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The Masque of the Red Death
by
Edgar Allan Poe
The red death had long
devastated the country. No pestilence had ever
been so
fatal, or so hideous. Blood was
its Avatar and its seal--the madness and the
horror
of blood. There were sharp
pains, and sudden dizziness, and then profuse
bleeding
at the pores, with
dissolution. The scarlet stains upon the body and
especially upon
the face of the victim,
were the pest ban which shut him out from the aid
and from
the sympathy of his fellow-
men. And the whole seizure, progress, and
termination
of the disease, were
incidents of half an hour.
But
Prince
Prospero
was
happy
and
dauntless
and
sagacious.
When
his
dominions
were
half
depopulated,
he
summoned
to
his
presence
a
thousand
hale
and
light-hearted friends from among the knights and
dames of his court, and with
these
retired
to
the
deep
seclusion
of
one
of
his
crenellated
abbeys.
This
was
an
extensive and magnificent structure,
the creation of the prince's own eccentric yet
august taste. A strong and lofty wall
girdled it in. This wall had gates of iron. The
courtiers,
having
entered,
brought
furnaces
and
massy
hammers
and
welded
the
bolts.
They
resolved
to
leave
means
neither
of
ingress
nor
egress
to
the
sudden
impulses of despair
or of frenzy from within. The abbey was amply
provisioned.
With such precautions the
courtiers might bid defiance to contagion. The
external
world could take care of
itself. In the meantime it was folly to grieve or
to think.
The prince had provided all
the appliances of pleasure. There were buffoons,
there
were
improvisatori,
there
were
ballet-dancers,
there
were
musicians,
there
was
Beauty,
there was wine. All these and security were
within. Without was the
Death.
It
was
toward
the
close
of
the
fifth
or
sixth
month
of
his
seclusion
that
the
Prince
Prospero
entertained
his
thousand
friends
at
a
masked
ball
of
the
most
unusual
magnificence.
It was a voluptuous
scene, that masquerade. But first let me tell of
the rooms in
which it was held. There
were seven--an imperial suite, In many palaces,
however,
such suites form a long and
straight vista, while the folding doors slide back
nearly
to the walls on either hand, so
that the view of the whole extant is scarcely
impeded.
Here the case was very
different; as might have been expected from the
duke's love
of
the
The
apartments
were
so
irregularly
disposed
that
the
vision
embraced but little more than one at a
time. There was a sharp turn at the right and
left, in the middle of each wall, a
tall and narrow Gothic window looked out upon a
closed corridor of which pursued the
windings of the suite. These windows were of
1
stained
glass
whose
color
varied
in
accordance
with
the
prevailing
hue
of
the
decorations of the chamber into which
it opened. That at the eastern extremity was
hung,
for
example,
in
blue
--and
vividly
blue
were
its
windows.
The
second
chamber was purple in its ornaments and
tapestries, and here the panes were purple.
The
third
was
green
throughout,
and
so
were
the
casements.
The
fourth
was
furnished and lighted with orange--the
fifth with white--the sixth with violet. The
seventh apartment was closely shrouded
in black velvet tapestries that hung all over
the ceiling and down the walls,
falling in
heavy folds upon
a
carpet
of the same
material
and
hue.
But
in
this
chamber
only,
the
color
of
the
windows
failed
to
correspond with the decorations. The
panes were scarlet--a deep blood color. Now
in no one of any of the seven
apartments was there any lamp or candelabrum, amid
the profusion of golden ornaments that
lay scattered to and fro and depended from
the roof. There was no light of any
kind emanating from lamp or candle within the
suite of chambers. But in the corridors
that followed the suite, there stood, opposite
each
window,
a
heavy
tripod,
bearing
a
brazier
of
fire,
that
projected
its
rays
through the tinted
glass and so glaringly lit the room. And thus were
produced a
multitude of gaudy and
fantastic appearances. But in the western or back
chamber
the
effect
of
the
fire-light
that
streamed
upon
the
dark
hangings
through
the
blood-tinted panes was
ghastly in the extreme, and produced so wild a
look upon
the countenances of those who
entered, that there were few of the company bold
enough to set foot within its precincts
at all. It was within this apartment, also, that
there stood against the western wall, a
gigantic clock of ebony. It pendulum swung
to and fro with a dull, heavy,
monotonous clang; and when the minute-hand made
the circuit of the face, and the hour
was to be stricken, there came from the brazen
lungs
of
the
clock
a
sound
which
was
clear
and
loud
and
deep
and
exceedingly
musical, but of
so peculiar a note and emphasis that, at each
lapse of an hour, the
musicians
of
the
orchestra
were
constrained
to
pause,
momentarily,
in
their
performance, to
hearken to the sound; and thus the waltzers
perforce ceased their
evolutions; and
there was a brief disconcert of the whole gay
company; and while
the chimes of the
clock yet rang. it was observed that the giddiest
grew pale, and
the
more
aged
and
sedate
passed
their
hands
over
their
brows
as
if
in
confused
revery or meditation. But when the
echoes had fully ceased, a light laughter at once
pervaded the assembly; the musicians
looked at each other and smiled as if at their
own nervousness and folly, and made
whispering vows, each to the other, that the
next
chiming
of
the
clock
should
produce
in
them
no
similar
emotion;
and
then,
after
the
lapse
of
sixty
minutes
(which
embrace
three
thousand
and
six
hundred
seconds of Time that
flies), there came yet another chiming of the
clock, and then
were the same
disconcert and tremulousness and meditation as
before. But, in spite
of
these
things,
it
was
a
gay
and
magnificent
revel.
The
tastes
of
the
duke
were
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