the fall of the house of usher essay questions

• The Fall of the House of Usher

by Edgar Allan Poe

The fall of the house of usher essay questions.

Is "The Fall of the House of Usher" a sincere expression of horror, or is Poe simply mocking himself and the reader? To what extent can we read his tale as a parody?

Consider the role of the Narrator. At first he may seem the typical faceless, nameless chronicler of events, simply a window into the narrative through which the reader can examine the real man of the story, Usher himself. But he becomes a character in his own right, and the horror of the tale depends in part on our ability to see events through his experience. How does Poe lend the Narrator the qualities of a character like the others? To what extent is he reliable as a narrator?

Madeline only appears three times in "The Fall of the House of Usher." How do her appearances, explicit and implicit, develop the plot and symbolism of the narrative?

Poe wished to be remembered as a poet, but he is today more famous for his short fiction. Examine the poetic imagination and lyrical writing of the tale. Do more than simply identify the various poetic devices; examine the "poem within the story." How does Poe use the Gothic form to suggest or develop a new form of poetry?

How do words encode actions, and what is the power of words? Consider the fact that the "Mad Trist" narrative parallels the actual sounds in the house. Do the characters give themselves self-fulfilling prophecies?

Why does Poe preface his tale with an excerpt from a poem by de Beranger? What do the lines suggest, and how apt are they for the story?

How does Poe describe the Narrator's progressive understanding of Usher's condition? Does the tale offer insight about consciousness, or are we blocked from ever "knowing" any of the characters? Does Poe's story prefigure the novels of consciousness of the late nineteenth century? Consider the line, for example, "I fancied that I perceived, and for the first time, a full consciousness on the part of Usher, of the tottering of his lofty reason upon her throne."

What exactly is meant by "sentience," and why is this idea important in the story?

Is "The Fall of the House of Usher" a love story, a comedy, or a tragedy?

How does it matter that Roderick and Madeline are brother and sister?

The Fall of the House of Usher Questions and Answers

The Question and Answer section for The Fall of the House of Usher is a great resource to ask questions, find answers, and discuss the novel.

describe the room in which Roderick Usher is staying (267).

I would think a quote would be the best example for you. From there you can put these ideas into your own words. It's not hard, give it a try!

The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed,...

which details in Usher's appearance of suggest that he has been cut off from the outside world for many years?

"Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher!"

"A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid, but of a...

What forms of artistic expression does Usher share with thr narrator ?

Usher is a painter and he shares his art with the narrator. They also read poetry, stories, and share music.

Study Guide for The Fall of the House of Usher

The Fall of the House of Usher study guide contains a biography of Edgar Allan Poe, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About The Fall of the House of Usher
• The Fall of the House of Usher Summary
• Character List

Essays for The Fall of the House of Usher

The Fall of the House of Usher essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Fall of the House of Usher by Edgar Allan Poe.

• The Influence of Edgar Allan Poe's Predecessors on His Work
• Domains in 'The Fall of the House of Usher'
• Structural Purposes and Aesthetic Sensations of the Narrator's Language of "Fall of the House of Usher" within the Opening Paragraph
• Sonnet “X” and “The Fall of the House of Usher”
• Uncertainty: Poe’s Means, Pynchon’s End

E-Text of The Fall of the House of Usher

The Fall of the House of Usher e-text contains the full text of The Fall of the House of Usher by Edgar Allan Poe.

Wikipedia Entries for The Fall of the House of Usher

• Introduction
• Character descriptions
• Publication history
• Sources of inspiration

92 The Fall of the House of Usher Essay Topics & Examples

Looking for The Fall of the House of Usher essay topics? A gothic fiction masterpiece by Edgar Allan Poe is worth analyzing!

• 🏰 Thesis Statements
• 🏆 A+ Essay Examples
• 📌 Essay Topics
• 👍 Thesis Ideas

❓ The Fall of the House of Usher Essay Questions

In your The Fall of the House of Usher essay, you might want to focus on the character analysis, themes, symbolism, or historical context of the short story. Whether you’ll have to write an analytical, explanatory, or critical assignment, this article will be helpful. Here we’ve gathered top title ideas, essay examples, and thesis statements on The Fall of the House of Usher by Edgar Poe.

🏰 The Fall of the House of Usher Thesis Statements

• The key themes of “The Fall of the House of Usher” by Edgar Poe are madness, isolation, family, and identity.
• Though “The Fall of the House of Usher” is told from first-person point of view, which is typical for Poe, the story is unique: its narrator remains nameless; we don’t know anything about their gender or physical features.
• The word choice and Poe’s writing style of “The Fall of the House of Usher” create a special atmosphere of horror and macabre.
• It is widely accepted that in “The Fall of the House of Usher,” Poe tells a story of his own madness.

🏆 A+ The Fall of the House of Usher Essay Examples

• The Fall of the House of Usher by Edgar Allan Poe: The Role of the Narrator The role of the narrator of the story The Fall of the House of Usher is great indeed; his rationality and his ability to represent the events from the side of an immediate participant of […]
• “The Fall of the House of Usher” & “The Cask of Amontillado”: Summaries, Settings, and Main Themes As the narration progresses, fear arises in the reader or viewer, and finally, something horrific happens.”The Fall of the House of Usher” and “The Cask of the Amontillado” share all of the features above, as […]
• Madeline in “The Fall of the House of Usher” by Poe Her personality seems perplexing because she appears only three times: toward the middle of the story she passes “through a remote portion of the apartment”; some days after her supposed death she is seen in […]
• The Fall of the House of Usher Poe’s The Fall of the House of Usher is a short story which makes the reader feel fear, depression and guilt from the very first page and up to the final scene.
• “The Fall of the House of Usher” by Edgar Allan Poe Literature Analysis Although “The Fall of the House of Usher” is traditionally believed to be a timeless horror story and a representation of the deepest human fears, it can also be viewed both as a product of […]
• “The Birth-Mark” and “The Fall of the House of Usher” Poe in his work, The Fall of the House of Usher and Hawthorne in his work’ The Birthmark; they have employed different literary elements.
• The Theme of Love: “The Two Kinds,” “The Fall of the House of Usher,” and “Hill Like White Elephants” In the “Two Kinds” there is some love between the mother and daughter. This love is depicted in the way the mother prevails upon her daughter to succeed in her studies.
• Poe’s “The Fall of the House of Usher” and “The Black Cat” Meanwhile, in “The Fall of the House of Usher,” the burial of Madeline was the last farewell to send the woman to her grave.
• Poe’s “The Fall of the House of Usher” In “The Fall of the House of Usher”, Poe portrays the Usher family as struggling to survive albeit in a gloomy manner that involves degradation, disease, and death.”The Fall of the House of Usher” is […]
• The Fall of the House of Usher by Edgar Allan Poe Ideally, using the subjective understanding of Poe’s work, it is possible to evaluate some of the qualities of the story. At the same time, the setting of the story creates a lot of suspense for […]
• Edgar Allan Poe’s The Tell-Tale Heart, The Cask of Amontillado, The Fall of the House of Usher In particular, we may analyze such novellas as The Tell-Tale Heart, The Cask of Amontillado, and The Fall of the House of Usher.
• Pure Rationality in Poe’s “The Fall of the House of Usher” Finally, the destruction of the Usher’s house can be explained by the fact that its base was not solid and the change in weather conditions caused it destruction.
• Madness in “The Fall of the House of Usher” by Poe Poe uses a wide range of tools to create an uncomfortable mood, yet it is his ability to maintain the balance between reality and madness that shines through the whole story.
• “The Fall of the House of Usher” and “Benito Cereno” The narrator appears surprised of the status of his friend’s house, with the inside appearing as spooky as the compound of the house.
• World’s Disintegration: “Young Goodman Brown” and “The Fall of the House of Usher” This is one of the similarities in the style of these writers. This is one of the main details that be identified.
• Mini Anthology: Poe Edgar Allan and Dickson Emily’ Works The other story that Poe Allen has written is “The fall of the House of Usher” whereby the main theme is about the haunted house, which is crumbling and this aspects brings out a Gothic […]
• Evans, Walter. “The Fall of the House of Usher” and Poe’s Theory of the Tale. In this article, Walter Evans discusses the narrative style of Edgar Allan Poe and speaks about the peculiarities of such a short story as The Fall of the House of Usher.
• Comparing and Contrasting Good and Evil The essay is a critical examination of how evil and good are portrayed in two literatures; Shakespeare’s The Tempest and Poe’s The Fall of the House of Usher.

📌 The Fall of the House of Usher Essay Topics

• The Feeling of Scare in “The Fall of the House of Usher” by Edgar Allan Poe
• Roderick Usher’s Status and Changing Conditions in “The Fall of the House of Usher” by Edgar Allan Poe
• Negative Adjectives in “The Fall of the House of Usher”
• The Transformation of the Protagonist in “The Fall of the House of Usher” by Poe, “Where Is Here” by Oates, and “The Dream Collector” by Tress
• The Importance of the Setting in “The Fall of the House of Usher” by Edgar Allan Poe
• The Application of Chiaroscuro in “The Scarlet Letter” and “The Fall of the House of Usher”
• Using the Narrator to Deepen the Tale in “The Fall of the House of Usher”
• The Gothic Images and Symbolic Motifs in Edgar Allan Poe’s “The Fall of the House of Usher”
• Comparison of “Young Goodman Brown” and “The Fall of the House of Usher”
• Romantic Elements in “Frankenstein” and “The Fall of the House of Usher”
• An Analysis of the Imagery of the Supernatural in “The Fall of the House of Usher” by Edgar Allan Poe
• Women’s Role in “The Fall of the House of Usher”
• Setting in “The Fall of the House of Usher,” “The Raven,” and “The Oval Portrait” by Edgar Allan Poe
• Exploring the Theme Behind the Character Names in Poe’s “The Fall of the House of Usher”
• The Use of Symbolism in “The Fall of the House of Usher” by Edgar Allan Poe
• The Destruction of the Feminine and Triumph of Society: Homosexuality in Edgar Allan Poe’s “The Fall of the House of Usher”
• Imagination and Hallucinations in “The Fall of the House of Usher” by Edgar Allan Poe
• Irrational Actions Caused by Imagination in “The Fall of the House of Usher” by Edgar Allan Poe

