The City Of The Great Metropolis

The house feels much like people feel when things or people leave their lives; empty, alienated, and sorrowful. The house is almost jealous that the man left to paint other houses and towns because it only cements the fact that this house is not “good enough” to be painted and to keep the interest of a painter because it is nothing special. The last three lines tie the feelings of the house to the feelings of humans in that the house feels sorrow just as people do and it mourns the loss of friendship and relations in general. The house anticipated and will always anticipate that the person in its life for the time will not stay because they never do. The house again blames this fact that no one stays around it to the originality of its design and how because of its originality, it is somewhat awkward or weird. This is true for people too because many are trying to fit into a certain social norm that is accepted by society and if you don’t fir in this box then you are an outsider and are alienated just because they are a little different and do not conform to what everyone around them is doing or saying or

In this story the author cleverly introduces the theme of love into the story by first giving a descriptive account of the fact that the girl’s parents loved the house that they would live in Cincinnati painting the house as

Edgar Allen Poe’s short story, “The Fall of the House of Usher”, sets a tone that is dark, gloomy, and threatening. His inclusion of highly descriptive words and various forms of figurative language enhance the story’s evil nature, giving the house and its inhabitants eerie and “supernatural” qualities. Poe’s effective use of personification, symbolism, foreshadowing, and doubling create a morbid tale leading to, and ultimately causing, the fall of (the house of) Usher.

There was a heavy coat of dust on the hard packed dirt floor of the den. An old wooden bench set next to a fireplace to the left, dried apple peel shavings discarded in a pile on the hearth, waiting to be swept any day into an abyssal inferno. The walls were mostly bare, save for a few shelves and racks. To the far corner of the room, lay a cot; Straw stuffed and the linens mold-smelling. Dressers and wardrobe left untouched, covered in a thick layer of dust, but their contents had long been eaten by moth larvae. Yet, a small glitter of sunlight filtered down from a hole in the ceiling onto a spot of a table. The legs were uneven, causing it to tilt slightly when pressure was applied. On the table, being touched by the light was a small golden ring that speckled in the sunlight. Untouched by man for many months and left alone for it's owner to come and retrieve it's simplistic beauty. Who could have left such a place in such conditions? There had been no signs of struggle to have forced someone from the homestead, it was a curious thing to witness by eye.

Upon opening the back door, Vasquez observed that there was just enough space to squeeze past the refrigerator blocking the exit. The air smelled of burned rubber and melted wires; a damp ash covered the ground, sticking to their boots. In the kitchen, Vasquez and Fogg discerned only smoke and heat damage—a sign that the fire had not originated there—and so they pushed deeper into the nine-hundred-and-seventy-five-square-foot building. A central corridor led past a utility room and the master bedroom, then past a small living room, on the left, and the children’s bedroom, on the right, ending at the front door, which opened onto the porch. Vasquez tried to take in everything, a process that he compared to entering one’s mother-in-law’s house for the first time: “I have the same curiosity.”

They were no more than hardworking renters, now. That was the lowest Tike had ever been but he had not reached the rock bottom of the farming industry, so the hope of owning land was still there. Therefore, when a government brochure, for the farming population, presented the idea of a safe, sanitary, and inexpensive house of earth, the dream of building this house was formed.

The lecturer, rejects the reading passage’s first idea that states the great houses might have used as residential buildings such as later American apartments, he notes although this houses looks like residential apartments from outside, they are not the same from inside because there is not enough fire places for possible number of families who could live there.

The black and red room at the end of the winding castle represents the end of life. This of which, no one can escape. None of the masqueraders ever wanted to put forth a step into this caliginous chamber, symbolizing they did not want to reach the end of life. The inhabitants of the castle feared death.

The house’s efficiency and helpfulness seem to make it cold and emotionless and the fact that it lives on after its inhabitants have passed just proves how the house is only a machine that is unable to love, this house will always be a house but it will never be a home.

“You mean the house that once belonged to Horst Brotzman, the brother of Arno and Stahlsebastian Brotzman, before he was forced to sell it for whatever reason?” wondered the Godmother. “Precisely, what is so special about this basement underneath this house you have mentioned to me

The voice, though wilted with age, still held a authoritative resonance, and in the dimly lit room, swirling with galaxies of dust, it was as if it were decreed by the Lord Himself. Its source stood proud, facing away from three, kneeling figures. A tall man, standing straight in defiance of the weight of time, he stared sightlessly at the image before him: A stained-glass window. The craft had been lost to the test of time, and yet the piece still remained intact, a painstakingly rendered image of an angelic battle against evil, frozen in time. Multicolored light dappled his face, cast by the setting sun, and though he could feel its warmth on the creases of his age, he had long since lost the ability to witness it, eyes, milky white, staring at only the void.

The house is always being referred to as alive, and throughout the story different parts of the house are being talked about as though they are body parts of a human. "Minute fungi overspread the whole exterior," just as a disease or an illness would overcome a human body (Poe 716). They say the house has eye-like windows and are of a crimson red. The house is connected to the family and the family name, because this family is the only family to have ever lived in this house, and the house has `seen' everything that has gone on with the family from the very beginning. As long as the house stays up and strong the family name will remain and continue, but if the house were to crumble the family members in it would die with the house. Because the house is almost like their hearts, and as long as it's alive and well they will stay alive and well, and the family name will be carried on.

They then found themselves in the House 's entrance hall. Cavernous, cold and lavishly decorated with portraits of someone 's innumerable ancestors adorning the walls. All of them all fighting for space and attention with the ornate, decorative paintings of biblical and historically significant scenes splashed liberally over the walls and ceiling. Painted all around the imposing Chandelier that dominated the entire room.

The center of the eastern wall had folded back into itself leaving a dark hole to another room. Tentatively, the party moved through the wall only to find another empty cellar room. Once again, they spread out searching for another secret passage or clue as to the rooms purpose. This time three engravings were found, each one identical to the first. Deducing the key to be the same for this room as the last, Lucia, Belgarion, and Reginald each traced the symbols in different sequences until the wall opened to the south.

Expansion of the city is due mostly to population growth after the discovery of both gold and coffee. Gold was discovered at the end of the 17th century and coffee was discovered in the 19th century.