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The Tell Tale Heart Analysis

Categories: Edgar Allan Poe The Tell Tale Heart

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“The Tell-Tale Heart” by Edgar Allan Poe: A Critical Analysis

“The Tell-Tale Heart” by Edgar Allan Poe, first published in 1843, is a haunting short story not contained within a specific collection.

Introduction: “The Tell-Tale Heart” by Edgar Allan Poe

Table of Contents

“The Tell-Tale Heart” by Edgar Allan Poe, first published in 1843, is a haunting short story not contained within a specific collection. It’s a psychological thriller narrated by an unnamed character who insists on their sanity despite describing a meticulously planned murder. The story centers on the narrator’s obsession with the victim’s pale eye and a growing fixation on a sound they believe to be the old man’s beating heart, creating a chilling atmosphere of suspense and unease. As the story progresses, the line between the narrator’s perceived sanity and their deteriorating mental state blurs, leaving the reader to question the truth and grapple with the themes of guilt and madness.

Main Events in “The Tell-Tale Heart” by Edgar Allan Poe

The Narrator’s Obsession and Murderous Plan:

The unnamed narrator insists on his sanity despite describing a premeditated murder.
He becomes fixated on the old man’s pale blue eye with a film over it, calling it a “vulture eye.”
The narrator denies any motive like passion, greed, or insult, claiming it’s solely the eye that drives him to kill.
Over several days, the narrator meticulously plans the murder, entering the old man’s room each night to find him asleep.

The Murder and Hiding the Evidence:

On the eighth night, the narrator accidentally startles the old man awake but manages to keep him still in the dark.
The narrator describes a growing sense of triumph as he prepares to commit the murder.
He becomes fixated on a low beating sound, which he believes is the old man’s terrified heart growing louder.
In a frenzy, the narrator throws open the lantern and murders the old man.
After the murder, the narrator displays a chilling calmness as he dismembers the body with meticulous care.
He hides the body parts under the floorboards, confident no human eye could detect anything wrong.

Police Investigation and the Narrator’s Descent:

The police arrive to investigate a scream heard by a neighbor, arousing suspicion.
The narrator remains confident and welcomes the officers, inviting them to search the entire house.
He even leads them to the old man’s room and shows them his undisturbed belongings.
The narrator’s confidence grows as the officers seem satisfied with his explanations.
However, the narrator begins to feel increasingly anxious and believes he hears the beating of the old man’s heart growing louder.
His attempts to appear calm and talkative fail as the sound intensifies in his own mind.
Driven to the brink, the narrator accuses the officers of mocking him and confesses to the murder, revealing the body’s hiding place.

Literary Devices in “The Tell-Tale Heart” by Edgar Allan Poe

Characterization in “the tell-tale heart” by edgar allan poe.

The narrator in “The Tell-Tale Heart” by Edgar Allan Poe is a complex and unreliable character. Here’s a breakdown of his characterization using examples from the story:

1. Mentally Unstable:

Example: “TRUE!—nervous—very, very dreadfully nervous I had been and am…” (Paragraph 1). The narrator readily admits his nervousness, which hints at a larger mental issue.
Example: “How then am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.” (Paragraph 1). He contradicts himself by claiming sanity while exhibiting erratic behavior.

2. Obsessive:

Example: “It was his eye! yes, it was this! One of his eyes resembled that of a vulture—a pale blue eye, with a film over it.” (Paragraph 2). He fixates on a minor physical detail, the old man’s eye, to an unhealthy degree.
Example: “Every night, about midnight, I turned the latch of his door and opened it—oh, so gently!” (Paragraph 3). The repetition of his nightly routine highlights his obsessive planning and actions.

3. Deceptive:

Example: “I was never kinder to the old man than during the whole week before I killed him.” (Paragraph 3). He hides his true intentions by feigning kindness towards the victim.
Example: “The officers were satisfied. My manner had convinced them.” (Paragraph 18). He deceives the police with a confident demeanor despite his inner turmoil.

4. Unreliable Narrator:

Example: “I loved the old man. He had never wronged me.” (Paragraph 2). This statement is contradicted by his plan to murder the old man.
Example: “…every night just at midnight, I looked in upon him while he slept.” (Paragraph 3). He claims the eye bothers him, yet sneaks in nightly even when the eye is closed.

5. Deteriorating Mental State:

Example: “Ha!—would a madman have been so wise as this?” (Paragraph 3). He questions his own sanity while trying to convince the reader otherwise.
Example: “Villains! I shrieked, “dissemble no more! I admit the deed!—tear up the planks!—here, here!—it is the beating of his hideous heart!” (Paragraph 19). His mental state crumbles as he confesses the crime due to heightened auditory hallucinations.

Major Themes in “The Tell-Tale Heart” by Edgar Allan Poe

Unreliable Narration and the Descent into Madness: The story unfolds through the eyes of an unnamed narrator who insists on his sanity despite exhibiting clear signs of mental instability. His justifications for the murder and his obsession with the old man’s eye reveal a distorted perception of reality. We see this in his opening claim, “TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad?” (Paragraph 1). Here, he acknowledges his nervousness but denies madness, setting the stage for his unreliable narration. As the story progresses, his actions become increasingly erratic, culminating in his delusional belief that he hears the dead man’s heart beating. This auditory hallucination, a physical manifestation of his guilt, exposes the narrator’s complete descent into madness. (“Villains! I shrieked, “dissemble no more! I admit the deed!—tear up the planks!—here, here!—it is the beating of his hideous heart!” Paragraph 19).
The Power of Guilt and the Inevitability of Confession: The narrator meticulously plans and commits the murder, believing he can escape punishment. However, guilt gnaws at him, intensifying his anxieties and distorting his senses. His seemingly flawless plan crumbles under the weight of his conscience. The repetition of the phrase “beating of the old man’s heart” (various paragraphs) emphasizes the growing obsession with this imagined sound, a constant reminder of his crime. Despite his attempts to maintain composure during the police visit, his guilt manifests as a heightened sense of hearing, ultimately leading him to confess. (“…every night just at midnight, I looked in upon him while he slept.” Paragraph 3). This unexpected confession highlights the power of guilt and the human psyche’s inability to suppress the truth for long.
The Duality of Human Nature: The narrator wrestles with a conflict between good and evil. He claims to love the old man yet meticulously plans his murder. This internal struggle reflects the potential for darkness that exists within everyone. We see this duality in his statement, “I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this!” (Paragraph 2). Here, he attempts to justify his actions by blaming the old man’s eye, but the reader is left to question the true motives behind the murder. The story explores the idea that even the most seemingly ordinary person can harbor violent impulses.
The Thin Line Between Sanity and Madness: The narrator’s deteriorating mental state blurs the line between sanity and madness. His meticulous planning suggests a calculated mind, yet his obsession and hallucinations point towards a fractured psyche. The story raises questions about the nature of madness and how easily it can take hold. We see this blurring in his self-reflection, “Ha!—would a madman have been so wise as this?” (Paragraph 3). He questions his own sanity while trying to convince the reader otherwise, leaving the reader to wonder if he was ever truly sane to begin with. “The Tell-Tale Heart” explores the terrifying possibility that madness can creep in subtly, distorting reality and leading to horrific acts.

Writing Style in “The Tell-Tale Heart” by Edgar Allan Poe

Vivid and Haunting Imagery (Paragraph 3) * “I turned the latch of his door and opened it—oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, so that no light shone out…”
Repetition (various paragraphs) * “beating of the old man’s heart” – This phrase is repeated throughout the story, emphasizing the narrator’s obsession and growing anxiety.
First-Person Point of View (Paragraph 1) * “TRUE!—nervous—very, very dreadfully nervous I had been and am…” – The story unfolds through the eyes of the unnamed narrator, placing the reader directly in his thoughts and deteriorating mental state.

Literary Theories and Interpretation of “The Tell-Tale Heart” by Edgar Allan Poe

Questions and thesis statements about “the tell-tale heart” by edgar allan poe.

Narrator’s Unreliability
Guilt and the Inevitable Confession
The Descent into Madness
Symbolism and Meaning
Gothic Elements and Atmosphere
Psychological Exploration of Character
How does the narrator’s unreliable narration impact the story’s suspense and horror?
In what ways does the story explore the themes of guilt and the urge to confess?
How does the narrator’s mental state deteriorate throughout the story?
What are the symbolic meanings of the vulture eye, the darkness, and the beating heart?
How do classic gothic elements contribute to the overall atmosphere of dread and unease?
To what extent does the story offer a realistic portrayal of a troubled mind?

Thesis Statements

Edgar Allan Poe’s “The Tell-Tale Heart” utilizes an unreliable narrator to create a chilling atmosphere of suspense and expose the inevitable breakdown of a guilt-ridden conscience.
The relentless sound of the beating heart in “The Tell-Tale Heart” serves not only as a symbol of the murdered man but also as a physical manifestation of the narrator’s overwhelming guilt, ultimately leading to his confession.
Through the portrayal of a character’s descent into madness in “The Tell-Tale Heart,” Poe explores the terrifying possibility of how seemingly ordinary individuals can harbor violent impulses and ultimately succumb to their own distorted perceptions.
By employing symbolic elements like the vulture eye and the beating heart, Poe imbues “The Tell-Tale Heart” with deeper meaning, suggesting a battle between good and evil and the enduring power of guilt.

Short Questions and Answer about “The Tell-Tale Heart” by Edgar Allan Poe

Literary works similar to “the tell-tale heart” by edgar allan poe.

