LOBO de CRIN o BOROCHI (Chrysocyon brachyurus)

Cánido de las pampas. Los guaraníes lo llaman aguará guasú ("zorro grande")
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A MIS LECTORAS... y al resto

“Amigos lectores que leerán este libro blog, | despójense de toda pasión | y no se escandalicen al leerlo |
no contiene mal ni corrupción; | es verdad que no encontrarán nada de perfección |
salvo en materia de reír; |
mi corazón no puede elegir otro sujeto | a la vista de la pena que los mina y los consume. |
Vale mejor tratar de reír que derramar lágrimas, | porque la risa es lo propio y noble del alma. Sean felices!”
--François Rabelais (circa 1534) [english]

lunes, 1 de agosto de 2011

Four Foundations theory

The four foundations theory was a hypothesis that, prior to domestication of the horse, there were four to seven landrace body types of the single species equus ferus or the original wild horse, each adapted to a given environment. [1] Another hypothesis held that the four prototypes originated from a single wild species and that all different body types were entirely a result of selective breeding after domestication.[2] Yet another theory suggested that the four prototypes were each separate species or subspecies.[1].[2]
This classification was based on body types and conformation, prior to the availability of DNA for research, and has since been superseded by modern studies. Modern genetic evidence now points at a single domestication event for a limited number of stallions, combined with repeated restocking of wild mares into domesticated herds.[3] This suggests that different body types might be a combination of both selective breeding and semi-feral landrace traits.
However developed, under the four foundations theory, all types and breeds of modern domesticated horses are thought to have developed from the following base prototypes:
  • The "Warmblood subspecies" or "Forest Horse" also called the Diluvial Horse, (once proposed as Equus ferus silvaticus and hypothesized to have evolved into a later variety proposed as Equus ferus germanicus). This prototype may have contributed to the development of the warmblood horses of northern Europe, as well as older "heavy horses" such as the Ardennais.[4][1]
  • The "Draft" subspecies, a small, sturdy, heavyset animal with a heavy hair coat, arising in northern Europe, adapted to cold, damp climates, somewhat resembling today's Fjord horse and even the Shetland pony.[1]
  • The "Oriental" subspecies, (once proposed as Equus agilis) a taller, slim, refined and agile animal arising in western Asia, adapted to hot, dry climates, thought to be the progenitor of the modern Arabian horse and Akhal-Teke.[1][2]
  • The "Tarpan" subspecies: dun-colored, sturdy animal, the size of a large pony, adapted to the cold, dry climates of northern Asia, proposed as a predecessor to the Tarpan and Przewalski's Horse as well as the domesticated Mongolian horse.[1]
The true Tarpan, however, was a wild horse subspecies, equus ferus ferus, that lived into the late 19th century before becoming extinct. It was never able to be domesticated. The original domesticated horse is widely believed to have resembled the Tarpan, though there is no current means by which to verify this hypothesis.

Women and horses

Source

This medieval painting shows several women armed and mounted on war horses, some with armour, some without. Note even the woman in a gown is riding astride, not sidesaddle.

Depiction of a lady riding in an early sidesaddle of a design credited to Anne of Bohemia (1366-1394) – Gerard Horenbout, 16th C
It was not uncommon for a girl to learn her father's trade, and for a woman to share her husband's trade; many guilds also accepted the membership of widows, so they might continue their husband's business. Under this system, some women trained in horse-related trades, and there are records of women working as farriers and saddle-makers.[109] On farms, where every hand was needed, excessive emphasis on division of labour was impracticable, and women often worked alongside men (on their own farms or as hired help), leading the farmhorses and oxen, and managing their care.[110]
Despite the difficulties of travel, it was customary for many people, including women, to travel long distances.[62] Upper-class wives frequently accompanied their husbands on crusade or to tournaments, and many women travelled for social or family engagements; both nuns and laywomen would perform pilgrimages.[111] When not on foot, women would usually travel on horseback or, if weakened or infirm, be carried in a wagon or a litter. If roads permitted, women sometimes rode in early carriages developed from freight wagons, pulled by three or four horses.[112] After the invention of better suspension systems, travel in carriages became more comfortable.[64] Women of the nobility also rode horses for sport, accompanying men in activities that included hunting and hawking.[113]
Most medieval women rode astride. While an early chair-like sidesaddle with handles and a footrest was available by the 13th century and allowed women of the nobility to ride while wearing elaborate gowns, they were not universally adopted during the Middle Ages.[76] This was largely due to the insecure seat they offered, which necessitated a smooth-gaited horse being led by another handler. The sidesaddle did not become practical for everyday riding until the 16th century development of the pommel horn that allowed a woman to hook her leg around the saddle and hence use the reins to control her own horse. Even then, sidesaddle riding remained a precarious activity until the invention of the second, "leaping horn" in the 19th century.[114]
It was not unknown for women to ride war horses, and take their part in warfare. Joan of Arc is probably the most famous female warrior of the medieval period, but there were many others, including the Empress Matilda who, armoured and mounted, led an army against her cousin Stephen of Blois, and Stephen's wife Matilda of Boulogne in the 12th Century.[115] The fifteenth-century writer Christine de Pizan advised aristocratic ladies that they must "know the laws of arms and all things pertaining to warfare, ever prepared to command her men if there is need of it."[116]

