Archive for the Category »Classics «

Clip of The Ransom of Red Chief

Category: Classics  Tags:  Leave a Comment

Selma Lagerlof

Category: Classics  Tags:  Leave a Comment

Beowulf Intro

Anglo-Saxon Background

Political History surrounding Beowulf–14 A.D. to 1066 A.D.

We’re looking at Britain at a time where there’s lots of competitiveness, and a lot of violence as several lords are fighting to gain their own territory to rule over. Every lord or every man for himself. Rome has completely drawn out of the country. At the beginning is the fall of the Roman Empire. Now there is constant fighting and violence. Anglo-Saxon tribes coming from the north to take over by brute force–like the Vikings. Their men are stronger, bigger and have better weapons. Daily resources scarce. Times are unsure. Survival and safety are an issue for everyone. Not only are Lords trying to keep the territory that they have, but they’re trying to get more. The more they have, the more power, more resources and better off they’ll be against marauders.

Religion:

Roman Empire is starting to fall and now religion is starting to fade. Tumultuous. Christianity was brought in by the Roman troops. But before this Christian monks and monasteries by the Roman Empire are being intermingled with Anglo-Saxon pagan beliefs that were there before–warrior gods and mythical creatures, heroes. Christian beliefs that became rooted in society ware the morals or behavioral code from the mythical heroes that were already in place. Honesty, honor, truthfulness–all become part of religious belief.

Britain is religiously divided, although Christianity does remain a strong influence, but not as strong as when Roman rule enforced it.

Pagans can openly go back to pagan religions, but now have Christian influences.
Unity comes with Alfred the Great through Christianity. But this is a ways off. Different religions try to intermingle and mix to explain all the evil and violence that is happening around them. Just to get them through the day.

Cultural Aspects with Beowulf

Population of Britain was largely uneducated. Not educated. Short lifespans. Not many old people. Not many families gathered together. Really what’s left of traditions is oral folklore, myths, stories. Families passing down stories of themselves and history. Some may be song, or told in story or poetry form. Good versus evil, which comes from parents, aunts and uncles teaching children through oral traditions.

Eternal heroic deed legacies: These people didn’t believe in heaven or hell, but rather you create a legacy based on the way you live your life here on earth. You are remembered by the last wonderful heroic deed you did here on earth. They did a heroic deed for their own children to follow in — a status, because there was no other way to gain status.

You don’t see much of literacy or poetry or music, art because of lack of communication. Monks and lords were only ones who were educated. Beowulf was the first literature that was written in Anglo-Saxon. This was probably because the lords wanted to teach others how to read in their native language.

You do have some art, but based more on what a blacksmith might do with iron ore. Maybe some sculpture out of iron. Might be armor or a helmet.

There was a lot of music because stories weren’t written down. Music explained who the people were, their history, their world. Beowulf was first probably told as a pagan religion and sung, then moved to a more oral form and then finally written down.

But for the most part the cultural aspect of Beowulf is very limited. And a lot of what is going on centers what is happening politically and religiously, with a little cultural stuff. So these are just a few things to keep in mind as you read Beowulf.

Beowulf, Part I

Category: Classics  Tags:  Leave a Comment

Quiz on The Gift of the Magi

Take the quiz after reading the previous post!

In the story, "The Gift of the Magi," to get money to buy Jim's gift, Della sells





What is most clearly the message of "The Gift of the Magi?"





Della says a small prayer as Jim is approaching the apartment in "The Gift of the Magi." For what does she pray?





What does Della finally buy Jim in "The Gift of the Magi?"





When a literary work refers to another literary work, such as "The Gift of the Magi" referring to a Bible story, that is known as





The author's tone in dealing with Della and Jim in "The Gift of the Magi" can best be described as





Which statement best answers a reader’s question about O. Henry’s purpose in writing “The Gift of the Magi”?





Which question about the passage is least helpful in predicting what might happen next?
Suddenly she whirled from the window and stood before the glass. Her eyes were shining brilliantly, but her face had lost its color within twenty seconds. Rapidly she pulled down her hair and let it fall to its full length.





