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he House of Usher, there is an alteration on the expression of highly-sentimental heroines by showing the two male characters that struggles from tense susceptibilities, and the more penetrating account is the dandification of Roderick Usher. An expression of Usher’s possession of the property is the oneness or the singleness between the house and the sister, and the coherence of events that takes place in the house and the way it affects Usher. By and large, there is an overwhelming linkage between the structure itself, which is the house, and the human body.
The possession is therefore established in the conspicuous familiarity of Usher on the details of the house, telling the unnamed narrator that the house is alive (Meyers 111). This substantial understanding of the behaviour and characteristics of the house presents an element of ownership; thus, forming custody. Meanwhile, gazing at Manfred in The Castle of Otranto, in the beam of man’s captivity in the public domain, it is imperative to understand the logic of the whole story. In the novel, in order to renew and extend the family lineage, overturn the illegal act of usurpation, and, and eventually, deride the prophecy that forecasts the downfall of Otranto’s family, Otranto finds it necessary to marry Isabella, who is incredibly aloof to the idea of getting married to Otranto.
If Manfred as the element of the public domain is taken into consideration, it becomes well-defined that there is a constant encounter between Otranto and himself in a rather perplexing and suffocating no-man’s ground amid the private and public realms. On one hand, there is a need for Otranto to deliver to the anticipations of being a person of informing, sanity, and logic. On the other hand, Otranto is armed with states of mind that are regarded as being in the possession of the private domain.
At the start of the story, there is a though-provoking essence within the passages that incredibly exemplifies the vagueness and
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