This story is full of stylistic devices which can be found almost in every sentence. The main function of stylistic devices in this short story is to describe the situation clear, to create special image and atmosphere of the horror gothic story.
There is a list of stylistic devices which is used in the short story "The Masque of the Red Death":
Epithet: light-hearted friends, a masked ball, a gigantic clock, a dull, heavy, monotonous clang, clear and loud and deep and exceedingly musical sound, a magnificent revel, bold and fiery plans, a masked figure, the scarlet horror, blasphemous mockery, solemn and measured step.
Metaphor: the heart of life, to arrest the attention, there are chords in the hearts.
Allegory: “The Masque of the Red Death” is an allegory. It features a set of recognizable symbols whose meanings combine to convey a message. An allegory always operates on two levels of meaning: the literal elements of the plot (the colors of the rooms, for example) and their symbolic counterparts, which often involve large philosophical concepts (such as life and death). We can read this story as an allegory about life and death and the powerlessness of humans to evade the grip of death. The Red Death thus represents, both literally and allegorically, death. No matter how beautiful the castle, how luxuriant the clothing, or how rich the food, no mortal, not even a prince, can escape death. In another sense, though, the story also means to punish Prospero’s arrogant belief that he can use his wealth to fend off the natural, tragic progress of life. Prospero’s arrogance combines with a grievous insensitivity to the plight of his less fortunate countrymen. Although he possesses the wealth to assist those in need, he turns his wealth into a mode of self-defense and decadent self-indulgence. His decadence in throwing the masquerade ball, however, unwittingly positions him as a caged animal, with no possible escape.
Simily: He had come like a thief in the night.
Repetition: There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers stalked, in fact, a multitude of dreams. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
Climax: No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal--the madness and the horror of blood.
Anticlimax: And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, of horror, and of disgust.
There is a list of stylistic devices which is used in the short story "The Masque of the Red Death":
Epithet: light-hearted friends, a masked ball, a gigantic clock, a dull, heavy, monotonous clang, clear and loud and deep and exceedingly musical sound, a magnificent revel, bold and fiery plans, a masked figure, the scarlet horror, blasphemous mockery, solemn and measured step.
Metaphor: the heart of life, to arrest the attention, there are chords in the hearts.
Allegory: “The Masque of the Red Death” is an allegory. It features a set of recognizable symbols whose meanings combine to convey a message. An allegory always operates on two levels of meaning: the literal elements of the plot (the colors of the rooms, for example) and their symbolic counterparts, which often involve large philosophical concepts (such as life and death). We can read this story as an allegory about life and death and the powerlessness of humans to evade the grip of death. The Red Death thus represents, both literally and allegorically, death. No matter how beautiful the castle, how luxuriant the clothing, or how rich the food, no mortal, not even a prince, can escape death. In another sense, though, the story also means to punish Prospero’s arrogant belief that he can use his wealth to fend off the natural, tragic progress of life. Prospero’s arrogance combines with a grievous insensitivity to the plight of his less fortunate countrymen. Although he possesses the wealth to assist those in need, he turns his wealth into a mode of self-defense and decadent self-indulgence. His decadence in throwing the masquerade ball, however, unwittingly positions him as a caged animal, with no possible escape.
Simily: He had come like a thief in the night.
Repetition: There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and not a little of that which might have excited disgust. To and fro in the seven chambers stalked, in fact, a multitude of dreams. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All these and security were within. Without was the "Red Death."
Climax: No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal--the madness and the horror of blood.
Anticlimax: And the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, of horror, and of disgust.
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