Introduction: “The Bells” by Edgar Allan Poe
“The Bells” by Edgar Allan Poe first appeared in 1849 in the collection The Works of the Late Edgar Allan Poe, edited by Rufus Wilmot Griswold. This poem is renowned for its musical quality, achieved through the use of onomatopoeia, alliteration, and rhythm. The poem explores the progression of life through the symbolic use of different types of bells, from the joyous, light-hearted sound of silver sleigh bells to the somber and foreboding tolling of iron funeral bells. The central idea reflects the passage of time and the inevitable journey from youth and happiness to death and despair, a recurring theme in Poe’s work. His masterful use of sound devices enhances the immersive, almost hypnotic experience for the reader, as the poem moves from joy to sorrow in its tonal shifts.
Text: “The Bells” by Edgar Allan Poe
I.
Hear the sledges with the bells—
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
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,
In a sort of Runic rhyme,
To the tintinabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells—
From the jingling and the tinkling of the bells.
II.
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!
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!
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
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—
To the rhyming and the chiming of the bells!
III.
Hear the loud alarum bells—
Brazen bells!
What tale of terror, now, their turbulency tells!
In the startled ear of night
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,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now—now to sit or never,
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!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling,
And the wrangling.
How the danger sinks and swells,
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.
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
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people—ah, the people—
They that dwell up in the steeple,
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
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;
And he rolls, rolls, rolls,
Rolls
A pæan from the bells!
And his merry bosom swells
With the pæan of the bells!
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:
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;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells—
Of the bells, bells, bells—
To the tolling of the bells,
Of the bells, bells, bells, bells—
Bells, bells, bells—
To the moaning and the groaning of the bells.
Annotations: “The Bells” by Edgar Allan Poe
| Stanza | Annotation |
| I. Silver Bells | The first stanza depicts a joyous and light-hearted scene of silver bells ringing in the icy air of night. These bells symbolize merriment and delight. The repeated sound of “tinkle” and “jingling” evokes the idea of a cheerful, rhythmic, and harmonious melody. Poe uses words like twinkle, delight, and crystalline to reflect the innocence and happiness associated with this moment. The repetition of “bells” emphasizes the musical nature of the sound, while Runic rhyme refers to ancient or mystical poetry, adding an air of mystery to the tone. Overall, the stanza suggests lightness, youth, and carefree joy. |
| II. Golden Bells | The second stanza shifts from silver to golden bells, which symbolize wedding bells and a world of happiness. The description moves from light-hearted merriment to a deeper, more harmonious sound. Words like mellow, molten-golden, and liquid ditty suggest a fluid, continuous, and rich harmony. There’s a suggestion of romance as the turtle-dove listens, evoking imagery of love and marital bliss. The stanza emphasizes the theme of hope and optimism for the future, swelling with happiness and euphony. |
| III. Brazen Bells | The tone becomes ominous in the third stanza, where the brazen bells (likely symbolizing alarms or emergency bells) introduce a sense of terror and chaos. The bells no longer ring harmoniously but instead shriek and scream out of tune, signaling danger. Words like affright, horrified, shriek, and clamorous convey the terror and urgency of the moment, possibly representing fire alarms or warning bells. The bells are frantic and out of control, mimicking a desperate cry for help. Poe uses repetition and onomatopoeia to evoke the cacophony of the scene. The bells here symbolize destruction, panic, and death. |
