The Tell-Tale Heart
Edgar Allan Poe · 1843

The Tell-Tale Heart is one of the most famous short stories ever written. In just a few pages, Edgar Allan Poe creates a world of obsession, dread, and madness that is impossible to forget.

We are glad you are here.

Start with the vocabulary lesson — it will introduce you to the most important words in the story before you meet them in the text. Then listen to the dramatic reading. Let the language wash over you. When you are ready, read the story aloud yourself. Hearing your own voice speak Poe’s words is part of the experience.

Beneath the story you will find our analysis video, where we look closely at what makes this writing so powerful. And when the story has settled in your mind — when you find yourself still thinking about it — the exercises are waiting for you.

A note before you begin: this page is not meant to be completed in one sitting. Dip in, step away, come back. The story will still be here.

Take your time. This story rewards it.

The Tell-Tale Heart — Core Vocabulary
69 words · 8 sections · Edgar Allan Poe
1 / 69
#01
1 / 69
The Tell-Tale Heart — Advanced Vocabulary
44 words · 5 sections · Edgar Allan Poe
1 / 44
#01
1 / 44
The Tell-Tale Heart — Story
by Edgar Allan Poe
Dramatic reading
best with headphones
1

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 you the whole story.

2

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. 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! One of his eyes resembled that 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.

3

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, so 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 opening 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 had 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.

4

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 the bed, crying out — “Who’s there?”

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 night, hearkening to the death watches in the wall.

5

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 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.

And now have I not told you that what you mistake for madness is but over acuteness of the senses? — now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. 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.

6

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 neighbor! 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, 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.

7

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!

8

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 neighbor 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 victim.

9

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 definitiveness — 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. Why 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! —

10

“Villains!” I shrieked, “dissemble no more! I admit the deed! — tear up the planks! — here, here! — it is the beating of his hideous heart!”

B1 — The Tell-Tale Heart — Exercises
4 exercises · sequencing · true/false · vocabulary · gap fill
Exercise 0 / 4

Exercise 1: Story Sequencing

The events below are from The Tell-Tale Heart, but they are in the wrong order. Tap them in the correct order — first tap = 1, second = 2, and so on. Tap a numbered event again to deselect it.

    Exercise 2: True / False / Not Given

    Read each statement. Choose TRUE if the story confirms it, FALSE if the story says the opposite, or NOT GIVEN if the story neither confirms nor says the opposite.

    Exercise 3: Vocabulary in Context

    Each word below appears in the story. Read the sentence showing how the word is used, then choose the correct definition.

    Exercise 4: Fill in the Blanks

    Complete the paragraph below using words from the word bank. Tap a blank to select it, then tap a word to place it. Tap a filled blank to remove the word. There are more words than blanks — choose carefully.
    Total Score

    B2 — The Tell-Tale Heart — Exercises
    4 exercises · open cloze · near-synonyms · word families · writing
    Exercise 0 / 4

    Exercise 1: Gap Fill (No Word Bank)

    The passage below is taken and lightly adapted from The Tell-Tale Heart. Fill in each gap with one word. Think carefully about meaning, grammar, and the context around each blank.

    Exercise 2: Near-Synonym Discrimination

    The three words in each set are similar in meaning — but not identical. Choose the word that best fits each sentence. Think carefully about the difference between them.

    Exercise 3: Word Family Table

    Complete the word family table. Some forms are given — fill in the missing ones. Not every word has all four forms. Where you see a dash (—) there is no common form — leave those alone.

    Exercise 4: Short Writing Task

    Use at least five words from the box below in a short paragraph (80–100 words). Describe the narrator during the scene with the police officers — what he is feeling, how he is behaving, and what is happening inside his mind. Use the words accurately and in context.
    Word Box
    concealagitatedsuavitydissemblefrenzysuspicionhauntedbearingpacedconfess
    0 words
    Model Answer (for comparison)

    “The narrator sat in the old man’s bedroom with perfect suavity, his bearing calm and composed. He maintained his ability to dissemble, smiling and talking as though nothing was wrong. But beneath the surface he was haunted — a low sound had begun, growing louder with every minute. He paced the room, growing increasingly agitated, his mind spinning with suspicion. He was convinced the officers could hear it and were simply choosing not to say so. The sound grew into a frenzy he could no longer conceal. He could not stop himself. He did not confess — he exploded.”

    Total Score (auto-graded exercises)
    Exercise 4 (writing) is not auto-graded — compare your answer with the model above.

    C1 — The Tell-Tale Heart — Exercises
    4 exercises · literary techniques · register · text reconstruction · essay
    Exercise 0 / 4

    Exercise 1: Literary Technique Identification

    Read each extract from The Tell-Tale Heart. First, choose the literary technique being used from the list. Then write one or two sentences explaining how the technique works in this specific extract.

    Exercise 2: Register and Appropriate Use

    Each sentence uses a word from the C1 vocabulary list. Decide whether the word is used appropriately for its meaning and register. Select APPROPRIATE, INAPPROPRIATE, or DEBATABLE, and write one sentence explaining your choice.

    Exercise 3: Text Reconstruction (Restoring Register)

    The paragraph below is a simplified version of a passage from The Tell-Tale Heart. Replace each blank with a more appropriate word from the word bank that restores Poe’s original register and meaning.
    Poe’s Original
    “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.”
    Notice how the accumulation of three parallel phrases — with what caution — with what foresight — with what dissimulation — creates a rhythm that mirrors the narrator’s pride and obsession. Every word in Poe is doing work.

    Exercise 4: Defence or Prosecution

    Choose one side and write a short argument of 120–150 words. You must use at least four of the words below accurately and in context.
    Select a side above to see the prompt.
    Use at least 4 of these
    lucidparanoiadissimulationsagacitydelusioncunningconsciencehallucination
    0 words
    Model — Defence
    “To call the narrator mad is too simple. He demonstrates extraordinary lucid reasoning throughout: he plans across seven nights with patience that a truly deranged mind could never sustain. His cunning is undeniable — he conceals the body so perfectly that three trained police officers find nothing. His dissimulation during the investigation is flawless. He is not a man without conscience — it is precisely his conscience that destroys him, in the form of a sound only he can hear. This is not madness. It is a man whose sensitivity to guilt is simply beyond what the human mind can contain. He did not lose control of reality. He lost control of himself.”
    Model — Prosecution
    “Every sentence of this story is evidence of delusion. The narrator kills a man he loves for no rational reason — because of an eye. He hears sounds from heaven and hell, and later a heartbeat that no one else can detect — a classic auditory hallucination. His apparent lucidity during the planning is itself a symptom: paranoia in its most dangerous form presents as cold, methodical logic. His cunning is not proof of sanity — it is proof of a mind entirely disconnected from normal moral reality. Most damning of all: his conscience does not guide him to stop. It only arrives after the act, and it arrives as a sound. That is not a conscience. That is a mind that has already broken.”
    Total Score (auto-graded parts)
    Written explanations and the essay are not auto-graded — compare with the model answers above.