Historical Context
Tuberculosis
Three significant women in Poe's life succumbed to tuberculosis. While the
"pestilence" in Poe's story "Masque of the Red Death" is not explicitly named,
it is plausible that his personal experiences with tuberculosis influenced its
depiction. The "Red Death" is marked by excessive bleeding, akin to the
hallmark symptom of tuberculosis, which is the expectoration of blood.
According to Britannica Online, tuberculosis, often termed
"consumption" in literature, is described as "one of the great scourges of
mankind." The disease "reached near-epic proportions" in rapidly
industrializing urban centers during the eighteenth and nineteenth centuries,
becoming "the leading cause of death for all age groups in the Western world"
during that era.
Impressionism
A significant portion of Poe's work can be classified as "impressionist,"
capturing the nuanced details of a sensitive mind from a deeply subjective
viewpoint. Britannica Online defines an impressionist story as "a tale
shaped and given meaning by the consciousness and psychological attitudes of
the narrator." Impressionism, initially a movement in painting, began in France
in the mid-1860s. Renowned impressionist painters include Claude Monet and
Pierre August Renoir. These artists rejected the prevailing artistic norms,
which focused on mythological subjects, and instead aimed to "accurately and
objectively record visual reality in terms of transient effects of light and
colour," as noted by Britannica Online.
Gothic Fiction in England
Poe is recognized as an early master of Gothic fiction. The term "gothic,"
originally derived from architecture, refers to a literary style that emerged
in the late eighteenth and nineteenth centuries, particularly in England.
Gothic fiction is known for its dark, eerie atmosphere and themes of death,
horror, madness, and the supernatural. Notable works of Gothic fiction in
England include Mary Shelley's Frankenstein (1818), Robert Louis
Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886), and Bram
Stoker's Dracula (1895).
The Short Story in Russia and France
The short story evolved into a respected literary genre during the nineteenth
century. Poe was a pioneering figure in this development and played a
significant role in establishing the aesthetics of the short story form.
Concurrently, the short story was also being refined in Germany, Russia, and
France. Prominent French short story writers included Alphonse Daudet and Guy
de Maupassant, while many novelists also explored this form. In Russia, authors
such as Nikolay Gogol, Ivan Turgenev, and Anton Chekhov emerged as masters of
the short story. Gogol, in particular, produced impressionist stories
comparable to Poe's, with his 1842 story "The Overcoat" being one of the most
influential Russian short stories of the time.
The Grand Guignol
Poe's Gothic horror tales lay the groundwork for contemporary horror fiction
and modern horror films. However, before cinema emerged around 1895, Gothic
horror was brought to life on stage in a style known as Grand Guignol.
Initially performed in England but finding greater success in France, Grand
Guignol shows featured graphic horror scenes, including true-crime murder
reenactments, and focused heavily on special effects involving blood,
dismemberment, and gore.
Expert Q&A
How do the characters' desperate measures in "The Masque of the Red Death" reflect real-world responses to a deadly threat?
The characters' desperate measures, such as Prince Prospero's retreat into a secluded abbey to escape the Red Death, mirror real-world responses to deadly threats through isolation and quarantine. In "The Masque of the Red Death," the abbey is fortified to prevent anyone from entering or leaving, reflecting how societies use quarantine to contain disease. Real-world practices also include restricting goods and assessing travelers' health to prevent disease spread.
Can "The Masque of the Red Death" be interpreted as a political statement?
"The Masque of the Red Death" can be interpreted as a political statement highlighting the denial and decadence of the wealthy classes, who believe their opulence shields them from death. This mirrors historical contexts, such as the aristocracy's insularity before the French Revolution and their eventual downfall. The story critiques the illusion of safety wealth provides, emphasizing that death is an inevitable equalizer, unaffected by social status or wealth.
