Ulalume

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Edgar Allan Poe: Ulalume - contemporary illustration by Dante Gabriel Rossetti (1828–1882)

Ulalume is a ballad by the American writer Edgar Allan Poe , which he probably wrote that summer after the death of his wife Virginia in January 1847. The poem was first published in the December 1847 issue of The American Review .

From today's literary or literary critical point of view, this ballad is one of Poe's outstanding poems. In terms of work history, it falls into his last lyrical creative phase, in which he again increasingly turned to verse art, after he had set a new beginning with the publication of The Raven in 1845 and specified his poetic theoretical ideas in The Philosophy of Composition in 1846.

As in The Raven or Ligeia and other lyrical or epic works by Poe, for example, Ulalume deals with the central theme of coping with the painful loss of the deceased beautiful lover of the narrator or speaker.

In this ballad, the grief-stricken lyrical narrator tries to find relief from his grief and pain on a lonely, ghostly dark autumn night after the death of his beloved wife on a midnight walk through the inspiration and evocation of a new love. While he is in communication with Psyche , his soul , he is unconsciously drawn back to the grave of the deceased.

The memory of the dead lover remains indelible for the narrator and cannot be suppressed by the imagination of a new sensual - erotic love relationship.

Interpretative approach

First reprint of “Ulalume” in “ The American Review ” 1847

Already in the first stanza the speaker of the ballad leads the implicit listener into a fantastic, ghostly gloomy world that is far removed from his own actual reality.

The choice of words and sounds that the poet deliberately uses effectively serves to create a suggestive structure of an eerie atmosphere which, with the classic allegorical and theatrical components of a romantic horror story, cast a spell on the reader right from the start.

At the same time, the name of the place refers to an imaginary landscape in the poetic imagination of the lyrical narrator.

The name of the lake refers to Daniel-François-Esprit Auber , whose ballet Le Lac des Fées was successfully performed in New York at the time the poem was written. In designating the woodland, Poe uses the name of Robert Walter Weir, who was famous during Poe's lifetime as a painter of wildly romantic scenes and motifs of the Hudson landscape .

The process described in the following stanzas in this lonely, cloud-shrouded autumn night ( "The skies were ashen and sobre; [...] It was night in the lonesome Octobre" ) is carried out in the traditional form of a dialogue between the speaker and his soul ( psyche ) unfolds. In this inner dialogue the narrator tries to master his own agitated mood and excitement of his heart ( “My heart was volcanic” ).

The speaker (and with him the poet) is initially fascinated by Astarte , the moon and love goddess, who rises in the sky towards morning and seems to promise him peace ( “Lithean peace of the skies” ) and love. A comparison with the chaste, virgin goddess Diana in Roman mythology or Artemis in Greek mythology also emphasizes the lyrical ego's budding hope for consolation through a new erotic relationship ( “She is warmer than Dian” ).

In the dialogue with the soul, however, the soul mistrusts the star Astartes ( "Her pallor I strangely mistrust" ). In the form of a desperate question ( "Ah, what demon has tempted me here" ), the speaker must finally realize in the last stanza of the poem that this star, which initially seemed to herald release from its pain, was just a mirage that the Made corpse ghosts ( "This ghoul-haunted woodland of Weir" ) appear in the sky in order to deceive him.

Astarte's promise to find consolation and forgetting in new sensual love ( "love in her luminous eyes" ) proves to be impossible to fulfill, as the speaker has to express again in agony at the end ( "Then my heart it grew ashen and sober" ). The painful memory of the deceased lover can neither be erased in reality nor in fantasy ( "" Tis the vault of thy lost Ulalume [...] dread burden down here " )

The radiant appearance of Astartes thus remains against all hope ( “Its sybillic splendor is beaming With Hope and in Beauty to-night” ) at the end of the ballad anticlimactically in the far removed sphere of the constellations ( “miraculous crescent [..] has come past the stars of the Lion " ) and a distant planet that is said to" sparkle sinfully from the hell of the planetary souls "( " This sinfully scintillant planet From the hell of the planetary souls " ). This sinful sparkle points not only to the seduction to sensual love, but can also be related to the pretense of a fulfillment that cannot be realized in earthly life.

