1. Poe’s “Red Death” (1842) What do the numbers and colors suggest?

2. Prospero’s 7 rooms seven a heavenly number: three of the soul, combined with four of the body; unifies spiritual and earthly feminine number (of the great mother who “creates”) signifies totality, safety, synthesis its symbol is heptagram, often known as “Witch’s Star” and suggesting the occult

3. Context for 7 in Christianity, there are seven deadly sins (pride, greed, lust, envy, gluttony, wrath, sloth) in Egyptian mythology, there are seven houses of underworld; seven is also sacred number of Osiris (god of dead, rebirth, harvest; husband of Isis, mistress of magic; father to Horus, god of sky, sun, time) associated with Venus: feelings and instincts, “Group Mind” (i.e., collective soul), also sexual energy

4. Prospero’s colors blue: truth, serenity, harmony; of electricity; relates to future purple: royalty and nobility; good for emotional problems green: hope, growth, and nature; linked to healing and alchemy orange: balance and immunity; tied to sexual potency white: transcendence and perfection; pure consciousness red: courage and sacrifice; also sin, danger, wrath and Satan

5. Masque context masquerades popularized by 1710s, fall out of favor by 1780s; an 18 th -cent. institution combining aspects of medieval- and Renaissance-era carnivals (public entertainment) with elements of early 17 th -cent. court masques (aristocratic theatre); imported to England via Italy and France while carnivals take place outside, masquerades move into buildings, behind closed doors, etc., which leads to ticket sales (tickets cheap until about 1760; e.g., five shillings) casual intermingling of different classes at masquerades (e.g., robbers, prostitutes, kings, princes, upper-class women) since tickets affordable and identities hidden in costume and by voice distortion (called “squeaking”) “Midnight Masques” are most notorious, taking place until six or seven in morning and frequented by pimps, prostitutes, and men and women of “quality” looking for a good (and anonymous) time; sometimes even “gate-crashers” would sneak in without paying entrance, despite security provided by musketed gentlemen Castle, Terry. Masquerade and Civilization. Stanford: Stanford UP, 1986. (pp. 1-37)