The relationship between "The Masque of the Red Death" and the Romantic period
"The Masque of the Red Death" reflects the Romantic period through its emphasis on emotion, individualism, and the supernatural. Edgar Allan Poe's story delves into themes of human mortality and the futility of trying to escape death, highlighting the Romantic fascination with dark, gothic elements and the exploration of intense psychological states.
Style and Technique
Exploring Allegory and Parable
"The Masque of the Red Death" by Edgar Allan Poe is a profound example of allegorical literature, where its literal components symbolize deeper truths about the human experience. As Britannica Online describes, allegories utilize symbolic figures and actions to convey broader generalizations about human behavior. This story can be further interpreted as a parable, a sub-type of allegory that specifically sets forth moral or spiritual lessons.
In "The Masque of the Red Death," the narrative unfolds as a symbolic exploration of how humans grapple with the knowledge of their own mortality. Prince Prospero and his guests attempt to use their wealth and opulence to create a refuge from the ubiquitous threat of death. However, the masked figure's entrance "like a thief in the night" serves as a stark reminder that death is an inescapable fate that no amount of privilege can avert. Thus, the tale underscores the futility of human efforts to escape mortality, illustrating that even the most opulent distractions cannot extinguish the inherent fear of death.
Imagery and Symbolism
Poe's mastery of imagery and symbolism is evident in the story's setting and objects. The seven chambers of Prince Prospero's abbey, as H. H. Bell, Jr. suggests in his article "The Masque of the Red Death': An Interpretation," represent the seven decades of a person’s life. The final chamber, draped in foreboding black and red, signifies death. This allegorical setup is reinforced by the spatial arrangement of the rooms: the easternmost room symbolizes birth, corresponding with the rising sun, while the westernmost chamber signifies death, aligning with the sunset.
The vibrant colors of the rooms—blue, purple, green, orange, white, violet—symbolize different stages and conditions of Prospero’s life. The clock located in the seventh chamber serves as a poignant reminder of human mortality, marking the limited time each individual has. Its hourly chime is a constant reminder to the revelers of their impending demise, culminating in the ultimate confrontation with death at midnight. As the clock ceases to tick with Prospero's death, so does the life it symbolizes, merging the life of the clock with that of its last guest.
Narration and Perspective
The story is narrated in the third person, yet its true perspective provokes intriguing speculation. Leonard Cassuto posits that the narrator could be the Red Death itself, being the sole survivor of the narrative to recount the tale. Alternatively, if interpreted as the dream of a deranged mind, possibly that of Prince Prospero, the narrator could be the Prince, projecting his inner turmoil and eventual psychological demise. The narrative's structure, reminiscent of a biblical morality tale where divinity punishes evil with pestilence, suggests the possibility of a divine narrator.
Ambiguous Setting
Poe crafts the setting with intentional vagueness, placing the story in an unnamed "country" without a specific time or location, ravaged by a deadly pestilence. This ambiguity lends the narrative a timeless, "once upon a time" quality, anchoring it firmly in the realm of parable or fable. Such a setting allows the universal themes of mortality and the human condition to resonate more broadly.
Personification and Mythical Elements
Personification is a key literary device in Poe's tale, where non-human concepts are endowed with human characteristics through capitalization—akin to proper names. Thus, "The Red Death," "Time," "Beauty," "Darkness," and "Decay" are given anthropomorphic traits, enhancing the narrative's mythical and fairy tale quality. Each concept represents universal aspects of the human condition, enriching the story’s allegorical depth.
Embracing Gothic Horror
Poe’s "The Masque of the Red Death" is a quintessential example of Gothic horror, a genre he helped pioneer. Originating in 19th-century British literature, Gothic horror is characterized by supernatural elements, macabre scenes, dark settings, and a preoccupation with death and madness. Poe weaves these Gothic elements seamlessly into his narrative, crafting a chilling atmosphere that lingers with the reader, embodying the inevitable dance between life and death.
Expert Q&A
What are the symbols in Edgar Allan Poe's "The Masque of the Red Death"?
