The Black Cat

FOR THE MOST wild, yet most homely narrative which I am about to pen, I neither expect nor solicit belief. Mad indeed would I be to expect it, in a case where my very senses reject their own evidence. Yet, mad am I not—and very surely do I not dream. But tomorrow I die, and today I would unburthen my soul. My immediate purpose is to place before the world, plainly, succinctly, and without comment, a series of mere household events. In their consequences, these events have terrified—have tortured—have destroyed me. Yet I will not attempt to expound them. To me, they have presented little but Horror—to many they will seem less terrible than baroques. Hereafter, perhaps, some intellect may be found which will reduce my phantasm to the common-place—some intellect more calm, more logical, and far less excitable than my own, which will perceive, in the circumstances I detail with awe, nothing more than an ordinary succession of very natural causes and effects.

From my infancy I was noted for the docility and humanity of my disposition. My tenderness of heart was even so conspicuous as to make me the jest of my companions. I was especially fond of animals, and was indulged by my parents with a great variety of pets. With these I spent most of my time, and never was so happy as when feeding and caressing them. This peculiar of character grew with my growth, and in my manhood, I derived from it one of my principal sources of pleasure. To those who have cherished an affection for a faithful and sagacious dog, I need hardly be at the trouble of explaining the nature or the intensity of the gratification thus derivable. There is something in the unselfish and self-sacrificing love of a brute, which goes directly to the heart of him who has had frequent occasion to test the paltry friendship and gossamer fidelity of mere Man.

I married early, and was happy to find in my wife a disposition not uncongenial with my own. Observing my partiality for domestic pets, she lost no opportunity of procuring those of the most agreeable kind. We had birds, gold fish, a fine dog, rabbits, a small monkey, and a cat.

This latter was a remarkably large and beautiful animal, entirely black, and sagacious to an astonishing degree. In speaking of his intelligence, my wife, who at heart was not a little tinctured with superstition, made frequent allusion to the ancient popular notion, which regarded all black cats as witches in disguise. Not that she was ever serious upon this point—and I mention the matter at all for no better reason than that it happens, just now, to be remembered.

Pluto—this was the cat's name—was my favorite pet and playmate. I alone fed him, and he attended me wherever I went about the house. It was even with difficulty that I could prevent him from following me through the streets.

Our friendship lasted, in this manner, for several years, during which my general temperament and character—through the instrumentality of the Fiend Intemperance—had (I blush to confess it) experienced a radical alteration for the worse. I grew, day by day, more moody, more irritable, more regardless of the feelings of others. I suffered myself to use intemperate language to my wife. At length, I even offered her personal violence. My pets, of course, were made to feel the change in my disposition. I not only neglected, but ill-used them. For Pluto, however, I still retained sufficient regard to restrain me from maltreating him, as I made no scruple of maltreating the rabbits, the monkey, or even the dog, when by accident, or through affection, they came in my way. But my disease grew upon me—for what disease is like Alcohol!—and at length even Pluto, who was now becoming old, and consequently somewhat peevish—even Pluto began to experience the effects of my ill temper.

One night, returning home, much intoxicated, from one of my haunts about town, I fancied that the cat avoided my presence. I seized him; when, in his fright at my violence, he inflicted a slight wound upon my hand with his teeth. The fury of a demon instantly possessed me. I knew myself no longer. My original soul seemed, at once, to take its flight from my body; and a more than fiendish malevolence, gin-nurtured, thrilled every fibre of my frame. I took from my waistcoat-pocket a pen-knife, opened it, grasped the poor beast by the throat, and deliberately cut one of its eyes from the socket! I blush, I burn, I shudder, while I pen the damnable atrocity.

When reason returned with the morning—when I had slept off the fumes of the night's debauch—I experienced a sentiment half of horror, half of remorse, for the crime of which I had been guilty; but it was, at best, a feeble and equivocal feeling, and the soul remained untouched. I again plunged into excess, and soon drowned in wine all memory of the deed.

