Edgar Allan Poe

Edgar Allan Poe

Summary

Portrait of Edgar Allan Poe Edgar Allan Poe The Garden of Romance (1897)

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 not—I dared not speak! And now—to-night—Ethelred—ha! ha!—the breaking of the hermit's door, and the death-cry of the dragon, and the clangour 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?
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe The Garden of Romance (1897)

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 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.
Source: Wikisource

Portrait of Edgar Allan Poe Edgar Allan Poe The Garden of Romance (1897)

I had so worked upon my imagination as really to believe that about the whole mansion and domain there hung an atmosphere peculiar to themselves and their immediate vicinity—an atmosphere which had not affinity with the air of heaven, but which had reeked up from the decayed trees, and the grey wall, and the silent tarn—a pestilent and mystic vapour, dull, sluggish, faintly discernible, and leaden-hued.
Source: Wikisource

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