👍 The Fall of the House of Usher Thesis Ideas

• The Mockery of Transcendentalism in Edgar Allan Poe’s “The Fall of the House of Usher”
• “The Fall of the House of Usher” and “The Cask of Amontillado” by Edgar Allan Poe
• Psychoanalytical Approach to Edgar Allan Poe’s “The Fall of the House of Usher”
• The Dark Themes of Horror, Death, and Romance in “The Fall of the House of Usher” by Edgar Allan Poe
• The Theme of Incest in “The Fall of the House of Usher”
• The Similarity of Roderick Usher and the Narrator in “The Fall of the House of Usher” by Edgar Allan Poe
• Irony, Imagination, and Description in “The Fall of the House of Usher” by Edgar Allan Poe
• Psycho Sexual Reading of “The Fall of the House of Usher”
• The First Person Point of View in “The Fall of the House of Usher” by Edgar Allan Poe
• Comparison of “The Fall of the House of Usher” and “The Tell Tale Heart”
• The Literary Elements Used by Edgar Allan Poe in “The Fall of the House of Usher”
• Feminism in “The Fall of the House of Usher” by Edgar Allan Poe
• Overcoming Reasoning Due to Imagination and Fear in “The Fall of the House of Usher” by Edgar Allan Poe
• The Psychology of Fear in “The Fall of the House of Usher” by Edgar Allan Poe
• Imagination and Mental Instability in “The Fall of the House of Usher” by Edgar Allan Poe
• The Reversal of Transcendental Philosophy in “The Fall of the House of Usher”
• A Journey Into the Darkness in “The Fall of the House of Usher”
• Imagination Overcome Fear in “The Fall of the House of Usher” by Edgar Allan Poe
• The Dual Nature of the Twins and the Conflict in “The Fall of the House of Usher” by Edgar Allan Poe
• The Character of Madeline in “The Fall of the House of Usher” by Edgar Allan Poe
• The Supernatural Atmosphere in “The Fall of the House of Usher” by Edgar Allan Poe
• Madness and Insanity in “The Fall of the House of Usher” and “The Cask of Amontillado”
• How Does Edgar Allan Poe Use the Supernatural to Create a Neurosis Narration in “The Fall of the House of Usher”?
• What Does the Storm at the End of “The Fall of the House of Usher” Symbolize?
• What Are the Fairy Tale Elements in “The Fall of the House of Usher”?
• To What Does the Narrator Compare the Windows of the House in “The Fall of the House of Usher”?
• Is “The Fall of the House of Usher” a True Story?
• What Is the True Identity of the Narrator in “The Fall of the House of Usher”?
• What Does the House of Usher Look Like in “The Fall of the House of Usher”?
• What Is the Climax of “The Fall of the House of Usher”?
• What Are Some Examples That Defy Logic in “The Fall of the House of Usher”?
• What Causes Roderick’s Death in “The Fall of the House of Usher”?
• What Is the Main Point of “The Fall of the House of Usher”?
• What Does Roderick Usher Represent in “The Fall of the House of Usher”?
• What Did Roderick Admit They Had Done Without the Visitor Knowing in “The Fall of the House of Usher”?
• How Does the Narrator React to Lady Madeline’s Death in “The Fall of the House of Usher”?
• What Is the Conflict of “The Fall of the House of Usher”?
• Does Imagination Overcome Fear in “The Fall of the House of Usher” by Edgar Allan Poe?
• Who Is to Blame for “The Fall of the House of Usher”?
• What Does Roderick Believe Is Causing His Illness in “The Fall of the House of Usher”?
• What Was the Main Reason Poe Dropped Out of West Point in “The Fall of the House of Usher”?
• How Are “Young Goodman Brown” and “The Fall of the House of Usher” Similar?
• Why Did Edgar Allan Poe Write “The Fall of the House of Usher”?
• How Far Does “The Fall of the House of Usher” Meet With the Conventions of Gothic Fiction?
• How Does Roderick Change After He Announces His Sister’s Death in “The Fall of the House of Usher”?
• What Is the Conclusion of “The Fall of the House of Usher”?
• How Is Fear Shown in “The Fall of the House of Usher”?
• What Are Five Examples of Gothic Elements in “The Fall of the House of Usher”?
• What Is the Recurring Symbolism in “The Fall of the House of Usher”?
• What Idea About the Relationship Between Art and Life Is Supported by These Elements of the Story “The Fall of the House of Usher”?
• Who Was a Tortured Character in “The Fall of the House of Usher”?
• What Is One of Roderick Usher’s Disturbing Ideas in “The Fall of the House of Usher”?
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• Fall of House of Usher: Summary
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Fall of House of Usher: Essays and Questions

1. How does “The Fall of the House of Usher” reflect the Gothic style of storytelling?

Gothic fiction takes its name from the Gothic architecture of the medieval period with its dark castles and inevitable ghosts and violent histories. The eighteenth-century English author, Horace Walpole, wrote a novel called The Castle of Otranto (1764) with the formulas that were followed in subsequent Gothic horror stories. Such thrilling fiction became popular in the Romantic period (1750-1850) with tales of mysterious hauntings, family curses, imprisonment, and lost treasures. The setting was usually dreary and frightening, and terror and horror were the immediate emotions the author sought to evoke in the reader. There were often supernatural elements that could not be explained away, such as the raising of the dead from the grave, or unnatural lights, as seen in the tarn of the Usher mansion. A beautiful young woman like Madeleine was a victim of violence or threatened with it.

Other classic Gothic fiction Poe would have known include The Mysteries of Udolpho by Ann Radcliffe (1794) and Matthew Gregory Lewis’s The Monk , a tale of black magic (1796). These were bestsellers that set the trend for future Gothic archetypes of spooky houses and unexplained deaths.

These stories were a counterbalance to the overly rational mood of the Enlightenment writers, such as Alexander Pope, Benjamin Franklin, and Voltaire. The Gothic authors wanted to show there was something beyond the rational and that human nature was full of dark corners. The Gothic was often the literary mode that explored unbalanced states of mind before the science of psychology existed to explain such mental phenomena as Roderick’s “hypochondria” (depression) or his empathy with his twin sister.

Poe builds on the Gothic tradition by exploring psychic phenomena and the relationship of rational and irrational human urges. His use of vague suggestion to create terror is a technique still used by writers and filmmakers today. Poe knew the monster is in us and resides as the dark secret of the human soul. The Gothic writer likes to shock by challenging the assumption that goodness is the normal foundation of life. Most of Poe’s popular short stories such as “The Pit and the Pendulum,” “The Cask of Amontillado,” and “The Black Cat” are in the Gothic style.

2. Why is Poe called the inventor of modern detective fiction?

Crime fiction is associated with the city and the rise of industrial life in the 1800s. Gothic fiction was full of murder and crime, and detective work became a natural part of the plot. Such great writers as Mary Shelley ( Frankenstein, 1818), Honore de Balzac ( Pere Goriot, 1833), Charles Dickens ( Great Expectations, 1861), and Victor Hugo ( Les Miserables, 1862) include crime scenes and detectives who track the criminals. Poe knew these authors, and between 1840 and 1845 formalized the elements of the modern detective story in his short stories. “Murders in the Rue Morgue” (1841), “The Mystery of Marie Roget” (1842), and “The Purloined Letter” (1844), feature his eccentric hardboiled detective, C. Auguste Dupin. Arthur Conan Doyle’s Sherlock Holmes stories owe their traits of the brilliant detective to Poe’s Dupin. Poe used several plot devices that became popular, such as the wrongly suspected man, the crime in a locked room, psychological insight into criminal motivation, the encrypted treasure map, false clues, the admiring Dr. Watson-type of narrator, and the unexpected solution that is presented and then logically explained. The detective uses rational deduction and close observation to outdo the police in solving difficult puzzles. The air of realism is maintained through newspaper articles and testimony in court. Other Poe detective stories include “Thou Art the Man” (1844) and “The Gold Bug” (1843), for which Poe won a prize.

In his critical writings, Poe explains how the mystery writer should proceed. The mystery has to be preserved until the end of the tale. Every detail must converge on the denouement or unraveling of the mystery. The writer is also forbidden from using tricks to conceal the solution. It should be like a puzzle in which the answer is always possible to derive and logical but not easily guessed. The popularity of these stories led to a new kind of American literary hero, a detective who had his roots in the character of Dupin, upholding the right but outside the legal system.

3. What is remarkable about Poe’s scientific theories?

Poe is generally thought of as a Romantic poet and writer who favored the imagination over reason. In his work, however, he is equally fascinated by what is mysterious and what is rational. He was interested in science and scientific phenomena, sometimes called the first science fiction writer in The Narrative of A. Gordon Pym (1838), containing the Hollow Earth theory that influenced Jules Verne.

Poe’s prose essay, “Eureka: An Essay on the Spiritual and Material Universe” was written in 1848. It was his attempt to bring together the scientific knowledge available in his time into one unified theory of how spirit and matter are related. His speculations were not respected then or now by the scientific community, since they came from a creative writer who was not basing his ideas on experiment or scientific proof. Even Poe’s friend, Evert A. Duyckinck said the theory was absurd. Poe acknowledges this fact in his essay, saying that he cannot prove what he is saying but would convince the reader through imagination. It is a view of the universe that seems intuitively correct and convincing to him and throws light on his understanding of how the physical and spiritual realms interact in a dynamic manner.

In his “survey of the universe,” he speculates that creation is a cycle that stems from unity, spreads to multiplicity, and returns to unity. Erasmus Darwin had described a universe that expanded and contracted in a cyclic manner in 1791.

Poe presents a similar vision in “Eureka,” using metaphysical principles and contemporary understanding of astronomical phenomena. Thus, the first state of matter is a single “Primordial Particle.” Through “Divine Volition” this Particle manifests itself as a repulsive force, fragmenting itself into atoms. Atoms spread evenly throughout space until the repulsive force stops. Then attraction appears as a reaction and matter begins to form by atoms clinging together to make stars. The whole material universe is produced and then drawn back together by gravity, eventually collapsing into the Primordial Particle once more. Poe describes a Newtonian universe that evolves, thus foreshadowing modern relativistic models of cosmology. His insistence on the principle of unity in nature, describing both matter and energy as different phases of one creative force, anticipates the unified field theories of today.

