text:
The king is dead, long live the king!
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This article is about the traditional proclamation. For other uses, see The King is Dead.
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"The King is dead, long live the King!"[1], or simply "Long live the King!", is a traditional proclamation made following the accession of a new monarch in various countries. The seemingly contradictory phrase is used to simultaneously announce the death of the previous monarch and assure the public of continuity by saluting the new monarch.[2]
In modern times, this phrase has become a popular phrasal template. Given the memorable nature of the phrase (owing to epanalepsis), as well as its historic significance, the phrase crops up regularly as a headline for articles, editorials, or advertisements on themes of succession or replacement. Robert Cecil, one of the architects of the League of Nations, famously concluded his speech at the final session of the League of Nations with the phrase: "The League is dead. Long live the United Nations."[3]
Contents
[hide]
1 Origin
2 Usage
3 See also
4 References
Origin[edit]
The original phrase was translated from the French Le roi est mort, vive le roi!, which was first declared upon the accession to the French throne of Charles VII after the death of his father Charles VI in 1422. In France, the declaration was traditionally made by the duc d'Uzès, a senior peer of France, as soon as the coffin containing the remains of the previous king descended into the vault of Saint Denis Basilica. The phrase arose from the law of le mort saisit le vif—that the transfer of sovereignty occurs instantaneously upon the moment of death of the previous monarch. "The King is dead" is the announcement of a monarch who has just died. "Long live The King!" refers to the heir who immediately succeeds to a throne upon the death of the preceding monarch.
At the time, French was the primary language of the nobility in England, and the proclamation was quickly taken up as ideally representing the same tradition—which in England dates back to 1272, when Henry III died while his son, Edward I, was fighting in the Crusades. To avoid any chance of a civil war erupting over the order of succession, the Royal Council proclaimed: "The throne shall never be empty; the country shall never be without a monarch." Thus, Edward was declared king immediately, and he reigned in absentia until news of his father's death reached him and he returned to England. Another example is among the French royalty. In France, Louis XV was the predecessor of Louis XVI. Upon Louis XV's death at around 11:00 pm on 10 May 1774, heir-apparent Louis-Auguste, le Dauphin, immediately became King Louis XVI of France. This quick transition of sovereignty was made within the phrase "The King is dead, long live The King!"
Usage[edit]
In Denmark, the prime minister makes a similar proclamation upon the death of a monarch—Kongen leve, kongen er død (hail the king, the king is dead)—from the balcony of Christiansborg Palace (the Danish Parliament building).[4] This declaration is official and marks the ascension of a new monarch immediately after the death of the old. This is due to the fact that Frederick III abolished the coronation ceremony with the introduction of the hereditary and absolute monarchy in 1660. The king was now supreme and accountable only to God, so the crown became a birthright, and not something to be bestowed only after the father's death with the nobles and the church's approval. With the introduction of constitutional monarchy in 1849, the monarch's power over the State was again limited, but his claim to the throne remained undisputed and absolute.
In some monarchies, such as the United Kingdom, an interregnum is usually avoided by using the idea of immediate transferral of power behind the phrase (i.e., the heir to the throne becomes a new monarch immediately on his predecessor's death). This famous phrase signifies the continuity of sovereignty, attached to a personal form of power named Auctoritas. This is not so in other monarchies where the new monarch's reign begins only with coronation or some other formal or traditional event. In the Polish–Lithuanian Commonwealth for instance, kings were elected, which often led to relatively long interregna. During that time it was the Polish primate who served as an interrex (ruler between kings). Ernst Kantorowicz's famous theory of the king's two bodies (1957) showed how auctoritas (Kantorowicz used the synonym term—here—of dignitas) was transferred from the defunct sovereign to the new one.
In the United Kingdom and other realms which permit female succession to the throne, the phrase can be altered to accommodate succession between monarchs of different sexes, e.g. "The King is dead, long live The Queen!", as happened in 1952, when King George VI died and was succeeded by his daughter, Queen Elizabeth II, or "The Queen is dead, long live The King!" as happened in 1901, when Queen Victoria was succeeded by her son, King Edward VII. "The King is dead, long live The King!" was last properly used in the United Kingdom in January 1936 when King George V was succeeded by his son King Edward VIII, who later abdicated.[citation needed][original research?], or "The Queen is dead, long live The Queen!" as happened in 1558, when Queen Mary I was succeeded by her half-sister, Queen Elizabeth I.
