The Raven and the Pit and the Pendulum

BEFORE YOU READ

The Raven and The Pit and the Pendulum

oday’s authors might well envy Edgar Allan Poe. More than 150 years after his death, he Tis still one of the world’s most popular writers and continues to captivate a wide audience. Known primarily as a master of horror and suspense tales, he is also credited with inventing the detective story and contributing to the development of science fiction. Despite his talent, Poe led a troubled life marked by poverty, restlessness, and loneliness. Still, he spent much of his life struggling—moving from city to city, from job to job. He was unable to escape his spirit-breaking poverty. “They who dream by day are In 1847, just as Poe seemed to be gaining recognition for his writing, his world collapsed. His wife died at cognizant of many things which escape the age of twenty-four, and Poe plunged into a sorrow those who dream only by night.” too deep to bear. Two years after his wife’s death, Poe was found delirious on the streets of Baltimore and —Edgar Allan Poe, from “Eleonora” died shortly thereafter, completely alone.

Poe’s Influence Nineteenth-century French poets Poe’s Early Life Poe was born in Boston, the son such as Charles Baudelaire greatly admired Poe for his of traveling actors. His father abandoned the family use of symbolism in his poetry. To the Irish poet W. B. when Poe was an infant, and his mother died a year Yeats, Poe was “certainly the greatest of American later. John and Frances Allan, a wealthy couple poets.” Poe’s story “The Unparalleled Adventures of from Richmond, Virginia, became his foster parents. One Hans Pfaal” influenced Jules Verne and other Though Poe got along well with his foster mother, science-fiction writers. Fictional detectives such as he and John Allan frequently quarreled. Allan Sherlock Holmes, Hercule Poirot, and many others refused to pay for Poe’s education at the University are modeled after C. Auguste Dupin, the detective of Virginia because of his heavy gambling debts and Poe introduced in “The Murders in the Rue Morgue.” wild life. Later, when Poe was expelled from West Modern writers of horror influenced by Poe include Point for deliberately breaking rules, his relationship Richard Matheson, Anne Rice, and Stephen King. with his foster father abruptly ended. The Mystery Writers of America (MWA) annually Penniless, Poe moved to Baltimore, where he lived confers the Edgar Allan Poe Awards® to recognize with his aunt and her daughter, Virginia Clemm. He outstanding achievement in the mystery genre. had already published three volumes of poems and The award is a statuette of Poe. But perhaps the now began to write short stories. In 1835 he returned strongest proof of Poe’s enduring popularity is the to Richmond, where he edited the Southern Literary name of the National Football League team in Messenger and married his cousin Virginia. Baltimore—the Ravens. Edgar Allan Poe was born in 1809 and died in 1849. Poe’s World During Poe’s lifetime, the literary world in the United States was centered in Boston, New York, and Philadelphia. Poe contributed stories For more about Literature Online AuthorAuthor Search Search For more and poems to an assortment of journals in these cities. Edgarabout Allan this author, Poe, go go to to www.glencoe.comwww.literature.glencoe.com. .

242 UNIT 2 AMERICAN ROMANTICISM Bettmann/CORBIS

0242-0249 U2P2App-845481.indd 242 4/6/06 4:41:02 PM LITERATURE PREVIEW READING PREVIEW

Connecting to the Poem Reading Strategy Analyzing Sound Devices Have you ever enjoyed a song, movie, or story that dealt Poets take advantage of words’ sounds as well as with extremes of emotion? Perhaps it was a sad song their meanings. Two common sound devices are the about lost love, a suspenseful film of high adventure, or repetition of words and alliteration, the repetition of a chilling tale that riveted you to the edge of your seat. consonant sounds at the beginnings of words. For example, Poe uses alliteration to create an almost Why do you think stories involving extremes of • hypnotic effect in phrases like “weak and weary.” As emotion are popular? you read, look for examples of these sound devices. • What types of settings in stories or movies can produce extremes of emotion? Reading Tip: Taking Notes On a chart, list examples Building Background of repetition and alliteration and describe their effects. “The Raven” was first published in 1845 in the Evening Mirror, a New York newspaper. In commenting Sound Devices Examples Effects on this work, Poe wrote that he set out to create a poem with a melancholy effect and that nevermore alliteration “nodded, nearly was the first word that came into his mind, both for its napping” sound and for its meaning. The subject of the poem, he decided, would be the death of a beautiful woman, “unquestionably, the most poetical topic in the world.” His first thought was to have nevermore repeated by a parrot, but he decided that a raven was “equally capa- ble of speech, and infinitely more in keeping with the Vocabulary intended tone.” lattice (latəs) n. a structure of crisscrossed strips, Setting Purposes for Reading commonly wood or metal, that forms a pattern of openings; p. 246 The neighbor’s dog tried to push its Big Idea The Power of Darkness nose through the fence lattice between our yards. As you read, notice how the Romantics’ fascination beguile (bi ¯l) v. to influence by deceit; to with madness and death is displayed in “The Raven.” trick; p. 246 The amateur magician’s tricks beguiled only the children in the audience. Literary Element Narrative Poem placid (plasəd) adj. calm; peaceful; undisturbed; A narrative poem is a poem that tells a story. p. 247 The surface of the placid lake reflected the Although the story is told in lines and stanzas—and few clouds in the sky. may include figurative language, imagery, rhythm, and rhyme—narrative poetry also includes elements of respite (res pət) n. a period of rest or relief, as storytelling such as setting, characters, and plot. As you from work or sorrow; p. 247 The students all read “The Raven,” notice these elements of fiction. looked forward to the respite of summer vacation. balm ( ) n. something that heals or soothes, See Literary Terms Handbook, p. R12. bam • as an ointment; p. 248 The aloe gel worked as a balm, cooling my painful sunburn.

Interactive Literary Elements Handbook To review or learn more about the literary elements, go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • understanding narrative poetry • analyzing how a poem is related to themes of the • analyzing sound devices historical period

EDGAR ALLAN POE 243

0242-0249 U2P2App-845481.indd 243 1/9/07 2:25:50 AM Edgar Allan Poe

244 Scala/Art Resource, NY

0244-0248 U2P2SEL-845481.indd 244 4/6/06 5:01:57 PM Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber1 door. 5 “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow 10 From my books surcease2 of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; 15 So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visitor entreating entrance at my chamber door;— This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer, 20 “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more.

25 Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore!” This I whispered, and an echo murmured back the word, “Lenore!” 30 Merely this and nothing more.

1. A chamber is a room. 2. Surcease means “an end.”

Literary Element Narrative Poem What element of storytelling is established in these lines?

