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The Black Cat (short story)
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"The Black Cat"
Early 20th century illustration by Byam Shaw
Author
Edgar Allan Poe
Country
United States
Language
English
Genre(s)
Horror fiction, Gothic Literature
Publisher
United States Saturday Post[1]
Media type
Print (periodical)
"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. It is a study of the psychology of guilt, often paired in analysis with Poe's "The Tell-Tale Heart".[2] In both, a murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt.
Contents
1 Plot
2 Publication history
3 Analysis
4 Adaptations
5 References
6 External links
Plot[edit]
Illustration for "The Black Cat" by Aubrey Beardsley (1894–1895)
The story is presented as a first-person narrative using an unreliable narrator. He is a condemned man at the outset of the story.[3] The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large, beautiful black cat (as described by the narrator) named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home completely intoxicated, he believes the cat to be avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of drunken rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye.
From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of perverseness." In another fit of drunken fury, the narrator takes the cat out in the garden one morning and ties a noose around its neck, hanging it from a tree where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee the premises.
The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the apparition of a gigantic cat, with a rope around the animal's neck.
At first, this image deeply disturbs the narrator, but gradually he determines a logical explanation for it, that someone outside had cut the cat from the tree and thrown the dead creature into the bedroom to wake him during the fire. The narrator begins to miss Pluto and hate himself for his actions, feeling guilty. Some time later, he finds a similar cat in a tavern. It is the same size and color as the original and is even missing an eye. The only difference is a large white patch on the animal's chest. The narrator takes it home, but soon begins to fear and loathe the creature, due to the fact that it amplifies his feeling of guilt. After a time, the white patch of fur begins to take shape and, to the narrator, forms the shape of the gallows. This terrifies and angers him more, and he avoids the cat whenever possible. Then, one day when the narrator and his wife are visiting the cellar in their new home, the cat gets under its master's feet and nearly trips him down the stairs. His rage amplified by alcohol, the man grabs an axe and tries to kill the cat but is stopped by his wife − whom, being unable to take out his drunken fury on the cat, he kills instead. To conceal her body he removes bricks from a protrusion in the wall, places her body there, and repairs the hole. A few days later, when the police show up at the house to investigate the wife's disappearance, they find nothing and the narrator goes free. The cat, which he intended to kill as well, has also gone missing. This grants him the freedom to sleep, even with the burden of murder.
On the last day of the investigation, the narrator accompanies the police into the cellar. They still find nothing significant. Then, completely confident in his own safety, the narrator comments on the sturdiness of the building and raps upon the wall he had built around his wife's body. A loud, inhuman wailing sound fills the room. The alarmed police tear down the wall and find the wife's corpse, and on its rotting head, to the utter horror of the narrator, is the screeching black cat. The terrified narrator is immediately shattered completely by this reminder of his crime, which he had believed to be safe from discovery, and the appearance of the cat. As he words it: "I had walled the monster up within the tomb!"
Publication history[edit]
"The Black Cat" was first published in the August 19, 1843, issue of The Saturday Evening Post. At the time, the publication was using the temporary title United States Saturday Post.[4] Readers immediately responded favorably to the story, spawning parodies including Thomas Dunn English's "The Ghost of the Grey Tadpole".[5]
Analysis[edit]
Like the narrator in Poe's "The Tell-Tale Heart", the narrator of "The Black Cat" has questionable sanity. Near the beginning of the tale, the narrator says he would be "mad indeed" if he should expect a reader to believe the story, implying that he has already been accused of madness.[6]
The extent to which the narrator claims to have loved his animals suggests mental instability in the form of having “too much of a good thing”. His partiality for animals substitutes “the paltry friendship and gossamer fidelity of mere Man”. Since the narrator's wife shares his love of animals, he likely thinks of her as another pet, seeing as he distrusts and dislikes humans. Additionally, his failure to understand his excessive love of animals foreshadows his inability to explain his motives for his actions.[7]
One of Poe's darkest tales, "The Black Cat" includes his strongest denunciation of alcohol. The narrator's perverse actions are brought on by his alcoholism, a "disease" and "fiend" which also destroys his personality.[8] The use of the black cat evokes various superstitions, including the idea voiced by the narrator's wife that they are all witches in disguise. Poe owned a black cat. In his "Instinct vs Reason -- A Black Cat" he stated: The writer of this article is the owner of one of the most remarkable black cats in the world - and this is saying much; for it will be remembered that black cats are all of them witches.[9] In Scottish and Irish mythology, the Cat Sìth is described as being a black cat with a white spot on its chest, not unlike the cat the narrator finds in the tavern. The titular cat is named Pluto after the Roman god of the Underworld.
