was not asleep, from the wide and rigid opening of the eye as I caught a glance of it in profile. The motion of his body, too, was at variance with this idea for he rocked from side to side with a gentle, yet constant and uniform, sway. Having rapidly taken notice of all this, I resumed the narrative of Sir Launcelot, which thus 10 proceeded:

And now, the champion, having escaped from the terrible fury of the dragon, bethinking himself of the brazen shield, and of the breaking up of the enchantment which was upon it, removed the carcass from out of the way before him, and approached valorously over the silver pavement of the castle to where the shield was upon the wall; which in sooth tarried not 20 for his full coming, but fell down at his feet upon the silver floor, with a mighty great and terrible ringing sound.

No sooner had these syllables passed my lips, than-as if a shield of brass had indeed, at the moment, fallen heavily upon a floor of silver-I became aware of a distinct, hollow, metallic, and clangorous, yet apparently muffled, reverberation. Completely 30 unnerved, I leaped to my feet; but the measured rocking movement of Usher was undisturbed. I rushed to the chair in which he sat. His eyes were bent fixedly before him, and throughout his whole countenance there reigned a stony rigidity. But as I placed my hand upon his shoulder, there came a strong shudder over his whole person; a sickly smile quivered 40 about his lips; and I saw that he spoke in a low, hurried, and gibbering murmur, as if unconscious of my presence. Bending closely over him, I at length drank in the hideous import of his words.

"Not hear it?-yes, I hear it, and have heard it. Long-long-longmany minutes, many hours, many

days have I heard it-yet I dared not -oh, pity me, miserable wretch that 50 I am I dared not-I dared not speak! We have put her living in the tomb! Said I not that my senses were acute? I now tell you that I heard her first feeble movements in the hollow coffin. I heard them—many, many days ago-yet I dared notI dared not speak! And now-tonight -Ethelred-ha! ha!-the breaking of the hermit's door, and the death-cry 60 of the dragon, and the clangor of the shield!-say, rather, the rending of her coffin, and the grating of the iron hinges of her prison, and her struggles within the coppered archway of the vault! Oh, whither shall I fly? Will she not be here anon? Is she not hurrying to upbraid me for my haste? Have I not heard her footstep on the stair? Do I not distinguish that 70 heavy and horrible beating of her heart? Madman!"-here he sprang furiously to his feet, and shrieked out his syllables, as if in the effort he were giving up his soul-"Madman! I tell you that she now stands without the door!"

As if in the superhuman energy of his utterance there had been found the potency of a spell, the huge, an- 80 tique panels to which the speaker pointed threw slowly back, upon the instant, their ponderous and ebony jaws. It was the work of the rushing gust-but then without those doors there did stand the lofty and enshrouded 'figure of the lady Madeline of Usher! There was blood upon her white robes, and the evidence of some bitter struggle upon every portion of 90 her emaciated frame. For a moment she remained trembling and reeling to and fro upon the threshold-then, with a low, moaning cry, fell heavily inward upon the person of her brother, and, in her violent and now final death agonies, bore him to the floor a corpse,

and a victim to the terrors he had anticipated.

From that chamber, and from that mansion, I fled aghast. The storm was still abroad in all its wrath as I found myself crossing the old cause

way.

Suddenly there shot along the path a wild light, and I turned to see 10 whence a gleam so unusual could have issued; for the vast house and its shadows were alone behind me. The radiance was that of the full, setting, and blood-red moon, which now shone vividly through that once barely dis

EXPLANATORY NOTES

cernible fissure, of which I have before spoken as extending from the roof of the building, in a zigzag direction, to the base. While I gazed, this fissure rapidly widened-there came a fierce 20 breath of the whirlwind-the entire orb of the satellite burst at once upon my sight-my brain reeled as I saw the mighty walls rushing asunderthere was a long, tumultuous shouting sound like the voice of a thousand waters-and the deep and dank tarn at my feet closed sullenly and silently over the fragments of the "House of Usher."

1. Poe does not rest content with merely relating this story; he desires to emphasize his effect, to add little by little to its significance until at the end the reader will recall not only the events, but will still linger for some time as under the spell of some influence. The effect made upon the reader is a "spell" which depends upon the simplest power in the worldthe power of words. No one who has once really read this story-not merely skimmed the words can ever shake off its influence. Long after he has forgotten the exact details of the stay in that old mansion, he will feel a spontaneous tremor pass over him, because the impression the story made will revive in his feelings. Poe knew, as few men do, the power of words, the power in their meaning, the power in their form, the power in their age, the power in their sound, the power in their suggestions.

2. There are three main divisions in this story, the last corresponding strictly to the first, the middle growing directly from the introduction and preparing clearly for the conclusion.

3. The remarkable poem, "The Haunted Palace," was written by Poe a few years before the story. Finding that it fitted exactly into the mood he wished to induce in his reader, he inserted it, adding a note that he had already published it in a magazine.