Reading Strategy Analyzing Sound Devices Why might Poe have used alliteration in this line?

EDGAR ALLAN POE 245

0244-0248 U2P2SEL-845481.indd 245 4/6/06 5:02:01 PM Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— 35 Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!”

Open here I flung the shutter, when, with many a flirt and flutter In there stepped a stately Raven of the saintly days of yore.3 Not the least obeisance4 made he; not a minute stopped or stayed he; 40 But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas5 just above my chamber door— Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance6 it wore, 45 “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian7 shore!” Quoth the Raven “Nevermore.”

Much I marveled this ungainly fowl to hear discourse so plainly, 50 Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.”

3. Days of yore means “days of long ago.” Here Poe is referring to a Bible story in which ravens feed the Hebrew prophet Elijah during a sojourn in the wilderness. (1 Kings 17:1–7) 4. Obeisance means “a movement or gesture, such as a bow, that expresses respect.” 5. A bust is a statue of someone’s head and shoulders. Pallas refers to Pallas Athena, the Greek goddess of wisdom. 6. Here, countenance means “facial expression.” 7. Plutonian refers to Pluto, the Roman god of the dead and ruler of the underworld.

Reading Strategy Analyzing Sound Devices What effect does Poe create by repeating the description “above my chamber door”?

Big Idea The Power of Darkness How does this bit of dialogue reflect the dark side of Romanticism?

Vocabulary

lattice (latəs) n. a structure of crisscrossed strips, commonly wood or metal, that forms a pattern of openings beguile (bi ¯ l) v. to influence by deceit; to trick

246 UNIT 2 AMERICAN ROMANTICISM Erich Lessing/Art Resource, NY

0244-0248 U2P2SEL-845481.indd 246 4/6/06 5:02:04 PM 55 But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” 60 Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— 65 Till the dirges8 of his Hope that melancholy burden bore Of ‘Never—nevermore.’ ”

But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking 70 Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; 75 This and more I sat divining,9 with my head at ease reclining On the cushion’s velvet lining that the lamplight gloated o’er, But whose velvet violet lining with the lamplight gloating o’er, She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer10 80 Swung by Seraphim11 whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe12 from thy memories of Lenore; Quaff,13 oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.”

8. Dirges are slow, mournful pieces of music, such as funeral hymns. 9. Divining means “knowing through insight or intuition” or “guessing.” 10. A censer is a container in which incense is burned. 11. Seraphim are angels of the highest rank. 12. The ancient Greeks believed the drug nepenthe (ni pen the¯ ) would ease pain and grief by causing forgetfulness. 13. Quaff means “to drink heartily and deeply.”

Reading Strategy Analyzing Sound Devices How is this repetition of the word nevermore different than others in the poem, and what is the significance of that difference?

Vocabulary

placid (plasəd) adj. calm; peaceful; undisturbed respite (res pət) n. a period of rest or relief, as from work or sorrow

EDGAR ALLAN POE 247

0244-0248 U2P2SEL-845481.indd 247 4/6/06 5:02:07 PM 85 “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter14 sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?15—tell me—tell me, I implore!” 90 Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn,16 It shall clasp a sainted maiden whom the angels name Lenore— 95 Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! 100 Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting On the pallid17 bust of Pallas just above my chamber door; 105 And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore!

14. Tempter refers to the devil. 15. Gilead was a region in ancient Palestine. Here Poe uses a phrase from the Bible (Jeremiah 8:22): “Is there no balm in Gilead?” By this he means, “Is there no relief from my suffering?” 16. Aidenn means “Eden.” 17. Pallid means “lacking in color” or “pale.”

Reading Strategy Analyzing Sound Devices What is the effect of the repetition in this line?

Literary Element Narrative Poem How is the end of this poem similar to the end of a short story?

Vocabulary

balm (bam ) n. something that heals or soothes, as an ointment

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RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. In your opinion, what is the most haunting image 5. (a)What is the effect of the repetition of the raven’s in this poem? single word, nevermore? (b)Is the word appropri- ate in the context of the poem, or would some Recall and Interpret other word have been as effective? 2. (a)Why is the speaker reading at the beginning of 6. (a)How would you describe Poe’s purpose in writing the poem? (b)How would you describe his emo- this poem? (b)Did he achieve his purpose? Explain. tional state in the first six stanzas? 3. (a)What is the speaker’s first reaction to the raven’s Connect entrance? (b)Why does he react this way? 7. Big Idea The Power of Darkness Which 4. (a)What will never be lifted from the raven’s details contribute to the mood of this poem, and shadow? (b)What does the future probably hold how do they illustrate the dark side of for the speaker? Romanticism?

LITERARY ANALYSIS READING AND VOCABULARY

Literary Element Narrative Poem Reading Strategy Analyzing Sound Devices Like short stories, narrative poems include a narrator, The music of Poe’s verses derives from his use of or speaker. The speaker may take part in the story or sound devices, most of which are kinds of repetition. retell a tale that he or she has heard. 1. What is the effect of the repetition of the word 1. Who is the “I” in “The Raven”? tapping? 2. What words would you use to describe this 2. The words grim, ungainly, ghastly, and gaunt speaker? describe the raven. How do these words contribute to the meaning of the poem? Performing Dramatic Reading Work with a classmate to deliver Vocabulary Practice a dramatic reading of “The Raven.” One reader should Practice with Synonyms Choose the best deliver the narrator’s words that are set off in quotation synonym for each vocabulary word. marks; the other should read all the other lines. 1. lattice • Vary your facial expressions, the pace of your read- a. border c. mesh ing, and the tone and volume of your voice to b. barrier d. block reflect the narrator’s mounting anxiety. 2. beguile One reader might provide background sounds, such • a. charm c. candor as an intermittent tapping during the first six stanzas. b. repel d. evade 3. placid a. tempestuous c. chaotic b. blustery d. serene 4. respite a. persistence c. hesitation Web Activities For eFlashcards, b. lull d. turmoil Selection Quick Checks, and other Web activities, go to www.glencoe.com.

