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Edgar Allen Poe

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Annabel Lee By Edgar Allen Poe

Produced by Joe Kearns and Chris Ketley
Engineered and Mixed by Joe Kearns
Assisted by Andy Cook
Mastered by Naweed Ahmed
Recorded and Mixed at British Grove Studios
Mastered at Whitfield Mastering

Arranged by Chris Ketley, Joe Kearns and Ellie Goulding
Vocals and Guitar by Ellie Goulding
Piano by Chris Ketley
Violin by Izzy Judd
Cello by Caroline Dale
Programming by Joe Kearns


Ellie Goulding - All I Want (Kodaline Cover)

Syr Mahber

Rest of My Life

This is the cover of my favorite song from the movie, "Princess Mononoke" by Hayao Miyazaki.The music was written by Joe Hisaishi.

Here is the translation of the lyrics.

'Princess Mononoke'

In the moonlight I felt your heart
quiver like a bow string's pulse
in the moon's pale light
you looked at me

Nobody knows your heart
when the sun has gone I see you
beautiful and haunting but cold
like the blade of a knife so sharp so sweet
nobody knows your heart

All of your sorrow, grief and pain
locked away in the forest of the night
Your secret heart belongs to the world

of the things that sigh in the dark
of the things that cry in the dark.


Princess Mononoke(もののけ姫)-from the Movie "Princess Mononoke"

The Heist

Wing$

(8:20) A dramatic reading of Edgar Allan Poe's "The Raven" (1845), with background sounds.  Turn up your speakers, turn off the lights, and experience a bereaved man's descent from grief into madness and despair.

After I finalized the track, I realized I had mis-pronounced "nepenthe".  *sigh*  Well, this is my first project, so I didn't think it would be perfect, but it's still pretty darned good.

Image by Peter Lamata.

"The Raven" by Edgar Allan Poe

go follow&check'im out and stuff

A time-devouring prayer connecting a sky of forty gears and open human eyes in all directions.

Jefferson Airplane White Rabbit

Spirited Away

The Fall of the House of Usher

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. 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. 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.

- Edgar Allan Poe

The Masque of the Red Death

The Raven

Once upon a midnight dreary, while I pondered, weak and weary, 
Over many a quaint and curious volume of forgotten lore, 
While I nodded, nearly napping, suddenly there came a tapping, 
As of some one gently rapping, rapping at my chamber door. 
"'Tis some visitor," I muttered, "tapping at my chamber door - 
Only this, and nothing more." 

Ah, distinctly I remember it was in the bleak December, 
And each separate dying ember wrought its ghost upon the floor. 
Eagerly I wished the morrow; - vainly I had sought to borrow 
From my books surcease of sorrow - sorrow for the lost Lenore - 
For the rare and radiant maiden whom the angels name Lenore - 
Nameless here for evermore. 

And the silken sad uncertain rustling of each purple curtain 
Thrilled me - filled me with fantastic terrors never felt before; 
So that now, to still the beating of my heart, I stood repeating, 
"'Tis some visitor entreating entrance at my chamber door - 
Some late visitor entreating entrance at my chamber door; - 
This it is, and nothing more." 

Presently my soul grew stronger; hesitating then no longer, 
"Sir," said I, "or Madam, truly your forgiveness I implore; 
But the fact is I was napping, and so gently you came rapping, 
And so faintly you came tapping, tapping at my chamber door, 
That I scarce was sure I heard you"- here I opened wide the door; - 
Darkness there, and nothing more. 

Deep into that darkness peering, long I stood there wondering, fearing, 
Doubting, dreaming dreams no mortals ever dared to dream before; 
But the silence was unbroken, and the stillness gave no token, 
And the only word there spoken was the whispered word, "Lenore?" 
This I whispered, and an echo murmured back the word, "Lenore!" - 
Merely this, and nothing more. 

Back into the chamber turning, all my soul within me burning, 
Soon again I heard a tapping somewhat louder than before. 
"Surely," said I, "surely that is something at my window lattice: 
Let me see, then, what thereat is, and this mystery explore - 
Let my heart be still a moment and this mystery explore; - 
'Tis the wind and nothing more." 