QUESTIONS AND TOPICS

1. What kind of words does Poe use in the opening paragraph to secure his effect? Make

Why is vacant Why is tarn lake or pool?

a list of the most effective words. How many are unusual to you? Is it true-as Poe says that there are some melancholies, some sadnesses, which have a half-pleasurable effect? Have you experienced any? eye-like windows so good? here so much better than What romantic elements enter into the tale from the very beginning? Keep account of how several of these are intensified or grow as the story progresses.

2.

What is unusual about the Usher family? Do you like to have the author make natural surroundings harmonize with his theme? Why? What is the most noticeable feature about the front of the house? Why is causeway a better word than bridge? What effect upon you has the meeting of the guest with the physician? Is the narration or the description the better in this? Justify your opinion by selections, explaining their excellence. Is Usher's condition natural? What did he need? What would have helped him? Why is the guitar a fitting instrument for Usher's music? What other instruments might have served as well?

3. Memorize "The Haunted Palace" and recite it aloud slowly, enunciating every word clearly. Do not use too much voice. Onomato pria means that the sound of the words fits their meaning. How does the word apply to this poem? How frequently are o-sounds used?

4. Was Usher really normal? Does Poe decide? What hints does he give of his own opinion? What do you think of Poe's manner of suggesting thoughts to his readers? Is the terror transmitted to the reader, as Poe intended it should be? Is the plan of this story complex

or simple? Cite all the details of the conclusion which correspond to details of the beginning. Is such correspondence artistic?

5. Fantastic as this tale is, how does Poe base it on scientific facts? Is any part of it beyond possibility? Is there any attempt to relieve the gloom in the story? Would such relief have been welcome here? What is the greatest quality or feature of this story?

6. Of all Poe's stories which do you prefer? Because of what? Why does the world consider him so great? Which nation has produced the greatest short stories? Do the readers of that nation read and like Poe?

Theme Topics. 1. Discuss, or write a paper on Poe's three greatest story-telling merits, as you have discovered them from your reading. 2. Discuss Poe's originality in his choice of subject matter. 3. If you have read other tales of horror, give the class a brief account of the

best one, including how you happened to read it, what it told, how you liked it, how it compares with Poe's tales of horror. 4. Recall some mystery or horror or fear of your own life. Write an account of it, trying to make your tale as vivid as Poe's stories. Revise it several times, improving details, changing words and phrases, inserting the best, most fitting, most meaningful word, wherever you can. Don't make it too long. Don't hurry to finish. Finally read it to the class. Let the members discuss its impression. Its effect will be a good test of your ability in composition to impress others. 5. A description of some house of mystery in your vicinity.

Library Reading. "The Cask of Amontillado," Poe; if you are interested in seeing how other authors have handled the horror tale, you might read "What Was It?" O'Brien (in Poems and Stories); In the Midst of Life, Bierce.

Nil sapientiæ odiosius acumine nimio.*

SENECA

At Paris, just after dark one gusty evening in the autumn of 18—, I was enjoying the twofold luxury of meditation and a meerschaum, in company with my friend C. Auguste Dupin, in his little back library, or book closet, au troisième, No. 33 Rue Dunôt, Faubourg St. Germain. For one hour at least we had maintained a profound 10 silence; while each, to any casual observer, might have seemed intently and exclusively occupied with the curling eddies of smoke that oppressed the atmosphere of the chamber. For myself, however, I was mentally discussing certain topics which had formed matter for conversation between us at an earlier period of the

evening; I mean the affair of the Rue Morgue, and the mystery attending 20 the murder of Marie Rogêt. I looked upon it, therefore, as something of a coincidence, when the door of our apartment was thrown open and admitted our old acquaintance, Monsieur G, the Prefect of the Parisian police.

We gave him a hearty welcome; for there was nearly half as much of the entertaining as of the contemptible 30 about the man, and we had not seen him for several years. We had been sitting in the dark, and Dupin now arose for the purpose of lighting a lamp, but sat down again, without doing so, upon G's saying that he had called to consult us, or rather to ask the opinion of my friend, about some official business which had occasioned a great deal of trouble.

19-21. Rue Morgue Marie Rogêt. The reference is to two of Poe's own stories, "The Murders in the Rue Morgue," and "The Mystery of Marie Rogêt."

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"If it is any point requiring reflection," observed Dupin, as he forbore to enkindle the wick, "we shall examine it to better purpose in the dark."

"That is another of your odd notions," said the Prefect, who had a fashion of calling everything "odd" that was beyond his comprehension, and thus lived amid an absolute legion 10 of "oddities."

"Very true," said Dupin, as he supplied his visitor with a pipe, and rolled toward him a comfortable chair.

"And what is the difficulty now?" I asked. "Nothing more in the assassination way, I hope?"

"Oh, no; nothing of that nature. The fact is, the business is very simple indeed, and I make no doubt that we 20 can manage it sufficiently well ourselves; but then I thought Dupin would like to hear the details of it, because it is so excessively odd."