In the meantime the cat slowly recovered. The socket of the lost eye presented, it is true, a frightful appearance, but he no longer appeared to suffer any pain. He went about the house as usual, but, as might be expected, fled in extreme terror at my approach. I had so much of my old heart left, as to be at first grieved by this evident dislike on the part of a creature which had once so loved me. But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of PERVERSENESS. Of this spirit philosophy takes no account. Yet I am not more sure that my soul lives, than I am that perverseness is one of the primitive impulses of the human heart—one of the indivisible primary faculties, or sentiments, which give direction to the character of Man. Who has not, a hundred times, found himself committing a vile or a silly action, for no other reason than because he knows he should not? Have we not a perpetual inclination, in the teeth of our best judgment, to violate that which is Law, merely because we understand it to be such? This spirit of perverseness, I say, came to my final overthrow. It was this unfathomable longing of the soul to vex itself—to offer violence to its own nature—to do wrong for the wrong's sake only—that urged me to continue and finally to consummate the injury I had inflicted upon the unoffending brute. One morning, in cool blood, I slipped a noose about its neck and hung it to the limb of a tree;—hung it with the tears streaming from my eyes, and with the bitterest remorse at my heart;—hung it because I knew that it had loved me, and because I felt it had given me no reason of offence;—hung it because I knew that in so doing I was committing a sin—a deadly sin that would so jeopardize my immortal soul as to place it—if such a thing were possible—even beyond the reach of the infinite mercy of the Most Merciful and Most Terrible God.

On the night of the day on which this cruel deed was done, I was aroused from sleep by the cry of fire. The curtains of my bed were in flames. The whole house was blazing. It was with great difficulty that my wife, a servant, and myself, made our escape from the conflagration. The destruction was complete. My entire worldly wealth was swallowed up, and I resigned myself thenceforward to despair.

I am above the weakness of seeking to establish a sequence of cause and effect, between the disaster and the atrocity. But I am detailing a chain of facts—and wish not to leave even a possible link imperfect. On the day succeeding the fire, I visited the ruins. The walls, with one exception, had fallen in. This exception was found in a compartment wall, not very thick, which stood about the middle of the house, and against which had rested the head of my bed. The plastering had here, in great measure, resisted the action of the fire—a fact which I attributed to its having been recently spread. About this wall a dense crowd were collected, and many persons seemed to be examining a particular portion of it with every minute and eager attention. The words “strange!” “singular!” and other similar expressions, excited my curiosity. I approached and saw, as if graven in bas relief upon the white surface, the figure of a gigantic cat. The impression was given with an accuracy truly marvellous. There was a rope about the animal's neck.

When I first beheld this apparition—for I could scarcely regard it as less—my wonder and my terror were extreme. But at length reflection came to my aid. The cat, I remembered, had been hung in a garden adjacent to the house. Upon the alarm of fire, this garden had been immediately filled by the crowd—by some one of whom the animal must have been cut from the tree and thrown, through an open window, into my chamber. This had probably been done with the view of arousing me from sleep. The falling of other walls had compressed the victim of my cruelty into the substance of the freshly-spread plaster; the lime of which, had then with the flames, and the ammonia from the carcass, accomplished the portraiture as I saw it.

Although I thus readily accounted to my reason, if not altogether to my conscience, for the startling fact just detailed, it did not the less fail to make a deep impression upon my fancy. For months I could not rid myself of the phantasm of the cat; and, during this period, there came back into my spirit a half-sentiment that seemed, but was not, remorse. I went so far as to regret the loss of the animal, and to look about me, among the vile haunts which I now habitually frequented, for another pet of the same species, and of somewhat similar appearance, with which to supply its place.