4. What are Poe’s contributions to literary criticism?

Poe is often considered the first professional American author and literary critic who published essays on how literature produces its effects. “The Philosophy of Composition,” for instance, appearing in April 1846, in Graham’s Magazine , explains good writing as short enough to have a “unity of effect or impression” on the reader because it can be read in one sitting. He uses his own poem, “The Raven” as an example. This would suggest that poetry and the short story are more powerful than novels, and this idea did much to make the short story a respectable genre in American literature. Poe stresses technique, tone, style, and logical construction of all elements leading to the desired effect. He asserted the power of novelty or invention of ideas and vividness of impression. His insistence on deliberate design counters the Romantic idea that composition is a spontaneous product of the imagination. Nothing should be out of the author’s control, he insists.

Poe uses the sound of words as music to create atmosphere in both poetry and short story. He explains how he chose the vowel sounds of “Lenore” and “Nevermore” in “The Raven” as part of the overall effect of sorrow. Symbolism helps to create atmosphere as well. The raven is a symbol of never-ending mourning that creates its own depressing darkness, just as the House of Usher falling into the tarn creates the experience of decay and self-destruction.

Poe asserts in this essay: “the death . . . of a beautiful woman” is “the most poetical topic in the world.” Many of his poems and stories contain the death of a young woman and the mad grief of the lover (“Annabel Lee,” “The Raven,”  “Ulalume,” “Ligeia,” “The House of Usher”). Poe has been criticized for the death of the woman motif in his writing, but it was part of his own personal grief with the loss of his wife, and it did create a sensational focus for his Gothic style.

Poe’s essay, “The Poetic Principle” was published posthumously in the Home Journal , 1850, and denounced popular concepts in poetry such as the long or epic poem and the didactic or moral poem. He defined poetry as “The Rhythmical Creation of Beauty.” The short lyric poem extolling Beauty and written for no purpose but its own sake is the ideal. Truth is not the goal of literature, but rather, only Beauty can lift the soul, and for this reason, the great poems resemble music in rhythm, sound, and rhyme. He gives examples from Byron and Tennyson.

5. What was Poe’s influence on world literature?

Poe’s pronouncements that literature should be for its own sake rather than to teach a moral lesson became popular with Aesthetic movements at the end of the nineteenth century, especially in England and France. “L’art pour l’art” or art for art’s sake was the slogan of French Impressionism and English Aestheticism. Both visual artists and writers were influenced by Poe’s ideas. His work was amply translated and illustrated on the Continent, having more influence on art abroad than in his own country.

French Symbolist poets, such as Charles Baudelaire (1821-1867), were directly influenced by Poe’s ideas. Baudelaire translated Poe into French from 1852-1865, borrowing his dark moods, style, and imagery for works such as Fleurs du mal ( The Flowers of Evil , 1857). He liked the visionary essence of Poe’s work and could relate to his poverty, depression, and drug addiction. Stéphane Mallarmé (1842-1898) and Paul Verlaine (1844-1896) drew their aesthetic manifestoes of art for its own sake in the 1860s and 1870s based on their study of Poe. They admired Poe’s emphasis on technique and the process of writing, because it was a contrast to traditional formal French verse.

By the 1880s, French Symbolisme was a popular movement that countered the realism in fiction, with its spiritual imagery favoring dreams, imagination, and the ideal. The Symbolists took Poe’s suggestive themes of the forbidden (sex, drugs, madness) and made lyric poetry of it. Other French poets who wrote in this style are Arthur Rimbaud (1854-1891) and Théophile Gautier (1811-1872), who popularized the motto, “art for art’s sake.” Like Poe, they preferred the suggestive sound or image or symbol that would indirectly clothe the beautiful and ideal perception of the poet. They evoked emotions rather than described things. Verlaine called the Symbolistes “poètes maudits” or accursed poets, like Poe, living tragic and misunderstood lives in the pursuit of beauty.

Poe also influenced Aesthetic writers in England like John Ruskin, Walter Pater, William Morris, Oscar Wilde and Algernon Charles Swinburne, who rebelled against Victorian morality, claiming the spirituality of art was in its pursuit of beauty and design. 

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Analysis of Edgar Allan Poe’s The Fall of the House of Usher

By NASRULLAH MAMBROL on May 24, 2021

Long considered Edgar Allan Poe ‘s masterpiece, “The Fall of the House of Usher” continues to intrigue new generations of readers. The story has a tantalizingly horrific appeal, and since its publication in Burton’s Gentleman’s Magazine, scholars, critics, and general readers continue to grapple with the myriad possible reasons for the story’s hold on the human psyche. These explanations range from the pre-Freudian to the pre–Waste Land and pre-Kafka-cum-nihilist to the biographical and the cultural. Indeed, despite Poe’s distaste for Allegory, some critics view the house as a Metaphor for the human psyche (Strandberg 705). Whatever conclusion a reader reaches, none finds the story an easy one to forget.

Poe’s narrative technique draws us immediately into the tale. On a stormy autumn (with an implied pun on the word fall ?) evening, a traveler—an outsider, like the reader—rides up to the Usher mansion. This traveler, also the first-person narrator and boyhood friend of Roderick Usher, the owner of the house, has arrived in response to a summons from Usher. We share the narrator’s responses to the gloomy mood and the menacing facade of the House of Usher, noticing, with him, the dank lake that reflects the house (effectively doubling it, like the Usher twins we will soon meet) and apprehensively viewing the fissure, or crack, in the wall. Very soon we understand that, whatever else it may mean, the house is a metaphor for the Usher family itself and that if the house is seriously flawed, so are its occupants.

With this foreboding introduction, we enter the interior through a Gothic portal with the narrator. With him we encounter Roderick Usher, who has changed drastically since last the narrator saw him. His cadaverous appearance, his nervousness, his mood swings, his almost extrahuman sensitivity to touch, sound, taste, smell, and light, along with the narrator’s report that he seems lacking in moral sense, portrays a deeply troubled soul. We learn, too, that his twin sister, Madeline, a neurasthenic woman like her brother, is subject to catatonic trances. These two characters, like the house, are woefully, irretrievably flawed. The suspense continues to climb as we go deeper into the dark house and, with the narrator, attempt to fathom Roderick’s malady.

Roderick, a poet and an artist, and Madeline represent the last of the Usher line. They live alone, never venturing outside. The sympathetic narrator does all he can to ease Roderick’s hours, recounting a ballad by Roderick, which, entitled “The Haunted House,” speaks figuratively of the House of Usher: Evil and discord possess the house, echoing the decay the narrator has noticed on the outside. During his stay Roderick tells the narrator that Madeline has died, and together they place her in a vault; she looks deceptively lifelike. Thereafter Roderick’s altered behavior causes the narrator to wonder whether he hides a dark secret or has fallen into madness. A week or so later, as a storm rages outside, the narrator seeks to calm his host by reading to him a romance entitled “The Mad Trist.” The title could be evidence that both the narrator’s diagnoses are correct: Roderick has a secret (perhaps he has trysted with his own sister?) and is now utterly mad. The tale unfolds parallel to the action in the Usher house: As Ethelred, the hero of the romance, breaks through the door and slays the hermit, Madeline, not dead after all, breaks though her coffin. Just before she appears at the door, Roderick admits that they have buried her alive and that she now stands at the door. Roderick’s admission is too late. Just as Ethelred now slays the dragon, causing the family shield to fall at his feet, Madeline falls on her brother (the hermit who never leaves the house), killing them both and bringing down the last symbol of the House of Usher. As the twins collapse in death together, the entire house disintegrates into the lake, destroying the double image noted at the opening of the story.

The story raises many questions tied to gender issues: Is Madeline Roderick’s female double, or doppelgänger? If, as many critics suggest, Roderick is Poe’s self-portrait, then do Madeline and Roderick represent the feminine and masculine sides of the author? Is incest at the core of Roderick’s relationship with Madeline? Is he (like his creator, some would suggest) a misogynist? Feminists have for some time now pointed to Poe’s theory that the most poetic subject in the world is the “Death of a Beautiful Woman.” Is Madeline’s return from the tomb a feminist revenge story? Does she, as the Ethelred of the romance does, adopt the male role of the hero as she slays the evil hermit and the evil dragon, who together symbolize Roderick’s character? Has the mad Roderick made the narrator complicit in his crime (saying we rather than I buried her alive)? If so, to what extent must we view him as the unreliable narrator? Is the narrator himself merely reporting a dream—or the after-effects of opium, as he vaguely intimates at points in the story? Or, as the critic and scholar Eugene Current-Garcia suggests, can we generally agree that Poe, like Nathaniel Hawthorne, was haunted by the presence of evil? If so, “perhaps most of his tales should be read as allegories of nightmarish, neurotic states of mind” (Current-Garcia 81). We may never completely plumb the psychological complexities of this story, but it implies deeply troubling questions and nearly endless avenues for interpretation.

Analysis of Edgar Allan Poe’s Stories

BIBLIOGRAPHY Current-Garcia, Eugene. The American Short Story before 1850. Boston: Twayne, 1985. May, Charles E. Edgar Allan Poe: Studies in the Short Fiction. Boston: Twayne, 1991. Poe, Edgar Allan. “The Fall of the House of Usher.” In The Heath Anthology of American Literature. Vol. 1, 3rd ed. Edited by Paul Lauter. Boston: Houghton Miffl in, 1998. Strandberg, Victor. “The Fall of the House of Usher.” In Reference Guide to Short Fiction, edited by Noelle Watson. Detroit: Gale Press, 1994.

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The Fall of the House of Usher

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The Fall Of The House Of Usher Essay

The Fall of the House of Usher is a short story by Edgar Allan Poe. The story is about the fall of the house of Usher, and the events that lead up to it. The story is narrated by an unnamed person who tells the story of his visit to the house of Usher, and the events that transpired there. The house of Usher is haunted by the ghost of Madeline Usher, who died under mysterious circumstances.

The narrator is interested in finding out what happened to Madeline, and he begins to suspect that her brother, Roderick Usher, may have had something to do with her death. The narrator eventually learns that Roderick has been cursed by Madeline’s ghost, and that the house will soon fall apart.

The house of Usher eventually falls apart, and Roderick dies in the process. The story is a classic example of Gothic fiction, and it has been praised for its chilling atmosphere and suspenseful plot. The Fall of the House of Usher is considered to be one of Poe’s best works, and it has been adapted into a number of films and television shows.