Although Pluto is a neutral character at the beginning of the story, he becomes antagonistic in the narrator's eyes once the narrator becomes an alcoholic. The alcohol pushes the narrator into fits of intemperance and violence, to the point at which everything angers him – Pluto in particular, who is always by his side, becomes the malevolent witch who haunts him even while avoiding his presence. When the narrator cuts Pluto's eye from its socket, this can be seen as symbolic of self-inflicted partial blindness to his own vision of moral goodness.[7]
The fire that destroys the narrator's house symbolizes the narrator's "almost complete moral disintegration".[7] The only remainder is the impression of Pluto upon the wall, which represents his unforgivable and incorrigible sin.[7]
From a rhetorician's standpoint, an effective scheme of omission that Poe employs is diazeugma, or using many verbs for one subject; it omits pronouns. Diazeugma emphasizes actions and makes the narrative swift and brief.[10]
Adaptations[edit]
In 1910–11 Futurist artist Gino Severini painted "The Black Cat" in direct reference to Poe's short story.
The Black Cat, 1910–1911. A painting by Gino Severini
Universal Pictures made two films titled The Black Cat, one in 1934, starring Bela Lugosi and Boris Karloff, and another in 1941, starring Lugosi and Basil Rathbone. Both films claimed to have been "suggested by" Poe's story, but neither bears any resemblance to the tale, aside from the presence of a black cat.[5] Elements of Poe's story were, however, used in the 1934 film Maniac.[11]
"The Black Cat" was adapted into a 7-page comic strip in Yellowjack Comics #1 (1944).
Sept. 18, 1947, Mystery in the Air radio program with Peter Lorre as the protagonist in "The Black Cat". Note: eye is not gouged out. Instead the cat's ear is torn.
The middle segment of director Roger Corman's 1962 anthology film Tales of Terror combines the story of "The Black Cat" with that of another Poe tale, "The Cask of Amontillado."[5] This version stars Peter Lorre as the main character (given the name Montresor Herringbone) and Vincent Price as Fortunato Luchresi.
In 1970, Czech writer Ludvík Vaculík made many references to "A Descent into the Maelström" as well as "The Black Cat" in his novel The Guinea Pigs (cs).
Writer/director Lucio Fulci's 1981 film The Black Cat is loosely based on Poe's tale.
The 1990 film Two Evil Eyes presents two Poe tales, "The Facts in the Case of M. Valdemar" and "The Black Cat." The former was written and directed by George A. Romero while the latter was written and directed by Dario Argento. This version stars Harvey Keitel in the lead role.
In 1997, a compilation of Poe's work was released on a double CD entitled Closed on Account of Rabies, with various celebrities lending their voices to the tales. The Black Cat was read by avant-garde performer Diamanda Galás.
"The Black Cat" was adapted and performed with "The Cask of Amontillado" as Poe, Times Two: Twin tales of mystery, murder...and mortar—a double-bill of short, one-man plays written and performed by Greg Oliver Bodine. First produced in NYC at Manhattan Theatre Source in 2007, and again at WorkShop Theater Company in 2011. Part of the 2012 season at Cape May Stage in Cape May, NJ.
