Techniques in Action: The Tell-Tale Heart

Edgar Allan Poe · 1843 · A hunt for the techniques you already know

The Ten Techniques — from memory

Click each number. Before you do — what was the shape, and what was the technique?

1Diction
2Metaphor
3Simile
4Imagery
5Symbolism
6Personification
7Hyperbole
8Irony
9Foreshadowing
10Repetition

The story you are about to read

"The Tell-Tale Heart" was written by Edgar Allan Poe in 1843. It is one of the most famous short stories in the English language — and it is studied in schools all over the world.

It is a story told in the first person by a narrator who insists he is not mad. He explains, very calmly, how he killed an old man because of the man’s eye. As we read, watch how Poe uses every single one of your ten techniques.

Before we start — talk it through

  1. If a storyteller insists they are not mad, what does that usually mean?
  2. What is an unreliable narrator? Have you ever read a story where you weren’t sure if you could trust the person telling it?
  3. The story is called “The Tell-Tale Heart.” A “tell-tale” sign is one that gives something away. What might give a murderer away?
  4. If a writer wants you to feel nervous, jumpy, on edge — which of your ten techniques would help most? Which ones would not?

Part 1 — The Eye

Read this section aloud, together. Stop wherever a prompt appears.

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.

After the opening paragraph

  1. Read the first line out loud one more time. What feeling does it create — in three words?
  2. Count the dashes in this paragraph. Read it again without the dashes — what changes?
  3. Look at the word “nervous.” How many times does it appear in just two lines? Which technique is that?
  4. He says he heard “all things in the heaven and in the earth” and “many things in hell.” Could that be literally true? What technique is it then?
  5. He keeps insisting he is not mad. Do you believe him? What is the technique when the author makes us see the opposite of what the narrator claims?

Spot the technique

“very, very dreadfully nervous”

Reveal
10 Repetition. The word very is repeated to push the feeling to breaking point. Notice also “not destroyed — not dulled” in the same paragraph.

Spot the technique

“I heard all things in the heaven and in the earth. I heard many things in hell.”

Reveal
7 Hyperbole. An obviously impossible claim, used to show how out of control his “sharpened senses” really are. The narrator thinks it proves he is not mad. It proves the opposite.

Spot the technique

The whole opening — insisting he is sane while clearly being unhinged.

Reveal
8 Irony — specifically dramatic irony. The narrator is trying to convince us of one thing; the writer is showing us the opposite. This is the engine of 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 blue 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.

After the second paragraph

  1. What is his motive for murder? Is it a believable one?
  2. The eye is compared to a vulture’s eye. What does a vulture make you think of? Why pick a vulture and not, say, an owl?
  3. “The eye of a vulture” — is that a metaphor or a simile? How do you know?
  4. By the end of this paragraph, what do you think will happen in the story?
  5. The narrator is going to use the word “eye” many times in this story. What might the eye stand for, beyond just an eye?

Spot the technique

“He had the eye of a vulture — a pale blue eye, with a film over it.”

Reveal
2 Metaphor (the eye is a vulture’s eye — no “like” or “as”). Bonus: 4 Imagery — “pale blue,” “a film over it” — we can see it.

Spot the technique

The eye that haunts him through the whole story.

Reveal
5 Symbolism. The eye is more than just an eye — it stands for something the narrator cannot bear to be seen by. Many readers say the eye represents conscience, or the narrator’s own madness staring back at him.

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, so 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.

And this I did for seven long nights — every night just at midnight — but I found the 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 had 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.

After the seven nights

  1. Read “with what caution — with what foresight — with what dissimulation.” What is Poe doing with the sentence structure? Why three times?
  2. How does the narrator behave to the old man during the day? Why?
  3. “I was never kinder to the old man than during the whole week before I killed him.” What is the effect of that sentence? Where is the technique?
  4. He calls the eye the “Evil Eye” with capital letters. What does that do?
  5. Predict: on the eighth night, what changes?

Spot the technique

“I was never kinder to the old man than during the whole week before I killed him.”

Reveal
8 Irony — situational this time. Kindness and murder do not belong in the same sentence. Putting them there is what makes it horrifying.

