For other uses, see The Tell-Tale Heart (disambiguation).
"The Tell-Tale Heart" is a short story by American writer Edgar Allan Poe, first published in 1843. It is relayed by an unnamed narrator who endeavors to convince the reader of his sanity while simultaneously describing a murder he committed. The victim was an old man with a filmy "vulture-eye", as the narrator calls it. The narrator emphasizes the careful calculation of the murder, and he hides the body by dismembering it, and hiding it under the floorboards. Ultimately, the narrator's feelings of guilt, or a mental disturbance, result in him hearing a thumping sound, which he interprets as the dead man's beating heart.
The story was first published in James Russell Lowell's The Pioneer in January 1843. "The Tell-Tale Heart" is widely considered a classic of the Gothic fiction genre and is one of Poe's most famous short stories.
It is unclear what relationship, if any, the old man and his murderer share. The narrator denies having any feelings of hatred or resentment for the man who had, he says, never wronged him. He also denies that he killed for greed. The specific motivation for murder (aside from the narrator's dislike of the old man's eye), the relationship between narrator and old man, and other details are left unclear.
It has been speculated that the old man is a father figure, the narrator's landlord, or that the narrator works for the old man as a servant, and that perhaps his "vulture-eye" represents some sort of veiled secret, or power. The ambiguity and lack of details about the two main characters stand in stark contrast to the specific plot details leading up to the murder.
"The Tell-Tale Heart" is a first-person narrative of an unnamed narrator, who insists he is sane but is suffering from a disease (nervousness) which causes "over-acuteness of the senses". Due to the ambiguity surrounding the identity of the story's narrator, the narrator's gender cannot be known for certain. However, for ease of description, masculine pronouns are used in this article.
The old man with whom he lives has a clouded, pale, blue "vulture-like" eye, which distresses the narrator so much that he plots to murder the old man, despite also insisting that he loves the old man. The narrator insists that his careful precision in committing the murder proves that he cannot possibly be insane. For seven nights, the narrator opens the door of the old man's room in order to shine a sliver of light onto the "evil eye". However, the old man's vulture-eye is always closed, making it impossible to "do the work".
On the eighth night, the old man awakens after the narrator's hand slips and makes a noise, interrupting the narrator's nightly ritual. But the narrator does not draw back and, after some time, decides to open his lantern. A single thin ray of light shines out and lands precisely on the "evil eye", revealing that it is wide open. Hearing the old man's heart beating loudly and dangerously fast from terror, the narrator decides to strike, jumping out with a loud yell and smothering the old man with his own bed. The narrator then dismembers the body and conceals the pieces under the floorboards, and ensures the concealment of all signs of the crime. Even so, the old man's scream during the night causes a neighbor to report to the police, who the narrator invites in to look around. He claims that the screams heard were his own in a nightmare and that the man is absent in the country. Confident that they will not find any evidence of the murder, the narrator brings chairs for them and they sit in the old man's room, on the very spot where the body is concealed, and suspect nothing, as the narrator has a pleasant and easy manner about him.
The narrator begins to feel uncomfortable and notices a ringing in his ears. As the ringing grows louder, the narrator comes to the conclusion that it is the heartbeat of the old man coming from under the floorboards. The sound increases steadily, though the officers seem to pay no attention to it. Terrified by the violent beating of the heart, and convinced that the officers are aware not only of the heartbeat, but also of his guilt, the narrator breaks down and confesses, telling them to tear up the floorboards to reveal the remains of the old man's body.
"The Tell-Tale Heart" was first published in January 1843 in the inaugural issue of The Pioneer: A Literary and Critical Magazine, a short-lived Boston magazine edited by James Russell Lowell and Robert Carter who were listed as the "proprietors" on the front cover. The magazine was published in Boston by Leland and Whiting and in Philadelphia by Drew and Scammell.
Poe was likely paid $10 for the story. Its original publication included an epigraph which quoted Henry Wadsworth Longfellow's poem "A Psalm of Life". The story was slightly revised when republished in the August 23, 1845, edition of the Broadway Journal. This edition omitted Longfellow's poem because Poe believed it was plagiarized. "The Tell-Tale Heart" was reprinted several additional times during Poe's lifetime.