EDGAR ALLAN POE 249

0242-0249 U2P2App-845481.indd 249 4/6/06 4:41:38 PM BEFORE YOU READ The Pit and the Pendulum

LITERATURE PREVIEW READING PREVIEW

Connecting to the Story Reading Strategy Identifying Sequence Think about a moment when you felt terrified. What Sequence is the logical order of ideas or events. To thoughts crossed your mind? How did you feel? In indicate time order, writers often use signal words or “The Pit and the Pendulum,” you will read about a phrases, such as before, earlier that morning, or after prisoner’s terrifying experience inside an underground that. As you read Poe’s story, look for signal words that dungeon. Consider the following questions: indicate the sequence of events. What sorts of things scare people the most? • Reading Tip: Taking Notes Use a chart to record the What happens when someone is overcome by fear? • sequence of events. Building Background This story is set during the last years of the Spanish SEQUENCE OF EVENTS

Inquisition (1478–1834). Established in 1231 by the In the story, the problem begins when Roman Catholic Church, the Inquisition was a court that

arrested and tried suspected heretics, or those who ➧ opposed Church teaching. Those convicted of heresy were imprisoned for life or sentenced to death. Pope After that, Innocent IV authorized the use of torture to obtain con-

fessions to heresy in 1252, and Pope Sixtus IV authorized ➧ the Spanish Inquisition in 1478. Spanish inquisitors, or judges, were especially harsh. None was more feared Next, than Tomás de Torquemada, named the grand inquisitor for Castile in 1483. He was responsible for approximately two thousand burnings at the stake. Today, the Inquisition is remembered as a period of mercilessness and brutality. Setting Purposes for Reading Vocabulary ( ) v. to draw a conclusion deduce di doos¯¯¯ , ¯du¯ s Big Idea The Power of Darkness from something known or assumed; p. 253 Several As you read, note how darkness and terror, both aspects of clues helped us deduce the location of the runaways. Romanticism, are portrayed in “The Pit and the Pendulum.” impede (im pe¯d) v. to slow or block progress or action; obstruct; p. 253 Road construction will Literary Element Suspense impede travel this summer. Suspense is a feeling of curiosity, uncertainty, or even lethargy (leth ər je¯ ) n. sluggish inactivity or dread about what is going to happen next. Writers drowsiness; p. 255 Dad told Bill to be active and heighten the suspense in a story by creating a threat get over his lethargy. to the central character, or protagonist, and giving read- ers clues about what might happen. As you read this proximity (prok simə te¯ ) n. closeness in space, story, examine how Poe creates suspense. time, sequence, or degree; nearness; p. 258 The proximity of the cobra made us nervous. • See Literary Terms Handbook, p. R18. diffuse (di fuz) v. to spread widely; to scatter in all directions; p. 260 Green dye was diffused Interactive Literary Elements Handbook To review or learn more about the literary elements, into the river on St. Patrick’s Day. go to www.glencoe.com.

OBJECTIVES In studying this selection, you will focus on the following: • responding to suspense • analyzing literary periods • identifying sequence

250 UNIT 2 AMERICAN ROMANTICISM

0250-0263 U2P2App-845481.indd 250 1/23/07 11:55:12 AM Edgar Allan Poe

I was sick—sick unto death with that long their expression of firmness—of immovable reso- agony; and when they at length unbound me, and lution—of stern contempt of human torture. I I was permitted to sit, I felt that my senses were saw that the decrees of what to me was Fate, were leaving me. The sentence—the dread sentence still issuing from those lips. I saw them writhe of death—was the last of distinct accentuation with a deadly locution.2 I saw them fashion the which reached my ears. syllables of my name; and I shuddered because no After that, the sound of the inquisitorial voices sound succeeded. I saw, too, for a few moments of seemed merged in one dreamy indeterminate delirious horror, the soft and nearly imperceptible hum. It conveyed to my soul the idea of waving of the sable draperies which enwrapped revolution—perhaps from its association in fancy the walls of the apartment. And then my vision with the burr of a millwheel. This only for a brief fell upon the seven tall candles upon the table. period; for presently I heard no more. Yet, for a At first they wore the aspect of charity, and while, I saw; but with how terrible an exaggera- seemed white slender angels who would save me; tion! I saw the lips of the black-robed judges. but then, all at once, there came a most deadly They appeared to me white—whiter than the nausea over my spirit, and I felt every fiber in sheet upon which I trace these words—and thin my frame thrill as if I had touched the wire of a even to grotesqueness;1 thin with the intensity of galvanic battery,3 while the angel forms became meaningless specters,4 with heads of flame, and I saw that from them there would be no help. And 1. Grotesqueness is the state of being distorted or unnatural in then there stole into my fancy, like a rich musical shape or appearance. note, the thought of what sweet rest there must Literary Element Suspense The narrator obviously lives be in the grave. The thought came gently and to tell his story despite his death sentence. How do you think the author will maintain interest in his tale? 2. Locution is a form or style of verbal expression. 3. In a galvanic battery, direct electric current is produced by Big Idea The Power of Darkness What is the effect of means of chemical action. Poe’s description of extreme whiteness here? 4. Specters are ghosts or ghostly visions.

EDGAR ALLAN POE 251 Scala/Art Resource, NY

0251-0260 U2P2SEL-845481.indd 251 4/6/06 5:32:06 PM stealthily, and it seemed long before it attained meaning of some musical cadence which has full appreciation; but just as my spirit came at never before arrested his attention. length properly to feel and entertain it, the fig- Amid frequent and thoughtful endeavors to ures of the judges vanished, as if magically, from remember; amid earnest struggles to regather before me; the tall candles sank into nothingness; some token of the state of seeming nothingness their flames went out utterly; the blackness of into which my soul had lapsed, there have been darkness supervened; all sensations appeared moments when I have dreamed of success; there swallowed up in a mad rushing descent as of the have been brief, very brief periods when I have soul into Hades.5 Then silence, and stillness, and conjured up remembrances which the lucid rea- night were the universe. son of a later epoch assures me could have had I had swooned; but still will not say that reference only to that condition of seeming all of consciousness was lost. What of it there unconsciousness. These shadows of memory tell, remained I will not attempt to define, or even indistinctly, of tall figures that lifted and bore me to describe; yet all was not lost. In the deepest in silence down—down—still down—till a hid- slumber—no! In delirium—no! In a swoon— eous dizziness oppressed me at the mere idea of no! In death—no! even in the grave all is not the interminableness9 of the descent. They tell lost. Else there is no immor- also of a vague horror at my tality6 for man. Arousing heart, on account of that from the most profound7 of heart’s unnatural stillness. slumbers, we break the gossa- Very suddenly Then comes a sense of sudden mer web of some dream. Yet there came motionlessness throughout all in a second afterward, (so things; as if those who bore frail may that web have been) back to my soul me (a ghastly train!) had out- we remember not that we motion and run, in their descent, the lim- have dreamed. In the return its of the limitless, and paused to life from the swoon there sound . . . . from the wearisomeness of are two stages; first, that of their toil. After this I call to the sense of mental or spiri- mind flatness and dampness; tual; secondly, that of the sense of physical, and that all is madness—the madness of a mem- existence. It seems probable that if, upon ory which busies itself among forbidden things. reaching the second stage, we could recall the Very suddenly there came back to my soul impressions of the first, we should find these motion and sound—the tumultuous motion of impressions eloquent in memories of the gulf the heart, and, in my ears, the sound of its beat- beyond. And that gulf is—what? How at least ing. Then a pause in which all is blank. Then shall we distinguish its shadows from those of again sound, and motion, and touch—a tingling the tomb? But if the impressions of what I sensation pervading my frame. Then the mere have termed the first stage, are not, at will, consciousness of existence, without thought— recalled, yet, after long interval, do they not a condition which lasted long. Then, very sud- come unbidden, while we marvel whence they denly, thought, and shuddering terror, and ear- come? He who has never swooned, is not he nest endeavor to comprehend my true state. who finds strange palaces and wildly familiar Then a strong desire to lapse into insensibility.10 faces in coals that glow; is not he who beholds Then a rushing revival of soul and a successful floating in midair the sad visions that the many may not view; is not he who ponders 8 over the perfume of some novel flower—is 9. Interminableness means “endlessness.” not he whose brain grows bewildered with the 10. The narrator is describing his wish to return to unconsciousness (insensibility).