In the Kingdom of Thailand, to conclude the national televised address on October 13, 2016 regarding the passing of His Majesty King Bhumibol Adulyadej, the Prime Minister proclaimed "His Majesty King Bhumibol Adulyadej, Rama IX, has passed away. Long live His Majesty the new King."[5]
See also[edit]
Monarchy portal
Demise of the Crown
Ten thousand years, a similar East Asian saying, used to wish for long life of the Emperor
Mabuhay, a traditional Philippine cheer meaning "May you live long!"
Sto lat, a similar Polish phrase and song meaning "one hundred years"
Cent'anni[citation needed], an Italian cheer and phrase meaning "one hundred years"
Mnohaya lita, "(God grant you) many years" (Ukrainian)
References[edit]
Jump up ^ The exact punctuation used when written varies from source to source, with the full stop on occasion being replaced by a semicolon, a colon, or a dash.
Jump up ^ Ryken, Philip Graham (2011). King Solomon: The Temptations of Money, Sex, and Power. Crossway. p. 18. ISBN 978-1-4335-2154-6.
Jump up ^ Scott, George (1973). The Rise and Fall of the League of Nations. Hutchinson & Co LTD. ISBN 0-09-117040-0.
Jump up ^ Kongen leve, kongen er død. Den Store Danske.
Jump up ^ Statement by Prime Minister General Prayut Chan-o-cha after the announcement of Royal Household Bureau. Royal Thai Government.
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text:
The Fall of the House of Usher
From Wikipedia, the free encyclopedia
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For other uses, see The Fall of the House of Usher (disambiguation).
"The Fall of the House of Usher"
First appearance in Burton's Gentleman's Magazine (September 1839)
Author
Edgar Allan Poe
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, first published in 1839.
1894 illustration by Aubrey Beardsley.
Contents
[hide]
1 Plot
2 Publication history
3 Sources of inspiration
4 Analysis
4.1 Allusions and references
5 Literary significance and criticism
6 In other media
7 References
8 Further reading
9 External links
Plot[edit]
The story begins with the unnamed narrator arriving at the house of his friend, Roderick Usher, having received a letter from him in a distant part of the country complaining of an illness and asking for his help. As he arrives, the narrator notes a thin crack extending from the roof, down the front of the building and into the adjacent lake.
Although Poe wrote this short story before the invention of modern psychological science, Roderick's condition can be described according to its terminology. It includes a form of sensory overload known as hyperesthesia (hypersensitivity to textures, light, sounds, smells and tastes), hypochondria (an excessive preoccupation or worry about having a serious illness) and acute anxiety. It is revealed that Roderick's twin sister, Madeline, is also ill and falls into cataleptic, deathlike trances. 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 house he lives in to be alive, and that this sentience arises from the arrangement of the masonry and vegetation surrounding it.
Roderick later informs the narrator that his sister has died and insists that she be entombed for two weeks in the family tomb located in the house before being permanently buried. The narrator helps Roderick put the body in the tomb, and he notes that Madeline has rosy cheeks, as some do after death. They inter her, but over the next week both Roderick and the narrator find themselves becoming increasingly agitated for no apparent reason. A storm begins. Roderick comes to the narrator's bedroom, which is situated directly above the vault, and throws open his window to the storm. He notices that the tarn surrounding the house seems to glow in the dark, as it glowed in Roderick Usher's paintings, although there is no lightning.
The narrator attempts to calm Roderick by reading aloud The Mad Trist, a novel involving a knight named Ethelred who breaks into a hermit's dwelling in an attempt to escape an approaching storm, only to find a palace of gold guarded by a dragon. He also finds, hanging on the wall, a shield of shining brass on which is written a legend:
Who entereth herein, a conqueror hath bin;
Who slayeth the dragon, the shield he shall win;[1]
With a stroke of his mace, Ethelred kills the dragon, who dies with a piercing shriek, and proceeds to take the shield, which falls to the floor with an unnerving clatter.
