LEARN ENGLISH: ENGLISH GRAMMAR

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English Grammar
Direct and Indirect Speech
Direct Speech | Indirect Speech
Tense Change | Time Change | Pronoun Change
Reporting Verbs | Use of 'That'
We often have to give information about what people say or think. In order to do this you can use direct or quoted speech, or indirect or reported speech.
Direct Speech / Quoted Speech
Saying exactly what someone has said is called direct speech (sometimes called quoted speech)
Here what a person says appears within quotation marks ("...") and should be word for word.
For example:
She said, "Today's lesson is on presentations."
or
"Today's lesson is on presentations," she said.


Indirect Speech / Reported Speech
Indirect speech (sometimes called reported speech), doesn't use quotation marks to enclose what the person said and it doesn't have to be word for word.
When reporting speech the tense usually changes. This is because when we use reported speech, we are usually talking about a time in the past (because obviously the person who spoke originally spoke in the past). The verbs therefore usually have to be in the past too.
For example:
Direct speech Indirect speech
"I'm going to the cinema", he said. He said he was going to the cinema.

Tense change
As a rule when you report something someone has said you go back a tense: (the tense on the left changes to the tense on the right):
Direct speech Indirect speech
Present simple
She said, "It's cold." › Past simple
She said it was cold.
Present continuous
She said, "I'm teaching English online." › Past continuous
She said she was teaching English online.
Present perfect simple
She said, "I've been on the web since 1999." › Past perfect simple
She said she had been on the web since 1999.
Present perfect continuous
She said, "I've been teaching English for seven years." › Past perfect continuous
She said she had been teaching English for seven years.
Past simple
She said, "I taught online yesterday." › Past perfect
She said she had taught online yesterday.
Past continuous
She said, "I was teaching earlier." › Past perfect continuous
She said she had been teaching earlier.
Past perfect
She said, "The lesson had already started when he arrived." › Past perfect
NO CHANGE - She said the lesson had already started when he arrived.
Past perfect continuous
She said, "I'd already been teaching for five minutes." › Past perfect continuous
NO CHANGE - She said she'd already been teaching for five minutes.
Modal verb forms also sometimes change:
Direct speech Indirect speech
will
She said, "I'll teach English online tomorrow." › would
She said she would teach English online tomorrow.
can
She said, "I can teach English online." › could
She said she could teach English online.
must
She said, "I must have a computer to teach English online." › had to
She said she had to have a computer to teach English online.
shall
She said, "What shall we learn today?" › should
She asked what we should learn today.
may
She said, "May I open a new browser?" › might
She asked if she might open a new browser.
!Note - There is no change to; could, would, should, might and ought to.
Direct speech Indirect speech
"I might go to the cinema", he said. He said he might go to the cinema.
You can use the present tense in reported speech if you want to say that something is still true i.e. my name has always been and will always be Lynne so:-
Direct speech Indirect speech
"My name is Lynne", she said. She said her name was Lynne.
or
She said her name is Lynne.
You can also use the present tense if you are talking about a future event.
Direct speech (exact quote) Indirect speech (not exact)
"Next week's lesson is on reported speech ", she said. She said next week's lesson is on reported speech.

Time change
If the reported sentence contains an expression of time, you must change it to fit in with the time of reporting.
For example we need to change words like here and yesterday if they have different meanings at the time and place of reporting.
Today + 24 hours - Indirect speech
"Today's lesson is on presentations." She said yesterday's lesson was on presentations.
Expressions of time if reported on a different day
this (evening) › that (evening)
today › yesterday ...
these (days) › those (days)
now › then
(a week) ago › (a week) before
last weekend › the weekend before last / the previous weekend
here › there
next (week) › the following (week)
tomorrow › the next/following day
In addition if you report something that someone said in a different place to where you heard it you must change the place (here) to the place (there).
For example:-
At work At home
"How long have you worked here?" She asked me how long I'd worked there.

Pronoun change
In reported speech, the pronoun often changes.
For example:
Me You
"I teach English online." She said she teaches English online.

Reporting Verbs
Said, told and asked are the most common verbs used in indirect speech.
We use asked to report questions:-
For example: I asked Lynne what time the lesson started.
We use told with an object.
For example: Lynne told me she felt tired.
!Note - Here me is the object.
We usually use said without an object.
For example: Lynne said she was going to teach online.
If said is used with an object we must include to ;
For example: Lynne said to me that she'd never been to China.
!Note - We usually use told.
For example: Lynne told me that she'd never been to China.
There are many other verbs we can use apart from said, told and asked.
These include:-
accused, admitted, advised, alleged, agreed, apologised, begged, boasted, complained, denied, explained, implied, invited, offered, ordered, promised, replied, suggested and thought.
Using them properly can make what you say much more interesting and informative.
For example:
He asked me to come to the party:-
He invited me to the party.
He begged me to come to the party.
He ordered me to come to the party.
He advised me to come to the party.
He suggested I should come to the party.