The Fall of the House of Usher is a classic example of Gothic fiction. The story is set in a dark and spooky house, and it is filled with suspenseful scenes and mysterious characters. The plot revolves around the fall of the house of Usher, and the events that lead up to it. The story is narrated by an unnamed person who tells the story of his visit to the house of Usher, and the events that transpired there. The house of Usher is haunted by the ghost of Madeline Usher, who died under mysterious circumstances.

The narrator is interested in finding out what happened to Madeline, and he begins to suspect that her brother, Roderick Usher, may have had something to do with her death. The narrator eventually learns that Roderick has been cursed by Madeline’s ghost, and that the house will soon fall apart. The house of Usher eventually falls apart, and Roderick dies in the process.

The House of Usher is a gloomy castle inside the city limits of Ravenswood, Illinois. The family has become sick with strange maladies that may be linked to their intermarriage.

The family estate, named Usher, is said to be haunted by the ghost of Madeline’s mother. The house itself seems to be alive and is in a state of decay. The story progresses with Roderick telling his friend, Philip, about the day that Madeline died. She was found in a pool of her own blood and there was a great gash on her forehead (Jacobs and Roberts, pg. 463). The servants refused to go back into the house, so Roderick had to bury her himself.

Roderick fears that he will also die and leave Usher without an heir. He tells Philip that he has been studying the secrets of life and death and that he may have found a way to cheat death. Philip is apprehensive about this, but goes to stay at Usher anyhow. Roderick shows him around the house and leads him down into the crypt. There, they find a hidden door that leads them down into the bowels of the earth (Jacobs and Roberts, pg. 465). They enter a dark and dreary chamber where Madeline’s body is entombed. The air is thick with moisture and it smells of death. The sound of dripping water can be heard from all directions.

Roderick tells Philip that he has been bringing Madeline back to life by giving her doses of a potion that he has made himself. He believes that he can bring her back completely by using an elixir that he has also made. Philip is horrified by all of this and tells Roderick that he needs to get out of the house. The next day, Madeline’s body is found in her bed and it appears that she has died in her sleep (Jacobs and Roberts, pg. 466). The funeral is held and Roderick mourns his sister’s death.

Shortly after the funeral, strange things start happening at Usher. The walls seem to be closing in on Roderick and he complains about the oppressive atmosphere of the house. The windows are boarded up and there is no way for any light or air to enter (Jacobs and Roberts, pg. 467).

Madness, the supernatural, and artistic purpose are all recurring themes in “The Fall of the House of Usher.” The Usher family is known for its history of incest, which has resulted in recent generations including Roderick being afflicted with madness.

The supernatural: The house of Usher is said to be haunted and is full of secret passages and hidden rooms. The narrator is not sure whether the events that take place in the story are caused by the supernatural or by Roderick’s mental illness, but either way, the house exerts a powerful grip on the family. Artistic purpose: The story is written in such a way that it blurs the line between reality and fiction.

The reader is never quite sure what is really happening, which may be intentional on Poe’s part. Some critics have interpreted “The Fall of the House of Usher” as a commentary on the Romantic movement, which was at its peak when Poe wrote the story. Romanticism prized emotion over reason and emphasized individualism and creativity. The story may be seen as an attack on these values, or as a warning against their dangers.

A man discovers a savage family curse while visiting his fiancée’s family home, and he worries that his future brother-in-law has prematurely entombed his bride-to-be. Philip Winthrop contacts his girlfriend Madeline Usher at her home. Roderick, Madeline’s brother, is particularly irritated by Philip’s presence.

The siblings have a strange, but close, bond. Winthrop learns from Madeline that their family is cursed and that Roderick believes she died prematurely. The locals whisper about the house’s malignant influence. Winthrop tries to persuade Madeline to leave the house for her own safety, but she refuses.

Roderick tells Winthrop about an incident in which he and Madeline were swimming in a nearby river. Madeline saw a vision of her death and became so terrified that she drowned while trying to get back to shore. Roderick was able to save her, but since that day he has been convinced that she has an “evil eye.”

Winthrop soon realizes that Roderick has entombed Madeline alive in the family crypt.

Roderick finally agrees to release Madeline from her tomb, but only if Winthrop stays and watches over her. The morbid agreement gives Winthrop just enough time to realize that he is also cursed and that he will soon join Madeline and Roderick in death. The mansion’s oppressive atmosphere overwhelms him, and he dies screaming. The story concludes with a description of the Usher family home crumbling into ruins.

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• The Fall of the House of Usher

Background of the Story

“The Fall of the House of Usher” is a short story published in 1839 in American writer Edgar Allan Poe. It was first published in Gentleman’s Magazine by Burton and later included in the collection Tales of Grotesque and Arabesque in 1840. The story is a work of Gothic Fiction and deals with the themes of isolation, madness, family, and metaphysical identities.

Hezekiah Usher House could provide a source of inspiration for Poe’s story. The house was located in the Usher estate. The house was built in 1684 and was relocated in 1830. The sources indicate that the owner of the house caught a sailor and his young wife in the house and entombed them in their place of trysting. In 1830, when the house was torn down, two bodies were found in the cellar cavity.

The short story “The Fall of the House of Usher” is regarded as the best example of the totality of Poe as every detail and element in the short story is relevant and related.

The characteristic element of Poe’s work is the presence of capacious and disintegrating houses; such houses in the stories symbolize the destruction of the human soul and the human body.

This short story illustrates the ability of Poe to create an emotional tone in his work by employing feelings such as guilt, doom, and fear. The emotions are central to the personality of Roderick Usher, who has been suffering from an unknown disease like many of the characters of Edger Allan Poe.

Like the narrator of the story of “Tell-Tale Heart,” the hyperactive senses of Roderick Usher are inflamed by his disease. Even though the illness is displayed physically, it is based on the moral and mental state of Roderick Usher. His sickness is suggestive because he is expected to be sick based on the illness in his family’s history. Moreover, he buries his sister alive to fulfill his self-creating prophecy.

The Fall of the House of Usher Summary

The short story opens with an unnamed narrator who approaches House of Usher on the dark, dull, and soundless day. The house belongs to his boyhood friend Roderick Usher. The house is mysterious and gloomy. The narrator noticed the diseased atmosphere and absorbed evil in the house from the murky pond and decaying trees around the house. He also observes that even though the house appears to be decaying, its structure is fairly solid. In front of the building, there is no small crack from the roof to the ground.

The narrator has visited the house because Roderick Usher has sent him a letter that sincerely asks him to give him company. In the letter, Roderick has mentioned that he has been physically and emotionally ill due to which the narrator has rushed to help his friend.

The narrator then mentions the Usher family. He says that though they are an ancient clan, they have never flourished. From generation to generation, only one member of the family survives. Therefore, they formed a direct line of descent with no branches from outside. With its estate, the Usher family becomes so much identified that people often confuse the inhabitants with the home.

The narrator further mentions that the inside of the house is as scary and frightening as inside. He goes to the room where Roderick is waiting for him. He observes him be less energetic and paler. Roderick tells him that he is suffering from fear and nerves, and his senses get heightened.

The narrator also mentions that Roderick appears to be afraid of his own house. Madeline, the sister of Roderick, is taken with a mysterious illness that cannot be cured by the doctors. She is perhaps suffering from catalepsy in which one loses the control of his/her limbs. To cheer up his friend, the narrator spends several days with him. He listens to his friend and plays guitar. He also reads stories to him; however, he is able to lift the spirit of Roderick. Soon afterward, Roderick claims that the house is unhealthy.

Madeline dies, and Roderick resolves to bury her in the house temporarily. Since her disease was rare and unique, he fears that the doctors may take her dead body scientific research, so he wants to keep her in house. The narrator helps his friend to put Madeline’s body in the tomb and observes that her cheeks are rosy. He also realizes that Madeline and Roderick were twins.

With passing days, Roderick becomes more uncomfortable. The narrator was unable to sleep one night. Roderick knocks on the door in a hysterical state. He takes the narrator to the window. The see a bright-looking gas nearby the house. The narrator tells him that such gas is natural; there is nothing uncommon in it.

In order to pass the night, the narrator reads a story to Roderick. He reads Sir Launcelot Canning’s “Mad Twist,” a medieval romance. When he reads the story, he starts hearing the noises that resemble the description in the story. Initially, he ignores the noises thinking it to be his imagination. However, the noises become more clear and more distinct after some time that it cannot be ignored.

He also observes that Roderick has fallen over his chair and is muttering to himself. To listen to him, the narrator approaches him. Roderick discloses that he has been hearing such noises for days and thinks that they have buried Madeline alive. It is Madeline trying to escape. He cries that she is standing behind him. The door opens with the wind blowing, and Madeline was standing behind it in a white bloodied robe. She instantly attacks him, and he dies of fear. The narrator runs from the house. As soon as he escapes, the house of Usher cracks and crumbles to the ground.

Roderick Usher

He is the owner of the Usher estate. He is the last surviving male member of the Usher Family. He acts as a twin of his sister, Madeline. He illustrates himself as a mind to her body and suffers from the mental counterpart of his sister’s physical illness.

Roderick is one of the character doubles of Edger Allan Poe. He is a bookish and intellectual man while his sister is sick and bedridden. Roderick’s mental inability to differentiate from reality and fantasy correspond to his sister’s physical weakness. These characters are employed by Poe to explore the relationship and philosophical mystery between body and mind.

Poe imagines what would happen if the connection between the body and mind are served and assigned to different people. The imagery of the twin and the incestuous history in Ushers’ family line shows Roderick is inseparable from his sister. Poe maintains the idea that even though the mind and body are inseparable, they depend on each other for survival. When one of the elements suffers from a breakdown, the interdependence causes a chain reaction. The physical death of Madeline parallels the collapse of Roderick’s sanity and the house of Usher.

Madeline Usher

She is the twin sister of Roderick; she is suffering from mysterious illness catalepsy. When the narrator discovers that she is the twin sister of his friend, it points out the outsider’s relationship of the narrator to the house of Usher.

Unnamed narrator

He is the boyhood friend of Roderick. Roderick contacted him when he was suffering from emotional and mental distress. He does not know much about the house of Usher and is the first outsider to visit the house in many years.

The short story, “The Fall of the House of Usher” is an account of a madman whose sickness is suggestive because of the sickness in the family line. His fears are apparent and manifest themselves through the sentient and supernatural family estate. The story deals with both mental and physical illness and its effects on people who are close to you.

