The Fall of the House of Usher Roderick Art

1839 short story past Edgar Allan Poe

The Fall of the House of Usher
by Edgar Allan Poe
First appearance in Burton'southward Gentleman'south Magazine (September 1839)
Country	United States
Language	English
Genre(s)	Horror, Gothic
Published in	Burton's Gentleman's Magazine
Publication date	September 1839

"The Fall of the House of Usher" is a short story by American writer Edgar Allan Poe, beginning published in 1839 in Burton's Gentleman's Magazine, then included in the drove Tales of the Grotesque and Arabesque in 1840.^[1] The curt story, a work of Gothic fiction, includes themes of madness, family, isolation, and metaphysical identities.^[2]

Plot [edit]

The story begins with the unnamed narrator arriving at the house of his friend, Roderick Usher, having received a alphabetic character from him in a distant role of the country lament of an illness and asking for his aid. As he arrives, the narrator notices a thin crack extending from the roof, downward the front of the house and into the adjacent tarn, or lake.

It is revealed that Roderick'southward sister, Madeline, is also sick and falls into cataleptic, deathlike trances. Roderick and Madeline are the only remaining members of the Usher family unit.

The narrator is impressed with Roderick's paintings and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar. Roderick sings "The Haunted Palace", then tells the narrator that he believes the business firm he lives in to exist live, and that this sentience arises from the arrangement of the masonry and vegetation surrounding it. Farther, Roderick believes that his fate is connected to the family mansion.

Roderick later on informs the narrator that Madeline has died. Fearing that her body will be exhumed for medical study, Roderick insists that she exist entombed for ii weeks in the family tomb located in the firm before being permanently cached. The narrator helps Roderick put Madeline's torso in the tomb, whereupon the narrator realizes that Madeline and Roderick are twins. The narrator as well notes that Madeline's body has rosy cheeks, which sometimes happens afterwards decease. Over the adjacent week, both Roderick and the narrator find themselves increasingly agitated.

A storm begins, and Roderick comes to the narrator's bedroom (which is situated directly to a higher place the house's vault) in an almost hysterical state. Throwing the windows open to the tempest, Roderick points out that the lake surrounding the house seems to glow in the dark, just as Roderick depicted in his paintings, but there is no lightning or other explainable source for the glow.

The narrator attempts to calm Roderick down by reading aloud from a medieval romance entitled The Mad Trist, a novel involving a knight named Ethelred who breaks into a hermit'south dwelling in an endeavor to escape an budgeted storm, only to notice a palace of aureate guarded by a dragon. Ethelred as well finds a shining brass shield hanging on a wall. Upon the shield is inscribed:

Who entereth herein, a conqueror hath bin;
Who slayeth the dragon, the shield he shall win;^[ane]

Ethelred swings his mace at the dragon, which dies with a piercing shriek. When he attempts to take the shield from the wall, it falls to the floor with an unnerving clatter.

As the narrator reads of the knight's forcible entry into the dwelling, he and Roderick hear cracking and ripping sounds from somewhere in the business firm. When the dragon's death cries are described, a real shriek is heard, again within the house. As he relates the shield falling from off the wall, a hollow metallic reverberation can exist heard throughout the house. At first, the narrator ignores the noises, but Roderick becomes increasingly hysterical. Roderick eventually declares that he has been hearing these sounds for days, and that they are being fabricated past his sister, who was in fact alive when she was entombed.

The sleeping room door is so blown open to reveal Madeline, bloodied from her arduous escape from the tomb. In a final fit of rage, she attacks her blood brother, scaring him to decease equally she herself expires. The narrator so runs from the firm, and, every bit he does, he notices a flash of moonlight behind him. He turns back in time to meet the moon shining through the suddenly widened crack in the house. As he watches, the Firm of Usher splits in two and the fragments sink away into the lake.

