We've been over this, Will -- do try to pay attention. Poe refers to Classical Greece in the past tense; since Classical Greece post-dated the Trojan War (and, thus, Helen) by 500 years, the speaker cannot possibly be addressing his poem to Helen of Troy. We must therefore conclude that his poem is addressed to a contemporary woman, and that he is addressing as "Helen" in order to equate her beauty with that of the Greek Queen whose legendary beauty "launched a thousand ships."
You don't need to know that the real life woman he'd addressed as "Helen" was Jane Stanard; nor do you need to know that Mrs. Stanard was the mother of one of his boyhood friends, or that she had died when Poe was still a boy of 15 (although he was 13-14 when he knew her). This information can help you with your interpretation (as it places the poem's subject in a specific context within Poe's life), but it is not necessary. The only thing you *need* to know in order to understand the poem's message is that it is addressed to a woman who lived long after the time of Helen of Troy.
I am now going to walk you through the process of interpreting a poem (something your high school teacher, Dan Barfly, apparently failed to do). I suggest that you pay close attention as it will provide you with a model for your Bukowski essay (should you ever gain the confidence to attempt it).
Helen, thy beauty is to me
Like those Nicéan barks of yore,
This passage provides with the following information:
1) that Poe is addressing a contemporary woman ("thy beauty is" denotes present tense);
2) that Poe considers her beauty so great as to warrant a comparison with that of the fabled Helen of Troy; and,
3) that he beauty transports him (metaphorically) back to the age of fable when the Trojan War took place ("of yore" denotes an era in the distant past).
Poe's reference to "Nicéan barks" has always been a topic of scholarly debate, as it is one of many words Poe coined in his writings. It appears to be a combination of "Phoenician" with an allusion to the Greed Goddess of Victory, "Nike." Since Troy was of Phoenician origin, the passage refers to Paris' triumphant return to Troy from Sparta with the kidnapped Helen in tow.
Poe says that his "Helen's" beauty is like those ships to him. This has several overlapping meanings:
1) That her beauty makes him want to play the role of Paris and to steal her away from her husband;
2) that her beauty makes him feel as Paris must have felt when he was returning to his homeland with the world's most beautiful woman as his bride; and,
3) that her beauty brings his spirit "home" to the Classical Age it feels akin to. (Poe had studied Classical literature in school and excelled in Latin composition.)
That gently, o'er a perfumed sea,
The weary, wayworn wanderer bore
To his own native shore.
The "weary, wayworn wanderer" is ostensibly Paris (in keeping with the aforementioned allusion), but it is also both a reference to the Old English poem "The Wanderer," and to the poet himself.
Paris, of course, is returning home with his dream-bride. He has wandered the known world, grown weary of its distractions, and has turned his back on worldly delights in favor of a communion with his soul (idealized in Helen).
The titular "wanderer" of the OE poem is similarly returning from his adventures with a similar weariness of the pleasures offered by the material world and a newfound sense of spirituality exemplified through his communion with the Christian God.
Poe, though only a young teen at the time (he was probably only 14 at their last meeting), was of a kindred mindset, having grown wise (to the sufferings of life) before his time, due to the death of his parents when he was three, and to his rejection of the mundane world (a position in his foster father's successful import-export business) in favor of pursuing a far less lucrative career in the arts.
While the interplay of the overlapping levels of meaning provides for a richer understanding of the poem, all you really need to know is that the passage represents the feeling of spiritual fulfillment of sailing home with one's soul-mate (i.e., achieving a state of spiritual completion).
Prior to having met her, he sailed: "On desperate seas long wont to roam." IOW: his earlier life had been fraught with emotional upheaval (symbolized by the stormy seas). However,
Thy hyacinth hair, thy classic face,
Thy Naiad airs have brought me home
To the glory that was Greece
And the grandeur that was Rome.
Hyacinth hair is red (the flower, according to Greek mythology, having sprung from Hyacinth's blood). Helen of Troy was a redhead. I don't know if Jane Stanard was also a redhead; however, Poe always addressed her "Helen" as an acknowledgement of her beauty.
A Naiad is a water nymph (associated with brooks, streams and rivers). Poe's "Helen" is therefore a nymph, a Muse, a magickal, demi-goddess who transports his spirit back to the glory and grandeur of Classical Antiquity.
And, as a demi-goddess, she takes on certain aspects of the mother imago (leading and nurturing the young man) which is generally accepted to have played a dominant role in both Poe's poetry and his personal life.
In terms of the poem itself, you only need to know that "Helen" serves as a river nymph, sweeping the poet's soul toward its fulfillment.
Lo! in yon brilliant window-niche
How statue-like I see thee stand,
The agate lamp within thy hand!
Ah, Psyche, from the regions which
Are Holy Land!
Poe is comparing his "Helen" to a Greek statue Psyche ("Psyche" is Greek for "Soul," which she represents). Psyche was also the beloved of Cupid, and a goddess of love in her own right.
Jane Stanard was 16 years older than Poe, who at 14, was still in many ways a boy; and the parallel between Psyche (a beautiful woman) and Cupid (usually depicted as a boy) should be obvious -- as should the extension of the mother imago symbolism.
IOW: The speaker's love for an earthly woman (in this case, "Helen" Stanard, although any beloved woman would perform a similar role) has transformed her into both his Muse (his source of poetical and spiritual inspiration) and a projection of the goddess of love (in its highest, noblest form: agape -- the spiritual union of kindred souls).
The agate (a semi-precious stone) extends the statue metaphor, and imparts a permanent/eternal quality to the lamp. It also presents "Helen" in the posture of the Hermit (one who has cloistered him/herself off from the world in order to pursue, and via the lamp, impart, spiritual knowledge).
This, again, stresses the mother imago through the seer/acolyte, student/pupil relationship between the light-bringing statue being addressed and the poet addressing her.
To summarize: Poe is telling Mrs. Stanard that she is his "Lady Soul," and that his love for her is of the highest, spiritual sort; that he worships her as a goddess, is inspired by her as a Muse, and that knowing her has brought a sense of "completion" to his troubled spirit.