells, bells, bells, bells,

Bells, bells, bells —

From the jingling and the tinkling of the bells. [page 17:]

II

15

Hear the mellow wedding bells,

Golden bells!

What a world of happiness their harmony foretells!

Through the balmy air of night

How they ring out their delight!

20

From the molten-golden notes,

And all in tune,

What a liquid ditty floats

To the turtle-dove that listens, while she gloats

On the moon!

25

Oh, from out the sounding cells,

What a gush of euphony voluminously wells!

How it swells!

How it dwells

On the Future! how it tells

30

Of the rapture that impels

To the swinging and the ringing

Of the bells, bells, bells,

Of the bells, bells, bells, bells,

Bells, bells, bells —

35

To the rhyming and the chiming of the bells!

III

Hear the loud alarum bells —

Brazen bells!

What a tale of terror, now, their turbulency tells!

In the startled ear of night

40

How they scream out their affright!

Too much horrified to speak,

They can only shriek, shriek,

Out of tune,

In a clamorous appealing to the mercy of the fire,

45

In a mad expostulation with the deaf and frantic fire [page 18:]

Leaping higher, higher, higher,

With a desperate desire,

And a resolute endeavor

Now — now to sit or never,

50

By the side of the pale-faced moon.

Oh, the bells, bells, bells!

What a tale their terror tells

Of Despair!

How they clang, and clash, and roar!

55

What a horror they outpour

On the bosom of the palpitating air!

Yet the ear it fully knows,

By the twanging,

And the clanging,

60

How the danger ebbs and flows;

Yet [[Yes]] the ear distinctly tells,

In the jangling,

And the wrangling,

How the danger sinks and swells, —

65

By the sinking or the swelling in the anger of the bells,

Of the bells,

Of the bells, bells, bells, bells,

Bells, bells, bells —

In the clamor and the clangor of the bells!

IV

70

Hear the tolling of the bells —

Iron bells!

What a world of solemn thought their monody compels!

In the silence of the night,

How we shiver with affright

75

At the melancholy menace of their tone! [page 19:]

For every sound that floats

From the rust within their throats

Is a groan.

And the people — ah, the people,

80

They that dwell up in the steeple,

All alone,

And who, tolling, tolling, tolling,

In that muffled monotone,

Feel a glory in so rolling

[[85]]

On the human heart a stone —

They are neither man nor woman,

They are neither brute nor human,

They are Ghouls:

And their king it is who tolls;

90

And he rolls, rolls, rolls, rolls,

Rolls

[[n]]

A pæan from the bells!

And his merry bosom swells

With the pæan of the bells!

95

And he dances, and he yells;

Keeping time, time, time,

In a sort of Runic rhyme,

To the pæan of the bells,

Of the bells:

100

Keeping time, time, time,

In a sort of Runic rhyme,

To the throbbing of the bells,

Of the bells, bells, bells —

To the sobbing of the bells;

105

Keeping time, time, time,

As he knells, knells, knells, [page 20:]

In a happy Runic rhyme,

To the rolling of the bells,

Of the bells, bells, bells:

110

To the tolling of the bells,

Of the bells, bells, bells, bells,

Bells, bells, bells —

To the moaning and the groaning of the bells.

 


[[Footnotes]]

[The following notes appear at the bottom of page 16:]

* The Bells first appeared in Sartain's Union Magazine for November, 1849. It seems to have been evolved out of two stanzas suggested to Poe by a lady to whom he complained that he had a poem to write, but was without a subject and was annoyed by the sound of the neighboring church bells. A passage from Chateaubriand's Genius of Christianity may perhaps have induced him to think that the subject given him was capable of poetic treatment. (See Works, X, pp. 182-186.) Be this as it may, and whether or not Schiller's Song of the Bell occurred to his mind, Poe succeeded in elaborating one of the most musical poems in literature and in surpassing the onomatopoetic efforts of rivals like Southey in his famous verses on the cataract at Lodore. The ideas called up by the poem are commonplace enough, but its popularity is insured by its incomparable melody.

10. Runes were letters or characters used by the peoples of northern Europe. In them short, mystic sentences and rhymes were often couched, — hence a “runic rhyme” is one more or less mystical or obscure in expression.

[The following note appears at the bottom of page 19:]

92. Pæan, originally a hymn of thanksgiving or a song for help to Apollo, the healer, — now any song of triumph and joy.

 


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Notes:

None.

 

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[S:0 - WPT97, 1897 and 1898] - Edgar Allan Poe Society of Baltimore - Works - Editions - The Bells (W. P. Trent, 1897 and 1898)