Character descriptions [edit]

Narrator [edit]

In "The Fall of the House of Usher", Poe's unnamed narrator is called to visit the House of Usher by Roderick Usher. Every bit his "best and simply friend,"^[3] Roderick writes of his disease and asks that the narrator visit him. The narrator is persuaded by Roderick's agony for companionship. Though sympathetic and helpful, the narrator is continually made to exist an outsider, watching the narrative unfold without fully becoming a office of it. The narrator also exists as Roderick's audience as the men have not remained close. Roderick is convinced of his impending demise and the narrator gradually is drawn into this conventionalities after being brought forth to witness the horrors and hauntings of the House of Usher.^[4]

From his inflow, the narrator notes the family'southward isolationist tendencies, likewise as the cryptic and special connection between Madeline and Roderick, the terminal living members of the Usher family unit. Throughout the tale and her varying states of consciousness, Madeline completely ignores the narrator's presence. After Roderick Usher claims that Madeline has died, the narrator helps Usher entomb Madeline in an underground vault despite noticing Madeline's flushed, lifelike advent.

During one sleepless night, the narrator reads aloud to Usher as eerie sounds are heard throughout the mansion. He witnesses Madeline'southward reemergence and the subsequent, simultaneous death of the twins. The narrator is the only character to escape the House of Usher, which he views as it cracks and sinks into the mountain lake.

Roderick Usher [edit]

Roderick Usher is the twin of Madeline Usher and one of the concluding living members of the Conductor family. Roderick writes to the narrator, his adolescence friend, most an ongoing illness.^[3] When the narrator arrives, he is startled to meet Roderick's eerie and off-putting appearance. He is described by the narrator as having:

gray-white skin; optics large and full of light; lips non vivid in color, simply of a beautiful shape; a well-shaped nose; hair of peachy softness — a face up that was not piece of cake to forget. And now the increase in this strangeness of his face had caused so great a change that I well-nigh did non know him. The horrible white of his peel, and the strange calorie-free in his optics, surprised me and even made me agape. His hair had been allowed to grow, and in its softness information technology did not fall around his face but seemed to prevarication upon the air. I could not, even with an effort, see in my friend the appearance of a unproblematic human existence.^[5]

Roderick Usher is a recluse.^[3] He is unwell both physically and mentally. In addition to his constant fright and trepidation, Madeline's catalepsy contributes to his decay every bit he is tormented by the sorrow of watching his sibling die. The narrator states:

He admitted [that] much of the peculiar gloom which thus afflicted him could exist traced [to] the plainly approaching dissolution [of] his sole companion.^[iii]

According to Terry W. Thompson, Roderick meticulously plans for Madeline'due south burying to prevent "resurrection men" from stealing his beloved sister'south corpse for autopsy, study, or experimentation as was common in the 18th and 19th centuries for medical schools and physicians in need of cadavers.^[6]

As his twin, the 2 share an impossible connection that critics conclude may be either incestuous or metaphysical,^[vii] as two individuals in an extra-sensory relationship embodying a single entity. To that cease, Roderick's deteriorating condition speeds his own torment and eventual death.

Similar Madeline, Roderick is connected to the mansion, the titular Business firm of Usher. He believes the mansion is sentient and responsible, in part, for his deteriorating mental health and melancholy. Despite this access, Usher remains in the mansion and composes fine art containing the Conductor mansion or similar haunted mansions. His mental health deteriorates faster as he begins to hear Madeline'southward attempts to escape the hole-and-corner vault she was cached in, and he eventually meets his death out of fear in a manner similar to the House of Usher'due south cracking and sinking.

Madeline Usher [edit]

Madeline Usher is the twin sister of Roderick Usher. She is deathly ill and cataleptic. She appears near the narrator, just never acknowledges his presence. She returns to her bedroom where Roderick claims she has died. The narrator and Roderick place her in a tomb despite her flushed, lively advent. In the tale'southward conclusion, Madeline escapes from the tomb and returns to Roderick, scaring him to death.