"The Tell-Tale Heart" uses an unreliable narrator. The exactness with which the narrator recounts murdering the old man, as if the stealthy way in which he executed the crime were evidence of his sanity, reveals his monomania and paranoia. The focus of the story is the perverse scheme to commit the perfect crime.
The narrator of "The Tell-Tale Heart" is generally assumed to be male. However, some critics have suggested a woman may be narrating; no pronouns are used to clarify one way or the other. The story starts in medias res. The story opens with a conversation already in progress between the narrator and another person who is not identified in any way. It has been speculated that the narrator is confessing to a prison warden, a judge, a reporter, a doctor or (anachronistically) a psychiatrist. In any case, the narrator explains himself in great detail. What follows is a study of terror but, more specifically, the memory of terror, as the narrator is relating events from the past. The first word of the story, "True!", is an admission of his guilt, as well as an assurance of reliability. This introduction also serves to gain the reader's attention. Every word contributes to the purpose of moving the story forward, exemplifying Poe's theories about the writing of short stories.
The story is driven not by the narrator's insistence upon his "innocence", but by his insistence on his sanity. This, however, is self-destructive, because in attempting to prove his sanity he fully admits that he is guilty of murder. His denial of insanity is based on his systematic actions and his precision, as he provides a rational explanation for irrational behavior. This rationality, however, is undermined by his lack of motive ("Object there was none. Passion there was none."). Despite this, he says, the idea of murder "haunted me day and night."
The story's final scene shows the result of the narrator's feelings of guilt. Like many characters in Gothic fiction, he allows his nerves to dictate his nature. Despite his best efforts at defending himself, his "over acuteness of the senses", which help him hear the heart beating beneath the floorboards, is evidence that he is truly mad. Poe's contemporaries may well have been reminded of the controversy over the insanity defense in the 1840s.
The narrator claims to have a disease that causes hypersensitivity. A similar motif is used for Roderick Usher in "The Fall of the House of Usher" (1839) and in "The Colloquy of Monos and Una" (1841). It is unclear, however, if the narrator actually has very acute senses, or if he is merely imagining things. If his condition is believed to be true, what he hears at the end of the story may not be the old man's heart but deathwatch beetles. The narrator first admits to hearing beetles in the wall after startling the old man from his sleep. According to superstition, deathwatch beetles are a sign of impending death. One variety of deathwatch beetle raps its head against surfaces, presumably as part of a mating ritual, while others emit ticking sounds.Henry David Thoreau observed in an 1838 article that deathwatch beetles make sounds similar to a heartbeat. The beating could even be the sound of the narrator's own heart. Alternatively, if the beating is really a product of the narrator's imagination, it is that uncontrolled imagination that leads to his own destruction.
It is also possible that the narrator has paranoid schizophrenia. Paranoid schizophrenics very often experience auditory hallucinations. These auditory hallucinations are more often voices but can also be sounds.
The relationship between the old man and the narrator is ambiguous. Their names, occupations, and places of residence are not given, contrasting with the strict attention to detail in the plot. The narrator may be a servant of the old man's or, as is more often assumed, his son. In that case, the "vulture-eye" of the old man as a father figure may symbolize parental surveillance, or the paternal principles of right and wrong. The murder of the eye, then, is a removal of conscience. The eye may also represent secrecy: only when the eye is found open on the final night, penetrating the veil of secrecy, is the murder carried out.
Richard Wilbur has suggested that the tale is an allegorical representation of Poe's poem "To Science", which depicts a struggle between imagination and science. In "The Tell-Tale Heart", the old man may thus represent the scientific and rational mind, while the narrator may stand for the imaginative.
- The earliest acknowledged adaptation of "The Tell-Tale Heart" was in a 1928 silent film of that title directed by Leon Shamroy and starring Otto Matieson as "The Insane", William Herford as "The Old Man" with Charles Darvas and Hans Fuerberg as "Detectives". It was faithful to the original tale, unlike future television and film adaptations which often expanded the short story to full-length feature films.