Reading Strategy Identifying Sequence Note the number 5. In Greek myth, Hades is the underground place of the dead. of times the narrator repeats the word then in this paragraph. 6. Here, immortality means “eternal life.” What does this repetition tell you about the stages the narra- 7. Here, profound means “complete” or “deep.” tor goes through as he gradually regains consciousness? 8. A novel flower is new and unusual.

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0251-0260 U2P2SEL-845481.indd 252 4/6/06 5:32:09 PM effort to move. And now a full memory of the day of my trial. Had I been remanded to my trial, of the judges, of the sable draperies, of the dungeon, to await the next sacrifice which sentence, of the sickness, of the swoon. Then would not take place for many months? This I entire forgetfulness of all that followed; of all at once saw could not be. Victims had been in that a later day and much earnestness of immediate demand. Moreover, my dungeon, as endeavor have enabled me vaguely to recall. well as all the condemned cells at Toledo,14 had stone floors, and light was not altogether So far, I had not opened my eyes. I felt that I excluded. lay upon my back, unbound. I reached out my A fearful idea now suddenly drove the hand, and it fell heavily upon something damp blood in torrents upon my heart, and for a and hard. There I suffered11 it to remain for brief period, I once more relapsed into insen- many minutes, while I strove to imagine where sibility. Upon recovering, I at once started to and what I could be. I longed, yet dared not to my feet, trembling convulsively in every fiber. employ my vision. I dreaded the first glance at I thrust my arms wildly above and around me objects around me. It was not that I feared to in all directions. I felt nothing; yet dreaded look upon things horrible, but that I grew to move a step, lest I should be impeded by aghast lest there should be nothing to see. At the walls of the tomb. Perspiration burst from length, with a wild desperation at heart, I every pore and stood in cold big beads on quickly unclosed my eyes. My worst thoughts, my forehead. The agony of suspense grew at then, were confirmed. The blackness of eternal length intolerable, and I cautiously moved night encompassed me. I struggled for breath. forward, with my arms extended, and my eyes The intensity of the darkness seemed to oppress straining from their sockets, in the hope of and stifle me. The atmosphere was intolerably catching some faint ray of light. I proceeded close. I still lay quietly, and made effort to exer- for many paces; but still all was blackness and cise my reason. I brought to mind the inquisito- vacancy. I breathed more freely. It seemed evi- rial proceedings,12 and attempted from that dent that mine was not, at least, the most hid- point to deduce my real condition. The sen- eous of fates. tence had passed; and it appeared to me that a And now, as I still continued to step cau- very long interval of time had since elapsed. Yet tiously onward, there came thronging upon my not for a moment did I suppose myself actually recollection a thousand vague rumors of the dead. Such a supposition, notwithstanding what horrors of Toledo. Of the dungeons there had we read in fiction, is altogether inconsistent been strange things narrated—fables I had with real existence;—but where and in what always deemed them—but yet strange, and too state was I? The condemned to death, I knew, ghastly to repeat, save in a whisper. Was I left perished usually at the autos-da-fé,13 and one of to perish of starvation in the subterranean15 these had been held on the very night of the world of darkness; or what fate, perhaps even more fearful, awaited me? That the result would be death, and a death of more than customary 11. Here, suffered means “allowed.” bitterness, I knew too well the character of my 12. During the Inquisition, a person’s refusal to confess was taken as evidence of guilt. 13. Often, the sentence was to be burned alive in public ceremonies called autos-da-fé (o toz¯ də fa¯´). The phrase is 14. The Spanish city of Toledo was important during the Portuguese for “acts of faith,” referring to the Inquisitors’ Inquisition. faith that the condemned persons were guilty as charged. 15. Subterranean describes things that exist or occur below the earth’s surface. Big Idea The Power of Darkness How does the narrator’s description of his surroundings reflect the Gothic Literary Element Suspense How do the narrator’s physi- tradition? cal and psychological torments add to the suspense?

Vocabulary Vocabulary

deduce (di doo¯¯¯s) v. to draw a conclusion from some- impede (im pe¯d) v. to slow or block progress or action; thing known or assumed obstruct

EDGAR ALLAN POE 253

0251-0260 U2P2SEL-845481.indd 253 4/6/06 5:32:11 PM judges to doubt. The mode and the hour were all that occupied or distracted me.