As the narrator reads of the knight's forcible entry into the dwelling, cracking and ripping sounds are heard somewhere in the house. When the dragon is described as shrieking as it dies, a shriek is heard, again within the house. As he relates the shield falling from off the wall, a reverberation, metallic and hollow, can be heard. Roderick becomes increasingly hysterical, and eventually exclaims that these sounds are being made by his sister, who was in fact alive when she was entombed. Additionally, Roderick somehow knew that she was alive. The bedroom door is then blown open to reveal Madeline standing there. She falls on her brother, and both land on the floor as corpses. The narrator then flees the house, and, as he does so, notices a flash of moonlight behind him which causes him to turn back, in time to see the moon shining through the suddenly widened crack. As he watches, the House of Usher splits in two and the fragments sink into the tarn.
Publication history[edit]
"The Fall of the House of Usher" was first published in September 1839 in Burton's Gentleman's Magazine. It was slightly revised in 1840 for the collection Tales of the Grotesque and Arabesque. It contains within it Poe's poem "The Haunted Palace", which had earlier been published separately in the April 1839 issue of the Baltimore Museum magazine.
In 1928, Éditions Narcisse, predecessor to the Black Sun Press, published a limited edition of 300 numbered copies with illustrations by Alastair.
Sources of inspiration[edit]
Home of Hezekiah Usher's son, Hezekiah
Poe's inspiration for the story may be based upon events of the Hezekiah Usher House, which was located on the Usher estate that is now a three-block area bounded in modern Boston by Tremont Street to the northwest, Washington Street to the southeast, Avery Street to the south and Winter Street to the north. The house was constructed in 1684 and either torn down or relocated in 1830.[2] Other information tells 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 House was torn down in 1830, two bodies were found embraced in a cavity in the cellar.[3]
Another source of inspiration may be from an actual couple by the name Mr. and Mrs. Luke Usher, the friends and fellow actors of his mother Eliza Poe.[4] The couple took care of Eliza's three children (including Poe) during her time of illness and eventual death.
German writer E. T. A. Hoffmann, who was a role model and inspiration for Poe, published the story "Das Majorat" in 1819. There are many similarities between the two stories, like the breaking in two of a house, eerie sounds in the night, the story within a story and the house owner being called "Roderich". As Poe was familiar with Hoffmann's works he certainly knew the story and cleverly drew from it using the element for his own purposes.[5]
Another German author, Heinrich Clauren's, 1812 story "The Robber's Castle", as translated into English by John Hardman and published in Blackwood's Magazine in 1828 as "The Robber's Tower", may have served as an inspiration according to Arno Schmidt and Thomas Hansen.[6] As well as common elements, such as a young woman with a fear of premature burial interred in a sepulchre directly beneath the protagonist's chamber, stringed instruments and the living twin of the buried girl, Diane Hoeveler identifies textual evidence of Poe's use 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's Tower".[7][8]
Analysis[edit]
"The Fall of the House of Usher" is considered the best example of Poe's "totality", where every element and detail is related and relevant.[9]
The theme of the crumbling, haunted castle is a key feature of Horace Walpole's Castle of Otranto (1764), which largely contributed in defining the Gothic genre. The presence of a capacious, disintegrating house symbolizing the destruction of the human body is a characteristic element in Poe's later work.[10]
"The Fall of the House of Usher" shows Poe's ability to create an emotional tone in his work, specifically feelings of fear, doom, and guilt.[11] These emotions center on Roderick Usher, who, like many Poe characters, suffers from an unnamed disease. Like the narrator in "The Tell-Tale Heart", his disease inflames his hyperactive senses. The illness 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's history of illness and is, therefore, essentially a hypochondriac.[12] Similarly, he buries his sister alive because he expects to bury her alive, creating his own self-fulfilling prophecy.