One night as I sat, half stupefied, in a den of more than infamy, my attention was suddenly drawn to some black object, reposing upon the head of one of the immense hogsheads of Gin, or of Rum, which constituted the chief furniture of the apartment. I had been looking steadily at the top of this hogshead for some minutes, and what now caused me surprise was the fact that I had not sooner perceived the object thereupon. I approached it, and touched it with my hand. It was a black cat—a very large one—fully as large as Pluto, and closely resembling him in every respect but one. Pluto had not a white hair upon any portion of his body; but this cat had a large, although indefinite splotch of white, covering nearly the whole region of the breast.

Upon my touching him, he immediately arose, purred loudly, rubbed against my hand, and appeared delighted with my notice. This, then, was the very creature of which I was in search. I at once offered to purchase it of the landlord; but this person made no claim to it—knew nothing of it—had never seen it before.

I continued my caresses, and, when I prepared to go home, the animal evinced a disposition to accompany me. I permitted it to do so; occasionally stooping and patting it as I proceeded. When it reached the house it domesticated itself at once, and became immediately a great favorite with my wife.

For my own part, I soon found a dislike to it arising within me. This was just the reverse of what I had anticipated; but I know not how or why it was—its evident fondness for myself rather disgusted and annoyed. By slow degrees, these feelings of disgust and annoyance rose into the bitterness of hatred. I avoided the creature; a certain sense of shame, and the remembrance of my former deed of cruelty, preventing me from physically abusing it. I did not, for some weeks, strike, or otherwise violently ill use it; but gradually—very gradually—I came to look upon it with unutterable loathing, and to flee silently from its odious presence, as from the breath of a pestilence.

What added, no doubt, to my hatred of the beast, was the discovery, on the morning after I brought it home, that, like Pluto, it also had been deprived of one of its eyes. This circumstance, however, only endeared it to my wife, who, as I have already said, possessed, in a high degree, that humanity of feeling which had once been my distinguishing trait, and the source of many of my simplest and purest pleasures.

With my aversion to this cat, however, its partiality for myself seemed to increase. It followed my footsteps with a pertinacity which it would be difficult to make the reader comprehend. Whenever I sat, it would crouch beneath my chair, or spring upon my knees, covering me with its loathsome caresses. If I arose to walk it would get between my feet and thus nearly throw me down, or, fastening its long and sharp claws in my dress, clamber, in this manner, to my breast. At such times, although I longed to destroy it with a blow, I was yet withheld from so doing, partly by a memory of my former crime, but chiefly—let me confess it at once—by absolute dread of the beast.

This dread was not exactly a dread of physical evil—and yet I should be at a loss how otherwise to define it. I am almost ashamed to own—yes, even in this felon's cell, I am almost ashamed to own—that the terror and horror with which the animal inspired me, had been heightened by one of the merest chimaeras it would be possible to conceive. My wife had called my attention, more than once, to the character of the mark of white hair, of which I have spoken, and which constituted the sole visible difference between the strange beast and the one I had destroyed. The reader will remember that this mark, although large, had been originally very indefinite; but, by slow degrees—degrees nearly imperceptible, and which for a long time my Reason struggled to reject as fanciful—it had, at length, assumed a rigorous distinctness of outline. It was now the representation of an object that I shudder to name—and for this, above all, I loathed, and dreaded, and would have rid myself of the monster had I dared—it was now, I say, the image of a hideous—of a ghastly thing—of the GALLOWS!—oh, mournful and terrible engine of Horror and of Crime—of Agony and of Death!

And now was I indeed wretched beyond the wretchedness of mere Humanity. And a brute beast—whose fellow I had contemptuously destroyed—a brute beast to work out for me—for me a man, fashioned in the image of the High God—so much of insufferable wo! Alas! neither by day nor by night knew I the blessing of Rest any more! During the former the creature left me no moment alone; and, in the latter, I started, hourly, from dreams of unutterable fear, to find the hot breath of the thing upon my face, and its vast weight—an incarnate Night-Mare that I had no power to shake off—incumbent eternally upon my heart!