"The Black Cat" is the eleventh episode of the second season (2007) of the television series Masters of Horror. The plot essentially retells the short story in a semi-autobiographical manner, with Poe himself undergoing a series of events involving a black cat which he used to inspire the story of the same name.
In 2011, Hyper Aware Theater Company produced "The Black Cat", one of several Poe stage adaptations written by Lance Tait, as part of its “Gutterdrunk: The Poe Revisions” in New York City.[12] Ava Caridad has written that in this stage adaptation the “unreliable narrator [has been changed] from male to female”… and this narrator has been split “into two separate characters representing one person.”[13]
References[edit]
Jump up ^ Baym, Nina (2012). The Norton Anthology of American Literature, 8th Edition, Volume B: 1820-1865. New York City: Norton. p. 695.
Jump up ^ Meyers, Jeffrey (1992). Edgar Allan Poe: his life and legacy. New York City: Charles Scribner's Sons. p. 137. ISBN 0-8154-1038-7. OCLC 44413785.
Jump up ^ Hart, James D. "The Black Cat". The Concise Oxford Companion to American Literature. Oxford UP, 1986. Oxford Reference Online. Accessed October 22, 2011.
Jump up ^ Quinn, Arthur Hobson (1998). Edgar Allan Poe: a critical biography. Baltimore: Johns Hopkins University Press. p. 394. ISBN 0-8018-5730-9. OCLC 37300554.
^ Jump up to: a b c Sova, Dawn B. (2001). Edgar Allan Poe, A to Z: the essential reference to his life and work. New York City: Facts on File. p. 28. ISBN 0-8160-4161-X. OCLC 44885229.
Jump up ^ Cleman, John (2002). "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense". In Harold Bloom. Edgar Allan Poe. New York City: Chelsea House Publishers. p. 73. ISBN 0-7910-6173-6. OCLC 48176842.
^ Jump up to: a b c d Gargano, James W. "The Black Cat": Perverseness Reconsidered". Texas Studies in Literature and Language 2.2 (1960): 172-78.
Jump up ^ Cecil, L. Moffitt (December 1972). "Poe's Wine List". Poe Studies. V (2): 42.
Jump up ^ Barger, Andrew (2008). Edgar Allan Poe Annotated and Illustrated Entire Stories and Poems. U.S.A.: Bottletree Books LLC. p. 58. ISBN 978-1-933747-10-1.
Jump up ^ Zimmerman, Brett. Edgar Allan Poe: Rhetoric and Style. Montreal: McGill-Queen's UP, 2005.
Jump up ^ J. Stuart Blackton. "Maniac - Cast, Reviews, Summary, and Awards - AllRovi". Allmovie.com. Retrieved 2014-04-28.
Jump up ^ "Gutterdrunk: The Poe Revisions".
Jump up ^ Ava Caridad. “The Black Cat and Other Plays: Adapted from Stories by Edgar Allan Poe by Lance Tait”.The Edgar Allan Poe Review. Penn State University Press. 17 (1 (Spring 2016)): p. 67. Stable URL: https://www.jstor.org/stable/10.5325/edgallpoerev.17.1.issue-1
External links[edit]
Wikisource has original text related to this article:
The Black Cat (Poe)
Wikimedia Commons has media related to The Black Cat (Poe).
Project Gutenberg: The Works of Edgar Allan Poe, Volume 2
Complete Text at E A Poe Society of Baltimore
Full text on PoeStories.com with hyperlinked vocabulary words.
The Poe Decoder: The Black Cat
The Black Cat public domain audiobook at LibriVox
Illustration and description of Severini's painting.
