xii
ABSTRACT
HUGO SISTHA PRABANGKARA. A Study of the Dynamic of the Narrator’s
Unconscious Mind in Edgar Allan Poe’s “The Tell-Tale Heart”. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2015
Human psychological structure is a complex yet interesting human aspect to explore. This psychological aspect can be seen in a form of unconscious mind. Sometimes, absurd and abnormal actions can be seen, and it simply called abnormal
behavior or mental disorder. Edgar Allan Poe’s “Tell-Tale Heart” is the work that is used to discuss this issue.
As material of discussions, the problem formulation consists of three questions. The first question is about the presentation of the narrator by the author. Then, the symbols that can be found in the story are mentioned and elaborated. At
last, the symbols in the story used to reveal the dynamic of the narrator’s unconscious
mind. To answers those question, some theories such as Freud’s id, ego and superego; and theory of symbol is used. Those questions are also answered by using psychoanalysis approach.
The result of the analysis shows symbols that related to the dynamic of the
narrator’s unconscious mind. Symbols such as, the old man, the old man’s eye, the bed and the bedroom, the heartbeat, the watch, and the murder. From the analysis it
shows that the dynamic of the narrator’s unconscious mind leads to the murder of the
xiii
ABSTRAK
HUGO SISTHA PRABANGKARA. A Study of the Dynamic of the Narrator’s
Unconscious Mind in Edgar Allan Poe’s “The Tell-Tale Heart”. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. 2015
Struktur psikologis manusia adalah salah satu aspek manusia yang kompleks dan menarik untuk di pelajari. Fungsi psikologis ini dapat terlihat dalam bentuk alam bawah sadar seseorang.Tindakan-tindakan yang dianggap tidak rasional dapat dikatakan sebagai bentuk psikologis yang menyimpang. Hal ini dapat disebut sebagai penyakit jiwa. Karya Edgar Allan Poe berjudul “The Tell-Tale Heart” menjadi objek diskusi tulisan ini.
Untuk materi diskusi, rumusan masalah disusun dalam tiga pertanyaan. Pertanyaan pertama adalah pembahasan penyajian tokoh narator di cerpen ini. Dari kutipan-kutipan narator, dapat terlihat symbol-simbol. Oleh karena itu, pertanyaan kedua berfungsi sebagai pembahasan simbol dari cerpen ini. Pertanyaan ketiga membahas alam bawah sadar narator yang dinamis lewat simbol-simbol yang ada. Untuk menjawab rumusan masalah di atas teori-teori seperti teori id, ego, dan super ego dari Freud, dan teori simbol digunakan. Rumusan masalah di atas juga akan di elaborasi menggunakan pendekatan psikoanalisis.
A STUDY O
F THE DYNAMIC OF THE NARRATOR’S
UNCONSCIOUS MIND
IN EDGAR ALLAN POE’S “
THE TELL-TALE HEART
”
AN UNDERGRADUATE THESIS
Presented as Partial Fullfilment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By:
HUGO SISTHA PRABANGKARA Student Number: 104214046
ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
ii
A STUDY OF THE DYNAMIC OF THE NARRATOR’S UNCONSCIOUS MIND
IN EDGAR ALLAN POE’S “
THE TELL-TALE HEART
”
AN UNDERGRADUATE THESIS
Presented as Partial Fullfilment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By:
HUGO SISTHA PRABANGKARA Student Number: 104214046
ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
v
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma
Nama : Hugo Sistha Prabangkara
Nomor Mahasiswa : 104214046
Demi pengembangan ilmu pengetahuan, saya memberikan kepada perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul
A STUDY OF THE DYNAMIC OF THE NARRATOR’S UNCONSCIOUS MIND IN EDGAR ALLAN POE’S “THE TELL-TALE HEART”
Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal 1 September 2015
Yang menyatakan
vi
STATEMENT OF ORIGINALITY
I certify that this undergraduate thesis contains no material which has been previously submitted for the award of any other degree at any university, and that, to the best of my knowledge, this undergraduate thesis contains no material previously written by any other person except where due reference is made in the text of the undergraduate thesis
Yogyakarta, September 1, 2015
vii
“T
o know, is to know that you know
nothing. That is the meaning of a true
viii
I dedicated this work for my parents, my siblings,
ix
ACKNOWLEDGEMENTS
I address my gratitude to my undergraduate thesis advisor and co-advisor, Dr. F.X.Siswadi, M.A and Dra. A. B. Sri Mulyani, M.A.,Ph.D, who always been so critical and helpful throughout my thesis consultation. I also thank Anna Fitriati, S.Pd.,M.Hum as academic advisor for her helps and supports in throughout my study.
I give my deepest gratitude to my parents, B.M. Purwanto and Elisabeth Theris Andriani who love me, and support me throughout the process of my education. I also thank my brother, Mas Iwang, and my sister-in-law, Mbak Yossy, and my lovely sister, Mayang for being wonderful siblings for me.
I also thank my best friends; Matheus, Eko, and Tola for being wonderful persons who always support me through my study. This thesis is also dedicated to all of my friends from B-Sasing 2010 who always here to help me and have fun with me. I give my gratitude to amazing and inspiring persons from Teater Seriboe Djendela whom without their touch of creativity, I will not be able to express my feelings freely. Finally, I give my final gratitude to my lovely friends from OMK St. Aloysius Gonzaga Gesikan who always help me to develop my personality into a more mature person than before.
x
TABLE OF CONTENTS
TITLE PAGE ……… ii
APPROVAL PAGE ………... iii
ACCEPTANCE PAGE ……….. iv
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .... v
xi
C. The Revelation of the Dynamic of the Narrator’s Unconscious Mind through the Symbols in the Story……….. 34
CHAPTER V: CONCLUSION……….……..….... 42
xii
ABSTRACT
HUGO SISTHA PRABANGKARA. A Study of the Dynamic of the Narrator’s
Unconscious Mind in Edgar Allan Poe’s “The Tell-Tale Heart”. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2015
Human psychological structure is a complex yet interesting human aspect to explore. This psychological aspect can be seen in a form of unconscious mind. Sometimes, absurd and abnormal actions can be seen, and it simply called abnormal behavior or mental disorder. Edgar Allan Poe’s “Tell-Tale Heart” is the work that is used to discuss this issue.
