Edgar Allan Poe’s Metzengerstein: A Two-Minute Abstract and Evaluation of the Traditional Horror Story

Subtitled “An Imitation of the German,” this, the earliest of Poe’s supernatural tales, builds a novel ambiance on a basis of Gothic conventions: a hereditary feud between two historical households, a gloom-drenched fort, a cryptic curse, and vaguely sinister machinations. A number of students have categorized it as a Gothic farce – probably a literary joke presaging the satires of Twain and Bierce. And but the constructing blocks of “Usher,” “Ligeia,” “Hop-Frog,” “The Inform-Story Coronary heart,” and “The Black Cat” brew on this Germanic romance. What ought to be buried doesn’t stay buried – what’s hidden from society shall be first internally resurrected, then publically uncovered. That is the vital thesis of Poe’s horror, and it permeates the unstable relationship between the brash playboy Baron Metzengerstein and his aged and (supposedly) cursed counterpart. It might play loosely with the Gothic constructing blocks constructed by Radcliffe, Lewis, and Bürger, however the conclusion is not any farce: it teems with apt irony and chilling particulars paying homage to the most effective ghost tales of M.R. James and J.S. Le Fanu. In actual fact, it’s not completely inaccurate to time period this a ghost story, and of the few that Poe renders, that is unquestionably the most effective.  

 

The story (like Irving’s “Spectre Bridegroom” and Dickens’ “Baron of Grogzwig”) is about in an wider Germany (technically trendy Hungary) throughout an indeterminate time interval (implied to be throughout the 16th or 17th centuries), and encompasses a feud between two proud households: the Metzengersteins and the Berlifitzings. Whereas nobody is certain how the rivalry started, it’s accompanied with an ominous prophecy that “A lofty title shall have a fearful fall when, because the rider of his horse, the mortality of Metzengerstein shall conquer the immortality of Berliftizing.” For hundreds of years this motto has been whispered within the two historical homes, however its supply is as unclear because the feud itself. We’re then launched to the present house owners of the respective households: Frederick von Metzengerstein (who inherits his property at 18, and is famend for his virtually psychopathic cruelty) and Wilhelm von Berlifitzing (who is far older and recognized to be vindictive).

 

4 days after his ascent to his household seat, Frederick learns that the Berlifitzing household stables have been burned to the bottom, and that Wilhelm – a faithful horseman – was “miserably” killed within the fireplace, saving his horses. Whereas the locals suspect Frederick of arson, the Berlifitzing property now has no inheritor, and the Metzengersteins appear to have triumphed. On that day that the stables burn, Frederick is discovered significantly learning an vintage household tapestry which depicts the prophetic legend: a huge, flame-colored Berlifitzing horse whose rider has been stabbed within the again by a Metzengerstein. In a second of horror, he thinks he sees the horse within the tapestry transfer: bending over its useless grasp in mourning, eyes gleaming purple, and its “disgusting and sepulchral” tooth bared. Frederick rises from his research (inflicting his shadow to overlap that of the Metzengerstein murderer) when he’s instructed {that a} horse has been recovered from the burnt stables. Whereas the Berlifitzing servants don’t acknowledge the ferocious charger, it does have the initials “W.v.B.” branded into its brow, suggesting it was the late Wilhelm’s horse. Ominously, the monstrously giant and violent horse is an unnatural shade of orange, with the identical purple eyes and repellent tooth because the tapestry.

 

However Frederick shouldn’t be intimidated by this omen. Instantly obsessive about this new trophy, Frederick spends all his time driving it within the countryside, turning into more and more negligent in his enterprise affairs and pouring all of his vitality into the unusual animal. This issues the locals, who fear that he has gone insane, and their analysis is quickly frightfully confirmed. One ill-omened evening, Frederick gallops off into the countryside shortly earlier than his personal stables catch fireplace. Because the servants free the horses and battle the flames, they discover a hard-riding horseman – who disoriented, frantic method recommend that he has misplaced management of the vicious animal – charging in direction of the conflagration. With no hope of stopping, the 2 are swallowed up in fireplace because the horse leaps into the wreckage, inflicting the fireplace to die down quickly after. Because the flames proceed to lap on the timbers, the gang notices the flame-colored smoke shaping itself into the determine of an enormous horse.   

 

Was, then, the flame-colored stud Berliftzing’s wrathful reincarnation? A demonic acquainted? A divine karma? A manifestation of a tormented conscience? An Imp of the Perverse? Certainly it should have been certainly one of these – or so horror conventions inform us. However Poe by no means does. Apart from the model on its brow (an admittedly weak street signal) Poe stays obscure in particulars that lesser writers would have vigorously clarified. We might guess which a part of the tapestry has disappeared, however Poe trusts the intelligence of his viewers, emphasizing ambiance over explication. The horse, a conventional image of unfiltered spirit, is inescapably bodily: its hideously carnal tooth and sulfurous conceal are a manifestation of Metzengerstein’s murderous arson – unattainable to overlook and unattainable to disclaim – not not like the gallows on the Black Cat’s chest and the murmuring Inform-Story Coronary heart. And but no ostentatious ethical is embossed into the textual content. Relatively, Poe infects his setting with obscure supernatural mechanics, a cynical ethical imaginative and prescient, and a sudden and disturbing climax that will proceed to affect masters of horror like J. Sheridan Le Fanu (“Squire Toby’s Will,” “The Acquainted,” “Mr Justic Harbottle”), M.R. James (“The Stalls of Barchester Cathedral,” “The Ash Tree,” “The Tractate Middoth,” “Martin’s Shut,”), Nathaniel Hawthorne (“The Burial of Roger Malvin”), and Saki (“Srendi Vashtar”).

 

Though Poe is usually criticized for being too didactic, this ghost story (for therefore we might name it no matter what company the horse truly represents; it doesn’t matter: the person is certainly haunted) is a effective instance of restraint and artfulness. Using the eerie weirdness of German masters like Goethe, Schiller, Bürger, and Hoffmann, Poe reshapes their brooding fairy-tales into a complicated expression of psychological malice and self-destruction. A long time later, Le Fanu, Blackwood, and James would undertake the facility of “Metzengerstein” as they translated its themes and energies into essentially the most advanced supernatural kind in Western literature: the traditional English ghost story. 

 

You may learn the unique story HERE!

And you’ll find our annotated and illustrated assortment of Poe’s finest horror HERE!

 

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