The dungeon that the protagonist of Poe's story is trapped within enters the narrative as an unsolved question. It is tabula rasa; it is pure unknown possibility. It is only through making use of what little he has with him that the protagonist is able to learn anything about its environs:
My outstretched hands at length encountered some solid obstruction. It was a wall, seemingly of stone masonry -- very smooth, slimy, and cold. I followed it up; stepping with all the careful distrust with which certain antique narratives had inspired me. This process, however, afforded me no means of ascertaining the dimensions of my dungeon; as I might make its circuit, and return to the point whence I set out, without being aware of the fact; so perfectly uniform seemed the wall. I therefore sought the knife which had been in my pocket, when led into the inquisitorial chamber; but it was gone; my clothes had been exchanged for a wrapper of coarse serge. I had thought of forcing the blade in some minute crevice of the masonry, so as to identify my point of departure. The difficulty, nevertheless, was but trivial; although, in the disorder of my fancy, it seemed at first insuperable. I tore a part of the hem from the robe and placed the fragment at full length, and at right angles to the wall. In groping my way around the prison, I could not fail to encounter this rag upon completing the circuit. So, at least I thought: but I had not counted upon the extent of the dungeon, or upon my own weakness.

Note, though, that exploration and making use of unconventional tactics is itself an incomplete strategy. It's missing an essential underworld logic. It surveys the field, and the narrator learns that the space is "fifty yards in circuit," but it does not in itself provide an answer that solves the dungeon. Ultimately, the dungeon is only subverted by meeting it on its own illogical, madness-inducing, mythological terms.
In fact, the protagonist's initial measurements may have been incorrect; the logic of the mundane world holds no sovereignty in the mythic underworld. There is no Enlightenment where there is only flickering torches.
As the pendulum begins to swing down, it is only through indulging in dungeon logic that the protagonist figures out how to use the rats to escape bondage and certain death:
Observing that I remained without motion, one or two of the boldest leaped upon the frame-work, and smelt at the surcingle. This seemed the signal for a general rush. Forth from the well they hurried in fresh troops. They clung to the wood -- they overran it, and leaped in hundreds upon my person. The measured movement of the pendulum disturbed them not at all. Avoiding its strokes they busied themselves with the anointed bandage. They pressed -- they swarmed upon me in ever accumulating heaps. They writhed upon my throat; their cold lips sought my own; I was half stifled by their thronging pressure; disgust, for which the world has no name, swelled my bosom, and chilled, with a heavy clamminess, my heart. Yet one minute, and I felt that the struggle would be over. Plainly I perceived the loosening of the bandage. I knew that in more than one place it must be already severed. With a more than human resolution I lay still.
Nor had I erred in my calculations -- nor had I endured in vain. I at length felt that I was free.
The dungeon is merciless when confronted with conventional tactics. Freedom comes only with the cessation of struggle and the existential renunciation of the outer world. In the dungeon, it's fiery pits and green devil faces all the way down:
I struggled no more, but the agony of my soul found vent in one loud, long, and final scream of despair. I felt that I tottered upon the brink -- I averted my eyes --
And then catharsis. Not the pit and certainly not the pendulum. Instead, the French army enters Toledo. "It's okay," they say, "Gary sent us."
Spot on!
ReplyDeleteThank you!
DeleteIts amazing how most game designers miss the potential of the dungeon as a Chaotic, irrational space. And its amazing how Poe, without actually having been there, could capture the Dungeonesque of Toledo. In my time as Archaeology inspector in the city, I can assure you that, while not having pendulums documented, there is a lot of forgotten pits like those of the story in the city cellars
ReplyDeleteI blame the Caves of Chaos in Keep on the Borderlands. Despite the name, the caves were a pretty orderly place.
DeleteThat's fascinating about Toledo; did you ever find anything really creepy or weird in those cellars?
Sorry for the delayed response, Jack. The lack of time is one of the drawbacks of being a gaming dad.
ReplyDeleteYES there are creepy things. Toledo is a city ridden with monasteries, many of them half deserted. Part of my job was assessing which restoration jobs were needed. There are three sort of things which can be encountered
1) The Unheimlich: there are plenty of things oddly familiar. I had to assess this abandoned creche under the Concepcionist nuns convent. The creche was in use from the 70s well into the 90s of the XXth century. The cellars, of course were much older. There were blurred Disney frescoes, abandoned toys and dolls in the galleries. Unnerving. Under St Salvator's Church there was (and still is) an abandoned underground baroque rectory with seraphic paintings on the walls . Im still uncertain about its actual use really was (private shrine?)
2) The Creepy: XVII century coffins heaped in the crypt under the shrine of St Philip Neri. We had to move them through the refomation works carried there in 2010.
3) The Ancient: Toledo's roman sewer system its still there. Some of its galleries can be visited today.Some others are still covered by debris. These galleries are named by the legend “Hercules` Caves” Legend also says that somewhere in these passages its a Door to the House of the Seven Keys. This secret chamber was the Visigoths magical treasure room. Among the treasures salvaged from the sack of Rome in 410 was Solomon's ceremonial table. An incantation prevented that anybody could enter, lest the kingdom should meet its doom. Last gothic king, Roderick entered there against the will of the court. He sought the treasures, but something more. In the walls, there were paintings of the coming muslim army. In 711 he lost the kingdom against Muza ibn Nusayr. The Solomon`s Table was taken to Damascu, but Muza kept one leg to assure himself the right of conquest
Hope something can be inspiring to anyone in the community....
Dear Alvaro, thank you so much for the details! Inspiring stuff!
DeleteJan Potocki's "Manuscript Found in Saragossa" springs to mind, from the neighboring region, I think it captures a similar weird and eerie historical atmosphere.
This is all tremendous stuff! Thanks for coming back to drop all that in...going to be thinking about it for days.
DeleteGlad you find useful, Jack. Your stuff its very inspiring to me. I have taken the liberty to link here "The tower of the seven hunchback" a 1944 weird spanish film about one man rescuing a ghost' nephew from an ancient dungeon in Madrid. Some expresionist influences here. Sadly I could nt find the english subtitles, but I hope something useful can be found here.
ReplyDeletehttps://archive.org/details/LaTorreDeLosSieteJorobadosKrs947XaZoowoman
@Tamás Kisbali The Manuscript found in Zaragoza its a true Must! Yes it has a real Eerie atmosphere. Ravenloftesque with taboos and psychological issues.
Sorry a Ghost's NIECE. Need some sleep
Delete