Beneath the pressure of torments such as these, the feeble remnant of the good within me succumbed. Evil thoughts became my sole intimates—the darkest and most evil of thoughts. The moodiness of my usual temper increased to hatred of all things and of all mankind; while, from the sudden, frequent, and ungovernable outbursts of a fury to which I now blindly abandoned myself, my uncomplaining wife, alas! was the most usual and the most patient of sufferers.

One day she accompanied me, upon some household errand, into the cellar of the old building which our poverty compelled us to inhabit. The cat followed me down the steep stairs, and, nearly throwing me headlong, exasperated me to madness. Uplifting an axe, and forgetting, in my wrath, the childish dread which had hitherto stayed my hand, I aimed a blow at the animal which, of course, would have proved instantly fatal had it descended as I wished. But this blow was arrested by the hand of my wife. Goaded, by the interference, into a rage more than demoniacal, I withdrew my arm from her grasp and buried the axe in her brain. She fell dead upon the spot, without a groan.

This hideous murder accomplished, I set myself forthwith, and with entire deliberation, to the task of concealing the body. I knew that I could not remove it from the house, either by day or by night, without the risk of being observed by the neighbors. Many projects entered my mind. At one period I thought of cutting the corpse into minute fragments, and destroying them by fire. At another, I resolved to dig a grave for it in the floor of the cellar. Again, I deliberated about casting it in the well in the yard—about packing it in a box, as if merchandize, with the usual arrangements, and so getting a porter to take it from the house. Finally I hit upon what I considered a far better expedient than either of these. I determined to wall it up in the cellar—as the monks of the middle ages are recorded to have walled up their victims.

For a purpose such as this the cellar was well adapted. Its walls were loosely constructed, and had lately been plastered throughout with a rough plaster, which the dampness of the atmosphere had prevented from hardening. Moreover, in one of the walls was a projection, caused by a false chimney, or fireplace, that had been filled up, and made to resemble the rest of the cellar. I made no doubt that I could readily displace the bricks at this point, insert the corpse, and wall the whole up as before, so that no eye could detect anything suspicious.

And in this calculation I was not deceived. By means of a crow-bar I easily dislodged the bricks, and, having carefully deposited the body against the inner wall, I propped it in that position, while, with little trouble, I re-laid the whole structure as it originally stood. Having procured mortar, sand, and hair, with every possible precaution, I prepared a plaster which could not be distinguished from the old, and with this I very carefully went over the new brick-work. When I had finished, I felt satisfied that all was right. The wall did not present the slightest appearance of having been disturbed. The rubbish on the floor was picked up with the minutest care. I looked around triumphantly, and said to myself—“Here at least, then, my labor has not been in vain.”

My next step was to look for the beast which had been the cause of so much wretchedness; for I had, at length, firmly resolved to put it to death. Had I been able to meet with it, at the moment, there could have been no doubt of its fate; but it appeared that the crafty animal had been alarmed at the violence of my previous anger, and forebore to present itself in my present mood. It is impossible to describe, or to imagine, the deep, the blissful sense of relief which the absence of the detested creature occasioned in my bosom. It did not make its appearance during the night—and thus for one night at least, since its introduction into the house, I soundly and tranquilly slept; aye, slept even with the burden of murder upon my soul!

The second and the third day passed, and still my tormentor came not. Once again I breathed as a free-man. The monster, in terror, had fled the premises forever! I should behold it no more! My happiness was supreme! The guilt of my dark deed disturbed me but little. Some few inquiries had been made, but these had been readily answered. Even a search had been instituted—but of course nothing was to be discovered. I looked upon my future felicity as secured.

Upon the fourth day of the assassination, a party of the police came, very unexpectedly, into the house, and proceeded again to make rigorous investigation of the premises. Secure, however, in the inscrutability of my place of concealment, I felt no embarrassment whatever. The officers bade me accompany them in their search. They left no nook or corner unexplored. At length, for the third or fourth time, they descended into the cellar. I quivered not in a muscle. My heart beat calmly as that of one who slumbers in innocence. I walked the cellar from end to end. I folded my arms upon my bosom, and roamed easily to and fro. The police were thoroughly satisfied and prepared to depart. The glee at my heart was too strong to be restrained. I burned to say if but one word, by way of triumph, and to render doubly sure their assurance of my guiltlessness.

