Rivalries are commonplace in humankind. Shakespeare wrote about the Capulets versus the Montagues. Archetypal feuds have been depicted in popular culture such as feuds between Bugs Bunny versus Elmer Fudd and Ren versus Stimpy. Real-life feuds have been represented in allegorical stories, such as the feud between Joseph Stalin and Leon Trotsky, which is the basis of George Orwell’s Animal Farm. However, in many cases, these feuds end poorly for all participants, such like the case of Romeo of Montague and Juliet of Capulet. Intertwined in the fate of those involved in the feud are the symbols that represent their misfortune and the consequences of their choices. For the families of Berliftizing and Metzengerstein, their feud was no different. “Never before,” claimed Poe, “were two houses so illustrious, mutually embittered by hostility so deadly (Poe 134).” The story of these two families is tragic and brought to life by a fiery-steed of maelstrom, whose teeth bore oblivion.
The heads of both families were opposites. Count Metzengerstein was young and had the character of Herod, surpassing “[…] the expectations of his most enthusiastic admirers […] (Poe Poe 135).” He was treacherous. Count Berliftizing, was “[…] an infirm and doting old man […] (Poe 135).” He was “[…] remarkable for nothing […] (Poe 135).” However, he had antipathy for the Metzengersteins, a love of horses and hunting, which even infirmity could not prevent him from taking part in. However, it happened upon one evening that Count Metzengerstein was intently viewing a tapestry within a room in his home. This tapestry was rich but faded. However, his eyes intently became focused on “[…] an enormous and unnaturally colored horse, represented in the tapestry. The horse itself, in the fore-ground of the design , stood motionless and statue-like, while, father, back, its discomfited rider perished by the dagger of a Metzengerstein […] (Poe 136).” During his time with the tapestry, he witnesses the horse’s head had altered its position, it’s neck “[…] arched, as if in compassion, over the prostrate body of its lord […] (Poe137).” The eyes of the animal were “[…] energetic and human […];” they glowed red and fiery and its lips were parted giving the count full view of its “[…] sepulchral and disgusting teeth (Poe 137).”
Just like “Berenice” and “Hop Frog,” Poe uses the image of teeth to foreshadow events and the destruction of a character. The symbolism of teeth as grave and disgusting imitates the image of death. Taking a literary leap, it could be suggested that the horse itself represents death, coming to bear the living to their demise. Perhaps this is why, the young count becomes fixed with the horse that shows up after the fire that kills his rival and destroys his estate. This horse symbolizes his fear of his own mortality. Also, it embodies the doctrines of Metempsychosis or rather Berlifitzing's consciousness has been transferred to this fiery steed as evidenced by its “earnest and human-looking eye” and “peculiar intelligence in […] demeanor (Poe 141).” The horse is Poe’s symbol of sentient revenge.
Poe’s choice of the motif of teeth in “Metzengerstein” coincides with two other tales. The recurrence of it sheds light on its importance as a metaphor for the breaking down of things, be they emotion, flesh, or relationships. Poe explores his characters through symbols such as teeth and the horse and in doing so creates a brief but tantalizing history which turns into a common thread and leads to further interest in the drama of the macabre and vices of sinfulness.
Poe, Edgar Allan. “Metzengerstein.” Poe: Poetry, Tales, & Selected Essays. New York: The Library of America, 1996. 134-142.
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