| IV. Iron Bells | The final stanza introduces the iron bells, which symbolize death and mourning. These bells toll in a somber, monotonous way, reflecting on solemn thoughts and melancholy. The imagery becomes darker, with words like shiver, affright, menace, and groan, indicating fear and impending doom. The bells are described as being rung by ghouls, representing death or the supernatural. The king of the ghouls tolls the bells, rejoicing in the despair they evoke. The repetition of “time, time, time” reinforces the slow, dragging rhythm of the funeral bells, suggesting a never-ending, eternal cycle of death and the inevitable passage of time. The stanza ends with the moaning and groaning of the bells, signifying a world overwhelmed by death and sorrow. |
Literary And Poetic Devices: “The Bells” by Edgar Allan Poe
| Literary Device | Example from “The Bells” | Explanation |
| Alliteration | “What a world of merriment their melody foretells!” | The repetition of the initial consonant sound “w” in “what”, “world”, and “merriment” creates a musical quality, mirroring the sound of the bells. Alliteration enhances the rhythm and flow of the poem. |
| Anaphora | “Keeping time, time, time” | The repetition of the word “time” at the beginning of clauses adds emphasis to the rhythmic ticking and passage of time, mimicking the bells’ tolling. |
| Assonance | “How they tinkle, tinkle, tinkle” | The repetition of the “i” vowel sound in “tinkle” creates a musical, light sound, imitating the ringing of silver bells. Assonance contributes to the auditory imagery of the poem. |
| Cacophony | “How they scream out their affright!” | The use of harsh, jarring words like “scream” and “affright” creates a cacophony, or discordant sound, mimicking the chaotic ringing of the brazen alarm bells. |
| Consonance | “In the clamor and the clangor of the bells!” | The repetition of the consonant “r” sound in “clamor”, “clangor”, and “bells” reinforces the harsh, ringing noise of the alarm bells. Consonance adds to the intensity of the sound imagery. |
| End Rhyme | “Hear the mellow wedding bells, / Golden bells!” | The rhyme between “bells” and “tells” at the end of successive lines creates a pleasing sound, mirroring the harmonious ringing of the wedding bells. End rhyme provides a sense of musicality and closure to the lines. |
| Enjambment | “From the molten-golden notes, / And all in tune” | The continuation of a sentence without a pause beyond the end of a line creates a flowing effect, mimicking the continuous and uninterrupted ringing of the bells. Enjambment enhances the rhythm and pacing of the poem. |
| Hyperbole | “What a gush of euphony voluminously wells!” | This exaggerated description of the sound of the bells (“gush of euphony”) emphasizes the overwhelming beauty and volume of the wedding bells’ harmonious sound. |
| Imagery | “In the icy air of night!” | Poe uses vivid sensory details to create mental images, such as the cold, crisp atmosphere of the night when the silver bells are ringing. Imagery helps readers experience the sights, sounds, and feelings associated with the bells. |
| Internal Rhyme | “To the rhyming and the chiming of the bells!” | The rhyme within a single line, between “rhyming” and “chiming”, enhances the musicality of the poem, reflecting the harmonious ringing of the bells. Internal rhyme contributes to the poem’s rhythm and sound. |
| Metaphor | “What a world of merriment their melody foretells!” | The bells’ sound is metaphorically described as foretelling a “world of merriment”, suggesting that the silver bells’ joyous ringing brings happiness and delight into the world. |
| Mood | Overall mood shifts from joyful to terrifying to mournful | The mood of the poem changes dramatically between stanzas, from the light-hearted joy of the silver and golden bells to the terror of the brazen bells and the sorrow of the iron bells, reflecting the progression from life to death. |
| Onomatopoeia | “Tinkle, tinkle, tinkle” | The use of words that imitate the sound they describe, such as “tinkle” and “clang”, helps the reader hear the bells as they are being described. Onomatopoeia enhances the auditory experience of the poem. |
| Personification | “What a world of happiness their harmony foretells!” | The bells are personified as being able to foretell a world of happiness, giving them human-like qualities and emphasizing their symbolic power. Personification adds depth to the emotional impact of the bells. |
| Repetition | “Bells, bells, bells, bells, / Bells, bells, bells” | The constant repetition of the word “bells” reinforces the incessant and unrelenting ringing sound, mirroring the way the sound of bells echoes. Repetition creates a sense of rhythm and emphasis. |
