
An excess amount of material wealth can be blinding, as, oftentimes, it drives individuals to think that they are existentially above others, based simply on what they have in the bank. These people, who lead such luxurious lifestyles, may, in turn, adopt a sort of god-complex, pushing them to believe that their riches will aid in their evasion of death, and even in their procurement of immortality. However, “the great unifier,” as death has so often been referred to, seeks no such exchange and forgoes no one person, regardless of what he or she may be monetarily worth. In the short story, The Masque of the Red Death, this type of narrow-minded thinking is on display, as a foolish prince, Prospero, attempts to outsmart death by isolating himself from the outside world, as a horrendous disease, “Red Death,” wreaks havoc on his country’s inhabitants, resulting in the deaths of thousands of men, women, and children everywhere. The prince, as his title implies, has access to such superior amenities, such as the secluded castle, that a majority of his subjects do not, allowing him a greater chance at survival, thus contributing to this ever-growing discrepancy between fantasy and reality that spans the entirety of the piece. This gap can be seen as the key catalyst that causes the prince to grossly underestimate the disease’s influence as well as overestimate his own earthly strength. Here, the concepts of isolation and idealism work together to fuel the prince’s plight to stay alive, as they each provide him with a seemingly adequate reason as to how his political power and financial might, in combination, are enough to make him indomitable, though, in the end, it becomes clear that the Red Death is unaffected by such superficiality, as the prince, the physical embodiment of prosperity in the piece, falls victim to the ailment’s effects.

After reading the short story, the prince’s goal becomes quite clear: to outlast the disease no matter what. In the beginning of the piece, he outlines his plan to lock himself in his perceived formidable palace, alongside hundreds of his closest “friends,” under the sole condition that they all agree to keep the doors shut and locked at all times. In taking this precaution, he is inadvertently recognizing his fallibility, though, to his guests, he refuses to admit that any danger exists outside of the palace’s walls; his thought process is that preserving their naivety will keep them safe, though, sadly, this is not the case. The concept of isolation is central to the work, as it drives the plotline and provides the prince with the means necessary to stay hopeful throughout the entirety of the retreat. Without physically removing himself from the situation, the prince would have had little choice but to accept his unfortunate fate as well as admit to his humiliating mortality, as the slaughtering of so many would have taken place before his eyes. By removing himself from everyday life, by distancing himself from the masses, he is able to create a sort of alternate reality that aids in his denial of all humanizing qualities that, he believes, make him more susceptible to death. In short, the prince chooses to ignore his mortality in an effort to elevate his seat in society. However, in denying these distinctive characteristics and refusing to accept his impending demise, the prince creates a rather parallel, hostile environment that encourages the formation of a scapegoat, a mode to displace and redirect the blame.

In essence, Prospero’s refusal to accept his inevitable fate creates this vacuum, suitable for a bystander, an outside and unrelated figure, to be criticized for the unfairness of the situation, the unfairness of the fact that all people, eventually, have to die. According to the scholarly article, Isolation: A Concept Analysis, the manifestation of such a character is not wholly unrealistic, as people, naturally, struggle with elongated periods of isolation from the outside world. The article goes into great detail about the differences between isolation as a mundane vocabulary word and isolation as a concept that impacts the human psyche. Throughout the piece, the term is described in a sort of negative connotation, as isolation is seldom beneficial, particularly when it comes to the enhancement of developmental behaviors in humans. In fact, the authors of the article go as far as to assert that isolation has been known to cause “individual[s] [to] experience a reduction in the level of normal sensory and social input” (Gilmartin). Therefore, it would not be unrealistic to reason that the unwelcomed visitor, that the guests blame for carrying the disease into the ball, is a mere figment of their jumbled imaginations, as, according to the study, isolation can cause people to lose all sense of reality. Thus, the guests could have needed this unforeseen party-crasher in order to, effectively, “swallow” the fact that their time has run out. In essence, the people may have personified the entrance of the disease, attributing its arrival to a make-believe victim, so that they could better come to terms with their impending demises, as none of them were expecting to be killed by an outside force, let alone the disease itself, as its existence, after months of seclusion, had come to feel so foreign.

