Summary

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

Indeed, the Baron’s perverse attachment to his lately acquired charger—an attachment which seemed to attain new strength from every fresh example of the animal’s ferocious and demon-like propensities—at length became, in the eyes of all reasonable men, a hideous and unnatural fervour. In the glare of noon—at the dead hour of night—in sickness or in health—in calm or in tempest—the young Metzengerstein seemed riveted to the saddle of that colossal horse, whose intractable audacities so well accorded with his own spirit.
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

But a new and fearful object soon riveted the attention of the multitude, and proved how much more intense is the excitement wrought in the feelings of a crowd by the contemplation of human agony, than that brought about by the most appalling spectacles of inanimate matter.
Up the long avenue of aged oaks which led from the forest to the main entrance of the Palace Metzengerstein, a steed, bearing an unbonneted and disordered rider, was seen leaping with an impetuosity which out-stripped the very Demon of the Tempest.
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe Poe’s Tales of Mystery and Imagination… (1935)

But as the Baron listened, or affected to listen, to the gradually increasing uproar in the stables of Berlifitzing—or perhaps pondered upon some more novel, some more decided act of audacity—his eyes were turned unwittingly to the figure of an enormous, and unnaturally coloured horse, represented in the tapestry as belonging to a Saracen ancestor of the family of his rival. The horse itself, in the foreground of the design, stood motionless and statue-like—while, farther back, its discomfited rider perished by the dagger of a Metzengerstein.
Source: Wikisource

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