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    publié le 19/07/2012

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    Edgar Allan Poe, "The Tell-Tale Heart": commentary

    Document de 6 pages au format WORD

    RÉSUMÉ

    This commentary examines The Tell-Tale Heart by Edgar Allan Poe. The text was studied during the first year of a degree in English but the commentary will be useful to all those studying Poe or interested in his works.

    PLAN

    A. Questions of genre and aesthetics
    1. Poe and German Romanticism
    2. Gothic literature
    3. The fantastic
    4. Romantic irony
    5. The grotesque
    6. Poe's aesthetics
    B. Point of view / focalization / structure
    C. Style
    D. The setting
    E. Characterization

    AUTRES

    Extract:

    [...]
    As a theoretician of art, Poe wrote a number of essays about the aesthetics of writing, essays in which he expounded various principles and beliefs:

    - Foremost among these principles is the unity of effect that he tries to achieve in all his tales and poems (= the minutest detail must contribute to the effect of the whole and prepare the reader for the outcome of the story). This even includes the choice of a certain rhythm or of poetic devices like alliteration and assonance, which all contribute to the creation of a certain atmosphere.
    - The opposition between unity and division appears to be essential and the tale actually takes us literally from totality to division and fragmentation as we are made to witness the disintegration of a self.

    - In such essays as The Philosophy of Composition (PC) and Review of Twice-Told Tales (RT), Poe elaborated a conception of writing and a vision of the short story that is often regarded as laying the basis for the development of the American short story:

    - A story must be short, "requiring from a half-hour to one or two hours in its perusal", which is the only way to achieve "totality" (that is not "to destroy the true unity" of the work) (RT).
    - The first sentence must pave the way for the final effect : "having conceived, with deliberate care, a certain unique or single effect to be wrought out, he then invents such incidents - he then combines such events as may best aid him in establishing this preconceived effect. If the very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written of which the tendency, direct or indirect, is not to the one pre-established design" (RT)
    - "Truth is often, and in very great degree, the aim of the tale" (RT) # the "idea of the Beautiful" is best developed in a poem ("Beauty is the sole legitimate province of a poem" PC)
    - "It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention" (PC)
    - "it has always appeared to me that a close circumscription of space is absolutely necessary to the effect of insulated incident: - it has the force of a frame to a picture" (...)

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    Docs en anglais publié le 19/07/2012

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