Use of 'That' in reported speech
In reported speech, the word that is often used.
For example: He told me that he lived in Greenwich.
However, that is optional.
For example: He told me he lived in Greenwich.
!Note - That is never used in questions, instead we often use if.
For example: He asked me if I would come to the party.

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THE DISCOVERY OF SANSKRIT

Sanskrit is a language of ancient India, was one of the language of the group. This was first suggested in the latter part of eighteenth cebtury abd fully established by the beginning of the nineteenth.

Example

English word Sanskrit

Brother bhrãtar

Compare the following forms of the verb to be:

Old English Gothic Latin Greek Sanskrit

Eom (am) im sum eimi asmi

Eart (art) is es ei asi

Is (is) ist est esti asti

Sindon (are) sijum sumus semen smas

Sindon (are) sijub estis este stha

Sindon (are) sind sunt eisi santi

The Sanskrit forms particularly permit us to see that at one time this verb had the same endings (mi, si, ti, mas, tha, nti) as were employed in the present tense of other verb, e.g.:

Sanskrit

Dádãmi dídõmi

Dádãsi dídõs

Dádãti dídõsi

Dadmás dádote

Datthá dídote

Dada (n) ti didóãsi

THE IMPORTANCE OF ENGLISH

And values forges friendships , cultural ties, and economic relationship. For linguist Edward Sapir , Language is not only vehicle for the expression of thoughts, perceptions, sentiments and values characteristics of a community. It is also represents a fundamental expression of social identity.
Since the adoption of official bilingualism, we have been better able to provide to the younger generations the tools and knowledge for them to excel not only here at home, but beyond our national borders. Language, of course is knowledge and in our world today knowledge is one of the key factors in competitiveness. Brains and knowledge are what create the prosperity and growth we tend to take for grated.
There are many languages in the world where English is the foremost of them all. It is understood and spoken almost everywhere in the world. English has become the key instrument of globalization. Now almost all the universities are conducting scientific studies through English medium.

THE mosque of the "Red Death"

Red death had long devastated the country. THE "Merah Tewas". No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. Abbey yang telah amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself.In the meantime it was folly to grieve, or to think.The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade.But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. Dia denda mata untuk warna dan efek. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.
He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion.Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.
Literature Network » Edgar Allan Poe » The Masque of the Red Death

had long devastated the country. THE "Merah Tewas". No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. Abbey yang telah amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself.In the meantime it was folly to grieve, or to think.The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade.But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened. That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. Dia denda mata untuk warna dan efek. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.
He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum. There are chords in the hearts of the most reckless which cannot be touched without emotion.Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person; and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.
Literature Network » Edgar Allan Poe » The Masque of the Red Death

cause&effect EDUCATION AT UNIVERSITY IN NON REGULAR PROGRAM

TOPIC : EDUCATION
EDUCATION IN UNIVERSITY
EDUCATION AT UNIVERSITY IN NON REGULAR PROGRAM


TOPIC : EDUCATION AT UNIVERSITY IN NON REGULAR PROGRAM.
LISTING:
QUALITY OF STUDY
TIME OF STUDY (FLEXIBLE)
EASY
EFFECT


In most of student have done in senior high school, they wants to follow in university. We can register in university that we have chosen. If we can’t give requirement, we can’t joint with that university. If we don’t get it, we can register for twice in non regular program. Non regular program is a program from the university that do in the evening. Any a little different if you choose education at university in non regular program.

First, quality of study. It is not different with the regular program, we will study in a same university, faculty and also the teacher. We also have a ruler from faculty that we must respect.


Second, Time of study. It is different with the regular program because we start in the evening at 3.30 pm. Non regular program not only for the students that can’t enter in the regular program but also for students that have a work too. It is the right time for them which are working in the morning.

Third, Easy. Its mean is we can learn easier than the regular program because the students in non regular program are limited so we aren’t worried with a noisy class.

Moreover, we only have a little friends in non regular program so we can learn seriously. The most of them have worked so it’s never can’t to us do a meeting outside of class. Last of all, it is the good program to you that have a worK

EXAMPLE OF FOREWORD

Growing technological developments. Everything that can be learned through the increasingly sophisticated technology. Here we can take advantage of technological developments through the use of academic learning in cyberspace. World courses are identical with the knowledge needed to dig useful, on this blog we can exchange ideas and share in the field of linguistics. I was a university student of literature faculty dirty. I was a blogger who strongly supports the development of virtual world today. Science is absolutely something that should always be collected and developed. Age is not a problem to stop studying. The world of education today also evolve with the development of human interest in the study. On this site is a collection of courses, courses that I have traveled on the lecture. May be far from perfection, but by sharing our knowledge can perhaps be more useful to digest.