“Gentlemen,” I said at last, as the party ascended the steps, “I delight to have allayed your suspicions. I wish you all health, and a little more courtesy. By the bye, gentlemen, this—this is a very well constructed house.” (In the rabid desire to say something easily, I scarcely knew what I uttered at all.)—“I may say an excellently well constructed house. These walls—are you going, gentlemen?—these walls are solidly put together”; and here, through the mere phrenzy of bravado, I rapped heavily, with a cane which I held in my hand, upon that very portion of the brick-work behind which stood the corpse of the wife of my bosom.

But may God shield and deliver me from the fangs of the Arch-Fiend! No sooner had the reverberation of my blows sunk into silence than I was answered by a voice from within the tomb!—by a cry, at first muffled and broken, like the sobbing of a child, and then quickly swelling into one long, loud, and continuous scream, utterly anomalous and inhuman—a howl—a wailing shriek, half of horror and half of triumph, such as might have arisen only out of hell, conjointly from the throats of the damned in their agony and of the demons that exult in the damnation.

Of my own thoughts it is folly to speak. Swooning, I staggered to the opposite wall. For one instant the party upon the stairs remained motionless, through extremity of terror and of awe. In the next, a dozen stout arms were tolling at the wall. It fell bodily. The corpse, already greatly decayed and clotted with gore, stood erect before the eyes of the spectators. Upon its head, with red extended mouth and solitary eye of fire, sat the hideous beast whose craft had seduced me into murder, and whose informing voice had consigned me to the hangman. I had walled the monster up within the tomb!

Footnotes

  1. Here the narrator falters in his reliability, another such instance in a pattern that develops over the course of the story. Readers can detect a subtle division between the narrator’s subjective reportage—“my heart beat calmly”—and his actions—“I walked the cellar from end to end.” The narrator, clearly frightened in the face of law enforcement, exhibits the compulsive, pacing movements of an anxious person. The story he tells, however, is that of an unmoved spectator. The narrator’s unreliability serves Poe’s larger thematic exploration of the often immense distances between interior conception and external reality.

    — Zachary, Owl Eyes Editor
  2. Not for the first time in the story, Poe’s language undermines the narrator’s claims on truth and reliability. In this passage, the narrator tries to evince readers of his sense of guiltless ease. Yet the sentence contains the pounding, alliterative phrase “dark deed disturbed,” whose sounds evoke a series of dull but insistent knocks from deep down in the narrator’s psychic cellar. He claims to be undisturbed, but his words tell a different story.

    — Zachary, Owl Eyes Editor
  3. This quotation is an allusion to the Bible. It is an interpolation of 1 Corinthians 15:58, which reads in its entirety, “Therefore, my beloved brethren, be ye stedfast, unmoveable, always abounding in the work of the Lord, forasmuch as ye know that your labour is not in vain in the Lord.” Chapter 15 of First Corinthians describes the Last Judgment, when Christ is expected to return to earth and resurrect the dead, transforming them into “spiritual bodies.” Poe selected this biblical passage for its theme of resurrection, which figures prominently in “The Black Cat,” albeit in less numinous ways.

    — Zachary, Owl Eyes Editor
  4. The inclusion of “hair” in the narrator’s mix of plaster raises questions about the source of the material. Horsehair plaster is a traditional mortar used in construction. However, the narrator only mentions procuring hair, broadly speaking. It could be that the narrator took the hair from his wife before burying her, a decision that expresses metonymic, or contagious, magic and also reveals the narrator’s characteristic arrogance. By hiding his wife’s corpse behind a wall of her own hair, he leaves his secret somewhat open to discovery—a move he makes again in the story’s conclusion.

