Ligeia

“In beauty of face no maiden ever equaled her. It was the radiance of an opium-dream—an airy and spirit-lifting vision more wildly divine than the phantasies which hovered about the slumbering souls of the daughters of Delos. Yet her features were not of that regular mould which we have been falsely taught to worship in the classical labors of the heathen. ‘There is no exquisite beauty,’ says Bacon, Lord Verulam, speaking truly of all the forms and genera of beauty, without some strangeness in the proportion.”

This quote reflects elements of Romanticism, emphasizing the sublime and the extraordinary. The tone is one of reverence and admiration for Ligeia’s exceptional beauty. This quotation reinforces the idea that true beauty often possesses unique or unconventional qualities. The reference to “the daughters of Delos” alludes to Greek mythology, specifically the daughters of the Greek god Atlas, who were known for their beauty. This allusion adds a classical and mythological dimension to the description. The mention of “an opium-dream” and “spirit-lifting vision” suggests a dreamlike or transcendent quality to Ligeia’s beauty, symbolizing her allure and mystique.

“And, indeed, if ever she, the wan and the misty-winged Ashtophet of idolatrous Egypt, presided, as they tell, over marriages ill-omened, then most surely she presided over mine.”

The mention of Ashtophet, an Egyptian deity often associated with fertility, adds a layer of mythological and supernatural significance to the narrative. The “wan and misty-winged” comparison to Ligeia creates vivid imagery that evokes an otherworldly and ethereal presence and further solidifies her as a supernatural presence.

“For eyes we have no models in the remotely antique. It might have been, too, that in these eyes of my beloved lay the secret to which Lord Verulam alludes. They were, I must believe, far larger than the ordinary eyes of our own race. They were even fuller than the fullest of the gazelle eyes of the tribe of the valley of Nourjahad. Yet it was only at intervals—in moments of intense excitement—that this peculiarity became more than slightly noticeable in Ligeia.”

This quote reinforces the uniqueness of Ligeia’s eyes, and the “secret” of Lord Verulam refers to the existence of God or the nature of the divine. The description of Ligeia’s eyes as “far larger than the ordinary eyes of our own race” and “even fuller than the fullest of the gazelle eyes” creates vivid imagery, emphasizing the remarkable, and otherworldly, nature of her eyes.

“The hue of the orbs was the most brilliant of black, and, far over them, hung jetty lashes of great length. The brows, slightly irregular in outline, had the same tint. The ‘strangeness,’ however, which I found in the eyes, was of a nature distinct from the formation, or the color, or the brilliancy of the features, and must, after all, be referred to the expression. Ah, word of no meaning! behind whose vast latitude of mere sound we entrench our ignorance of so much of the spiritual. The expression of the eyes of Ligeia! How for long hours have I pondered upon it! How have I, through the whole of a midsummer night, struggled to fathom it! What was it—that something more profound than the well of Democritus—which lay far within the pupils of my beloved? What was it?”

The description of Ligeia’s eyes as “the most brilliant of black” and the emphasis on their “strangeness” and “expression” suggest that her eyes symbolize mystery, depth, and perhaps a hidden aspect of her character. The passage poses several rhetorical questions, which express the narrator’s inability to verbalize her beauty and allure. The reference to Democritus, an ancient Greek philosopher best known for his development of the atomic theory, suggests that there is a profound and cosmic quality within Ligeia that goes beyond the understanding.

“There is no point, among the many incomprehensible anomalies of the science of mind, more thrillingly exciting than the fact—never, I believe, noticed in the schools—that, in our endeavors to recall to memory something long forgotten, we often find ourselves upon the very verge of remembrance, without being able, in the end, to remember.”

This quote touches upon perception and the complexity of human cognition. It explores the idea that memory is not always easily accessible. It suggests that there are mysterious aspects of memory that remain unexplained by conventional science. It is also ironic here that the narrator seems poignant and lucid in his ruminations because of his unreliability.

“There had been much in her stern nature to impress me with the belief that, to her, death would have come without its terrors;—but not so. Words are impotent to convey any just idea of the fierceness of resistance with which she wrestled with the Shadow. I groaned in anguish at the pitiable spectacle. I would have soothed—I would have reasoned; but, in the intensity of her wild desire for life,—for life—but for life—solace and reason were alike the uttermost of folly.”

Here, Ligeia is described and aspects of her character are revealed. It portrays her as a strong and stern individual, which contrasts with her intense fear of death. This may suggest a complex and multifaceted character, yet such descriptions come from the narrator. The mood in this passage is one of anguish and desperation. The narrator is distressed by the sight of Ligeia’s fierce struggle with death. The repetition of the phrase “for life” creates a sense of urgency and intensity in the passage.

“That she loved me I should not have doubted; and I might have been easily aware that, in a bosom such as hers, love would have reigned no ordinary passion. But in death only, was I fully impressed with the strength of her affection.”