The Black Cat reading by Gerry Hay
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Bibliography
Poems
"Tamerlane" (1827)
"Al Aaraaf" (1829)
"Sonnet to Science" (1829)
"To Helen" (1831)
"The City in the Sea" (1831)
"The Haunted Palace" (1839)
"The Conqueror Worm" (1843)
"Lenore" (1843)
"Eulalie" (1843)
"The Raven" (1845)
"Ulalume" (1847)
"A Dream Within a Dream" (1849)
"Eldorado" (1849)
"The Bells" (1849)
"Annabel Lee" (1849)"
Tales
"Metzengerstein" (1832)
"Bon-Bon" (1832)
"MS. Found in a Bottle" (1833)
"Berenice" (1835)
"Morella" (1835)
"The Unparalleled Adventure of One Hans Pfaall" (1835)
"Ligeia" (1838)
"A Predicament" (1838)
"The Devil in the Belfry" (1839)
"The Man That Was Used Up" (1839)
"The Fall of the House of Usher" (1839)
"William Wilson" (1839)
"The Conversation of Eiros and Charmion" (1839)
"The Business Man" (1840)
"The Man of the Crowd" (1840)
"The Murders in the Rue Morgue" (1841)
"A Descent into the Maelström" (1841)
"Never Bet the Devil Your Head" (1841)
"Eleonora" (1841)
"The Oval Portrait" (1842)
"The Masque of the Red Death" (1842)
"The Mystery of Marie Rogêt" (1842)
"The Pit and the Pendulum" (1842)
"The Tell-Tale Heart" (1843)
"The Gold-Bug" (1843)
"The Black Cat" (1843)
"The Spectacles" (1844)
"A Tale of the Ragged Mountains" (1844)
"The Premature Burial" (1844)
"The Oblong Box" (1844)
"The Angel of the Odd" (1844)
"Thou Art the Man" (1844)
"The Purloined Letter" (1844)
"Some Words with a Mummy" (1845)
"The Thousand-and-Second Tale of Scheherazade" (1845)
"The Imp of the Perverse" (1845)
"The System of Doctor Tarr and Professor Fether" (1845)
"The Facts in the Case of M. Valdemar" (1845)
"The Cask of Amontillado" (1846)
"Hop-Frog" (1849)
Essays
"Maelzel's Chess Player" (1836)
"The Philosophy of Furniture" (1840)
"Morning on the Wissahiccon" (1844)
"The Philosophy of Composition" (1846)
"The Poetic Principle" (1846)
Eureka: A Prose Poem (1848)
Novels
The Narrative of Arthur Gordon Pym of Nantucket (1837)
The Journal of Julius Rodman (1840)
Collections
Tamerlane and Other Poems (1827)
Tales of the Grotesque and Arabesque (1840)
Play
Politian (1835)
Other
The Conchologist's First Book (1839)
The Balloon-Hoax (1844)
The Light-House (1849)
Related
Virginia Eliza Clemm Poe (wife)
Eliza Poe (mother)
David Poe Jr. (father)
William Henry Poe (brother)
Poe Museum
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Edgar Allan Poe House and Museum
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In popular culture
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music
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Edgar Allan Poe's "The Black Cat" (1843)
Film Adaptations
The Black Cat (1934)
Maniac (1934)
The Black Cat (1941)
The Black Cat (1981)
Films
Unheimliche Geschichten (1932)
Tales of Terror (1962)
Two Evil Eyes (1990)
TV adaptations
"The Black Cat"
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Reita Faria
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Reita Faria
Born
(1943-08-23) August 23, 1943 (age 74)
Goa, India
Alma mater
Grant Medical College & Sir J. J. Group of Hospitals
King's College Hospital, London
Occupation
Model, Doctor
Height
1.73 m (5 ft 8 in)
Title
Miss Bombay 1966
Eve's Weekly Miss India 1966
Miss World 1966
Spouse(s)
Dr. David Powell (m.1971)
Children
2
Beauty pageant titleholder
Major
competition(s)
Miss Bombay 1966
(Winner)
Eve's Weekly Miss India 1966
(Winner)
Miss World 1966
(Winner)
(Best in Eveningwear)
Reita Faria Powell[1] (born August 23, 1943)[2] born to Goan parents in British Bombay (now Mumbai) is an Indian model, doctor and beauty pageant titleholder who won the Miss World title in the year 1966, making her the first Asian woman to win the event. She is also the first Miss World winner to qualify as a Doctor.
