Explore the techniques used by pre-twentieth century Essay

Explore the techniques used by pre-twentieth century authors to build fear and tension for the reader in three or four short stories. You must refer to the historical context. â€Å"The Black Cat,† by Edgar Allan Poe, â€Å"The Blind Man,† by Kate Chopin† and â€Å"The Tell-Tale Heart,† by Edgar Allan Poe. Usually, a black cat is an animal associated with witchcraft and black magic. And in Edgar Allan Poe’s nineteenth century short story, this is no different. They are viewed as mythical, demonic objects; objects of evil. The author’s cat is called Pluto. This name itself suggests that maybe it is a secretive animal, hidden and unknown, like the ninth planet it’s named after; nobody knows much about it. We soon learn that the cat is â€Å"entirely black, sagacious to an astonishing degree.† Much like the writer, this cat is portrayed as being wise and astute. Yet within what appears to be no time at all, the writer is fiercely describing the feline as being a â€Å"monster,† summoning hellish images into the mind of the reader. â€Å"The fury of a demon instantly possessed me† is a quotation which shows the writer’s abstract impulsiveness towards the cat. The writer abruptly grabs the â€Å"poor beat by the throat.† This kind of behavior is not associated with pets. It seems like the writer and subconsciously personified the beast, as he grabs it by the throat, instead of kicking it away like someone would expect. Once strangling the cat, Edgar Allan Poe â€Å"deliberately cut out one of its eyes.† This is extremely irrational behavior and happens so quickly. This conjures a lot of fear in the reader, and this man has suddenly taken part in a brutal, cold-blooded slaughter. The language used is very provocative and emotive throughout the story, and this is couple by a detached tone. The immediate shift from being ‘normal’ to suddenly growing mad and irrational is complex and acute. At the beginning of the next paragraph, he describes himself to be having a â€Å"feeble and equivocal feeling,† showing that he perhaps doesn’t realise what he has just done. This arouses suspicion in the reader, as we do not know what to think. Edgar Allan Poe continually tries to befriend the reader, yet he is horrific. We start to feel sympathetic towards him, and pathos is created. The man continued to present the reader with explanations and excuses for his â€Å"evil deed.† The feeling of witchcraft is echoed when he â€Å"was aroused from sleep by the cry of fire.† His house is alight, and after the blaze, people gather around. In the only wall that is left standing, an apparition of a gigantic cat. He then remembers, â€Å"that the cat had been hung in a garden adjacent to the house.† This brings the reader to try and piece together the pieces of this puzzle, but we cannot, for it is too complex. This scene creates a lot of tension in the reader. Once again, we see that this cat, from beyond the grave has managed to produce itself. It summons terror in the reader and insecurity fills Poe. One night, as the write stood, â€Å"absolutely stupefied,† he sees a black object, and it turns out to be a large black cat, almost identical to the former animal, with the exception of a large white patch. Within time, the writer starts to feel hatred towards the cat, the only thing preventing him form physically hurting it being â€Å"the remembrance of my former deed of cruelty.† Again, impulsively, the man commits a terrible act of gruesome, murderous hatred. He kills his wife, horrifically. After this, the cat seems to have vanished. Even though the man manages to conceal the body in the wall, he is overcome with fear, just as the reader, and beings to make excuses and become petrified himself. This is shown as madness, and this makes the story intense and full of tension. Allan Poe describes the police party as being â€Å"an assassination.† This instantly shows us that something bad is going to happen, as an assassination is a planned killing. The arrogance of the killer annoys the reader, yet we still feel a subconscious sympathy towards him, for he is lost within himself; â€Å"I know myself no longer.† The writer builds up a lot of tension at the end. The whole plot has been leading up to an intense crescendo, and when the writer is at the height of confidence, a â€Å"continuous scream, utterly anomalous† was heard, â€Å"only out of hell.† The re-appearance of the animal definitely doesn’t seem lie ka coincidence. We have no ide a where it is, and then, suddenly, it foils the old, murderous villain. In the nineteenth century, people believed in witchcraft. They believed in ghosts and all superstitious theories. The writer uses this to extract terror from the reader. â€Å"My original soul seemed at once, to take it’s flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame.† This quotation exploits the reader and emphasizes the views of society. The writer’s wife believed in the â€Å"ancient popular notion which regarded all black cats as witches in disguise.† It is a story of a butchering; a cold-blooded, violent execution. Throughout, the reader is tense and fearful. Tension is built up with evocative language and sudden switches of mood and tempo. In â€Å"The Blind Man,† by Kate Chopin is a confusing story. It is extremely mysterious, with perception playing a big part in what is real, and what the reader imagines. The principal character of â€Å"The Blind Man,† is represented as being wise. The fact that he â€Å"walked slowly down the street,† and he wore â€Å"an old straw hat and faded garments† does not produce an image of poorness; yet summons an illustration or superiority. In the first sentence of the story, the reader is told that he was â€Å"carrying a small red box in one hand.† This is, at first, very mysterious and we are intrigued to learn of it’s contents. The reader is also told that he is walking on â€Å"the blistering asphalt pavement,† even though there is plenty of shade on the other side of the road â€Å"where the trees where thick.† As we do not yet know that the man is blind, the reader feels insecure and suspicious about the man’s posit ion. When we find out the man is blind, the reader feels a sense of understanding, and empathizes with the old man, even though â€Å"he was not old.† The writer personifies the man’s feelings. â€Å"Hunger, with sharp fangs was gnawing at his stomach.† This seems unusual and eerie; the setting does not produce an image of fear, yet this powerful phrase ‘wakes up’ the reader and creates a tension and slight hope that something will happen. When the group of boys try and take his box away from him, he acts like anyone would. He shouts at them, and tries to get it back. The reader thinks, that when a policeman came round the corner, he would get his box back and the boys would get in trouble. However, upon â€Å"seeing that he was the centre of a disturbance, jerked him violently† and took him aside. This scared the reader as it is totally unexpected, and is preparing us for another unexpected event, yet to come. â€Å"Then, something happened.