| Rhyme Scheme | “Golden bells! / What a world of happiness their harmony foretells!” | Poe uses a regular rhyme scheme throughout the poem, contributing to its musical quality. The rhymes give the poem a sense of structure and coherence, like the tolling of the bells. |
| Simile | “While the stars that oversprinkle / All the heavens, seem to twinkle / With a crystalline delight;” | The stars are compared to crystals using “seem to twinkle with a crystalline delight,” enhancing the visual beauty of the scene and emphasizing the clarity and purity of the silver bells’ sound. |
| Symbolism | Bells throughout the poem | The bells in the poem symbolize different stages of life. The silver bells represent youth and merriment, the golden bells symbolize marriage and joy, the brazen bells represent alarm and terror, and the iron bells signify death and mourning. The symbolism of the bells tracks the passage from life to death. |
| Tone | Shifts in tone between stanzas | The tone of the poem evolves from joyful (in the first stanza) to ominous (in the third stanza) to mournful (in the fourth stanza). Poe’s use of tone reflects the emotional progression associated with the different types of bells. |
| Wordplay | “Tintinnabulation that so musically wells” | Poe invents the word “tintinnabulation” to describe the ringing of bells, blending onomatopoeia and rhythm. This creative use of language adds to the playful and musical nature of the poem’s soundscape. |
Themes: “The Bells” by Edgar Allan Poe
- The Passage of Time and Life’s Stages: Throughout “The Bells”, Poe uses the sound of different types of bells to symbolize the various stages of life, from youth to death. The silver bells in the first stanza represent the innocence and joy of youth, with their light, tinkling sound: “What a world of merriment their melody foretells!” The golden wedding bells in the second stanza signify maturity and love, symbolizing the happiness and unity of marriage: “What a world of happiness their harmony foretells!” The poem then shifts to the brazen alarm bells in the third stanza, which represent crisis and terror, a reflection of the chaotic, dangerous moments in life: “What tale of terror, now, their turbulency tells!” Finally, the iron bells in the fourth stanza represent death and mourning, with their heavy, tolling sound: “What a world of solemn thought their monody compels!” This progression highlights the inevitable passage of time and the stages of life.
- Mortality and Death: Death is a central theme, particularly in the latter half of the poem, where the iron bells toll ominously to represent the finality of life. The solemn and mournful tone in the fourth stanza evokes the inevitable approach of death: “How we shiver with affright / At the melancholy menace of their tone!” The iron bells are described as tolling for those in the steeple, ringing out the sound of death and mourning. The people tolling the bells are referred to as ghouls, otherworldly creatures connected with death: “They are neither man nor woman— / They are neither brute nor human— / They are Ghouls.” The imagery of death and the bells’ tolling symbolizes the inescapable nature of mortality.
- The Power of Sound and Music: Sound, especially through the repeated ringing of bells, is a dominant theme in the poem, illustrating how auditory experiences can evoke powerful emotions. Poe’s detailed descriptions of the bells’ different sounds—the light tinkle of silver bells, the harmonious melody of golden bells, the chaotic clang of brazen bells, and the solemn toll of iron bells—demonstrate how each sound can evoke specific moods, from joy to terror to sadness. For example, the repetition of “tinkle, tinkle, tinkle” in the first stanza mimics the light, playful sound of silver bells, while “clang, and clash, and roar” in the third stanza reflects the terrifying sound of the brazen bells. The poem explores how sound affects emotional responses and how the bells’ music reflects both external events and internal states of mind.
- Fear and Despair: Fear and despair are prominent in the third and fourth stanzas of the poem, where the bells’ sound becomes increasingly chaotic and foreboding. The brazen alarm bells evoke a sense of urgent terror: “What a tale of terror, now, their turbulency tells!” The ringing becomes frantic, reflecting both physical danger and emotional turmoil: “How they scream out their affright!” This theme culminates in the iron bells, where the sound signals not just fear but the hopelessness of death: “What a world of solemn thought their monody compels!” The repetitive, mournful tolling of the iron bells creates a sense of despair, as they are linked to ghouls and death. Poe masterfully uses sound to evoke feelings of fear and inevitable despair as life draws to a close.