Henry James’s “The Turn of the Screw” utilizes an unreliable first-person narrator, much like Poe’s, creating a story shrouded in ambiguity regarding the protagonist’s sanity and the existence of the supernatural.
Sheridan Le Fanu’s “Carmilla,” a foundational vampire tale, shares “The Tell-Tale Heart’s” chilling atmosphere and dependence on an unreliable narrator, keeping the reader guessing about the protagonist’s perceptions and the truth of the vampiric threat.
Shirley Jackson’s “ The Lottery ,” a masterpiece of suspense with a shocking twist ending, explores the darkness within human nature, similar to Poe’s works.
Jackson’s “We Have Always Lived in the Castle” delves into psychological themes and the blurring of reality, reminiscent of the mental deterioration depicted in “The Tell-Tale Heart.”
Charlotte Perkins Gilman’s “ The Yellow Wallpaper ,” a powerful indictment of societal norms and the treatment of mental illness, echoes Poe’s exploration of psychological deterioration under societal pressures.

Online Resource:

Poe, Edgar Allan. “The Tell-Tale Heart.” https://learningenglish.voanews.com/a/tell-tale-heart-edgar-allen-poe-american-stories/2634706.html (Accessed March 23, 2024). The full text of the story, a valuable resource for any analysis.

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Background of the Story

“The Tell-Tale Heart” is a story by Edgar Allan Poe written in 1843. It is about a murderer who tries to persuade his readers of his mental stability while telling the tale of the brutish act. He denies that he suffers from some mental illness and openly boasts of his cleverness and cunning behavior. He kills an old man though he loves him. He holds no grudges against him and murders him without any motive.

The old man’s “vulture-eye” makes the narrator angry and he decides to kill him. He attends to every minute detail in the process of murder; carefully kills him, disjoints every part of his body, and then buries the body parts underground in the room. He also receives the policemen with utmost comfort but, slowly and gradually, his anxiety increases. His guilty conscience constantly pricks him and reminds him of his brutal act. Eventually, he cannot bear the secret anymore and confesses his crime to the policemen.

The untrustworthy narrator does not have a solid reason to murder the old man (apart from his hatred for the old man’s eye). Furthermore, Poe has not given us detail about the narrator’s relationship with the old man. We do not know, as readers, whether the narrator is a male or a female. Poe only focuses on the events and situations which lead to the killing rather than focusing on individuals.

The story is one of the classics of Poe’s short stories and of its genre. The setting and diction used in the story make it a classic Poe story. The story is a proof of human being’s inherently evil nature. The unreliable narrator in the story brutally murders the old man irrationally and without any reason. The story also explores the paranoiac state of mind of the narrator.

The Tell Tale Heart Summary

At the start of the story, the narrator is answering an imaginary listener. He confesses that he has been ill but denies the fact that he is insane. Furthermore, he announces that the illness has given him more strength especially to his “sense of hearing”. He tells the imaginary listener that he is more vigilant now and is able to hear everything. Then he tells the listener to listen carefully as he narrates the story.

He confesses that there was no motive for what he did. He loved the old man who never harmed him. The motive behind the murder was not his wealth and gold, however, one of his eyes made him kill the old man. He hated his vulture-like eye and it persuaded him to murder the old man. The narrator says that the old man’s eye angered him so he made up his mind to kill him to shut that eye once and for all.

Again he tries to prove his sanity by admitting that he planned carefully to murder the old man making us aware that an insane person cannot plan. He informs his readers that for seven continuous nights he would go into the old man’s room, quietly, and would wait for the exact moment to commit the crime. He would examine the old man’s eye with the help of his lantern and would find it close. He would return annoyingly as it is his “Evil Eye” which motivates him to murder him. Ironically, in the morning he would ask the old man how he spent the night.

He continues with the story and tells us that on the night of the murder he went to the old man’s room with more caution. He wonders at his cunning plan and laughs at the old man’s lack of awareness. Out of nowhere, the old man sensed something and moved. The narrator tells us that he did not feel afraid as he knew the old man could not see him in the darkness. He, quietly, entered the room. The old man suspected something and asked who was in the room.

The narrator informs us that he did not move an inch for an hour knowing that the old man is alert. Then he hears a frightening cry from the old man sitting alert in his bed. He tells us that the old man knows not of his presence but he can assume his death impending upon him. Afterwards, he gradually puts light on the old man and realizes that his hateful eye is open. It makes him angry. He does not notice his face because he is not interested in it rather it is his eye that troubles him. The sight of his eye fills him with rage.

Furthermore, as he boasts of his increased hearing sense, he hears the beating of the victim’s heart. He tries to stay calm but the beating of the old man’s heart increases his anger. The narrator becomes anxious and is unable to bear his heartbeat anymore. The narrator takes the help of the bedsheets and holds it firmly “over his head”. The old man, slowly and gradually, suffocates and his heartbeat stops. The narrator takes a sigh of relief knowing that his eye will never trouble him again.

He again challenges those who question his sanity and tells them that they should consider how he hid the dead body so as no one can find it. He disjoints every part of the dead body carefully. Then he removes the planks and hides the pieces there cautiously making sure nothing is left behind. Afterwards, he puts the planks down again, with great care, so that no one can get a clue of their removal.

When he finishes, the clock strikes four in the morning. Someone knocks at the door. He calmly opens the door and realizes that three policemen have arrived. They have been called upon by one of the neighbors who heard the shriek of the old man. They are here to investigate any mishap. He receives them calmly and tells them that he shrieked because of a nightmare. He escorts them all over the house and tells them to do their search. He even leads them to the old man’s room and offers them chairs to sit there and rest.

He confesses that his calm demeanor made the cops believe his explanation and they sat calmly there. They chat continuously and after a while, the narrator wishes they should depart. Slowly and gradually, he becomes anxious and his calmness fades away. In the meantime, he hears some sound. At first, he perceives it to be inside his head but then he realizes that the sound is not internal rather it is in the room. He talks louder and causes commotion in the room to cover it up but it gets louder with the passage of time.

He walks to and fro in the room to make some noise but its intensity increases. However, the policemen seem not to hear it and they are busy chatting and smiling as usual. The narrator thinks the policemen know and they are laughing at his stupidity. He says he constantly suffered because of their smiles and hearing that sound. Eventually, he cannot stand it anymore and confesses his crime. He tells the policemen to uncover the planks and they will find the mutilated body of the old man and his pumping heart.

Mental Health

Poe’s story shows its readers the importance of mental health. The story demonstrates that mental illness can drive a person to the vilest acts. Psychological problems can lead individuals to act dangerously without any motive. The narrator, in the story, suffers from some mental problems which lead to his destruction.

He, time and again, denies the fact that he suffers from mental illness but his awkward actions prove that he suffers from some psychological problem. He is obsessed with killing the old man for no apparent reason and scrutinizes him for seven successive nights. The narrator, being paranoiac, kills the old man out of fear but that is not an acceptable reason.

Furthermore, he also enjoys the moment when he suffocates the old man, holding the bed sheets tightly over his face. This event makes him a sadist; who enjoys inflicting pain on others. This event also shows that he has some psychological problems. Through these events, Poe demonstrates the idea that an individual’s psychological health is as important as his physical health.

Guilt is another significant theme in the story. Although the narrator does not feel guilty of his crime openly, however, it is his guilty conscience which leads him to confess his crime. At first, he murders the old man in his room and calmly hides his dead body underground. Then he calmly receives the policemen and leads them across the house. However, in the hearts of his heart, he feels nervous with the passage of time.

Slowly and gradually, he hears sounds which he did not hear previously. He becomes anxious and tries to evade the sounds by making a commotion. However, his guilt does not leave him until he confesses his crime. He is of the opinion that the heartbeat is that of the old man’s heart but actually it is his own heart pumping with guilt. Externally, he enjoys killing the old man but his guilty conscience does not let him enjoy the brutal act.

Confinement

The theme of confinement is central to the story. The actions in the story are confined to a house only. Neither the narrator nor the old man go outside the house throughout the story. The narrator wants to break this confinement by murdering the old man but is unsuccessful. He murders the old man but never breaks his confinement.

The narrator thinks he will escape the life of confinement by killing the old man who is a threat to his freedom, according to him, but never succeeds. Instead, after killing he becomes more confined to the old man’s room. First, he would roam around the house but after killing him, he sits with the policemen in the old man’s room. He does not leave the room until he confesses his crime.

This confinement can imply that the narrator’s own psych has imprisoned him and he is unable to escape it. He thought he would gain freedom by killing the old man unaware of the fact that it is his mental confinement rather than his physical which never lets him free.

Characters Analysis

Characters are people who have some individual traits in a piece of writing. Without characters, a piece of literature looks dull. They are mouthpieces for a writer through which a writer expresses their opinions about a particular issue. Characters provide them with an outlet to contribute to the social structure. Some characters are major characters on which the writer focuses more while others are minor characters who have a supporting role in a piece of writing.

Poe’s story revolves around the unreliable narrator who murders an old man for no apparent reason. Other characters in the story are not significant. The detailed analysis of his character is given below;

The Narrator

Poe does not give us information about the narrator’s gender. We, as readers, do not know whether he is a male or a female. We assume that he is a male and that is why we use the pronoun “He” for the narrator. After reading the story we conclude that he has many problems in his character; he suffers from paranoia, he is nervous and has some physical as well as mental illness. He tries to prove his sanity for the most part of the story.

After reading the story, we assume that the narrator acts according to his natural impulses. The narrator murders the old man because he thinks the old man is a threat to his individual freedom. Being paranoiac, the narrator assumes the old man is always trying to harm him, although he confesses that he has never harmed him, he acts in advance and takes his life. He murders the old man due to his own fear.

Furthermore, the narrator suffers from some kind of physical instability. His ears are hypersensitive and he hears sounds which others do not hear. We, as readers, do not know about his past and cannot claim that he suffers from some ailment but his awkward behavior and his physical instability make us think he is not physically fit.