In "The Masque of the Red Death," symbols include the seven colored rooms, which may represent the seven deadly sins or stages of life, progressing from birth to death. The clock in the black room symbolizes the inevitability of death, reminding revelers of their mortality with each chime. Prince Prospero's name and actions symbolize futile attempts to escape death, while the Red Death itself represents the unavoidable nature of mortality.
How does Poe create atmosphere and mood in "The Masque of the Red Death," "The Tell-Tale Heart," and "The Raven"?
Poe creates the mood, or emotional atmosphere, of "The Masque of the Red Death," "The Tell-Tale Heart," and "The Raven," through connotation, irony, and symbolism. Darkly connotative words pervade all three, and irony is often created by the text's events or even by the speech of the narrator. This irony increases the reader's feeling of tension. Finally, the symbolism of midnight, which figuratively refers to death, is used in all three texts, making them seem more ominous.
What is Poe's tone in "The Masque of the Red Death"? How did the ebony clock affect the guests?
The tone in "The Masque of the Red Death" is unsympathetic and judgmental, particularly towards Prince Prospero, highlighting the inevitability of death despite wealth or power. The ebony clock instills fear in the guests, as its chimes remind them of their mortality, causing a temporary halt to their revelry. This fear contrasts with the sense of beauty and contentment they feel when the clock is silent, symbolizing the transient escape from death's inevitability.
Identify and explain a strong example of irony from "The Masque of the Red Death".
An example of irony in "The Masque of the Red Death" is the use of dramatic irony throughout the story. The irony arises because the reader might know more than the characters, particularly if the narrator is interpreted as either the "Red Death" or Prince Prospero himself. This suggests the events are recounted after their occurrence, highlighting the futility of the prince's attempts to escape death, which ultimately engulfs him and his guests.
What "single effect" does Poe aim to create in "The Masque of the Red Death"?
Figurative language in "The Masque of the Red Death"
Poe's "The Masque of the Red Death" uses vivid figurative language, including symbolism, imagery, and personification. The seven colored rooms symbolize the stages of life, the clock represents the inevitability of death, and the Red Death personifies the inescapable plague. These elements enhance the story's eerie atmosphere and underscore its themes of mortality and fate.
What instances of figurative language, imagery, and repeated images through diction does Poe use in the following paragraph?
He had directed, in great part, the movable embellishments of the seven chambers, upon occasion of this great fête; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm—much of what has been since seen in "Hernani". There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these—the dreams—writhed in and about taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away—they have endured but an instant—and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-coloured panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulged in the more remote gaieties of the other apartments.
Poe uses figurative language, including an allusion to Hugo's Hernani, to enhance imagery. Personification is evident in the clock, described as having a voice, and the masqueraders are compared to dreams through metaphor. Imagery is vivid, with descriptions of "glare and glitter," "blood-coloured panes," and the silent, ominous chimes of the clock. Repeated diction like "dreams," "grotesque," "disgust," "sable," and "ruddy" emphasizes unnaturalness and dread in the scene.
Does the imagery in "The Masque of the Red Death" enhance your understanding of the story?
The vivid imagery in "The Masque of the Red Death" significantly enhances understanding by creating tension and conveying deep themes. The striking depiction of the ebony clock, which halts the revelers with its chimes, symbolizes the inevitability of death. Additionally, the seven rooms, arranged from east to west, symbolize the stages of life, culminating in the ominous black and red room. This imagery reinforces the story's theme of death's universality and inevitability.
What technique does Poe use to create suspense in "The Masque of the Red Death's" opening paragraph?
In the opening paragraph, Poe uses vivid and gruesome word choices to create suspense. Terms like "devastated," "fatal," "horror," and "victim" evoke terror and death, describing the "Red Death" in detail with symptoms like bleeding and scarlet stains. This detailed horror contrasts sharply with the sudden introduction of Prince Prospero's happiness, creating a jarring juxtaposition that leaves readers questioning the relevance of the illness to the story, thus heightening suspense.