In such an interpretation, the reader “who has let himself into the fascination of the atmosphere” shows in the end “with the poet, as it were, not the illusory character of the world evoked in the poem as a whole, but the fulfillment promised in it.” The knowledge of the artificiality of the ( fantasy ) world evoked by the poem's speaker confirms, according to Link, the doubts about the validity of such a promise.

Meaning of the title

The name Ulalumes can be understood as an adaptation of the Latin verb “ululare” (dt. “Wail”) to the rhyming words “gloom” (dt. “Gloom, hopelessness”) and “tomb” (dt. “Grave, crypt”) . Ulalume expresses the poet's complaint, which he expressed in Israfel as early as 1831 , that “as an earthly man he cannot rise to the heights of heaven and sing as beautifully as the angel there.” Vowelically , ume also rhymes with that Poem with ghoul (German ghoul ). Occasionally, parallels to the Turkish word Ula for “dead” and the Latin lumen for light are pointed out in the interpretation; In this reading, Ulalume could be understood as the light of death .

Poetic design

Poe's ballad becomes a lamentation poem not only through the encounter with the grave of the deceased lover . Even in the first lines of Ulalume's opening stanza , the atmosphere appears gloomy and eerie. By repeating the same rhyming words in the third stanza, this atmospheric gloom and eeriness is further intensified. Likewise, dark rhyming words determine the sound pattern in the ninth stanza, in which the reawakening of the previously faded memory is reported. In this way, the eventual disappointment at the end of the ballad is anticipated.

Due to the constancy of the metrical scheme across all stanzas, the gloomy or horrible mood associated with it becomes the defining background, which predicts that hope cannot be fulfilled even during the temporary flare-up of hope.

With the help of the repetition in the tonal design, the individual stanzas and lines of the poem, the length of which varies between nine and thirteen lines, acquire a particular forcefulness: Usually there are only two rhymes, one strong and one weak; in addition, fixed syntactic patterns are repeated several times , mostly with the same lexical content. A further intensification is achieved by the fact that the repetition increases at the climax of the process and thus leads to a longer stanza length in stanzas five, seven and nine. Stanzas one, three and nine are connected by the rhymes on / ou / and / u /, while the two stanzas in which the lyrical narrator expresses his hope for salvation through the star are connected by the rhyme / ai /.

The doubt expressed by Psyche is accentuated in stanzas six and eight by the short rhyming sounds, just as the vowel / u / is used as a rhyming sound in connection with the finding of the tomb of Ulalume. The preferred use of a limited number of repeating long and short vowels also contributes to the tonal intensity of this ballad Poe, which is particularly suitable for recitation and thus followed Poe's suggestion to write a poem for an oral lecture.

Impact history

Cover of the December 1847 issue of The American Review (first published by Ulalume )

For a long time, Ulalume was mainly ignored by influential American literary scholars and literary critics, who ideologically mostly followed the tradition of Emerson and Whitman as well as the New Criticism approach and accordingly viewed Poe as a " minor poet " (English: "insignificant poet") or not taken seriously and critically criticized. So the poem was, for example, as "a flagrant Example of cheap mystification" ( "an obvious example cheaper dt. About mystification ") or as "prime Example of Poe's obscurantism" (dt. About "excellent example of obscurantism considered Poe's").

Cleanth Brooks and Robert Penn Warren also adopted this assessment in their interpretation of Ulalume in their standard work “Understanding Poetry” (1943) that Poe's poem is mystifying ( “rather disorderly use of suggestion” ) and only solves the reader like in a romantic horror story “ a kind of shudder of supranatural mystery and horror " ( Eng . about" a kind of shudder over a supernatural mystery and horror "). According to their opinion, which - as later research showed - was based on a misunderstanding or misinterpretation of Poe's poetological utterances - Poe expects the reader to read his poems only cursory and superficial.

Aldous Huxley had previously subjected Poe's ballad to a devastating criticism and described it as a “mystifying” and “ vulgar ” text that “failed to do justice to a poem” ( “failed to measure up as a poem” ).

In the history of European as well as more recent American reception, however, the deeper symbolic meaning and reference character as well as the high aesthetic and artistic value of Ulalume were almost mutually emphasized and this ballad was counted among Poe's most important works.

