THE MASQUE OF THE RED DEATH

THE MASQUE OF THE RED DEATH

BY EDGAR ALLAN POE

(Published 1850)

    The "red death" had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its avator and its seal — the redness 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 the incidents of half an hour.

    But the 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 castellated 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 or 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 "red death."

    It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, 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 extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of 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 here were scarlet — a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or 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 to each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black 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 in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its 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 harken 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 the 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 peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.

    He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; 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-colored 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 indulge in the more remote gaieties of the other apartments.

    But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as i have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise — then, finally, of terror, of horror, and of disgust.

    In an assembly of phantasms such as i have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-heroded herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the red death. His vesture was dabbled in blood — and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.

    When the eyes of prince prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.

    "who dares?" he demanded hoarsely of the courtiers who stood near him — "who dares insult us with this blasphemous mockery? Seize him and unmask him — that we may know whom we have to hang at sunrise, from the battlements!"

    It was in the eastern or blue chamber in which stood the prince prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly — for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.

    It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who, at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple — through the purple to the green — through the green to the orange — through this again to the white — and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the prince prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry — and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the prince prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.

    And now was acknowledged the presence of the red death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And darkness and decay and the red death held illimitable dominion over all.

Poe’s short stories

Edgar allan poe

←“the masque of the red death” (1845)→

Summary

A disease known as the red death plagues the fictional country where this tale is set, and it causes its victims to die quickly and gruesomely. Even though this disease is spreading rampantly, the prince, prospero, feels happy and hopeful. He decides to lock the gates of his palace in order to fend off the plague, ignoring the illness ravaging the land. After several months, he throws a fancy masquerade ball. For this celebration, he decorates the rooms of his house in single colors. The easternmost room is decorated in blue, with blue stained-glass windows. The next room is purple with the same stained-glass window pattern. The rooms continue westward, according to this design, in the following color arrangement: green, orange, white, and violet. The seventh room is black, with red windows. Also in this room stands an ebony clock. When the clock rings each hour, its sound is so loud and distracting that everyone stops talking and the orchestra stops playing. When the clock is not sounding, though, the rooms are so beautiful and strange that they seem to be filled with dreams, swirling among the revelers. Most guests, however, avoid the final, black-and-red room because it contains both the clock and an ominous ambience.

At midnight, a new guest appears, dressed more ghoulishly than his counterparts. His mask looks like the face of a corpse, his garments resemble a funeral shroud, and his face reveals spots of blood suggesting that he is a victim of the red death. Prospero becomes angry that someone with so little humor and levity would join his party. The other guests, however, are so afraid of this masked man that they fail to prevent him from walking through each room. Prospero finally catches up to the new guest in the black-and-red room. As soon as he confronts the figure, prospero dies. When other party-goers enter the room to attack the cloaked man, they find that there is nobody beneath the costume. Everyone then dies, for the red death has infiltrated the castle. “darkness and decay and the red death” have at last triumphed.

Analysis

“the masque of the red death” is an allegory. It features a set of recognizable symbols whose meanings combine to convey a message. An allegory always operates on two levels of meaning: the literal elements of the plot (the colors of the rooms, for example) and their symbolic counterparts, which often involve large philosophical concepts (such as life and death). We can read this story as an allegory about life and death and the powerlessness of humans to evade the grip of death. The red death thus represents, both literally and allegorically, death. No matter how beautiful the castle, how luxuriant the clothing, or how rich the food, no mortal, not even a prince, can escape death. In another sense, though, the story also means to punish prospero’s arrogant belief that he can use his wealth to fend off the natural, tragic progress of life. Prospero’s arrogance combines with a grievous insensitivity to the plight of his less fortunate countrymen. Although he possesses the wealth to assist those in need, he turns his wealth into a mode of self-defense and decadent self-indulgence. His decadence in throwing the masquerade ball, however, unwittingly positions him as a caged animal, with no possible escape.

The rooms of the palace, lined up in a series, allegorically represent the stages of life. Poe makes it a point to arrange the rooms running from east to west. This progression is symbolically significant because it represents the life cycle of a day: the sun rises in the east and sets in the west, with night symbolizing death. What transforms this set of symbols into an allegory, however, is the further symbolic treatment of the twenty-four hour life cycle: it translates to the realm of human beings. This progression from east to west, performed by both prospero and the mysterious guest, symbolizes the human journey from birth to death. Poe crafts the last, black room as the ominous endpoint, the room the guests fear just as they fear death. The clock that presides over that room also reminds the guests of death’s final judgment. The hourly ringing of the bells is a reminder of the passing of time, inexorable and ultimately personal.

As in many poe stories, the use of names contributes to the symbolic economic context of the story and suggests another set of allegorical interpretations. For example, prospero, whose name suggests financial prosperity, exploits his own wealth to stave off the infiltration of the red death. His retreat to the protection of an aristocratic palace may also allegorize a type of economic system that poe suggests is doomed to failure. In the hierarchical relationship between prospero and the peasantry, poe portrays the unfairness of a feudal system, where wealth lies in the hands of the aristocracy while the peasantry suffers. This use of feudal imagery is historically accurate, in that feudalism was prevalent when the actual bubonic plague devastated europe in the fourteenth century. The red death, then, embodies a type of radical egalitarianism, or monetary equality, because it attacks the rich and poor alike.

The portrayal of the masquerade ball foreshadows the similar setting of the carnival in “the cask of amontillado,” which appeared less than a year after “the masque of the red death.” Whereas the carnival in “the cask of amontillado” associates drunken revelry with an open-air italian celebration, the masquerade functions in this story as a celebratory retreat from the air itself, which has become infected by the plague. The masquerade, however, dispels the sense of claustrophobia within the palace by liberating the inner demons of the guests. These demons are then embodied by the grotesque costumes. Like the carnival, the masquerade urges the abandonment of social conventions and rigid senses of personal identity. However, the mysterious guest illuminates the extent to which prospero and his guests police the limits of social convention. When the mysterious guest uses his costume to portray the fears that the masquerade is designed to counteract, prospero responds antagonistically. As he knows, the prosperity of the party relies upon the psychological transformation of fear about the red death into revelry. When the mysterious guest dramatizes his own version of revelry as the fear that cannot be spoken, he violates an implicit social rule of the masquerade. The fall of prospero and the subsequent deaths of his guests follow from this logic of the masquerade: when revelry is unmasked as a defense mechanism against fear, then the raw exposure of what lies beneath is enough to kill.