What proof in Poe's The Masque of the Red Death shows it's written in third-person omniscient?
What type of masked ball is described in paragraph seven of "The Masque of the Red Death" and what mood does it evoke?
The masked ball described in paragraph seven of "The Masque of the Red Death" is characterized by grotesque and bizarre costumes, reflecting the madness and instability of the revelers. The mood evoked is one of horror and disgust, as the masquerade is a manifestation of the characters' extreme selfishness and descent into psychosis. The gathering resembles a "multitude of dreams" with a nightmarish quality, underscoring the terror and chaos of the situation.
In Poe's "The Masque of the Red Death," what perspective is the story told from and how does it affect reader's sympathies?
The story is told from a limited omniscient perspective, allowing only occasional glimpses into characters' minds, such as Prince Prospero's rage and shame. This narrative style primarily presents events objectively, akin to watching a video, without deep insight into characters' thoughts. Consequently, readers lack the information needed to sympathize with characters, aligning with Poe's intention to focus on the inevitability of death rather than individual experiences or emotions.
Does "The Masque of the Red Death" contain examples of analepsis or prolepsis?
Poe uses prolepsis, or flashforward, in "The Masque of the Red Death" when the narrative jumps forward in time. The beginning of the story features the prince and his courtiers moving into the abbey, then the story flashes forward to five or six months later, when the masquerade ball actually takes place.
Narrative perspective in "The Masque of the Red Death."
The narrative perspective in "The Masque of the Red Death" is third-person omniscient. The narrator provides a comprehensive view of the events and characters, offering insights into the thoughts and feelings of various individuals, particularly Prince Prospero. This perspective allows readers to understand the widespread impact of the Red Death and the futility of trying to escape it.
The mood created by Edgar Allan Poe in "The Masque of the Red Death" and its evolution throughout the story
The mood in "The Masque of the Red Death" begins as one of eerie opulence and false security within Prince Prospero's lavishly secluded abbey. As the story progresses, the mood shifts to one of growing dread and inevitability, culminating in a sense of horror and doom as the Red Death infiltrates the abbey, bringing death to all.
The techniques Poe uses to create a horror atmosphere in "The Masque of the Red Death."
Poe creates a horror atmosphere in "The Masque of the Red Death" through vivid descriptions, symbolism, and foreshadowing. He uses detailed imagery to immerse the reader in the unsettling setting, while symbols like the castle and the black clock represent wealth and mortality, respectively. Additionally, foreshadowing hints at impending doom, contributing to the story's suspense and eerie mood.
Allegory and Symbolism in "The Masque of the Red Death"
Edgar Allan Poe's "The Masque of the Red Death" is an allegorical tale illustrating the inevitability of death. Prince Prospero symbolizes the wealthy attempting to escape mortality by secluding themselves in a fortress. The story's symbolic elements include the seven rooms representing life's stages, with the black and red room symbolizing death. The ebony clock signifies the passage of time and mortality, while the masquerading figure embodies the inescapable Red Death, highlighting that no wealth can shield against death's certainty.
Compare and Contrast
Nineteenth Century: During the nineteenth and early twentieth centuries, tuberculosis, often called ‘‘consumption,’’ reached epidemic levels, especially in growing urban and industrial regions. At that time, it was the leading cause of death in the Western world.
Twentieth Century: Advances in sanitation and hygiene significantly reduced the spread of tuberculosis for much of the twentieth century. However, the disease saw a resurgence in the West during the 1980s and continues to pose a threat in developing countries.
Nineteenth Century: Gothic fiction, also known as Gothic horror, emerged as a literary genre in the nineteenth century. In England, Mary Shelley's Frankenstein (1818) was among the first notable Gothic novels, followed by works like Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde (1886) and Bram Stoker's Dracula (1895). In America, Edgar Allan Poe and Nathaniel Hawthorne were significant contributors to Gothic fiction.