Contents
[hide]
1 Career
2 Personal life
3 See also
4 References
5 Sources
Career[edit]
Faria was born in Goa. After winning the Miss Mumbai Crown, she won the Eve's Weekly Miss India contest (not to be confused with the Femina Miss India competition, won that year by Yasmin Daji).
After her one-year tenure as Miss World, she refused modeling and films and instead concentrated on medical studies. Reita Faria was a student at the Grant Medical College & Sir J. J. Group of Hospitals where she completed her M.B.B.S. degree. Thereafter she went on to study at King's College Hospital, London. She married her mentor David Powell in 1971, and in 1973, the couple shifted to Dublin, where she started her medical practice.[3]
Reita was a judge at Femina Miss India in 1998, and has come back to judge the Miss World competition on a few occasions. For instance she was a judge along with Demis Roussos at the Miss World final of 1976 held in London where Cindy Breakespeare was crowned Miss World.
Personal life[edit]
She now lives in Dublin, Ireland, with her husband, endocrinologist David Powell, whom she married in 1971.[4] They have two children (Deirdre and Ann Marie) and five grandchildren (Patrick, Cormac, David, Maria and Johnny).[5]
See also[edit]
List Of Firsts In India
References[edit]
Jump up ^ INDIAN MIRROR - Makers of India - Women of Fame
Jump up ^ Goa Miscellania
Jump up ^ "Lost and found: Thirty newsmakers from the pages of Indian history and where they are now: Cover Story". India Today. July 3, 2006. Retrieved 2013-12-16.
Jump up ^ "The first Indian to win the Miss World title". Rediff News. 12 December 2006. Retrieved 26 June 2010.
Jump up ^ "Miss World 1966 - Reita Faria - India". Miss World. 2009. Archived from the original on 5 August 2010. Retrieved 26 June 2010.
Sources[edit]
http://www.pageantopolis.com/1960-1969.html
http://www.missworld.com
[show]
Awards and titles for Reita Faria
Awards and achievements
Preceded by
Lesley Langley Miss World
1966 Succeeded by
Madeleine Hartog Bell
Preceded by
? Eve's Weekly Miss India 1966
1966 Succeeded by
?
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Miss World titleholders (1960–1979)
Norma Cappagli (1960)
Rosemarie Frankland (1961)
Catharina Lodders (1962)
Carole Crawford (1963)
Ann Sidney (1964)
Lesley Langley (1965)
Reita Faria (1966)
Madeline Hartog-Bel (1967)
Penelope Plummer (1968)
Eva Rueber-Staier (1969)
Jennifer Hosten (1970)
Lúcia Petterle (1971)
Belinda Green (1972)
Marjorie Wallace (1973)
Helen Morgan/Anneline Kriel (1974)
Wilnelia Merced (1975)
Cindy Breakspeare (1976)
Mary Stävin (1977)
Silvana Suárez (1978)
Gina Swainson (1979)
Complete list
(1951–1959)
(1960–1979)
(1980–1999)
(2000–2019)
[hide]
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Miss World Continental Queen of Beauty titleholders (1966)
Africa
Johanna Maud Carter
Americas
Marlucci Manvailler Rocha
Asia & Oceania
Reita Faria
Europe
Gigliola Carbonara
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Major international pageant titleholders (1966)
Miss Universe
Margareta Arvidsson
Miss World
Reita Faria
Major international pageants titleholders of
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Miss India winners in the Big Four international beauty pageants
Miss Universe
Sushmita Sen (1994)
Lara Dutta (2000)
Miss World
Reita Faria (1966)
Aishwarya Rai (1994)
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