As Poe lived most of his life in the southern United States we can, contextually, assume that the narrator is a “Southern Gothic Hero”. The narrator may have a master-slave relationship with the old man. It may be the case that the old man as a ‘master’ mistreats the narrator as a ‘slave’. This may have urged the narrator to murder the old man to get rid of his authoritative behavior.

Lastly, the narrator may be a sadist; ‘a person who derives pleasure, especially sexual gratification, from inflicting pain or humiliation on others’, and to fulfill his sadistic impulses he may have murdered the old man without any apparent reason.

The narrator’s character in the story is an enigmatic one and arises many questions in the readers’ minds. The above analysis is not blunt realities about his characters but mere assumptions.

Literary Analysis

Edgar Allan Poe’s short story poses many questions to be answered by the readers. The reality of the narrator, the motive behind his murder, his relationship with the old man, and the issues of his mental and physical health are to be discussed in this analysis section.

The narrator is an unreliable person having no specific name. Even we do not know about his gender. Most of the critics believe that the narrator is a male, as was the norm at that time, however, others believe that it may be a female character who narrates the story. The narrator acts illogically throughout the story and follows his instincts rather than his reason. On the basis of these qualities, some critics believe that the narrator might be a female because irrationality and emotionality were associated with women at that time. Poe focuses more on the events in the story rather than the individuals, so he leaves it open for his readers to decide whether the narrator is a male or a female.

There seems to be no motive behind the narrator murdering the old man except for the old man’s ‘Evil Eye’ which the narrator dislikes. However, this excuse is not strong enough to take someone’s life. Critics believe that the narrator suffers from paranoia and his paranoiac personality leads him to commit the murder. A paranoiac person feels fear of others all the time. Same is the case with the narrator in the story. He feels afraid of the old man though he has never harmed him. In order to counter his fear, he kills the old man without any apparent reason.

On the other hand, the narrator may want individual freedom and that is why he kills the old man. He confesses himself that he was not targeting the old man’s gold or money. He may be struggling to gain freedom which may seem impossible if the old man lives so he decides to kill him. Ironically, he becomes more confined after murdering the old man. Consequently, we can say that there is no apparent reason for murdering the old man. These are mere speculations.

There are diverse opinions about the relationship between the narrator and the old man. They both live in the same house. The narrator loves the old man until he murders him. The old man never harms the narrator. Some critics opine that there is a master-slave relationship between the two. The old man serves as the master and the narrator is a slave to him. As the old man’s ‘Evil Eye’ is the object of hatred for the narrator, this relationship makes sense. The ‘Evil Eye’ represents the dominance of the old man which the narrator never accepts, so he tries to kill him to gain freedom.

Other critics believe that there is a father-son relationship between the two. However, according to my understanding of the story, this assumption is a little weak. Why, on earth, will a son kill his own father so brutally if he loves him and his father never harms him. It may happen, in some cases, but is not true for this story. A son will never go to such extremes to gain freedom from his father, according to my opinion. Finally, Poe leaves this relationship open for the readers to decide.

Furthermore, the narrator throughout the story tries to prove his sanity but his actions and his words are enough for the readers to conclude that he suffers from physical as well as mental problems. He leaves no stone unturned to prove that he is not a mad person but his actions prove otherwise. He gives logical reasons for his irrational act but fails. His motiveless murder, his sadistic attitude during the murder, and his calm demeanor after the murder prove that he suffers from some psychological problem.

He plans the murder methodically and never gives the old man a clue about his plan. However, he kills the old man without any evident reason which shows his psychological instability. His paranoiac mentality urges him to kill the old man before he could harm him. The motiveless murder also throws light on his sadistic personality. He enjoys inflicting pain upon others. He also enjoys mutilating the old man’s dead body. He does not shudder or feel any fear of doing this hideous act.

The narrator’s brutal act also refers to the inherently evil nature of human beings. He murders the old man without any rationale. This refers to the idea of the ‘Original sin’ which means that every human being has the tendency to sin or do evil acts, without any reason, because they are born sinners. William Golding in his novel Lord of the Flies also explores this idea of human being’s evil nature from birth. We can associate these ideas with the narrator as he kills the old man without any motive.

Poe’s story is a classic horror story. All elements of Gothic fiction are present in the story. The hidden corpse, the supernatural setting of the story, the horrible murder, and the mentally unstable protagonist, all these elements make it a classic example of Gothic fiction. The narrator, who is the protagonist of the story, suffers from some psychological problem and commits a murder without any obvious reason. He hears sounds which no one else hears, leading to the fact that he suffers from some mental problem.

Mystery and fear is another element of Gothic fiction which is also present in the story. The narrator, himself, is an enigmatic personality who no one knows fully. He has no name and no specific gender. He is paranoiac and his fear of being harmed leads him to murder the innocent old man. The setting of the story also conforms to the idea of Gothic fiction. The story is set in a bizarre and strange house with no detailed description. The narrator commits the murder in a dark room. The underground hiding of the corpse adds to the canny setting of the story.

The supernatural elements also add to the Gothic form in the story. The pounding heart of the dead old man comes to haunt the narrator. Whether it is the heartbeat of the old man’s heart or the narrator’s own heart is debatable, however, it increases the narrator’s anxiety. It haunts him until he confesses his crime to the policemen.

As Poe lived in times when Romanticism was at its peak so the influence of Romanticism is pretty much there in his fiction. He wrote about the strange and bizarre things and neglected literature for a didactic approach. He focused on emotions rather than rationale and wrote literature which had a direct effect on feelings and emotions. The narrator in the story acts according to his intuitions and does not care about the consequences. The Romantic influence on his writings is greater in this regard.

Settings in Romantic literature are some strange places and “The Tell-Tale Heart” is no exception. The story is, mainly, set in a horrible and bizarre room full of darkness. Poe believed that the greatest art should be set in a place which is different from the ordinary world and most of his stories are set in places which are out of this world, literally.

The influence of Romanticism is evident in Poe’s characterization. Most of his main characters have no names and no genders. The narrator in the story is also deprived of any name or gender. He focused on the overall effect of his art rather than on individuals’ importance. Lastly, the subject matter is also peculiar and unusual. According to Romantic writers, mundane subjects have no place in literature. Poe, himself hated ordinary and common subjects and dealt with the unusual. So he wrote about those subjects which amazed the common readers. He wrote literature that was horrific and not ordinary. The influence of Romanticism is evident in his writings.

The title of the story is significant. It points to the hearts of both the old man and the narrator. The old man’s heart beats rapidly when he perceives someone in his room. His heart awakens him to the danger in the room. However, the narrator gets furious and murders the old man. The next time, the pounding of the heart comes from the underground. This assumption is false because underground lies the mutilated body of the old man. This actually is the pounding of the narrator’s own heart. The narrator is nervous and his pumping heart reminds him of his guilty act. The heart “tells tales”, one of fear and the other of guilt.

The story is set in a house we, as readers know little of. Poe does not describe the house fully to his readers. The murder takes place in the bedroom of the old man which is dark and horrific.

Writing style

The structure and style of the story are very compact. It can be read in one sitting. The language is simple and there are seemingly no archaic words. There is a mixture of long and short sentences. The choice of words completely fits the subject matter in the story. Poe uses very authentic words to convey his idea in the best possible manner. It makes a powerful impact on the reader.

All the events and situations comfortably lead to the climax in the story and then pass that intent into the befitting ending. The sentences are well connected and they fittingly play their role in taking the story to the desired ending. There is not a single loose thread. The sentences contribute to the overall effect of the story. The writer very tactfully makes this story powerful by the authentic use of language.

Point of View

The story is told by an untrustworthy narrator in the first person. For the most part of the story, he tries to prove that he does not suffer from some mental problems. Throughout the story, he tries to justify his irrational actions logically.

The tone of the story is gloomy and anxious. Though the narrator is a murderer yet the readers feel sympathy for him as he suffers from severe psychological problems. After the murder, he suffers from nervousness and feels guilty of his crime. The melancholic tone of the story is intermixed with the nervous feelings of the narrator.

The old man’s eye is the sole object of hatred for the narrator. He wants to shut it forever. If we assume that the relationship between the two is that of a master and slave then the eye represents the authoritative gaze of the master. The narrator shuts it to free himself from the dominance of the master. However, if the narrator is a female then the eye represents the authoritative gaze of a dominant male. The narrator then wanted to free herself of male dominance and murdered the old man.

On the other hand, the narrator refers to the eye of the old man as ‘vulture-like’. Vultures like to eat sick or dead animals. As a paranoiac, the narrator fears the old man will harm him so he acts to counter his fear and murders him to protect himself from being devoured.

The Bed and Bedroom

The bed and bedroom are the places of comfort and warmth generally. However, Edgar Allan Poe negates all the comfort associated with the bed and bedroom. The narrator openly spies on the old man when he sleeps in his room. He breaches all the norms of one’s bedroom and does not consider the privacy of the old man. Ironically, the bedroom becomes a place of agony for the old man. The narrator uses bed sheets as murder weapons to suffocate the old man and hides his body underground.

The house represents the subconscious of the narrator. When he hides the mutilated body of the old man underground, he symbolically hides his crime in his subconscious. Nonetheless, we can retrieve the information hidden in our subconscious mind. Same is the case with the narrator. His pounding heart reminds him of his own guilt and never stops until he confesses his crime to the policemen.

Poe uses irony to great effect in the story. Firstly, the narrator murders the old man because he hates his “vulture eye” and he deems it a flaw in his character. However, the narrator negates the fact that he also suffers from paranoia which is a severe flaw than the “vulture eye” of the old man. A person with severe illness murders a person with less severe physical flaws is ironic.