According to Poe'southward detective methodology in literature, Madeline Usher may be the concrete embodiment of the supernatural and metaphysical worlds.^{[ citation needed ]} Her limited presence is explained as a personification of Roderick's torment and fearfulness.^{[ commendation needed ]} Madeline does not announced until she is summoned through her blood brother's fear, foreshadowed in the epigraph, with a quote from French poet Pierre-Jean de Béranger: "Son cœur est un luth suspendu; / Sitôt qu'on le touche il résonne", pregnant "His heart is a tightened lute; as soon as one touches it, it echoes".^{[ane] [ citation needed ]}

Publication history [edit]

"The Fall of the Business firm of Usher" was first published in September 1839 in Burton's Gentleman'southward Mag. Information technology was revised slightly in 1840 for the collection Tales of the Grotesque and Arabesque. It contains Poe's verse form "The Haunted Palace", which before was published separately in the April 1839 consequence of Baltimore Museum.^[eight]

In 1928, Éditions Narcisse, predecessor to the Black Lord's day Press, published a express edition of 300 numbered copies with illustrations by Alastair.^{[ citation needed ]}

Sources of inspiration [edit]

Poe'south inspiration for the story may be based upon events of the Hezekiah Usher Business firm, which was located on the Usher manor that is now a three-block area in downtown modern Boston, Massachusetts.^[9] Next to Boston Common and spring by Tremont Street to the northwest, Washington Street to the southeast, Avery Street to the south and Winter Street to the n, the business firm was constructed in 1684 and either torn down or relocated in 1830.^[9] Other sources signal that a sailor and the young wife of the older owner were caught and entombed in their trysting spot by her husband. When the Usher Firm was torn downwardly in 1830, two bodies were found embraced in a cavity in the cellar.^[x]

Another source of inspiration may exist from an bodily couple, Mr. and Mrs. Luke Usher, the friends and acting colleagues of his mother Eliza Poe.^[eleven] The couple took intendance of Eliza's three children (including Poe) during her time of disease and eventual death.^{[ citation needed ]}

German writer E.T.A. Hoffmann, who was a role model and inspiration for Poe, published the story "Das Majorat" in 1819.^{[ commendation needed ]} There are many similarities between the two stories, including the physical breaking of a house, eerie sounds in the night, the story within a story and the house owner's beingness called Roderich or Roderick. Considering Poe was familiar with Hoffmann's works, he knew the story and drew from it using the elements for his own purposes.^[12]

Another German author, Heinrich Clauren's, 1812 story The Robber'due south Castle, equally translated into English language by John Hardman and published in Blackwood's Magazine in 1828 equally "The Robber'southward Tower", may take served as an inspiration, according to Arno Schmidt and Thomas Hansen.^[13] As well as sharing common elements, such every bit a young woman with a fright of premature burying interred in a sepulcher directly beneath the protagonist's chamber, stringed instruments, and the living twin of the buried daughter, Diane Hoeveler identifies textual evidence of Poe'southward employ of the story, and concludes that the inclusion of Vigiliae Mortuorum secundum Chorum Ecclesiae Maguntinae (Vigils for the Dead according to the Use of the Church of Mainz) is drawn from the use of a similarly obscure book in "The Robber'southward Tower".^{[two] [xiv]}

The theme of the crumbling, haunted castle is a primal feature of Horace Walpole'southward Castle of Otranto (1764), which largely contributed in defining the Gothic genre.^[15]

Analysis [edit]

"The Fall of the Business firm of Conductor" is considered the best example of Poe's "totality", wherein every element and detail is related and relevant.^[16]

The presence of a capacious, disintegrating firm symbolizing the destruction of the human body continues to exist a characteristic chemical element in Poe'southward afterward piece of work.^[15]

"The Fall of the House of Usher" shows Poe's ability to create an emotional tone in his work, specifically emphasizing feelings of fright, impending doom, and guilt.^[17] These emotions middle on Roderick Usher, who, like many Poe characters, suffers from an unnamed affliction. Like the narrator in "The Tell-Tale Heart", this disease inflames Roderick's hyperactive senses. The affliction manifests physically but is based in Roderick's mental or even moral state. He is sick, it is suggested, because he expects to be sick based on his family unit's history of illness and is, therefore, essentially a hypochondriac.^[18] Similarly, he buries his sister alive because he expects to coffin her alive, creating his own self-fulfilling prophecy.^{[ citation needed ]}

