s the house through "the Gothic archway of the hall" (Poe 57). The details of these structures are used to create a sense of impending horror. Birkhead has noted that "like the guest of Roderick Usher, as we enter the house we fall immediately beneath the overmastering sway of its irredeemable, insufferable gloom" (Birkhead 216). The narrator meets Usher in a "large and lofty" room, with "long, narrow, and pointed" windows placed so high up as to be out of reach (Poe 57). In this dismal place, "feeble gleams of encrimsoned light made their way through the trellissed panes, and served to render sufficiently distinct the more promi
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