Edgar Allen Poe's The Tell-Tale Heart

Experiences of discoveries either challenge or affirm deeply held values, resulting in transformations and broadened perceptions. Within Shakespeare’s tragicomedy The Tempest, lies an exploration into the transformative power of discoveries supplemented by an examination into the relationship between one’s self and one’s world, enabling Shakespeare to renew perspectives on colonialism. However the multi-faceted nature of discoveries espouses the differing ramifications imposed upon individuals, as Edgar Allen Poe’s psychological short story, The Tell Tale Heart conversely depicts the limitations of discoveries in evoking change. Nonetheless, Poe similarly engenders fresh perspectives by widening perceptions on the human condition. Thus.. answer

Throughout the narrative, Poe employs the recurring motif of a heartbeat as a physical manifestation of the narrator’s internalised guilt. The variations in syntax and succession of short sentences in “They hear!-they suspected!-they KNEW!” emulates the rhythm of the heartbeat, allowing the audience to empathise with the narrator’s troubled conscience. Thus, Poe effectively heightens dramatic tension, adding emphasis to the epiphany “Suddenly, I knew that sound was not in my ears, it was not just inside my head!”, as the narrator, like Alonso is confronted by the immorality of actions. This self discovery, catalysed by the “three officers of the police”, symbols of moral righteousness, parallels Alonso’s realisation of his immorality after confronted by the harpy, also a symbol of justice. However antonymous to the peaceful denouement in The Tempest, epitomised by the dramatic device of Prospero’s unifying circle, representing the complete cycle of change and repentance, The Tell Tale heart is devoid of meaningful transformations. The narrator’s lack of contrition despite realising his moral corruption is underscored by the exclamatory repetitions in “Why does his heart not stop beating?! Why does it not stop?!”, wherein the anaphora “why” contradicts the fulfilling nature

Shakespeare employs the sea voyage in act 1 as a historical allusion to the age of discovery during which colonialism was spurred on by expansionist ideologies. Caliban’s harsh emotive language and parenthesis “I loved thee, and showed thee all the qualities of the isle....cursed bet that I did so” establishes the notion of exploitation reflected in the axiomatic relationship between Caliban and Prospero, master and slave. Within the imperialist construct, Caliban’s subjugation to the civilised Prospero is justified, wherein Caliban’s characterisation as a “freckled welp, hag-born...not honoured with human shape” echoes supercilious European attitudes towards natives of the “New World”. Shakespeare utilises a parody of the colonialist role in the parallel plot of Trinculo and Stephano as they encounter Caliban to reiterate the link between physical discoveries and exploitation despite simultaneously satirising colonial theory. However, through this unexpected encounter, the audience discovers Caliban’s nobility, illustrated by the use of iambic pentameter and eloquent language “be not afeared. The isle is full of noises, sounds and sweet airs”, which contrasts his previous characterisation. Through the discovery of Caliban’s true nature, audiences are forced to question the morality of colonialism that enslaves such