In the short story, the people of the party represent innocence, as they firmly believe that the prince has all things under control, as seen in their enthusiasm to join in on his isolation, whereas the prince, in contrast, represents what comes of the disturbance of such naivety, as he is scared of the imposter, for he knows of the monster’s malevolent intentions, since he, alone, can relate to its dearth of innocence. This argument, in a way, goes against the age-old belief that ignorance is bliss, that any level of unawareness is almost desirable. If the prince had simply warned the people that, at any moment, the disease could have penetrated the palace’s walls, or, at the very least, reminded them of their susceptibility to death, rather than pretending as though life, for anyone, is ceaseless, then, perhaps, they would have all faired better, as they would have, presumably, taken the situation more seriously.

People crave human interaction as well as group-approval, as “social contact has long been recognized as a fundamental need for humans” (Gilmartin). Therefore, it is understandable why the people of the party would have chosen to go along with the blaming of an unrelated figure, regardless of whether or not they, personally, recognized the creature as illegitimate at first. Society teaches that sharing an enemy is a superb tactic in gaining this approval from others, as, evolutionarily speaking, humans have found that hunting in packs is generally easier and more effective than going off on one’s own. So, this level of isolation could have pushed even those who had come to terms with their own fates into simply siding with their neighbors’ convoluted beliefs. In summation, from a mere scientific standpoint, the effects of dramatic isolation play a large role in filling the voids in the story, as the medical usage of the term provides an entirely different perspective on how the ailment could have penetrated the gates of the castle. In applying this viewpoint, in interpreting the story through a more logical and conceivable lens, the only explanation required, regarding how the disease managed to make its way inside, can be found in the guests’ possible delusion, a proven side effect of isolation. Therefore, it is pertinent for one to understand the role that the concept plays in the piece, as its consequences provide an entirely different angle. Without a firm grasp on how isolation fuels the plotline, one cannot understand, fully, the ambiguity of the piece, which practically beckons for individual interpretation.

Perhaps the guests chose to believe that the disease was carried in by another character because they were unable to stomach the fact that they might have let it in themselves, and, therefore, indirectly aided in the execution of hundreds of innocent people. Perhaps the prince’s friends were unable to fathom that they had made such a catastrophic mistake, and were subliminally forced to justify it, using an unnatural occurrence to clear their consciences. While isolation may have caused them to lose some parts of their minds, as they were, assumingly, negatively affected by this period of decreased human interaction, the twisted reality that the prince constructs, from within the realm of the castle, allows for the guests to accredit the massacre to a single enemy that they could all rally under. In D.P. Sepety’s article, The Concepts Of Mind And Matter In The Context Of The Mind-Body Problem, a detailed analysis, regarding the brain’s relative ability to obscure scenarios to suit an individual’s preferences, is given. Sepety explains that people, regularly and subconsciously, convince themselves of things, especially in times of great strife, in an attempt to avoid facing what is really going on. Therefore, in this piece, any form of fantasy or any inexplicable event could, quite simply, be the work of the characters’ minds, as the brain has been proven to be easily manipulated into projecting false images and fabricating false happenings to please the body, an entirely unrelated and separate element of the being, wanting entirely dissimilar things, hence the title of the article.