Much of the apparent madness in the story does not appear to be due to supernatural elements. The main character is not really crazy or mad. However, the house he lives in is haunted. Considering this, one can interpret that Roderick does not bury his sister alive, but she is back from the dead. One can also interpret that madness is imaginary.

“The Fall of the House of Usher” is an account of a family that is self-isolated, bizarre, and so remote from normalcy that the very existence of this family has become supernatural and eerie. The bond between the brother and sister is inexplicable and intense. It could possibly be supernatural or incestuous. This between them even surpasses death. One can interpret that twin siblings are actually one person that is split into two. That is why they are inseparable from each other.

The story deals with the family that is so remote and isolated from the world that they have developed their own non-existing barriers to interact with the world outside. The house of Usher has its own reality and is governed by its own rules, with people having no interest in others. This extreme isolation makes the family closer and closes to the extent that they become inexplicable to the outside world.

The idea of fear is worse for Roderick Usher than the object he fears. In fact, it is fear that causes his death in the story. One can interpret the last action in a way that fear of any occurrence manifests it in real life. Roderick has feared his death, and he brings his own death.

The short story “The Fall of the House of Usher” shows a split-personality disorder in a dramatized way. The tale explores the various aspects of identity and the means through which these aspects could possibly be fractioned. The story emphasized the difference between the mental and physical parts and how these parts interact with each other.

Literary Analysis

The short story “The Fall of the House of Usher” contains a quintessential characteristic of gothic fiction. There is a dreary landscape, haunted house, mysterious sickness, and double personality. Even though the gothic elements in the story are easily identifiable, some of the terror in the story is because of its vagueness. The readers cannot identify the location of the house or when the story takes place. Instead of using standard narrative markers, Poe employed gothic elements such as a barren landscape and inclement weather.

The readers are left alone with the narrator as it is such a haunted place. Even though the narrator is the boyhood friend of Roderick, he does not know much about him – even he does not know the basic fact about him that he has a twin sister. Poe makes the readers ponder on why Roderick contacts the narrator in his state of need and the persistence of the response of the narrator.

Though Poe gives the identifiable elements of the Gothic take, he contrasts the standard form of a tale with the plot that is sudden, inexplicable, and filled with unexpected interruptions. The story opens without providing complete information about the motives of the narrator’s arrival at the house of Usher. This ambiguity sets the plot of the story that vague the real and the fantastic.

Edger Allan Poe also creates a claustrophobic sensation in his story. The narrator of the story is trapped in the charm of Roderick’s attraction, and he cannot escape it until the house of Usher completely collapses. Because of the structure of the house, the characters cannot act or move freely in the house. Thus the house is assumed to be a monstrous character/structure in itself. It is a mastermind that controls the actions and fate of its residents.

Poe also creates confusion between the inanimate and living objects by doubling the house of Usher to the genetic family line of the Usher family. The narrator refers to the house of Usher as the family line of the Usher Family.

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 people and peasantry also confuse the house with the family as the physical structure effectively portrays the genetic pattern of the family.

The claustrophobia of the house of Usher has a deep influence on the relationship among the characters of the story. Due to claustrophobia, the narrator is not able to realize that Roderick and Madeline are twins. He realizes when they prepare to entomb her dead body. Moreover, he is confined, and the cramped setting of the tomb metaphorically characterizes the characters. The twins are so similar, and it is impossible for them to develop separately. Because of Madeline’s similarity to Roderick, she has been buried before she is actually dead, and this similarity is shown by the coffin that holds her identity.

Madeline appears to be suffering from the typical problems of nineteen-century women. All of her identity is invested in her body. While on the other hand, Roderick possesses intellectual powers. However, when Madeline comes out from the tomb, she possesses more power in the story and counteracts the weak, immobile, and nervous disposition of her brother.

Some scholars and critics argue that the character of Madeline does not exist at all. They have reduced her to the shared figment of the imagination of the narrator and Roderick. However, Madeline appears to be central to the claustrophobic and symmetrical logic of the story. Madeline suppresses Roderick by not permitting him to see her separate or essentially different from him. This attack is completed when she finally attacks and kills him at the end of the story.

Throughout the story, there is a doubling. The story emphasizes the Gothic character of the doppelganger. Doppelganger is the character double and portrays the doubling of the literary forms or inanimate structures. For example, the narrator observes that the mansion is a reflection in the shallow pool or tarn that joins the front of the house. The house is doubled through its image in the tarn; however, the image is upside down, which characterizes the relationship between Madeline and Roderick.

The story also alludes to many other works of literature. 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.

The overpass of the border is vitally related to the Gothic horror of the story. Poe’s experience in the magazine industry makes him excessively obsessed with word games and codes. This story highlights his obsession with naming characters. The word “Usher” not only refers to the family of the mansion. It is actually the act of crossing a border that carries the narrator into the tenacious world of Madeline and Roderick.

The letters of Roderick ushers the narrator into an unknowable world. And maybe the presence of narration – an outsider – leads to the destruction of the house. The narrator is excluded from the Usher’s fear of the outsider, a fear that highlights the claustrophobic nature of the story. The narrator unwittingly draws the whole structure by undermining the fear of the outside. The poem “Mad Trist” and Madeline escapes also show the similar yet playful crossing of the borders. Thus Poe buries the pun in tales in an invented severity of medieval romance, and this earned him popularity in the magazines of America.

The tone of the story “The Fall of the House of Usher” is deliberate. It is a terrifying story. The narrator of the story is the center of the strange parts of the story. However, an important point should be kept in mind that the story is narrated in retrospect; that is why the deliberate tone of the story is not compromised by the frantic mania of a terrified narrator.

For example, considering the second last paragraph of the story:

“For a moment she remained trembling and reeling to and fro upon the threshold,—then, with a low moaning cry, fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated.”

Poe unfolds the story in a calm and careful manner by keeping a respectful distance from the inexpressible details and maintains the perspective of the narrator on the crazy events going on. Such a calm approach to terrifying and uncommon events is horrifying.

The story “The Fall of the House of Usher” belongs to the Gothic Fiction. There is a sentient house, an underground tomb, a dead body, and dark and stormy nights. All of these feature a tale as Gothic fiction. “Supernatural Gothic” is one of the subgenres of Gothic fiction. In supernatural gothic, weird, and strange things, happenings can be attributed to the supernatural happening.

Moreover, the inexplicable diseases of the mind and body in Roderick Usher and Madeline Usher show the story belongs to the genre of Gothic or horror fiction.

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. The House of Usher is the place or mansion that the narrator visits and the main action of the story occur. The house of Usher falls at the end of the story into the pool of water situated before the house. The small crack that the narrator sees when he enters the house foreshadows the fall of the house. Since from the beginning of the story, the readers see that there is something wrong with the house, and certainly, the fissure/crack splits the house and destroys it.

Now comes the symbolic interpretation of the house of Usher. The narrator tells the readers the term “The House of Usher” does not only refer to the house but also the family dwelling in the house and the Usher bloodline. The title does not only refer to the literal fall of the house but also to the fall of the Usher family with the death of Roderick Usher. The narrator mentions that Roderick and his sister Madeline are the only two surviving family members, so their death makes the death of the family line.

The decline of the Usher family is also foreshadowed in the story. Roderick Usher prophecies his death to the narrator in the manner it really occurs. Roderick claims that he will die of fear. However, it is worth noting that the death of Roderick is another literal fall.

All of the falls in the novel, the fall of Roderick, the fall of the bloodline of the Usher Family, and the fall of the house, occurs at the same time at the end of the story. This coincidence illustrates the fantastical nature of the story.

The setting of the novel is several dark and stormy nights and the haunted mansion. Any particular geographic location of the story or the time of occurrence is completely unknown to the readers. However, the atmosphere and the mood of the setting are far more important than the time and place of the setting. Poe creates a powerful atmosphere. The first of the many settings of the house, Poe describes the outside of the house as spooky. There is an ominous fissure that runs down the center of the house.

Poe creates a more scary setting inside the house. Even though the corridors in the house are filled with the apparently ordinary things, they scream out horror. Moreover, another horrific element of the story is the dank underground tomb. It is masterfully-crafted mini-setting the house of Usher.

The mansion is carefully crafted to emphasize the atmosphere and mood of the story. There are creepy furnishings and tapestries inside the house. The story becomes claustrophobic when the readers know that Roderick Usher has not left the house in ages. In fact, once entered, the narrator also does not leave the house until the story ends.

Writing Style

The writing style of the short story is ornate and rhythmic. Edgar Allan Poe is known for his melodramatic macabre. “The Fall of the House of Usher” indeed bears the mark of this authorial stamp. The story is widely admired for its nearly-poetic rhetoric. For example, the first sentence contains the phrase “singularly dreary tract of country.” The length and weight of the “y” sound are in contrast with the hard and cutting “c” sound in the next two sentences. Moreover, the last sentence also contains rhythmic style as “

“the deep and dark tarn at my feet closed sullenly and silently over the fragments of the ‘House of Usher.’” 

There are lots of more rhythmic gems in the story. 

Symbolism, Imagery, Allegory

Reality and art.

In the story “The Fall of the House of Usher,” strangely mingles the real with the fictional. The artistic creation of Roderick is directly connected to what happens in the house of Usher. He creates an underground tomb and then entombed Madeline in the tomb. He then prophecies about the destruction of the house, and the house is destroyed. He yells that Madeline is standing behind the door, and when the door opens with the storm, she is standing. Even at the beginning of the story, Roderick claims that he will die because of fear, and he does indeed die because of fear.  

One can assume that Roderick can see the future with his lustrous and magical eyes. He is aware of the upcoming events, and he speaks about them before. One can also assume that Roderick causes the things to happen; that is why he is preoccupied with the fear that he manifests in reality. 

Besides art mirroring or foreshadowing reality in the story, the other thing such as “reflection” and “doubling” is also going on in the story. When the story opens, we see that the narrator observes the inverted image of the house of Usher in the water pool that lies in front of the house. Moreover, there is also an inverted dichotomy between Roderick Usher and Madeline Usher. 

The House of Usher

The narrator tells the readers the term “The House of Usher” refers to the house and the family dwelling in the house and the Usher bloodline. The title does not only refer to the literal fall of the house but also to the fall of the Usher family with the death of Roderick Usher. The narrator mentions that Roderick and his sister Madeline are the only two surviving family members, so their death makes the death of the family line. 

