DeGaris 1

Cameron DeGaris

Ms. Woelke

Pre-AP English

08 November 2018

Red Death Essay

To state that ​The Masque of the Red Death ​by author Edgar Allan Poe is a ghastly tale of
churning horror and biting fright would be an unprecedented understatement, suffice to say.
Evidently able to be perceived as an allegory, the narrative harboring latent symbolism within its
descriptively eloquent context, three predominate analogies stand to be integral for Poes
‘inevitably of death’ to be asserted properly.

Furthermore, it becomes imperative to detail these symbolisms used to convey Poes

allegory of death and its insatiable lust to envelop all within its embrace. Within the introduction
of this narrative Prince Prospero and his entourage of aristocrats flee the ravaging ‘Red Death’,
namesake given by the tellatale pores weeping that glisten from the afflicted bodies. Secluding
themselves within isolation they brought “... furnaces and massy hammers” to blockade and weld
these entrances shut, wherein “The External world could take care of itself’ as they, indifferent
and aloof to the suffering around they, seemingly evaded The Red Death.. Continuing forthright,
it can be inferred that the Prince and his posse of the ignorant believed them impregnable, a false
sense of security that would be shattered so savagely - it can be asserted that Poe further coaxes
this sensation, he to later symbolize their folly. Expectations to be further subverted, however, it
is viewed that “It was folly to grieve, to think. There were buffoons, there were improvisatori,
there were ballet-dancers, there were musicians, there was beauty, and there was wine. All these
and security within,” (Poe 1). Elongating upon this, one can conclude the many beliefs that were
invoked with these welded locks. Finalizing, the allegory of locks and false security further eases
the allegory onto action.
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While so this may be, another paramount aspect has yet to be discussed. Within the time
of midnight as the derelict clock ‘tolls the ‘Red Death’ makes his display, embodied within this
gruesome avatar of abhorrent nature. The thing was “tall ang gaunt, and shrouded from head to
foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to
resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty
in detecting cheat,” (Poe 4) Elaborating furthermore, the horrific nature this thing harbors is
implied as its aberrant features are detailed. Truly the thing the Prince and his peers desperately
had attempted to shy away from had made an appearance, rupturing said security from above. To
be tolerated, if grudgingly that is, all might’ve boded best if not for his complexion to be
“dabbled in blood - and his broad brow, with all the features of the face, was besprinkled with
the scarlet horror,” (Poe 4). An exclamatory thing itself, the very personification this thing harks
- and while in jest and humor it simply might’ve been - would be enough to eviscerate the fragile
peace held throughout those six or so isolated months. In conclusion, ‘The Red Death’ makes an
appearance within the masquerade, further alluding to their inevitably of death and falsehood of
safety - all yet to reach its pinnacle.

… To which said pinnicable is reached at the end, as seen within the flurry of setpieces
that transpire at the end. As Prince Prospero heads forth to confront this man, he freezes; with
ponderous steps he “Unimpeded, passed within a yard of the princes person; and, while the vast
assembly, as if with one impulsive, shrank from the centers of their rooms to the walls, he made
his way uninterruptedly, but with the same solemn and measured step which had distinguished
him from the first,” (Poe 4). Paralyzed with palpitating fear from the past explored themes within
Poe's allegory he glides through throughout the environment, unhindered as death graces these
blokes. It can be analyzed, then, that this venture throughout the hallways stands to be the path of
life unto death. For as seen it has been “acknowledged the presence of the Red Death. He had
come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls
of their revel and died each in the despairing posutree of his fall,” (Poe 5). Scouring for evidence,
one can assess how this all harkens the ‘inevitability of death’ that looms above the short story.
In conclusion, the hurrah of the guests and ‘The Red Death’ alike brings closure to the tale.
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Ending, so the allegory for ​The Masquerade of the Red Death​ is established through
textual evidence and assertion, these crucial themes explained of their importance.