The Firm of Conductor, itself doubly referring both to the actual structure and the family, plays a pregnant role in the story. It is the start "character" that the narrator introduces to the reader, presented with a humanized description: Its windows are described as "eye-similar" twice in the first paragraph. The fissure that develops in its side is symbolic of the decay of the Usher family and the business firm "dies" along with the two Usher siblings. This connection was emphasized in Roderick'south poem "The Haunted Palace", which seems to be a direct reference to the firm that foreshadows doom.^[19]

50. Sprague de Campsite in his Lovecraft: A Biography wrote that "[a]ccording to the tardily [Poe adept] Thomas O. Mabbott, H.P. Lovecraft, in 'Supernatural Horror', solved a trouble in the interpretation of Poe" by arguing that "Roderick Usher, his sister Madeline, and the firm all shared one common soul".^[twenty]

The plot of this tale has prompted many critics to analyze it equally a description of the human being psyche, comparing, for case, the House to the unconscious, and its fundamental crevice to a divide personality.^{[ commendation needed ]} An incestuous relationship betwixt Roderick and Madeline never is explicitly stated, simply seems implied by the attachment betwixt the ii siblings.^[21]

Opium, which Poe mentions several times in both his prose and poems, is mentioned twice in the tale.^[1] The gloomy awareness occasioned by the dreary landscape around the Usher mansion is compared by the narrator to the sickness caused past the withdrawal symptoms of an opiate-aficionado. The narrator also describes Roderick Usher'south advent equally that of an "irreclaimable eater of opium."^[22]

Allusions and references [edit]

• The opening epigraph quotes "Le Refus" (1831) past the French songwriter Pierre-Jean de Béranger, translated to English as "his heart is a suspended lute, as soon as it is touched, it resounds".^[i] Béranger's original text reads "Mon cœur" (my heart) and non "Son cœur" (his/her middle).^{[ citation needed ]}
• The narrator describes one of Usher's musical compositions equally a "atypical perversion and amplification of the wild air of the concluding waltz of Von Weber". Poe here refers to a popular piano piece of work of his time – which, though going by the title "Weber'southward Last Waltz" was actually equanimous by Carl Gottlieb Reissiger.^[23] A manuscript copy of the music was found among Weber's papers upon his expiry in 1826 and the piece of work was mistakenly attributed to him.
• Usher'due south painting reminds the narrator of the Swiss-born British painter Henry Fuseli.

Usher'southward library is mentioned to accept "formed no small portion of the mental being of the invalid [Roderick Usher]." A list of titles is provided in the story, all of which are allusions to real-world works. Several notable examples include:

• The Belphegor of Machiavelli, a tale involving demonic possession.
• Emanuel Swedenborg's Heaven and Hell, a volume about divine visions and the afterlife.
• Directorium Inquisitorum, a list of heretical forbidden works.
• "Civitas Solis", a poem most a theological society within the sun. The poet Tommaso Campanella believed that the earth has a spiritual nature.^[24]

Literary significance and criticism [edit]

"The Autumn of the House of Conductor" beginning appeared in Burton's.

Along with "The Tell-Tale Centre", "The Black Cat", and "The Cask of Amontillado", "The Autumn of the House of Usher" is considered among Poe's more famous works of prose.^[25] Every bit Grand.R. Thomson writes in his introduction to Peachy Short Works of Edgar Allan Poe,

"the tale has long been hailed as a masterpiece of Gothic horror; it is also a masterpiece of dramatic irony and structural symbolism."^[26]

"The Autumn of the House of Usher" has been criticized for being also formulaic.^{[ citation needed ]} Poe was criticized for following his ain patterns established in works like "Morella" and "Ligeia", using stock characters in stock scenes and stock situations. Repetitive themes like an unidentifiable disease, madness, and resurrection are also criticized.^[27] Washington Irving explained to Poe in a letter dated November six, 1839:

"You lot accept been too anxious to nowadays your pictures vividly to the eye, or too distrustful of your result, and had laid on too much colouring. It is erring on the all-time side – the side of luxuriance."^[28]

John McAleer maintained that Herman Melville'south idea for "objectifying Ahab'southward flawed grapheme" in Moby-Dick came from the "evocative forcefulness" of Poe'south "The Fall of the House of Conductor". In both Ahab and the house of Conductor, the appearance of fundamental soundness is visibly flawed – past Ahab's livid scar, and by the fissure in the masonry of Usher.^[29]

In other media [edit]

In film [edit]

La Chute de la maison Usher is a 1928 silent French horror film directed past Jean Epstein starring Marguerite Gance, Jean Debucourt, and Charles Lamy.