As material of discussions, the problem formulation consists of three questions. The first question is about the presentation of the narrator by the author. Then, the symbols that can be found in the story are mentioned and elaborated. At last, the symbols in the story used to reveal the dynamic of the narrator’s unconscious mind. To answers those question, some theories such as Freud’s id, ego and superego; and theory of symbol is used. Those questions are also answered by using psychoanalysis approach.
xiii
ABSTRAK
HUGO SISTHA PRABANGKARA. A Study of the Dynamic of the Narrator’s
Unconscious Mind in Edgar Allan Poe’s “The Tell-Tale Heart”. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma. 2015
Struktur psikologis manusia adalah salah satu aspek manusia yang kompleks dan menarik untuk di pelajari. Fungsi psikologis ini dapat terlihat dalam bentuk alam bawah sadar seseorang.Tindakan-tindakan yang dianggap tidak rasional dapat dikatakan sebagai bentuk psikologis yang menyimpang. Hal ini dapat disebut sebagai penyakit jiwa. Karya Edgar Allan Poe berjudul “The Tell-Tale Heart” menjadi objek diskusi tulisan ini.
Untuk materi diskusi, rumusan masalah disusun dalam tiga pertanyaan. Pertanyaan pertama adalah pembahasan penyajian tokoh narator di cerpen ini. Dari kutipan-kutipan narator, dapat terlihat symbol-simbol. Oleh karena itu, pertanyaan kedua berfungsi sebagai pembahasan simbol dari cerpen ini. Pertanyaan ketiga membahas alam bawah sadar narator yang dinamis lewat simbol-simbol yang ada. Untuk menjawab rumusan masalah di atas teori-teori seperti teori id, ego, dan super ego dari Freud, dan teori simbol digunakan. Rumusan masalah di atas juga akan di elaborasi menggunakan pendekatan psikoanalisis.
1
CHAPTER I INTRODUCTION
A. Background of the Study
“what is considered abnormal or deviant in one decade may not be considered abnormal or deviant a decade or two later. At one time, homosexuality was classified as a mental disorder. But this is no longer the case. And 20 years ago, pierced noses and navels were regarded as highly deviant and prompted questions about a person’s mental health. Now, however, such adornments are quite commonplace, are considered fashionable by many, and generally
attract little attention…” (Butcher, Mineka, and Hooley., 2010: 4)
The elaboration of abnormal psychology is necessary because it is related with the topic of this study since the conclusion of this study is determined based on the narrator’s characteristics. The choice of “The Tell- Tale Heart” as the object of study
is based on the observable characteristics of the character called the narrator. From the observable characteristic of the narrator, the narrator’s psychology development can be seen and from there the reflection of the dynamic of the unconscious can be elaborated.
The relation between psychology and literature is very close. For example the term Oedipus complex derived from a classic literary work written by Sopochles, Oedipus Rex. According to Freud, paraphrased by Kendra Cherry in Psychology.about.com, Oedipus complex refers to psychosexual stages of development to describe a boy’s extreme desire for his mother. This behavior leads
the boy to envy and angry at his father for the possession of the mother. From here it can be seen that the terms ‘Oedipus Complex’ comes from Sophocles’ ‘Oedipus Rex’. This is proven to be the relation between psychology and literature and this
“The Tell-Tale Heart” is one of Edgar Allan Poe’s works. In this story the
gender of the narrator is unknown and it is told that the narrator lives with the other character, the old man. The relationships between the two are like father and son/daughter. However in this story, it is told that the old man’s eye frightened the narrator. Moreover, the extreme fear towards the old man’s eye influences the narrator’s personality and psychological development in the story, and then the same
extreme fear triggered the narrator to kill the old man.
This study is written to give a different angle based on a thesis from Magdalen Wing-Chi Ki. Ki relates the narrator’s motive in Poe’s “The Tell-Tale Heart” with the Ego Evil. Ki’s briefly explains how Ego Evil influenced the narrator action by using the Ego perspectives in the story. However, the stages of the narrator’s motive in Ki’s study are unclear, and the clearance of the narrator’s stages in this study is explained.
B. Problem Formulation These are the research questions:
1. What are the narrator’s characteristics presented in the story? 2. What are the symbols in the story?
3. How do the symbols reveal the dynamic of the narrator’s unconscious mind? C. Objectives of the Study
characteristics of the narrator, the dynamic of the narrator unconscious mind is elaborated. From the dynamic of the narrator unconscious mind, the symbols is mentioned and elaborated. After the symbols is mentioned and elaborated, the narrator’s motive is revealed through the collaboration between the symbols and the
narrator dynamic of the unconscious mind. D. Definition of Terms
To help readers’ understanding, psychological terms in this study will be
elaborated, such as psychoanalysis and the unconscious and the conscious. Psychoanalysis, according to Peter Gay (1995) in Freud: A Life for Our Time, is a theory developed by Sigmund Freud using an investigation method to undermined human behavior for psychological or emotional problem. The examples of the analysis are neo-analysis, object relations, ego psychology, self psychology, and inter-subjectivity.
CHAPTER II
REVIEW OF LITERATURE
A. Review of Related Studies
This thesis is influenced by a thesis written by Veronika Deni Ambarwati (2006). In her research, the comparison between the dynamics of the character’s psychological aspect in Poe’s “The Black Cat” with “The Tell-Tale Heart” is
highlighted. However, in this study the dynamic of the narrator’s unconscious mind is explained.
