"The Pit and the Pendulum" | |
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Short story by Edgar Allan Poe | |
Text available at Wikisource | |
Country | United States |
Language | English |
Genre(s) | Horror Short story |
Publication | |
Published in | The Gift: A Christmas and New Year's Present for 1843 |
Publication type | Periodical |
Publisher | Carey & Hart |
Media type | |
Publication date | 1842 |
"The Pit and the Pendulum" is a short story by American writer Edgar Allan Poe and first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The story is about the torments endured by a prisoner of the Spanish Inquisition, though Poe skews historical facts. The narrator of the story describes his experience of being tortured. The story is especially effective at inspiring fear in the reader because of its heavy focus on the senses, such as sound, emphasizing its reality, unlike many of Poe's stories which are aided by the supernatural. The traditional elements established in popular horror tales at the time are followed, but critical reception has been mixed. The tale has been adapted to film several times.
The unnamed narrator is brought to trial before sinister judges of the Spanish Inquisition, charged with offenses that are never stated. As seven tall white candles on a table slowly burn down, the narrator feels his hopes of survival diminishing as well. He is condemned to death, whereupon he faints and later awakens to find himself in a totally dark room. At first the prisoner thinks that he is locked in a tomb, but then he discovers that he is in a cell. He decides to explore the cell by placing a scrap of his robe against the wall so that he can count the paces around the room, but he faints before he can measure the whole perimeter.
When he reawakens, he discovers food and water nearby. He tries to measure the cell again, and finds that the perimeter measures one hundred steps. While crossing the room, he trips on the hem of his robe and falls, his chin landing at the edge of a deep pit. He realizes that had he not tripped, he would have fallen into this pit.
After losing consciousness again, the narrator discovers that the prison is slightly illuminated and that he is strapped to a wooden frame on his back, facing the ceiling. Above him is a picture of Father Time, holding a razor-edged pendulum measuring "a foot in length from horn to horn." The pendulum is swinging back and forth and slowly descending, designed to kill the narrator eventually. However, he is able to attract rats to him by smearing his bonds with the meat left for him to eat. The rats chew through the straps, and he slips free just before the pendulum can begin to slice into his chest.
The pendulum is withdrawn into the ceiling, and the walls become red-hot and start to move inwards, forcing him slowly toward the center of the room and into the pit. As he loses his last foothold and begins to topple in, he hears a roar of voices and trumpets, the walls retract, and an arm pulls him to safety. The French Army has captured the city of Toledo and the Inquisition has fallen into its enemies' hands.
Poe makes no attempt to describe accurately the operations of the Spanish Inquisition, and takes considerable dramatic license with the broader history premised in this story. The rescuers are led by Napoleon's General Lasalle (who was not, however, in command of the French occupation of Toledo) and this places the action during the Peninsular War (1808–14), centuries after the height of the Spanish Inquisition. The elaborate tortures of this story have no historic parallels in the activity of the Spanish Inquisition in any century, let alone the nineteenth when under Charles III and Charles IV only four persons were condemned. The Inquisition was, however, abolished during the period of French intervention (1808–13).
The original source of the pendulum torture method is one paragraph in the preface of the 1826 book The history of the Inquisition of Spain by the Spanish priest, historian and activist Juan Antonio Llorente, [1] relating a second-hand account by a single prisoner released from the Inquisition's Madrid dungeon in 1820, who purportedly described the pendulum torture method. Most modern sources dismiss this as fantasy. [2] [3] [4] One theory is that Llorente misunderstood the account he heard; the prisoner was actually referring to another common Inquisition torture, the strappado (garrucha), in which the prisoner has his hands tied behind his back and is hoisted off the floor by a rope tied to his hands. [4] This method was also known as the "pendulum".
Poe places a Latin epigraph before the story, describing it as "a quatrain composed for the gates of a market to be erected upon the site of the Jacobin Club House at Paris". The epigraph was not Poe's invention; such an inscription had been reported, no later than 1803, as having been composed with the intention (possibly facetious) of having it placed on the site, [5] and it had appeared, without attribution, as an item of trivia in the 1836 Southern Literary Messenger , a periodical to which Poe contributed. [6] It does not appear, however, that the market was ever built as intended. Charles Baudelaire, a French poet who translated Poe's works into French and who viewed Poe as an inspiration, said that the building on the site of the Old Jacobin Club had no gates and, therefore, no inscription. [7]
"The Pit and the Pendulum" is a study of the effect terror has on the narrator, [8] starting with the opening line, which suggests that he is already suffering from death anxiety ("I was sick — sick unto death with that long agony"). [9] However, there is an implicit irony in the reference to the black-robed judges having lips "whiter than the sheet upon which I trace these words", which shows that he has survived and is writing the story after the events. [10] Unlike much of Poe's work, the story has no supernatural elements. [11] The "realism" of the story is enhanced through Poe's focus on reporting sensations: the dungeon is airless and unlit, the narrator is subject to thirst and starvation, he is swarmed by rats, the razor-sharp pendulum threatens to slice into him and the closing walls are red-hot. [12] The narrator experiences the blade mostly through sound as it "hissed" while swinging. Poe emphasizes this element of sound with such words as "surcingle," "cessation," "crescent," and "scimitar", and various forms of literary consonance.
