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What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth.
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But, in his disordered fancy, the idea had assumed a more daring character, and trespassed, under certain conditions, upon the kingdom of inorganization. I lack words to express the full extent, or the earnest abandon of his persuasion. The belief, however, was connected (as I have previously hinted) with the gray stones of the home of his forefathers. Its evidence--the evidence of the sentience--was to be seen, he said, (and I here started as he spoke,) in the gradual yet certain condensation of an atmosphere of their own about the waters and the walls. The result was discoverable, he added, in that silent, yet importunate and terrible influence which for centuries had moulded the destinies of his family, and which made him what I now saw him--what he was.
thought on “A Summary and Analysis of Edgar Allan Poe’s ‘The Fall of the House of Usher’”
Roderick and Madeline are twins and the two share an incommunicable connection that critics conclude may be either incestuous or metaphysical,[7] as two individuals in an extra-sensory relationship embodying a single entity. To that end, Roderick's deteriorating condition speeds his own torment and eventual death. The narrator is impressed with Roderick's paintings and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar.
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Other scholars pointed to the work as an embodiment of Poe’s doctrine of l’art pour l’art (“art for art’s sake”), which held that art needs no moral, political, or didactic justification. The story features numerous allusions to other works of literature, including the poems “The Haunted Palace” and “Mad Trist” by Sir Launcelot Canning. Poe composed them himself and then fictitiously attributed them to other sources. Both poems parallel and thus predict the plot line of “The Fall of the House of Usher.” “Mad Trist,” which is about the forceful entrance of Ethelred into the dwelling of a hermit, mirrors the simultaneous escape of Madeline from her tomb. “Mad Trist” spookily crosses literary borders, as though Roderick’s obsession with these poems ushers their narratives into his own domain and brings them to life.
Gothic Rot and Retribution: The Fall of the House of Usher’s Unsettling Approach to Poe's Work - Tor.com
Gothic Rot and Retribution: The Fall of the House of Usher’s Unsettling Approach to Poe's Work.
Posted: Wed, 01 Nov 2023 07:00:00 GMT [source]
Popular pages: Poe’s Short Stories
Whatever the narrator is telling is actually happening, and the real happening was even worse than that. Roderick Usher prophecies his death to the narrator in the manner it really occurs. However, it is worth noting that the death of Roderick is another literal fall. The title of the story “The Fall of the House of Usher” can be interpreted in various ways. The first interpretation can be of the actual fall of the house of Usher.
Usher tries to explain the nature of his illness; he suffers from a "morbid acuteness of the senses." He can eat "only the most insipid food, wear only delicate garments," and he must avoid the odors of all flowers. His eyes, he says, are "tortured by even a faint light," and only a few sounds from certain stringed instruments are endurable. Besides having a fascination for the weird and the spectral, Poe was also interested in the concept of the double, the schizophrenic, the ironic, and the reverse. He investigated this phenomenon in several stories, including "William Wilson" (a story which is analyzed in this volume), and so it is important to note that there is a special importance attached to the fact that Roderick Usher and the Lady Madeline are twins. Poe is creating in this story his conception of a special affinity between a brother and his twin sister; it is almost as if Poe were "inventing" ESP, for this accounts for the fact that Roderick Usher has heard the buried Lady Madeline struggling with her coffin and her chains for over three days before the narrator hears her. Unfortunately, modern readers tend to be a little jaded by the many gothic effects.
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Auguste Dupin (Carl Lumbly), to come hear his confession following the deaths of all six of his adult children (by five different mothers)—Frederick (Henry Thomas), Tamerlane (Samantha Sloyan), Victorine (T'Nia Miller), Napoleon (Rahul Kohli), Camille (Kate Siegel), and Prospero (Sauriyan Sapkota)—in the span of a week. Although Edgar Allan Poe claimed in his essays and reviews that he wasagainst any didactic motive in literature, and although “The Fall of the Houseof Usher” is not a didactic story, Poe does communicate a definite moralmessage here. The story “The House of Usher is narrated in the first person with the peripheral narrator.
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An air of stern, deep, and irredeemable gloom hung over and pervaded all. Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. No portion of the masonry had fallen; and there appeared to be a wild inconsistency between its still perfect adaptation of parts, and the crumbling condition of the individual stones. In this there was much that reminded me of the specious totality of old wood-work which has rotted for long years in some neglected vault, with no disturbance from the breath of the external air.
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Outside, he looks back just in time to see the house split in two and collapse. In a shocking development, Madeline breaks out of her coffin and enters the room, and Roderick confesses that he buried her alive. Madeline attacks her brother and kills both him and herself in the struggle, and the narrator flees the house. It is a stormy night, and as he leaves he sees the house fall down, collapsing into the lake which reflects the house’s image. And Ethelred uplifted his mace, and struck upon the head of the dragon, which fell before him, and gave up his pesty breath, with a shriek so horrid and harsh, and withal so piercing, that Ethelred had fain to close his ears with his hands against the dreadful noise of it, the like whereof was never before heard."
Roderick grows more erratic in his behaviour, and the narrator reads to his friend to try to soothe him. The plot of the romance (a fictional title invented by Poe himself, called ‘Mad Trist’) concerns a hero named Ethelred who enters the house of a hermit and slays a dragon. Roderick Usher is a gifted poet and artist, whose talents the narrator praises before sharing a poem Usher wrote, titled ‘The Haunted Palace’. The ballad concerns a royal palace which was once filled with joy and song, until ‘evil things’ attacked the king’s palace and made it a desolate shadow of what it once was.
It alludes to the poems “Mad Trist” and “The Haunted Palace” by Sir Launcelot Canning. These poems are composed by Poe; however, in the story, he attributed these poems to the other sources. Both of these poems counteract and therefore predict the plotline of the story. The poem “Mad Trist” is about breaking into the dwelling of a hermit by Ethelred and mirrors Madeline’s escape from the tomb. Even though he metaphorically employs the word “house,” he also uses it to describe the real house. The narrator is not only trapped inside the house, but the house also describes the biological fate of the family as well, as the Usher family has no branches, all the genetic transformation takes place through incestuous relationships within the domain of the house.
The writer spoke of acute bodily illness—of a mental disorder which oppressed him—and of an earnest desire to see me, as his best, and indeed his only personal friend, with a view of attempting, by the cheerfulness of my society, some alleviation of his malady. It was the manner in which all this, and much more, was said—it was the apparent heart that went with his request—which allowed me no room for hesitation; and I accordingly obeyed forthwith what I still considered a very singular summons. When the narrator sees Roderick Usher, he is shocked at the change in his old friend. Never before has he seen a person who looks so much like a corpse with a "cadaverousness of complexion." Death is in the air; the first meeting prepares us for the untimely and ghastly death of Roderick Usher later in the story.
The narrator is the only character to escape the House of Usher, which he views as it cracks and sinks into the mountain lake. No sooner had these syllables passed my lips, than--as if a shield of brass had indeed, at the moment, fallen heavily upon a floor of silver became aware of a distinct, hollow, metallic, and clangorous, yet apparently muffled reverberation. Completely unnerved, I leaped to my feet; but the measured rocking movement of Usher was undisturbed. His eyes were bent fixedly before him, and throughout his whole countenance there reigned a stony rigidity. But, as I placed my hand upon his shoulder, there came a strong shudder over his whole person; a sickly smile quivered about his lips; and I saw that he spoke in a low, hurried, and gibbering murmur, as if unconscious of my presence. Bending closely over him, I at length drank in the hideous import of his words.
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