“The Yellow Wallpaper” and “The Tell-Tale Heart” Comparison of Point of View

The Point of View in Edgar Alan Poe’s “The Tell-Tale Heart”

The location from which the action of a narrative is viewed and seen by the reader is referred to as the point of view. Although there are several modes of point of view, the most often cited refinements are third-person narratives and first-person narration. In their tales “The Tell-Tale Heart” and “The Yellow Wallpaper,” Edgar Alan Poe and Charlotte Perkins Gilman both use first-person narration.

Poe’s “The Tell-Tale Heart”

Poe’s “The Tell-Tale Heart” was published in 1843. According to the Poetry Foundation, Poe is “regarded as the planner of the new short story” and the creator of contemporary horror fiction. He was a master of first-person storytelling, putting confused characters’ minds to the test. Poe’s great horror tale “The Tell-Tale Heart” is a monologue told totally from the point of view of one of its characters. The narrator is a mentally unstable killer who states that he is normal notwithstanding his appalling delusions and acts that incorporate hearing his casualty’s heart beat loudly after death. Poe shapes the story’s point of view. At the point when Poe picked one of his story’s characters as the storyteller, he was utilizing a method called first-person voice. A first-person storyteller alludes to himself as “I” and may take an interest in or witness the story’s action. In “The Tell-Tale Heart,” the storyteller is the focal participant.

The First-Person Point of View in Charlotte Perkins Gilman’s “The Yellow Wallpaper”

Similarly in the “Yellow wall paper” Gilman uses first person point of view narration. As the main character’s fictional diary, the tale is told in strict first-person narration, concentrating solely on her perception, thoughts and feelings. Everything that we see or learn in the tale is separated through the storyteller’s shifting consciousness, and since the storyteller goes insane throughout the story, her impression of the truth is frequently totally inconsistent with that of alternate characters. Her obsessions and descriptions on the wallpaper as seen from her point of view, really draw readers into her downward spiral to extreme craziness. Perusers follow Gilman in her mind from a nervous condition through her gentle ensuing pleadings for alternative treatment to “crawling” through the wallpaper with her encounters which perusers get a grasp within an intense narration undoubtedly. Through Gilman, and just her is absolutely how perusers obviously knew how she felt toward the end when she says, “I have got out finally regardless of you and Jane. Also, I’ve pulled off the greater part of the paper, so you can’t return me!” (Gilman, 330). Spouse John blacked out, he had no clue she had gone that far, yet readers did. The first person point of view gives the peruser access just to the woman’s considerations, and along these lines, is constrained. The constrained perspective of this story causes the peruser to encounter a feeling of seclusion, just as the spouse feels all through the story. The perspective is additionally constrained in that the story takes places in the present, and accordingly the spouse has no advantage of insight into the past, and is never ready to really observe that the men throughout her life are a part of the reason she never gets well.

Works Cited

GILMAN, CHARLOTTE P. E. R. K. I. N. S. Yellow Wallpaper. S.l.: BLURB, 2017. Print.

Poe, Edgar A, and Patrick F. Quinn. Poetry and Tales. New York, N.Y: Literary Classics of the

U.S, 2011. Print.