Short Stories & Gothic Literature · Story 1
The Tell-Tale Heart
Edgar Allan Poe, 1843. A murderer tries to convince you he is sane, and the harder he tries, the less you believe him.
“The Tell-Tale Heart” is only about 2,100 words long, short enough to read in one sitting. That was Poe’s plan: he believed a short story should be read in one go and build to a single effect. Here you’ll read the whole story with notes beside it, learn what an unreliable narrator is, and see how Poe builds suspense, line by line. Then test yourself with the quiz.
Your guide: Edgar, Jugami’s teacher for Short Stories & Gothic Literature.
On This Page
Before You Read
Content note: this is a story about a murder. It describes a killing and hiding a body, briefly and without much detail. It is a classic of American literature and is widely taught in high school.
First printed
January 1843
In the first issue of The Pioneer, a Boston magazine edited by the poet James Russell Lowell. It was a short-lived magazine.
Revised
August 23, 1845
Poe reprinted the story, with small changes, in the Broadway Journal in New York. The 1843 version opened with lines from Longfellow’s poem “A Psalm of Life”; he later dropped them.
Who’s telling it?
A nameless “I”
The narrator never tells us their name, age, or why they live with the old man. We don’t learn who “you” is either. The whole story is one person talking to us.
Why Gothic?
Darkness & dread
An old house, midnight, a lantern, a strange “Evil Eye,” a death and a guilty secret under the floor. Poe moves Gothic horror from haunted castles into a single human mind.
Three things to watch for
- Time. Notice when the story slows to a crawl and when it suddenly speeds up.
- Sound. Count the sounds: groans, ticking, a shriek, a heartbeat. Which ones are real?
- The narrator’s claims. Every time he says he is calm, wise, or careful, check whether his words agree.
The Story
The full text of “The Tell-Tale Heart,” unchanged from the Project Gutenberg edition. It’s split into five parts so you can stop and think. Dotted words link to the glossary beside each part, and the numbered red circles link to notes on key moments.
Part 1 · paragraphs 1–3
“Why will you say that I am mad?”
True!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad?1 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.2 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!3 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.
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 opening4 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 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.
Part 2 · paragraphs 4–9
The eighth night
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?”5
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 night6, 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 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.
Part 3 · paragraphs 10–11
The beating heart
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 cotton7. 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 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.8 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.
Part 4 · paragraphs 12–13
“Wise precautions”
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!9
Part 5 · paragraphs 14–18
The visitors
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 victim10.
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. Why11 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!12”
Text: Edgar Allan Poe, “The Tell-Tale Heart,” from The Works of Edgar Allan Poe, Volume 2 (The Raven Edition), Project Gutenberg eBook #2148. Public domain. Spelling and punctuation as in that edition. Notes and glossary written for Jugami.
The Unreliable Narrator
An unreliable narrator is a storyteller whose account we can’t fully trust. Maybe they are lying, maybe they are confused, or maybe, like this one, they can’t see themselves clearly. The reader has to read past what the narrator says to work out what is really happening.
Poe’s narrator gives himself away in the very first lines. He wants to prove he is sane, but the way he says it proves the opposite.
| He claims… | But the text shows… |
|---|---|
| He is calm: “observe how healthily—how calmly I can tell you the whole story.” | Dashes, exclamations and repeated words everywhere: “True!—nervous—very, very dreadfully nervous I had been and am.” He admits he still is nervous. |
| His senses are sharper than ever. | “I heard all things in the heaven and in the earth. I heard many things in hell.” No healthy ear can do that. |
| He is sane because he planned so carefully. | The plan has no reason. “Object there was none. Passion there was none. I loved the old man.” |
| He felt sympathy for the old man. | “I knew what the old man felt, and pitied him, although I chuckled at heart.” |
| He was perfectly in control with the police. | He breaks down and confesses to a crime they didn’t suspect him of. |
We only have his word
Everything comes through one voice. We never hear the old man’s side, the neighbour who heard the shriek, or the officers. Even the time he is speaking from is unclear: the story is told after the confession, to someone who already thinks he is mad. And near the end he says, “this I thought, and this I think.” He still believes the officers knew. Nothing he has been through has changed his mind.
What is the beating sound?
Poe never settles this, and readers still argue about it. Look at the evidence and make your own case:
- The old man’s heart. That’s what the narrator believes, even after the man is dead.