The decline of the Usher family is also foreshadowed in the story. Roderick Usher prophecies his death to the narrator in the manner it really occurs. Roderick claims that he will die of fear. However, it is worth noting that the death of Roderick is another literal fall.   

The Small Fissure

The narrator, while entering the House of Usher, sees a small crack in the house, this crack not only refers to the crack in the house, but also the crack in the Usher family. There is a symbolic connection between the literal fissure and the metaphorical fissure. This small fissure shows disruption in the family, specifically between Roderick and Usher. This small fissure splits the family and the house of Usher. 

Narrator Point of View

The story “The House of Usher is narrated in the first person with the peripheral narrator. The narrator of the story is nameless, suggesting that his only job is to narrate the story. The readers are not provided much information about the narrator. Instead of focusing on the narrator, much of the interest of the readers are drawn towards the strange events that are being narrated. 

The narrator insists on portraying all of the happenings in the house of Usher with vivid and accurate descriptions. This description is one of the most interesting things to note and very futile to observe.  For example, the narrator writes that 

“…an influence, whose supposititious force was conveyed in terms too shadowy here to be re-stated. 

“I would in vain endeavour to reduce more than a small portion which should lie within the compass of merely written words.” 

“I should fail in any attempt to convey an idea of the exact character of the studies, or of the occupations, in which he involved me.” 

One of the most interesting statements made by the narrator is:

“I lack words to express the full extent, or the earnest abandon of his persuasion.” 

In this statement, the narrator is more like pointing out towards something. By claiming the events in real life are scarier and horrifying that it sounds like the story, Poe tries to render his story more horrifying. Whatever the narrator is telling is actually happening, and the real happening was even worse than that. 

Moreover, there is a mixture of reality and fiction in the narration. Whatever the narrator is reading aloud to Roderick also manifests in reality. Over here, the narrator tries to explain that words are insufficient to describe reality. The words he reads to Roderick Usher turns real. So one can say that the fictional words, read by the narrator to Roderick, are prophetic words that foreshadow or prophesize the upcoming events. These words are similar to the words of Roderick in which he prophesied his death early at the beginning of the story. Thus one can say the narration of the story is prophetic in nature.

More From Edgar Allan Poe

• A Dream Within a Dream

Short Stories

• The Tell Tale Heart
• The Masque of the Red Death

The Fall of the House of Usher

by Edgar Allan Poe (published 1839)