    — Zachary, Owl Eyes Editor
  5. This is an allusion to the practice of “immurement,” the penitential walling up of wrongdoers. In the Middle Ages, Catholic monastic orders used immurement as a standard punishment for monks and nuns who had broken their vows of chastity. In less extreme cases, the offender was walled into a solitary room, occasionally fed, and later released. In draconian cases, the offender was sealed in permanently, eventually dying of starvation or thirst. Poe was evidently intrigued by immurement, using it in both this story and “The Cask of Amontillado”.

    — Zachary, Owl Eyes Editor
  6. Poe uses the noun “project” in an unusually layered way in this passage. A “project” is an undertaking or endeavour, referring in this case to the narrator’s effort to hide his wife’s corpse. A “project” is also the mental anticipation of an undertaking, the scheme of it, and here readers see a litany of schemes stream through the narrator’s mind. Finally, and most archaically, a “project” is a mere idea or object of the imagination; Shakespeare often used the word in this sense. As revealed by the shades of possible meaning in “project,” the blurred line between thought and deed is thematically important to the story: the narrator is often unsure of what is real and what is merely imagined.

    — Zachary, Owl Eyes Editor
  7. The diction Poe employs to describe the cat gives the animal a curiously mechanical quality. To this end, the most significant word is the pronoun “it,” which immediately separates the new cat from Pluto, whom the narrator had referred to as “he” and “him.” The verb “spring,” evoking the movements of coiled metal, bolsters the cat’s lifelessness. Indeed, the narrator suspects the cat has returned from the dead, and Poe’s diction gives readers a subtle window into these suspicions.

    — Zachary, Owl Eyes Editor
  8. Throughout the story, the narrator stands at odds with his own impulses, emotions, and actions. The syntax Poe uses to describe the narrator’s feelings for the cat underscore their autonomy and independence from the narrator’s intentions. The narrator is not the subject of his feelings: I felt disgusted and annoyed. Rather the feelings have a life of their own: “these feelings of disgust and annoyance rose into bitterness and hatred.” This conflict between the narrator and his instincts is perhaps the story’s primary theme, and Poe allows the conflict to play out at the level of syntax.

    — Zachary, Owl Eyes Editor
  9. Although the narrator knows his time is soon to come, he still pleads to God for a miracle, giving a sense of hope to the audience. His calling for forgiveness bestows a light upon him even though he is going to the opposite place of his believer.

    — Arianna Fernandes
  10. These life threatening events the narrator displays on the cat can lead the reader into inferring if he is trying to kill the cat before the cat kills him. As mentioned before, the black cat's name is a symbol for death; therefore the narrator is hanging "death" by the neck before it has the chance to come after him.

    — Arianna Fernandes
  11. In this selection, the narrator alludes to God by making references to the sins he has committed, telling the reader how he struggles with his salvation.

    — Arianna Fernandes
  12. In this selection, the author uses symbolism for the eyes that represent the soul. In this instance, the narrator's cutting out one of the cat's eyes is equivalent to separating his own soul and demolishing half of it. The narrator's actions, when intoxicated, metaphorically illustrate to the readers the better half of his being ravaged.

    — Arianna Fernandes
  13. After the narrator presents to the readers one of the terrifying events, we gain a sense of fear from the cat, who was once immensely close to his owner and now appears to be remote due to the action's of his intoxicated owner.

    — Arianna Fernandes
  14. In this selection, Edgar Allen Poe alludes to Pluto, the Roman God of the Underworld and the ruler of the dead in Greek Mythology. The author emphasizes the cat's obsession with the narrator by explaining how Pluto would follow him everywhere he went, therefore hinting to the reader that there is a sense of death following him around.

    — Arianna Fernandes
  15. Edgar Allen Poe uses juxtaposition in this section to depict the differing views from the narrator and his wife. While the narrator perceives a positive outlook towards the black cat, his wife alludes to ancient notions of witches and associates the cat as a witch in disguise.

    — Arianna Fernandes
  16. Horror is a thematic idea so imminent within the passage as a whole just because of the fact that the subject, as well as the reader, associates the household events solely with horror, and horror only.