† Before we even learn the details, suspense has already been built, as the reader is told than something has happened. It doesn’t matter at this stage what it is – all that matters is that we are on the edge of our seat, waiting. Emotions run wild as we learn that whatever has happened made â€Å"the strongest men who saw it grow sick and dizzy.† This is a phrase which emphasized the brutality of the collision. Even the â€Å"superhuman effort† that the man used to try and stop his car failed. By now, the reader is unhappily excited, the action that has taken place gives an adrenaline rush and provides the reader with tense desire to find out more. As the truth is revealed, there is a complete anticlimax. It is not as we expected; it is not the blind man in the road. Even though this is a big surprise, there is no real shock. â€Å"The blind man did not know what the commotion was all about. He had crossed the street.† This final sentence of the story is unexplained and devious. It seems supernatural, as if he is acting suspicious. Edgar Allan Poe’s, â€Å"The Tell-Tale Heart† is an evocative and extremely intensifying story, filled with twists and shock. In the first sentence, suspense is built up and the writer is snappy and precise with his words. â€Å"The disease had sharpened my senses, not destroyed,† is powerful yet confusing, as usually, a disease would not improve senses or physical attributes. As this is an inexplicable statement, the reader becomes wary and suspicious of this character almost immediately, thus setting the scene for a horror story. â€Å"Passion there was none. I loved the old man.† The fact that ‘loved’ is past tense, immediately shows that something either isn’t right, or has changed. The writer proceeds to say, â€Å"Madmen know nothing. You should have seen me,† really emphasizing how scary he is. And the reader is nervous – they are completely unaware and naà ¯Ã‚ ¿Ã‚ ½ve. But even this madman has fears. And this makes is scarier for the reader, and we soon find out that a pale blue eye that â€Å"resembled that of a vulture,† made the writers â€Å"blood run cold.† This language creates a lot of anxiety and trepidation, for there is another character, powerful enough to trigger terror amongst the writer and the reader. Other phrases used, such as â€Å"I heard many things in hell† are demonic and hellish, showing that this story is likely to be dangerously horrid. The image that we have of this man being mad and out of control is shattered on the second page of the book, when he describes how it took him â€Å"an hour to place my whole head within the opening† of the door. This continues – it takes him an hour to put the lantern in until, eventually; he is standing in the doorway. This really does build tension, very slowly, because all of a sudden, the â€Å"old man sprung up in bed, crying out – â€Å"Who’s there?† This is slightly baffling, as the writer didn’t make any sounds – he â€Å"could feel the extent of my powers – of my sagacity.† Again, Edgar Allan Poe stands and waits for an hour. The old man groans, and it is a groan â€Å"of mortal terror.† The word ‘mortal’ prompts the reader to think about death and dying, also triggering the imagination – we want and need something to happen. The author then uses metaphors to add tension to the piece. â€Å"A single dim ray, like the thread of a spider† show the amount of precision; the perfection. Again, the writer refers to the eyes as being a â€Å"vulture.† Before the writer commits the sin he hears a sound. It is like a â€Å"watch makes when enveloped in cotton.† This makes us think about what this simile means. Poe stands by the mans door again, but this time for a number of minutes. The time has shortened, showing impatience and eagerness. The reader shivers with anticipation until eventually he â€Å"threw open the lantern and leaped into the room.† There is a total loss of the wit; the planning. However, it is a criminal calculation; perfectly planned. When the man is dead, the killer †dismembered the corpse.† This is a particularly provocative verb and sparks a gruesome image to enter the reader’s head. The writer believes himself to be perfect, and his audacity is arrogant. More suspense is built when the police enter. This is a great technique as the reader then feels that there is still more action to come. Again, the write is confident; â€Å"my manner convinced them. I was singularly at ease.† His head starts aching as he â€Å"fancies a ringing in my ears.† This produces confusion, and this confusing rapidly turns into excitement. â€Å"The ringing became more distinct†¦no doubt I grew very pale.† Edgar Allan Poe is hearing a noise; a familiar noise; â€Å"a sound as a watch makes when enveloped in cotton.† a sound as a watch makes when enveloped in cotton.† This repetition is extreme and the reader is overcome with anxiety. In one sense, we actually want the assassin to get away with his dastardly crime, as it will be more exciting. The fretfulness and unease continues to grow and the noise persists in booming in the ears of the poor fellow, until he lets out a roar of confession, shouting, â€Å"Villains! ‘dissemble no more! I admit the deed!† This quickfire of shouted remarks is out of desperation and guilt. The final line of the story is, â€Å"it is the beating of his hideous heart! This refers to the old, dead man. But this is also extremely ironic, and the sound that was ringing in Poe’s ears was out of guilt, and subconsciously it was his own heart. It is human nature to have fears. Lots of people have claustrophobia, and many more would hate to be buried alive. In † The Tell-Tale Heart† and â€Å"The Black Cat,† there are incarcerations and live burials. This is extremely disturbing and people in the nineteenth century would be extremely disturbed to see or hear of such events. The shock horror at the end of all three stories is graphic: the imagery produced is sensitive and detailed. Edgar Allan Poe and Kate Chopin use many different techniques and methods to build up tension and suspense. Use of effective, redolent language, and the reader’s imagination combine to force painful settings and events into the story. Nineteenth century society was brutal – there were gruesome executions and murders, and suspicious activity and witchcraft were looked down upon and punished. Conflict between logic and instinct in characters puts strain and pressure on the reader. Confusion and unexpected twists in the complex plots produce fear and total anxiety in the reader.