- The earliest known "talkie" adaptation was a 1934 version filmed at the Blattner Studios, Elstree, by Clifton-Hurst Productions, directed by Brian Desmond Hurst and starring Norman Dryden. This version was 55 minutes in length.
- A 1941 live-action adaptation starred Joseph Schildkraut and was the directorial debut of Jules Dassin.
- A 1953 animated short film produced by United Productions of America and narrated by James Mason is included among the list of films preserved in the United States National Film Registry.
- Also in 1953, a "Variation" on "The Tell-Tale Heart" entitled "Sleep No More", by Gaines and Feldstein, appeared.
- In 1956, an adaptation of "The Tell-Tale Heart" was written by William Templeton for the NBC Matinee Theater and aired on the 6th November 1956.
- A 1960 film adaptation, The Tell-Tale Heart, adds a love triangle to the story.
- A 1971 film adaptation directed by Steve Carver, and starring Sam Jaffe as the old man.
- The film Nightmares from the Mind of Poe (2006) adapts "The Tell-Tale Heart" along with "The Cask of Amontillado", "The Premature Burial" and "The Raven".
- The Radio Tales series produced The Tell-Tale Heart for National Public Radio. The story was performed by Winifred Phillips along with music composed by her.
- CBS Radio Mystery Theater performed an adaptation of the story in 1975; the cast included Fred Gwynne.
- The Canadian radio program Nightfall presented an adaptation on August 1, 1980.
- The 2009 thriller film Tell-Tale, produced by Ridley Scott and Tony Scott, credits Poe's "The Tell-Tale Heart" as the basis for the story of a man being haunted by his donor's memories, after a heart transplant.
- In the 1972 film An Evening with Edgar Allan Poe, four of Poe's short stories are recited by Vincent Price in front of a live audience, including "The Tell-Tale Heart".
- Steven Berkoff adapted the story in 1991, and was broadcast on British television. This adaptation was originally presented on British TV as part of the acclaimed series "Without Walls". This version was later broadcast in the United States on the cable channel BRAVO as part of the Texaco Performing Arts series.
- A musical adaptation performed by The Alan Parsons Project was released on their 1976 debut album Tales of Mystery and Imagination, and was later covered by Slough Feg for their 2010 album, The Animal Spirits.
- The Christian Thrash / Hybrid Metal band Tourniquet adapted the story into song for their 1997 release "Crawl To China". A hidden bonus track on the album captures an adaptation of the conversation between the main character and the police officers without music. Drummer/primary songwriter Ted Kirkpatrick is a huge fan of Edgar Alan Poe and has also released an album of poems and songs featuring adaptations of his works. "The Tell-Tale Heart" is the opening track, and is read by Les Carlson (vocalist for the Metal band Bloodgood).
- The SpongeBob SquarePants episode "Squeaky Boots," first aired in 1999, is loosely based on the story.
- A musical adaptation, entitled "Dark Chilling Heartbeat", was performed by Deceased on their 2000 album Supernatural Addiction.
- A musical adaptation by the Insane Clown Posse was included on their album The Riddle Box, entitled "Ol' Evil Eye", which covers the story of a young man determined to kill "old man Willie on the hilltop" because of his grotesque left eye, and is interspersed with samples from an audio recording of a reading of the original short story.
- Poe's Tell-Tale Heart: The Game, is a mobile game adaptation in which players enact the protagonist's actions to recreate Poe's story on Google Play and Apple iOS.
- V.H. Belvadi's 2012 short film, Telltale, credits Poe's "The Tell-tale Heart" as its inspiration and uses some dialog from the original work.
- A 2013 Spanish short film adaptation, Entrañas ("Entrails"), was directed by Narciso Velver.
- Paul Simon, before his work in Simon & Garfunkel, wrote (as Jerry Landis) a song titled "Tell Tale Heart". It is about a man whose heart's "beat-beat-beat" reveals that he still pines for his former lover, although both of them are now in new relationships.
- An Australian ballet was based on the story, and was recorded for television in the early 1960s.