A second silent film version, besides released in 1928, was directed by James Sibley Watson and Melville Webber.

A devout fan of the works of Poe, cult director Curtis Harrington tackled the story in his start and last films. Casting himself in dual roles as Roderick and Madeline Usher in both versions, Harrington shot his original ten-infinitesimal silent short on 8mm in 1942,^[30] and he shot a new 36 minute version only titled Usher on 35mm^[30] in 2000 which he intended to employ in a longer Poe anthology film that never came to fruition.^[31] Both versions were included on the 2013 DVD/Blu-ray release Curtis Harrington: The Short Film Collection.

In the Roger Corman film from 1960, released in the Us as House of Usher, Vincent Cost starred as Roderick Conductor, Myrna Fahey as Madeline and Mark Damon every bit Philip Winthrop, Madeline's fiancée. The film was Corman'due south first in a series of eight films inspired by the works of Edgar Allan Poe.

The 2006 film The House of Usher from Australian director Hayley Cloake, starring Austin Nichols every bit Roderick Conductor, was an update of the tale fix in the modern era with a beloved involvement for Roderick in the class of the best friend of his deceased sister.^[32]

In 1979 Italian state channel RAI loosely adapted the short story, together with other Poe's works, in the serial I racconti fantastici di Edgar Allan Poe.^[33] It was directed by Daniele D'Anza, with Roderick Usher played by Philippe Leroy; music was composed by pop band Pooh.

In theater, animation and music [edit]

From 1908 to 1917, French composer Claude Debussy worked on an opera titled La chute de la maison Conductor.

The Autumn of the House of Usher is another operatic version, equanimous past Philip Glass in 1987 with a libretto by Arthur Yorinks, premiered at the American Repertory Theatre and the Kentucky Opera in 1988 and was revived at the Nashville Opera in 2009.^[34] The Long Embankment Opera mounted a version of this piece of work in Feb 2013 at the Warner Grand Theatre in San Pedro, Los Angeles.^[35]

The Fall of the House of Usher is an opera composed by Peter Hammill with a libretto past Chris Judge Smith released in 1991 on Some Bizzare Records; in 1999, Hammill revised his work and released it as The Fall of the Business firm of Usher (Deconstructed & Rebuilt). This opera has never been performed live.

In 2002 Lance Tait wrote a i-act play The Fall of the House of Usher, based on Poe's tale. Laura Grace Pattillo wrote in The Edgar Allan Poe Review (2006), "[Tait's] play follows Poe's original story quite closely, using a female Chorus figure to assistance farther the tale as the 'Friend' (equally Tait names the narrator) alternates between monologue and chat with Usher."^[36]

In 2008, a musical adaptation ("Usher") won the All-time Musical award at the New York International Fringe Festival.^{[37] [38] [39]}

The Fall of the Firm of Usher (2015), narrated past Christopher Lee, is an animated short film which is part of Extraordinary Tales.^{[40] [41]}

Netflix series [edit]

On Oct 6, 2022 information technology was announced that Intrepid Pictures volition create an viii episode limited series titled The Fall of the House of Usher for Netflix that will exist based on the works of Edgar Allan Poe. Mike Flanagan and Michael Fimognari will each direct iv episodes and executive produce the serial.^[42]

References [edit]