Meanwhile, there is another related study from Yamin Liang. Liang briefly analyzed Pride and Prejudice’s main character, Elizabeth. In the analysis, the main character’s id, ego, and superego is identified from several aspects such as the pursuit
of love, the act of prejudice against Mr. Darcy, and her attitude development towards Wickham. The goal of Liang’s study is to help readers enjoy the literary works from
its psychological aspects.
The idea of ego is highlighted in an analysis written by Magdalen Wing-Chi Ki. It is stated in her thesis that the narrator embarks series of EgoEvil. EgoEvil according to Ki (2008) is a manifestation of a selfish deed that leads to greed and series of selfish calculation.
“In my view, “The Tell-Tale Heart” foregrounds different stages of EgoEvil
enigmatic gaze of the other.” (Ki, Magdalen Wing-Chi, 2008:2). It can be seen that Ki’s study focused on the Ego aspect of the narrator. Furthermore, Ki also stated that
the action of the narrator influenced by the act of the EgoEvil.
Another related study is a study written by Andrea Schaumlöffel (2010). The point of this study is to analyze the rhetorical structure and to explain the rhetorical devices of Poe’s “The Tell-Tale Heart”in the narrator’s confession.
“On the basis of the interpretations above, we can see that “The Tell-Tale Heart” gives much leeway for exegesis. Interestingly enough, this full range of well-founded views can only be possible because of the lack of information: We do not know who the narrator is, or in which relationship he or she stands with the old man, neither where and how they exactly live, nor
why this tale is actually told.” (Schaumlöffel, 2010: 9)
According to the quotation above it can be seen that Andrea Schaumlöffel (2010) concludes that the object of study gives too much room for another interpretation and concludes that this happens because of the story’s lack of information.
B. Review of Related Theories
1. Relation between Psychology and Literature
According to Eagleton (1996), there are four kinds of psychoanalytical literary criticisms depends on the matters. First is the matter of the author of the work, second is to the work’s contents, the third is the matter of the work’s formal construction, and lastly the matter of the reader. The first two are the most common, and the most problematic ways because analyzing the author tends to be more speculative. Moreover, if the first two is used, the main problem is to highlight between the author’s intentions with the relevance of the literary work. (Eagleton,
1996: 155) However, the analysis of the author is dismissed in this study.
In this study the goal of the analysis is the contents of the works includes character’s characteristics and symbols. It is, according to Eagleton, giving responses to the character(s)’s motivations or the relevancies of the psychoanalytical
of a certain event. To be more convincing, Eagleton’s explanation can be seen in this passage; “Psychoanalytical criticisms, in other words, can do more than hunt the phallic symbols: it can tell us something about how literary texts are actually formed, and reveal something of the meaning of that formation.” (Eagleton,
psychology and literature theory is used to make sure that this study stay on its track and keeps its perspectives in the literary aspect of the analysis.
2. Theory of Character
Character is one of the most important aspects in narrative or dramatic text. It represents the struggles and the dynamics of the plot. Therefore, character plays a big role in this story.
According Abrams (1999), characters are the representation of narrative or dramatic text interpreted by readers and being built with moral values, logic, and emotional values reflected in his or her dialogues. From this summary from Abrams, the identification of how does the main character in Poe’s “ Tell-Tale-Heart” presented is explained. Based on its importance, characters are divided into two types, ‘major character’, and ‘minor character’.
Major character is a character that has a bigger role in the storyline, and the plot is always directly or indirectly influenced by this character. Minor character is a character that has a smaller role in the storyline, it is also known as the supporting character. The classification above may helps the analysis of the dynamic of the unconscious mind from the main character.
3. Theory of Characterization
Character and characterization are two things that cannot be separated. Characterization is a process of character’s creation by the author (Rohrberger,
Wood, 1971). When author creates a character, he or she may use two ways. Direct means or Dramatic means. Direct means tend to describe physical appearance, intelligence, of a character. While dramatic means tend to describe the persona of the character ways of speaking (Rohrberger, Wood, 1971). This theory is being used because both direct and dramatic means facilitate this study to elaborate the character’s characterization.
4. Theory of Point of View
To understand the point of view of the character, theory of point of view is used. According to Abrams (1999), point of view determines the way the story told.
“signifies the story gets told –the mode (or modes) established
by an author by means of which the reader is presented with the characters, dialogues, actions, settings, and events which constitute the narrativein a work of fiction” (Abrams, 1999:231)
Point of view in narrative is important in this study because it shows the character’s perspectives and the narrative style of the narrator and the foundation of
the way the story gets told.
narrative modes, third person point of view, first person point of view, and second person point of view.
In a third person point of view, the narrator can be seen as someone from outside the story who addresses the character(s) by name or pronoun (he, she, and they). Third person point of view can be classified into two more style by characteristics. First is the Omniscient third person point of view. According to Abrams (1999), Omniscient third person point of view is a characteristic of third person point of view that focuses on the god-like narrator. It means that the narrator knows everything about the story, and the character(s). Second style is limited point of view. “The narrator tells the story in the third person, but stays inside the confines
of what is perceived, thought, remembered, and felt by a single character (or at most by very few character) within the story.” (Abrams, 1999:232-233)
In the first person point of view, the narrator speaks as “I” in the story and
considered having a weaker knowledge of the story. “This mode insofar as it is consistently carried out, limits the matter of the narrative to what the first person narrator knows experiences, infers, or can find out by talking to other characters.”
(Abrams, 1999:233-234).
Finally, in the second person point of view, the narrator is addressed throughout the story by using second pronoun “you”.
what he or she is now doing, has done in the past, or will or is commanded to do in the future.” (Abrams, 1999:234)
According to Abrams (1999), this form of narration can be seen quite often in some traditional fictions, or passages in the Bible. However, this narrative style is rarely used in modern fiction.