The “concept of [the] mind as a personal realm of subjectivity” demonstrates how people are able to ignore negative external factors and, wildly enough, act as though they do not exist (Sepety). In essence, the prince’s creation of this idealistic state reflects the human tendency to avoid dealing with hardship, as he, like most other people, does not wish to deal with any negative repercussions that may stem from his poor choices. Poe purposefully named his protagonist “Prospero” in an effort to juxtapose his true persona, a persona that binds us all, as every person, at some point in their lives, has turned a blind eye in order to evade facing some tremendous problem. The prince may have temporarily prospered in isolation, while the people of the outside world were forced to suffer alone, and without the rulings of any superior figure, but, in the end, no one really benefitted, as his prosperity was short lived and illusory. Like the concept of isolation, the concept of idealism is equally important in perpetuating the plotline, as it highlights the peoples’ hamartia: their tendency to avoid unfavorable circumstances, in hopes that life will figure itself out, reintroducing the idea of ignorance as the best method of achieving long-lasting bliss. Furthermore, idealism underlines the importance of understanding the detriment that can come from living, exclusively, in one’s own head, in one’s own fantasyland, similar to the one that the prince paints for himself: the masquerade.

The party represents the prince’s dream of living in a world made entirely of temptation, allowing for him and his guests to exist, forever, in their own idealistic states of euphoria. Moreover, this fantasyland reveals the evils that man craves on a day-to-day basis, as the prince supposedly embodies mortality, exposing the dark underbelly of human nature. From a biblical standpoint, the masquerade can be interpreted as a form of Eden, full of life’s guilty pleasures. Whereas, the forbidden tree, the ultimate form of temptation that leads man astray, can be found in the peoples’ willingness to accept this false sense of reality. In recognizing the bad that can come from giving into such radical temptation, one can prevent his or her mind from wandering, as, realistically, nothing is forever, and any sort of temptation, regardless of what form it may take, can be, and oftentimes is, dangerous. In short, people are vulnerable, easily succumbing to life’s little distractions. This unifying truth can be traced in the prince’s attempt to ignore the disease via popular vices, such as drinking, dancing, and sex, just as the players of the literary work, Of Mice and Men, partook in card games to escape their work as well as the general reality that they may never accomplish their dream. According to John Limon’s analysis of escapism in the famous play, The Sound of Music, “what is escaped is not a place but the unloveliness of that place” (Limon Abstract). Here, in regards to the short story, that place is not really a place at all, rather a mentality, shrouded in the perverse assumption that all has been lost, that the prince and his comrades wish to circumvent. In constructing his argument, Limon breaks down his main point into three parts, defining the rules of escapism as he sees it as well as demonstrating how they work to “renew [one’s] enthusiasm for life” (Limon 52). The characters in the stories are forced to turn to such methods, as they have all just about given up; this desperate attempt at securing some glimpse of hope pushes them to fall back onto those things that have widely been recognized as suppliers of immediate satisfaction. Limon goes on to assert that “evil will not be overthrown, it will not be reformed, [and] it will not be challenged by a Utopian alternative” (Limon 54). In the case of his article, regarding the von Trapp family and their struggle to flee German invasion, the evil he is eluding to is depicted in the family’s fear of public performance, and, therefore, the alternative would be to quit, to give up, though, realistically, this would do little to combat the thing they are at opposition with, thus encapsulating his claim that evil cannot be overcome as easily as some would like to think. Moreover, in the case of The Masque of the Red Death, this “evil” would be the Red Death, the plague, and the “Utopian alternative” would be the peoples’ attempt to evade it by means of these amusing vices. However, as previously described, this attempt would be rather futile, as, regardless, the disease would remain a threat; evil cannot be so easily wished away.

