Like Gravity. Madness is not black and white. It's a gray scale image that does not conform to standard
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1 Ojeda 1 Bianca Ojeda Instructor: Vacca English September 2014 WC: 1,011 Like Gravity Madness is not black and white. It's a gray scale image that does not conform to standard or typical mode of behavior. That's what makes it madness: a lack of regularity in the human condition. In his short story, "The Tell-Tale Heart," Edgar Allen Poe explores the madness of the narrator through the use of voice, imagery, and literary allusions. The narrator, having concealed the dead body of a man he murdered in cold blood beneath the floor boards of his own home, attempts to convince the reader of his own perfect sanity. This only makes him seem all the more insane, which Poe conveys through these literary devices in particular. In "The Tell-Tale Heart," the narrator begins his story by assuring the reader that despite his "nervous" nature, he was, and remains to be, completely sane. Starting out the story with such assurances works counter intuitively, tipping the reader off to the fact that the narrator is most likely not in his right mind. This is how Poe chooses to set the voice for the entire story, with the narrator growing increasingly agitated throughout his retelling. But while remaining aware of the narrator's apparent madness, the reader is also drawn in as an accomplice of sorts. By assuming the readers own reactions, ("...you would have laughed..."), the narrator inserts the reader into the tale as an "active voyeur" (Witherington). Poe also enforces other word choices throughout the text, using the word "you" a grand total of 15 times. This effectively places the reader into the story from beginning to end. It gives the sense that the reader is there in the room, standing
2 Ojeda 2 beside the narrator as he peeks his head into the room, as he dismembers the body, as he speaks with the officers that come to call. It is an effective way of engaging the reader in this confession-like telling of the story. Everybody enjoys hearing a confession to some crime. People flock to read news about serial killers. Hollywood romanticizes the manhunts involving those mad murderers. Poe recognized this instinctual draw to madness even before it became popularized by mainstream media and conveyed it best in this short story. By telling the tale not through the eyes of an investigator, or even a bystander, Poe effectively places the reader in the shoes of the serial killer by making him/her an accomplice to the act, all this achieved through voice alone. Another prominent feature in "The Tell-Tale Heart" is its literary allusions to Shakespeare's Macbeth (McIlvaine). In that famous play, Lady Macbeth goes through a mental breakdown pertaining to her guilt in the murder of the king, Duncan. Her most well-known line, "Out, damned spot!" serves as the climax of her own soliloquy towards the peak of her madness, where she hallucinates that her hands are still covered in blood, the symbol of her guilt. In Poe's story, the narrator refers to the old man's eye as "the damned spot", which seems to be a juxtaposition. When the police appear at the door, the narrator is less than phased. In fact, he is absolutely smug, deciding to lead them into the very room he has concealed the body in for a chat. While the phrase links the two texts together, the narrator's situation is almost a direct negative of Lady Macbeth's. He feels no remorse whatsoever, and goes about concealing the body in a manner that is eerily calm and self-assured. Robert McIlvaine, in A Shakespearean Echo In The Tell-Tale Heart, points out another similarity: Lady Macbeth's horror at the blood staining her hands, and the narrator's calm assertion that he had not spilled a drop of blood while dismembering the body, suggesting that he "had learned from her experience." McIlvaine goes
3 Ojeda 3 on to suggest that Shakespeare's influence had only been a subconscious one, and that all similarities found between "The Tell-Tale Heart" and Macbeth were subconscious. While this cannot be completely assumed, there are far too many similarities between the two texts to be so coincidental. For instance, both Lady Macbeth and the narrator suffer from delusions that lead to mental breakdowns. Both claim to have loved those that they killed. In fact, the only truly striking difference between the pair is the fact that the narrator appears to have gone mad long before committing the crime, whereas Lady Macbeth went mad after the fact. In the end, they both suffer from their guilt. Though because the narrator is mad, his guilt is manifested in a delusion that seems less to him like a guilty conscious and more realistic. So much so that he even projects hallucinations onto the police, imagining that despite his extreme agitation, they are smiling in "derision." He believes they are privy to his crime, his guilty subconscious evidenced by their "hypocritical smiles." Despite his previous confidence that they surely would not know that he murdered the old man, he's suddenly positive that "they knew!". It goes beyond suspicion, despite all of his careful concealment. This coupled with the growing sound of the ringing noise builds up the tempo of the story which before had been rather methodical and slow. Just as madness is uncontrollable, so too is the story towards the end, careening out of the narrator's grasp until he is all but forced by his own guilt to reveal the spot where he had hidden the body. There is no denouement either, a small device Poe incorporates to leave the reader with the feeling that they've jumped off a cliff alongside the narrator. Obviously, the narrator would be arrested and thus his story would end, but the tale itself is ended in a very non-stereotypical fashion. It ends on a climax, with the narrator screeching about "the beating of his hideous heart!"
4 Ojeda 4 Poe incorporates literary devices in unconventional ways that serve to pull the reader into the story. By placing the reader beside the madman, Poe captures the attention of his audience, and with subtle Shakespearean allusions and an ending that leaves the reader at the climax of the story, he successfully portrays what it must truly mean to be mad.
5 Ojeda 5 Works Cited McIlvaine, Robert. "A Shakespearean Echo In The Tell-Tale Heart. American Notes & Queries 15.3 (1976): 38. Literary Reference Center. Web. 17 Sept Poe, Edgar. The Selected Works of Edgar Allan Poe. London: Harper Press, Print. Witherington, Paul. "The Accomplice In 'The Tell-Tale Heart'." Studies In Short Fiction 22.4 (1985): 471. Literary Reference Center. Web. 15 Sept
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