5. Theory of Unreliable Narrator
Poe’s “The Tell-Tale Heart” brings the figure of the narrator. The
characteristics and characterization theories help this study to see beyond the dynamic of the narrator’s unconscious mind through his various quotations.
However, the determination whether the narrator is reliable or not cannot be proven with such theories. Therefore, the theory of unreliable narrator becomes the crucial means to determine this argument.
The earliest definition of unreliable narrator is suggested by Wayne C. Booth in The Rhetoric of Fiction (1961). Booth (1961) suggests that there are two kinds of narrator, reliable narrator and unreliable narrator. “…I have called a
narrator reliable when he speaks for or acts in accordance with the norms of the work (which is to say the implied author's norms), unreliablewhen he does not.” (Booth, 1961:158).
There is another explanation by Rabinowitz (1977). He suggests that a narrator is considered unreliable when he/she lies.
conceals information, misjudges with respect to the narrative audience – that is, one whose statements are untrue not by the standards of the real world or of the authorial audience but by the standards of his own narrative audience.”(Rabinowitz, 1977)
Moreover, signals of unreliable narrator can be seen in Nunning’s But why will you say that I am mad?: On the Theory, History, and Signals of
Unreliable Narration in British Fiction.
First are intratextual signs. It means that the narrator contradicts him/herself. It manifests in unusual behavior such as; sudden memory loss and series of lies. Second are extratextual signs. It means that the narrator shows contradiction to the reader’s logic through impossible deeds such as action of
murder. Finally is the literary competence of the reader, knowledge of literary types and stylistic devices used in literary works. By using this theory the narrator’s unreliability characteristics can be explained.
6. Theory of Symbol
In Abrams’s Glossary of Literary Terms it is said that symbol is referred
Moreover, according to Myers and Simms (1989) in The Longman Dictionary of Poetic Terms, imagination of the author is a guidance to help readers understand the story. There are three terms of symbols according to Myers and Simms. The first symbol is cultural symbol, in which a natural object refers to limited interpretations that exceed cultural canon. The example of this symbol is the use of Keris as fashion statement in Javanese culture.
The second symbol is general symbol. It is a symbol projected to small number of people and it contains associative meanings. For example is the use of index finger and middle fingers as the sign of peace. The last symbol is private symbol, in which it is privately created by the author from the author’s
imagination, and it is more contextual (Myers-Simms. 1989:98). The use of theory of symbol in this study is to reveal the dynamic of the narrator’s unconscious mind.
L.Perrine (1974) also suggests another explanation of symbol. Perrine said that symbol is something which has more meanings than what it is. It may represent an object, an action, a person, a certain situation or some other items that may contain literal meaning in a particular story but may also represent other meanings as well (Perrine, 1974:213).
seen through repetition, emphasis, or position. Without those consistencies, the reader cannot interpret the meaning symbolically (Perrine, 1974: 214).
Second, the meaning of a symbol must be contextually supported by the story. If a symbol has its significant meaning outside of the story, then it may not work in the story (Perrine, 1974: 214). Third, a symbol must represent a different meaning from its literal meaning. Therefore, a symbol is more than just a representative form of its word class (Perrine, 1974:215). Fourth, the variation of meanings may occur in symbol. It means a variation of meanings based on the context of the story (Perrine, 1974: 215).
From the elaboration above, in general, Perrine (1974) suggests that to be called symbol, series of evidence must be provided by the story and those series of evidence must be contextually supported by the story. Having series of different meanings or interpretations are also important for an object to be called a symbol.
7. Id, Ego, and Super Ego
According to Freud’s Neurosis and Psychosis (1975), id is the primary
pleasure.” (Freud.1975:147-154). The same subject also can be seen in Jess Feist and Gregory J. Feist’s Theories of Personality, the human mind consists of three
parts: the id, the super-ego, and the ego. The id is the center of instinctual desires and does not have any direct contact with the reality. However, the id controls the tension with the instinctive pleasure. The state of a newborn baby is one simple way to explain the id. A newborn baby is the representation of the id that has not been spoiled with the limitations from Ego or Superego. A newborn baby does not care whether or not the mother produces breast milk or not. The baby will clench on the mother breast. The baby cannot cope with the fact that the mother cannot produce milk. It is an example that the id never compensate with the reality. At last, it can be concluded that the id is a primitive, unorganized, immoral, and chaotic part of the mind. (Feist and Feist. 2006: 26-27)
reality principle because ego can be half-conscious and half-unconscious, and half-preconscious. Therefore it is able to make decision for each of these three levels. (Feist and Feist. 2006: 27-28)
According to Freud (1975), Superego is the opposite of id, and the moral side of the Ego which tends to seeks perfection through the conscious. Superego becomes the moral function and retaliates against immorality through guilt. However, since Superego works primitively, it cannot sustain the truth of the reality. (Freud.1975:147-154) The explanation of id, ego, and superego above helps to elaborate the character’s psychological tendencies by using character’s dialogues as the objects.
The id, ego, and superego in unconscious are observable. Freudian analyst suggests that id, ego and superego are considered as aspects of unconscious mind which what this study focus on. These aspects functions perfectly in the unconscious mind. Therefore, the use of id, ego, and superego theory is crucial in the analysis of this study.
8. Death anxiety
“Death anxiety” is a term used to conceptualize the apprehension
him/herself into adaptive mode and in this mode their emotion urged them to survive. This survival mode occurs because this particular person detects a considerable threat which then leads into anxiety.
Cognitive urged a person to predict and anticipate his/her future condition. In this attribute, recognition, and imagination of dying process shall overwhelmed a person then there will be death salience or a reminder of mortality. In experiential attribute, a person will deny his/her death and associate less threatening material as his/her distraction. Throughout the time, this behavior urged a person to avoid emotional bonds to others and may turn into cynical being towards life and adulthood. This behavior usually started with identity crisis. Socio-cultural shaping is a dimension of death anxiety which shaped up a person based on his/her cultural background. It means that this person will accept death according to what society or culture does him/she lives in.
