The “eye” as metaphor has yielded meaning to Poe’s text, but reading it metonymically enriches the tale further. The “eye” is the virtual symptom of the female narrator’s desire to gain power in a male dominated society. In this context, it energizes the sequence of events in the tale to climax in the narrator’s confession. Since killing the old man does not grant her lasting power, she confesses to the policemen and, thus, recirculates her power. Paradoxically, in the confessional scene “she” adroitly forces the male gaze to expose the controlled violence of the patriarchy. Her aggression against the old man is an explicit assault on male domination.
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An old man with one all-seeing eye, an Evil Eye—from the plausible to the superstitious we pass in the text; perhaps further still to the mythical. One-eyed Odin, one-eyed because he sold his other for knowledge. Yet the knowledge in a father’s (or a father-figure’s) eye which a child most likely fears is the suspicion that he has been seen in a forbidden act, especially masturbation, or some other exercise of the libido. That above all seems to the young child to be forbidden, and therefore what an allseeing Eye would see. What is specified, though, is the resemblance of his one eye to that of a vulture.
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But by making the listener in “The Tell-Tale Heart” a voiceless yet clear presence, Poe effects some last minute twists which are not typical of Gothic literature, and which point instead toward a much more sophisticated esthetic. “Poe’s narrator tells a plain and simple story, which leaves no doubt that he is mad,” T. O. Mabbott says in his preface to “The Tell-Tale Heart.”1 Most readers would agree, not only because the murder of an old man seems motiveless, but also because the narrator’s confession comes across as calculated and heartless. Of course it was his own heart which the murderer heard beat.
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As woman, she reoccupies her traditional role as a submissive, victimized object, offering herself up to be scrutinized once more by the male gaze. She can, finally, never aspire to usurp this power or be outside/above the Law of the Father. Such a feminist reading shows how clearly the female is boxed into a role, making both her sexual and gender identity rigid. A feminist rereading must go beyond the unmasking of such oppression; it must seek alternate positions for the female speaking subject. Yet, ironically, the very authority of her new-found power makes her more vulnerable, more of an object of desire by others.
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Kristeva and Cixous argue that sexual identity is a metaphysical construct outside the boundaries of the text, while gender identity is based upon cultural notions of maleness and femaleness evidenced in the text. Gender identity is more fluid than the former and makes room for the crucial concept of androgyny that is central to feminist readings in demolishing the rigid patriarchal notion of what is male/female. Androgyny deconstructs crippling binary oppositions of masculinity and femininity by allowing the speaking subject to occupy either or both positions. One of Poe’s achievements in “The Tell-Tale Heart” is the special use he made of the phenomenon of acute perception. Roderick, we assume, heard and correctly identified the sound of Madeline struggling to escape from the vault “lying, at great depth,” beneath the house of Usher. And there is no reason to doubt that Monos correctly apprehended the reports of his acute synesthetic sensibilities in the period immediately following his death.
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