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 notices a thin crack extending from the roof, down the front of the house and into the adjacent tarn, or lake.
It is revealed that Roderick's sister, Madeline, is also ill and falls into cataleptic, deathlike trances. Roderick and Madeline are the only remaining members of the Usher family.
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. Further, Roderick believes that his fate is connected to the family mansion.
Roderick later informs the narrator that Madeline has died. Fearing that her body will be exhumed for medical study, Roderick 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 Madeline's body in the tomb, whereupon the narrator realizes that Madeline and Roderick are twins. The narrator also notes that Madeline's body has rosy cheeks, which sometimes happens after death. Over the next 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 above the house's vault) in an almost hysterical state. Throwing the windows open to the storm, 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 of the glow.
The narrator attempts to calm Roderick by reading aloud from a medieval romance entitled 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. Ethelred also 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;[1]
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 house. 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 be 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 made by his sister, who was in fact alive when she was entombed.
The bedroom door is then blown open to reveal Madeline, bloodied from her arduous escape from the tomb. In a final fit of rage, she attacks her brother, scaring him to death as she herself expires. The narrator then runs from the house, and, as he does, he notices a flash of moonlight behind him. He turns back in time to see the Moon shining through the suddenly widened crack in the house. As he watches, the House of Usher splits in two and the fragments sink away into the lake.
In "The Fall of the House of Usher", Poe's unnamed narrator is called to visit the House of Usher by Roderick Usher. As his "best and only friend,"[3] Roderick writes of his illness and asks that the narrator visit him. The narrator is persuaded by Roderick's desperation for companionship. Though sympathetic and helpful, the narrator is continually made to be an outsider, watching the narrative unfold without fully becoming a part 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 is gradually drawn into this belief after being brought forth to witness the horrors and hauntings of the House of Usher.[4]
From his arrival, the narrator notes the family's isolationist tendencies, as well as the cryptic and special connection between Madeline and Roderick, the final living members of the Usher family. 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 appearance.
During one sleepless night, the narrator reads aloud to Usher as eerie sounds are heard throughout the mansion. He witnesses Madeline's 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
Roderick Usher is the twin of Madeline Usher and one of the last living members of the Usher family. Roderick writes to the narrator, his boyhood friend, about an ongoing illness.[3] When the narrator arrives, he is startled to see Roderick's eerie and off-putting appearance. He is described by the narrator as having:
gray-white skin; eyes large and full of light; lips not bright in color, but of a beautiful shape; a well-shaped nose; hair of great softness — a face that was not easy to forget. And now the increase in this strangeness of his face had caused so great a change that I almost did not know him. The horrible white of his skin, and the strange light in his eyes, surprised me and even made me afraid. His hair had been allowed to grow, and in its softness, it did not fall around his face but seemed to lie upon the air. I could not, even with an effort, see in my friend the appearance of a simple human being.[5]
Roderick Usher is a recluse.[3] He is unwell both physically and mentally. In addition to his constant fear and trepidation, Madeline's catalepsy contributes to his decay as he is tormented by the sorrow of watching his sibling die. The narrator states:
He admitted [that] much of the peculiar gloom which thus affected him could be traced [to] the evidently approaching dissolution [of] his sole companion.[3]
According to Terry W. Thompson, Roderick meticulously plans for Madeline's burial to prevent "resurrection men" from stealing his beloved sister's corpse for dissection, study, or experimentation as was common in the 18th and 19th centuries for medical schools and physicians in need of cadavers.[6]
Roderick and Madeline are twins and the two share an incommunicable connection that critics conclude may be either incestuous or metaphysical,[7] as two individuals in an extra-sensory relationship embodying a single entity. To that end, Roderick's deteriorating condition speeds his own torment and eventual death.
Like Madeline, Roderick is connected to the mansion, the titular House of Usher. He believes the mansion is sentient and responsible, in part, for his deteriorating mental health and melancholy. Despite this admission, Usher remains in the mansion and composes art containing the Usher mansion or similar haunted mansions. His mental health deteriorates faster as he begins to hear Madeline's attempts to escape the underground vault she was buried in, and he eventually meets his death out of fear in a manner similar to the House of Usher's cracking and sinking.