- The 2015 animated anthology Extraordinary Tales includes "The Tell-Tale Heart", narrated by Bela Lugosi.
- The 2015 Lifetime movieThe Murder Pact, starring Alexa Vega, is based on Poe's work and incorporates allusions to it, such as the "vulture eye" from "The Tell-Tale Heart".
- In spring 2017, Udon Entertainment's Manga Classics line will publish The Stories of Edgar Allan Poe, which will include a manga format adaptation of "The Tell-Tale Heart".
- ^Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8, p. 201.
- ^ abMoss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969. p. 151
- ^""The Tales of Edgar Allan Poe" (index)". eapoe.org. The Edgar Allan Poe Society of Baltimore. September 30, 2007. Retrieved 2007-11-05.
- ^Kennedy, J. Gerald. Poe, Death, and the Life of Writing. Yale University Press, 1987. p. 132; ISBN 0-300-03773-2
- ^ abSova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 234. ISBN 0-8160-4161-X
- ^ abBenfey, Christopher. "Poe and the Unreadable: 'The Black Cat' and 'The Tell-Tale Heart'", in New Essays on Poe's Major Tales, Kenneth Silverman, ed. Cambridge University Press, 1993. ISBN 978-0-521-42243-7, p. 30.
- ^ abCleman, John. "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense", in Bloom's BioCritiques: Edgar Allan Poe, edited by Harold Bloom. Philadelphia: Chelsea House Publishers, 2002. ISBN 0-7910-6173-6, p. 70.
- ^Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. ISBN 0-8018-5730-9. p. 394
- ^Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992. p. 101. ISBN 0-8154-1038-7
- ^Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 394. ISBN 0-8018-5730-9
- ^ abRobinson, E. Arthur. "Poe's 'The Tell-Tale Heart'" in Twentieth Century Interpretations of Poe's Tales, edited by William L. Howarth. Englewood Cliffs, NJ: Prentice-Hall Inc., 1971, p. 94.
- ^Fisher, Benjamin Franklin. "Poe and the Gothic Tradition", in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. Cambridge University Press, 2002. ISBN 0-521-79727-6, p. 87.
- ^Cleman, Bloom's BioCritiques, p. 66.
- ^ abReilly, John E. "The Lesser Death-Watch and "'The Tell-Tale Heart'Archived December 18, 2009, at the Wayback Machine.", in The American Transcendental Quarterly. Second quarter, 1969.
- ^Robison, E. Arthur. "Thoreau and the Deathwatch in Poe's 'The Tell-Tale Heart'", in Poe Studies, vol. IV, no. 1. June 1971. pp. 14-16
- ^Eddings, Dennis W. "Theme and Parody in 'The Raven'", in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. ISBN 0-9616449-2-3, p. 213.
- ^ZIMMERMAN, BRETT. “‘Moral Insanity’ or Paranoid Schizophrenia: Poe's ‘The Tell-Tale Heart.’” Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 25, no. 2, 1992, pp. 39–48. JSTOR, JSTOR, www.jstor.org/stable/24780617.
- ^Benfey, New Essays, p. 32.
- ^Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8, p. 223.
- ^Benfey, New Essays, p. 33.
- ^Benfey, New Essays, pp. 31-32.
- ^The Telltale Heart (1928) on IMDb[unreliable source?]
- ^"IMDb Title Search: The Tell-Tale Heart". Internet Movie Database. Retrieved 2007-09-01. [unreliable source?]
- ^The Tell-Tale Heart (1934) on IMDb[unreliable source?]
- ^The Tell-Tale Heart (1941) on IMDb[unreliable source?]
- ^The Tell-Tale Heart (1953/I) on IMDb[unreliable source?]
- ^"Sleep No More", by Bill Gaines and Ed Feldstein, Shock SuspenStories, April 1953.
- ^The Tell-Tale Heart (1960) on IMDb.[unreliable source?]
- ^The Tell-Tale Heart (1971) on IMDb[unreliable source?]
- ^Tell-Tale (2009) on IMDb[unreliable source?]