Fortunately we always say the presence of God upon His love, His Scientific Written with the title "Conflict of The Road Novel", we have been able to finish well. Writing Scientific Written paper aims to meet the S1 degree in faculty of letters, jember university. Success and has been the completion of the writing is not released from the various parties that have support, because the author want to thank:

1.To both parents who always give our prayers, love, advice and enthusiasm every time.

2.Drs Hadiri MA., as a Lecturer in our referrer who has provided guidance, direction, and criticism for the sake of completeness Scientific Written this paper.

3.To Andrik S, my beloved who gave the briefing for the perfection of writing a scientific paper written this.

4.To friends who have given us the spirit of giving ideas and participate in writing proposals or papers this scientific.

We hope that this paper Scientific Written useful for the next generation of faculty of letters in Jember University and all readers. Amien.

paper literary enjoyment

LITERARY ENJOYMENT AND APPRECIATION
BY Drs. RIDAK YUNUS

Made by
1. Bayu Kusuma W NIM 070 110 191 001
2. Ahmad Naufal NIM 070 110 191 002
3. Siti Rohimah NIM 070 110 191 003
4. Nikhy Ria A.R.A NIM 070 110 191 004
5. Cicin NIM 060 110 191 022

NON REGULAR PROGRAM
FACULTY OF LETTERS
JEMBER UNIVERSITY
2008 – 2009

LISTING

Page of Tittle ………………………………………………………………… i
LISTING …..………………………………………………………………… ii
CAPTURE I INTRODUCTION
1.1. Background ……………………………………………………………… 1
1.2. PURPOSES ………………………………………………………………1
CAPTURE II THE MASQUE OF THE RED DEATH 2
CAPTURE III POINT OF DISCUSSION
3.1. Point of View …………………………………………………………… 7
3.2. Character and Conflict ………………………………………………….. 10
3.3. PLOT ……………………………………………………………………. 16
CAPTURE IV CONCLUTION 20

LIST OF SOURCE BIOGRAPHICAL INFORMATION


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CAPTURE I
INTRODUCTION

1.1. Background
A lot of people in our around that is disunderstanding what is the short story even they seldom read the short story. Particularly they never have heard about the short story. This limitation makes us wish to pare farther about short story with based on the masterpiece of the masque of the red death is Edgar Allan Poe. He is the author of that short story and many more. This is our effort to give benefit how is important the short story especially for the student in faculty of letters.

1.2. Purposes

1
CAPTURE II
THE MASQUE OF THE RED DEATH

THE "Red Death" had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal -- the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress and termination of the disease, were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his castellated abbeys. This was an extensive and magnificent structure, the creation of the prince's own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having entered, brought furnaces and massy hammers and welded the bolts. They resolved to leave means neither of ingress or egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. Abbey yang telah amply provisioned. With such precautions the courtiers might bid defiance to contagion. The external world could take care of itself.In the meantime it was folly to grieve, or to think.The prince had provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade.But first let me tell of the rooms in which it was held. There were seven -- an imperial suite. In many palaces, however, such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extent is scarcely impeded. Here the case was very different; as might have been expected from the duke's love of the bizarre. The apartments were so irregularly disposed that the vision embraced but little more than one at a time. There was a sharp turn at every twenty or thirty yards, and at each turn a novel effect. To the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor which pursued the windings of the suite.
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These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber into which it opened.That at the eastern extremity was hung, for example, in blue -- and vividly blue were its windows. The second chamber was purple in its ornaments and tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange -- the fifth with white -- the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet -- a deep blood color. Now in no one of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro or depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood, opposite to each window, a heavy tripod, bearing a brazier of fire that protected its rays through the tinted glass and so glaringly illumined the room. And thus were produced a multitude of gaudy and fantastic appearances. But in the western or black chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted panes, was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the western wall, a gigantic clock of ebony. Its pendulum swung to and fro with a dull, heavy, monotonous clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause, momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay company; and, while the chimes of the clock yet rang, it was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in confused reverie or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at their own nervousness and folly, and made whispering vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after the lapse of sixty minutes, (which embrace three thousand and six hundred seconds of the Time that flies,) there came yet another chiming of the clock, and then were the same disconcert and tremulousness and meditation as before.