Poe was following an established model of terror writing of his day, often seen in Blackwood's Magazine (a formula he mocks in "A Predicament"). Those stories, however, often focused on chance occurrences or personal vengeance as a source of terror. Poe may have been inspired to focus on the purposeful impersonal torture in part by Juan Antonio Llorente's History of the Spanish Inquisition, first published in 1817. [13] It has also been suggested that Poe's "pit" was inspired by a translation of the Qur'an (Poe had referenced the Qur'an also in "Al Aaraaf" and "Israfel") by George Sale. Poe was familiar with Sale, and even mentioned him by name in a note in his story "The Thousand-and-Second Tale of Scheherazade". Sale's translation was a part of commentary and, in one of those notes, refers to an allegedly common form of torture and execution by "throwing [people] into a glowing pit of fire, whence he had the opprobrious appellation of the Lord of the Pit." In the Koran itself, in Sura (Chapter) 85, "The Celestial Signs", a passage reads: "...cursed were the contrivers of the pit, of fire supplied with the fuel... and they afflicted them for no other reason, but because they believed in the mighty, the glorious God." [14] Poe is also considered to have been influenced by William Mudford's The Iron Shroud , a short story about an iron torture chamber which shrinks through mechanical action and eventually crushes the victim inside. Poe apparently got the idea for the shrinking chamber in the "Pit and the Pendulum" after Mudford's story was published in Blackwood's magazine in 1830. [15] [16] [17]
"The Pit and the Pendulum" was included in The Gift: A Christmas and New Year's Present for 1843, edited by Eliza Leslie and published by Carey & Hart. It was slightly revised for a republication in the May 17, 1845 issue of the Broadway Journal . [18]
William Butler Yeats was generally critical of Poe, calling him "vulgar." Of "The Pit and the Pendulum" in particular he said it does "not seem to me to have permanent literary value of any kind... Analyse the Pit and the Pendulum and you find an appeal to the nerves by tawdry physical affrightments." [19]
"The Black Cat" is a short story by American writer Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. In the story, an unnamed narrator has a strong affection for pets until he perversely turns to abusing them. His favorite, a pet black cat, bites him one night and the narrator punishes it by cutting its eye out and then hanging it from a tree. The home burns down but one remaining wall shows a burned outline of a cat hanging from a noose. He soon finds another black cat, similar to the first except for a white mark on its chest, but he develops a hatred for it as well. He attempts to kill the cat with an axe but his wife stops him; instead, the narrator murders his wife. He conceals the body behind a brick wall in his basement. The police soon come and, after the narrator's tapping on the wall is met with a shrieking sound, they find not only the wife's corpse but also the black cat that had been accidentally walled in with the body and alerted them with its cry.
"A Descent into the Maelström" is an 1841 short story by American writer Edgar Allan Poe. In the tale, a man recounts how he survived a shipwreck and a whirlpool. It has been grouped with Poe's tales of ratiocination and also labeled an early form of science fiction.
"The Murders in the Rue Morgue" is a short story by Edgar Allan Poe published in Graham's Magazine in 1841. It has been described as the first modern detective story; Poe referred to it as one of his "tales of ratiocination".
"The Tell-Tale Heart" is a short story by American writer Edgar Allan Poe, first published in 1843. It is told by an unnamed narrator who endeavors to convince the reader of his sanity while simultaneously describing a murder he committed. The victim was an old man with a filmy pale blue "vulture-eye", as the narrator calls it. The narrator emphasizes the careful calculation of the murder, attempting the perfect crime, complete with dismembering the body in the bathtub and hiding it under the floorboards. Ultimately, the narrator's actions result in him hearing a thumping sound, which he interprets as the dead man's beating heart.
"Annabel Lee" is the last complete poem composed by American author Edgar Allan Poe. Like many of Poe's poems, it explores the theme of the death of a beautiful woman. The narrator, who fell in love with Annabel Lee when they were young, has a love for her so strong that even angels are envious. He retains his love for her after her death. There has been debate over who, if anyone, was the inspiration for "Annabel Lee". Though many women have been suggested, Poe's wife Virginia Eliza Clemm Poe is one of the more credible candidates. Written in 1849, it was not published until shortly after Poe's death that same year.
"The Gold-Bug" is a short story by American writer Edgar Allan Poe published in 1843. The plot follows William Legrand, who becomes fixated on an unusual gold-colored bug he has discovered. His servant Jupiter fears that Legrand is going insane and goes to Legrand's friend, an unnamed narrator, who agrees to visit his old friend. Legrand pulls the other two into an adventure after deciphering a secret message that will lead to a buried treasure.