Madeline Usher
Madeline Usher is the twin sister of Roderick Usher. She is deathly ill and cataleptic. She appears near the narrator, but 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 appearance. In the tale's conclusion, Madeline escapes from the tomb and returns to Roderick, scaring him to death.
According to Poe's detective methodology in literature, Madeline Usher may be the physical embodiment of the supernatural and metaphysical worlds.[citation needed] Her limited presence is explained as a personification of Roderick's torment and fear.[citation needed] Madeline does not appear until she is summoned through her 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", meaning "His heart is a tightened lute; as soon as one touches it, it echoes".[1][citation needed]
In 1928, Éditions Narcisse, predecessor to the Black Sun Press, published a limited edition of 300 numbered copies with illustrations by Alastair.[citation needed]
Sources of inspiration
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 in downtown modern Boston, Massachusetts.[9] Adjacent to Boston Common and bounded 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.[9] Other sources indicate 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.[10]
Another source of inspiration may be from an actual couple, Mr. and Mrs. Luke Usher, the friends and acting colleagues of his mother Eliza Poe.[11] The couple took care of Eliza's three children (including Poe) during her time of illness 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.[citation 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 being called Roderich or Roderick. Because 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 "Das Raubschloß", as translated into English by Joseph 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.[13] As well as sharing common elements, such as a young woman with a fear of premature burial interred in a sepulcher 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".[2][14]
"The Fall of the House of Usher" 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 house symbolizing the destruction of the human body continues to be a characteristic element in Poe's later 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 fear, impending doom, and guilt.[17] These emotions center on Roderick Usher, who, like many Poe characters, suffers from an unnamed disease. Like the narrator in "The Tell-Tale Heart", this disease inflames Roderick's 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.[18] Similarly, he buries his sister alive because he expects to bury her alive, creating his own self-fulfilling prophecy.[citation needed]
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.[19]
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".[20]
The plot 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.[citation needed] An incestuous relationship between Roderick and Madeline never is explicitly stated, but seems implied by the attachment between the two siblings.[21]
Opium, which Poe mentions several times in both his prose and poems, is mentioned twice in the tale.[1] 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."[22]
While there are no direct statements supporting their conclusions, scholars have demonstrated the language deployed by Roderick to describe his sister as full of hints of the possible incestuous relationship between the twins. They argue that this perversion is the actual cause of the fall of the house as well as an end to the lineage of Ushers.[23]
Allusions and references
The opening epigraph quotes "Le Refus" (1831) by 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".[1] Béranger's original text reads "Mon cœur" (my heart) and not "Son cœur" (his/her heart).[citation needed]
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.[24] 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.
Usher's library is mentioned to have "formed no small portion of the mental existence 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 book about divine visions and the afterlife.
"The Fall of the House of Usher" first appeared in Burton's.
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 more famous works of prose.[26] 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".[27]
"The Fall of the House of Usher" has been criticized for being too formulaic, particularly in how Poe followed patterns established in his own 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.[28]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".[29]
John McAleer maintained that Herman Melville's idea for "objectifying Ahab's flawed character" in Moby-Dick 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.[30]
A devout fan of the works of Poe, American 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,[31] and he shot a new 36 minute version simply titled Usher on 35mm[31] in 2000 which he intended to utilize in a longer Poe anthology film that never came to fruition.[32] Both versions were included on the 2013 DVD/Blu-ray release Curtis Harrington: The Short Film Collection.
In 1950, a British film version of The Fall of the House of Usher was produced starring Gwen Watford, Kay Tendeter and Irving Steen.
In 1956, NBC Matinee Theater on US television broadcast The Fall of the House of Usher starring Marshall Thompson and Tom Tryon for episode 197.