Secondly, the narrator boasts of his sanity and leaves no stone unturned to provide details that will prove his sanity to the readers. On the other hand, he gives a detailed analysis of how he murdered the old man without any reason. It is ironic because a healthy and sound person will never kill another person.He also confesses that he loves the old man who has never harmed him yet he brutally kills him. This is ironic because how can a person brutally kill a person he loves and who has never harmed him.

A person’s bedroom is a place of privacy and comfort for an individual. Poe makes the bedroom of the old man his death place, which is ironic. The narrator breaches all norms of the old man’s privacy and kills him in his own bedroom. Ironically, he uses his bed as a murdering weapon. He suffocates the old man using his bedsheets and hides his disjointed body underground in his bedroom. The old man’s bedroom, a place of warmth and comfort, becomes his graveyard.

In a nutshell, Edgar Allan Poe very tactfully conveys his message in this short story. He gives his readers an insight into the paranoiac mind of a person. Through this story, he enables his readers to not be deceived by outward expressions of an individual as he may be harmful to them inwardly. He also throws light on the significance of the mental health of an individual. He opines that psychological health is more important than physical health because it can lead individuals to their own destruction.

Short Stories

The Masque of the Red Death
The Fall of the House of Usher

Literary Analysis of The Tell-Tale Heart

The use of imagery to develop symbols, the work’s organic unity, the interconnectedness of the work, the application of paradox, irony, ambiguity, and tension, aesthetic quality of the work, the resolution of contradictions, the correlation between the form of the work and the content, the central passage, works cited.

The Tell-Tale Heart is a short story by Edgar Allan Poe of an unnamed narrator who murders an older man who lives in the same house as him. The narrator is then haunted by what he thinks is the rapid heartbeat of the deceased man, coming from beneath the floorboards. The Tell-Tale Heart was published in 1843 in a small Boston publication called The Pioneer: A Literary and Critical Magazine. The short story is often presented as a classic of gothic horror. The Tell-Tale Heart centers on the unreliable, unnamed narrator who spends much of the text trying to convince the reader that he is not insane. The narrator goes into excruciating detail on some details of the planned and later executed murder while giving away very little information about himself.

Moreover, the narrator’s case is undermined as he cannot provide a motive for committing the murder. This short story can be analyzed from the formalist literary theory approach, including addressing such questions as to how the imagery was used to develop symbols, the work’s organic unity, and interconnectedness. Moreover, the theory helps to approach the application of paradox, irony, ambiguity, and tension, as well as the story’s aesthetic, resolution of contradictions, the content, and central passage of the work.

In The Tell-Tale Heart , the narrator focuses on eyes, particularly the eyes of his victim. The narrator describes it as “the eye of a vulture –a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold” (Poe 3). The narrator’s focus on eyes contrasts his blindness to his actions and condition as he does not see his actions as insane. The narrator believes the old man, his target, is in possession of an evil eye. To counteract the perceived powers of this evil eye, the narrator uses a lantern to shine a slim ray of light on it. The lamp itself sheds light on the truth that the old man was never evil; however, the narrator is blind to this (Amir 20). Both the “evil eye” and the lantern spend much of the story closed, despite the narrator’s obsession. Edgar Allan Poe uses the juxtaposition of eyes and lanterns, both ostensible tools to perceive as a means of presenting the narrator’s real insanity and how it blinds him.

The Tell-Tale Heart is unified through the constant narration of its unnamed protagonist. All the events, real and imagined, are described in varying detail by the narrator, giving the text consistency in tone. The text is filled with the constant narrative that the narrator is not insane, while said narrator provides examples of actions that, in his mind, prove his sanity. While the narrator is unreliable, the text does not switch perspectives and is presented as a whole, making it feel like a story told without pauses. The Tell-Tale Heart contains numerous anaphoras that help reinforces an idea or emphasize an emotion (Amir 22). These assist in creating continuity in the text and familiarizing the reader with the narrator’s tone and style. For example, the narrator, hearing the “tell-tale heart,” says, “It grew louder—louder—louder!” (Poe 8). This creates the sensation of the narrator telling the story out loud to an audience. Overall, Edgar Allan Poe effectively created a unified text with an unreliable, possibly insane narrator.

As a short story, The Tell-Tale Heart does not contain clear parts of chapters; rather, it functions as a singular event described by the narrator. The narrative begins pre-murder, with the narrator describing his target and his reasons for plotting to kill. This transitions into the actual murder and the lead up to it. Lastly, the narrator describes how the body is disposed of, the police arriving, and finally, the sound coming from the floorboards. What connects these events, taking place over at least eight to nine days, is the narrator, particularly the individual’s constant insistence that he is not insane.

Poe applies paradox, irony, ambiguity, and tension in his work. The paradox is an illogical and inconsistent observation that can be genuine and valid (Amir 23). The Tell-Tale Heart utilizes this principle in various instances, “I was never kinder to the old man than during the whole week before I killed him” (Poe 3). In this case, the paradox adds to the shock value of the scenery, as the readers connect principles and emotions that are not generally put together. The story is meant to shock and surprise; thus, this literary tool is especially valuable.

Moreover, irony implies the situations when the opposite of what is anticipated occurs. In The Tell-Tale Heart, the author has successfully adopted many types of irony to represent the narrative of the story. At the end of the story, the vivid instance of verbal irony is present when highly disturbed by the clock’s ticking noise; he cries, “Villains…Dissemble no more!” (Poe 8). This is ironic because, in reality, the sounds that he hears are coming from a clock. Moreover, Poe is demonstrating the example of situational irony. The narrator performs the murder and hides the body flawlessly, so that police officers do not accuse him of committing this crime (Amir 24). Thus, he fully controls the situation; however, at the same time, he almost admits of his wrongdoings because the narrator believes he can hear the heartbeat of a man.

Ambiguity is connected to a statement that bears more than one meaning. For example, ambiguous rhetoric points to obscurity and uncertainty, which form the basis for occurrences of humourous situations. The short story The Tell-Tale Heart has various instances of ambiguity, including the narrator’s uncertain persona (Sánchez-Verdejo Pérez 130). The author is attempting to present him as a mentally stable individual, which only undeniably proves that he is not. However, Poe describes various troubling details of the crime, including dismemberment from the point of view of the murderer, which adds to the ambiguity of the situation.

Furthermore, tension is the literary element that provokes sensations such as distress, anxiety, nervousness, and fear amongst readers and the characters in a story. When the police officers appear to explore the residence after a neighbor proclaims hearing a scream, the main character pretends to welcome the visitors. Moreover, he encourages them to “search—search well” (Poe 7). Academics determined that this scene has a strong tension between the main character’s pretense in his attempt to disguise his offense and his reaction to what he considers to appear the officers’ dissemblance (Shen 330). Overall, tension is a vital attribute of the story, as it generates additional interest in the conflict, as the readers feel anxious and nervous about this encounter.

The elements mentioned above work to create aesthetic unity in The Tell-Tale Heart. Paradox, irony, ambiguity, and tension work in concert to create a consistent aesthetic throughout the text. Shen argues that Poe uses these elements, as well as rhythm in writing, to bridge the conventions of prose and poetry (325). Within the narrative conventions of the time, prose aesthetically deals with truth, while poetry deals with beauty (Shen 326). While The Tell-Tale Heart does not necessarily conform with the aesthetic sensibilities of its time, Poe successfully uses paradox, irony, ambiguity, and tension to create aesthetic consistency in the story. These four elements reinforce each other by revealing the unreliability and insanity of the narrator.

The main character’s abnormal control of the defense goes against established expectations, which adds to the intense contradiction between his declared sanity and genuine madness. However, Poe successfully manages the apparent contradiction within the main character’s behavior. Even more, he uses this as a tool that can be interpreted based on the cultural context. Shen mentions that the protagonist of the story displays the evident symptoms of moral insanity (342). However, he is not one-dimensional and has characteristics of a rational and calm individual. The protagonist calmly tells the story to the officer, quietly handles, and hides the crime. At the same time, he is extremely nervous and has no reasonable motive to kill the man, as he mentions, “He had never wronged me. He had never given me an insult” (Poe 3). Literature suggests that this engagement in contradictions is explicitly satirical, as Poe denies the existence of moral insanity by using the lack of rationality as the individual basis for confirming insanity (Shen 343). Nonetheless, the author is using various tools to make a story more coherent.

The Tell-Tale Heart is a short story, primarily told through a narrator. The short story form also serves to highlight particular aspects of the narrator’s perspective. For example, the narrator exclaims to the audience that the police investigating an old man’s disappearance are villains. The audience is never shown anything that does not first go through the mind of the narrator. This creates a feeling of immediacy for the reader as if they were hearing the confession of the narrator (Shen 330). The confessional form of the text highlights the insanity presented in the content. Poe, engaging with the conventions of his time regarding truth and beauty in poetry and text, uses elements of poetic rhythm to indicate the potentially unreliable verity of the narrative (Shen 325). A confession assumes that the confessor tells the truth; however, the poetic rhythm present in parts of the text indicates the narrator may be unwittingly dishonest.

The text does not contain a central passage, as Poe maintains the consistency of the narrator’s story throughout The Tell-Tale Heart. While the narrator is unreliable and likely insane, Poe avoids using a particular passage to highlight this; instead, the story remains stylistically similar from the beginning to the end. Thus, the readers can spot passages that contain the corresponding meaning throughout the text. For example, the first part of the book includes this comment “why will you say that I am mad? The disease had sharpened my senses—not destroyed” (Poe 3). Furthermore, the statement in the middle of the story is, “And now have I not told you that what you mistake for madness is but over acuteness of the senses?” (Poe 6). Therefore, Poe possibly wants readers to notice that the narrator remains consistently insane and does not change throughout the text. Moreover, these passages led some scholars to believe that Poe wants readers to take the over-acute hearing as a fictional event instead of metaphorical (Shen 331). This is clear for literary critics due to the consistency within the passages.