My outstretched hands at length encountered some solid obstruction. It was a wall, seemingly of stone masonry—very smooth, slimy, and cold. I followed it up; stepping with all the careful distrust with which certain antique nar- ratives had inspired me. This process, however, afforded me no means of ascertaining the dimensions of my dungeon; as I might make its circuit, and return to the point whence I set out, without being aware of the fact; so per- fectly uniform seemed the wall. I therefore sought the knife which had been in my pocket, when led into the inquisitorial chamber; but it Half length portrait of a man bending over, was gone; my clothes had been exchanged for a 18th c. Giovanni Battista Piranesi. Pen and ink on paper, 15.8 x 21.6 cm. Hamburger Kunsthalle, Hamburg, Germany. wrapper of coarse serge. I had thought of forcing Viewing the Art: How might this drawing reflect the the blade in some minute crevice of the masonry, emotional state of the narrator? so as to identify my point of departure. The dif- ficulty, nevertheless, was but trivial; although, in the disorder of my fancy, it seemed at first insu- I had met, however, with many angles in the wall, perable.16 I tore a part of the hem from the robe and thus I could form no guess at the shape of the and placed the fragment at full length, and at vault; for vault I could not help supposing it to be. right angles to the wall. In groping my way I had little object—certainly no hope—in around the prison I could not fail to encounter these researches; but a vague curiosity prompted this rag upon completing the circuit. So, at least me to continue them. Quitting the wall, I I thought: but I had not counted upon the extent resolved to cross the area of the enclosure. At of the dungeon, or upon my own weakness. The first I proceeded with extreme caution, for the ground was moist and slippery. I staggered floor, although seemingly of solid material, was onward for some time, when I stumbled and fell. treacherous with slime. At length, however, I My excessive fatigue induced me to remain pros- took courage, and did not hesitate to step firmly; trate; and sleep soon overtook me as I lay. endeavoring to cross in as direct a line as possi- Upon awakening, and stretching forth an arm, ble. I had advanced some ten or twelve paces in I found beside me a loaf and a pitcher with water. this manner, when the remnant of the torn hem I was too much exhausted to reflect upon this cir- of my robe became entangled between my legs. cumstance, but ate and drank with avidity.17 I stepped on it, and fell violently on my face. Shortly afterward, I resumed my tour around the In the confusion attending my fall, I did not prison, and with much toil, came at last upon the immediately apprehend a somewhat startling cir- fragment of the serge. Up to the period when I fell cumstance, which yet, in a few seconds after- I had counted fifty-two paces, and upon resuming ward, and while I still lay prostrate, arrested my my walk, I counted forty-eight more;—when I attention. It was this—my chin rested upon the arrived at the rag. There were in all, then, a hun- floor of the prison, but my lips and the upper dred paces; and admitting two paces to the yard, I portion of my head, although seemingly at a less presumed the dungeon to be fifty yards in circuit. elevation than the chin, touched nothing. At the same time my forehead seemed bathed in a clammy vapor, and the peculiar smell of decayed 16. Something that’s insuperable cannot be overcome. fungus arose to my nostrils. I put forward my 17. Avidity is eagerness and enthusiasm.

Literary Element Suspense How does this sentence Reading Strategy Identifying Sequence What signal build tension? words indicate the sequence of events in this paragraph?

254 UNIT 2 AMERICAN ROMANTICISM Giovanni Battista Piranesi/Hamburger Kunsthalle, Hamburg, Germany/Bridgeman Art Library

0251-0260 U2P2SEL-845481.indd 254 4/6/06 5:32:16 PM arm, and shuddered to find that I had fallen at Agitation of spirit kept me awake for many the very brink of a circular pit, whose extent, long hours; but at length I again slumbered. Upon of course, I had no means of ascertaining at the arousing, I found by my side as before, a loaf and a moment. Groping about the masonry just below pitcher of water. A burning thirst consumed me, the margin, I succeeded in dislodging a small and I emptied the vessel at a draught. It must fragment, and let it fall into the abyss.18 For have been drugged; for scarcely had I drunk, many seconds I hearkened to its reverberations before I became irresistibly drowsy. A deep sleep as it dashed against the sides of the chasm in its fell upon me—a sleep like that of death. How descent; at length there was a sullen plunge into long it lasted of course, I know not; but when, water, succeeded by loud echoes. At the same once again, I unclosed my eyes, the objects around moment there came a sound resembling the me were visible. By a wild sulphurous luster, the quick opening, and a rapid closing of a door origin of which I could not at first determine, I overhead, while a faint gleam of light flashed was enabled to see the extent and aspect of the suddenly through the gloom, and as suddenly prison. faded away. In its size I had been greatly mistaken. The I saw clearly the doom which had been pre- whole circuit of its walls did not exceed twenty- pared for me, and congratulated myself upon the five yards. For some minutes this fact occasioned timely accident by which I had escaped. Another me a world of vain trouble; vain indeed! for what step before my fall, and the world had seen me could be of less importance, under the terrible no more. And the death just avoided, was of that circumstances which environed20 me, than the very character which I had regarded as fabulous mere dimensions of my dungeon? But my soul and frivolous19 in the tales respecting the took a wild interest in trifles, and I busied myself Inquisition. To the victims of its tyranny, there in endeavors to account for the error I had com- was the choice of death with its direst physical mitted in my measurement. The truth at length agonies, or death with its most hideous moral flashed upon me. In my first attempt at explora- horrors. I had been reserved for the latter. By tion I had counted fifty-two paces, up to the long suffering my nerves had been unstrung, period when I fell; I must then have been within until I trembled at the sound of my own voice, a pace or two of the fragments of serge; in fact, and had become in every respect a fitting subject I had nearly performed the circuit of the vault. for the species of torture which awaited me. I then slept, and upon awaking, I must have Shaking in every limb, I groped my way back to returned upon my steps—thus supposing the cir- the wall; resolving there to perish rather than risk cuit nearly double what it actually was. My con- the terrors of the wells, of which my imagination fusion of mind prevented me from observing that now pictured many in various positions about the I began my tour with the wall to the left, and dungeon. In other conditions of mind I might have ended it with the wall to the right. had courage to end my misery at once by a plunge I had been deceived, too, in respect to the into one of these abysses; but now I was the veriest shape of the enclosure. In feeling my way of cowards. Neither could I forget what I had read around I had found many angles, and thus of these pits—that the sudden extinction of life deduced an idea of great irregularity; so potent formed no part of their most horrible plan. is the effect of total darkness upon one arousing from lethargy or sleep! The angles were simply those of a few slight depressions, or

18. Here, abyss (ə bis) refers to “an extremely deep hole.” niches, at odd intervals. The general shape 19. Here, fabulous means “fictional,” and frivolous means “silly” or “unimportant.” 20. To environ is to encircle or surround. Literary Element Suspense How do the opening and Reading Strategy Identifying Sequence Why does the closing of a door overhead help create suspense? author alternate periods of activity with periods of inaction?