The desire to achieve this idealistic state spans a great deal of Poe’s pieces as he, himself, was a well-known realist, who greatly frowned upon those who believed that this level of perfection was achievable in nature. This short story was not meant to be taken literally, although, it does warn against certain “evils” that people can relate to, even today, as “all of these fantastical worlds, [such as the one inside of the prince’s head,] invariably relate to our own” (Roslan 213). The short story’s main points provide a level of insight that can be applied to life in general, to peoples’ mundane and daily struggles, as Poe understood that even the most quixotic tales, if written correctly, may bear some element of truth, shedding light on real-world issues that have burdened humanity since the dawn of time. In depicting the negative effects of this relentless partying, Poe attempted to demonstrate how such widespread and reckless abandon can be harmful to the greater good, as these distractions commonly lead people from actually attempting to resolve their current situations. The prince intentionally throws a masquerade, and decorates the ballroom with various color-coded halls, in order to help push his guests into fully embracing what Poe is trying to warn against. The prince believes that, if he can create a big enough scene, in decorating the rooms in light and happy colors, he can convince the people of the party that there is nothing to be weary of. In David Heddendorf’s article, What is Emerson For, a brief synopsis of Emerson is given, as the writer attempts to analyze the various works of a man who, for a long time, served as the physical embodiment of inventiveness. In attempting to make meaning of Emerson’s works, Heddendorf decided to trace the same ideas across several of his pieces, focusing on how the famed writer used concepts, such as idealism, to help emphasize his main points in stories, regarding the human condition. Heddendorf, like Emerson, ascertains that reality is whatever it is perceived to be: “it depends on the mood of the man, whether he shall see the fine poem. There are always sunsets, and there is always genius; but only a few hours can relish nature or criticism” (Heddendorf). What he means by this is that one can live entirely in one’s own head, and, in turn, make radical claims that others may see as irrational, and still reserve a sacred amount of genius. He argues that all individual thought is born independent of outside criticism, going on to say that critics, typically, enjoy a mere fraction of the relevance that individual thinkers do, beckoning the question: why are individuals so scared to break away from the group and form their own opinions. In the short story, this phenomenon drives the guests of the party to simply go along with the rest of the crowd, as no one person attempts to break down the status quo or rectify the situation in any way. The fear of being laughed at or ostracized, oftentimes, keeps people from trying, from going out on a limb, which can be dangerous, as, if all people were to think in the same way, creativity, individuality, would cease to exist. This fear of being blamed may have driven the prince into isolation in the first place, as he was presumably scared of not only catching the disease himself, but, also, of not being able to truly help his infected subjects in a meaningful way. He was probably scared of being separated from the “pack,” and, in response, removed himself, in fear that someone else would do it for him. This idea plays on another unifying truth that all people, to a certain degree, fear rejection, and that this fear, in combination with other insecurities, may drive an individual to act out in extreme and uncharacteristic ways. 

Though Prospero turns to isolation in the time of the plague, a level of social hierarchy remains, though, evidently, on a smaller scale, as only a few hundred people, in comparison to the thousands of subjects that populate his land, are welcomed as guests into his home during this period of seclusion. In fearing the outcome of his withdrawal from society, the prince, unconsciously, recognizes that his materialistic superiority may not be enough in the struggle to achieve eternal life. Therefore, when an unforeseen visitor arrives at the scene of the party, all hope is lost, and, in chasing after the masked fiend, the prince chases after his lost power, recognizing that, in death, everyone is equal, and that all of the times he spent, attempting to separate himself from his subjects, on the basis of wealth and power, were, essentially, for nothing. People like to exert control over things, to be in charge at all times, however, when it comes to squashing a plague, one might find that altering his or her situation is easier said than done. In not truly having a voice, one may become threatened by the seemingly almighty obstacle, causing them to retract from society. In the short story, The Masque of the Red Death, the prince does just that; worried that he will not be able to overcome his mortality and outlast the disease, he sees no other option but to lock himself in his home, until the plague has rid itself. Unable to admit to his fate or lower himself to see eye to eye with his subjects, the prince attempts to create an environment, conducive to forgetting about the outside world, a euphemism for reality, that he hopes to thrive in, forever. In this piece, the concepts of isolation and idealism work together to reveal his delusion as well as emphasize the fact that no one can escape death, regardless of how hard they try. The irony of this piece lies in the fact that the prince, Prospero, lives his whole life under the impression that his title will save him, yet, in the end, an unwelcomed and masked figure, representing normality, determines the inaccuracy of this, driving home the idea that living one’s life on a superficial basis is foolish. The piece is meant to span time and place as an ageless tale, depicting the ephemerality of life, which all people, regardless of social class, age, gender, or relative material wealth, are bound to. 