Second type of death anxiety is Predation death anxiety. Langs (2004) suggests that predation death anxiety may lead to dangerous actions such as violence to others. This condition also accompanied by unconscious guilt.
The final type of death anxiety is Existential death anxiety. According to Langs (2004), existential death anxiety comes from a basic knowledge that all living creatures shall be dead eventually. This condition is considered the most powerful one. According to Lang (2004), a recipient defends his/her condition through series of denials.
C. Theoretical Framework
In this study, the relation of psychology and literature, theory of character, theory of characterization, id, ego, superego; and theory of symbol are used to answer the problem formulation. Theory of character, theory of characterization and theory of unreliable narrator are applied in this study to elaborate the narrator’s presentation in this short story. The point of view, later on, used to examine the way the stories told.
This study uses the narrator’s point of view and quotations. From there by
using theory of symbol, symbols that considered important for the analysis is elaborated and explained with series of the narrator’s quotations as proof. After the elaboration of symbols the dynamic of the narrator’s unconscious mind is explained
CHAPTER III METHODOLOGY
A. Object of Study
The object of this study is Edgar Allan Poe’s “The Tell-Tale Heart”. This short
story is first published in January 1843. Since then this short story became a classic-gothic-prose and this short story considered by many as one of Poe’s most famous works. This story influenced many writers and there are even some screen adaptations of this short story, such as “Tell-Tale”, this is a 2009 thriller film produced by Ridley Scott and Tony Scott.
Edgar Allan Poe’s “The Tell-Tale Heart” is a story about a person acting as the
narrator and telling his side of the story. Actually, the gender of the main character or the narrator is unstated but in this study, it is referred as a male person. In the story, he kills the old man not because he loathed the old man or the old man loathed him but it was simply because the old man’s terrifying eye. The narrator keeps fixating his
story to this paranoia and yet he claims that he’s not insane. Furthermore, at the end of the story the narrator confesses his action after two policemen investigate the house.
The narrator’s unreliable speeches are the focus of this analysis. From that
symbols that lie within the story are described and elaborated. At last, the dynamic of the narrator unconscious mind is explained by theory of id, ego, and super-ego. B. Approach of Study
For this research, Freudian Psychoanalytic approach is used. In Freudian psychoanalytic approach there are five distinctive features. First is the distinction between the conscious and the unconscious mind is highlighted (Barry, 2002:105).
Second, unconscious motives and feelings based on the author or the characters of the work are considered. Third, it demonstrates their presence in the literary work of classic psychoanalytic symptoms, conditions, or phases (oral, anal, phallic stage) in the scope of emotional and sexual development in infants. Fourth, psychoanalytic approach makes large-scale applications of psychoanalytic concepts to literary history in general.
theories and literature theories are implemented and connected by the use of relation between psychology and literature theory.
C. Method of Study
This study employed library research method because this study did not use field data and only used sources from books such as book of theories, undergraduate thesis and internet references. The main or primary source of this study is the short story itself. The other sources are psychological theories, literary theories, and criticisms, such as Mary Rohrberger and Samuel H. Wood jr’s Reading and Writing
about Literature, Peter Barry’s Beginning Theory, an introduction to literary and cultural theory, M.H.Abrams’s A Glossary of Literary Terms. Seventh Edition, Butcher-Mineka-Hooley’s Abnormal Psychology Overtime, Jess Feist and Gregory J. Feist’s Theories of Personality, Eagleton’s Literary Theory; An Introduction, Wayne C. Booth’s The Rhetoric of Fiction, and also Freud’s Neurosis and Psychosis.
This method also allows several steps. The first step is thoroughly reading the short story. To identify the main character’s characteristics, Abrams’ theory of character and Rohrberger-Wood theories of characteristics is used. In this study, the narrator’s characteristics are the main focus. Therefore, theory point of view is
To prove the authenticity, this study is compared between all of the studies mentioned in the review of related studies. After that, psychoanalysis approach is used to answer the problem formulation. In this step, the data in this study is analyzed systematically based on the problem formulation sequences.
CHAPTER IV ANALYSIS
There are three parts of analysis in this section. The first part is the presentation of the narrator’s characteristics. The second are the symbols seen in the story. The third part is the revelation of the dynamic of the narrator’s unconscious mind through symbols.
A. The Narrator’s Characteristics and Point of View
In this part of analysis, the narrator as the major character becomes the vital point of the discussion. However, before examining the narrator’s characteristics, the narrator’s point of view shall be explained first.
According to Abrams (1999) there are three types of point of view, third person, first person, and second person. This story, evidently, is a product of a story that uses first person point of view which allows the narrator to be addressed as “I”. The evidence can be seen in the beginning of the story. “True! Nervous
--very, very dreadfully nervous I had been and am; but why will you say that I am mad?” (Poe, 1992:91). From the evidence the story begins with the narrator says “I”. Therefore, the narrator in this story is in fact first person point of view
narrator.
1. Insane
In this story, the major character is the narrator. The narrator is described as an emotionally unstable person and even can be declared insane. According to Tierney (2002), Insanity in general definition is a person who characterized by his abnormal behavior. Moreover, his behavior is considered as a violation to a certain moral values. The evidence of the narrator insanity lies to his strange actions towards the old man.