Marchas ecuestres

de.wikipedia.org/wiki/Gangpferd
en.wikipedia.org/wiki/Horse_gait
Horse gaits are the various ways in which a horse can move, either naturally or as a result of specialized training by humans.[1]
Contents
Classification
Gaits can be roughly categorized into two groups: the "natural" gaits that nearly every horse will use without special training, and the "amble," or the "ambling" gaits, a collection of several other smooth footfall patterns that may appear naturally in some individuals but which usually occur only in certain breeds, and often require special training of the horse before a rider can request them on command.[1]
Another classification system, applicable to quadrupeds in general, uses the categories of 1) walking gaits (including ambling), 2) running or trotting gaits, and 3) leaping gaits.[2]
The British Horse Society Dressage Rules require competitors to perform 4 variations of the walk, 6 forms of the trot, 5 leaping gaits (all forms of the canter), halt, and rein back but not the gallop.[2] The British Horse Society Equitation examinations also require proficiency in the gallop as distinct from the canter.[3][4]
The so-called "natural" gaits, in increasing order of speed, are the walk, trot, canter, and gallop.[5] Some people count these as three gaits by considering the canter a variation of the gallop, even though the canter is distinguished by having three beats, whereas the gallop has four beats. All four gaits are seen in wild horse populations. While other intermediate speed gaits may occur naturally to some horses, these four basic gaits occur in nature across almost all horse breeds.[1] In some animals, the trot is completely replaced by the pace or by an ambling gait.[5] More often, horses who possess an ambling gait are also able to trot.

Fuente
Definition de un caballo de marchas:
Caballo que APARTE de paso. trote y galope tiene una o dos ( 4/5 marchas) de los siguientes marchas:
Ambladura [Tölt], que es para el jinete muy agradable y no tiene momento en que el caballo "vuela/ no toca tiera" Marcha parecida al paso a 4 tactos pero puede alcanzar velocidades muy rapidos. los caballos de la edad media debian de tener tölt.. de alli su nomber Zelter/ Tölter (misma raiz germánica) EN LATINOAMERICA: PASO FINO!!!
Creo que la frase " el caballo va colado" define eso
Ambladura [der Pass]:
Es un 2 tacto en 4 phases y de manera lateral.. como los camellos... aqui la pareja de un lado esta adelantado en el mismo momento, al contrario al trote donde lo hacen diagonalmente.... fue antiguamente muy popular con caballos montados a la amazona.. ya que es mas facil para la dama.. hoy completamente NO DESEADO
En los caballos de marcha el pass de carreras es el arte mas alto de la doma y se hace carreras de distancia corta y de muchisima velocidad. Aqui el caballo si tiene un momento de "vuelo" y potencia enormemente su fuerza al pisar.. parecen volar.. el campeon mundial supera 250m en 21.1 segundos (un pony islandes es el campeon: Sprengi-Hvellur frá Efstadal)
Pass de cerdo si el pass se monta muy lentamente  y en vez de ser considerado variante del Pass esta considerado un Tölt mal montado
Foxtrott...NO es AMBLADURA!!
Walk el especial del Tennessee Walking parecido al Tölt, pero aqui el caballo siempre tiene tres cascos en el suelo, que hace aun mas seguro esta andadura.. ademas esta deseado que el caballo mueva la cabeza y rechincha los dientes " al son del tacto de los cascos" (deliran los yankies)
Marcha... pues del Mangalarga marchador, es un aire de 4 tactos, ni lento ni muy rápido, que como mínimo tiene que estar un casco en el suelo... meta en la cria es que tienen que tocar  2 cascos juntos el suelo.. pero estan en ello..{Delirando}   
Slow Gait es basicamente un paso con cortas "interrupciones" despues de cada levantamiento de miembro.
Rack ... pues es como el Tölt muy parecido al slow Gait .. el caballo debe de "hacer una pausa de movimiento" para aumentar la cadencialidad
Al contrario del Tölt el Pass no es siempre fijado geneticamente en los Islandeses ( el Tölt si lo tienen TODOS por genetica, hay Isis de 4 y de 5 marchas ... los de 5 valen una pasta!!)
http://de.groups.yahoo.com/group/gangpferd/