In the Roger Corman film from 1960, released in the United States as House of Usher, Vincent Price starred as Roderick Usher, Myrna Fahey as Madeline and Mark Damon as Philip Winthrop, Madeline's fiancé. The film was Corman's first in a series of eight films inspired by the works of Edgar Allan Poe.
A television adaptation was produced by ATV for the ITV network in 1966 for the horror anthology series Mystery and Imagination. Episode 3 in 1966 was The Fall of the House of Usher.
In 1976, a 30 minutes version of The Fall of the House of Usher was made for Short Story Showcase for American TV.
In 1979, Italian state channel RAI loosely adapted the short story, together with other Poe's works, in the series 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 1989, The House of Usher was a film produced by American, British, and Canadian companies starring Oliver Reed.
In 2002, Ken Russell produced a horror comedy version titles The Fall of the Louse of Usher.
The 2006 film The House of Usher from Australian director Hayley Cloake, starring Austin Nichols as Roderick Usher, was an update of the tale set in the modern era with a love interest for Roderick in the form of the best friend of his deceased sister.[36]
The Fall of the House of Usher (2015), narrated by Christopher Lee, is an animated short film which is part of Extraordinary Tales.[37][38]
The lyrics of Alan Hull's song "Lady Eleanor", a 1971 hit single for British folk rock band Lindisfarne, were inspired by "The Fall of the House of Usher" and other Poe works.[40]
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."[43]
The Martian Chronicles, a 1950 collection of stories by Ray Bradbury, contains a novella called "Usher II," a homage to Poe. Its main character, William Stendahl, builds a house based on the specifications from Poe's story to murder his enemies.
Usher's Passing, a 1984 novel by Robert R. McCammon, is a gothic fiction novel based on the "true" story of the Usher family. Poe makes an appearance in the flashback that starts the novel.[47]
"The Black Cat" is a short story by American writer Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. In the story, an unnamed narrator has a strong affection for pets until he perversely turns to abusing them. His favorite, a pet black cat, bites him one night and the narrator punishes it by cutting its eye out and then hanging it from a tree. The home burns down but one remaining wall shows a burned outline of a cat hanging from a noose. He soon finds another black cat, similar to the first except for a white mark on its chest, but he develops a hatred for it as well. He attempts to kill the cat with an axe but his wife stops him; instead, the narrator murders his wife. He conceals the body behind a brick wall in his basement. The police soon come and, after the narrator's tapping on the wall is met with a shrieking sound, they find not only the wife's corpse but also the black cat that had been accidentally walled in with the body and alerted them with its cry.
The Fall of the House of Usher (1928) is a short silent horror film adaptation of the 1839 short story "The Fall of the House of Usher" by Edgar Allan Poe. The movie was co-directed by James Sibley Watson and Melville Webber, and starred Herbert Stern, Hildegarde Watson, and Melville Webber. It tells the story of a brother and sister who live under a family curse. An avant-garde experimental film running only 13 minutes, the visual element predominates, including shots through prisms to create optical distortion. There is no dialogue in the film, though one sequence features letters written in the air moving across the screen.
"The Tell-Tale Heart" is a short story by American writer Edgar Allan Poe, first published in 1843. It is told by an unnamed narrator who endeavors to convince the reader of the narrator's sanity while simultaneously describing a murder the narrator committed. The victim was an old man with a filmy pale blue "vulture-eye", as the narrator calls it. The narrator emphasizes the careful calculation of the murder, attempting the perfect crime, complete with dismembering the body in the bathtub and hiding it under the floorboards. Ultimately, the narrator's actions result in hearing a thumping sound, which the narrator interprets as the dead man's beating heart.
"The Oval Portrait" is a horror short story by American writer Edgar Allan Poe, involving the disturbing circumstances of a portrait in a château. It is one of his shortest stories, filling only two pages in its initial publication in 1842.