“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.” (Poe,1992:92)
From the quotation above, it suggests that the narrator’s unstable emotion
caused him to stalk the old man for eight nights to his bedroom only to see the old man eye. This perverted behavior is considered abnormal, and it violates certain moral values. Therefore, the narrator is truly insane. “…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…Upon the eighth night I was more than
usually cautious in opening the door…”(Poe,1992:92-93)
perverted than before. He killed the old man because of that. “He had the eye of a vulture … Whenever it fell upon me, my blood ran cold; … I made up my mind
to take the life of the old man, and thus rid myself of the eye forever.” (Poe,1992:92)
2. Unreliable
The narrator’s insane characteristics lead to acknowledgement that the
narrator is presented as an unreliable narrator. The narrator briefly tells his story and motive convincingly. However, some part of the story seems irrational.
“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.” (Poe,1992:92)
Moreover, the narrator keeps convincing the readers that his reason is rational by saying that he uninterested with the old man’s wealth, he has no
grudge, and he even says that he has no passion to kill the old man. . ” …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…”
It is mentioned that the old man’s “vulture” eye becomes the narrator’s main reason to kill the old man. This reason is considered irrational. Therefore, it can be seen that the narrator is unreliable through his extratextual sign.
“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.” (Poe,1992:92)
From series of evidence above supported by the unreliable narrator theory, the narrator in Poe’s “The Tell-Tale Heart” is declared unreliable. The Narrator
keeps telling the story in confidence and in detail manner while his actions say otherwise. This is proof that the narrator is truly an unreliable narrator.
3. “Proud” and “Confident”
Aside from the unreliable quality, the narrator is also presented as a proud and a confident person. It can be seen from his tone when he tells his action in a detailed manner. He tells his action in proud manner.
“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…”(Poe,1992:92)
Even in the night of the murders, the narrator tells his story heroically. “Upon the eighth night I was more than usually cautious in opening the door. …
narrator’s pride and confidence is shown in bizarre situations such as in his
recount of his stalking incidents, his actions of murder, and during the police officer visit. “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.” (Poe,1992:94).
The narrator’s tone of telling his stories suggests that he is truly insane. A
sane person will tell similar stories with guilt and anxiety. However, the narrator is not. Therefore, he is “proud” and “confident” in his insane behavior.
B. Symbolism in the story
Different forms of symbols may occur in a story. Generally, symbol is an attribution of object to another object which reveals different, deeper, and more significant meaning. However, an action of a person, a particular event, or spoken words may contain symbolic value. For example, “kiss” is a symbol of love relationship, “smile” as a symbol of friendship.
Symbols do shift their meanings depending on the context they are used in. “A chain”, for example, may stand for “unity” as well as “imprisonment”. Thus,
symbolic meaning of an object or an action is understood by when, where and how it is used. It also depends on who reads them.
Poe’s thrilling and gloomy style of writing can be seen in various choices of words. In “The Tell-Tale-Heart” , Poe’s employs series of symbols which have
1. The Old man
The symbol of the old man in the story is significant to the progress of the story and it related to the context of the story. Therefore, the presence of the old man in the story has certain impact to the story such as the narrator’s response
towards the presence of the old man. It can be seen through the narrator’s emphasis and repetition to the word old man.
“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.”(Poe,1992:92). From this quotation, it suggests that the narrator is intimidated by the old man’s eye. However, the old man’s eye is still a part of the old man himself and the narrator
has direct relation to the old man. Therefore, the narrator is actually intimidated by the old man too.
From the narrator’s point of view, it suggests that the presence of the old man
the story may suggests more than just death. It signifies the narrator’s way to “escape death”.
2. The Old man’s eye/ the “vulture eye”
Another symbol that may have deeper meaning is the old man’s eye or the “vulture eye”. The vulture eye is considered as a symbol because it is repeatedly
said by the narrator through emphasis.
Throughout the story, it can be seen that the old man’s eye really intimidates the narrator. Moreover, the old man’s eye really influences the narrator to murder
the old man. This irrational fear may suggest that the narrator sees the eye as something else, such as the eye of a vulture. This continuity can be seen in some of the narrator’s quotations.
“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.” (Poe,1992:92)
“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” (Poe,1992:92)
“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 simple dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye.” (Poe,1992:94)
facing death. Moreover, the fact that the narrator mentioned this three times may suggests the narrator’s anxiety and fear towards death.
3. The Watch
The watch in this story is pretty often mentioned in this story. Therefore, it may have significant means for the interpretation of the story. “A watch's minute hand moves more quickly than did mine.” (Poe,1992: 93). Watch is closely
related to time. From this relation with time, the watch in the dialog above may represent dying minutes before death. It means that the narrator slowly make his way into his inevitable doom.
“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.” (Poe,1992:94). Here for
example, the sound of the watch suggests that the old man’s death is close and inevitable.
“…now, I say, there came to my ears a low, dull, quick sound, such as a
watch makes when enveloped in cotton.”(Poe,1992:94). From the quotation, it suggests that the narrator slowly succumbs into his anxiety towards death. The anxiety is represented with the sound of the watch. Though the sound is slow, the narrator is still able to hear this particular sound.
4. The Bed and the Bedroom
The bed and bedroom are considered symbol because those two words have significant meaning in the story. Moreover, it may have other meanings beyond its original meaning.
The word bed according to Oxford Dictionary means a piece of furniture for sleeping on. Meanwhile, bedroom according to the same source is a room for sleeping in. Therefore, the bed and the bedroom may symbolize serenity and comfort. However, in this story a different perspective of symbol of bed and bedroom is given by Poe’s. It is suggests that bed and bedroom may represents
final resting place and vulnerability. It is because the narrator’s murder happens in the bedroom and on the old man’s bed.“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.” (Poe,1992:94).
5. The Action of Killing (Murder)
The murder in this story perhaps can be seen as literally taken someone life. However, according to Abrams (1999), action may have deeper meaning than the original meaning itself. Therefore, the murder of the old man in the story may suggest that it is the act of the narrator’s “retaliation” towards death. In the
death, and weakness off of his version of reality and for the narrator, it just a way to “escape death”. “He was stone dead. His eye would trouble me no more.”