Various elements in Ulalume also suggest a comparison with other poems of Poe. Individual lines in Ulalume are reminiscent of Al Aaraaf (1829) from his early creative phase. Here the comet Al Aaraaf appears as an area of ​​the imagination in which souls "find peace in contemplation of beauty beyond good and evil". In Eulalie , Poe also creates a connection between Astarte and the vision of fulfillment in sensual love.

If the poem as such initially stands for the complaint about the death of a beloved woman, which makes hope for fulfillment in a new love relationship and for peace of mind in oblivion obsolete, then the ballad can also be more general in Poe's oeuvre as an expression of sorrow over the inaccessibility such a fulfillment in this worldly life or in this worldly reality can be read. As Link emphasizes in his interpretation, Ulalume only takes shape “in the lament of the poet, who conjures up the possibility of fulfillment in another world as a mirage.”

In literary history, this poem by Poe is characteristic of poetry between Romanticism and Modernism , insofar as it exemplarily shows how a world created by the power of imagination is incompatible with the reality of this world, since the poet can only create a world in his imagination, its artificiality or illusory character he is aware of.

In F. Scott Fitzgerald's novel, This Side of Paradise (English. This Side of Paradise , 1920), there are intertextual references to Poe's ballad. The protagonist Amory Blaine developed the habit in his wanderings through the countryside during a stay in Maryland Ulalume to recite . He meets Eleanor Savage, whose name in turn contains a further allusion to Poe's story Eleonora . During a thunderstorm, Eleanor offers him a new recitation of the poem to play the role of psyche from this ballad Poes.

Adaptations

Based on Poe's ballad, the symphonic score Ulalume, Op.35 by Joseph Holbrooke , published the following year, was probably composed in 1903 .

A recitation of Ulalume by the American singer Jeff Buckley appeared in December 1997 a few months after Buckley's death as a contribution to the collected recordings of poems and short stories on the double CD tribute album Closed on Account of Rabies , which was published by Hal Willner in collaboration with has been produced by various artists.

Text of the ballad

Ulalume - A Ballad (original text, 1847) Transfer from Hedwig Lachmann (1891)

The skies they were ashen and sober;
 The leaves they were crisped and sere -
 The leaves they were withering and sere;
It was night in the lonesome October
 Of my most immemorial year;
It was hard by the dim lake of Auber,
 In the misty mid region of Weir—
It was down by the dank tarn of Auber,
 In the ghoul-haunted woodland of Weir.

The clouds piled up mightily,
The leaves were withered,
They were curled up and withered,
It was October and night
In an unhappy place.
It was near the leaden water that
stands there so sleepily ,
At the grove, where at night a pale,
hollow-eyed swarm indulges itself.

Here once, through an alley Titantic,
 Of cypress, I roamed with my Soul
 - Of cypress, with Psyche, my Soul.
These were days when my heart was volcanic
 As the scoriac rivers that roll—
 As the lavas that restlessly roll
Their sulphurous currents down Yaanek
 In the ultimate climes of the pole—
That groan as they roll down Mount Yaanek
 In the realms of the boreal pole.

The area rugged and titanic,
I roamed with Psyche alone,
My soul, Psyche, alone,
At the time when my heart is still volcanic,
Like the mountains that spout restlessly,
The streams of fire spew out,
Like the mountain at the North Pole Who, writhing,
gives birth to a flaming sea,
That rushes
down and loses itself violently and with force ,
rolls down and loses.

Our talk had been serious and sober,
 But our thoughts they were palsied and sere—
 Our memories were treacherous and sere—
For we knew not the month was October,
 And we marked not the night of the year—
 (Ah, night of all nights in the year!)
We noted not the dim lake of Auber—
 (Though once we had journeyed down here) -
Remembered not the dank tarn of Auber,
 Nor the ghoul-haunted woodland of Weir.

Our speech was serious and measured,
The thoughts withered and withered,
The thoughts lame and withered.
The memory was dutifully forgotten,
because it did not remind us of the place, of
the time, and not of the place.
We had no idea of ​​the place or the hour,
and not the month of the year,
the unfortunate month of the year,
that it was near the secret bottom
and the leaden water.