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But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for colors and effects. He disregarded the decora of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers felt that he was not. It was necessary to hear and see and touch him to be sure that he was not.He had directed, in great part, the moveable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm -- much of what has been since seen in "Hernani." There were arabesque figures with unsuited limbs and appointments. There were delirious fancies such as the madman fashions. There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers there stalked, in fact, a multitude of dreams. And these -- the dreams -- writhed in and about, taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away -- they have endured but an instant -- and a light, half-subdued laughter floats after them as they depart. And now again the music swells, and the dreams live, and writhe to and fro more merrily than ever, taking hue from the many-tinted windows through which stream the rays from the tripods. But to the chamber which lies most westwardly of the seven, there are now none of the maskers who venture; for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of the sable drapery appals; and to him whose foot falls upon the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps, that more of thought crept, with more of time, into the meditations of the thoughtful among those who revelled. And thus, too, it happened, perhaps, that before the last echoes of the last chime had utterly sunk into silence, there were many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, expressive of disapprobation and surprise -- then, finally, of terror, of horror, and of disgust.

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In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince's indefinite decorum.There are chords in the hearts of the most reckless which cannot be touched without emotion.Even with the utterly lost, to whom life and death are equally jests, there are matters of which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the countenance of a stiffened corpse that the closest scrutiny must have had difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood -- and his broad brow, with all the features of the face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell upon this spectral image (which with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but, in the next, his brow reddened with rage.
"Who dares?" he demanded hoarsely of the courtiers who stood near him -- "who dares insult us with this blasphemous mockery? Seize him and unmask him -- that we may know whom we have to hang at sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly -- for the prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in the direction of the intruder, who at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth hand to seize him; so that, unimpeded, he passed within a yard of the prince's person;

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and, while the vast assembly, as if with one impulse, shrank from the centres of the rooms to the walls, he made his way uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple -- through the purple to the green -- through the green to the orange -- through this again to the white -- and even thence to the violet, ere a decided movement had been made to arrest him. It was then, however, that the Prince Prospero, maddening with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry -- and the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards, fell prostrate in death the Prince Prospero. Then, summoning the wild courage of despair, a throng of the revellers at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements and corpse-like mask which they handled with so violent a rudeness, untenanted by any tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.

Literature Network » Edgar Allan Poe » The Masque of the Red Death

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CAPTURE III
POINT OF DISCUSSION

The disease of the red death is a fictitious one. Poe describes it as causing “sharp pains, and sudden dizziness and then profuse bleeding at the pores” leading to death within half an hour.
It is likely that disease was inspired by tuberculosis (or consumtion, as it was known then), as Poe’s wife Virginia was suffering from the disease at the time the story was written. Like the character of Prince Prospero, Poe tried to ignore the fatality of the disease. Poe’s mother Eliza and foster mother Frances Allan had also died of tuberculsis. Alternately, the red death may refer to cholera; Poe would have witnessed an epidemic of cholera in Baltimore, Maryland in 1831. Other have suggested that the plague is actually Bubonic plague or the Black death, emphasized by climax of the story featuring the red death in black room. One writer likened the description to that a viral hemorrhagic fever or necrotizing fasciitis. It has been suggested the red death is not a disease or sickness at all but something else that is shared by all of humankind inherently.

3.1. Point of view
The red death is symbolic for death (of course). No matter how luxurious the house, how nice our clothes, no one escapes death.The rooms in the palace, lined up in a series, symbolize the stages of life. The rooms run east to west, and the sun rises in the east and sets in the west. This symbolizes sun as life, and night as death.