"Berenice" is a short horror story by American writer Edgar Allan Poe, first published in the Southern Literary Messenger in 1835. The story is narrated by Egaeus, who is preparing to marry his cousin Berenice. He tends to fall into periods of intense focus, during which he seems to separate himself from the outside world. Berenice begins to deteriorate from an unnamed disease until only her teeth remain healthy. Egaeus obsesses over them. When Berenice is buried, he continues to contemplate her teeth. One day, he awakens with an uneasy feeling from a trance-like state and hears screams. A servant reports that Berenice's grave has been disturbed, and she is still alive. Beside Egaeus is a shovel, a poem about "visiting the grave of my beloved", and a box containing 32 teeth.
"The Premature Burial" is a horror short story by American writer Edgar Allan Poe, published in 1844 in The Philadelphia Dollar Newspaper. Its main character expresses concern about being buried alive. This fear was common in this period and Poe was taking advantage of the public interest. The story has been adapted to a film.
"Ligeia" is an early short story by American writer Edgar Allan Poe, first published in 1838. The story follows an unnamed narrator and his wife Ligeia, a beautiful and intelligent raven-haired woman. She falls ill, composes "The Conqueror Worm", and quotes lines attributed to Joseph Glanvill shortly before dying.
House of Usher is a 1960 American gothic horror film directed by Roger Corman and written by Richard Matheson from the 1839 short story "The Fall of the House of Usher" by Edgar Allan Poe. The film was the first of eight Corman/Poe feature films and stars Vincent Price, Myrna Fahey, Mark Damon and Harry Ellerbe.
The Fall of the House of Usher is a 1928 French horror film directed by Jean Epstein, one of several films based on the 1839 Gothic short story The Fall of the House of Usher by Edgar Allan Poe.
The Fall of the House of Usher is an opera by Peter Hammill (music) and Chris Judge Smith (libretto). It is based on the 1839 short story of the same name by Edgar Allan Poe.
"Metzengerstein: A Tale in Imitation of the German" is a short story by American writer and poet Edgar Allan Poe, his first to see print. It was first published in the pages of Philadelphia's Saturday Courier magazine, in 1832. The story follows the young Frederick, the last of the Metzengerstein family, who carries on a long-standing feud with the Berlifitzing family. Suspected of causing a fire that kills the Berlifitzing family patriarch, Frederick becomes intrigued with a previously unnoticed and untamed horse. Metzengerstein is punished for his cruelty when his own home catches fire and the horse carries him into the flame. Part of a Latin hexameter by Martin Luther serves as the story's epigraph: Pestis eram vivus—moriens tua mors ero.
American poet and short story writer Edgar Allan Poe has had significant influence in television and film. Many are adaptations of Poe's work, others merely reference it.
"Morella" is a short story in the Gothic horror genre by 19th-century American author and critic Edgar Allan Poe.
"A Predicament" is a humorous short story by Edgar Allan Poe, usually combined with its companion piece "How to Write a Blackwood Article". It was originally titled "The Scythe of Time". The paired stories parody the Gothic sensation tale, popular in England and America since the early 19th century.
Edgar Allan Poe has appeared in popular culture as a character in books, comics, film, and other media. Besides his works, the legend of Poe himself has fascinated people for generations. His appearances in popular culture often envision him as a sort of "mad genius" or "tormented artist", exploiting his personal struggles. Many depictions of Poe interweave elements of his life with his works, in part due to Poe's frequent use of first-person narrators, suggesting an erroneous assumption that Poe and his characters are identical.
The House of Usher is a 2006 American drama thriller film based on the 1839 Edgar Allan Poe short story "The Fall of the House of Usher". The film was directed by Hayley Cloake and written by Collin Chang. It stars Austin Nichols, Izabella Miko and Beth Grant.
La chute de la maison Usher is an unfinished opera in one act by Claude Debussy to his own libretto, based on Edgar Allan Poe's 1839 short story "The Fall of the House of Usher". The composer worked on the score between 1908 and 1917 but it was never completed.
The Fall of the House of Usher is a 1950 British horror film directed by Ivan Barnett and starring Gwen Watford in her film debut, with Kaye Tendeter and Irving Steen. It is an adaptation of the 1839 short story of the same title by Edgar Allan Poe.