    — Arianna Fernandes
  17. The subject proposes the consequences of these instances in such a manner that the reader can infer how remarkable the effects were through the subject's point of view, portraying the negative connotations that the events have had on him through the repetition of the term "have" in "these events have terrified-- have tortured-- have destroyed me." This repetition brings into light the conflict presented as well as isolates the "Horror" mentioned at the end of the selection, mentioning Horror as a person rather than an emotion evoked.

    — Arianna Fernandes
  18. This section accommodates a tone shift from a melancholy mood to a more light-hearted and delighted feeling as the narrator begins to mention his pet animals he cared for. One of the narrator's pets, specifically the black cat, plays a crucial role in his life as the reader can tell by not only describing the animal in fine details, but also by the title of the short story.

    — Arianna Fernandes
  19. Pluto is a mythological allusion to the Greek god, a ruler of the underworld. The author alters the allusion's meaning slightly; this black cat, Pluto, does seem to be closely associated with hell as he returns from the dead to haunt the narrator. However, he also seems to symbolize sin or transgression in general.

    — Cassie Garza
  20. This portion should not be taken literally for it encompasses both irony and understatement. Dramatic irony is present in the narrator's claim that "mad am I not"; the audience comes to find out through the events of the short story that the narrator is in fact mentally unstable for he murders his own wife shortly after killing his cat. The acclaimed "series of mere household events" is an understatement for those events include abuse, the resurrection of a dead cat, and ultimately murder.

    — Cassie Garza
  21. In this selection, Edgar Allan Poe discusses the significance of the "mere household events", and the effects that have played onto the subject's life. These events are conflicting because the subject has experienced the horror and fear firsthand, but has to determine whether or not to elucidate these instances to the world.

    — Arianna Fernandes
  22. The final image—that of the dead wife and cat sealed behind the plaster wall and then broken free—serves as a metaphor for the entire story. Those brutal tendencies the narrator had sealed away in his psyche were impossible to keep concealed. Just as his violent urges could not be contained, the consequences of those urges burst into public view in the final scene.

    — Zachary, Owl Eyes Editor
  23. Poe crafted this particularly chewy phrase by recycling consonant pairs. The letters “c” and “g” form a consonant pair—the latter being the voiced version of the former. The liquid consonants “r” and “l” are twins as well; we produce them using similar flicks of the tongue. When spoken, the effect of these recycled consonant sounds, thick with liquids, is a somewhat sticky, revolting sensation—perfect for the image at hand.

    — Zachary, Owl Eyes Editor
  24. The narrator must understand that he is to die imminently. In this final appeal to God, he requests that his soul be judged worthy of heaven, rather than hell. The narrator seems to understand the futility of such a request.

    — Zachary, Owl Eyes Editor
  25. Poe’s verb choice—to “bury” the axe—is interesting on several accounts. The verb carries a connotation of the burial of a body, an imminent event in the story’s plot. The combination of “buried” and “brain” in the same phrase—with those repeated b and r sounds—has an appealing poetry to it. Finally, the phrase brings to mind the idiom of “burying the hatchet,” a 17th-century American saying that indicates a truce, or peace-making. Poe may have intended this final meaning in an ironic sense.

    — Zachary, Owl Eyes Editor
  26. Here Poe highlights the Christian belief in a hierarchy of beings: humans, created in God’s image, exist in a higher tier than animals. In this paragraph Poe seems to be suggesting that this hierarchy is false (because humans are animals), or that the narrator has descended into an animal state.

    — Zachary, Owl Eyes Editor
  27. The image of the gallows—the scaffolding from which the condemned are hanged—serves a dual purpose here. On one level, it signifies the narrator’s murder of Pluto. On another, it foreshadows the narrator’s coming death. The cat and the narrator have a relationship defined by both metaphor and metonymy: that which the narrator does to the cat he does to himself. The cutting out of the cat’s eye represents the splitting of the narrator’s soul. The narrator’s hanging of Pluto directly leads to his own hanging.