     Son coeur est un luth suspendu;     Sitot qu'on le touche il resonne.                                   - De Beranger . 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 say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me --upon the mere house, and the simple landscape features of the domain --upon the bleak walls --upon the vacant eye-like windows --upon a few rank sedges --and upon a few white trunks of decayed trees --with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium --the bitter lapse into everyday life --the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart --an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. 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. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down --but with a shudder even more thrilling than before --upon the remodelled and inverted images of the gray sedge , and the ghastly tree-stems, and the vacant and eye-like windows. Nevertheless, in this mansion of gloom I now proposed to myself a sojourn of some weeks. Its proprietor, Roderick Usher, had been one of my boon companions in boyhood; but many years had elapsed since our last meeting. A letter, however, had lately reached me in a distant part of the country --a letter from him --which, in its wildly importunate nature, had admitted of no other than a personal reply. The MS. gave evidence of nervous agitation. 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 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. Although, as boys, we had been even intimate associates, yet I really knew little of my friend. His reserve had been always excessive and habitual. I was aware, however, that his very ancient family had been noted, time out of mind, for a peculiar sensibility of temperament, displaying itself, through long ages, in many works of exalted art, and manifested, of late, in repeated deeds of munificent yet unobtrusive charity, as well as in a passionate devotion to the intricacies, perhaps even more than to the orthodox and easily recognisable beauties, of musical science. I had learned, too, the very remarkable fact, that the stem of the Usher race, all time-honoured as it was, had put forth, at no period, any enduring branch; in other words, that the entire family lay in the direct line of descent, and had always, with very trifling and very temporary variation, so lain. It was this deficiency, I considered, while running over in thought the perfect keeping of the character of the premises with the accredited character of the people, and while speculating upon the possible influence which the one, in the long lapse of centuries, might have exercised upon the other --it was this deficiency, perhaps, of collateral issue, and the consequent undeviating transmission, from sire to son, of the patrimony with the name, which had, at length, so identified the two as to merge the original title of the estate in the quaint and equivocal appellation of the "House of Usher" --an appellation which seemed to include, in the minds of the peasantry who used it, both the family and the family mansion. I have said that the sole effect of my somewhat childish experiment --that of looking down within the tarn --had been to deepen the first singular impression. There can be no doubt that the consciousness of the rapid increase of my superstition --for why should I not so term it? --served mainly to accelerate the increase itself. Such, I have long known, is the paradoxical law of all sentiments having terror as a basis. And it might have been for this reason only, that, when I again uplifted my eyes to the house itself, from its image in the pool, there grew in my mind a strange fancy --a fancy so ridiculous, indeed, that I but mention it to show the vivid force of the sensations which oppressed me. I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity-an atmosphere which had no affinity with the air of heaven, but which had reeked up from the decayed trees, and the gray wall, and the silent tarn --a pestilent and mystic vapour, dull, sluggish, faintly discernible, and leaden-hued. Shaking off from my spirit what must have been a dream, I scanned more narrowly the real aspect of the building. Its principal feature seemed to be that of an excessive antiquity. The discoloration of ages had been great. Minute fungi overspread the whole exterior, hanging in a fine tangled web-work from the eaves. Yet all this was apart from any extraordinary dilapidation. 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. Beyond this indication of extensive decay, however, the fabric gave little token of instability. Perhaps the eye of a scrutinising observer might have discovered a barely perceptible fissure, which, extending from the roof of the building in front, made its way down the wall in a zigzag direction, until it became lost in the sullen waters of the tarn . Noticing these things, I rode over a short causeway to the house. A servant in waiting took my horse, and I entered the Gothic archway of the hall. A valet, of stealthy step, thence conducted me, in silence, through many dark and intricate passages in my progress to the studio of his master. Much that I encountered on the way contributed, I know not how, to heighten the vague sentiments of which I have already spoken. While the objects around me --while the carvings of the ceilings, the sombre tapestries of the walls, the ebon blackness of the floors, and the phantasmagoric armorial trophies which rattled as I strode, were but matters to which, or to such as which, I had been accustomed from my infancy --while I hesitated not to acknowledge how familiar was all this --I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up. On one of the staircases, I met the physician of the family. His countenance, I thought, wore a mingled expression of low cunning and perplexity. He accosted me with trepidation and passed on. The valet now threw open a door and ushered me into the presence of his master. The room in which I found myself was very large and lofty. The windows were long, narrow, and pointed, and at so vast a distance from the black oaken floor as to be altogether inaccessible from within. Feeble gleams of encrimsoned light made their way through the trellised panes, and served to render sufficiently distinct the more prominent objects around; the eye, however, struggled in vain to reach the remoter angles of the chamber, or the recesses of the vaulted and fretted ceiling. Dark draperies hung upon the walls. The general furniture was profuse, comfortless, antique, and tattered. Many books and musical instruments lay scattered about, but failed to give any vitality to the scene. I felt that I breathed an atmosphere of sorrow. An air of stern, deep, and irredeemable gloom hung over and pervaded all. Upon my entrance, Usher arose from a sofa on which he had been lying at full length, and greeted me with a vivacious warmth which had much in it, I at first thought, of an overdone cordiality --of the constrained effort of the ennuye man of the world. A glance, however, at his countenance, convinced me of his perfect sincerity. We sat down; and for some moments, while he spoke not, I gazed upon him with a feeling half of pity, half of awe. Surely, man had never before so terribly altered, in so brief a period, as had Roderick Usher! It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. Yet the character of his face had been at all times remarkable. A cadaverousness of complexion; an eye large, liquid, and luminous beyond comparison; lips somewhat thin and very pallid , but of a surpassingly beautiful curve; a nose of a delicate Hebrew model, but with a breadth of nostril unusual in similar formations; a finely moulded chin, speaking, in its want of prominence, of a want of moral energy; hair of a more than web-like softness and tenuity; these features, with an inordinate expansion above the regions of the temple, made up altogether a countenance not easily to be forgotten. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eve, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity. In the manner of my friend I was at once struck with an incoherence --an inconsistency; and I soon found this to arise from a series of feeble and futile struggles to overcome an habitual trepidancy --an excessive nervous agitation. For something of this nature I had indeed been prepared, no less by his letter, than by reminiscences of certain boyish traits, and by conclusions deduced from his peculiar physical conformation and temperament. His action was alternately vivacious and sullen . His voice varied rapidly from a tremulous indecision (when the animal spirits seemed utterly in abeyance ) to that species of energetic concision --that abrupt, weighty, unhurried, and hollow-sounding enunciation --that leaden, self-balanced and perfectly modulated guttural utterance, which may be observed in the lost drunkard, or the irreclaimable eater of opium, during the periods of his most intense excitement. It was thus that he spoke of the object of my visit, of his earnest desire to see me, and of the solace he expected me to afford him. He entered, at some length, into what he conceived to be the nature of his malady. It was, he said, a constitutional and a family evil, and one for which he despaired to find a remedy --a mere nervous affection, he immediately added, which would undoubtedly soon pass off. It displayed itself in a host of unnatural sensations. Some of these, as he detailed them, interested and bewildered me; although, perhaps, the terms, and the general manner of the narration had their weight. He suffered much from a morbid acuteness of the senses; the most insipid food was alone endurable; he could wear only garments of certain texture; the odours of all flowers were oppressive; his eyes were tortured by even a faint light; and there were but peculiar sounds, and these from stringed instruments, which did not inspire him with horror. To an anomalous species of terror I found him a bounden slave. "I shall perish," said he, "I must perish in this deplorable folly. Thus, thus, and not otherwise, shall I be lost. I dread the events of the future, not in themselves, but in their results. I shudder at the thought of any, even the most trivial, incident, which may operate upon this intolerable agitation of soul. I have, indeed, no abhorrence of danger, except in its absolute effect --in terror. In this unnerved-in this pitiable condition --I feel that the period will sooner or later arrive when I must abandon life and reason together, in some struggle with the grim phantasm , FEAR." I learned, moreover, at intervals, and through broken and equivocal hints, another singular feature of his mental condition. He was enchained by certain superstitious impressions in regard to the dwelling which he tenanted, and whence, for many years, he had never ventured forth --in regard to an influence whose supposititious force was conveyed in terms too shadowy here to be re-stated --an influence which some peculiarities in the mere form and substance of his family mansion, had, by dint of long sufferance, he said, obtained over his spirit-an effect which the physique of the gray walls and turrets, and of the dim tarn into which they all looked down, had, at length, brought about upon the morale of his existence. He admitted, however, although with hesitation, that much of the peculiar gloom which thus afflicted him could be traced to a more natural and far more palpable origin --to the severe and long-continued illness --indeed to the evidently approaching dissolution-of a tenderly beloved sister --his sole companion for long years --his last and only relative on earth. "Her decease," he said, with a bitterness which I can never forget, "would leave him (him the hopeless and the frail) the last of the ancient race of the Ushers." While he spoke, the lady Madeline (for so was she called) passed slowly through a remote portion of the apartment, and, without having noticed my presence, disappeared. I regarded her with an utter astonishment not unmingled with dread --and yet I found it impossible to account for such feelings. A sensation of stupor oppressed me, as my eyes followed her retreating steps. When a door, at length, closed upon her, my glance sought instinctively and eagerly the countenance of the brother --but he had buried his face in his hands, and I could only perceive that a far more than ordinary wanness had overspread the emaciated fingers through which trickled many passionate tears. The disease of the lady Madeline had long baffled the skill of her physicians. A settled apathy, a gradual wasting away of the person, and frequent although transient affections of a partially cataleptical character, were the unusual diagnosis. Hitherto she had steadily borne up against the pressure of her malady, and had not betaken herself finally to bed; but, on the closing in of the evening of my arrival at the house, she succumbed (as her brother told me at night with inexpressible agitation) to the prostrating power of the destroyer; and I learned that the glimpse I had obtained of her person would thus probably be the last I should obtain --that the lady, at least while living, would be seen by me no more. For several days ensuing, her name was unmentioned by either Usher or myself: and during this period I was busied in earnest endeavours to alleviate the melancholy of my friend. We painted and read together; or I listened, as if in a dream, to the wild improvisations of his speaking guitar. And thus, as a closer and still intimacy admitted me more unreservedly into the recesses of his spirit, the more bitterly did I perceive the futility of all attempt at cheering a mind from which darkness, as if an inherent positive quality, poured forth upon all objects of the moral and physical universe, in one unceasing radiation of gloom. I shall ever bear about me a memory of the many solemn hours I thus spent alone with the master of the House of Usher. Yet I should fail in any attempt to convey an idea of the exact character of the studies, or of the occupations, in which he involved me, or led me the way. An excited and highly distempered ideality threw a sulphureous lustre over all. His long improvised dirges will ring forever in my ears. Among other things, I hold painfully in mind a certain singular perversion and amplification of the wild air of the last waltz of Von Weber. From the paintings over which his elaborate fancy brooded, and which grew, touch by touch, into vaguenesses at which I shuddered the more thrillingly, because I shuddered knowing not why; --from these paintings (vivid as their images now are before me) I would in vain endeavour to educe more than a small portion which should lie within the compass of merely written words. By the utter simplicity, by the nakedness of his designs, he arrested and overawed attention. If ever mortal painted an idea, that mortal was Roderick Usher. For me at least --in the circumstances then surrounding me --there arose out of the pure abstractions which the hypochondriac contrived to throw upon his canvas, an intensity of intolerable awe, no shadow of which felt I ever yet in the contemplation of the certainly glowing yet too concrete reveries of Fuseli . One of the phantasmagoric conceptions of my friend, partaking not so rigidly of the spirit of abstraction, may be shadowed forth, although feebly, in words. A small picture presented the interior of an immensely long and rectangular vault or tunnel, with low walls, smooth, white, and without interruption or device. Certain accessory points of the design served well to convey the idea that this excavation lay at an exceeding depth below the surface of the earth. No outlet was observed in any portion of its vast extent, and no torch, or other artificial source of light was discernible; yet a flood of intense rays rolled throughout, and bathed the whole in a ghastly and inappropriate splendour. I have just spoken of that morbid condition of the auditory nerve which rendered all music intolerable to the sufferer, with the exception of certain effects of stringed instruments. It was, perhaps, the narrow limits to which he thus confined himself upon the guitar, which gave birth, in great measure, to the fantastic character of his performances. But the fervid facility of his impromptus could not be so accounted for. They must have been, and were, in the notes, as well as in the words of his wild fantasias (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration to which I have previously alluded as observable only in particular moments of the highest artificial excitement. The words of one of these rhapsodies I have easily remembered. I was, perhaps, the more forcibly impressed with it, as he gave it, because, in the under or mystic current of its meaning, I fancied that I perceived, and for the first time, a full consciousness on the part of Usher, of the tottering of his lofty reason upon her throne. The verses, which were entitled "The Haunted Palace," ran very nearly, if not accurately, thus:    I.    In the greenest of our valleys,    By good angels tenanted,    Once fair and stately palace --    Radiant palace --reared its head.    In the monarch Thought's dominion --    It stood there!    Never seraph spread a pinion    Over fabric half so fair.    II.    Banners yellow, glorious, golden,    On its roof did float and flow;    (This --all this --was in the olden    Time long ago)    And every gentle air that dallied,    In that sweet day,    Along the ramparts plumed and pallid ,    A winged odour went away.    III.    Wanderers in that happy valley    Through two luminous windows saw    Spirits moving musically    To a lute's well-tuned law,    Round about a throne, where sitting    ( Porphyrogene !)    In state his glory well befitting,    The ruler of the realm was seen.    IV.    And all with pearl and ruby glowing    Was the fair palace door,    Through which came flowing, flowing, flowing    And sparkling evermore,    A troop of Echoes whose sweet duty    Was but to sing,    In voices of surpassing beauty,    The wit and wisdom of their king.    V.    But evil things, in robes of sorrow,    Assailed the monarch's high estate;    (Ah, let us mourn, for never morrow    Shall dawn upon him, desolate!)    