- ^Kenny, Tom; Bumpass, Rodger; Fagerbakke, Bill; Brown, Clancy (1999-09-04), Sandy's Rocket/Squeaky Boots, retrieved 2017-05-04
- ^"Poe's Tell-Tale Heart:The Game - Android Apps on Google Play". Play.google.com. Retrieved 2016-01-16.
- ^Telltale (2012) on IMDb.[unreliable source?]
- ^"Entrañas (2013)". Internet Movie Database.
- ^[dead link]
- ^Traciy Reyes. "'The Murder Pact': Lifetime Movie, Also Known As 'Tell-Tale Lies', Airs Tonight Featuring Music By Lindsey Stirling". Inquisitr.com. Retrieved 2016-01-16.
- ^http://www.animenewsnetwork.com/news/2016-07-21/udon-ent-to-release-street-fighter-novel-dragon-crown-manga/.104545 "Udon Ent. to Release Street Fighter Novel, Dragon's Crown Manga", Anime News Network, July 21, 2016
- "The Poe Museum" - Full text of "The Tell-Tale Heart"
- "The Tell-Tale Heart" - Full text of the first printing, from the Pioneer, 1843
- Mid-Twentieth century radio adaptations of "The Tell-Tale Heart"
- "The Tell-Tale Heart" study guide and teaching guide - themes, analysis, quotes, teacher resources
- "The Tell-Tale Heart" animation - Award-winning 2010 animated movie, teacher resources, student games
- 20 LibriVox audiorecordings, read by various readers
- The Pioneer, January, 1843, Boston edition.
"The Tell-Tale Heart"
Edgar Allan Poe
The following entry presents criticism of Poe's short story "The Tell-Tale Heart" (1843). See also, The Narrative of Arthur Gordon Pym Criticism and "The Fall of the House of Usher" Criticism. For information on Poe's complete career, see NCLC, Volumes 55, and 117.
Among the many strange and complex short stories of Poe, "The Tell-Tale Heart" has come to be known as one of the most mysterious and psychologically intriguing. Poe's preoccupations with death, with madness, and with troubled human relationships all find their culmination in this brief narrative. The murder of the old man and its aftermath, which form the center of the story, are told with dazzling clarity, a clarity that itself obscures the meaning of the act and calls into question the emotional stability of the unnamed narrator. The subjectivism of this story, the confusion of the line between reader and character within the narrative, and the use of language support the claim that Poe prefigures and indeed develops many of the tropes usually associated with more recent fiction.
"The Tell-Tale Heart" was written and published during the most furiously productive phase of Poe's life, when he lived in Philadelphia with his young wife Virginia (a cousin) and her mother. During this period he was also editing the literary journal Burton 's Gentleman's Magazine, and in 1840 he had collected his previously published tales into Tales of the Grotesque and Arabesque, including the popular "The Fall of the House of Usher" and the grim "King Pest." Now in his forties, Poe had become a well-known writer of short fiction, even though his education was uneven (he left the University of Virginia during his first year) and he experienced constant financial struggles. Early works of poetry had been largely neglected by the literary scene, but five stories were published in the Philadelphia Sunday Courier in 1832. From that point onward, Poe's stories appeared in journals throughout the United States. Yet periodic setbacks in his fortunes (his wife's illness, continuing alienation from his uncle John Allen, who had raised him, and his inability to secure a stable source of income) triggered fits of depression, which Poe tended to aggravate by turning to alcohol. In the stories of this period, the mood of Poe's
works varies considerably, between the fantastic narrative of a sleep-walker in "Mesmeric Revelation," the strangely wrought "Life in Death" a study of the relationship between art and life, and the horrific portrayal of murder in "The Black Cat." The last story is one that is often linked to "The Tell-Tale Heart," as both have the form of a narrated confession of violence and murder without directly addressing the reason for the crime. These two stories mark Poe's increasing interest in and ability to portray the psychologically gruesome and the supernatural, as well as his return to poetry.