Big Idea The Power of Darkness How does this sen- Vocabulary tence reflect Romanticism’s fascination with disease and madness? lethargy (leth ər je¯ ) n. sluggish inactivity or drowsiness

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0251-0260 U2P2SEL-845481.indd 255 4/6/06 5:32:19 PM of the prison was square. What I had taken for machine which caused me to regard it more masonry seemed now to be iron, or some other attentively. While I gazed directly upward at it metal, in huge plates, whose sutures or joints (for its position was immediately over my own) I occasioned the depression. The entire surface fancied that I saw it in motion. In an instant of this metallic enclosure was rudely daubed afterward the fancy was confirmed. Its sweep was in all the hideous and repulsive devices21 to brief, and of course slow. I watched it for some which the charnel22 superstitions of the monks minutes, somewhat in fear, but more in wonder. has given rise. The figures of fiends in aspects Wearied at length with observing its dull move- of menace, with skeleton forms, and other ment, I turned my eyes upon the other subjects more really fearful images, overspread and dis- in the cell. figured the walls. I observed that the outlines A slight noise attracted my notice, and, look- of these monstrosities were sufficiently dis- ing to the floor, I saw several enormous rats tra- tinct, but that the colors seemed faded and versing it. They had issued from the well, which blurred, as if from the effects of a damp atmo- lay just within view to my right. Even then, sphere. I now noticed the floor, too, which was while I gazed, they came up in troops, hurriedly, of stone. In the center yawned the circular pit with ravenous eyes, allured by the scent of the from whose jaws I had escaped; but it was the meat. From this it required much effort and only one in the dungeon. attention to scare them away. All this I saw distinctly and by much effort: for It might have been half an hour, perhaps even my personal condition had been greatly changed an hour, (for I could take but imperfect note of during slumber. I now lay upon my back, and time) before I again cast my eyes upward. What at full length, on a species of low framework of I then saw confounded and amazed me. The wood. To this I was securely bound by a long strap sweep of the pendulum had increased in extent resembling a surcingle.23 It passed in many convo- by nearly a yard. As a natural consequence, its lutions about my limbs and body, leaving at liberty velocity was also much greater. But what mainly only my head, and my left arm to such extent that disturbed me was the idea that it had perceptibly I could, by dint of much exertion, supply myself descended. I now observed—with what horror with food from an earthen dish which lay by my it is needless to say—that its nether extremity25 side on the floor. I saw, to my horror, that the was formed of a crescent of glittering steel, pitcher had been removed. I say to my horror; for about a foot in length from horn to horn; the I was consumed with intolerable thirst. This thirst horns upward, and the under edge evidently it appeared to be the design of my persecutors to as keen as that of a razor. Like a razor also, it stimulate: for the food in the dish was meat pun- seemed massy and heavy, tapering from the edge gently seasoned. into a solid and broad structure above. It was Looking upward I surveyed the ceiling of my appended to a weighty rod of brass, and the prison. It was some thirty or forty feet overhead, whole hissed as it swung through the air. and constructed much as the side walls. In one of I could no longer doubt the doom prepared its panels a very singular figure riveted my whole for me by monkish ingenuity26 in torture. My attention. It was the painted figure of Time as he cognizance of the pit had become known to is commonly represented, save that, in lieu of 24 the inquisitorial agents—the pit whose horrors a scythe, he held what, at a casual glance, I sup- had been destined for so bold a recusant27 as posed to be the pictured image of a huge pendu- myself—the pit, typical of hell, and regarded by lum such as we see on antique clocks. There was something, however, in the appearance of this 25. The pendulum’s nether extremity is its lower end. 26. Ingenuity (in´ jə no¯¯o¯ ə te¯ )—the noun form of ingenious—is creative ability or inventiveness. 27. A recusant ( ) is one who refuses to accept or 21. Here, the devices are ornamental designs. re kyə zənt obey established authorities. 22. Here, charnel means “gruesome” or “deathlike.” As a noun, it refers to a vault where bones or bodies are placed. Reading Strategy Identifying Sequence How does this 23. A surcingle is a belt or band used to hold a saddle or pack reference to the passage of time contribute to the suspense on a horse or pack animal. of the following sentence? 24. In lieu (in lo¯¯o¯ ) of means “in place of” or “instead of.”

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0251-0260 U2P2SEL-845481.indd 256 4/6/06 5:32:21 PM Carceri d’Invenzione, Plate XIII, 1780. Giovanni Battista Piranesi. Etching, 16 x 22 in. Private collection. Viewing the Art: What in this illustration suggests a setting similar to the one described by the narrator?

rumor as the Ultima Thule28 of all their punish- many days passed—ere it swept so closely over ments. The plunge into this pit I had avoided me as to fan me with its acrid breath. The odor by the merest of accidents, and I knew that sur- of the sharp steel forced itself into my nostrils. I prise, or entrapment into torment, formed an prayed—I wearied heaven with my prayer for its important portion of all the grotesquerie of these more speedy descent. I grew frantically mad, and dungeon deaths. Having failed to fall, it was no struggled to force myself upward against the sweep part of the demon plan to hurl me into the abyss; of the fearful scimitar.30 And then I fell suddenly and thus (there being no alternative) a different calm, and lay smiling at the glittering death, as a and a milder destruction awaited me. Milder! I child at some rare bauble.31 half smiled in my agony as I thought of such There was another interval of utter insensibil- application of such a term. ity; it was brief; for, upon again lapsing into life there had been no perceptible descent in the What boots it29 to tell of the long, long hours of pendulum. But it might have been long; for I horror more than mortal, during which I counted knew there were demons who took note of my the rushing vibrations of the steel! Inch by inch— swoon, and who could have arrested the vibra- line by line—with a descent only appreciable at tion at pleasure. Upon my recovery, too, I felt intervals that seemed ages—down and still down very—oh, inexpressibly sick and weak, as if it came! Days passed—it might have been that through long inanition.32 Even amid the agonies of that period, the human nature craved food. With painful effort I outstretched my left arm as 28. Here, Ultima Thule (ul tə mə tho¯¯o¯ le¯ ) means “extreme limit” or “greatest degree.” In ancient times, this was the name of the northernmost part of the known world. 29. What boots it? is an expression meaning “What good is it?” 30. A scimitar is a curved, single-edged sword of Asian origin. 31. A bauble is any showy but worthless trinket. Literary Element Suspense What is to be his fate? Why is 32. The exhaustion caused by a lack of food or water is called the destruction “milder?” inanition.