When O. Henry wrote that “life is made up of sobs, sniffles, and smiles, with sniffles predominating,” he was making a statement about





Jim’s reaction to Della’s gift reveals that he is ____.







Catch-22 and The Gift of the Magi

Have you ever been in a catch-22? That is, you’re darned if you do, darned if you don’t? The term came from a book written in 1961 by Joseph Heller called … you guessed it, Catch-22. (Wouldn’t that be something–to write a novel that becomes so popular that it ends up being a common expression?) This book is about some sort of logic irrationality. You’ve got these soldiers trapped in war, and one of them Orr, is insane–he’s absolutely crazy. Now–here’s the dilemma. Because Orr is crazy, he could technically be grounded. That is, he wouldn’t have to fly and fight. But the airforce has come up with a rule called Catch 22. If you are worried about your own safety, that is what sane people do. So if you’re worried about flying and dying, then you are sane and you must fly.  So Orr was trapped in this dilemma because he told his officers that he was insane and shouldn’t be flying, and since he said that the authorities said he had to fly!

Examples of catch-22′s:

  • Homeless people need a job so they can afford a home and nice clothes. Yet, they need to be able to say they live at a physical address to put down on the application, and they need nice clothes to land the job. So you can say this is a Catch-22 situation since both problems cancel each other out and you don’t feel as if you can go forward.
  • Consumer loan: You need a good credit history to get a loan. Yet, how can you build up a good credit history if nobody will give you a loan since you don’t have a history of taking out any loans?

Journal lesson: Read as you listen to The Gift of the Magi by O. Henry by clicking here. (Or you can just read it). In what way did the couple in Gift of the Magi end up in a catch 22? Also, apply your new knowledge to describe an experience of yours that could be called a catch 22.

At the end of  The Gift of the Magi, O. Henry says: Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi.

Here our author doesn’t hide that he has something deeper that he wants us to get. Remember, titles are clues. The Gift of the Magi alludes to the Bible story of the Wise Men who give gifts to baby Jesus. In this story, what gifts were given? We had the chain for the pocket watch and the combs for Della’s hair.

  • What did they have to sacrifice for the gifts? They had to give up the very items they wanted to enhance. Jim had to sell the pocket watch for Della’s combs, and Della had to sell her hair for the chain to match Jim’s pocket watch.
  • How were Jim and Della foolish? They had to give things away that would ruin the gift the other was giving to each other.
  • How were they wise? That’s the question. Why does O.  Henry call them wise? We’re getting there.
  • What is the climax of the story? That’s when everything comes to a head–the moment of the gift exchange.
  • What is the resolution? They discover that their treasures have been given away and that their gifts can’t be used right now.

Honing in on Theme

We said that themes might be difficult to put into words. These are the possible themes that others have suggested for the story:

  1. Love is more important than material things.
  2. Love is selfless.
  3. It’s the thought that counts.
  4. It’s better to give than to receive.

Think about these four possibilities, think about the title and what the characters did. Think of how everything wound up at the end and tell me–in your opinion–what O. Henry really wanted us to understand at the end. Enjoy, and enjoy the gift of giving and receiving your own gifts in the future!

Count of Monte Cristo

From watching the movie on Thursday, November 12, 2009. Answer the questions below. Choose the BEST answer.

Please go to Count of Monte Cristo to view the quiz
Category: Classics  Tags:  Leave a Comment

Quiz on The Lady of Shalott

Take this quiz after reading the previous post,  (click here to read it).

[QUIZZIN3]

Category: Classics  Tags:  Leave a Comment

The Lady of Shalott

By Alfred, Lord Tennyson

Are you familiar with the Arthurian Legends? Perhaps you have seen The Sword and The Stone? Or The Defense of Gweneviere? Or Monty Python and the Holy Grail. Alfred, Lord Tennyson takes the romance of this era, and puts it in this poem in the form of a ballad.