Plot and Major Characters
The sparse plot of "The Tell-Tale Heart" concerns the "murder aforethought" of an old man, who is never named nor described fully, by the narrator, who is also never identified. Its narration is clearly retrospective but otherwise unlocated; the circumstances of the confession of this crime are never described, and so it seems that the narrator is speaking directly and passionately to the reader. The sequence of events is simple enough: the narrator is disturbed by the eye of an old man; he complains that "one of his eyes resembled that of a vulture—a pale blue eye, with a film over it." The narrator decides to rid himself of this eye by killing the old man. This is accomplished after seven painstaking nights of creeping into the man's room in order to see if the offending eye is open. It is only on the eighth night that the old man opens his eyes, and the crime is committed. How the man is actually killed is not described in detail: the narrator merely says that he pulls "the heavy bed over him." This same night, he dismembers the body and hides it beneath the floorboards of the man's room. Soon after, three police officers, who also remain anonymous and characterless, arrive (presumably to investigate the terrified shriek of the old man). Although the narrator takes pride in his calm comportment toward the officers as they sit directly above the hiding-place of the old man's body, he discerns a noise, "a low, dull, quick sound" that he identifies as the heartbeat of the old man. In rage and desperation, convinced that the police officers also hear this noise and have detected his guilt, he confesses to the crime. At this point the narrative abruptly ends.
The slow and apparently reasonable beginning of the narrative gradually quickens toward its feverish conclusion; the language of the story, particularly the use of dashes to express the obscure connections of the tale and the repetitions that mark the emphatic denial of insanity, is one of its most striking features. The nineteenth-century concern with death and madness appear in many of Poe's stories, but in "The Tell-Tale Heart" these themes seem to have been distilled into an unparalleled intensity. The strange vacillation between bare narration (the reader is given no setting beyond the walls of the house, no history beyond the events of the plot, and no characterization at all beyond what may be gleaned from the narrator's excited tale) and the magnification of critical moments (the narrator's patient vigil at the door of the old man's room and the repetition of the heartbeat that provokes the narrator's confession). Indeed, as in dreams, the sense of time in the story is a distorted reflection of "ordinary" time; it is this strangeness, along with the terrible clarity of the narration and the vociferous protestations of sanity, that lead the reader to suspect the emotional health of the narrator. The confession is not an explanation, although it superficially appears to be one: the eye of the old man, which becomes an obsessive object of the narrator's attention. The internal tension of the narrator, which leads him to understand the terror of the old man and to anticipate the responses of his listener/reader, dramatically underscores the uncertain status of the narrative: as reality or hallucination, involving two persons or a single split subject, and the audience to which it is directed.
One of Poe's most popular and anthologized stories, "The Tell-Tale Heart" is considered a stunning example of the deep connections between the Gothic tale and modern fiction, especially in its innovative use of the subjective narrative and its psychologically rich portrayal of a human situation that remains simultaneously strange and familiar in its intimacy. Poe's popularity in Europe, exemplified by Jacques Lacan's celebrated study of "The Purloined Letter", reflects his works' affinities with psychoanalytic tropes, such as the unconscious, repression, and the significance of the gaze. Many critics claim that the madness or dreamlike quality of the narrative is unambiguous, and have gone so far as to diagnose the narrator with paranoid schizophrenia, a medical definition unknown in Poe's age. The frequently cited obsession with time and mortality that inhabits Poe's writing is evident in "The Tell-Tale Heart" as well. This has led some recent scholars to argue that the narrator is struggling against his own death and in James W. Gargano's words "the tyranny of time," which he has projected onto the figure of the old man. The narrative has suggested to others, particularly Christopher Benfey, an internalized conflict between the need for interpersonal contact and the desire to protect oneself from the vulnerability that arises with such contact. The style of writing draws the reader into the narrative by appearing to transcribe directly the passionate confession of a fascinating if ultimately repulsive character. The combination of surrealism and immediacy that constitutes the peculiarity of the narrative disrupts simple or conventional interpretations. The psychological complexity of both the content and the form of "The Tell-Tale Heart" has continued to grip both the critical and popular imagination, and anticipates more recent fictional explorations into the concealed intricacy of the human condition.