The Tell-Tale Heart is a short story by Edgar Allan Poe about an individual who kills an older man sharing a house with him. The Tell-Tale Heart can be thoroughly examined from the formalist literary theory method. In the Tell-Tale Heart, the narrator concentrates on eyes, particularly the eyes of his victim, which is a primary symbol of the story. The Tell-Tale Heart’s unity is designed through the continuous narration of its unnamed main character. The author successfully utilizes paradox, irony, ambiguity, and tension in the Tell-Tale Heart. These literary components manage to produce aesthetic integration in the story. Moreover, Poe maintains the seeming contradictions within the main character’s behavior by using it as a literary tool. The form of the short story helps to underline critical viewpoints of the narrator’s perspective. Lastly, the story does not bear a focal passage because of the overall consistency of the narrator’s psychological state.

Amir, Shamaila. “Stylistic Analysis of the Short Story’ The Tell-Tale Heart’ by Edgar Allan Poe.” Angloamericanae Journal , vol. 3, no. 1, 2018, pp. 18-28.

Poe, Edgar Allan. The Tell-Tale Heart. Bantam, 1982. Elegant Ebooks.

Sánchez-Verdejo Pérez, Francisco Javier. “Poe’s Unreliable Narrator: the Reader as a Privileged Witness and the Narrator’s Credibility.” Journal of English and Spanish Studies , no. 5, 2020, pp. 128-150, Web.

Shen, Dan. “Edgar Allan Poe’s Aesthetic Theory, the Insanity Debate, and the Ethically Oriented Dynamics of ‘The Tell-Tale Heart.” Nineteenth-Century Literature , vol. 63, no. 3, 2008, pp. 9-23. Web.

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The Tell-Tale Heart Psychological Analysis & Critique

Looking for The Tell-Tale Heart psychological analysis? This term paper focuses on the themes, symbolism, and point of view in the short story by Edgar Allan Poe. It also reviews the mental disorder that the narrator suffers from.

Introduction

Literary Analysis

Works Cited

The Tell-Tale Heart is one of the most famous works by Edgar Poe. The outstanding character in the tale, who is also the narrator, attracts a lot of attention from the readers. The character reveals much about human nature and other self qualities that people tend to overlook.

Themes of death, egoism, and evil are found in most of Poe’s works. The same case applies to The Tell-Tale Heart as evidenced by the analysis in this paper. The analysis focuses on the main character and narrator of The Tell-Tale Heart. The analysis is conducted from a psychological approach.

There are various forms of literary psychological criticism. In this paper, the author uses the Freudian psychological approach to analyse Poe’s work. The narrator forms the basis of the tale. All the themes in the story revolve around them.

The literary critique explores the themes of death, ego, and evil as reflected in Poe’s The Tell-Tale Heart . The themes of ego and evil are featured prominently in this critical review.

The two contribute immensely to the narrator’s actions. The literary criticism of the tale seeks to answer the question of human ego-evil relationship and associated psychological justifications. Freud’s psychological approach serves in analysing the narrator’s actions towards the old man.

The Tell-Tale Heart Summary

Edgar Poe’s The Tell-Tale Heart tale adopts the first person perspective. The main character also assumes the role of the narrator. He begins the story by arguing that they are sane and not mad as people are saying.

The narrator says, “True!- nervous -very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses- not destroyed -not dulled them” (Poe par. 1). However, Poe does not tell the reader whether the narrator is a male or a female. The usage of the connotation ‘He’ does not describe definite gender of the narrator, but just as an assumption.

The narrator admits that they are sick. However, they insist that the disease has sharpened their senses. The disease has not made them mad. In a bid to prove their sanity to the audience, the narrator embarks on the story. The events told in the story take place in a house where the narrator lives with an old man as a companion. The narrator claims that they loved the old companion very much.

As such, they did not have any reason or desire to kill him, not even for his money. The narrator reveals that they loved the old man. They were in good terms with the old man, and the narrator was not interested in stealing from him (Poe par. 2).

However, it appears that the old man had a deformed eye that instigated the narrator to commit the murder. In fact, if it were not for the eye, the story would have been very different. It follows then that the narrator has a motive to kill the old man.

Consequently, they scheme on how to execute the heinous crime. For seven consecutive nights, they stalked the companion throughout. They went to the extent of intensifying their affection for him to keep him close. On the eighth night, an opportunity presented itself and the narrator killed the old man.

The act of murder execution proceeds with extreme caution and the body concealment. However, a last minute shriek by the old man, or probably the excited yell of the narrator, changed the events. The arrival of police officers to the scene immediately after the crime attests to this.

The police arrived to a warm welcome from the narrator. Their arrival, they attribute to a scream they had been alerted to having emanated from the house. The police search the entire building but find nothing. Eventually, the narrator invited the two police officers into the deceased old man’s bedroom for a chat.

While there, however, the narrator imagined hearing the old man’s heartbeat. The heartbeat got louder and louder as the narrator and the two police officers chatted away in the bedroom. Finally, the imaginary noise freaked the narrator out. Eventually admits to having killed the old man, and in proof of his crime shows the police officers where he hid the dismembered body.

The Tell-Tale Heart Literary Analysis

Plot: psychological journey.

Poe adopts a very interesting approach in writing the story. The main character, who also performs the heinous murderous act, tells the story. As a result, we assume the story is a confession. The confession is evident given that even the narrator insists they can prove their sanity to the audience.

The location of the story remains unclear. However, an analysis of the story creates the impression that the location is a courtroom. Such an assumption looks fair given that the court could have declared the narrator to be of unsound mind. The story ends with the narrator revealing to the police officers where he hid the body. As such, it is likely that they are making the confession while under arrest.

The Tell-Tale Heart Themes

Poe’s The Tell-Tale Heart story is riddled with a number of themes. The numbers of themes vary depending on the analytical approach chosen to review the story. As already indicated, the current analysis relies on the psychological approach of literary critique. Hence, from the perspective of this approach, it appears that several themes are apparent in the story.

The main themes in the story include ego, murder, evil, obsession, insanity, and guilt. Others include reality viewpoints, justification, time, and cleverness. The themes of evil, ego, murder and insanity are very dominant in the story.

From the start of the story, the narrator insists on being sane. Consequently, the narrator details their heinous crime to prove their sanity. Even after the detailed narration, the narrator still insists on their sanity. They insist that they took a lot of precautions to cover their tracks, something that can only be done by a sane man (Poe par. 8).

In a number of instances, the narrator reminds the audience how cleverly they executed the murder. The assertion is evident when they claim, “You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded –with what caution –with what foresight –with what dissimulation I went to work!” (Poe par. 3).

Despite the frantic effort to convince his sanity, the narrator falls under Freud’s psychic zone of id. The id zone has a number of distinct characteristics. It is characterised by an excitement that is disorganized and lacks will. It is an impulsive drive that is aimed at satisfying the instincts and pleasures of the individual (Freud 103).

About the theme of murder, the narrator’s motive is amusing, if not ridiculous. The ‘admitted motive’ is evident when the narrator says that the old man had the eye of a vulture. They describe it as “a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees –very gradually –I made up my mind to take the life of the old man, and thus rid myself of the eye forever” (Poe par. 2).

The execution of the heinous crime is almost perfect. The narrator leaves no trace behind. However, their confession raises doubts about their sanity. It is clear that the narrator is a ruthless murderer, considering how they killed and dismembered the old man’s body for concealment.

The theme of obsession, and in some part that of guilt, is apparent from the beginning of the story. The desire to murder the old man increases whenever the narrator sees his deformed eye. It appears the narrator is obsessed with the deformed eye. The obsession to murder the old man based on his bad eye intensifies when the narrator sees him in bed.

The narrator does not exhibit obvious psychological motives. However, killing the old man based on the feelings the eye stirs in them is an indication of a possible motive. Indeed, motives for individual actions arise from thoughts, feelings, and fantasies. The narrator fantasises killing the old man, revealing this aspect of human thinking in the process.

Such an obsession and the narrator’s erratic behaviour, together with how they narrate the story, leave no doubt that they are insane. In fact, the narrator believes that the heartbeat of the dead old man nearly drove them insane to the extent of confessing to the crime. They describe how they shrieked and showed the police where they had hidden the body (Poe par. 10).

The Tell-Tale Heart Character Analysis

The story has six major characters. They include narrator, the old man (who ends up as the victim), the neighbour, and the three police officers. However, the story revolves more around the narrator and the old man than it does around the other characters.

In fact, one can argue that the narrator and the old man are the main characters. The other four are just supporting characters. Poe is not clear on the identity of the narrator’s audience. It is not clear whom the narrator is trying to convince with the confession.

The Tell-Tale Heart Narrator

Poe’s The Tell-Tale Heart revolves a lot around human nature. Human nature is made evident from the narrator’s viewpoint. The narrator is very confident in the execution of the heinous crime. They are confident enough to confess about the same. The desire to prove their sanity is even more intriguing. As a result, the narrator creates a picture of self-worthiness, self-conviction, and lack of remorse.

The narration turns out to be a perfect rhetoric in relation to the narrator. From the beginning to the end of the story, the narrator makes the reader view their deeds with contempt a number of times. Perhaps, as Zimmerman puts it, The Tell-Tale Heart is in real sense a form of courtroom rhetoric-judicial. It is a form of forensic oratory (Zimmerman Frantic Forensic Oratory 34).