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Poe wrote the story as an allegory for life and death so I think the guests are real at the party. The guests are there to illustrate how people avoid death and live life merrily, never really thinking about it until it is upon them. Without the guests the allegory might not have worked as well because we would have only had Prince Prospero avoiding death and the story is meant to be an allegory for all. Allegories are often exaggerated examples so perhaps it has the feel at points that the guests aren't quite real, but I think Poe wrote the story intending the guests to be real.
Because the story is told from a third person point of view and because it could be interpreted that the narrator could be the "Red Death" itself OR the Prince himself (meaning the prince has dreamed ALL of this tale and the death is his own psychological death), the entire story could be seen as an example of dramatic irony. Dramatic irony occurs when the reader knows more than the character knows, so if the narrator is either the "Red Death" or Prince Prospero, it is told AFTER the fact, which would make the entire story an example of dramatic irony
There are seven chambers in the abbey. Each room is decorated a different color and draped with lush fabrics and plush furniture. Some critics believe each room is meant to represent a decade from his life. The colors he uses for each room therefore would indicate his mental and physical health and attitude. The seventh room is black with red windows and a large clock. This seems to symbolize Prospero's death. Red is symbolic of blood and black for death. This room is in the west end of the house, as well, and the sun sets in the west. The clock could be symbolic of his lifespan. When the clock had stopped, everyone had died.
Symbolism was used in the setting of the “Masque of the Red Death. ” Poe never said the masked figure is the Red Death. The Ebony Clock is a character in the story.
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” The rooms of the abbey are symbolic. It may be significant, too, that all in this company fell back to avoid encountering the gruesome figure. Prospero is the minute hand, and therefore the masked figure is the hour hand. Here Poe dreamed of escape from the harsh world, where such evils as the plague were dominant—escape into a secluded place of pleasure he himself designed. When the story was first published in Graham’s Lady and Gentleman’s Magazine in May 1842, The original title was “The Mask of the Red Death. Still others say the figure is Death himself. Also, there was mention of a “red plague” in The Tempest. The rooms symbolize the cycle of life. This is proven by in “The Masque of the Red Death. Prospero, the masked figure, and the clock were in line with each other. At the beginning of the story, Poe unravels his yarn in third-person point of view. In other words, he does not assume the role of a character in the story–as he does in “The Black Cat,” “The Cask of Amontillado,” and “The Tell-Tale Heart,” stories in which he becomes a demented narrator who tells the reader about a crime he committed. Instead, Poe becomes an observer who is like a movie camera that can go anywhere and see anything while recording scenes for a film. A third-person narrator does not use pronouns such as I, me, my, mine, we, us, and our except in dialogue that quotes a character. To use such words to refer to himself would be to place himself within the story. However, Poe does exactly that–inexplicably injecting himself into the story as an unidentified persona by switching from third-person to first-person point of view and using the pronouns I and me. Here are the passages in which he does so. I have boldfaced the words in question:
But first let me tell of the rooms in which it was held.
And the revel went whirlingly on, until at length there commenced the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted;

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In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation.
These passages mean that Poe has assumed the role of a character inside Prince Prospero’s abbey; this character becomes an on-the-scene reporter. But how could he have lived to tell his story? After all, the Red Death has killed everyone inside the abbey. No one has survived.
Suppose, though, that the narrator is Death itself. This explanation is implausible, for it is the masked intruder–not the narrator–who represents Death; the intruder is a separate, distinct character. A more plausible explanation for the shifting point of view is that the narrator is describing a dream or has assumed the role of a madman describing an imagined experience. Either of these possibilities would help explain not only the point-of-view problem but also a mystifying reference in the story to a play entitled Hernani. French author Victor Hugo staged this play in 1830–hundreds of years after the historical period in which “The Masque of the Red Death” is set. The narrator of the above-quoted passages from the Poe story could not possibly have seen or heard about Hernani unless he lived in the 19th Century and was writing “The Masque of the Red Death” to report on a dream or an imagined experience.
....... Of course, another explanation for Poe’s shifting point of view is that he simply slipped up–that is, he made a writing error and failed to detect it when editing and proofreading his story.

3.2. Character and Conflict
The characters themselves were symbolic.
Symbolism was used in the setting of the “Masque of the Red Death. ” Poe never said the masked figure is the Red Death.
Although not particularly unique in style, “The Masque of the Red Death” is unlike many of Poe’s tales in that the story is told, not so much from the narrative or first person,
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but more from the perspective of an observer or commentator that is recounting a tale. This is important only in that the tale concludes with the death of Prince Prospero and all one thousand revelers. Effectively, there were no survivors, hence, no eyewitnesses to the horrors of the Red Death. In fact, the use of the term “I”, representative of first person, exists only twice in the tale and in both instances suggests for the reader, simply, that descriptions are as they have been told before. For example, “…as I have told..” or “In an assembly of phantasms such as I have painted,…”. The narrator in this story remains unidentified.
Poe sets the stage in the first paragraph and tells us, not only that the Red Death is horribly lethal, but once contracted, death was but mere moments away and that the victim will die alone, unaided and with little or no sympathy,.. “of his fellow-men”. The realm had been overrun by this horrible plague that had destroyed half the population and the embodiment of its evil manifestation lies in… “the redness and the horror of blood.”
At the throne of this rapidly diminishing realm sat a… “happy and dauntless and sagacious”, Prince Prospero. Determined to survive with subjects to rule, he summoned the most fit and cheerful of his knights and dames of the court, the favored of his kingdom. With a thousand of them, he secluded himself within one of his “castellated abbeys”. The abbey had been well stocked with provisions for all. Its walls were tall and strong. Its iron gates were welded shut to prevent entry by those on the outside that may panic from despair and desperation and those on the inside that may surrender to the impulse of compassion for those despairing souls condemned to die. Inside the abbey, secure from the Red Death and the contagion that swept the land, the Prince and his favored thousand souls would partake of the beauty and