And now, as the night was senescent
 And star-dials pointed to morn—
 As the star-dials hinted of morn—
At the end of our path a liquescent
 And nebulous luster was born,
Out of which a miraculous crescent
 Arose with a duplicate horn -
Astarte's bediamonded crescent
 Distinct with its duplicate horn.

And now that the night was
declining And the pointer of the star clock,
The heavenly star clock was moving towards
the day, there was
a misty glow on the azure.
And this whitish, delicate
veil of fragrance finally floated away
The Diadem of Astarten, set
with diamonds.

And I said— "She is warmer than Dian:
 She rolls through an ether of sighs—
 She revels in a region of sighs:
She has seen that the tears are not dry on
 These cheeks, where the worm never dies,
And has come past the stars of the Lion
 To point us the path to the skies—
 To the Lethean peace of the skies—
Come up, in despite of the Lion,
 To shine on us with her bright eyes—
Come up through the lair of the Lion,
 With love in her luminous eyes. "

And I said: She is warmer and milder than
Apollo's chaste sister, Apollo's
nimble sister.
Diana is more fiery, wilder,
But inside cool and proud.
But she walks through spheres of
sighs and throws her light,
your gentle, friendly light
on the never-drying
teeth in the grief-stricken earth face.
And comes through the constellation of Leo
And shows us the way to happiness,
The way through Lethe to happiness
And comes through the lion's den,
Warms us with her gaze,
With her loving gaze.

But Psyche, uplifting her finger,
 Said— "Sadly this star I mistrust—
 Her pallor I strangely mistrust: -
Oh, hasten! —Oh, let us not linger!
 Oh, fly! —Let us fly! —For we must."
In terror she spoke, letting sink her
 Wings until they trailed in the dust—
In agony sobbed, letting sink her
 Plumes till they trailed in the dust—
 Till they sorrowfully trailed in the dust.

Then I saw Psyche shudder.
She said: I don't trust her,
I don't trust this pallor.
Oh come, oh let's not hesitate,
I fear this white light,
This white, flickering light.
A fear, indescribable, unspeakable
shook through her while she spoke,
While she spoke so hastily,
She sobbed and dragged
her wings on the ground miserably ,
The wings in the dust.

I replied— "This is nothing but dreaming:
 Let us on by this tremulous light!
 Let us bathe in this crystalline light!
Its Sybilic splendor is beaming
 With Hope and in Beauty to-night: -
 See! —It flickers up the sky through the night!
Ah, we safely may trust to its gleaming,
 And be sure it will lead us aright—
We safely may trust to a gleaming
 That cannot but guide us aright,
 Since it flickers up to Heaven through the night. "

I said, you see ghosts,
let's dive into this sea,
this krystallene, shining sea,
His room is a limitless,
Just look back surging there and forth,
it trembles and sways back and forth,
it shines and fluthet in Blue
with Truly Sybillic splendor, Just
believe, we can trust him,
It shines through the night,
We can trust the signpost,
because he shines to God through the night.

Thus I pacified Psyche and kissed her,
 And tempted her out of her gloom—
 And conquered her scruples and gloom;
And we passed to the end of the vista,
 But were stopped by the door of a tomb—
 By the door of a legended tomb;
And I said— "What is written, sweet sister,
 On the door of this legended tomb?"
 She replied— "Ulalume — Ulalume—
 'Tis the vault of thy lost Ulalume!"

So I tried to appease her
and kissed her brotherly and warmly,
I kissed her tenderly and warmly,
and I saw her fear evaporate
and we hurried ahead arm in arm.
Through dark
cypress avenues And breathed their scent -
Suddenly we stopped in
front of the door to a crypt,
To a mystical crypt.
And I said: What does this silent,
significant mouth of stone say ?
Then she replied: Ulalume - Ulalume's bones
rest here,
your Ulalume bones. -

Then my heart it grew ashen and sober
 As the leaves that were crisped and sere—
 As the leaves that were withering and sere,
And I cried— "It was surely October
 On this very night of last year
 That I journeyed — I journeyed down here -
 That I brought a dread burden down here—
 On this night of all nights in the year,
 Ah, what demon has tempted me here?
Well I know, now, this dim lake of Auber—
 This misty mid region of Weir—
Well I know, now, this thanks to tarn of Auber,
 This ghoul-haunted woodland of Weir. "

Then my heart became dull and passed out,
And how the leaves withered,
As the leaves withered and withered.
Yes, it was October and night,
I called out and in this place,
I can clearly see the place.
At the pond there was a pale,
hollow-eyed, grinning swarm,
And I was wandering about this water
A gruesome burden in my arms,
A cold burden in my arms. -

The clouds piled up mightily,
The leaves were withered.
It was October and night
In an unfortunate place.