Spot the technique

“with what caution — with what foresight — with what dissimulation”

Reveal
10 Repetition of structure (a kind called anaphora — repeating the opening of a phrase). Three beats — a rhythm that makes him sound proud, almost showing off.

Spot the technique

“the Evil Eye” (with capital letters)

Reveal
1 Diction. Capitalising the words turns “evil eye” from a description into a name — almost a creature in its own right. And 5 symbolism deepens with every page.

Part 2 — The Eighth Night

Read together. The pace tightens here — notice how the sentences themselves change.

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 the bed, crying out — “Who’s there?”

Stop here

  1. “A watch’s minute hand moves more quickly than did mine.” What technique is that? What does it tell us about him?
  2. “His room was as black as pitch.” Same question.
  3. Look at “steadily, steadily” at the end of the paragraph. Why does Poe end the paragraph with that, doubled?
  4. Predict: when the old man cries out “Who’s there?” — what does the narrator do next?

Spot the technique

“A watch’s minute hand moves more quickly than did mine.”

Reveal
3 Simile (a comparison, even though “like” or “as” isn’t used in this exact form — “more quickly than” is a comparison too). Often called a comparative simile. The image makes us see slowness as something almost mechanical.

Spot the technique

“His room was as black as pitch.”

Reveal
3 Simile — classic “as…as” form. Bonus: 4 imagery — pure visual.

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.

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 single 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.

Stop here

  1. “A single dim ray, like the thread of the spider” — what technique? Why a spider, of all images?
  2. The narrator says he pitied the old man, yet “chuckled at heart.” What technique is at work? What does it tell us about him?
  3. “Stealthily, stealthily” — spot the technique. Notice how often Poe doubles his adverbs in this section.
  4. The eye is “open — wide, wide open.” How is your heart-rate doing as a reader at this point? How is Poe controlling it?

Spot the technique

“a single dim ray, like the thread of the spider”

Reveal
3 Simile (the word “like” is right there). Bonus: a spider’s thread is fragile, predatory, and a trap — 5 symbolism: the trap is closing on the old man.

Spot the technique

“stealthily, stealthily” · “wide, wide open” · “steadily, steadily”

Reveal
10 Repetition. Poe doubles his adverbs over and over. The rhythm becomes a heartbeat. By the time the actual heartbeat starts, our ear is already tuned for it.

And have I not told you that what you mistake for madness is but over-acuteness of the senses? — 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. 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 eye. 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. His eye would trouble me no more.

The heartbeat

  1. “A low, dull, quick sound, such as a watch makes when enveloped in cotton.” What can you hear? What is the technique?
  2. “As the beating of a drum stimulates the soldier into courage” — what technique? Why a soldier’s drum, and not, say, a clock?
  3. “Louder and louder · louder, louder! · louder every moment!” What is happening to the sentences themselves?
  4. Whose heartbeat is the narrator really hearing? Is it the old man’s, or his own? What might it stand for?
  5. “Stone, stone dead.” Why double the word? What does it tell us he is trying to convince himself of?

Spot the technique

“A low, dull, quick sound, such as a watch makes when enveloped in cotton.”

Reveal
4 Imagery — specifically auditory. And 3 simile — “such as…”. The muffled-in-cotton image is a quiet, dull sound — which makes the way it builds even more frightening.

Spot the technique

“As the beating of a drum stimulates the soldier into courage.”

Reveal
3 Simile. The soldier-and-drum image makes the murder feel like a battle — he is the hero. We know he is not.

Spot the technique

The heart that beats louder and louder until the murder.

Reveal
5 Symbolism. The heart is the title and the heart is the engine. It might be the old man’s heart, his own heart, or his guilt — or all three. Poe leaves it open. Bonus: 6 personification — later, in Part 3, the heart will “tell tales.”

Spot the technique

“Yes, he was stone, stone dead.”

Reveal
10 Repetition — he says it twice because he needs it to be true. A great example of how repetition can show a character’s inner state without telling us directly.

Part 3 — The Police

The body has been hidden under the floorboards. The narrator is calm and proud. Read on.

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.

When I had made an end of these labours, 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.

