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Lady Madeline can then be seen as the incarnation of "otherworldliness," the pure spirit purged of all earthly cares. She is, one might note, presented in this very image; at one point in the story, she seems to float through the apartment in a cataleptic state. If Usher embodies the incertitude of life — a condition somewhere between waking and sleeping — when Lady Madeline embraces him, this embrace would symbolize the union of a divided soul, indicating a final restoration and purification of that soul in a life to come. They will now live in pure spirituality and everything that is material in the world is symbolized by the collapse of the House of Usher — the dematerialization of all that was earthly in exchange for the pure spirituality of Roderick Usher and the Lady Madeline. When Usher appears at the narrator's door looking "cadaverously wan" and asking, "Have you not seen it?," the narrator is so ill at ease that he welcomes even the ghostly presence of his friend. Usher does not identify the "it" he speaks of, but he throws open the casement window and reveals a raging storm outside — "a tempestuous . . . night . . . singular in its terror and its beauty." Again, these details are the true and authentic trappings of the gothic tale.
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“The Haunted Palace”
It was with difficulty that I could bring myself to admit the identity of the wan being before me with the companion of my early boyhood. And now in the mere exaggeration of the prevailing character of these features, and of the expression they were wont to convey, lay so much of change that I doubted to whom I spoke. The now ghastly pallor of the skin, and the now miraculous lustre of the eve, above all things startled and even awed me. The silken hair, too, had been suffered to grow all unheeded, and as, in its wild gossamer texture, it floated rather than fell about the face, I could not, even with effort, connect its Arabesque expression with any idea of simple humanity.
The Fall of the House of Usher Characters
"Her decease," he said, with a bitterness which I can never forget, "would leave him (him the hopeless and the frail) the last of the ancient race of the Ushers." While he spoke, the lady Madeline (for so was she called) passed slowly through a remote portion of the apartment, and, without having noticed my presence, disappeared. I regarded her with an utter astonishment not unmingled with dread--and yet I found it impossible to account for such feelings. A sensation of stupor oppressed me, as my eyes followed her retreating steps. When a door, at length, closed upon her, my glance sought instinctively and eagerly the countenance of the brother--but he had buried his face in his hands, and I could only perceive that a far more than ordinary wanness had overspread the emaciated fingers through which trickled many passionate tears.
A new generation of tortured poets
Over here, the narrator tries to explain that words are insufficient to describe reality. So one can say that the fictional words, read by the narrator to Roderick, are prophetic words that foreshadow or prophesize the upcoming events. These words are similar to the words of Roderick in which he prophesied his death early at the beginning of the story. In this statement, the narrator is more like pointing out towards something. By claiming the events in real life are scarier and horrifying that it sounds like the story, Poe tries to render his story more horrifying.
Madness
The narrator tells the readers the term “The House of Usher” does not only refer to the house but also the family dwelling in the house and the Usher bloodline. Moreover, the inexplicable diseases of the mind and body in Roderick Usher and Madeline Usher show the story belongs to the genre of Gothic or horror fiction. Doppelganger is the character double and portrays the doubling of the literary forms or inanimate structures. For example, the narrator observes that the mansion is a reflection in the shallow pool or tarn that joins the front of the house. The house is doubled through its image in the tarn; however, the image is upside down, which characterizes the relationship between Madeline and Roderick. Madeline appears to be suffering from the typical problems of nineteen-century women.
Edger Allan Poe also creates a claustrophobic sensation in his story. The narrator of the story is trapped in the charm of Roderick’s attraction, and he cannot escape it until the house of Usher completely collapses. Because of the structure of the house, the characters cannot act or move freely in the house. Thus the house is assumed to be a monstrous character/structure in itself. It is a mastermind that controls the actions and fate of its residents. The story deals with the family that is so remote and isolated from the world that they have developed their own non-existing barriers to interact with the world outside.
The symbol which represents the secret – Madeline herself – is hidden away by Roderick, but that symbol returns, coming to light at the end of the story and (in good Gothic fashion) destroying the family for good. Our books--the books which, for years, had formed no small portion of the mental existence of the invalid--were, as might be supposed, in strict keeping with this character of phantasm. One favourite volume was a small octavo edition of the Directorium Inquisitorum, by the Dominican Eymeric de Gironne; and there were passages in Pomponius Mela, about the old African Satyrs and AEgipans, over which Usher would sit dreaming for hours. His chief delight, however, was found in the perusal of an exceedingly rare and curious book in quarto Gothic--the manual of a forgotten church--the Vigilae Mortuorum secundum Chorum Ecclesiae Maguntinae.
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In the first stanza of the song, Roderick names the monarch Thought (“In the monarch Thought’s dominion”), suggesting that reason rules over this mind. The physical elements of the palace additionally map onto the features of a human face. The “banners yellow, glorious, golden” that “float and flow” on the roof are locks of blond hair. It has two “luminous” windows representing eyes, and the door made of pearls and rubies is a mouth with red lips and pearly white teeth.
Madeline is buried before she has actually died because her similarity to Roderick is like a coffin that holds her identity. Madeline also suffers from problems typical for women in -nineteenth--century literature. She invests all of her identity in her body, whereas Roderick possesses the powers of intellect. In spite of this disadvantage, Madeline possesses the power in the story, almost superhuman at times, as when she breaks out of her tomb.
The author left it to readers to capture the sense of bizarreness and fancy that marks the stories collected. Built on correspondences and Gothic tropes, The Fall of the House of Usher is particularly illustrative of Poe’s style and favorite themes; its enduring legacy and modern media transpositions are evidence of its success. It first appeared in 1839 in Burton’s Gentleman’s Magazine, a publication to which Poe contributed as editor and author. Later, in 1840, it was included in the first volume of the collection Tales of the Grotesque and Arabesque. In the preface to this collection, Poe wrote that “the epithets ‘Grotesque’ and ‘Arabesque’ will be found to indicate with sufficient precision the prevalent tenor of the tales here published”.
The narrator begins to suspect that Roderick is harbouring some dark secret. Romantic writers often rebelled against the rationalism and order of the Enlightenment period that preceded it, opting to exaggerate and contradict reality instead. They celebrated spontaneity, intuition, and the sublime, and their works often explored themes of love, nature, the supernatural, and the human experience.
It was thus that he spoke of the object of my visit, of his earnest desire to see me, and of the solace he expected me to afford him. He entered, at some length, into what he conceived to be the nature of his malady. It was, he said, a constitutional and a family evil, and one for which he despaired to find a remedy--a mere nervous affection, he immediately added, which would undoubtedly soon pass off.
The twins are so similar, and it is impossible for them to develop separately. Because of Madeline’s similarity to Roderick, she has been buried before she is actually dead, and this similarity is shown by the coffin that holds her identity. “The Fall of the House of Usher” is an account of a family that is self-isolated, bizarre, and so remote from normalcy that the very existence of this family has become supernatural and eerie. The bond between the brother and sister is inexplicable and intense. One can interpret that twin siblings are actually one person that is split into two.
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