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"Simple and odd," said Dupin.

"Why, yes; and not exactly that, either. The fact is, we have all been a good deal puzzled because the affair is so simple, and yet baffles us altogether."

"Perhaps it is the very simplicity of the thing which puts you at fault, said my friend.

"What nonsense you do talk!" replied the Prefect, laughing heartily. "Perhaps the mystery is a little too plain," said Dupin.

"Oh, good heavens! who ever heard of such an idea?"

"A little too self-evident."

"Ha! ha! ha!-ha! ha! ha!-ho! ho! ho!" roared our visitor, profoundly amused; "oh, Dupin, you will be the death of me yet!"

"And what, after all, is the matter on hand?" I asked.

"Why, I will tell you," replied the Prefect, as he gave a long, steady, and contemplative puff, and settled himself in his chair. "I will tell you

in a few words; but, before I begin, 50 let me caution you that this is an affair demanding the greatest secrecy, and that I should most probably lose the position I now hold were it known that I confided it to anyone." "Proceed," said I.

"Or not," said Dupin.

"Well, then; I have received personal information from a very high quarter that a certain document of 60 the last importance has been purloined from the royal apartments. The individual who purloined it is known; this beyond a doubt; he was seen to take it. It is known, also, that it still remains in his possession."

"How is this known?" asked Dupin. "It is clearly inferred," replied the Prefect, "from the nature of the docu- 70 ment, and from the non-appearance of certain results which would at once arise from its passing out of the robber's possession; that is to say, from his employing it as he must design in the end to employ it."

"Be a little more explicit," I said. "Well, I may venture so far as to say that the paper gives its holder a certain power in a certain quarter 80 where such power is immensely valuable." The Prefect was fond of the cant of diplomacy.

"Still I do not quite understand," said Dupin.

"No? Well; the disclosure of the document to a third person, who shall be nameless, would bring in question the honor of a personage of most exalted station; and this fact gives 90 the holder of the document an ascendency over the illustrious personage whose honor and peace are so jeopardized."

"But this ascendency," I interposed, "would depend upon the robber's knowledge of the loser's knowledge of the robber. Who would dare

"The thief," said G, "is the Minister D, who dares all things, those unbecoming, as well as those becoming, a man. The method of the theft was not less ingenious than bold. The document in question—a letter, to be frank-had been received by the personage robbed while alone in the royal boudoir. During its perusal 10 she was suddenly interrupted by the entrance of the other exalted personage, from whom especially it was her wish to conceal it. After a hurried and vain endeavor to thrust it in a drawer, she was forced to place it, open as it was, upon a table. The address, however, was uppermost, and, the contents thus unexposed, the letter escaped notice. At this juncture en20 ters the Minister D. His lynx eye immediately perceives the paper, recognizes the handwriting of the address, observes the confusion of the personage addressed, and fathoms her secret. After some business transactions, hurried through in his ordinary manner, he produces a letter somewhat similar to the one in question, opens it, pretends to read it, and 30 then places it in close juxtaposition to the other. Again he converses for some fifteen minutes upon the public affairs. At length in taking leave he takes also from the table the letter to which he had no claim. Its rightful owner saw, but of course dared not call attention to the act, in the presence of the third personage, who stood at her elbow. The Minister de40 camped, leaving his own letter-one of no importance-upon the table."

"Here, then," said Dupin to me, "you have precisely what you demand to make the ascendency complete the robber's knowledge of the loser's knowledge of the robber."

6. letter, formerly letters were written upon one side of a sheet of paper, which was then folded and sealed. The address was written upon the outside, no envelope being used.

"Yes," replied the Prefect; "and the power thus attained has, for some months past, been wielded, for political purposes, to a very dangerous 50 extent. The personage robbed is more thoroughly convinced every day of the necessity of reclaiming her letter. But this, of course, cannot be done openly. In fine, driven to despair, she has committed the matter to me.'

"Than whom," said Dupin, amid a perfect whirlwind of smoke, "no more sagacious agent could, I suppose, be desired, or even imagined."

"You flatter me," replied the Prefect; "but it is possible that some such opinion may have been entertained."

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"It is clear," said I, "as you observe, that the letter is still in possession of the Minister; since it is this possession, and not any employment of the letter, which bestows the power. With the employment the 70 power departs."

"True," said G; "and upon this conviction I proceeded. My first care was to make thorough search of the Minister's hôtel; and here my chief embarrassment lay in the necessity of searching without his knowledge. Beyond all things, I have been warned of the danger which would result from giving him reason to suspect so our design."

"But," said I, "you are quite au fait in these investigations. The Parisian police have done this thing often before."

"Oh, yes; and for this reason I did not despair. The habits of the Minister gave me, too, a great advantage. He is frequently absent from home all night. His servants are by no means 90 numerous. They sleep at a distance from their master's apartment, and,