The narrator appears determined to convince someone with his or her confession. The determination is evident when they insist that mad men know nothing (Poe par. 3). The narrator’s reference to “you” clearly shows that they are addressing someone else.

Perhaps the narrator is writing to or conversing with this ‘you’. The narrator tries to persuade and guide the audience to their point of view. Essentially, it is clear that the narrator has already confessed to the crime. They have already shown the police the body before their confession (Poe par. 10).

The narrator is defending themselves in the story. They do not regard the heinous act with any remorse or contempt. From this analysis, one can argue that the story reveals one major aspect of human nature that is inherent to many individuals. Generally, many people tend to overlook their individual flaws and faults. They may do everything in their power to cover up these flaws and faults (Bonaparte 32).

Ki points out the theme of “ego-evil”, which underlies the ‘main’ human nature highlighted in the narration (25). By definition, ego-evil refers to human behaviour that is, according to Zizek (70), driven by the desire for selfish gains and greed.

Such behaviour is very apparent concerning the conduct of the narrator. When one disregards the sanity of the narrator, which they seem to assert loudly, a sensible motive for their action is lost. In the words of the narrator, the old man had not done anything to anger them, “I loved the old man. He had never wronged me” (Poe par. 2).

From the discourse above, it is apparent that associating the narrator with ego-evil behaviour is logical. In essence, the narrator’s actions are motivated by some form of ideological ideal. The actions also emanate from their fanatical devotion (Ki 25).

The narrator’s egocentrism is apparent in their ‘over-identification’ with the views they hold. Such a trait on the part of the narrator ultimately leads to a form of “narcissistic ‘denigradation’ of others and violation of human laws” (Zizek 70).

The narrator claims killing the old man due to his bad eye. In essence, the narrator admits the old man’s vulture eye is what made them commit the offense (Poe par. 2). Such an explanation tells a lot about the narrator’s state of mind. Regarding the old man’s eye as identical to that of a vulture gives the narrator the motivation they need to commit the crime.

With such an attitude, they could easily kill the man without any remorse. As such, the narrator judged the old man based on personal affections, rather than on truth. Ki (25) explains this behaviour from a psychological perspective.

According to Ki (25), an intentional misjudgement of another person is an indication of the shortcomings of the self. It means that the self lacks insight (Ki 25). Killing the old man would rid the narrator the ‘torturing’ eye. Such an explanation appears valid from a psychological perspective.

The narrator is a true representation of ‘self-misrepresentation’. Their character also shows the narrator has ‘misdirected’ sense of self-worth and self-righteousness. Both of these aspects are blown out of proportion concerning the narrator. From the onset of the narrative, the persona appears determined to point out their strengths, which are in doubt.

In their narration, the persona says that the disease has only made their senses shaper. They claim to have heard things from heaven and from earth. According to them, this is proof enough that they are sane and not mad (Poe par. 1).

The narrator’s sense of self is terrible, especially with regards to their senses. Such a convoluted sense of self leads to another conclusion. The conclusion is that the narrator is psychotic. The psychotic nature of the narrator is the first impression created in the mind of the reader at the beginning of the narrative. However, the narrator endeavours to prove otherwise in the narrative.

Further analysis of the narration reveals that the persona is a ‘self-positing’ individual. They try to create the impression of an individual who is very right. They claim that they discovered their powers on that night. They were so happy when they discovered how intelligent they are (Poe par. 4). Such a ‘perception of self’ means that the narrator likes to exercise their powers on others.

Perceptions of own power, triumph, and sagacity also portray the narrator as a person who likes to dominate the helpless. The old man was asleep and half-blind due to the darkness and his bad eye, yet the narrator was triumphant of killing him. Pitcher (232) portrays the narrator in Poe’s tale as someone living in a universe where the self is the only god that exists.

Eventually, it is apparent that the narrator fails miserably to convince the audience of their sanity or self-importance. According to Melville (34), the narrator appears to fully understand the various techniques of argument. They are trying desperately to convince the audience.

Initially, the narrator indicates that they are aware of what the audience thinks of them. The narrator is aware that the audience considers them as a hostile, nervous, and lunatic person. Because of this awareness, the narrator attempts to win over the good will of whoever is listening to them.

The narrator lodges an appeal to the audience’s sense of reason to mitigate the hostility directed towards them. Such an appeal is also aimed at making the audience more receptive. The narrator tells the audience that they wish they were there when they were committing the offense. The audience, according to the narrator, would have seen for themselves how efficient and wise they (the narrator) are (Poe par. 3).

The narrator strategically makes use of concession as a means of ethical appeal. They try to impress the audience by proving that they can make frank confessions. They create the impression that they are a good person with a strong and confident streak. They try to prove that they can confidently concede and nullify opposing points of view.

The nature of Poe’s character in the story can be summed up from John Claggart’s psychoanalysis perspective (as cited in Melville). Thus, “the narrator’s even temper and discerning bearing would seem to point to an individual peculiarly exposed to the law of reason” (Melville 76). The narrator has little or nothing to do with reason.

They only employ it as an ‘ambidexterity’ means of irrational affections. Such evaluation implies that the narrator is engaging in wanton atrocities that appear to be the reserve of the insane. They are engaging in such acts based on very ‘direct’ and ‘cool’ judgement. As such, one can conclude that the narrator is a mad man and very dangerous.

According to Zimmerman ( Moral Insanity or Paranoid Schizophrenia? 42), Poe effectively maintains an objective distance in telling the story and watches as the reader tackles the etiological irony that follows. Poe uses rhetoric consciously and deliberately in most of his homicidal tales.

He also engages in irony in most of his arguments. Most of Poe’s characters try to justify their actions using ‘reasonable’ excuses that are not so ‘reasonable’. Such an approach is apparent in The Tell-Tale Heart story.

Bonaparte, Marie. The Life and Works of Edgar Allan Poe: A Psycho-Analytic Interpretation, London: Hogarth P., 1949. Print.

Freud, Sigmund. Dream Psychology: Psychoanalysis for Beginners , New York: James A. McCann Co., 1920. Print.

Ki, Magdalen. “Ego-Evil and the Tell-Tale Heart.” Renascence 61.1 (2008): 25-38. Print.

Melville, Herman. Billy Budd, Sailor, Chicago: University of Chicago, 1962. Print.

Pitcher, Edward. “The physiognomical meaning of Poe’s The Tell-Tale Heart.” Studies in Short Fiction 16.3 (1979): 231-233. Print.

Poe, Edgar 1922, The Tell-Tale Heart . Web.

Zimmerman, Brett. “Frantic Forensic Oratory: Poe’s ‘The Tell-Tale Heart’.” Style 35.1 (2001): 34-49. Print.

—. “Moral Insanity or Paranoid Schizophrenia: Poe’s ‘The Tell-Tale Heart’.” Mosaic 25 (1992): 39-48. Print.

Zizek, Slavoj. Looking Awry , Cambridge: MIT, 1991. Print.

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IvyPanda. (2024, January 2). The Tell-Tale Heart Psychological Analysis & Critique. https://ivypanda.com/essays/literary-criticism-of-edgar-poes-the-tell-tale-heart-from-a-psychological-approach-term-paper/

"The Tell-Tale Heart Psychological Analysis & Critique." IvyPanda , 2 Jan. 2024, ivypanda.com/essays/literary-criticism-of-edgar-poes-the-tell-tale-heart-from-a-psychological-approach-term-paper/.

IvyPanda . (2024) 'The Tell-Tale Heart Psychological Analysis & Critique'. 2 January.

IvyPanda . 2024. "The Tell-Tale Heart Psychological Analysis & Critique." January 2, 2024. https://ivypanda.com/essays/literary-criticism-of-edgar-poes-the-tell-tale-heart-from-a-psychological-approach-term-paper/.

1. IvyPanda . "The Tell-Tale Heart Psychological Analysis & Critique." January 2, 2024. https://ivypanda.com/essays/literary-criticism-of-edgar-poes-the-tell-tale-heart-from-a-psychological-approach-term-paper/.

Bibliography

IvyPanda . "The Tell-Tale Heart Psychological Analysis & Critique." January 2, 2024. https://ivypanda.com/essays/literary-criticism-of-edgar-poes-the-tell-tale-heart-from-a-psychological-approach-term-paper/.

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Indledning Throughout history the psychopath has creeped out even the toughest people. But how can one mad person scare more people than for example a pack of werewolves? Perhaps because the psychopath does not give the reader any signs of abnormality, does not prepare the reader on the danger that is to come. He – or she – does not have large sharpened teeth, or a hideous look. No, the psychopath looks just like another regular person with a job to take care of and friends to see. The psychopath seems like any other ordinary person until he unexpectedly act out of sheer malice. In “The Tell-Tale Heart” the unnamed narrator has done one of these malicious acts, and he explains in details how he killed an innocent older man because of the old man ́s eye, while he throughout the story tries to convince the reader about his sanity.

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Uddrag The story is told by the still nameless narrator with a first person point of view, and the narrator is unreliable, just like in all of Allan Poe ́s other stories. The main reason for the unreliability is the motive that the narrator has for keeping information from the reader. He tries with all of his effort to convince the reader that he is not mad, and to do that, he chooses what to tell and what to keep for himself. In the first paragraph, he explains how he will make the reader sure of his sanity, and therefore there is good reason to believe that the narrator gives the reader the information he thinks will help to prove his cause, and that he for this reason refrains from the kind of information he thinks will do the opposite. (p. 27, l.l. 4-8) The fact that the whole story is the narrator telling how he killed an old man due to an old man ́s eye, makes it obvious that the narrator is not to be trusted.