Twentieth Century: By the late twentieth century, Gothic fiction had evolved into two distinct genres. Modern horror stories thrived, both in literature, with prolific authors like Stephen King, and in film, with movies such as Psycho, Night of the Living Dead, Friday the 13th, Halloween, and A Nightmare on Elm Street. Simultaneously, the modern mass-market paperback romance novel, often called Gothic romance, also traces its roots back to the Gothic novel.
Nineteenth Century: On stage, Gothic horror stories were most notably presented in the Grand Guignol style, known for its graphic depictions of gruesome violence. Grand Guignol theater was primarily performed in France, although it briefly gained popularity in England.
Twentieth Century: Gothic horror found its greatest success in the twentieth century through cinema. From the 1960s onward, horror films began to portray increasingly graphic scenes of blood, gore, and violence.
Nineteenth Century: The HIV virus did not exist.
1990s: The AIDS epidemic, which began in the early 1980s, led to the global spread of the HIV virus, believed to cause AIDS, reaching epidemic levels. The rise of AIDS is considered a primary factor in the increased prevalence of tuberculosis in the West, as individuals with AIDS are more susceptible to tuberculosis infection.
Media Adaptations
Poe's short stories, compiled as "The Tell-Tale Heart and Other Terrifying Tales," were recorded on audiocassette by August House in 1995. Syd Liberman narrates these stories.
"Poe Masterpieces" is a collection of Poe's short stories, recorded on audiocassette by the Listening Library in 1987.
Poe's detective stories are featured on an audiocassette titled "The Murders in the Rue Morgue," released by Books on Tape in 1992.
"The Best of Edgar Allan Poe" is a selection of his short stories, recorded on audiocassette by the Listening Library in 1987.
Bibliography and Further Reading
Sources
Bell, H. H., Jr. “‘The Masque of the Red Death’—An Interpretation,” in
South Atlantic Bulletin, Vol. 38, No. 4, 1973, pp. 101, 104.
Britannica Online [database online], Chicago, Ill.: Encyclopaedia Britannica, Inc., 1999- [cited August 1999], available from Encyclopaedia Britannica, Inc., Chicago, Ill., s.v. "Allegory," "Impressionism," "Infection," "Parable," “Short Story,” and "Tuberculosis."
Cassuto, Leonard. “The Coy Reaper: Un-masque-ing the Red Death,” in Studies in Short Fiction, Vol. 25, No. 3, 1988, pp. 317-20.
Cheney, Patrick. "Poe's Use of The Tempest and the Bible in 'The Masque of the Red Death,’” in English Language Notes, Vol. 20, No. 3-4, March-June, 1983, p. 34.
Roppolo, Joseph Patrick. “Meaning and 'The Masque of the Red Death,’” in TSE: Tulane Studies in English, Vol. 13, 1963, pp. 59-69.
Thompson, G. R., Dictionary of Literary Biography, Vol. 3: Antebellum Writers in New York and the South, edited by Joel Myerson, Gale Research, 1979, pp. 249-97.
Further Reading
De Shell, Jeffrey. The Peculiarity of Literature: An Allegorical Approach
to Poe's Fiction, Madison, New Jersey: Fairleigh Dickinson Presses,
1997.
Explores Poe's detective stories and horror tales through their allegorical
significance.
Deas, Michael. The Portraits and Daguerreotypes of Edgar Allan Poe,
Charlottesville: University Press of Virginia, 1989.
A collection of daguerreotype portraits of Poe.
Silverman, Kenneth. New Essays on Poe's Major Tales, New York:
Cambridge University Press, 1993.
Offers a variety of critical analyses on Poe's short stories.
Smith, Don. The Poe Cinema: A Critical Filmography of Theatrical
Releases Based on the Works of Edgar Allan Poe, 1999.
Catalogs films and videos inspired by Poe's works, including plot summaries and
thematic elements, primarily in the horror genre.
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