The House of Usher, itself doubly referring both to the actual structure and the family, plays a significant role in the story. It is the first "character" that the narrator introduces to the reader, presented with a humanized description: its windows are described as "eye-like" twice in the first paragraph. The fissure that develops in its side is symbolic of the decay of the Usher family and the house "dies" along with the two Usher siblings. This connection was emphasized in Roderick's poem "The Haunted Palace" which seems to be a direct reference to the house that foreshadows doom.[13]
L. Sprague de Camp, in his Lovecraft: A Biography, wrote that "[a]ccording to the late [Poe expert] Thomas O. Mabbott, [H. P.] Lovecraft, in 'Supernatural Horror', solved a problem in the interpretation of Poe" by arguing that "Roderick Usher, his sister Madeline, and the house all shared one common soul".[14] The explicit psychological dimension of this tale has prompted many critics to analyze it as a description of the human psyche, comparing, for instance, the House to the unconscious, and its central crack to a split personality. Mental disorder is also evoked through the themes of melancholy, possible incest, and vampirism. An incestuous relationship between Roderick and Madeline is never explicitly stated, but seems implied by the strange attachment between the two.[15]
Opium, which Poe mentions several times in both his prose and poems, is mentioned twice in the tale. The gloomy sensation occasioned by the dreary landscape around the Usher mansion is compared by the narrator to the sickness caused by the withdrawal symptoms of an opiate-addict. The narrator also describes Roderick Usher's appearance as that of an "irreclaimable eater of opium".
Allusions and references[edit]
The opening epigraph quotes "Le Refus" (1831) by the French songwriter Pierre-Jean de Béranger (1780–1857), translated to English as "his heart is a suspended lute, as soon as it is touched, it resounds". Béranger's original text reads "Mon cœur" (my heart) and not "Son cœur" (his/her heart).
The narrator describes one of Usher's musical compositions as "a ... singular perversion and amplification of the wild air of the last waltz of Von Weber". Poe here refers to a popular piano work of his time — which, though going by the title "Weber's Last Waltz" was actually composed by Carl Gottlieb Reissiger (1798–1859).[16] A manuscript copy of the music was found among Weber's papers upon his death in 1826 and the work was mistakenly attributed to him.
Usher's painting reminds the narrator of the Swiss-born British painter Henry Fuseli (1741–1825).
Literary significance and criticism[edit]
Along with "The Tell-Tale Heart", "The Black Cat" and "The Cask of Amontillado", "The Fall of the House of Usher" is considered among Poe's most famous works of prose.[17] This highly unsettling macabre work is recognized as a masterpiece of American Gothic literature. Indeed, as in many of his tales, Poe borrows much from the already developed Gothic tradition. Still, as G. R. Thomson writes in his Introduction to Great 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."[18]
"The Fall of the House of Usher" has been criticized for being too formulaic. Poe was criticized for following his own 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.[19] Washington Irving explained to Poe in a letter dated November 6, 1839, "You have been too anxious to present your pictures vividly to the eye, or too distrustful of your effect, and had laid on too much colouring. It is erring on the best side--the side of luxuriance."[20]
Scholars speculate that Poe, who was an influence on Herman Melville, inspired the character of Ahab in Melville's novel Moby-Dick. John McAleer maintained that the idea for "objectifying Ahab's flawed character" came from the "evocative force" of Poe's 'The Fall of the House of Usher.' In both Ahab and the house of Usher, the appearance of fundamental soundness is visibly flawed — by Ahab's livid scar, and by the fissure in the masonry of Usher.[21]
In other media[edit]
In film
In the low-budget Roger Corman B-film from 1960, known in the United States as House of Usher starring Vincent Price as Roderick Usher, the narrator is Philip Winthrop (Mark Damon), who had fallen in love with the sickly Madeline (Myrna Fahey) during her brief residence in Boston and become engaged to her. As Roderick reveals, the Usher family has a history of evil and cruelty so great that he and Madeline pledged in their youth never to have children and to allow their family to die with them. Winthrop tries desperately to convince Madeline to leave with him in spite of Roderick's disapproval, and is on the point of succeeding when Madeline falls into a deathlike catalepsy; her brother (who knows that she is still alive) convinces Winthrop that she is dead and rushes to have her placed in the family crypt. When she wakes up, Madeline goes insane from being buried alive and breaks free. She confronts her brother and begins throttling him to death. Suddenly the house, already aflame due to fallen coals from the fire, begins to collapse, and Winthrop flees as Roderick is killed by Madeline and both she and the Ushers' sole servant are consumed by the falling house. The film was Corman's first in a series of eight films inspired by the works of Edgar Allan Poe.
