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Poe had a great impact on todays society and influenced many people that write today. Not only did Poe write, he was a renowned literary critic. He was greatly critical and forced writers to reexamine their own texts.

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Poe wrote "The Bells" after the death of his wife, Virginia. During the time he had horrible writer's block caused by grief. Some believe he wrote the bells because he could hear bells from his cottage and took inspiration from them. While usually bells would be the sign of a church nearby, it is speculated the bells Poe was hearing were actually from a university. He most likely fixated on the bells ringing because it can sometimes symbolize death. Poe was obsessed with death throughout his life, and considering what he was going through when he wrote this poem, it is safe to assume that the ringing made him think of Virginia's untimely demise.

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The genre is an "ode." Odes have a lyrical meter that can almost be sung.

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Bells were often connected to churches in the 1800s and had been since the Middle Ages. They were rang during various occasions to give messages to locals who could hear them. Church bells are often used in writings such as Edgar Allen Poe's "The Bells" to symbolize different events, such as marriage or death. When Poe would have been writing, he would have heard church bells often, and they would be an integral part of society at the time, as church was still the cultural norm throughout all of America at the time.

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Onomatopoeia is used in the bells. Onomatopoeia is the formation of a sound associated with what is named. The word onomatopoeia comes from the combination of two greek words, onoma meaning "name" and poiein meaning "to make." Onomatopoeia means "to make a name or sound."

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"The poem has four stanzas with end rhyme occurring sometimes in two successive lines, sometimes in three, and sometimes in four. The first three lines of each stanza are exactly the same metrically and structurally, although some of the words change" - cummingstudyguides.net

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In this poem Poe imagines the sounds of four different kinds of bells, and the times and places where you might hear them. There's no plot in this poem, exactly, but there is something like an emotional arc, as we move from light, bubbly happiness to sadness, fear, and misery.

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The music in the poem shows that music can become a reflection of our lives. Each bell had a different noise and was made out of a different material making a certain noise. There was four sections in the poem, and in each section of the poem it described how each bell sounded and what the mood was. In the beginning of the poem the bells have a happy tone, however, as the poem progresses and becomesvdarker the bells roar instead of twinkle.

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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 tintinnabulation 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 a 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 paean from the bells!
And his merry bosom swells
With the paean of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean 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.