Literary Theories and “The Bells” by Edgar Allan Poe
| Literary Theory | Explanation | References from “The Bells” |
| Formalism | Formalism focuses on the structure, form, and literary devices within the text itself, without regard to external contexts. In “The Bells”, the poem’s formal elements—such as alliteration, onomatopoeia, and repetition—play a key role in creating the auditory experience of the bells. The poem’s rhyme scheme and rhythm mirror the sound and emotional resonance of the bells themselves, allowing readers to feel the effect of the sounds through the form of the poem. | The repetition of “bells, bells, bells” creates a rhythmic, almost hypnotic effect, mimicking the relentless tolling of the bells. Poe’s use of onomatopoeia with words like “tinkle,” “clang,” and “shriek” captures the varied sounds of the bells, enhancing the reader’s auditory experience. The rhyme scheme (such as “bells” and “tells”) adds to the musicality of the poem, making the structure itself a reflection of the subject. |
| Psychoanalytic Criticism | Psychoanalytic theory, based on the ideas of Sigmund Freud, explores the psychological depths of a text and its characters, often delving into the unconscious mind. In “The Bells”, the progressive shift from joy to terror and death can be seen as a reflection of the human psyche’s confrontation with mortality and fear. Each type of bell represents different emotional and psychological states, moving from childhood joy to marital bliss, then to terror, and finally, the fear of death. | The third stanza’s “brazen bells”, with their shrieking and clashing, represent a moment of psychological breakdown, as the bells symbolize uncontrollable fear and panic: “What tale of terror, now, their turbulency tells!” The final stanza, with the iron bells, delves into a deep fear of death, as the relentless tolling reflects the inevitable approach of the end: “What a world of solemn thought their monody compels!” This progression reflects the human mind’s increasing awareness of death and the accompanying emotional turmoil. |
| Symbolism | Symbolism theory explores how objects, characters, or events in a text represent larger abstract concepts or ideas. In “The Bells”, each type of bell—silver, golden, brazen, and iron—acts as a symbol for different stages of life and human experience. The bells themselves are not just literal objects, but symbols of the passage of time, emotional states, and the inevitability of death. | The silver bells symbolize the innocence and joy of youth, with their light, musical tone: “What a world of merriment their melody foretells!” The golden bells represent love and marriage, a more mature and harmonious phase of life: “What a world of happiness their harmony foretells!” The brazen bells symbolize moments of crisis and alarm, and the iron bells are a symbol of death and mourning, with their heavy, ominous tolling: “What a world of solemn thought their monody compels!” These symbols help explore the broader themes of life’s stages and the human condition. |
Critical Questions about “The Bells” by Edgar Allan Poe
- How does Poe use sound to enhance the mood and meaning of the poem?
- Poe’s use of sound is crucial in shaping the mood and meaning of “The Bells”. By employing devices like onomatopoeia (e.g., “tinkle,” “clang,” “shriek”), repetition (e.g., “bells, bells, bells”), and rhythm, Poe mimics the actual sounds of bells, drawing readers into the auditory experience of the poem. The light, tinkling sounds of the silver bells evoke a sense of joy and merriment, while the harsh, clanging sounds of the brazen bells create an atmosphere of alarm and terror: “How they scream out their affright!” The tolling of the iron bells in the final stanza symbolizes death and mourning, with their deep, rhythmic sound creating a sombre, reflective mood: “What a world of solemn thought their monody compels!” Poe’s ability to mimic the sound of the bells through language amplifies the emotional resonance of each stanza, allowing sound to shape the reader’s understanding of the poem.
- What is the significance of the progression from silver, to golden, to brazen, to iron bells in the poem?
- The progression of the bells from silver to golden, then brazen, and finally iron represents a symbolic journey through the stages of life. The silver bells at the beginning of the poem are associated with youth and innocence, as their light and cheerful sound suggests the carefree joy of childhood: “What a world of merriment their melody foretells!” The golden bells in the second stanza reflect love, marriage, and maturity, with their harmonious and rich tones symbolizing the happiness and unity of adulthood: “What a world of happiness their harmony foretells!” As the bells shift to the brazen bells in the third stanza, the mood changes to one of terror and alarm, possibly representing the crises and dangers that come with life’s struggles: “What tale of terror, now, their turbulency tells!” Finally, the iron bells in the last stanza signify death and the inevitable passage of time, with their heavy, monotonous toll signaling the end of life: “How we shiver with affright / At the melancholy menace of their tone!” This progression not only reflects the stages of life but also the emotional and psychological states associated with each phase.