- His own heart. He is terrified and excited. Each time he hears it, he is under pressure.
- Something in his ears. With the police he says, “I fancied a ringing in my ears.” Then the noise grows.
- A real sound. Earlier he mentions “death watches in the wall,” beetles that tick inside old wood.
- Guilt. Whatever its physical cause, the sound is what forces the truth out of him. That’s the “tell-tale” in the title.
Notice that Poe never says whether the narrator is a man or a woman. Most readers and teachers say “he,” and this page does too, but the text leaves it open.
How Poe Builds Suspense
In 1842, months before this story appeared, Poe reviewed Nathaniel Hawthorne’s Twice-Told Tales and laid out his rule for short stories. A good writer, he said, first decides on “a certain unique or single effect,” and then everything must serve it:
“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.”Edgar Allan Poe, review of Twice-Told Tales, Graham’s Magazine, May 1842
In “The Tell-Tale Heart” the single effect is mounting dread. Here are the tools he uses to build it.
1. Stretching time
Poe makes tiny actions take forever, so you wait with the narrator.
“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.”
Then, at the murder, he speeds up: “In an instant I dragged him to the floor.” The sudden change is the shock.
2. Repetition
Repeated words work like a drumbeat. “Very” appears twelve times and “louder” thirteen. Three sentences in a row end the same way:
“…but the noise steadily increased.”
3. Sound and silence
Poe makes you listen: the groan, the ticking, the shriek, the heartbeat. Silences matter just as much.
“For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down.”
4. Short sentences
At key moments the sentences shrink to a few words, like a gasp.
“He shrieked once—once only.”
“There was no pulsation. He was stone dead.”
5. Dashes and exclamations
The story has about 70 dashes and over 40 exclamation points. They break the sentences into breathless pieces, as if he can’t stop talking.
“They heard!—they suspected!—they knew!”
6. Talking to “you”
The narrator keeps grabbing your arm. You become the listener he is trying to convince, and it makes you complicit.
“Hearken! and observe…”
“…do you mark me well?”
7. One ray of light
Poe limits what we can see to a single thin beam in total darkness, so the eye looks huge.
“…a single dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.”
8. Dramatic irony
We know what is under the floorboards. The police don’t. Every friendly word they say makes the scene tighter.
“The officers were satisfied.”
See the sound grow
In the paragraph where the officers sit chatting (Part 5), “louder” appears seven times. Here they are in order, drawn bigger each time to show how the sound swells on the page.
Bonus fact: the 1843 printing opened with an epigraph from Longfellow’s “A Psalm of Life,” whose lines compare hearts to “muffled drums” beating “funeral marches to the grave.” Poe cut it later, but it shows he was thinking about hearts and drums from the start.
Quiz
Talk About It
- The narrator says “I loved the old man.” Do you believe him? What in the text supports your answer?
- Why do you think Poe never gives the narrator a name, or tells us who “you” is?
- Choose one explanation for the beating sound and defend it with two quotes.
- Find the moment where the narrator says he lay awake “night after night” too. What does this suggest about him and the old man?
- Poe wanted every word to serve one effect. Find a sentence that you think doesn’t. Then try to argue that it does.
- Write: retell one scene in under 150 words from the point of view of one of the police officers.
Sources & Credits
Story text: Edgar Allan Poe, “The Tell-Tale Heart,” in The Works of Edgar Allan Poe, Volume 2 (The Raven Edition), Project Gutenberg eBook #2148. Public domain. Different early printings vary by a few words (for example “uncontrollable terror” here, “uncontrollable wrath” in 1843). This page follows the Gutenberg text exactly.
- Edgar Allan Poe Society of Baltimore, “The Tell-Tale Heart” (text A, The Pioneer, January 1843) and text B (Broadway Journal, August 23, 1845), with publication details.
- Edgar Allan Poe Society of Baltimore, Poe’s review of Hawthorne’s Twice-Told Tales, Graham’s Magazine, May 1842 (the “single effect” quote).
- Edgar Allan Poe Society of Baltimore, Poe chronology.
- Merriam-Webster, “deathwatch”, “scantling”, “dark lantern”.
- Encyclopaedia Britannica, Gothic novel.
Colophon: the illustration of the dark room and lantern ray is original SVG art made for Jugami. The share image is made from that original SVG art. Word counts on this page (“very” ×12, “louder” ×13, about 70 dashes, 41 exclamation points) were counted from the Gutenberg text.