And, round about his home, the glory    That blushed and bloomed    Is but a dim-remembered story    Of the old time entombed.    VI.    And travellers now within that valley,    Through the red-litten windows, see    Vast forms that move fantastically    To a discordant melody;    While, like a rapid ghastly river,    Through the pale door,    A hideous throng rush out forever,    And laugh --but smile no more. I well remember that suggestions arising from this ballad led us into a train of thought wherein there became manifest an opinion of Usher's which I mention not so much on account of its novelty, (for other men have thought thus,) as on account of the pertinacity with which he maintained it. This opinion, in its general form, was that of the sentience of all vegetable things. 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. The conditions of the sentience had been here, he imagined, fulfilled in the method of collocation of these stones --in the order of their arrangement, as well as in that of the many fungi which overspread them, and of the decayed trees which stood around --above all, in the long undisturbed endurance of this arrangement, and in its reduplication in the still waters of the tarn . 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. Such opinions need no comment, and I will make none. Our books --the books which, for years, had formed no small portion of the mental existence of the invalid --were, as might be supposed, in strict keeping with this character of phantasm . We pored together over such works as the Ververt et Chartreuse of Gresset; the Belphegor of Machiavelli ; the Heaven and Hell of Swedenborg ; the Subterranean Voyage of Nicholas Klimm by Holberg; the Chiromancy of Robert Flud, of Jean D'Indagine, and of De la Chambre; the Journey into the Blue Distance of Tieck ; and the City of the Sun of Campanella . One favourite volume was a small octavo edition of the Directorium Inquisitorum , by the Dominican Eymeric de Gironne; and there were passages in Pomponius Mela , about the old African Satyrs and AEgipans , over which Usher would sit dreaming for hours. His chief delight, however, was found in the perusal of an exceedingly rare and curious book in quarto Gothic --the manual of a forgotten church --the Vigilae Mortuorum secundum Chorum Ecclesiae Maguntinae. I could not help thinking of the wild ritual of this work, and of its probable influence upon the hypochondriac, when, one evening, having informed me abruptly that the lady Madeline was no more, he stated his intention of preserving her corpse for a fortnight , (previously to its final interment,) in one of the numerous vaults within the main walls of the building. The worldly reason, however, assigned for this singular proceeding, was one which I did not feel at liberty to dispute. The brother had been led to his resolution (so he told me) by consideration of the unusual character of the malady of the deceased, of certain obtrusive and eager inquiries on the part of her medical men, and of the remote and exposed situation of the burial-ground of the family. I will not deny that when I called to mind the sinister countenance of the person whom I met upon the stair case, on the day of my arrival at the house, I had no desire to oppose what I regarded as at best but a harmless, and by no means an unnatural, precaution. At the request of Usher, I personally aided him in the arrangements for the temporary entombment. The body having been encoffined, we two alone bore it to its rest. The vault in which we placed it (and which had been so long unopened that our torches, half smothered in its oppressive atmosphere, gave us little opportunity for investigation) was small, damp, and entirely without means of admission for light; lying, at great depth, immediately beneath that portion of the building in which was my own sleeping apartment. It had been used, apparently, in remote feudal times, for the worst purposes of a donjon-keep , and, in later days, as a place of deposit for powder, or some other highly combustible substance, as a portion of its floor, and the whole interior of a long archway through which we reached it, were carefully sheathed with copper. The door, of massive iron, had been, also, similarly protected. Its immense weight caused an unusually sharp grating sound, as it moved upon its hinges. Having deposited our mournful burden upon tressels within this region of horror, we partially turned aside the yet unscrewed lid of the coffin, and looked upon the face of the tenant. A striking similitude between the brother and sister now first arrested my attention; and Usher, divining, perhaps, my thoughts, murmured out some few words from which I learned that the deceased and himself had been twins, and that sympathies of a scarcely intelligible nature had always existed between them. Our glances, however, rested not long upon the dead --for we could not regard her unawed. The disease which had thus entombed the lady in the maturity of youth, had left, as usual in all maladies of a strictly cataleptical character, the mockery of a faint blush upon the bosom and the face, and that suspiciously lingering smile upon the lip which is so terrible in death. We replaced and screwed down the lid, and, having secured the door of iron, made our way, with toll, into the scarcely less gloomy apartments of the upper portion of the house. And now, some days of bitter grief having elapsed, an observable change came over the features of the mental disorder of my friend. His ordinary manner had vanished. His ordinary occupations were neglected or forgotten. He roamed from chamber to chamber with hurried, unequal, and objectless step. The pallor of his countenance had assumed, if possible, a more ghastly hue --but the luminousness of his eye had utterly gone out. The once occasional huskiness of his tone was heard no more; and a tremulous quaver, as if of extreme terror, habitually characterized his utterance. There were times, indeed, when I thought his unceasingly agitated mind was labouring with some oppressive secret, to divulge which he struggled for the necessary courage. At times, again, I was obliged to resolve all into the mere inexplicable vagaries of madness, for I beheld him gazing upon vacancy for long hours, in an attitude of the profoundest attention, as if listening to some imaginary sound. It was no wonder that his condition terrified-that it infected me. I felt creeping upon me, by slow yet certain degrees, the wild influences of his own fantastic yet impressive superstitions. It was, especially, upon retiring to bed late in the night of the seventh or eighth day after the placing of the lady Madeline within the donjon, that I experienced the full power of such feelings. Sleep came not near my couch --while the hours waned and waned away. I struggled to reason off the nervousness which had dominion over me. I endeavoured to believe that much, if not all of what I felt, was due to the bewildering influence of the gloomy furniture of the room --of the dark and tattered draperies, which, tortured into motion by the breath of a rising tempest , swayed fitfully to and fro upon the walls, and rustled uneasily about the decorations of the bed. But my efforts were fruitless. An irrepressible tremour gradually pervaded my frame; and, at length, there sat upon my very heart an incubus of utterly causeless alarm. Shaking this off with a gasp and a struggle, I uplifted myself upon the pillows, and, peering earnestly within the intense darkness of the chamber, hearkened --I know not why, except that an instinctive spirit prompted me --to certain low and indefinite sounds which came, through the pauses of the storm, at long intervals, I knew not whence. Overpowered by an intense sentiment of horror, unaccountable yet unendurable, I threw on my clothes with haste (for I felt that I should sleep no more during the night), and endeavoured to arouse myself from the pitiable condition into which I had fallen, by pacing rapidly to and fro through the apartment. I had taken but few turns in this manner, when a light step on an adjoining staircase arrested my attention. I presently recognised it as that of Usher. In an instant afterward he rapped, with a gentle touch, at my door, and entered, bearing a lamp. His countenance was, as usual, cadaverously wan --but, moreover, there was a species of mad hilarity in his eyes --an evidently restrained hysteria in his whole demeanour. His air appalled me --but anything was preferable to the solitude which I had so long endured, and I even welcomed his presence as a relief. "And you have not seen it?" he said abruptly, after having stared about him for some moments in silence --"you have not then seen it? --but, stay! you shall." Thus speaking, and having carefully shaded his lamp, he hurried to one of the casements, and threw it freely open to the storm. The impetuous fury of the entering gust nearly lifted us from our feet. It was, indeed, a tempestuous yet sternly beautiful night, and one wildly singular in its terror and its beauty. A whirlwind had apparently collected its force in our vicinity; for there were frequent and violent alterations in the direction of the wind; and the exceeding density of the clouds (which hung so low as to press upon the turrets of the house) did not prevent our perceiving the life-like velocity with which they flew careering from all points against each other, without passing away into the distance. I say that even their exceeding density did not prevent our perceiving this --yet we had no glimpse of the moon or stars --nor was there any flashing forth of the lightning. But the under surfaces of the huge masses of agitated vapour, as well as all terrestrial objects immediately around us, were glowing in the unnatural light of a faintly luminous and distinctly visible gaseous exhalation which hung about and enshrouded the mansion. "You must not --you shall not behold this!" said I, shudderingly, to Usher, as I led him, with a gentle violence, from the window to a seat. "These appearances, which bewilder you, are merely electrical phenomena not uncommon --or it may be that they have their ghastly origin in the rank miasma of the tarn . Let us close this casement; --the air is chilling and dangerous to your frame. Here is one of your favourite romances. I will read, and you shall listen; --and so we will pass away this terrible night together." The antique volume which I had taken up was the " Mad Trist " of Sir Launcelot Canning; but I had called it a favourite of Usher's more in sad jest than in earnest; for, in truth, there is little in its uncouth and unimaginative prolixity which could have had interest for the lofty and spiritual ideality of my friend. It was, however, the only book immediately at hand; and I indulged a vague hope that the excitement which now agitated the hypochondriac, might find relief (for the history of mental disorder is full of similar anomalies) even in the extremeness of the folly which I should read. Could I have judged, indeed, by the wild over-strained air of vivacity with which he hearkened, or apparently hearkened, to the words of the tale, I might well have congratulated myself upon the success of my design. I had arrived at that well-known portion of the story where Ethelred, the hero of the Trist, having sought in vain for peaceable admission into the dwelling of the hermit, proceeds to make good an entrance by force. Here, it will be remembered, the words of the narrative run thus: "And Ethelred, who was by nature of a doughty heart, and who was now mighty withal, on account of the powerfulness of the wine which he had drunken, waited no longer to hold parley with the hermit, who, in sooth , was of an obstinate and maliceful turn, but, feeling the rain upon his shoulders, and fearing the rising of the tempest , uplifted his mace outright, and, with blows, made quickly room in the plankings of the door for his gauntleted hand; and now pulling there-with sturdily, he so cracked, and ripped, and tore all asunder, that the noise of the dry and hollow-sounding wood alarumed and reverberated throughout the forest. At the termination of this sentence I started, and for a moment, paused; for it appeared to me (although I at once concluded that my excited fancy had deceived me) --it appeared to me that, from some very remote portion of the mansion, there came, indistinctly, to my ears, what might have been, in its exact similarity of character, the echo (but a stifled and dull one certainly) of the very cracking and ripping sound which Sir Launcelot had so particularly described. It was, beyond doubt, the coincidence alone which had arrested my attention; for, amid the rattling of the sashes of the casements, and the ordinary commingled noises of the still increasing storm, the sound, in itself, had nothing, surely, which should have interested or disturbed me. I continued the story: "But the good champion Ethelred, now entering within the door, was sore enraged and amazed to perceive no signal of the maliceful hermit; but, in the stead thereof, a dragon of a scaly and prodigious demeanour, and of a fiery tongue, which sate in guard before a palace of gold, with a floor of silver; and upon the wall there hung a shield of shining brass with this legend enwritten --    Who entereth herein, a conqueror hath bin;    Who slayeth the dragon, the shield he shall win. 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." Here again I paused abruptly, and now with a feeling of wild amazement --for there could be no doubt whatever that, in this instance, I did actually hear (although from what direction it proceeded I found it impossible to say) a low and apparently distant, but harsh, protracted, and most unusual screaming or grating sound --the exact counterpart of what my fancy had already conjured up for the dragon's unnatural shriek as described by the romancer. Oppressed, as I certainly was, upon the occurrence of the second and most extraordinary coincidence, by a thousand conflicting sensations, in which wonder and extreme terror were predominant, I still retained sufficient presence of mind to avoid exciting, by any observation, the sensitive nervousness of my companion. I was by no means certain that he had noticed the sounds in question; although, assuredly, a strange alteration had, during the last few minutes, taken place in his demeanour. From a position fronting my own, he had gradually brought round his chair, so as to sit with his face to the door of the chamber; and thus I could but partially perceive his features, although I saw that his lips trembled as if he were murmuring inaudibly. His head had dropped upon his breast --yet I knew that he was not asleep, from the wide and rigid opening of the eye as I caught a glance of it in profile. The motion of his body, too, was at variance with this idea --for he rocked from side to side with a gentle yet constant and uniform sway. Having rapidly taken notice of all this, I resumed the narrative of Sir Launcelot, which thus proceeded: "And now, the champion, having escaped from the terrible fury of the dragon, bethinking himself of the brazen shield, and of the breaking up of the enchantment which was upon it, removed the carcass from out of the way before him, and approached valorously over the silver pavement of the castle to where the shield was upon the wall; which in sooth tarried not for his full coming, but fell down at his feet upon the silver floor, with a mighty great and terrible ringing sound." 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. I rushed to the chair in which he sat. 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. "Not hear it? --yes, I hear it, and have heard it. Long --long --long --many minutes, many hours, many days, have I heard it --yet I dared not --oh, pity me, miserable wretch that I am! --I dared not --I dared not speak! We have put her living in the tomb! Said I not that my senses were acute ? I now tell you that I heard her first feeble movements in the hollow coffin. I heard them --many, many days ago --yet I dared not --I dared not speak! And now --to-night --Ethelred --ha! ha! --the breaking of the hermit's door, and the death-cry of the dragon, and the clangour of the shield! --say, rather, the rending of her coffin, and the grating of the iron hinges of her prison, and her struggles within the coppered archway of the vault! Oh whither shall I fly? Will she not be here anon? Is she not hurrying to upbraid me for my haste? Have I not heard her footstep on the stair? Do I not distinguish that heavy and horrible beating of her heart? MADMAN!" here he sprang furiously to his feet, and shrieked out his syllables, as if in the effort he were giving up his soul --"MADMAN! I TELL YOU THAT SHE NOW STANDS WITHOUT THE DOOR!" As if in the superhuman energy of his utterance there had been found the potency of a spell --the huge antique panels to which the speaker pointed, threw slowly back, upon the instant, ponderous and ebony jaws. It was the work of the rushing gust --but then without those doors there DID stand the lofty and enshrouded figure of the lady Madeline of Usher. There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of her emaciated frame. For a moment she remained trembling and reeling to and fro upon the threshold, then, with a low moaning cry, fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated. From that chamber, and from that mansion, I fled aghast . The storm was still abroad in all its wrath as I found myself crossing the old causeway. Suddenly there shot along the path a wild light, and I turned to see whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon which now shone vividly through that once barely-discernible fissure of which I have before spoken as extending from the roof of the building, in a zig-zag direction, to the base. While I gazed, this fissure rapidly widened --there came a fierce breath of the whirlwind --the entire orb of the satellite burst at once upon my sight --my brain reeled as I saw the mighty walls rushing asunder --there was a long tumultuous shouting sound like the voice of a thousand waters --and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the "HOUSE OF USHER."

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