Who was Alfred, Lord Tennyson? What is a ballad?

Alfred, Lord Tennyson

  • Born in 1809 in a small town. Father was a clergyman.
  • Went to Cambridge University.
  • 1830 published “Poems Chiefly Lyrical” without much success or acclaim.
  • Continued writing and finished his studies.
  • Best friend Arthur Hallaman died suddenly in 1833.
  1. Devastated Tennyson;
  2. Changed his life and writing forever.
  • Published “In Memoriam” in 1850 as an extended elegy for his friend.
  • Prince Albert was so impressed by this elegy that Queen Victoria declared Tennyson as England’s poet laureate.
  • In 1884 Queen Victoria made him a Baron, thus his title “Lord.”
  • Considered the poetic voice of his age by the public and his collegues.

What is a Ballad?

  • Song-like narrative poem with lyrical rhyme and meter. (Narrative means that it tells a story).
  • Word Music: the rhythm, cadences and sound devices that create a song-like quality. When you read a ballad, you almost want to sing it since it has such a nice rhythm.
  • Short, regular stanzas with a repeated refrain at the end of each stanza
  • Simple language and rhyme. (In a moment we’ll look at the rhyme scheme).
  • Often about adventure or romance; depicts emotional, dramatic action.
  • Centers around one theme or one character.

The Lady of Shalott

Content
  • Based in Arthurian Legend
  • About how society accepts or does not accept the artist, (she is the artist who weaves tapestries of the world–scenes she sees).
  • Lady lives under a curse that keeps her isolated from the real world.
  • Locked in a tower; if she leaves, she will die. (Question of acceptance or not being accepted–there’s the literal meaning; but there’s also a metaphoric and thematic level to the poem).
  • She weaves a tapestry of the scenes she sees in her magic mirror.
  • She sees a vision of Sir Lancelot in her mirror.
  • She decides to leave the tower to find her love, Lancelot, (a very risky decision since she’s aware of the curse she’s under).
  • Discovers a boat and sails secretly toward Camelot. She carves her name in the boat, which indicates that she knows she might not make it.
  • She dies before she arrives without ever seeing Lancelot.
  • At the end, he bestows a blessing on her, so he at least, gets to see her.

Form

  • 9-line stanzas
  • One line refrain at the end of each stanza
  • lambic pentameter (which contributes to the song-like quality)
  • Rhyme Scheme–aaaa(b)ccc(b) (which means, 4 lines that end with words that all rhyme with each other. Then a line that ends in a word that doesn’t rhyme with the previous 4 lines. The first “b” ends in Lancelot, or Camelot. The second “b” is Shalott. The first part we learn about Camelot and it’s scenic beauty. The second part we learn about the curse. In the third section we learn about Lancelot and how she falls in love with him. In the fourth section, she decides to leave the tower and search for Lancelot, which ends in the tragedy of her death. But she still gets that blessing from Lancelot in the end.

Contrasting Images

  • Solitary life of the lady vs. busy life of Lancelot in Camelot. How does Tennyson describe her solitary life? How does he depict the busy life of Lancelot in Camelot?

Analysis

  • Tennyson’s reflection on a broad crisis of faith in Victorian England. How does a broad crisis in faith match up with Lady Shalott?
  • Tennyson longs for refuge in the past, for simpler times. (The broad crisis of faith is a conflict, and Arthurian Times seem easier, simpler).
  • Portrays the “lady” as having no life inside the tower (no fulfillment, no companionship, no interaction with people), but only death outside the tower. Her existence inside the tower can be categorized as a type of living death. It’s a “No-Win” or “Catch 22″ situation.
  • Idea that we can never realize our fantasies, that once possible, the allure is gone. (Think of a time that you really, really wanted something, but once you got it, it wasn’t special anymore. This is kind of the idea Tennyson is portraying here).
  • Fantasies cannot be fully realized because they are always better in our minds than in reality. Perhaps the Lady’s conception of Lancelot is better than who he really is, and it was fruitless for her to try to go after him. But still, he bestows his blessing on her. How does this affect this notion of conflict–that fantasies can’t be realized because fantasies aren’t reality? She how this all works into the poem.

