The thought that certain things in life are out of our control is an indispensable construct to understand when a individual comes into maturity. “ A Tell Tale Heart ” helps us to understand the head of a adult male whose ain deficiency of saneness is a circumstantial factor that influences and frequently dominates his ain personal picks. The oculus of “ the old adult male ” seems to move as the accelerator for his slaying. In the narrative, the chief character provinces,
“ Passion there was none. I loved the old adult male. He had ne’er wronged me. He had ne’er given me abuse. For his gold I had no desire. I think it was his oculus! Yes, it was this! One of his eyes resembled that of a vulture- a pale blue oculus, with a movie over it. Whenever it fell upon me, my blood ran cold ; and so by degrees-very gradually- I made up my head to take the life of the old adult male, and therefore rid myself of the oculus forever ” ( Poe 1206 ) .
This quotation mark strongly suggests the demand for the reader ‘s immediate apprehension that the old adult male is inculpable in his ain death. Often in literature an oculus can be used as a metaphor for perceptual experience or the individual ‘s mentality on the universe. The oculus is a trade good of the old adult male that he has no control over and from this we understand how the old adult male had no ability to forestall his ain slaying or to even understand the demand for its happening. The fact that our chief character is driven huffy by the oculus is besides tantamount because a loss of saneness is besides perceived by the reader as a loss of control. The fact that both characters are adherently blameless for their actions speaks volumes to society ‘s perceptual experience of power and the extent of free will. When we can understand the oculus as a metaphor for the ain adult male ‘s personal mentality on life, it sheds the state of affairs in an even harsher visible radiation, because the old adult male is basically come ining the environment of the chief character and go forthing his ain comfort zone. Therefore, when we as readers want to further understand the impact of power and control within this narrative, we must understand the scene that the events take topographic point in.
Although, as it has been proven, worlds can non ever order the fortunes in our lives, we can frequently take the environment that we will populate out of lives. Most worlds instinctively search for docile topographic points of sanctuary to get away from the rough worlds of life. Within this narrative, our secret plan plays out within the confines of the chief characters place. Although it is ne’er established that the house really belongs to the chief character, the predating events of the slaying suggest that the house is the lone mode of confiding the chief character ‘s dire secret. For illustration, the chief character provinces, “ But, for many proceedingss, the bosom round on with a muffled sound. This, nevertheless, did non annoy me ; it would non be heard through the wall. At length it ceased. The old adult male was dead ” ( Poe 1208 ) . From this citation, we can see that the place is a manner to envelop the direness of the state of affairs. The walls provide protection from unwanted outside influence. In stating this, we as the reader might come to the decision that frequently the pick of physical scene or advantageous environment is indispensable to the political relations of our control or power. It is besides non much of a stretch to state that the physical scene was the lone power or control that the chief character had over the state of affairs. This, of class, gives power and control to the chief character over the old adult male. Soon after, the chief character, after dismembering the old adult male ‘s cadaver, hopes to farther separate himself from unwanted admittance of his offense by burying the organic structure underneath the floor boards ( Poe 1208 ) . This strongly remarks on the narratives oversight on the issue of power because it shows us that even within the confines of the parametric quantities we set for ourselves, and even when our actions have drastic effects, the universe is full of topographic points to conceal our secrets and the parametric quantities we set for ourselves can spread out. In other words, circumstance will ever take to more circumstance or new chances. While this thought might state a batch about the universe we live in, the terminal consequence for our chief character shows us the futility of homo ‘s compulsion with power.
The antecedently established cardinal subject of this short narrative, the power of human guilt, is demonstrated highly dramatically within this short narrative. Rather than being an existent human bosom that made ceaseless noise beneath the chief character ‘s floor boards, it is alternatively a metaphor for the writhing ( or crushing ) guilt that came to fruition through the chief characters slow apprehension of the offense he had committed. The fact that the chief character ends up turning himself in, acknowledging his offense, and fring himself of such overpowering guilt, says a batch about the antecedently discussed kingdom of unmanageable fortunes. The fact that we as a society all understand that our lives will stop one twenty-four hours seems to hold two coincident effects ; either a individual ‘s picks become more fine-tuned in the hopes that they will accomplish a personal end in the allotted clip, or the individual ‘s picks lose some credibleness in a universe with one ineluctable consequence. It is evident that, for the chief character, the pick to acknowledge his offense and come to footings with his wickednesss was, in and of itself, an unanticipated consequence to an unmanageable state of affairs. From this we are one time once more, and climatically, shown an illustration of homo ‘s natural efforts to understand and set up power and control. It is the chief character ‘s last ditch attempt to order the footings and conditions of his life by trying to salve what was left of it. While it may look karmic that the chief character receives an unfavourable result, we must understand what he gained, or hoped to derive, at the terminal of the narrative. At the decision of the narrative, our chief character exclaims, “ Villainsa?¦ dissemble no more! I admit the title! Tear up the boards! – here, here! – it is the whipping of the horrid bosom! ” ( Poe 1209 ) . It is this exclaiming that expresses to us the alteration of desires for our chief character. Rather than life with the hope that his title will travel unpunished, he alternatively chooses an immediate solution for the alleviation it might convey. The alleviation that he received in acknowledging his offense assuredly felt like a breath of fresh air after such a horrifying set of events. Indeed, we all search for similar alleviation from the confines of our nerve-racking lives. The concluding edict, or effort at a show of power, by our chief character helps us better understand that instead than trying to be powerful in all state of affairss that might come our manner, we can alternatively bask the alleviation of attachment.
The thought of adhering to the will others is a hard thing for many people to make. Within the narrative, neither of our chief characters of all time bends to the will of each other, and it is with the terminal consequence that we can to the full appreciate the gravitation of the message Edgar Allen Poe hoped to relay to us. While the issue of power is reflected good within this narrative, it is merely one of many societal facets that is explored within this narrative. What can be taken from Poe ‘s geographic expedition of power, nevertheless, is a clear position of the many ways that trying to be powerful can both maneuver and destine a individual ‘s life. It reminds the reader that he or she must ever be vigilant of the picks he or she makes and the influence that he or she has upon others. What must be appreciated is that frequently the best class of control is to give up control.