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pleasures of life and enjoy the music and the ballet, the clowns and, of course, the wine. While the outside world would be subject to their dismal fate, those inside the abbey had determined there was nothing to be done, and to grieve or even think about the horrors that the people were to endure was just so much foolishness. All these pleasures were within the walls. “Without was the Red Death.”
Poe uses the titled name Prince Prospero to infer royalty, wealth and happiness with privileged circumstances and a life of excess. It suggests that the Prince is untroubled by the plague and is confident of his survival and the survival of his one thousand pampered friends. He is untroubled by the rampant contagion that was the Red Death and manifested by “The scarlet stains upon the body and especially upon the face of the victim,… “ Prince Prospero felt secure and isolated from these horrors behind the formidable walls of his abbey.
“It was toward the close of the fifth or sixth month of his seclusion, and while the pestilence raged most furiously abroad, that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual magnificence.” Here, Poe seems to infer that the Prince felt that the Red Death had depleted his realm but had passed him by and the favored thousand. Confident in his success, he wished to celebrate by hosting a masked ball.
The balance of this story takes place in seven apartments of the imperial suite and Poe goes to great effort to detail and describe them. Unlike most palaces where the seven rooms may have been constructed linearly, one at the end of the former, so that by opening all the doors one could view the seventh chamber from the first, Prince Prospero had chosen to have them built so that… “.. vision embraced but little more than one at a time.” This resulted in “a novel effect” at each turn of “every twenty or thirty yards.” The rooms were arranged east to west and each room was uniquely colored.

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The first apartment was dressed blue, the second in purple, the third was green, the fourth orange, fifth with white, the sixth lavishly covered in violet and the final chamber shrouded in black tapestries and carpets. Each had two “tall and narrow” windows with stained glass that matched the prevailing color of the room with the exception of the seventh apartment. Here the window panes were tinted scarlet, “a deep blood color.” Poe eerily characterizes this final chamber and the effect of light streaming through the windows as “…ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot within its precincts at all.” Each window looked out into a corridor where “a heavy tripod bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly illumined the room.” There was no source of light within any of the seven chambers.
It has been suggested that these seven apartments are an allegorical representation of the seven stages of life. Perhaps this is the case, but I would suggest that the arrangement of the rooms from east to west together with the successive colors and the ebony clock that stood upon the western most wall was more descriptive of the cyclic passing of the day from before twilight to its final termination at the midnight hour. Therefore, the life-cycle is represented by the passing of a single day. It must be understood here that each successive day that passes cannot be reclaimed and that the passing of each day is inevitable, unalterable, unstoppable… time will not be denied… there is no escaping the passage of time nor the ultimate conclusion or death.
Each color is representative of the passing day’s partitions, from the sparkling blue of approaching dawn, the rich purple of first light, the lush green of the reflected earth, the bold orange of sunrise, the brilliant white of noonday, the somber violet of dusk and, finally, the coming blackness of the day’s demise.


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At the end of this inexorable passing of the day stands the gigantic ebony clock, its pendulum swaying to and fro, relentlessly ticking off the seconds of the remaining minutes and tolling the remaining hours for the last one thousand and one masqueraders of the realm.
Poe goes to considerable effort to describe the sense of dread each time the clock sounds the ending of the hour and the beginning of the next. As the clock strikes and counts off the early hours, the revelers easily endure the eerie tolling of the clock, but cannot resist pausing their merriment until the sound is no longer heard. They look at one another, smile and nervously proceed with their gaiety, dreading the coming hour. Upon the next successive hour, just as inevitable as the passing of time, and in conflict with their determination to ignore the tone of the clock, each and every reveler once again pauses as the next hour is sounded. Here Poe is attempting to impart a sense of apprehension or dread to the reader. He gives no clue to the source of this uneasiness among the revelers beyond the relentless passing of time and the deep resonant tone of the giant ebony clock, yet we clearly have a growing sense of anxiety and fearful anticipation among the people attending the masquerade.
Among the guests, Prince Prospero himself had provided guidance in the selection of costumes and while they did not necessarily meet the required suitability for the fashion of the day, each was suitable to his taste. “There was much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust.” Each and every one unique, cheerful or added to ending, a conclusion. This is, incidentally, one of the major reasons I personally feel that Poe had no particular fear of death. He, like his contemporaries, was confronted with it throughout their lives and in some periods of Poe’s own despair… he longed for it. Perhaps, to escape, as he says in his poem “Annie”, “… that fever called “Living.”