The narrator’s perception of Ligeia’s love and the impact of her death on him are central to the narrative and reveal him as the protagonist of the story. There is irony in the passage as well. While the narrator had no doubt that Ligeia loved him when she was alive, it is only in her death that he fully appreciates the depth of her love. This story is one of reflection and realization. The narrator is deeply moved by the revelation of Ligeia’s love, and his emotions are a central focus of the text.

“I purchased, and put in some repair, an abbey, which I shall not name, in one of the wildest and least frequented portions of fair England. The gloomy and dreary grandeur of the building, the almost savage aspect of the domain, the many melancholy and time-honored memories connected with both, had much in unison with the feelings of utter abandonment which had driven me into that remote and unsocial region of the country. Yet although the external abbey, with its verdant decay hanging about it, suffered but little alteration, I gave way, with a child-like perversity, and perchance with a faint hope of alleviating my sorrows, to a display of more than regal magnificence within.”

This quote showcases Poe’s descriptive style in which he uses rich language to convey the atmosphere and emotions of the narrative. Here, the reader is introduced to the main setting of the story, an abbey in a remote and wild part of England. The remote and unsocial region of the country aligns with the narrator’s desire for solitude and seclusion as a response to Ligeia’s death. The contrast between the external appearance of the abbey, which remains relatively unchanged, and the display of “regal magnificence within” can symbolize the duality of the narrator’s character or the idea of hidden depths and secrets.

“Let me speak only of that one chamber, ever accursed, whither in a moment of mental alienation, I led from the altar as my bride—as the successor of the unforgotten Ligeia—the fair-haired and blue-eyed Lady Rowena Trevanion, of Tremaine.”

This quote refers to the master bedroom, which is described as “ever accursed.” This suggests that the chamber has a dark and ominous reputation, setting the stage for potential conflict or foreboding events. The quote mentions Lady Rowena Trevanion, who is introduced as the narrator’s new bride and the successor of Ligeia. This sets Rowena up as the foil to Ligeia. There is a degree of irony in the passage as the narrator led Lady Rowena from the altar to this accursed chamber. The expectation of joy and marital bliss from a wedding ceremony is juxtaposed with the ominous nature of the chamber, creating dramatic tension.

“Some few ottomans and golden candelabra, of Eastern figure, were in various stations about—and there was the couch, too—the bridal couch—of an Indian model, and low, and sculptured of solid ebony, with a pall-like canopy above. In each of the angles of the chamber stood on end a gigantic sarcophagus of black granite, from the tombs of the kings over against Luxor, with their aged lids full of immemorial sculpture.”

This quote intricately portrays an opulent and exotic setting, based on Western uses of the East as ideological shorthand. The details collectively shape the narrative’s tone and atmosphere. The inclusion of sarcophagi within this lavish environment serves as a potent symbol of death and mortality, consistently echoing the story’s recurring theme. This juxtaposition between opulence and sepulchral elements generates an eerie foreshadowing of the story’s exploration of mortality and the potential for resurrection.

“I loathed her with a hatred belonging more to demon than to man. My memory flew back, (oh, with what intensity of regret!) to Ligeia, the beloved, the august, the beautiful, the entombed.”

This quote reveals the intense hatred the narrator feels toward Rowena. The fact that he likens his feelings for her to that of a demon only further establishes the stark contrast between her and the heavenly Ligeia. The hatred directed toward Rowena provides some evidence that the narrator may have poisoned Rowena.

“I could not fail to observe a similar increase in the nervous irritation of her temperament, and in her excitability by trivial causes of fear. She spoke again, and now more frequently and pertinaciously, of the sounds—of the slight sounds—and of the unusual motions among the tapestries, to which she had formerly alluded.”

This quote follows the description of Rowena’s mysterious illness, and her mood increases in tension and unease. Rowena’s heightened nervousness and fixation on trivial sounds and movements contribute to a sense of foreboding. This line builds suspense by hinting at potential disturbances or supernatural occurrences, keeping the reader engaged and curious about what will happen next.

“And again I sunk into visions of Ligeia—and again, (what marvel that I shudder while I write?) again there reached my ears a low sob from the region of the ebony bed. But why shall I minutely detail the unspeakable horrors of that night? Why shall I pause to relate how, time after time, until near the period of the gray dawn, this hideous drama of revivification was repeated; how each terrific relapse was only into a sterner and apparently more irredeemable death; how each agony wore the aspect of a struggle with some invisible foe; and how each struggle was succeeded by I know not what of wild change in the personal appearance of the corpse? Let me hurry to a conclusion.”

The mention of a low sob from the deceased body of Rowena, repeated revivifications, and struggles with an invisible foe conjure unsettling and eerie mental images for the reader. The passage builds suspense when the narrator hints at unspeakable horrors, leaving the possibility of more horrors not detailed up to the reader’s imagination. Overall, this quote marks a climactic moment in the story, hinting at the nightmarish events that have occurred and their profound impact on the protagonist.