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The "Red Death" had long devastated the country. No pestilence had
ever been so fatal, or so hideous. Blood was its Avatar 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 colour 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 colour of the windows failed to
correspond with the decorations. The panes here were scarlet - a
deep blood colour. 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
protected 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 hearken
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 reverie 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.
The Masque of the Red Death
Story
A Horror Story
by
Edgar Allen Poe
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