...The Themes of Madness and of Love and Hate in Poe’s “Tell Tale Heart” and Browning’s “Porphyria’s Lover” In Edgar Allen Poe’s short story “Tell Tale Heart” and in Robert Browning’s “Porphyria’s Lover,” both unnamed narrators commit murder and provide the audience with a seemingly unjustifiable reason as to why they murder their loved ones. In “Tell Tale Heart” and in “Porphyria’s Lover,” both narrators attempt to pose to the audience that they are not insane and effectively accomplish this through their tone and explicit narration. Two of the recurring themes within both Poe’s short story and Browning’s poem are madness and the tension between love and hate. The themes are reinforced through calm tone and passive tone and through the characterization of the narrators. In Poe’s “Tell Tale Heart,” the narrator opens up the short story denying the fact that he is insane and defends his statement by confessing to killing an old man in a very calculated and precise manner with the simple motivation being his fear of the old man’s “eye of a vulture.” The narrator goes through with his plan of murdering the old man and hides the body only to be engulfed by a feeling of guilt which leads him to confessing his act to the police. Throughout the short story, the narrator continues to tell the audience that he is not insane due to his “sharpened … senses” and his “calm” way of telling the whole story, yet it is his tale of murder that contradicts the very claim that he attempts to...
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...Poe’s Dark Appeal There are few writers as adept at invoking feelings and images of darkness, dread, and depression in a reader as successfully as Edgar Allan Poe. Born in Boston in 1809 to impoverished actors David and Elizabeth Poe (Allen), Edgar’s entire existence seems to have been destined for struggle and loss. He was orphaned by age three, losing his mother to tuberculosis and his father by desertion (Allen). He was taken in by the Allan family, but during Edgar’s year-long stint at West Point in 1830—and subsequent expulsion—his relationship with his foster father suffered irreparable damage (“Biography”). His life soon became a mélange of depression, alcoholism, unemployment, and financial hardship (“Biography”). He died in 1949 while on a trip to Baltimore, under mysterious circumstances: theories of “congestion of the brain,” alcoholism, rabies, epilepsy, and carbon monoxide poisoning continue to swarm today (“Biography”). Having lived a life of constant struggle and turmoil, it is not surprising that his works are imbued with brooding and despondency, and that the common themes in his writings revolve around derangement and death. His short story “The Tell-Tale Heart” provides a perfect example of his fixation with madness, murder, and melancholy. It is this very fascination with all things grotesque, combined with his uncanny ability to weave multiple literary elements together to create a bizarre tapestry that appeals to readers, and what makes Edgar Allan Poe...
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...One of the main themes of Edgar Allen Poe’s The Tell-Tale Heart is madness. The main evidence of the characters madness is found in the sixteenth paragraph, the paragraph that begins, “No doubt I now grew very pale…”. This paragraph shows the narrator of The Tell-Tale Heart, a man clearly insane but one claiming that he is not, attempting to function in the real world when he has lost the ability to do so. He is, at the point in time at which the paragraph begins, fully in command of the situation. The Tell-Tale Heart and Madness A hundred words or so later he is a broken man, babbling his confession to the police. Nothing of an objective nature has caused this transformation; it stems solely from his extreme (to the point of insanity) hypersensitivity. Literature term papers show that in this passage Poe employs irony and exaggeration to rather cruelly mock his character’s decent into sanity. The word “mad” does not occur in this passage, but it is found at other places in The Tell-Tale Heart and usually in a sentence that denies that the narrator is mad, e.g. “How then am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.” More importantly, the first sentences in The Tell-Tale Heart show us the narrator admitting to being “dreadfully nervous,” but denying that that makes him insane. Clearly, the narrator has thought a great about this issue and, by mentioning it in the way that he does, has revealed to the reader one of the important dimensions...
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...Poe’s suspenseful short story, Tell-Tale Heart, effectively portrays the killer through the use of literary tools and themes such as mortality, imagery, and point of view. The main character wants to show he is not insane, and even offers a story as proof. The narrator’s decision to kill the old man so that the eye would stop looking at him marked the initial situation. The motives of the killer aren’t understood, which makes the murder mystery difficult to understand. Was the narrator insane? Did he kill the old man in self-defense? As such, the fear of death is expressed in the text. For example, “I made up my mind to take the life of the old man, and thus rid myself of the eye forever.” This excerpt illustrates the narrator’s thoughts of mortality. “Yes, he was stone, stone dead”, depicts how the narrator continued to express the old man’s death in a conspicuous/ distinct manner. Edgar Allen Poe can build so much fixated context over the old mans “vulture eye”, amplifying the use of imagery in the text. “You fancy me mad...You should have seen how wisely I proceeded.” This is ironic because the man tells himself he is normal that he is killing a man because of his eye. Another example is, “a pale blue eye, with a film over it.” The symbol in this quote was the film over the eye, how the man couldn't see as well what was going on right under his nose. Poe creates confusion using his pandemonium literature to render the imagery of the story. Whether or not the old man...
