Whereas William Wordsworth and Samuel Taylor Coleridge’s criticism functions as one of the references in prompting praiseworthy works, Edgar Allan Poe’s The Raven is a modified product of rebuttal in a manner that it does not necessarily conform on the notions of the traditional Romantic attitude, given that its basis for experience does not imitate the life of a common man, and the usage of suspension of disbelief is maximized to the extent of dangerous imagination. Despite these conflicting ideas, Poe’s The Raven still manages to take resemblance from its precursors, like as prioritizing the poet over the work itself, preoccupation towards imagination, quality of achieving unity of effect, and as such. That said, among the influences behind Poe’s writings, Wordsworth’s standards would most likely parallel only of a few, including the adherence on utilizing the everyday language, which would contrarily ignore the context of its imitation; provided that Wordsworth complements the common language along with the representation of rural life, while Poe manipulates this metrical style in order to emphasize the elements of horror through the manifestations of tragic nuances coming together in omniscience – that further channels into the perception of the deranged narrator that would instinctively incite such strong emotional response from the reader. This unity of effect is also exemplified by Wordsworth and Coleridge, but their approach towards nature as the source