1. ^ ^{a b c d e} Poe, Edgar A. "The Fall of the Firm of Conductor." 1839. Elements of Literature. Fifth Course. Austin: Holt, Rinehart, and Winston, 2009. 321–33. Print.^{[ ISBN missing ]}
2. ^ ^{a b} Perry, Dennis; Sederholm, Carl (2009). Poe, "The House of Usher," and the American Gothic. Palgrave Macmillan. pp. 9–10. ISBN9780230620827.
3. ^ ^{a b c d} Poe, Edgar Allan (2013). Edgar Allan Poe: Storyteller. Washington, DC: Office of English language Linguistic communication Programs. p. 23. ISBN978-i-624-25061-3.
4. ^ Rollanson, Christopher (June 2009). "The Character of Phantasm: Edgar Allan Poe's 'The Fall of the Firm of Usher' and Jorge Luis Borges' 'Tlön, Uqbar, Orbis Tertius.'". Atlantis. 31: 9–22 – via EBSCOhost.
5. ^ Poe, Edgar Allan (2013). Edgar Allan Poe: Storyteller. Washington, DC: Role of English Language Programs. p. 24. ISBN978-1-624-25061-3.
6. ^ Thompson, Terry (Leap 2018). "With Sympathy for Roderick: Madeline Usher and the Resurrection Men". Midwest Quarterly. 59: 255–67 – via EBSCOhost.
7. ^ Lovecraft, Howard (1973). Supernatural Horror in Literature. New York: Dover Publications. ISBN0-486-20105-eight. ^{[ folio needed ]}
8. ^ Sova, Dawn B. Edgar Allan Poe: A to Z. Checkmark Books, 2001: 104. ISBN 0-8160-4161-10
9. ^ ^{a b} An Historic Corner, Tremont Street and Temple Place by Walter Chiliad. Watkins, in Days and Ways in Old Boston by William S. Rossiter (ed.), Boston: R.H. Stearns & Co., 1915, pp. 91–132^{[ ISBN missing ]}
10. ^ A.I.A. Guide to Boston. Susan and Michael Southworth, p. 59
11. ^ Allen, Hervey. Israfel: The Life and Times of Edgar Allan Poe. New York: Farrar & Rinehart, Inc., 1934: 683.^{[ ISBN missing ]}
12. ^ Hoffmann, East. T. A. (1990). Kaiser, Gerhard R. (ed.). Nachtstücke. Stuttgart: Philipp Reclam. ISBN978-iii-15-000154-vii. ^{[ page needed ]}
13. ^ Hansen, Thomas S. (Spring 1992). "Poe's 'High german' Source for 'The Fall of the Firm of Usher': The Arno Schmidt Connection". Southern Humanities Review. 26 (2): 101–13.
14. ^ Hoeveler, Diane Long (2008). "Reading Poe Reading Blackwood'due south: The Palimpsestic Subtext in "The Fall of the House of Usher"". In Lewes, Darby (ed.). Double Vision: Literary Palimpsests of the Eighteenth and Nineteenth Centuries. Lexington Books. pp. 227–29. ISBN9780739125694.
15. ^ ^{a b} Hutchisson, James 1000. Poe, Jackson, Mississippi: University of Mississippi Press, 2005, p. 38.^{[ ISBN missing ]}
16. ^ Beebe, Maurice. "The Universe of Roderick Usher" equally collected in Poe: A Collection of Critical Essays, Robert Regan, ed. Englewood Cliffs, NJ: Prentice Hall, Inc., 1967. p. 123.^{[ ISBN missing ]}
17. ^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992; ISBN 0-8154-1038-vii, p. 111
18. ^ Butler, David. "Usher'southward Hypochondriasis: Mental Breach and Romantic Idealism in Poe's Gothic Tales", nerveless in On Poe: The All-time from "American Literature. Durham, NC: Duke University Press, 1993. ISBN 0-8223-1311-one, pp. 189–xc.
19. ^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Printing, 1992. ISBN 0-8154-1038-7 p. 111.
20. ^ de Campsite, L. Sprague, Lovecraft: A Biography (Doubleday, 1975).^{[ ISBN missing ] [ page needed ]}
21. ^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana Country University Press, 1972. ISBN 0-8071-2321-viii p. 297.
22. ^ Hayter, Alethea (2015). Opium and the Romantic Imagination. London: Faber & Faber. Chapter VI: Poe. ISBN9780571306015.