A devout fan of the works of Poe, cult director Curtis Harrington tackled the story in his first and last films. Casting himself in dual roles as Roderick and Madeline Usher in both versions, Harrington shot his original 10-minute silent short on 8mm in 1942,[22] and he shot a new 36 minute version simply titled Usher on 35mm[22] in 2000 which he intended to utilize in a longer Poe anthology film that never came to fruition.[23] Both versions were included on the 2013 DVD/Blu-ray release Curtis Harrington: The Short Film Collection.
In theater, animation and music
In the early 1970s, Steven Berkoff worked on a theatrical adaptation called 'The Fall of the House of Usher' whose 35 brief scenes follow closely the course of Poe's story. Published by Amber Lane Press, it was performed at the Edinburgh Festival in 1974 and subsequently at the Hampstead Theatre Club in 1975.
In 2002 Lance Tait wrote a one-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 help further the tale as the 'Friend' (as Tait names the narrator) alternates between monologue and conversation with Usher."[24]
The Fall of the House of Usher (2015), narrated by Christopher Lee, animated short film which is part of Extraordinary Tales[25][26]
Between 1908 and 1917, French composer Claude Debussy worked on an opera called La chute de la maison Usher. The libretto was his own, based on Poe, and the work was to be a companion piece to another short opera (Le diable dans le beffroi) based on Poe's "The Devil in the Belfry". At Debussy's death the work was unfinished, however. In recent years completions have been attempted by three different musicologists.
Another operatic version, composed by Philip Glass in 1987 with a libretto by Arthur Yorinks, premiered at American Repertory Theatre and the Kentucky Opera in 1988 and was revived at the Nashville Opera in 2009.[27] The Long Beach Opera mounted a version of this work in February 2013 at the Warner Grand Theatre in San Pedro, Los Angeles.[28]
In 2008, a musical theatre adaptation ("Usher") written by two Yale students (Sarah Hirsch and Molly Fox) won the Best Musical award at the New York International Fringe Festival.[29][30][31]
References[edit]
Jump up ^ Poe, Edgar A. "The Fall of the House of Usher." 1839. Elements of Literature. Fifth Course. Austin: Holt, Rinehart, and Winston, 2009. 321-333. Print.
Jump up ^ An Historic Corner, Tremont Street and Temple Place by Walter K. Watkins, in Days and Ways in Old Boston by William S. Rossiter (ed.), Boston: R.H. Stearns & Co., 1915, pp. 91-132
Jump up ^ A.I.A. Guide to Boston. Susan and Michael Southworth p. 59
Jump up ^ Allen, Hervey. Israfel: The Life and Times of Edgar Allan Poe. New York: Farrar & Rinehart, Inc., 1934: 683.
Jump up ^ Hoffmann, E. T. A. (1990). Kaiser, Gerhard R., ed. Nachtstücke. Stuttgart: Philipp Reclam. ISBN 978-3-15-000154-7.
Jump up ^ Hansen, Thomas S. (Spring 1992). "Poe's 'German' Source for 'The Fall of the House of Usher': The Arno Schmidt Connection". Southern Humanities Review. 26 (2): 101–13.
Jump up ^ Perry, Dennis; Sederholm, Carl (2009). Poe, "The House of Usher," and the American Gothic. Palgrave Macmillan. pp. 9–10.
Jump up ^ Hoeveler, Diane Long (2008). "Reading Poe Reading Blackwood's: The Palimpsestic Subtext in "The Fall of the House of Usher"". In Lewes, Darby. Double Vision: Literary Palimpsests of the Eighteenth and Nineteenth Centuries. Lexington Books. pp. 227–229.
Jump up ^ Beebe, Maurice. "The Universe of Roderick Usher" as collected in Poe: A Collection of Critical Essays, Robert Regan, ed. Englewood Cliffs, NJ: Prentice Hall, Inc., 1967. p. 123.
Jump up ^ Hutchisson, James M. Poe. Jackson, Mississippi: University of Mississippi Press, 2005, p. 38.