Herraduras, sillas y espuelas

http://en.wikipedia.org/wiki/Hipposandal
http://es.wikipedia.org/wiki/Categoría:Herramientas_ecuestres
http://en.wikipedia.org/wiki/Horseshoe
http://es.wikipedia.org/wiki/Herradura
http://es.wikipedia.org/wiki/Estribo
http://en.wikipedia.org/wiki/Saddle
http://en.wikipedia.org/wiki/Sidesaddle
An early 19th-century English caricature, mocking women who rode astride.
Sidesaddle rider without coat or apron in warm-up ring prior to competition, showing leg position on a sidesaddle with a leaping horn.
Corsetsandcrinolines.com Victorian sidesaddle riding habit
http://es.wikipedia.org/wiki/Espuela

Tipos de caballos medievales

palfrey - destrier  - courser - rouncey
palafrén (amblador) - montura de guerra - corcel - rocín
Ver: Horses in the Middle Ages
       El caballo en la guerra
A palfrey is a type of horse highly valued as a riding horse in the Middle Ages. It is not a breed.
The word "palfrey" is cognate with the German word for horse (of any type), "Pferd". Both descend from Latin "paraveredus", meaning a post horse or courier horse. The German term for a palfrey, meanwhile, is Zelter, which literally means "ambler" and is cognate with the Icelandic tölt.


A medieval painting of riding horses

Breeding
The term 'palfrey' usually referred to the most expensive and highly-bred types of riding horse during the Middle Ages,[1] sometimes equalling the knight's destrier in price. Consequently, it was popular with nobles, ladies and highly-ranked knights for riding, hunting and ceremonial use.[2]
Gait
The significant characteristic of the palfrey was that, rather than trotting, it usually possessed a smooth, ambling gait.[3] The amble was the name given to a group of smooth, four-beat gaits faster than a walk, but slower than a canter or gallop. The trot is a two-beat gait, about 8 mph, suitable for covering a lot of ground relatively quickly. However, the horse also has a bit of a spring in its motion as it switches diagonal pairs of legs with each beat, and thus can be rough for a rider, and jostles about packs or weaponry to a considerable degree. The amble is about as fast as the trot, not tiring for a horse that performs it naturally, and much smoother for the rider. Thus, because much ground transportation in the Middle Ages was on horseback, with long distances to be covered, a smooth-gaited horse was much desired.
An amble is achieved by the horse when it moves with a four-step rhythm, either derived from the two-beat lateral gait known as the pace or from the diagonal trot, with the two beats broken up so there are four. There are several variations, but most either have a lateral sequence of footfalls (left hind, left front, right hind, right front), or a diagonal sequence (left hind, right front, right hind, left front). In either case, only one foot is all the way off the ground at a time. Such a gait can be maintained for long distances, and sometimes at considerable speed.
Ambling horses are now uncommon in Europe. They were effectively replaced by trotting horses for several reasons. The first was that travel by carriage became more common, and trotting horse breeds were generally larger and stronger, more suited to the job at hand. Another reason was the rise of the Thoroughbred and other breeds developed for horse racing and for light cavalry, both of which required horses able to gallop for substantial periods of time. Breeds swift at the gallop also tend to trot rather than pace or amble.
The smooth ambling gaits today have many names, including the single-foot, the stepping pace, the tolt, the rack, the paso corto, and the fox trot (see ambling). Though ambling horses are less common today than in the Middle Ages, there are still many ambling breeds, particularly in North America where today they are referred to as gaited horses. Some of these breeds include the Missouri Fox Trotter, Tennessee Walking Horse, Icelandic horse and a sub-group within the American Saddlebred. The Paso Fino and the Peruvian Paso, breeds developed in Latin America, perform two or three different ambling gaits of varying speed, and are probably the closest modern descendants of the medieval palfrey.
================= ==================
The destrier is the best-known war horse of the medieval era. It carried knights in battles, tournaments, and jousts. It was described by contemporary sources as the Great Horse, due to its size and reputation.
The term destrier is derived from the Vulgar Latin dextarius, meaning "right-sided" (the same root as our modern dexterous and dexterity). This may refer to the fact that it was led by the squire at the knight's right side (or led by the right hand) or to the horse's gait, (possibly leading with the right).[1]