23. ^ "Edgar Allan Poe Society of Baltimore – General Topics – A Few Minor Poe Topics". eapoe.org.
24. ^ Mabbott, Thomas Ollive (1973). "The Books in the Firm of Conductor". Books at Iowa. 19: three–7. doi:10.17077/0006-7474.1059. ISSN 0006-7474.
25. ^ Kennedy, J. Gerald. "Introduction: Poe in Our Time" collected in A Historical Guide to Edgar Allan Poe. Oxford University Press, 2001; ISBN 0-xix-512150-3 p. 9
26. ^ Thomson, G.R. Groovy Short Works of Edgar Allan Poe (HarperCollins, 1970), p. 36.
27. ^ Krutch, Joseph Woods. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926. p. 77
28. ^ The Best Horror Short Stories 1800–1849: A Archetype Horror Anthology Editor Andrew Barger Annotated Edition Publisher Bottletree Books LLC, 2010 ISBN 978-1-933747-22-4, Length 233, p. 179
29. ^ McAleer, John J. "Poe and Gothic Elements in Moby-Dick", Emerson Society Quarterly, No. 27 (II Quarter 1962): p. 34.
30. ^ ^{a b} Toscano, Mark (2013). Conversations in the Dorsum of the Theatre: Preserving the Short films of Curtis Harrington (DVD Booklet). Drag Urban center/Flicker Alley.
31. ^ "Retrospective in Terror: An Interview with Curtis Harrington". Terror Trap. Apr 2005. Retrieved 2014-03-22 .
32. ^ "The House of Usher".
33. ^ "I racconti fantastici di Edgar Allan Poe -". 19 December 2020.
34. ^ Waleson, Heidi (Nov 24, 2009). "Two by Philip Drinking glass". The Wall Street Journal . Retrieved November 29, 2010.
35. ^ Ginell, Richard. "Review: Long Beach Opera charts 'The Fall of the Business firm of Usher'". Los Angeles Times . Retrieved February v, 2013.
36. ^ Pattillo, Laura Grace (Leap 2006). "The Fall of the Business firm of Usher and Other Plays Inspired past Edgar Allan Poe". The Edgar Allan Poe Review. 7 (1): eighty–82. JSTOR 41506252.
37. ^ Dorof, Jacob (nine September 2008). "Two Eli productions stand out at New York's Fringe". Yale Daily News.
38. ^ Trav, S.D. (August 12, 2008). "Fringe Festival 2008 Reviews!". The Hamlet Vocalism.
39. ^ Siegal, Barbara. "Usher-- the musical, not the person who seats you lot". Talkin' Broadway . Retrieved December 27, 2017.
40. ^ Immature, Deborah (March 26, 2015). "'Extraordinary tales': Hong Kong Review". The Hollywood Reporter.
41. ^ "Extraordinary tales in the Haifa picture show festival". Archived from the original on 2015-ten-07.
42. ^ Squires, John. ""The Fall of the House of Conductor": Netflix and Mike Flanagan Developing Serial Based on Edgar Allan Poe Stories!". Bloody Disgusting . Retrieved Oct 6, 2017.

Further reading [edit]

• Evans, Walter (1977). "'The Fall of the House of Conductor' and Poe's Theory of the Tale". Studies in Short Fiction. 14 (two): 137–44. Rpt. in Curt Story Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. ane. Detroit: Gale, 1988. 403–05.

External links [edit]

• The Autumn of the Business firm of Usher at Project Gutenberg
• The Autumn of the House of Usher at Projection Gutenberg (audiobook)
• The Fall of the House of Usher public domain audiobook at LibriVox
• Full text as reprinted in The Works of the Late Edgar Allan Poe (1850)
• Full text at Bartleby.com
• "The Autumn of the House of Conductor" with annotated vocabulary at PoeStories.com
• Full text at American Literature
• Analysis by Martha Womack
• William B. Cairns (1920). "Fall of the House of Usher, The". Encyclopedia Americana.

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