Stop here

  1. “If still you think me mad, you will think so no longer when I describe the wise precautions…” Whose voice is that? What technique runs the whole story?
  2. Look at the diction in the dismemberment paragraph. Is it horrified? Cold? Practical? What does the style tell us about the narrator?
  3. “I went down to open it with a light heart.” Why is that line chilling? Which technique?
  4. He puts his chair on the spot above the body. Why? What is the technique — both in the action and in the writing?
  5. Predict: what will go wrong?

Spot the technique

“I went down to open it with a light heart, — for what had I now to fear?”

Reveal
8 Irony — dramatic. The whole story is named after a heart, and the writer is reminding us about hearts right when the narrator thinks he is safe. Watch what happens to that heart in two paragraphs.

Spot the technique

He places his own chair on top of the spot where the body is buried.

Reveal
8 Irony (situational — the “triumph” will become his ruin) and 9 foreshadowing. The body he is sitting on is about to be the centre of his world.

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!”

After the ending

  1. Read the second-to-last paragraph aloud. What happens to the length of the sentences as it goes on?
  2. How many exclamation marks can you count? How many dashes?
  3. The narrator hears the sound, but the police don’t. Whose heart is it? Is the question even answerable?
  4. “It is the beating of his hideous heart!” — is the heart literally beating? If not, what is happening?
  5. Look back at the very first paragraph of the story. He told us his hearing was “acute.” How does the ending make that opening line darker?
  6. Why is the story called “The Tell-Tale Heart” and not “The Tell-Tale Eye”?

Spot the technique

“A low, dull, quick sound — much such a sound as a watch makes when enveloped in cotton.”

Reveal
10 Repetition — this exact phrase already appeared in Part 2, just before the murder. Poe is bringing the same sound back. Bonus: 9 foreshadowing turned into callback. He set this up earlier so we’d feel the echo here.

Spot the technique

“Louder — louder — louder! · louder! louder! louder! louder!”

Reveal
10 Repetition and 7 hyperbole. The sentences themselves break down into single words — 1 diction. The form of the writing acts out the narrator’s collapse.

Spot the technique

“It is the beating of his hideous heart!”

Reveal
5 Symbolism and 6 personification — a dead heart cannot beat. What he is hearing is guilt, or his own pulse, or his madness. Calling it “his hideous heart” is the moment the symbol becomes the title.

Technique Tally

Which of the ten did Poe use? All of them — some more than others. Click each card to see one example you found.

1. Diction

“the Evil Eye” · capitalising to turn description into a name.

2. Metaphor

“the eye of a vulture”

3. Simile

“black as pitch” · “like the thread of the spider” · “as the beating of a drum”

4. Imagery

“a pale blue eye, with a film over it” · “a low, dull, quick sound”

5. Symbolism

The Eye — conscience, surveillance. The Heart — guilt, life.

6. Personification

“his hideous heart” that “tells” on him · the heart that has agency.

7. Hyperbole

“I heard all things in the heaven and in the earth. I heard many things in hell.”

8. Irony

“I was never kinder to the old man than during the whole week before I killed him.” The whole story is built on it.

9. Foreshadowing

The first heartbeat in Part 2 sets up the second one in Part 3 — the police scene.

10. Repetition

“very, very” · “louder, louder, louder!” · “stone, stone dead.” Doubled words everywhere.

Final discussion — pick any two

  1. Which technique does Poe use most? Why does it suit this particular story?
  2. If you had to choose one quote from the whole story as the best example of irony, which would it be?
  3. Why is the story still famous nearly two hundred years later? What does Poe do that lesser writers don’t?
  4. If you were going to write a horror story, which two techniques would you steal from Poe first?

Your turn — write in Poe’s style

Pick a small, ordinary fear — a tap dripping, a clock ticking, a door that won’t close properly. Write one paragraph (around 80–100 words) in the voice of a narrator who is being driven mad by it. You must use at least three of the ten techniques. Mark them as you go: (2 metaphor), (10 repetition), and so on.

Writing time: 10:00

When you’ve finished

  1. Read it aloud. Where does it sound most like Poe? Where does it sound most like you?
  2. Which technique was hardest to land? Why?
  3. Could you double a word somewhere? Could you add a dash? Try it — does the sentence get scarier?