Jump up ^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7 p. 111
Jump up ^ Butler, David. "Usher's Hypochondriasis: Mental Alienation and Romantic Idealism in Poe's Gothic Tales", collected in On Poe: The Best from "American Literature. Durham, NC: Duke University Press, 1993. ISBN 0-8223-1311-1 p. 189–90.
Jump up ^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7 p. 111.
Jump up ^ de Camp, L. Sprague, Lovecraft: A Biography (Doubleday, 1975), p. 246f.
Jump up ^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8 p. 297.
Jump up ^ "Edgar Allan Poe Society of Baltimore - General Topics - A Few Minor Poe Topics". eapoe.org.
Jump up ^ Kennedy, J. Gerald. "Introduction: Poe in Our Time" collected in A Historical Guide to Edgar Allan Poe. Oxford University Press, 2001. ISBN 0-19-512150-3 p. 9
Jump up ^ Thomson, G. R. Great Short Works of Edgar Allan Poe (HarperCollins, 1970), p. 36.
Jump up ^ Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926. p. 77
Jump up ^ The Best Horror Short Stories 1800-1849: A Classic Horror Anthology Editor Andrew Barger Annotated Edition Publisher Bottletree Books LLC, 2010 ISBN 978-1-933747-22-4, Length 233, p. 179
Jump up ^ McAleer, John J. "Poe and Gothic Elements in Moby-Dick", Emerson Society Quarterly, No. 27 (II Quarter 1962): 34.
^ Jump up to: a b Toscano, Mark (2013). Conversations in the Back of the Theatre: Preserving the Short films of Curtis Harrington (DVD Booklet). Drag City/Flicker Alley. |access-date= requires |url= (help)
Jump up ^ "Retrospective in Terror: An Interview with Curtis Harrington". Terror Trap. April 2005. Retrieved 2014-03-22.
Jump up ^ Pattillo, Laura Grace (Spring 2006). "The Fall of the House of Usher and Other Plays Inspired by Edgar Allan Poe". The Edgar Allan Poe Review. 7 (1): 80–82.
Jump up ^ Young, Deborah (March 26, 2015). "'Extraordinary tales': Hong Kong Review". The Hollywood Reporter.
Jump up ^ "Extraordinary tales in tha Haifa film festival". Archived from the original on 2015-10-07.
Jump up ^ Waleson, Heidi (24 November 2009). "Two by Philip Glass". The Wall Street Journal. Retrieved 29 November 2010.
Jump up ^ Ginell, Richard. "Review: Long Beach Opera charts 'The Fall of the House of Usher'". Los Angeles Times. Retrieved 5 February 2013.
Jump up ^ Dorof, Jacob. "Two Eli productions stand out at New York’s Fringe". Yale Daily News.
Jump up ^ Trav, S.D. "Fringe Festival 2008 Reviews!". The Village Voice.
Jump up ^ Siegal, Barbara. "Usher-- the musical, not the person who seats you". Talkin' Broadway.
Further reading[edit]
Evans, Walter (1977). "'The Fall of the House of Usher' and Poe's Theory of the Tale". Studies in Short Fiction. 14 (2): 137–144. Rpt. in Short Story Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. 1. Detroit: Gale, 1988. 403–5.
External links[edit]
Wikisource has original text related to this article:
The Fall of the House of Usher
Wikimedia Commons has media related to The Fall of the House of Usher.
The Fall of the House of Usher at Project Gutenberg
The Fall of the House of Usher at Project 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 Bartelby.com
"The Fall of the House of Usher" 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.
[show]
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[show]
v
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Edgar Allan Poe's "The Fall of the House of Usher" (1839)
Film
La Chute de la maison Usher (1928, French)
The Fall of the House of Usher (1928, American)
The Fall of the House of Usher (1950)
House of Usher (1960)
The Fall of the Louse of Usher (2002)
Descendant (2003)
Usher (2004)
The House of Usher (2006)
Operas
La chute de la maison Usher (Debussy)
The Fall of the House of Usher (Glass)
The Fall of the House of Usher (Hammill)
Other
Alone in the Dark
"Lady Eleanor"
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values: انهيار منزل أشر (قصة قصيرة) – Arabic

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