You can read this poem and concentrate on the surface, or literal meaning. Or you can read the poem and think about the metaphorical meaning.

On either side the river lie
Long fields of barley and of rye,
That clothe the wold and meet the sky;
And thro’ the field the road runs by
To many-tower’d Camelot;
And up and down the people go,
Gazing where the lilies blow
Round an island there below,
The island of Shalott.

Willows whiten, aspens quiver,
Little breezes dusk and shiver
Through the wave that runs for ever
By the island in the river
Flowing down to Camelot.
Four grey walls, and four grey towers,
Overlook a space of flowers,
And the silent isle imbowers
The Lady of Shalott.

By the margin, willow veil’d,
Slide the heavy barges trail’d
By slow horses; and unhail’d
The shallop flitteth silken-sail’d
Skimming down to Camelot:
But who hath seen her wave her hand?
Or at the casement seen her stand?
Or is she known in all the land,
The Lady of Shalott?

Only reapers, reaping early,
In among the bearded barley
Hear a song that echoes cheerly
From the river winding clearly;
Down to tower’d Camelot;
And by the moon the reaper weary,
Piling sheaves in uplands airy,
Listening, whispers, ” ‘Tis the fairy
Lady of Shalott.”

There she weaves by night and day
A magic web with colours gay.
She has heard a whisper say,
A curse is on her if she stay
To look down to Camelot.
She knows not what the curse may be,
And so she weaveth steadily,
And little other care hath she,
The Lady of Shalott.

And moving through a mirror clear
That hangs before her all the year,
Shadows of the world appear.
There she sees the highway near
Winding down to Camelot;
There the river eddy whirls,
And there the surly village churls,
And the red cloaks of market girls
Pass onward from Shalott.

Sometimes a troop of damsels glad,
An abbot on an ambling pad,
Sometimes a curly shepherd lad,
Or long-hair’d page in crimson clad
Goes by to tower’d Camelot;
And sometimes through the mirror blue
The knights come riding two and two.
She hath no loyal Knight and true,
The Lady of Shalott.

But in her web she still delights
To weave the mirror’s magic sights,
For often through the silent nights
A funeral, with plumes and lights
And music, went to Camelot;
Or when the Moon was overhead,
Came two young lovers lately wed.
“I am half sick of shadows,” said
The Lady of Shalott.

A bow-shot from her bower-eaves,
He rode between the barley sheaves,
The sun came dazzling thro’ the leaves,
And flamed upon the brazen greaves
Of bold Sir Lancelot.
A red-cross knight for ever kneel’d
To a lady in his shield,
That sparkled on the yellow field,
Beside remote Shalott.

The gemmy bridle glitter’d free,
Like to some branch of stars we see
Hung in the golden Galaxy.
The bridle bells rang merrily
As he rode down to Camelot:
And from his blazon’d baldric slung
A mighty silver bugle hung,
And as he rode his armor rung
Beside remote Shalott.

All in the blue unclouded weather
Thick-jewell’d shone the saddle-leather,
The helmet and the helmet-feather
Burn’d like one burning flame together,
As he rode down to Camelot.
As often thro’ the purple night,
Below the starry clusters bright,
Some bearded meteor, burning bright,
Moves over still Shalott.

His broad clear brow in sunlight glow’d;
On burnish’d hooves his war-horse trode;
From underneath his helmet flow’d
His coal-black curls as on he rode,
As he rode down to Camelot.
From the bank and from the river
He flashed into the crystal mirror,
“Tirra lirra,” by the river
Sang Sir Lancelot.

She left the web, she left the loom,
She made three paces through the room,
She saw the water-lily bloom,
She saw the helmet and the plume,
She look’d down to Camelot.
Out flew the web and floated wide;
The mirror crack’d from side to side;
“The curse is come upon me,” cried
The Lady of Shalott.