- How does Poe explore the theme of mortality in “The Bells”?
- Mortality is a central theme in “The Bells”, particularly in the latter half of the poem. The iron bells in the final stanza are explicitly linked to death, as they toll with a solemn and mournful sound: “What a world of solemn thought their monody compels!” These bells represent the final stage of life, with their deep, repetitive sound symbolizing the inevitability of death and the toll it takes on the living. The imagery of the ghouls in the steeple, “neither man nor woman,” further emphasizes the eerie, supernatural presence of death. Poe’s portrayal of the brazen bells, which scream in terror and affright, can be seen as a reflection of the fear and panic humans feel when confronted with mortality: “How they scream out their affright!” The progression from joy to terror to mourning in the poem mirrors the human experience of coming to terms with the reality of death, making mortality a pervasive theme.
- What role does repetition play in the overall structure and meaning of the poem?
Repetition is a key structural device in “The Bells”, used to evoke the relentless and echoing sound of the bells themselves, as well as to emphasize the themes of the poem. The constant repetition of the word “bells” throughout the poem mirrors the ongoing, unavoidable tolling of bells in real life, creating a sense of inescapability: “Bells, bells, bells, bells, / Bells, bells, bells.” This repetitive structure reflects the cyclic nature of life, particularly in the final stanza, where the iron bells toll endlessly, symbolizing the eternal nature of death and the slow, unrelenting passage of time: “Keeping time, time, time, / In a sort of Runic rhyme.” Repetition also serves to reinforce the emotional intensity of each stanza, with phrases like “tinkle, tinkle, tinkle” evoking the lightness of the silver bells, while “clang, and clash, and roar” convey the chaos of the brazen bells. Through repetition, Poe reinforces the rhythm and soundscape of the poem, making it both musically and thematically cohesive.
Literary Works Similar to “The Bells” by Edgar Allan Poe
- “The Raven” by Edgar Allan Poe
Like “The Bells”, “The Raven” uses repetition and a haunting tone to explore themes of death, grief, and despair, creating an eerie, melancholic atmosphere. - “Ode to a Nightingale” by John Keats
This poem shares with “The Bells” an exploration of sound and its emotional effects, as well as reflections on mortality and the fleeting nature of life. - “Kubla Khan” by Samuel Taylor Coleridge
Coleridge’s use of vivid imagery, sound, and rhythmic patterns parallels Poe’s focus on auditory experience, while both poems delve into the mystical and surreal. - “Annabel Lee” by Edgar Allan Poe
Like “The Bells”, “Annabel Lee” centers on loss, death, and eternal love, employing musicality and repetition to evoke deep emotional responses. - “The Charge of the Light Brigade” by Alfred Lord Tennyson
This poem shares the rhythmic, repetitive structure of “The Bells”, using sound to reflect the intensity of battle, much like how Poe mirrors emotions through the sound of bells.