Open here I flung the shutter, when, with many a flirt and flutter, 
In there stepped a stately raven of the saintly days of yore; 
Not the least obeisance made he; not a minute stopped or stayed he; 
But, with mien of lord or lady, perched above my chamber door - 
Perched upon a bust of Pallas just above my chamber door - 
Perched, and sat, and nothing more. 

Then this ebony bird beguiling my sad fancy into smiling, 
By the grave and stern decorum of the countenance it wore. 
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven, 
Ghastly grim and ancient raven wandering from the Nightly shore - 
Tell me what thy lordly name is on the Night's Plutonian shore!" 
Quoth the Raven, "Nevermore." 

Much I marvelled this ungainly fowl to hear discourse so plainly, 
Though its answer little meaning- little relevancy bore; 
For we cannot help agreeing that no living human being 
Ever yet was blest with seeing bird above his chamber door - 
Bird or beast upon the sculptured bust above his chamber door, 
With such name as "Nevermore." 

But the raven, sitting lonely on the placid bust, spoke only 
That one word, as if his soul in that one word he did outpour. 
Nothing further then he uttered- not a feather then he fluttered - 
Till I scarcely more than muttered, "other friends have flown before - 
On the morrow he will leave me, as my hopes have flown before." 
Then the bird said, "Nevermore." 

Startled at the stillness broken by reply so aptly spoken, 
"Doubtless," said I, "what it utters is its only stock and store, 
Caught from some unhappy master whom unmerciful Disaster 
Followed fast and followed faster till his songs one burden bore - 
Till the dirges of his Hope that melancholy burden bore 
Of 'Never - nevermore'." 

But the Raven still beguiling all my fancy into smiling, 
Straight I wheeled a cushioned seat in front of bird, and bust and door; 
Then upon the velvet sinking, I betook myself to linking 
Fancy unto fancy, thinking what this ominous bird of yore - 
What this grim, ungainly, ghastly, gaunt and ominous bird of yore 
Meant in croaking "Nevermore." 

This I sat engaged in guessing, but no syllable expressing 
To the fowl whose fiery eyes now burned into my bosom's core; 
This and more I sat divining, with my head at ease reclining 
On the cushion's velvet lining that the lamplight gloated o'er, 
But whose velvet violet lining with the lamplight gloating o'er, 
She shall press, ah, nevermore! 

Then methought the air grew denser, perfumed from an unseen censer 
Swung by Seraphim whose footfalls tinkled on the tufted floor. 
"Wretch," I cried, "thy God hath lent thee - by these angels he hath sent thee 
Respite - respite and nepenthe, from thy memories of Lenore:
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!" 
Quoth the Raven, "Nevermore." 

"Prophet!" said I, "thing of evil! - prophet still, if bird or devil! - 
Whether Tempter sent, or whether tempest tossed thee here ashore, 
Desolate yet all undaunted, on this desert land enchanted - 
On this home by horror haunted- tell me truly, I implore - 
Is there - is there balm in Gilead? - tell me - tell me, I implore!" 
Quoth the Raven, "Nevermore." 

"Prophet!" said I, "thing of evil - prophet still, if bird or devil! 
By that Heaven that bends above us - by that God we both adore - 
Tell this soul with sorrow laden if, within the distant Aidenn, 
It shall clasp a sainted maiden whom the angels name Lenore - 
Clasp a rare and radiant maiden whom the angels name Lenore." 
Quoth the Raven, "Nevermore." 

"Be that word our sign in parting, bird or fiend," I shrieked, upstarting - 
"Get thee back into the tempest and the Night's Plutonian shore! 
Leave no black plume as a token of that lie thy soul hath spoken! 
Leave my loneliness unbroken!- quit the bust above my door! 
Take thy beak from out my heart, and take thy form from off my door!" 
Quoth the Raven, "Nevermore." 

And the Raven, never flitting, still is sitting, still is sitting 
On the pallid bust of Pallas just above my chamber door; 
And his eyes have all the seeming of a demon's that is dreaming, 
And the lamplight o'er him streaming throws his shadow on the floor; 
And my soul from out that shadow that lies floating on the floor 
Shall be lifted - nevermore!

- Edgar Allan Poe

The Raven

The Tell-Tale Heart

TRUE! --nervous --very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses --not destroyed --not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily --how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees --very gradually --I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded --with what caution --with what foresight --with what dissimulation I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the latch of his door and opened it --oh so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly --very, very slowly, so that I might not disturb the old man's sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this, And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously --cautiously (for the hinges creaked) --I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights --every night just at midnight --but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch's minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers --of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back --but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out --"Who's there?"