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Analytical Essay on “The Tell-Tale Heart” by Edgar A. Poe

2018, Universitas Negeri Semarang

Mental disorder has been an issue among people these days. People talk about it in real life, on internet and it raised awareness among them. People might not realize that mental disorder has been portrayed in literature from long time ago. There is Macbeth by William Shakespeare tells about the desire for prophecy and power lead to hallucination, and the one people might be familiar with is The Shining by Stephen King, which tells about the man who develops schizophrenia and OCD which lead to psychopathic behavior. Another example is The Tell-Tale Heart by Edgar A. Poe, which will be discussed in this essay. All these work come from real life and it is important for us to see the depiction of real life from different kind of perspectives, to expand our imagination in seeing things. When reading a literature work, we try to go inside the author’s mind by looking at his story, the characters also the things that happen in the real life that inspired the author to write the story.

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An analysis into the milestones of Gothic literature, in particular into the theme of madness in two very well related short stories: The Tell-Tale Heart, by E. A. Poe, and Secret Window, Secret Garden, by Stephen King,

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Neste estudo, são investigadas características acústico-articulatórias da fricativaalveolar [s, z], ápico-alveolar [s, z] e palato-alveolar [S, Z] do português brasileiro e do português europeu, em coda silábica, em dados de informantes nativos de Florianópolis‑SC/BR, Rio de Janeiro-RJ/BR, Erechim-RS/BR, Lisboa/PT, Granjal-Viseu/PT e São Jorge-Açores/PT. É analisada a distribuição das fricativas em coda silábica nos falares das localidades anteriormente citadas, uma vez que é de senso comum que, no português brasileiro, ocorra apenas fricativas alveolares ou palato-alveolares. Os parâmetros investigados foram os picos espectrais das fricativas em questão em confronto com o nível de escolaridade dos informantes. Com base nos resultados, pode-se concluir que o fator escolaridade baixa associado à análise dos valores dos picos espectrais dos segmentos fricativos produzidos no português brasileiro e no português europeu foi crucial para estabelecer uma ligação entre a realização dessa...

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‘Tortured Poets’ Has Shifted the Taylor Swift Debate. Let’s Discuss.

The superstar’s 11th album is a 31-song excavation of her recent relationships that is not universally loved. Our pop team dissects its sound, themes and reception.

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A blond woman with a red lip in a strapless dress turns and looks at the camera over her shoulder.

By Jon Pareles , Ben Sisario , Lindsay Zoladz and Caryn Ganz

BEN SISARIO Hey, have you guys seen my antique typewriter? I think I left it at someone’s apartment. I swear, I’m so absent-minded …

JON PARELES I’m not sure you want to be associated with that typewriter’s owner , Ben. He doesn’t come off too well on “The Tortured Poets Department”; by the end, he’s been reduced to “The Smallest Man Who Ever Lived.”

SISARIO Over the years, I’ve trained myself to view Taylor Swift’s work through the eyes of her fans — that’s crucial for understanding Swift, whose connection with her listeners is at the root of her success, and it’s also become part of the art itself. The question is not just what is Swift saying, but what is she telling her fans, and how will they respond to it? And for my first few times listening to “Tortured Poets,” it seemed crystal clear to me that this album would rally fans intensely. This is an epic of romantic martyrdom, a cry of revenge greased by tears of rage. She’s pushing Swifties’ buttons, and I could imagine stadiums on every continent screaming in unison: “I love you, it’s ruining my life!”

The sound, too, seems perfectly calibrated. Over much of the last decade, Swift has kept parallel musical paths: moody electro-pop with Jack Antonoff, and raw, delicate indie-folk with Aaron Dessner. She split the difference here, engaging both producers, and I think Swifties vote yes.

PARELES It’s not just one Taylor Swift, though. It’s at least two: the world-conquering billionaire superstar who has stadiums chanting “More!” and the vulnerable girlfriend whose heart explodes when a guy teasingly slips a ring on her ring finger. It’s also the Swift who can’t help gathering writerly details for her next song, and the Swift who’s very deliberately planting autobiographical clues and Easter eggs for the fans to find. The tension between Swift as a shrewd, workaholic cultural colossus and Swift the 34-year-old woman seeking a worthy, committed partner — and, she suggests, marriage and family — is stronger than ever on this album, and makes it a real jumble of agendas.

CARYN GANZ I have long found it baffling that some Swift observers are hellbent on inscribing her into a queer narrative. To me, she is by far our most heteronormative pop star, with a catalog of songs longing for the kind of straight, fairy tale romance that ends in traditional marriage and children. ( Not that there’s anything wrong with that !) While it’s never wise to speculate about a public figure’s sexuality, Swift has made her romantic life the overt text of her work and is nearly demanding that fans read “Tortured Poets” as historical record — including lyrics about her current boyfriend, the paradigm of American heterosexuality: a football player. The tracks on the new album, like so many in her catalog, insist that no accomplishment is worth more than, or worthwhile without, that happy ending. The things that threaten it — immaturity, insincerity, addiction, chaos, lack of commitment, enemies tarnishing her reputation — are evils to be vanquished. “Tortured Poets” is quite bloodthirsty, which I enjoy in doses, but its power is blunted by its sonic and thematic repetition. Nobody here knows when to say when.

LINDSAY ZOLADZ My opinion of this album, which I reviewed on Friday, really hasn’t changed with repeated listens, and if anything I’ve backed even further into the corners of my initial praise and criticism. I have entered a handful of its songs into my personal Swift pantheon (the title track, “Guilty as Sin?,” “The Smallest Man Who Ever Lived,” “The Black Dog,” “Fortnight” and “Florida!!!,” in precisely that order), and I believe that everything else needed at least a few more minutes in the air fryer.

I hear only two unique concerns on this album that separate it from any other Swift release. The first is being in love with a person who is struggling with their mental health and possibly an addiction — the manic highs, the feverish promises and the sudden abandonment she describes all feel incredibly vivid and give the material its emotional arc. She puts it succinctly in one of my favorite moments here, when she ends the song “I Can Fix Him (No Really I Can)” with a halting and even comic “Whoa, maybe I can’t .”

And then, of course, there is Swift’s fascinating pushback against her more judgmental fans. She’s defiant on the much-discussed “But Daddy I Love Him” — “I’ll tell you something about my good name, it’s mine alone to disgrace,” she tells all the “wine moms” and “Sarahs and Hannahs” who clutch their pearls when Swift is seen with someone they don’t approve of — but I’ve also been thinking about its sister song on the second LP, the forlorn “How Did It End?” On that one, Swift woefully braces herself for all the chatter that will accompany the public announcement of a breakup, with all the people she knows and millions she’ll never meet demanding, “We must know, how did it end?”

That sounds exhausting, yes, but I would also love to hear Swift grappling more with her own role in that dynamic. Because even while she is bemoaning that kind of intrusiveness, I don’t know if she’s ever released an album that so explicitly lends itself to the kind of lyric-by-lyric analysis of whom she’s singing about. How do you all square the desire for privacy she seems to crave in many of these songs with the simultaneous Easter egginess of it all?

PARELES Lindsay, I wouldn’t call it a craving for privacy — not when she’s spending three hours a night onstage, walking red carpets and enjoying a public display of affection at the Super Bowl. Rather than privacy, the theme is more like seeking autonomy under the spotlight: the right to make good choices and bad ones, to learn — or not — from mistakes, to wreak vengeance or come to terms with regrets (the way she does in “Chloe or Sam or Sophia or Marcus”). I’ve never been a big fan of the pains-of-fame album, which can easily tilt into self-pity; it takes a songwriter as great as Joni Mitchell to come up with a song as telling as “For the Roses.” To me, a line like “I love you, it’s ruining my life” is a lot more resonant than “I was hitting my marks.” Somehow Swift has managed to get her fans to identify not just with her heartaches but with career pressures that, at this point, are self-imposed.

SISARIO I don’t see the duality of Swift’s on/offstage personae as a conflict as much as fodder for the enterprise. Yes, the dissonance between the outward triumph and joy of the Eras Tour, on the one hand, and the interior agony she was apparently going through at the same time, is intriguingly jarring. But the theme running through so much of her work is performative misery, which she turns into gold by celebrating it with her fans.

PARELES One thing that’s virtually absent from this album is the playful but self-questioning touch that Swift brought to “Anti-Hero.” The songs on this album are pretty much just sad or angry. The upbeat moments, like “Who’s Afraid of Little Old Me?” or “But Daddy I Love Him,” still lash out at targets, and even “Imgonnagetyouback,” which is at least partly a wordplay exercise, has pushback at its core. After the self-reflection of the last few albums, are we headed back to teenage petulance ?

SISARIO Something that “Tortured Poets” drove home for me is that perhaps Swift’s greatest strength is how she has melded songwriting and journaling. Even she admits she’s no Patti Smith. But her gift is conveying the sense of honest intimacy, letting her feelings spill out in ways that seem straight from the heart. Her most powerful lyrics often involve telling details — a scarf, a cardigan — that are like burning memories.

And the journal is an inherently messy model. It has no end. Its purpose is to be a repository of the thoughts and feelings that are too raw, too personal, to say in public. (Well, at least to conceal while you are singing along with 80,000 people about those intimate details from a previous album.)

For a lot of Swift’s career, I think she has been a master of taming this chaos with the discipline of song. And it still happens here: the tight verse-chorus-verse of “My Boy Only Breaks His Favorite Toys” could almost fit on “1989.” But overall — and definitely on the “Anthology” tracks — the journal sprawl wins out.