Representative Quotations of “The Bells” by Edgar Allan Poe
| Quotation | Context | Theoretical Perspective |
| “Hear the sledges with the bells— / Silver bells!” | Opening lines of the poem, introducing the joyous and lighthearted sound of silver bells, which symbolize youth and innocence. | Formalism: Focuses on the sound and structure, with the repeated “bells” creating a musical rhythm that mirrors the tinkling sound. |
| “What a world of merriment their melody foretells!” | Describing the silver bells and their association with happiness and cheerfulness. This reflects the youthful, carefree phase of life. | Symbolism: The silver bells represent the lighthearted joy and hopefulness of youth, a common life stage. |
| “Keeping time, time, time, / In a sort of Runic rhyme” | Repeated in several stanzas, this phrase reflects the rhythmic nature of the bells and their constant presence. | Structuralism: Emphasizes the poem’s repetitive structure, which reinforces the continuous and inevitable progression of time. |
| “Hear the mellow wedding bells, / Golden bells!” | Introduction of the golden wedding bells, symbolizing love, marriage, and the maturity associated with this life stage. | New Criticism: Focuses on the shift in tone and sound to a more harmonious and rich description, symbolizing life’s moments of happiness and unity. |
| “What a gush of euphony voluminously wells!” | Describes the rich and harmonious sound of the golden bells, evoking a sense of fullness and emotional warmth. | Psychoanalytic Criticism: This line reflects the fullness of love and emotional satisfaction, connecting to feelings of psychological completeness. |
| “Hear the loud alarum bells— / Brazen bells!” | The tone changes to alarm and terror as the brazen bells symbolize danger and crisis, introducing a chaotic atmosphere. | Psychoanalytic Criticism: Represents a state of emotional turmoil and fear, aligning with moments of psychological crisis. |
| “How they scream out their affright!” | The brazen bells are described as terrifying and shrieking, contributing to the sense of panic and terror. | Gothic Literature: Explores themes of fear and horror, typical of the Gothic tradition, reflecting emotional and psychological distress. |
| “Hear the tolling of the bells— / Iron bells!” | The iron bells represent death and the inevitability of mortality, with their heavy, mournful sound. | Existentialism: This quotation reflects the existential theme of death’s inevitability and the somber realization of mortality. |
| “What a world of solemn thought their monody compels!” | The iron bells evoke deep, solemn thoughts, highlighting the weight of death and mourning. | Death and Mortality: This line expresses the inescapable nature of death and its emotional impact, central to the poem’s final stage. |
| “In the clamor and the clangor of the bells!” | Describing the chaotic and overwhelming sound of the brazen bells, symbolizing confusion and fear. | Formalism: The harsh, discordant sound reflects the intense and disorienting experience, emphasizing the auditory chaos. |
Suggested Readings: “The Bells” by Edgar Allan Poe
- Du Bois, Arthur E. “The Jazz Bells of Poe.” College English, vol. 2, no. 3, 1940, pp. 230–44. JSTOR, https://doi.org/10.2307/370372. Accessed 21 Oct. 2024.
- Sartain, William. “Edgar Allan Poe: Some Facts Recalled.” The Art World, vol. 2, no. 4, 1917, pp. 320–23. JSTOR, https://doi.org/10.2307/25587992. Accessed 21 Oct. 2024.
- Bidney, Martin. “Fire and Water, Aspiration and Oblivion: Bal’mont’s Re-Envisioning of Edgar Allan Poe.” The Slavic and East European Journal, vol. 35, no. 2, 1991, pp. 193–213. JSTOR, https://doi.org/10.2307/308314. Accessed 21 Oct. 2024.
- Pruette, Lorine. “A Psycho-Analytical Study of Edgar Allan Poe.” The American Journal of Psychology, vol. 31, no. 4, 1920, pp. 370–402. JSTOR, https://doi.org/10.2307/1413669. Accessed 21 Oct. 2024.
- HOFFMAN, DANIEL. “Edgar Allan Poe: The Artist of the Beautiful.” The American Poetry Review, vol. 24, no. 6, 1995, pp. 11–18. JSTOR, http://www.jstor.org/stable/27781913. Accessed 21 Oct. 2024.
- Dudley, Fred A. “Tintinnabulation: And a Source of Poe’s ‘The Bells.'” American Literature, vol. 4, no. 3, 1932, pp. 296–300. JSTOR, http://www.jstor.org/stable/2919886. Accessed 21 Oct. 2024.
- Rollason, Christopher. “‘Tell-Tale Signs’ – Edgar Allan Poe and Bob Dylan: Towards a Model of Intertextuality / Tell-Tale Signs – Edgar Allan Poe y Bob Dylan: Hacia Un Modelo de Intertextualidad.” Atlantis, vol. 31, no. 2, 2009, pp. 41–56. JSTOR, http://www.jstor.org/stable/41055363. Accessed 21 Oct. 2024.