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; --just as I have done, night after night, hearkening to the death watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief --oh, no! --it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself --"It is nothing but the wind in the chimney --it is only a mouse crossing the floor," or "It is merely a cricket which has made a single chirp." Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel --although he neither saw nor heard --to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little --a very, very little crevice in the lantern. So I opened it --you cannot imagine how stealthily, stealthily --until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.

It was open --wide, wide open --and I grew furious as I gazed upon it. I saw it with perfect distinctness --all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man's face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.

And have I not told you that what you mistake for madness is but over-acuteness of the sense? --now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man's heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man's terror must have been extreme! It grew louder, I say, louder every moment! --do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me --the sound would be heard by a neighbour! The old man's hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once --once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eve would trouble me no more.

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.

I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye --not even his --could have detected any thing wrong. There was nothing to wash out --no stain of any kind --no blood-spot whatever. I had been too wary for that. A tub had caught all --ha! ha!

When I had made an end of these labors, it was four o'clock --still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, --for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, --for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search --search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: --It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness --until, at length, I found that the noise was not within my ears.

No doubt I now grew very pale; --but I talked more fluently, and with a heightened voice. Yet the sound increased --and what could I do? It was a low, dull, quick sound --much such a sound as a watch makes when enveloped in cotton. I gasped for breath --and yet the officers heard it not. I talked more quickly --more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men --but the noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder --louder --louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! --no, no! They heard! --they suspected! --they knew! --they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now --again! --hark! louder! louder! louder! louder!

"Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!"

- Edgar Allan Poe

The Tell-Tale Heart

The Conqueror Worm

Lo! ’t is a gala night
   Within the lonesome latter years!   
An angel throng, bewinged, bedight
   In veils, and drowned in tears,   
Sit in a theatre, to see
   A play of hopes and fears,
While the orchestra breathes fitfully   
   The music of the spheres.

Mimes, in the form of God on high,   
   Mutter and mumble low,
And hither and thither fly—
   Mere puppets they, who come and go   
At bidding of vast formless things
   That shift the scenery to and fro,
Flapping from out their Condor wings
   Invisible Wo!

That motley drama—oh, be sure   
   It shall not be forgot!
With its Phantom chased for evermore   
   By a crowd that seize it not,
Through a circle that ever returneth in   
   To the self-same spot,
And much of Madness, and more of Sin,   
   And Horror the soul of the plot.

But see, amid the mimic rout,
   A crawling shape intrude!
A blood-red thing that writhes from out   
   The scenic solitude!
It writhes!—it writhes!—with mortal pangs   
The mimes become its food,
And seraphs sob at vermin fangs
   In human gore imbued.

Out—out are the lights—out all!   
   And, over each quivering form,
The curtain, a funeral pall,
   Comes down with the rush of a storm,   
While the angels, all pallid and wan,   
   Uprising, unveiling, affirm
That the play is the tragedy, “Man,”   
   And its hero, the Conqueror Worm.

- Edgar Allan Poe

The Conqueror Worm

The Gold Bug

Ed Sheeran - Lego House

Amaranthine - Amaranthe

Princess Mononoke Theme Song

THE RAVEN - Edgar Allen Poe - READ BY mARTIJN cOOKE 

http://www.heise.de/ix/raven/Literature/Lore/TheRaven.html

PIC - JULIA MARGARET CAMERON 

THE RAVEN - Edgar Allen Poe

Joe Hisaishi - Princess Mononoke Symphonic Suite

Some suspense music for a film that doesn't exist 

Suspense Music #1 (2013)

Soudné sestry (Suspense music)

"Fairyland" by Edgar Allen Poe, read by Bella Bertoncini

I am a huge fan of all things horror, and if I'm not busy trying to scare myself I'm usually looking for a good laugh. I love poetry and literature, music, movies and spending time with my family. 

I have a beautiful daughter named Juliana and quite possibly the best pet in the world, a tuxedo cat named Tinky. I am a homemaker, aspiring freelance writer, paracordist, and I dabble in graphic design.

Anything else you want to know,
check out the links provided or feel free to ask...


The Fall of the House of Usher

HPMcClendon