In the stormy east-wind straining,
The pale yellow woods were waning,
The broad stream in his banks complaining.
Heavily the low sky raining
Over tower’d Camelot;
Down she came and found a boat
Beneath a willow left afloat,
And around about the prow she wrote
The Lady of Shalott.

And down the river’s dim expanse
Like some bold seer in a trance,
Seeing all his own mischance –
With a glassy countenance
Did she look to Camelot.
And at the closing of the day
She loosed the chain, and down she lay;
The broad stream bore her far away,
The Lady of Shalott.

Lying, robed in snowy white
That loosely flew to left and right –
The leaves upon her falling light –
Thro’ the noises of the night,
She floated down to Camelot:
And as the boat-head wound along
The willowy hills and fields among,
They heard her singing her last song,
The Lady of Shalott.

Heard a carol, mournful, holy,
Chanted loudly, chanted lowly,
Till her blood was frozen slowly,
And her eyes were darkened wholly,
Turn’d to tower’d Camelot.
For ere she reach’d upon the tide
The first house by the water-side,
Singing in her song she died,
The Lady of Shalott.

Under tower and balcony,
By garden-wall and gallery,
A gleaming shape she floated by,
Dead-pale between the houses high,
Silent into Camelot.
Out upon the wharfs they came,
Knight and Burgher, Lord and Dame,
And around the prow they read her name,
The Lady of Shalott.

Who is this? And what is here?
And in the lighted palace near
Died the sound of royal cheer;
And they crossed themselves for fear,
All the Knights at Camelot;
But Lancelot mused a little space
He said, “She has a lovely face;
God in his mercy lend her grace,
The Lady of Shalott.”

Take the quiz

Category: Classics  Tags:  Leave a Comment

Metamorphosis

Have you ever woken up and knew deep inside that this is going to be a terrible day, and that you wish you could just fall back to sleep and skip that day? Or had a day so awful that you think “If I just had not gotten up this morning.” This is the premise of the Metamophosis by Frank Kafka. The original story was written in German, and what you will read will be the translation into English. So we’ll talk about translation and what that involves. We’ll also talk about visualization. FranzKafkaStatueJewishQuarterPragueThere’s a statue in Prague dedicated to Franz Kafka.There’s a gentleman riding on the shoulders of…somebody. It looks like a big empty coat. Kafka is riding the gigantic suit but we don’t know who’s supporting the suit. That’s the mystery. It’s bizarre, strange, but I hope this image will make more sense to you by the time we’re finished.

Reading Skills

  • Symbols
  • Motifs

germancockroach Based on what you see on the left–a giant cock roach–what do you think might happen in this story?

Author Background

  • Born/Died: 1883 to 1924
  • From a middle class Jewish family in Prague which was then the capital of Bohemia. Now is the capital of the Czech Republic. Between those times, we also knew it as Czechoslovakia.
  • Wrote in German–even though he could easily read, write and speak in Czech. He wrote in German because it was more easily assessible.

Biographical elements in Metamorphosis (things that really happened to Kafka, which happens to the protagonist in the story):

  • Domineering Father
  • Worked as a traveling salesman
  • Had close relationships to his sisters
    • All three sisters died in concentration camps in World War II
  • Died from complications of tuberculosis–actually wasn’t able to eat anymore. Didn’t have the treatments for TB like they do today. No intravenous feeding at this time. Before he died, he asked his fiancee to destroy all his works. She did with some of them, but not all of them. And his friend Max Brod actually had some of his works published after Franz died. The search for Kafka’s works is still going on today.
Author Background
  • Kafkaesque–term used to describe something absurd and surreal, yet mundane. He was a master at this, and thus the coined term. Here are some important works:
  1. Metamorphosis–1915
  2. In the Penal Colony–1920
  3. The Castle–unfinished
  4. The Trial–unfinished

Cultural Background:

  • Modern Europe and Modernist Literature
  • Before 1900, most popular literature was realist
  • Kafka, among many other writers, is considered a modernist writer–someone who is more pessimistic than his predessors, yet concerned with the mundane facts of life.(Modernist means the world is influencing their writing). The world is bleak, cold, dark place where bad things happen.
  • Other writers like him include: James Joyce, Virginia Woolf, T.S. Eliot, and Joseph Conrad.