Said we , then — the two, then— "Ah, can it
  Have been that the woodlandish ghouls-
  The pitiful, the merciful ghouls—
To bar up our way and to ban it
  From the secret that lies in these wolds
  From the thing that lies hidden in the wolds
Have drawn up the specter of a planet
  From the limbo of lunary souls—
This sinfully scintillant planet
  From the hell of the planetary souls? "

Secondary literature

  • Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Wissenschaftliche Buchgesellschaft, Darmstadt 1972, ISBN 3-534-04760-5 , pp. 1-20.
  • Franz H. Link: Edgar Allan PoeUlalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present. Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215-8, pp. 103-114.

Web links

Wikisource: Ulalume  - Sources and full texts (English)
Wikisource: Ulalume  - Sources and full texts
Wikiquote: Ulalume  - Quotes

Individual evidence

  1. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 107.
  2. See the explanations and evidence on the central theme of the poem in H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 108f. For the presentation of the central topic, see also: Cummings Study Guide (see web link below) and Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 10 f.
  3. See Brooks and Warren, who describe this atmosphere as “the kind of suggestiveness used in romantic ghost stories” . In: Cleanth Brooks et al. Robert Penn Warren : Understanding Poetry , New York 1943, pp. 359 f.
  4. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 109. Cf. also Eric W. Carlson in more detail on this approach to interpretation: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 6 f. and 12 f.
  5. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 109 f. See also Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 11 f.
  6. See in detail Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 14 ff.
  7. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 110 f.
  8. For more details on this interpretation, see Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 110 f. See also Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 10 f.
  9. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 110 f. See also the detailed interpretation of the last stanzas of the poem in Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 16 ff.
  10. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 112, and Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Wissenschaftliche Buchgesellschaft, Darmstadt 1972, ISBN 3-534-04760-5 , pp. 12 and 17 ff. See also Cummings Study Guides (weblink below).
  11. See the analysis by Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 112.
  12. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 113. See also the analysis of Eric W. Carlson on the sound pattern of the poem: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Wissenschaftliche Buchgesellschaft, Darmstadt 1972, ISBN 3-534-04760-5 , pp. 6 f.12 f.
  13. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 107.
  14. Quoted from Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 6 f. Cf. also the detailed critical examination of this tradition of reception by Ulalume and the misinterpretations and misunderstandings on which it is based. See also the presentation of the reception history by Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 107 f. and on the misinterpretation of Brooks and Warren ibid, p. 109.
  15. Quoted from Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 6.
  16. See in detail the explanations by Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 107 ff. See also Eric W. Carlson: Edgar Allan Poe: Ulalume - A Ballad . In: Martin Christadler (ed.): The American poetry . Scientific Book Society, Darmstadt 1972, ISBN 3-534-04760-5 , p. 10 f. See also the detailed description of the symbolic meaning of the poem, ibid, pp. 11-20.
  17. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 110.
  18. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 113 f.
  19. See Franz H. Link: Edgar Allan Poe · Ulalume - A Ballad . In: Klaus Lubbers (Ed.): The American Poetry - From Colonial Times to the Present . Bagel Verlag, Düsseldorf 1974, ISBN 3-513-02215 - 8, p. 113 f.
  20. See Two verse masterworks: The Raven and Ulalume . On: docstoc.com . Retrieved May 15, 2014.
  21. See Ulalume, Op.35 (Holbrooke, Joseph) on the International Music Score Library Project . Retrieved April 21, 2020.
  22. Cf. Edgar Allan Poe - Closed On Account Of Rabies: Poems And Tales Of Edgar Allan Poe on Discogs . Retrieved April 21, 2020.