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...The Tell-Tale Heart Q. Choose a novel or a short story in which the author creates a fascinating character. By referring to appropriate techniques, show how the author has created this character and why you found him/her so interesting. Among the many strange and complex short stories by Edgar Allen Poe, ‘The Tell-Tale Heart’ has come to be known as one of the most mysterious and psychologically intriguing. The story contains a fascinating character in form of the narrator, which is explored through Poe’s use of word choice, irony, and alliteration, as well as many other thought provoking techniques. The story as a whole explores the themes of perception versus reality, and the question of whether the evil within is worse than the evil without, and Poe delves into these themes using the character he has created to narrate the story. The story follows the murder of an old man and its aftermath, the story told with what seems like dazzling clarity on behalf of the narrator, obscuring the meaning of the act and calling the emotional stability of the unnamed, assumed male, narrator into question. In the very first sentence of the story, Poe introduces irony to draw in the reader, and leaves the beginning purposefully ambiguous to cause intrigue towards the narrator. “TRUE! – nervous – very, very dreadfully nervous I had been, and am; but why will you say that I am mad?” By starting the sentence with the word ‘true’, Poe leads us to believe what we read next will be some sort...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Acclaim for Yann Martel's Life of Pi "Life of Pi is not just a readable and engaging novel, it's a finely twisted length of yarn— yarn implying a far-fetched story you can't quite swallow whole, but can't dismiss outright. Life of Pi is in this tradition—a story of uncertain veracity, made credible by the art of the yarn-spinner. Like its noteworthy ancestors, among which I take to be Robinson Crusoe, Gulliver's Travels, the Ancient Mariner, Moby Dick and Pincher Martin, it's a tale of disaster at sea coupled with miraculous survival—a boys' adventure for grownups." —Margaret Atwood, The Sunday Times (London) "A fabulous romp through an imagination by turns ecstatic, cunning, despairing and resilient, this novel is an impressive achievement. . . . Martel displays the clever voice and tremendous storytelling skills of an emerging master." —Publisher's Weekly (starred review) "[Life of Pi] has a buoyant, exotic, insistence reminiscent of Edgar Allen Poe's most Gothic fiction. . . . Oddities abound and the storytelling is first-rate. Yann Martel has written a novel full of grisly reality, outlandish plot, inventive setting and thought-provoking questions about the value and purpose of fiction." —The Edmonton journal "Martel's ceaselessly clever writing . . . [and] artful, occasionally hilarious, internal dialogue . . . make a fine argument for the divinity of good art." —The Gazette "Astounding and beautiful. . . . The book is a pleasure not only for the subtleties of its philosophy...
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...Copyright © 2013 by McGraw-Hill Education. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-180360-1 MHID: 0-07-180360-2 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-180359-5, MHID: 0-07180359-9. E-book conversion by Codemantra Version 1.0 All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill Education eBooks are available at special quantity discounts to use as premiums and sales promotions or for use in corporate training programs. To contact a representative please visit the Contact Us page at www.mhprofessional.com. Trademarks: McGraw-Hill Education, the McGraw-Hill Education logo, 5 Steps to a 5 and related trade dress are trademarks or registered trademarks of McGraw-Hill Education and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property...
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...IMPORTANT This electronic version of The Century Vocabulary Builder (1922) has been prepared by Serenson Pty Ltd for www.write-better-english.com. This PDF follows the pagination of the original (hard copy) book and includes hypertext links that we have inserted, which look like this. Please do not remove links. Reformatting the original text into this PDF has been no easy task; it is possible that the process has introduced errors or caused omissions. As a result, we make no guarantee about the accuracy or completeness of this version of the Vocabulary Builder. If you find an error or omission in this PDF, please check the original book and contact us so that we can fix the error or omission. Please check your local copyright laws before accessing this PDF. If you are serious about building your vocabulary, we highly recommend you try the popular vocabularybuilding program called Ultimate Vocabulary Want the ultimate vocabulary builder? Click www.write-better-english com/ultimate-vocabulary.aspx THE CENTURY VOCABULARY BUILDER BY GARLAND GREEVER AND JOSEPH M. BACHELOR NEW YORK THE CENTURY CO. Want the ultimate vocabulary builder? Click www.write-better-english com/ultimate-vocabulary.aspx PREFACE You should know at the outset what this book does not attempt to do. It does not, save to the extent that its own special purpose requires, concern itself with the many and intricate problems of grammar, rhetoric, spelling, punctuation, and the like; or clarify...
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