the darkness, the narrator detects "the peculiar smell of decayed fungus" as his face rests on the ground of the dungeon where he is imprisoned.

The narrator's captors torture him by removing the pitcher of water they had initially provided and giving him a dish of "meat pungently seasoned," the description implying that he has tasted it.

The narrator employs auditory imagery—imagery that describes something heard—when he says,

the sound of the inquisitorial voices seemed merged in one dreamy indeterminate hum. It conveyed to my soul the idea of revolution—perhaps from its association in fancy with the burr of a mill-wheel.

This is particularly interesting in that he connects something that one might hear with a description of something one might see, using visual imagery. He describes movement, the revolution or turning of a mill-wheel, in order to describe the way his inquisitors' voices sound. This combination of two different kinds of imagery, both visual and auditory, is called synesthesia.

More visual imagery follows when the narrator describes the appearance of his judges whose voices he's just described:

I saw the lips of the black-robed judges. They appeared to me white—whiter than the sheet upon which I trace these words—and thin even to grotesqueness; thin with the intensity of their expression of firmness

They wear black, then, but their lips are terribly, monstrously white and thin. They sound less like judges and more like creatures, something not human. This visual imagery continues when he describes what they look like when they speak:

I saw that the decrees of what to me was Fate were still issuing from those lips. I saw them writhe with a deadly locution. I saw them fashion the syllables of my name; and I shuddered because no sound succeeded.

Again, then, we have a synesthesia of visual and auditoryimagery: the narrator describes the appearance of those monstrous lips speaking his name, but the silence that issues is equally as appalling. More visual imagery follows: 

I saw, too, for a few moments of delirious horror, the soft and nearly imperceptible waving of the sable draperies which enwrapped the walls of the apartment. And then my vision fell upon the seven tall candles upon the table. At first they wore the aspect of charity, and seemed white slender angels who would save me, but then, all at once, there came a most deadly nausea over my spirit, and I felt every fibre in my frame thrill as if I had touched the wire of a galvanic battery, while the angel forms became meaningless spectres, with heads of flame

Thus, the narrator describes, using synesthesia, the look and sound of the draperies moving as well as the candles in the room—at first appearing good and lovely, and then inducing him to feel nauseated and terrified. They are, at first, angels, and then they transform into monsters as well, monsters with heads all aflame.

More auditory imagery:

And then there stole into my fancy, like a rich musical note, the thought of what sweet rest there must be in the grave.

And, finally, the combination of visual and auditory again in the final lines:

[the candles'] flames went out utterly; the blackness of darkness supervened; all sensations apepared swallowed up in a mad rushing descent as of the soul into Hades. Then silence, and stillness, and night were the unverse.

This description of the darkness (visual) and the silence (auditory) presents another example of synesthesia.

In "The Pit and the Pendulum" by Edgar Allan Poe, the first paragraph is replete with various types of imagery. In fact, the speaker seems to have a transcendental experience.

In this opening paragraph of Poe's story, the narrator gives the impression that he is in a changeable state of consciousness, as he describes his feelings using organic imagery, which involves internal sensations: "I was sick—sick unto death with that long agony." In another instance of this organic imagery, the narrator states that when he sees the waving of the drapes, he feels "delirious horror." Further, when the delicate white candles on the table seem to him to resemble angels who would save him, he is suddenly overcome with "a most deadly nausea" as he swoons, but he does not lose consciousness.

In addition to the other instances of imagery that have been previously mentioned, the narrator describes certain feelings using kinestheticimagery, which involves movement or tension of the joints or muscles. For instance, the narrator states that all his sensations felt to him as though they were "swallowed up in a mad rushing descent."

Because the story appears in many different printed versions, lines 179–196 could vary depending on your copy of the text. However, I'm going to assume the passage being referred to is the scene where the narrator wakes up to find himself strapped to a low table and is finally able to see the interior of his cell. In this section, Poe uses visual, tactile, and gustatory imagery to create an atmosphere of suspense and terror. After having been drugged in his pitch black cell, the narrator now is awake and able to look at the place he tried to discern without light. The first thing he notices is the artwork on the walls. Painted on the walls are menacing fiends in colors that are "faded and blurred." He also notices the stone floor and the pit that he had nearly fallen into. Looking up, about 30 to 40 feet overhead he sees a painted mural of Time personified, and instead of a scythe, it holds a pendulum. These descriptions help the reader experience the room with the narrator.

The most distressing imagery, however, is tactile. The narrator describes his physical position in a way that makes the reader feel what he feels. The man is strapped on a low wooden frame, lying flat on his back, securely bound by a "surcingle," a wide strap used on a horse, that has been wound multiple times around parts of his body. We learn he can only barely lift his head to look around, and only his left arm is somewhat free, allowing it to reach some food in an "earthen dish." This tactile imagery allows us to experience the sensations and textures the man experiences. Another type of imagery related to tactile imagery is kinesthetic, that is, imagery of motion. The man's inability to move and his perception of the moving pendulum fall into this category.

The final type of imagery used in this section is gustatory, or taste, imagery. The man notices the pitcher is missing, and is immediately "consumed with intolerable thirst." He also notices that the meat in the dish is "pungently seasoned." These descriptions go a long way toward intensifying the torture that the man experiences—and that the reader experiences with him through imagery.

Through the imagery of the menacing paintings on the wall and ceiling, the tight binding of the man's body, and the pungent food causing unbearable thirst, Poe is able to create feelings of fear and suspense in his readers.