(Poe,1992:95).
The action of the narrator’s desperation maneuver to “escape death” can be seen throughout the story. The narrator always mentions that the old man is a good man. However, after visualization of death seen in the old man’s eye, the narrator goes insane and stalks the old man for every night until the narrator murder the old man in the eighth night. “Upon the eighth night I was more than usually cautious in opening the door…” (Poe,1992:93), “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.”(Poe,1992:95). Then, the old man finally dies.
6. Heartbeat
Heartbeat, in its original meaning, is sign of life or the movements of the heart when the heart does its job, which is pumping blood from the blood vessels throughout the entire body of a human being. However, in this story, the old man’s heart beat may have other significant meaning to the story. It represents the narrator’s conscience and guilt.
dragging him into anxiety. Actually, the heartbeat that the narrator listens to is his heartbeat which suggests that the narrator’s conscience trying to influences
the narrator with sense of guilt.
“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.”(Poe,1992:94). Here the
quotation may suggest the narrator’s will to commit the murder. However, it is actually the conscience of the narrator and it is deflected by the narrator anxiety. Therefore, the murder is inevitable.
“Meantime the hellish tattoo of the heart increased. It grew quicker and
quicker, and louder and louder every instant… do you mark me well I have told you that I am nervous: so I am… so strange a noise as this excited me to uncontrollable terror.” (Poe,1992:92, 98). The quotations above suggest that the heartbeat truly disturb the narrator. Again, this is the sign of the narrator’s
conscience. The narrator’s conscience tries to prevent the murder. However, since the narrator’s anxiety is much stronger, the will to murder grows stronger.
After the murder, the narrator conceals the body under the floor. “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.” (Poe,1992:94).
However, the sound of the heartbeat suggests the representation of the narrator’s guilt.
As the stronger the sound goes, the guilt also grows stronger, and forces the narrator to confess his murder. "Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!"(Poe,1992:96)
C. The Revelation of the Dynamic of the Narrator’s Unconscious Mind through the Symbols in the Story
In the story the narrator is presented as an emotionally unstable person, and his unstable emotion made him an unreliable narrator. In the story, for example, he claimed that he loves the old man. “…I loved the old man. He had never wronged me. He had never given me insult…” (Poe,1992:92). This quotation, suggests the absence of the narrator’s contempt
towards the old man. However, there are other proves which contains his
From quotations above, the narrator’s true feeling towards the old man can be seen. Although the narrator says that he’s afraid of the old man’s eye,
In the previous quotation, the narrator’s fear toward the old man’s eye can be seen. The narrator’s reaction towards the old man’s eye can be seen
through the use of the word “vulture” as in “The eye of the vulture” which represents death. These feelings lead into an outlet of repressed emotion which can be gradually influenced by the narrator’s unconscious mind.
The id of the narrator played its major role where the narrator’s unconscious mind takes over his conscious mind. Since it is determined that the narrator also intimidated by the old man, he signifies the old man as symbol of a way to escape death. Therefore, he willingly commits the murder. Thus, the murder of the old man by the narrator is a clear proof that the id dominates the narrator’s mind and it clouds the narrator’s logic. Moreover, this action can also be the proof of the outlet of the repressed emotions towards the old man by narrator’s unconscious mind.
This behavior can be seen as the evidence of the dynamic of the narrator’s unconscious mind. The dynamic of the narrator’s unconscious
mind in the story is analyzed through the application of Freud’s id, ego, and superego theory. According to Freud (1975), id is the primary instinct of survival. Therefore, the murder of the old man is an action that represents the domination of id.
which considers irrational for a sane person, such as desire to “escapes death”.The narrator’s desire to “escapes death” can be seen in the quotation
below:
“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.”(Poe,1992:94)
From the quotation above, it suggests that the narrator’s id is on the rise
and it shows its domination through the narrator’s actions. For example: “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.” (Poe,1992:92)
The quotation above is the example of the narrator action that based on what his id wants. Moreover, the id eventually influenced the narrator to murder the old man. However, from this elaboration, the dynamic of the narrator’s unconscious mind still unclear. As we know, ego, according to
Freud (1975) is the decision maker. Therefore, the domination of the id in the narrator’s unconscious mind leads the ego to fulfill the id’s desire. The worse
outcome of iddomination towards ego is the narrator’s act of the murder. The narrator’s transformation can also be seen from the presence of “the
old man’s death. “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….just as I have done, night after night, hearkening to the death watches in the wall.” (Poe,1992:93) The quotations above signify the earliest
mentions of the watch. It is mentioned after the narrator stalks the old man and just before the narrator murder the old man.
The narrator’s confession of murder is followed by another mention of
the watch by the narrator.
“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.”(Poe,1992:96).
The quotation above signifies the fall of the narrator. It shows that the narrator’s anxiety leads him to his demise. He hears the sound gradually, and
it always comes and goes along with his anxiety and his conscience. It shows that the narrator superego tries to take over the dominance of the id. Thus, the struggles to confess or to conceal being imminent.
of the narrator proves that his ego actually put himself down. The ego is heavily influenced by the id, and then shows its primeval desire to survive. However, since the ego is blinded by the id, the murder is not thoroughly planned. Therefore, mistakes can be seen from the way the narrator hides the body and the narrator over confidence. These mistakes eventually give some windows opportunity for the superego to take over.
“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. “(Poe,1992:94)
In the quotation above, the action of the murder is calmly taken as the narrator says; “I then smiled gaily, to find the deed so far done” Moreover
the narrator tells his action in detail manner. However, surprisingly the superego tries to take over the id domination in a form of heartbeat.