EDGAR ALLAN POE 257 Giraudon/Art Resource, NY

0251-0260 U2P2SEL-845481.indd 257 4/6/06 5:32:25 PM far as my bonds permitted, and took possession of fastenings above the elbow, I would have seized and the small remnant which had been spared me by attempted to arrest the pendulum. I might as well the rats. As I put a portion of it within my lips, have attempted to arrest an avalanche! there rushed to my mind a half formed thought Down—still unceasingly—still inevitably of joy—of hope. Yet what business had I with down! I gasped and struggled at each vibration. hope? It was, as I say, a half formed thought— I shrunk convulsively at its every sweep. My eyes man has many such which are never completed. followed its outward or upward whirls with the I felt that it was of joy—of hope; but I felt also eagerness of the most unmeaning despair; they that it had perished in its formation. In vain I closed themselves spasmodically at the descent, struggled to perfect—to regain it. Long suffering although death would have been a relief, oh! had nearly annihilated all my ordinary powers of how unspeakable! Still I quivered in every nerve mind. I was an imbecile—an idiot. to think how slight a sinking of the machinery The vibration of the pendulum was at right would precipitate that keen, glistening axe upon angles to my length. I saw that the crescent my bosom. It was hope that prompted the nerve was designed to cross the region of the heart. to quiver—the frame to shrink. It was hope—the It would fray the serge of my robe—it would hope that triumphs on the rack34—that whispers return and repeat its operations—again—and to the death-condemned even in the dungeons again. Notwithstanding its terrifically wide of the Inquisition. sweep (some thirty feet or more) and the hiss- I saw that some ten or twelve vibrations would ing vigor of its descent, sufficient to sunder bring the steel in actual contact with my robe, and these very walls of iron, still the fraying of my with this observation there suddenly came over my robe would be all that, for several minutes, it spirit all the keen, collected calmness of despair. would accomplish. And at this thought I For the first time during many hours—or perhaps paused. I dared not go farther than this reflec- days—I thought. It now occurred to me that the tion. I dwelt upon it with a pertinacity33 of bandage, or surcingle, which enveloped me, was attention—as if, in so dwelling, I could arrest unique. I was tied by no separate cord. The first here the descent of the steel. I forced myself stroke of the razor-like crescent athwart any portion to ponder upon the sound of the crescent as it of the band, would so detach it that it might be should pass across the garment—upon the pecu- unwound from my person by means of my left liar thrilling sensation which the friction of hand. But how fearful, in that case, the proximity cloth produces on the nerves. I pondered upon of the steel! The result of the slightest struggle how all this frivolity until my teeth were on edge. deadly! Was it likely, moreover, that the minions of Down—steadily down it crept. I took a fren- the torturer had not foreseen and provided for this zied pleasure in contrasting its downward with possibility! Was it probable that the bandage its lateral velocity. To the right—to the left—far crossed my bosom in the track of the pendulum? and wide—with the shriek of a damned spirit; to Dreading to find my faint, and, as it seemed, my my heart with the stealthy pace of the tiger! I last hope frustrated, I so far elevated my head as to alternately laughed and howled as the one or obtain a distinct view of my breast. The surcingle the other idea grew prominent. enveloped my limbs and body close in all direc- Down—certainly, relentlessly down! It vibrated tions—save in the path of the destroying crescent. within three inches of my bosom! I struggled violently, furiously, to free my left arm. This was free only from the elbow to the hand. I could reach the 34. The rack was an instrument of torture used to stretch or latter, from the platter beside me, to my mouth, with pull a victim’s body in different directions. great effort, but no farther. Could I have broken the Reading Strategy Identifying Sequence How does the repetition of the word down at the beginning of each of three paragraphs indicate the passing of time? 33. Pertinacity is stubborn persistence. Vocabulary Reading Strategy Identifying Sequence How does the repetition of the signal word again heighten the feeling proximity (prok sim ə te¯ ) n. closeness in space, time, of terror? sequence, or degree; nearness

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0251-0260 U2P2SEL-845481.indd 258 4/6/06 5:32:28 PM Scarcely had I dropped my head back into its sought my own; I was half stifled by their thronging original position, when there flashed upon my mind pressure; disgust, for which the world has no name, what I cannot better describe than as the unformed swelled my bosom, and chilled, with a heavy clam- half of that idea of deliverance to which I have miness, my heart. Yet one minute, and I felt that previously alluded, and of which a moiety35 only the struggle would be over. Plainly I perceived the floated indeterminately through my brain when I loosening of the bandage. I knew that in more than raised food to my burning lips. The whole thought one place it must be already severed. With a more was now present—feeble, scarcely sane, scarcely def- than human resolution I lay still. inite,—but still entire. I proceeded at once, with the Nor had I erred in my calculations—nor had I nervous energy of despair, to attempt its execution. endured in vain. I at length felt that I was free. For many hours the immediate vicinity of the The surcingle hung in ribands from my body. But low framework upon which I lay, had been literally the stroke of the pendulum already pressed upon swarming with rats. They were wild, bold, raven- my bosom. It had divided the serge of the robe. It ous; their red eyes glaring upon me as if they had cut through the linen beneath. Twice again it waited but for motionlessness on my part to swung, and a sharp sense of pain shot through every make me their prey. “To what food,” I thought, nerve. But the moment of escape had arrived. At a “have they been accustomed wave of my hand my deliverers in the well?” hurried tumultuously away. They had devoured, in spite With a steady movement—cau- of all my efforts to prevent They were tious, sidelong, shrinking, and them, all but a small remnant slow—I slid from the embrace of the contents of the dish. I wild, bold, of the bandage and beyond the had fallen into an habitual see- reach of the scimitar. For the saw, or wave of the hand about ravenous . . . . moment, at least, I was free. the platter: and, at length, the Free!—and in the grasp of the unconscious uniformity of the Inquisition! I had scarcely movement deprived it of effect. In their voracity stepped from my wooden bed of horror upon the the vermin frequently fastened their sharp fangs stone floor of the prison, when the motion of the into my fingers. With the particles of the oily and hellish machine ceased and I beheld it drawn up, by spicy viand which now remained, I thoroughly some invisible force through the ceiling. This was a rubbed the bandage wherever I could reach it; lesson which I took desperately to heart. My every then, raising my hand from the floor, I lay breath- motion was undoubtedly watched. Free!—I had but lessly still. escaped death in one form of agony, to be delivered At first the ravenous animals were startled and unto worse than death in some other. With that terrified at the change—at the cessation of move- thought I rolled my eyes nervously around the barri- ment. They shrank alarmedly back; many sought ers of iron that hemmed me in. Something the well. But this was only for a moment. I had not unusual—some change which at first I could not counted in vain upon their voracity. Observing that appreciate distinctly—it was obvious, had taken I remained without motion, one or two of the bold- place in the apartment. For many minutes est leaped upon the frame-work, and smelt at the in a dreamy and trembling abstraction,36 I busied surcingle. This seemed the signal for a general rush. myself in vain, unconnected conjecture.37 During Forth from the well they hurried in fresh troops. this period, I became aware, for the first time, of the They clung to the wood—they overran it, and origin of the sulphurous light which illuminated the leaped in hundreds upon my person. The measured cell. It proceeded from a fissure, about half an inch movement of the pendulum disturbed them not at all. Avoiding its strokes they busied themselves with the anointed bandage. They pressed—they 36. Abstraction is the state of being lost in thought. swarmed upon me in ever accumulating heaps. 37. Conjecture is the forming of an opinion without definite or sufficient evidence. They writhed upon my throat; their cold lips Big Idea The Power of Darkness What view of nature is presented here? 35. A moiety of something is a portion of it.

