Free Mask of the Red Death Essays and Papers - 123HelpMe
Essay on Setting in Poe's The Masque ..
"The Masque of the Red Death" is a deliciously creepy and wonderfully bizarre story written by that early American master of Gothic horror, . Poe first published it as "The Mask of the Red Death. A Fantasy" in the May 1842 issue of Graham's Magazine, a Philadelphia literary magazine for which he served as editor. He later published a slightly revised version of the story under the title by which it's known today, "The Masque of the Red Death," in a July 1845 issue of a magazine called the Broadway Journal.
Edgar Allan Poe (who lived from 1809-1849) was a poet, essayist, and short story writer, particularly famous for writing dark, mysterious, and death-centered pieces. (His life, it turns out, was just about as mysterious as some of his stories –.) Poe had a talent for writing terrifying and spine-tingly tales: many of his short stories are now considered horror classics. He also had a mad sense of style and an incredible imagination, which allowed him to paint vivid and unforgettable images with words. Both qualities are on display in "The Masque of the Red Death," which is among the most colorful and the creepiest of his stories. It's the tale of a dreamlike masquerade ball thrown by the half-mad Prince Prospero during the height of a terrible plague. Most intriguing of all, however, is the arrival of a most unfortunate guest…
Besides his poems and stories, Poe is also famous for his unique theory of writing. He thought that every work of poetry or short fiction should aim to create a single "effect": one particularly intense feeling, emotion, or experience in the reader. Everything in the story, down to the level of the individual words, is supposed to be carefully selected by the author to bring about the effect.
"The Masque of the Red Death" is one of Poe's most brilliant successes on that front. From the opening line every element of the story feels perfectly designed to create a growing sense of dread. At the same time, Poe's wildly imaginative setting gives the story a make-believe feel (he did call it a "fantasy," after all) that draws the reader in completely. It's as if Poe is able to pull you right out of reality, into his (or is it Prospero's?) own dream. Which happens to be one heck of a nightmare.
A summary of “The Masque of the Red Death” ..
Gale, Zona – (1874 – 1938)
American novelist, story writer and dramatist
Zona Gale was born (Aug 26, 1874) in Portage, Wisconsin, and attended college in that town. She attended the University of Wisconsin, and worked as a journalist in Milwaukee and in Hew York. Her first published work was the overly sentimental novel, Romance Island (1906), though her literary talent remained evident. Increasingly drawn towards feminism and the fight for female suffrage, Gale also held strong pacifist views.
Her novel Birth (1918), was later adapted for the stage under the title of, Mr Pitt (1924), but she achieved real public recognition and fame for her real-life depictions of life in the midwest for her popular novel, Miss Lulu Brett (1920), and she received the Pulitzer Prize (1921) for the stage version. Her other novels included, Papa le Fleur (1933), and the story anthology, Yellow Gentians and Blue (1927).
Zona Gale was a strong supporter of the suffrage campaign to enfranchise women, and was an admirer of the work accomplished by Jane Addams at Hull House. She was later married (1928) to William Breese, a manufacturer from her own town, which led to her collection, Portage, Wisconsin and Other Essays (1928). Zona Gale died (Dec 27, 1938) aged sixty-four.
Galeratti, Catterina – (fl. c1700 – 1721)
Italian opera singer
Catterina Galeratti was equally at ease in either soprano or contralto roles. She was involved in opera production at the Queen’s Theatre, London, prior to her earliest recorded role (Jan, 1714) when she performed Silvio in, Dorinda, and then the title roles of Creso and Arminio, and Lucio Vero, which ensured a popular and successful English tour for her. Catterina later returned and made a second tour of England (1720 – 1721). Her roles during this visit included Agenor in, Astarte, Tigrane in, Radamisto, Amulio in, Numitore, and Lucio Tarquinio in, Muzio Scevola. Details of her later career are unknown.