The Blancheville Monster, released in the UK and Italy as Horror, is a 1963 horror film directed by Alberto de Martino. The film's script by Gianni Grimaldi and Bruno Corbucci is promoted as being based on the works of Edgar Allan Poe, but actually only borrows elements from the short stories "The Fall of the House of Usher", "A Tale of the Ragged Mountains" and "Some Words with a Mummy". Long after its release, director Alberto de Martino described his film as "a little film of no importance".
The Fall of the House of Usher is an American gothic horror drama television miniseries created by Mike Flanagan. All eight episodes were released on Netflix on October 12, 2023, each directed by either Flanagan or Michael Fimognari, with the latter also acting as cinematographer for the entire series.
References
1 2 3 4 5 Poe, Edgar A. "The Fall of the House of Usher." 1839. Elements of Literature. Fifth Course. Austin: Holt, Rinehart, and Winston, 2009. 321–33. Print.[ISBNmissing]
1 2 3 4 Poe, Edgar Allan (2013). Edgar Allan Poe: Storyteller. Washington, DC: Office of English Language Programs. p.23. ISBN978-1-624-25061-3.
↑ Rollanson, Christopher (June 2009). "The Character of Phantasm: Edgar Allan Poe's 'The Fall of the House of Usher' and Jorge Luis Borges' 'Tlön, Uqbar, Orbis Tertius.'". Atlantis. 31: 9–22 – via EBSCOhost.
↑ Poe, Edgar Allan (2013). Edgar Allan Poe: Storyteller. Washington, DC: Office of English Language Programs. p.24. ISBN978-1-624-25061-3.
↑ Thompson, Terry (Spring 2018). "With Sympathy for Roderick: Madeline Usher and the Resurrection Men". Midwest Quarterly. 59: 255–67 – via EBSCOhost.
↑ Lovecraft, Howard (1973). Supernatural Horror in Literature. New York: Dover Publications. ISBN0-486-20105-8.[pageneeded]
↑ Sova, Dawn B. Edgar Allan Poe: A to Z. Checkmark Books, 2001: 104. ISBN0-8160-4161-X
1 2 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[ISBNmissing]
↑ A.I.A. Guide to Boston. Susan and Michael Southworth, p. 59
↑ Allen, Hervey. Israfel: The Life and Times of Edgar Allan Poe. New York: Farrar & Rinehart, Inc., 1934: 683.[ISBNmissing]
↑ 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.
1 2 Hutchisson, James M. Poe, Jackson, Mississippi: University of Mississippi Press, 2005, p. 38.[ISBNmissing]
↑ 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.[ISBNmissing]
↑ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992; ISBN0-8154-1038-7, p. 111
↑ 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. ISBN0-8223-1311-1, pp. 189–90.
↑ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN0-8154-1038-7 p. 111.
↑ Kennedy, J. Gerald. "Introduction: Poe in Our Time" collected in A Historical Guide to Edgar Allan Poe. Oxford University Press, 2001; ISBN0-19-512150-3 p. 9
↑ Thomson, G.R. Great Short Works of Edgar Allan Poe (HarperCollins, 1970), p. 36.
↑ Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926. p. 77
↑ McAleer, John J. "Poe and Gothic Elements in Moby-Dick", Emerson Society Quarterly, No. 27 (II Quarter 1962): p. 34.
1 2 Toscano, Mark (2013). Conversations in the Back of the Theatre: Preserving the Short films of Curtis Harrington (DVD Booklet). Drag City/Flicker Alley.
↑ 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. JSTOR41506252.
Evans, Walter (1977). "'The Fall of the House of Usher' and Poe's Theory of the Tale". Studies in Short Fiction. 14 (2): 137–44. Rpt. in Short Story Criticism. Ed. Laurie Lanzen Harris and Sheila Fitzgerald. Vol. 1. Detroit: Gale, 1988. 403–05.
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