The narrator claims that it is the sound of the old man’s heart. However,
it is actually the narrator’s heartbeat. The heartbeat represents guilt, and it is formed from the narrator’s conscience. It shows up whenever the narrator
feels anxious. This anxiety happens when the police officer interrogates him. These symbols can be seen as a representation of superego. The representation of superego in a form of heartbeat can be seen in this quotation; “But the beating grew louder, louder! I thought the heart must
In the previous quotation, it suggests that the narrator’s anxiety begins to resurface. The narrator begins to fear whether the sound can be heard by the police officer and the neighbor or not. This anxiety can be seen as the means of superego to put sense of guilt to the narrator’s unconscious mind. However, the narrator’s id still on the rise since his confidence and pride still
remain. In this part of dynamic relation, it shows that there is a struggle between id and superego in the narrator’s unconscious mind. The struggle can be seen through the quotation above, and this quotation; “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.” (Poe,1992:94).
In the previous quotation, it shows the narrator’s fear. The narrator afraid
of the sound of the beating heart and he thinks it might be heard by his neighbor and the police officers. Indeed in this quotation proves the narrator’s guilt (since the heartbeat represents conscience). However, in the
quotation afterwards, it shows no sign of remorse. The narrator, after experiencing fear, hides the body instead, and he even smiles while doing it. This bizarre reaction might show that the narrator’s id still on the rise.
to admit his action. "Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the planks! here, here! --It is the beating of his hideous heart!"(Poe,1992:96). Though in this part the narrator seems proven his guilt, it can be seen that there is still a small signs of id. It can be seen through the mention of “hideous heart.” From the tone of it, the narrator still believes his
righteous deed. Therefore, in this part, the superego only proves his dominance over id not the disappearance of id.
From the narrator’s actions, it suggests that the narrator undergoes dynamic changes. The narrator’s unconscious mind is shifting from the id
-centered to superego-centered and the ego becomes the center less position the narrator unconscious mind. Therefore, the narrator’s ego can be easily
influenced by his id and his superego and it gradually shifting from times to times.
CHAPTER V CONCLUSION
This study focuses on the problem formulation that leads to the discussion of the dynamic of the narrator’s unconscious mind in the Poe’s “The Tell-Tale Heart”. The first thing to do is to elaborate the narrator’s characteristics in this story. Then from the narrator’s speech, the description
of the old man by the narrator, and the repetition of certain words, the symbols can be seen. Finally, the symbols that relevant to the context of the story may reveal the dynamic of the narrator unconscious mind.
“The Tell-Tale Heart” main focus is the narrator. In the story the narrator addressed himself as “I”. Therefore, the narrator is presented in first
person point of view. The narrator in throughout the story can be seen as a “proud” and “confident” person. However, this presentation of the narrator is
The narrator’s speeches are mainly a means to convince the reader that
he is a sane person. However, series of symbols can be found. Furthermore, those symbols mark the unnerving repressed desire and the struggle of the unconscious mind of the narrator. Symbols that can be found are the old man represents a way to escape death, the ‘vulture’ eye represents the death, the bed and bedroom represent final resting place and vulnerability, the watch represents the countdown to the old man’s death and the narrator fall, the
heartbeat represents conscience and guilt, and the action of murder represents escaping death.
From the elaboration of the symbols, it suggests that the dynamic of the narrator’s unconscious mind is proven from the narrator’s view of death in
BIBLIOGRAPHY
Abrams, M.H., A Glossary of Literary Terms, Seventh Edition,Heinle&Heinle, Thomson Learning, Inc. Boston, Massachusetts. 1999.
Ambarwati, Veronica Deni. A Comparative Study of the Narrator’s Psychological Disorder in Edgar Allann Poe’s “The Black Cat” and
“The Tell Tale Heart”: A Psychological Study, Undergraduate
Thesis. Sanata Dharma Universtity, Yogyakarta. 2006.
Barry, Peter.The Beginning Theory: An Introduction to Literary and Cultural Theory. Manchester University Press, Manchester. 2002.
Booth, Wayne C. The Rhetoric of Fiction. University of Chicago Press, Chicago. 1961.
Butcher, James N., Jill M. Hooley, and Susan Mineka; Abnormal Psychology. Pearson, London. 2010.
De Mijola, Alain. International Dictionary of Psychoanalysis. Thomson Gale, Farmington Hill. 2005
Eagleton, Terry. Literary Theory: An Introduction Second Edition. Minneapolis: The University of Minnesota Press, 1996
Feist, Gregory J. and Jess Feist. Theories of Personality. McGraw Hill, New York. 2006.
Freud, Sigmund. The Ego and the Id. In: Standard Edition Vol.19. Vintage, 1975.
Gay, Peter. Freud: A Life for Our Time. Papermac, 1995
Ki, Magdalen Wing Chi. Ego-Evil and “The Tell-Tale Heart”. In: Renascence, Volume 61. Renascence, Milwaukee, 2008
Langs, R. Death anxiety and the emotion-processing mind, Psychoanalytic Psychology, vol. 21. Palgrave-Macmillan, London. 2004
Lehto, Rebecca Helen ; Karen Farchaus Stein. “Death Anxiety”: An Analysis of an Evolving Concept, Research and Theory for Nursing Practice: An International Journal, Vol.23, No.1, 2009.
Liang, Yamin; The Id, Ego, and Super-ego in Pride and Prejudice. In: International Education Studies. Volume 4. Canadian Center of Science and Education, 2011.
Myers, Jack and Michael Simms; The Longman Dictionaries of Poetic Terms. New York: Southern Methodist University, 1989.
Oxford Advanced Learners Dictionary, 7th Edition, Oxford University Press. Oxford, New York. 2005 Critical Inquiry. No.1. University of Chicago Press. Chicago.1977 Rohrberger, Mary and Samuel H. Woods Hr. Reading and Writing about
Literature, Random House, New York.1971.
Schaumlöffel, Andrea: The Rhetorical Structure and Possible Interpretations
of Poe’s “The Tell-Tale Heart”. In: Ruhr-Universität Bochum