Modernist Themes

  • Breakdown of cultural norms and social values–no longer do the rich stay rich, and the poor stay poor
  • Pessimism in the face of technology–wearing masks to protect from mustard gas (then a new but terrible advancement in technology)
  • World War I–1914 to 1918 (For a long time it was called The Great War. It was so devastating–new type of fighting, new technology–considered the War to End All Wars. People were being killed at unbelievable rates. Armistice Day is the same as Veteran’s Day, which was declared when WWI was over and we still celebrate it today.)
  • Urban and city settings–see more of the effects of the war in cities, technology and it’s advances–which all illustrates the breakdown of cultural norms and social values. Things that people are comfortable and familiar with–all that begins breaking apart.

Literary Skills

  • Translation
  • Originally written in German
  • First line is: “Als Gregor Samsa eines Morgens aus unruhigen Traumen erwachte, fand er sich in seinem Bett zu einem ungeheueren Ungeziefer verwandelt.”
  • Literal translation: As Gregor Samson of one morning from jerky dreams awaked, he was changed in its bed to tremendous vermin.
  • The above sounds awkward, jerky and doesn’t make too much sense–well, it does, but it doesn’t really sound right. So below is the most famous translation:
  • As Gregor Samson awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect.
  • Does “jerky dreams” give the same image as “uneasy dreams” ?
  • “Changed” and “Transformed” are similar, and not too big of a difference.
  • “Tremendous vermin” and “gigantic insect” has been the subject of the greatest controversy. People think the translation should have used vermin instead of insect because vermin has a nastier connotation, at least to me! But it’s been interpreted that the character transforms into an insect. Which one invokes the more emotions/feeling for you?

Literary and Reading Skills

  • Visualization–using descriptive words and phrases to create a mental picture of the text.
  • Symbol–something that is itself, but also represents something more.
  • Motif–a symbol, image or concept that is repeated throughout a text, adding greater meaning each time the word is repeated.

As you Read

  • Kafka takes a lot of time to explain how Gregor moves. How do these explanations help you visualize Gregor? He doesn’t ever have the character look into the mirror, and so we don’t get a visual from him looking at his reflection. But we get a sense of what he looks like through the way he moves.
  • Is Gregor shocked at having been transformed? Does he have a moment of disbelief?
  • Describe the Samsa family. Very unusual in many ways. There’s mother and father, Gret the sister.
  • Do you think the Samsa Family recognizes Gregor? Why or why not?
  • Why do you think Gregor has been transformed? Is there any explanation? Can you infer?
For offline reading, the complete set of pages is available for download, click here.
The complete work is also available as a single file–click here.
A MARC21 Catalogue record for this edition can be downloaded.
Category: Classics  Tags:  2 Comments

The Tell-Tale Heart By Edgar Allan Poe

Edgar Allan Poe lived during the Victorian Times, the industrial era of Enlightenment, steam engines and dirigibles. Considered the Father of Suspense, he’s one of my favorite short story authors.

Previewing and Predicting:

Take a look at these pictures and predict what might happen in this story:

knifehaunted_houseconstables

Edgar Allen Poe had a rough life and this is why he wrote such dark stories. He was born in 1809 and died in 1849. His father left him and his mother died when Poe was only 2 years old. He was adopted by a wealthy family and was given a fantastic education which helped him to get published with two books of poetry before he was 20 years old. However, his life wasn’t easy. For some reason we don’t know about, he broke ties with his adoptive father, which alienated him from his adopted family. He married but his wife died shortly afterward. Poe himself was always on the brink of disaster and he died young and completely penniless. He’s famous for tales of horror and mystery and is considered the father of the modern suspense story.

Setting the Foundation: Who’s Telling This Tale?

Narrator is first person.