ZOLADZ Swift has in recent years pivoted to a release strategy that has more in common with rappers than other pop stars, and she seems to be following the lead of someone like Drake in her more-is-more approach. I do wonder, though, if her tour’s emphasis on her many different “eras” has only underscored how long this particular one has gone on. Sonically, the material on this album feels like an extension of either “Midnights” or “Folklore” and “Evermore.” Contrast the evolution here with the colorful reinventions between “Red” and “1989,” or between “Reputation” and “Lover.” To reference a hue she mentions on “The Prophecy,” too much of it feels like varying shades of greige.

PARELES There are some magnificent moments among the synths, especially with the vocal harmonies in songs like “So Long, London” and “I Can Fix Him (No Really I Can).” But some of the sameness also comes from tunes and cadences that are starting to feel too familiar. One that especially stuck out to me on this album is the way a sustained verse melody gives way to a choppy pre-chorus, or chorus, that arrives in two-syllable bursts, the way it does in “My Boy Only Breaks His Favorite Toys,” “Fresh Out the Slammer,” “I Can Do It With a Broken Heart,” “The Prophecy” and “The Bolter.”

When Swift started using that device, it brought some fresh hip-hop percussiveness into songwriting that was rooted in country. But now it’s standard practice for Swift and her many emulators. Swift is 11 albums and umpteen bonus tracks into her recording career, so it’s harder for her to evade echoes of her past. The songs near the end of this album, especially, start to sound like outtakes from “Folklore,” pretty as they are. But no one is forcing her to put 31 songs on an album, either.

GANZ It is simply too much, Jon, and for the first time in a while, listeners and critics are having honest conversations about it. Being a fan has come to mean unequivocal support in the stan (or superfan) era , with no room for criticism or questioning of any kind. The “Tortured Poets” moment is an interesting test — it has cracked open the door for debate and perhaps humanized Swift once again in the process. It’s been fascinating thinking about this album in contrast to Beyoncé’s supersized latest release, “Cowboy Carter,” which is diametrically opposed in nearly every way, though she is also the curator of a passionate fan base. (She is also eight years older.) At such a fraught moment in the world, Swift’s focus has grown exponentially insular. There can be comfort and safety in that for both artist and listener, but it only strengthens that parasocial relationship.

ZOLADZ To Ben’s point about the fans, and to crib a phrase from the streaming economy, this feels like an album designed for her top 5 percent of listeners — the ride-or-dies who will defend her every move and pore over her every lyrical clue. Everyone else seems either puzzled or underwhelmed by it as a whole. But Swift is someone who thrives off feeling underestimated and misunderstood, so maybe the mixed reception of this album will be the creative rocket fuel that launches her into her next era. Only time will tell if “Tortured Poets” represents a turning point in the cultural narrative about Swift, or if the mixed reception will be washed away by her next inevitable triumph. Appropriately enough, one of the two albums she has left to rerecord is “Reputation,” a defiant album she made during a time when her approval rating had dipped some. Suffice to say, I think we’re now ready for it, again.

Jon Pareles has been The Times’s chief pop music critic since 1988. He studied music, played in rock, jazz and classical groups and was a college-radio disc jockey. He was previously an editor at Rolling Stone and the Village Voice. More about Jon Pareles

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

Caryn Ganz is The Times’s pop music editor. More about Caryn Ganz

Inside the World of Taylor Swift

A Triumph at the Grammys: Taylor Swift made history by winning her fourth album of the year at the 2024 edition of the awards, an event that saw women take many of the top awards .

‘The T ortured Poets Department’: Poets reacted to Swift’s new album name , weighing in on the pertinent question: What do the tortured poets think ?

In the Public Eye: The budding romance between Swift and the football player Travis Kelce created a monocultural vortex that reached its apex at the Super Bowl in Las Vegas. Ahead of kickoff, we revisited some key moments in their relationship .

Politics (Taylor’s Version): After months of anticipation, Swift made her first foray into the 2024 election for Super Tuesday with a bipartisan message on Instagram . The singer, who some believe has enough influence to affect the result of the election , has yet to endorse a presidential candidate.

Conspiracy Theories: In recent months, conspiracy theories about Swift and her relationship with Kelce have proliferated , largely driven by supporters of former President Donald Trump . The pop star's fans are shaking them off .

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The Tell Tale Heart Analysis: [Essay Example], 973 words
The Tell Tale Heart Analysis. Edgar Allan Poe's "The Tell-Tale Heart" is a chilling and macabre short story that has captivated readers for generations. This psychological thriller delves into the mind of an unnamed narrator who becomes obsessed with the pale blue eye of an old man and ultimately commits a heinous act.
Poe's Stories: The Tell-Tale Heart Summary & Analysis
The narrator of "Tell-Tale Heart" thinks we must suspect him of madness again, but we will be dissuaded when we see for ourselves the methodical, patient way that he goes about the murder. For seven nights, he creeps to the old man 's bedroom door, opens the latch, puts an unlit lantern into the room and carefully puts his head in after. Then he opens the shutter of the lantern so that a ...
A Summary and Analysis of Edgar Allan Poe's 'The Tell-Tale Heart'
First, a brief summary of 'The Tell-Tale Heart'. An unnamed narrator confesses that he has murdered an old man, apparently because of the old man's 'Evil Eye' which drove the narrator to kill him. He then describes how he crept into the old man's bedroom while he slept and stabbed him, dragging the corpse away and dismembering it ...
Edgar Allan Poe's "The Tell-Tale Heart": A Literary Analysis
The Tale That Is "The Tell-Tale Heart". "The Tell-Tale Heart" is one of the creations of Edgar Allan Poe, known as the man who pioneered detective and solve-a-crime stories (Meyers 1992). The said short story is about an anonymous narrator who seems to prove that he is sane yet exhibits a somewhat contrasting behavior for having ...
"The Tell-Tale Heart" by Edgar Allan Poe: A Critical Analysis
Table of Contents. "The Tell-Tale Heart" by Edgar Allan Poe, first published in 1843, is a haunting short story not contained within a specific collection. It's a psychological thriller narrated by an unnamed character who insists on their sanity despite describing a meticulously planned murder.
The Tell Tale Heart Summary, Themes, & Analysis
Contents. "The Tell-Tale Heart" is a story by Edgar Allan Poe written in 1843. It is about a murderer who tries to persuade his readers of his mental stability while telling the tale of the brutish act. He denies that he suffers from some mental illness and openly boasts of his cleverness and cunning behavior.
Poe's Short Stories "The Tell-Tale Heart" (1843) Summary & Analysis
A summary of "The Tell-Tale Heart" (1843) in Edgar Allan Poe's Poe's Short Stories. Learn exactly what happened in this chapter, scene, or section of Poe's Short Stories and what it means. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans.
The Tell-Tale Heart, Edgar Allan Poe
SOURCE: "The Tell-Tale Heart," in The Life and Works of Edgar Allan Poe: A Psycho-Analytic Interpretation, Imago Publishing Company, 1949, pp. 491-504. [In the following excerpt, Bonaparte offers ...
Literary Analysis of The Tell-Tale Heart
The Tell-Tale Heart is a short story by Edgar Allan Poe of an unnamed narrator who murders an older man who lives in the same house as him. The narrator is then haunted by what he thinks is the rapid heartbeat of the deceased man, coming from beneath the floorboards. The Tell-Tale Heart was published in 1843 in a small Boston publication called ...
Essay on The Tell Tale Heart
The Tell Tale Heart is a short story about a nameless narrator who commits murder. The narrator kills an old man who had a blue vulture like eye that made the narrator very uncomfortable. He plans the murder, executes it, and hides the body of the old man in the floorboard. The story falls under the gothic genre (Snodgrass, 2005).
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The Tell-Tale Heart essay examples, prompts, questions, and topic ideas. 🖤 The Tell-Tale Heart Essay Prompts The Tell-Tale Heart Point of View Analysis. Poe wrote the novel from the first-person point of view. The protagonist tells the story of a murder while stating that his senses were destroyed by "the disease" but he's still sane.
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Abstract. The TellTale Heart" by Edgar Allan Poe is a short story written in the genre of horror. It describes the committing of murder and then confessing it due to being tormented by guilty ...
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The analysis focuses on the main character and narrator of The Tell-Tale Heart. The analysis is conducted from a psychological approach. There are various forms of literary psychological criticism. In this paper, the author uses the Freudian psychological approach to analyse Poe's work. The narrator forms the basis of the tale.
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In "The Tell-Tale Heart" the unnamed narrator has done one of these malicious acts, and he explains in details how he killed an innocent older man because of the old man ́s eye, while he throughout the story tries to convince the reader about his sanity. Uddrag. The story is told by the still nameless narrator with a first person point of ...
The Tell-Tale Heart
Quick answer: A good thesis statement for "The Tell-Tale Heart" should set out one's argument and provide a summary of the work's contents. A strong example might be: "Like much of Poe's fiction ...
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The Tell-Tale Heart by Edgar Allan Poe is a dark, eerie story filled with suspense and tension. Anyone who has read this story would be able to describe it using similar words; but that is not all that it is filled with. The Tell-Tale Heart is a horror short story filled with many different literary devices and many examples to go along with them.
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Body The Tell-Tale Heart is a short story written by Edgar Allan Poe in 1843. It is a four-page suspense horror short story. The short story is written in the first person point of view. It tells about an unnamed man (the narrator) who commits a murder while convincing the reader about his sanity.
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This paper is a literary analysis of the tell-tale heart narration by Poe. The primary theme in the story is guilt and madness, which is clear all through the narration. While the narrator constantly defends his crime and madness, he eventually confesses to the crime. The unnamed narrator begins the story with a direct address to the reader and ...
'Tortured Poets' Has Shifted the Taylor Swift Debate. Let's Discuss
BEN SISARIO Hey, have you guys seen my antique typewriter? I think I left it at someone's apartment. I swear, I'm so absent-minded … JON PARELES I'm not sure you want to be associated with ...