Mounted on a destrier, William Marshall unseats an opponent during a joust.
While highly prized by knights and men-at-arms, the destrier was actually not very common.[2] Most knights and mounted men-at-arms rode other war horses, such as coursers and rounceys.[3] These three types of horse were often referred to generically as chargers.
A Jennet or Spanish Jennet was a small Spanish horse.[1] It was noted for a smooth naturally ambling gait, compact and well-muscled build, and a good disposition.
In the etymology provided by the 1911 Encyclopædia Britannica, jennet is derived from the French genet, from Spanish jinete, a light horseman who rides à la jineta, explained as "with his legs tucked up." The term is taken to be a corruption of the Arabic Zenata, a Berber tribe famed for its cavalry. English and French transferred the word from the rider to the horse, a meaning which the word has only acquired in Spain in modern times. The American Heritage Dictionary's etymology is similar, citing the Middle English genet, from Old French, from the Catalan ginet, of Arabic or Berber origin.
--------------
The Baroque horse is a term used to generally describe the type of agile but strong-bodied descendants of horses in the Middle Ages such as the destrier.Specific ancestors of this type include the Neapolitan horse, and the Iberian horse of Barb ancestry known in the Middle Ages as the Spanish Jennet.
================= ===================
A courser is a swift and strong horse, frequently used during the Middle Ages as a warhorse. It was ridden by knights and men-at-arms.

This depiction of a knight on horseback might show a courser
Coursers are commonly believed to be named for their running gait,[1] (from Old French cours, 'to run'.[2]). However, the word possibly derived from the Italian corsiero, meaning 'battle horse'.[3]
================  ==================
The term rouncey (also spelt rouncy or rounsey) was used during the Middle Ages to refer to an ordinary, all-purpose horse. They were used for riding, but could also be trained for war. It was not unknown for them to be used as pack horses.

The Battle of Poitiers in 1356. A variety of horses can be seen
Use in warfare
While the destrier is the most well-known warhorse of the Medieval era, it was the least common, and coursers were often preferred for hard battles. They were both expensive, highly trained horses prized by knights and nobles, and the poorer knight, squire or man-at-arms would use a rouncey for fighting. A wealthy knight would provide rounceys for his retinue.[1][2]
Sometimes the expected nature of warfare dictated the choice of horse; when a summons to war was sent out in England, in 1327, it expressly requested rounceys, for swift pursuit, rather than destriers.[3]