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The Ebony Clock is a character in the story. ” The rooms of the abbey are symbolic. It may be significant, too, that all in this company fell back to avoid encountering the gruesome figure. Prospero is the minute hand, and therefore the masked figure is the hour hand. Here Poe dreamed of escape from the harsh world, where such evils as the plague were dominant—escape into a secluded place of pleasure he himself designed. When the story was first published in Graham’s Lady and Gentleman’s Magazine in May 1842, The original title was “The Mask of the Red Death. Still others say the figure is Death himself. Also, there was mention of a “red plague” in The Tempest. The rooms symbolize the cycle of life. This is proven by in “The Masque of the Red Death. Prospero, the masked figure, and the clock were in line with each other.

The Mask of the Red Death; an analysis
The outlandish characters, vivid imagery, and dramatic symbolism provide an exemplary backdrop for this tale of betrayal, redemption, and irony.
The characters in “The Mask of the Red Death” include Prince Prospero (who is the only person that speaks in the story), a multitude of the Prince’s wealthy friends, and the masked figure, which doesn’t appear until the end of the story. Prince Prospero’s name indicates happiness and good-fortune. Ironically, this is not the tone of the story. The prince is an unusual man with strange tastes. “His plans were bold and fiery, and his conceptions glowed with barbaric luster. There are some who would have thought him mad.” The multitude of friends that the Prince brings with him to his abbey are described as “hale and lighthearted friends.” These friends and their joyous actions lend a feeling of gaiety to the story. The uncaring and celebratory manner in which they present themselves seems vain and ludicrous - given the dreadful circumstances occurring outside the abbey.
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I don’t believe that the character of the masked figure was a person at all. It was more like a phantasm. When the Prince’s guests seized the “mummer” and took a hold

Both the internal and external conflicts of story pit the individual against death. This is an internal conflict because the story depicts the protagonist, Prospero, as fearing death. People naturally have a desire to live, so that they often must struggle with the inevitable fact that they must die. However, this fear of death also becomes an external conflict for Prospero because Poe personifies death, making it a Masked Figure that leads Prospero into the innermost chamber, faces him, so that he dies. Note that Red Death is capitalized throughout the story, which indicates that it has the attributes of a person with intentions and motivations. Enotes has an excellent discussion on this story as an allegory whereby each objects and characters symbolize ideas in such a way that the entire story can be read literally or figuratively, the latter reading providing the more significant meaning.
The main problem in the story is the plague (or red death) that is around. In order to protect against that plague, the Prince sequesters a thousand of his most loyal followers in his castle. The main conflict in the story is between those inside, and red death itself. They try to keep it out, and Red Death tries to work its way in.

3.3. PLOT
A terrifying disease called the Red Death ravages the dominion of Prince Prospero. So lethal is it that it kills within a half-hour after the onset of its symptoms: sharp pain, dizziness, and bleeding from the pores.
However, the prince is safe and happy in an abbey to which he has withdrawn with a thousand knights and ladies selected from his court. The abbey, which resembles a great castle, is surrounded by a sturdy wall. Its iron gate has been welded shut, making it impossible for anyone to enter or leave.


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Inside, the prince has stocked food and drink aplenty and maintains companies of musicians, dancers, and clowns for entertainment.
After about six months, while the disease was taking its toll outside, the prince held a masked ball in a maze-like suite of seven rooms specially decorated according to a theme color. One room was blue; the second, purple; the third, green; the fourth, orange; the fifth, white; and the sixth, violet. A stained-glass window in the wall between each of these rooms and the outside corridor matched the color of the room. The seventh room was hung with tapestries of black velvet. However, here the stained-glass between the room and the corridor was scarlet instead of black.
There were no candles to light any of the rooms. Rather, illumination was provided by a brazier of fire set on a tripod in the corridor outside each of the stained-glass windows. Thus, shimmering blue light, mimicking the movement of the leaping flames, illuminated the first room, shimmering purple light illuminated the second room, and so on. Into the seventh room, the black one with the scarlet window, the fire projected blood-red light that was ghastly to behold. The masqueraders were reluctant to enter this room. Adding to the foreboding atmosphere of the room was an ebony pendulum clock that tolled the hour with a deep chime that echoed through the winding hallways and unnerved all the guests.
Nevertheless, the party is a smashing success overall, with the guests–outfitted in every manner of odd, alluring, and grotesque costumes–enjoying themselves immensely. But no one enters the seventh room. Instead, everyone congregates in the other rooms.
After the ebony clock strikes twelve, the revelers in the blue room, where the prince is mingling with his friends, notice a new masquerader among them. They express surprise, utter whispers, and finally recoil in terror and disgust. And no wonder. This masquerader, tall in and thin, is outfitted as a corpse in a grave. His mask is as stiff and fearsome as a dead man’s face.