  • Ask yourself this as you are reading the story–what is the narrator’s motivation? Why is he/she telling this story?
  • Is this person reliable? Can you trust him/her?

Up Close with Our Narrarator

Read the following first two paragraphs from The Tell-Tale Heart:

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. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily–how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain; but once conceived, it haunted me day and night. Object there was none. Passion there was none. 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! He had the eye of a vulture–a pale eye-tell-tale-heartblue 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.

  • Ask yourself–why is he/she telling us this? Is it a confession? To whom? To us?
  • Are they trying to justify their actions? Or are they just telling the story of what happened?
  • Concentrate on what the narrator reveals by the way he/she talks. The narrator’s words reveal a lot, but so does the way in which the narrator talks.

Okay, here is the rest of the story: (If you want to hear it read aloud by a narrator, click here):

Now this is the point. 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! I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, 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, that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it slowly–very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha! would a madman have been so wise as this. And then, when my head was well in the room, I undid the lantern cautiously-oh, so cautiously –cautiously (for the hinges creaked) –I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights–every night just at midnight–but I found the eyevulture_eye always closed; and so it was impossible to do the work; for it was not the old man who vexed me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he has passed the night. So you see he would have been a very profound old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

Upon the eighth night I was more than usually cautious in opening the door. A watch’s minute hand moves more quickly than did mine. Never before that night had I felt the extent of my own powers –of my sagacity. I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back –but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in bed, crying out –”Who’s there?”

I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed listening; –just as I have done, night after night, hearkening to the death watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief –oh, no! –it was the low stifled sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the first slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself –”It is nothing but the wind in the chimney –it is only a mouse crossing the floor,” or “It is merely a cricket which has made a single chirp.” Yes, he had been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim. And it was the mournful influence of the unperceived shadow that caused him to feel –although he neither saw nor heard –to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little –a very, very little crevice in the lantern. So I opened it –you cannot imagine how stealthily, stealthily –until, at length a simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.

It was open –wide, wide open –and I grew furious as I gazed upon it. I saw it with perfect distinctness –all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot.

And have I not told you that what you mistake for madness is but over-acuteness of the sense? –now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man’s heart. It increased my fury, as the beating of a drum stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eve. Meantime the hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man’s terror must have been extreme! It grew louder, I say, louder every moment! –do you mark me well I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me –the sound would be heard by a neighbour! The old man’s hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once –once only. In an instant I dragged him to the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far done. But, for many minutes, the heart beat on with a muffled sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more.

If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs.

I then took up three planks from the flooring of the chamber, and deposited all between the scantlings. I then replaced the boards so cleverly, so cunningly, that no human eye –not even his –could have detected any thing wrong. There was nothing to wash out –no stain of any kind –no blood-spot whatever. I had been too wary for that. A tub had caught all –ha! ha!

When I had made an end of these labors, it was four o’clock –still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart, –for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity, as officers of the police. A shriek had been heard by a neighbour during the night; suspicion of foul play had been aroused; information had been lodged at the police office, and they (the officers) had been deputed to search the premises.

I smiled, –for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search –search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct: –It continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained definiteness –until, at length, I found that the noise was not within my ears.

No doubt I now grew very pale; –but I talked more fluently, and with a heightened voice. Yet the sound increased –and what could I do? It was a low, dull, quick sound –much such a sound as a watch makes when enveloped in cotton. I gasped for breath –and yet the officers heard it not. I talked more quickly –more vehemently; but the noise steadily increased. I arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. Why would they not be gone? I paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men –but the noise steadily increased. Oh God! what could I do? I foamed –I raved –I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew louder –louder –louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God! –no, no! They heard! –they suspected! –they knew! –they were making a mockery of my horror!-this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now –again! –hark! louder! louder! louder! louder!

“Villains!” I shrieked, “dissemble no more! I admit the deed! –tear up the planks! here, here! –It is the beating of his hideous heart!”

The End

Category: Classics  Tags:  Leave a Comment