Hiawatha

For the Iroquois leader, see Hiawatha.
The Song of Hiawatha is an 1855 epic poem, in trochaic tetrameter, by Henry Wadsworth Longfellow, featuring an Indian hero and loosely based on legends and ethnography of the Ojibwe (Chippewa, Anishinaabeg) and other Native American peoples contained in Algic Researches (1839) and additional writings of Henry Rowe Schoolcraft. In sentiment, scope, overall conception, and many particulars, Longfellow's poem is very much a work of American Romantic literature, not a representation of Native American oral tradition, despite Longfellow's insistence that "I can give chapter and verse for these legends. Their chief value is that they are Indian legends."[1]
Longfellow had originally planned on following Schoolcraft in calling his hero Manabozho, the name in use at the time among the Ojibwe of the south shore of Lake Superior for a figure of their folklore, a trickster-transformer. But in his journal entry for June 28, 1854, he wrote, "Work at 'Manabozho;' or, as I think I shall call it, 'Hiawatha'—that being another name for the same personage."[2] Hiawatha was not, in fact, "another name for the same personage" (the mistaken identification was actually made by Schoolcraft then compounded by Longfellow), but a probable historical figure associated with the founding of the League of the Iroquois.[3] Because of the poem, however, "Hiawatha" came into use as a name for everything from towns to a telephone company in the western Great Lakes region where no Iroquois reside.[4]
... 
A short extract of 94 lines from the poem was and still is frequently anthologized under the title Hiawatha's Childhood (which is also the title of the longer 234-line section from which the extract is taken). This short extract is the most familiar portion of the poem:
By the shores of Gitche Gumee,
By the shining Big-Sea-Water,
Stood the wigwam of Nokomis,
Daughter of the Moon, Nokomis.
Dark behind it rose the forest,
Rose the black and gloomy pine-trees,
Rose the firs with cones upon them;
Bright before it beat the water,
Beat the clear and sunny water,
Beat the shining Big-Sea-Water.
Antonín Dvořák was familiar with the work in Czech translation. In an article published in the New York Herald on December 15, 1893, he stated that the second movement of his Symphony No. 9, From the New World, was a "sketch or study for a later work, either a cantata or opera ... which will be based upon Longfellow's Hiawatha" and that the third movement scherzo was "suggested by the scene at the feast in Hiawatha where the Indians dance."
Edward Wagenknecht called it "the most parodied poem in the English language"[29]; as noted above, parodies began to appear even before the poem was published.
Lewis Carroll wrote a poem, Hiawatha's Photographing, which he introduced by noting "In an age of imitation, I can claim no special merit for this slight attempt at doing what is known to be so easy. Any fairly practised writer, with the slightest ear for rhythm, could compose, for hours together, in the easy running metre of The Song of Hiawatha. Having then distinctly stated that I challenge no attention in the following little poem to its merely verbal jingle, I must beg the candid reader to confine his criticism to its treatment of the subject."


Pequeño Hiawatha 1937 Español

youtube.com   Hiawatha's Rabbit Hunt 
starring Bugs Bunny and Hiawatha, first released on June 7, 1941
Hiawatha's Rabbit Hunt is a Warner Bros. cartoon in the Merrie Melodies series, starring Bugs Bunny and Hiawatha, first released on June 7, 1941. The short makes several direct references to The Song of Hiawatha, an epic poem by Henry Wadsworth Longfellow.
youtube.com/  Hold the lion, please!

Elegíaco conflicto: Nunca más!

Deseo de olvidar o deseo de recordar?
Nevermore!
"The Raven" is a narrative poem by American writer Edgar Allan Poe, first published in January 1845. It is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow descent into madness. The lover, often identified as being a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further instigate his distress with its constant repetition of the word "Nevermore". 
The Raven
READ it first
THE RAVEN.
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 of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door —
            Only this and nothing more." Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; — vainly I had sought to borrow
From my books surcease of sorrow — sorrow for the lost Lenore —
For the rare and radiant maiden whom the angels name Lenore —
            Nameless here for evermore.
And the silken, sad, uncertain rustling of each purple curtain
Thrilled me — filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door —
Some late visiter entreating entrance at my chamber door; —
            This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you" — here I opened wide the door; ——
            Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!" —
            Merely this and nothing more.
Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore —
Let my heart be still a moment and this mystery explore;—
            'Tis the wind and nothing more!"
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door —
Perched upon a bust of Pallas just above my chamber door —
            Perched, and sat, and nothing more. [column 5:]

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore —
Tell me what thy lordly name is on the Night's Plutonian shore!"
            Quoth the Raven "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning — little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door —
Bird or beast upon the sculptured bust above his chamber door,
            With such name as "Nevermore."
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered — not a feather then he fluttered —
Till I scarcely more than muttered "Other friends have flown before —
On the morrow he will leave me, as my Hopes have flown before."
            Then the bird said "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore —
Till the dirges of his Hope that melancholy burden bore
            Of 'Never — nevermore'."
But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore —
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
            Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet-violet lining with the lamp-light gloating o'er,
            She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee — by these angels he hath sent thee
Respite — respite and nepenthe, from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
            Quoth the Raven "Nevermore."
"Prophet!" said I, "thing of evil! — prophet still, if bird or devil! —
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted —
On this home by Horror haunted — tell me truly, I implore —
Is there — is there balm in Gilead? — tell me — tell me, I implore!"
            Quoth the Raven "Nevermore."
"Prophet!" said I, "thing of evil! — prophet still, if bird or devil!
By that Heaven that bends above us — by that God we both adore —
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore —
Clasp a rare and radiant maiden whom the angels name Lenore."
            Quoth the Raven "Nevermore."
"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting —
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! — quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
            Quoth the Raven "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
            Shall be lifted — nevermore!
Illustrated
Audio
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