EDGAR ALLAN POE 259

0251-0260 U2P2SEL-845481.indd 259 4/6/06 5:32:30 PM in width, extending entirely around the prison at ague.40 There had been a second change in the the base of the walls, which thus appeared, and were cell—and now the change was obviously in the completely separated from the floor. I endeavored, form. As before, it was in vain that I, at first, but of course in vain, to look through the aperture. endeavoured to appreciate or understand what was As I arose from the attempt, the mystery of the taking place. But not long was I left in doubt. The alteration in the chamber broke at once upon my Inquisitorial vengeance had been hurried by my understanding. I have observed that, although the two-fold escape, and there was to be no more dally- outlines of the figures upon the walls were suffi- ing with the King of Terrors.41 The room had been ciently distinct, yet the colors seemed blurred and square. I saw that two of its iron angles were now indefinite. These colors had now assumed, and were acute—two, consequently, obtuse. The fearful dif- momentarily assuming, a startling and most intense ference quickly increased with a low rumbling or brilliancy, that gave to the spectral and fiendish por- moaning sound. In an instant the apartment had traitures an aspect that might have thrilled even shifted its form into that of a lozenge. But the firmer nerves than my own. Demon eyes, of a wild alteration stopped not here—I neither hoped nor and ghastly vivacity, glared upon me in a thousand desired it to stop. I could have clasped the red walls directions, where none had been visible before, and to my bosom as a garment of eternal peace. gleamed with the lurid luster38 of a fire that I could “Death,” I said, “any death but that of the pit!” not force my imagination to regard as unreal. Fool! might I have not known that into the pit it Unreal!—Even while I breathed there came to was the object of the burning iron to urge me? my nostrils the breath of the vapor of heated iron! Could I resist its glow? or, if even that, could I A suffocating odor pervaded the prison! A deeper withstand its pressure? And now, flatter and flatter glow settled each moment in the eyes that glared grew the lozenge, with a rapidity that left me no at my agonies! A richer tint of crimson diffused time for contemplation. Its center, and of course, itself over the pictured horrors of blood. I panted! its greatest width, came just over the yawning gulf. I gasped for breath! There could be no doubt of the I shrank back—but the closing walls pressed me design of my tormentors—oh! most unrelenting! resistlessly onward. At length for my seared and oh! most demoniac of men! I shrank from the writhing body there was no longer an inch of foot- glowing metal to the center of the cell. Amid the hold on the firm floor of the prison. I struggled no thought of the fiery destruction that impended, the more, but the agony of my soul found vent in one idea of the coolness of the well came over my soul loud, long, and final scream of despair. I felt that I like balm.39 I rushed to its deadly brink. I threw my tottered upon the brink—I averted my eyes— straining vision below. The glare from the enkindled There was a discordant hum of human voices! roof illumined its inmost recesses. Yet, for a wild There was a loud blast of many trumpets! There moment, did my spirit refuse to comprehend the was a harsh grating as of a thousand thunders! meaning of what I saw. At length it forced—it wres- The fiery walls rushed back! An outstretched arm tled its way into my soul—it burned itself in upon caught my own as I fell, fainting, into the abyss. It my shuddering reason.—Oh! for a voice to speak! was that of General Lasalle.42 The French army oh! horror!—oh! any horror but this! With a shriek, had entered Toledo. The Inquisition was in the I rushed from the margin, and buried my face in my hands of its enemies.  hands—weeping bitterly. The heat rapidly increased, and once again I looked up, shuddering as with a fit of the 40. Ague (a¯ u¯ ) is a fever accompanied by chills and shivering. 41. The King of Terrors could be either the “Inquisitorial vengeance” or death. 38. The eyes are full of life (vivacity), with a fiery, reddish glare, 42. Lasalle was an officer of the French emperor Napoleon (a lurid luster). Bonaparte, whose army invaded Spain in 1808. 39. Although destruction was about to occur (impended), the idea of coolness seemed to be something calming or Literary Element Suspense How has the mystery of the soothing (a balm). pit heightened the suspense throughout the story?

Vocabulary Big Idea The Power of Darkness An atmosphere of diffuse (di fu¯ z) v. to spread widely; to scatter in all horror is essential to Gothic fiction. How does this passage directions create a sense of horror?

260 UNIT 2 AMERICAN ROMANTICISM

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RESPONDING AND THINKING CRITICALLY Respond Analyze and Evaluate 1. (a)What emotions did you experience while read- 6. (a)Why is the third method of torture especially ing this story? (b)Were you surprised by the end- frightening for the narrator? (b)Is Poe’s portrayal of ing? Why or why not? the third method as the most horrible convincing? Recall and Interpret 7. (a)What do the narrator’s struggles and thoughts throughout his ordeal tell you about Poe’s view of 2. (a)To what fate has the narrator been sentenced? human nature? (b)Do you think the narrator’s (b)What does his immediate reaction tell you actions are realistic given his situation? Explain. about his state of mind? 3. (a)How does the narrator determine the size of his Connect prison? (b)Why might he feel that he must find out 8. Big Idea The Power of Darkness How would about his surroundings? you describe the overall mood or atmosphere of 4. (a)What kind of death does he associate with the this story? How does Poe achieve this mood? pit? (b)Why might the pit put him in such a state of terror? 5. (a)What horror does the narrator face after avoiding the pit? (b)Why do you think the narrator makes the efforts he does in response to the second horror?

PRIMARY VISUAL ARTIFACT

ATTACKING THE INQUISITION

One of the fiercest critics of the Spanish Inquisition was the painter and graphic artist Francisco de Goya (1746–1828). Many of his works deal with the suffering experienced by those judged to be heretics. Among these works is the series of prints known as Los caprichos (The Caprices), published in 1799. In number 23 of the series, titled Aquellos polbos (Those Specks of Dust), Goya presents a disabled woman arrested for selling love potions. Dressed in the typical robe and conical hat worn by condemned heretics, she slumps in front of the officers of the Inquisition.

Group Activity Discuss the following questions with your classmates.

1. Why do you think Goya might have chosen to depict the trial of this woman? 2. How are Poe’s story and Goya’s image alike and different as depictions of the Inquisition? After your discussion, create your own illustration for Poe’s story.

EDGAR ALLAN POE 261 Francisco Jose de Goya y Lucientes/Private Collection, Index/Bridgeman Art Library

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