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Daubs of red on his costume make it clear that he has come in the guise of the Red Death. Prince Prospero reacts with a shudder signifying fear or disgust. Then he becomes angry. He asks, “Who dares insult us with this blasphemous mockery?”
Prospero orders the unmasking of the intruder and declares that he will be hanged in the morning from the fortress’s battlements.
But no one undertakes the task. The intruder then moves from room to room. Prospero withdraws a dagger and chases him. In the black room, the intruder turns and faces Prospero. There is a cry. The dagger falls to the sable carpet. Then Prospero falls. Finding courage, Prospero’s friends then attack the intruder. To their horror, they discover that there is nothing inside the costume or behind the mask.
Poe ends the story by revealing the identity of the intruder:
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired. And Darkness and Decay and the Red Death held illimitable dominion over all.
The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and one thousand other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague that has swept over the land. The symptoms of the Red Death are gruesome: the victim is overcome by convulsive agony and sweats blood instead of water. The plague is said to kill within half an hour. Prospero and his court are presented as indifferent to the sufferings of the population at large, intending to await the ending of the plague in luxury and safety behind the walls of their secure refuge.

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One night, Prospero holds a masquerade ball to entertain his guests in seven colored rooms of the abbey. Six of the rooms are each decorated and illuminated in a specific color: blue, purple, green, orange, white, and violet. The last room is decorated in black and is illuminated by a blood-red light; because of this chilling pair of colors, few guests are brave enough to venture into the seventh room. The room is also the location of a large ebony clock that ominously clangs at each hour. At the chiming of midnight, Prospero notices one figure in a blood-spattered, dark robe resembling a funeral shroud, with a skull-like mask depicting a victim of the Red Death, which all at the ball have been desperate to escape. Gravely insulted, Prospero demands to know the identity of the mysterious guest so that they can hang him, and when none obey, pursues him with a drawn dagger through the seven rooms until the mysterious figure is cornered in the seventh room, the black room where the windows are tinted scarlet. When the figure turns to face him, the Prince falls dead at a glance. Enraged, the revelers surge into the black room and remove the mask, only to find both it and the costume empty. To the horror of all, the figure reveals itself as the personification of the Red Death itself, and all the guests suddenly contract and succumb to the disease. The final line of the story sums up: "And Darkness and Decay and the Red Death held illimitable dominion over all."

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CAPTURE IV
CONCLUTION

Flashback of the prince Prospero’s economy. He is a prince that had greatness so he can do anything with that greatness. The Prince’s character is selfish, clever, strong and cunning resulted the curse.
And in this story Poe sets the stage in the first paragraph and tells us, not only that the Red Death is horribly lethal, but once contracted, death was but mere moments away and that the victim will die alone, unaided and with little or no sympathy,.. “of his fellow-men”. The realm had been overrun by this horrible plague that had destroyed half the population and the embodiment of its evil manifestation lies in… “the redness and the horror of blood.”
The ending of this story is the red curse that attack of Prince Prospero makes all of the people which attend in his party have death. That curse makes the frightening night because that curse makes all of people dead and can not saved theirselves.

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DAFTAR PUSTAKA

Graham’s lady’s and Gentlement’s Magazine, 1842
Michael J. cummings, 2005
Literature Network » Edgar Allan Poe » The Masque of the Red Death

Biographical Information
Edgar Allan Poe was born on January 19, 1809, in Boston. After being orphaned at age two, he was taken into the home of a childless couple–John Allan, a successful businessman in Richmond, Va., and his wife. Allan was believed to be Poe’s godfather. At age six, Poe went to England with the Allans and was enrolled in schools there. After he returned with the Allans to the U.S. in 1820, he studied at private schools, then attended the University of Virginia and the U.S. Military Academy, but did not complete studies at either school. After beginning his literary career as a poet and prose writer, he married his young cousin, Virginia Clemm. He worked for several magazines and joined the staff of the New York Mirror newspaper in 1844. All the while, he was battling a drinking problem. After the Mirror published his poem “The Raven” in January 1845, Poe achieved national and international fame. Besides pioneering the development of the short story, Poe invented the format for the detective story as we know it today. He also was an outstanding literary critic. Despite the acclaim he received, he was never really happy because of his drinking and because of the deaths of several people close to him, including his wife in 1847. He frequently had trouble paying his debts. It is believed that heavy drinking was a contributing cause of his death in Baltimore on October 7, 1849.