"The Conqueror Worm" is a poem by Edgar Allan Poe about human mortality and the inevitability of death. It was first published separately in Graham's Magazine in 1843, but quickly became associated with Poe's short story "Ligeia" after Poe added the poem to a revised publication of the story in 1845. In the revised story, the poem is composed by the eponymous Ligeia, and taught to the narrator in the fits of her death throes.
"William Wilson" is a short story by American writer Edgar Allan Poe, first published in 1839 in The Gift, with a setting inspired by Poe's formative years on the outskirts of London. The tale features a doppelgänger. It also appeared in the 1840 collection Tales of the Grotesque and Arabesque, and has been adapted several times.
The Pit and the Pendulum is a 1961 horror film directed by Roger Corman, starring Vincent Price, Barbara Steele, John Kerr, and Luana Anders. The screenplay by Richard Matheson was loosely inspired by Edgar Allan Poe's 1842 short story of the same name. Set in sixteenth-century Spain, the story is about a young Englishman who visits a foreboding castle to investigate his sister's mysterious death. After a series of horrific revelations, apparently ghostly appearances and violent deaths, the young man becomes strapped to the titular torture device by his lunatic brother-in-law during the film's climactic sequence.
The Pit and the Pendulum is a 1991 American horror film directed by Stuart Gordon and based on the 1842 short story by Edgar Allan Poe. The film is an amalgamation of the aforementioned story with Poe's "The Cask of Amontillado", and it also appropriates the anecdote of "The Sword of Damocles", reassigning it to the character of Torquemada.
"Never Bet the Devil Your Head: A Moral Tale" is a short story by American author Edgar Allan Poe, first published in 1841. The satirical tale pokes fun at the notion that all literature should have a moral and spoofs transcendentalism.
"Thou Art the Man", originally titled "Thou Art the Man!", is a short story by Edgar Allan Poe, first published in 1844. It is an early experiment in detective fiction, like Poe's "The Murders in the Rue Morgue", though it is generally considered an inferior story.
"The Business Man" is a short story by Edgar Allan Poe about a businessman boasting of his accomplishments. It was published in February 1840 in Burton's Gentleman's Magazine. The story questions the concept of a self-made man.
George Pope Morris was an American editor, poet, and songwriter.
The works of American author Edgar Allan Poe include many poems, short stories, and one novel. His fiction spans multiple genres, including horror fiction, adventure, science fiction, and detective fiction, a genre he is credited with inventing. These works are generally considered part of the Dark romanticism movement, a literary reaction to Transcendentalism. Poe's writing reflects his literary theories: he disagreed with didacticism and allegory. Meaning in literature, he said in his criticism, should be an undercurrent just beneath the surface; works whose meanings are too obvious cease to be art. Poe pursued originality in his works, and disliked proverbs. He often included elements of popular pseudosciences such as phrenology and physiognomy. His most recurring themes deal with questions of death, including its physical signs, the effects of decomposition, concerns of premature burial, the reanimation of the dead, and mourning. Though known as a masterly practitioner of Gothic fiction, Poe did not invent the genre; he was following a long-standing popular tradition.
William Mudford was a British writer, essayist, translator of literary works and journalist. He also wrote critical and philosophical essays and reviews. His 1829 novel The Five Nights of St. Albans: A Romance of the Sixteenth Century received a good review from John Gibson Lockhart, an achievement which was considered a rare distinction. Mudford also published short fictional stories which were featured in periodicals such as Blackwood's Edinburgh Magazine, Fraser's Magazine, and Bentley's Miscellany.
"The Iron Shroud" or less commonly known as the "Italian Revenge" is a short story of Gothic fiction written by William Mudford in 1830 and published in Blackwood's Edinburgh Magazine and also as a twenty four page chapbook. It is a classic predicament story about a noble Italian hero who is confined in a continuously and imperceptibly contracting iron torture chamber. In the story, the chamber walls and ceiling are slowly contracting, day by day, through mechanical means, to the point of eventually crushing and enveloping the victim, thus metaphorically becoming his iron shroud. The story is considered to have provided Edgar Allan Poe with the idea of the shrinking cell in his short story "The Pit and the Pendulum" and it is viewed as Mudford's most famous tale.
The Blood Demon, also known as The Torture Chamber of Dr. Sadism, The Snake Pit and the Pendulum, Blood of the Virgins, and Castle of the Walking Dead, is a 1967 West German horror film directed by Harald Reinl and starring Christopher Lee, Karin Dor, and Lex Barker.
"The Duc de L'Omelette" is a humorous short story by American writer Edgar Allan Poe. It was first published in the Philadelphia Saturday Courier on March 3, 1832, and was subsequently revised a number of times by the author.
The Pit and the Pendulum is a three-reel film adapted from Edgar Allan Poe's 1842 short story of the same name, directed, and produced by pioneering French filmmaker Alice Guy-Blaché through her American company Solax Studios in 1913.