Summary

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

Upon the broad black marble flagstones at the entrance of the palace, and a few steps above the water, stood a figure which none who then saw can have ever since forgotten, It was the Marchesa Aphrodite—the adoration of all Venice—the gayest of the gay—the most lovely where all were beautiful—but still the young wife of the old and intriguing Mentoni, and the mother of that fair child, her first and only one, who now deep beneath the murky water, was thinking in bitterness of heart upon her sweet caresses, and exhausting its little life in struggles to call upon her name.
Source: Wikisource

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

The prison of the Old Republic is, I think, the stateliest building in all Venice—but how could that lady gaze so fixedly upon it, when beneath her lay stifling her only child? Yon dark, gloomy niche, too, yawns right opposite her chamber window—what, then, could there be in its shadows—in its architecture—in its ivy-wreathed and solemn cornices—that the Marchesa di Mentoni had not wondered at a thousand times before?
Source: Wikisource

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

And the Marchesa! Her lip—her beautiful lip trembles: tears are gathering in her eyes— those eyes which, like Pliny’s acanthus, are “soft and almost liquid.” Yes! tears are gathering in those eyes—and see! the entire woman thrills throughout the soul, and the statue has started into life! The pallor of the marble countenance, the swelling of the marble bosom, the very purity of the marble feet, we behold suddenly flushed over with a tide of ungovernable crimson
Source: Wikisource

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