    — Zachary, Owl Eyes Editor
  28. It is clear that Pluto has made a return from the dead—a move that should offer little surprise, given his name. The white mark is a symbol for the narrator’s guilt. The precise nature of the mark will be revealed subsequently.

    — Zachary, Owl Eyes Editor
  29. "Hogshead" is a 14th-century term for a large cask or barrel. The detail of the barrel reinforces the thematic connection between the cat and the narrator’s intemperance. The two cats in the story embody the narrator’s violent shadow self. It can be said that the alcohol unleashes that shadow self. Thus, when the cat returns it appears on a barrel of alcohol.

    — Zachary, Owl Eyes Editor
  30. Poe is clearly referring to a bar, pub or tavern, but the phrasing is rather odd. Perhaps “more than infamy” refers to intemperance, or a habit of excessive drinking.

    — Zachary, Owl Eyes Editor
  31. It is not clear whether the narrator’s rational explanation for the impression of the cat is meant to be taken seriously. To return to the theme of cause and effect, the narrator either correctly traces the causal chain or constructs an elaborate illusion.

    — Zachary, Owl Eyes Editor
  32. The image of the impression of the cat serves as a nice visual metaphor for the narrator’s conscience. The cat has left a mark, literally on the wall and figuratively on the narrator’s mind.

    — Zachary, Owl Eyes Editor
  33. It is fascinating that Poe has his narrator question cause and effect. The influential 18th-century philosopher David Hume postulated that causality is an illusion, that we have no way of connecting actions to consequences. The narrator seems to be drawing on Hume’s body of thought here, questioning whether the events in the story represent a causal chain. The irony, of course, is that all fiction is built on causality, even if reality does not.

    — Zachary, Owl Eyes Editor
  34. The narrator makes several references to his relationship with God throughout the story. His stance seems to be that his actions represent a deviation from God’s path. As he continues to sin, he struggles with the possibility of his own salvation, a problem he first poses in this passage.

    — Zachary, Owl Eyes Editor
  35. Eyes are an age-old symbol for the soul. We are to understand that, by cutting out one of the cat’s eyes, the narrator separates his own soul in two, and destroys half of it. This metaphor reinforces the narrator’s duality, and it gives us an image of the ruin of his good half.

    — Zachary, Owl Eyes Editor
  36. Poe deepens the theme of dualism here, fleshing out the idea that the narrator’s wickedness is not an aberration but rather a manifestation of his core nature. One wonders whether this theme was of particular importance to Victorian-era writers, Poe and Stevenson included. By many historical accounts, the Victorian Age in England and the United States was defined by a culture of civility and repression.

    — Zachary, Owl Eyes Editor
  37. This sentence is built upon a rhythmic string of consonant sounds, namely b, p, d, and t. The consonance is enhanced by Poe's manipulation of consonant pairs. Each consonant has its pair: a voiced or unvoiced version of the same sound. For example, pronounce a “p.” Then pronounce it again while activating your vocal cords. You’ll find the “p” has turned to a “b.” The same is true with “t” and “d.” By lacing the sentence with these pairs, Poe greatly enhances its musicality.

    — Zachary, Owl Eyes Editor
  38. This passage draws our attention to a theme of dualism. Within the narrator exist two competing paradigms. One part of the man—his soul, you might say—is good and loving. The other part is fiendish and uninhibited. This duality is as old as civilization itself: when humans are taught to control their primal urges, dark, “shadowed” (as Carl Jung would say) portions of the psyche develop. For the narrator here, alcohol serves as a key which frees his shadow self. This particular duality is most famously explored in Robert Louis Stevenson’s [Strange Case of Dr. Jekyll and Mr. Hyde.] (https://www.owleyes.org/text/dr-jekyll-mr-hyde)

    — Zachary, Owl Eyes Editor
  39. Despite Poe’s insistence that his stories and poems do not contain morals and are designed solely to produce an effect, “The Black Cat” can be read as a cautionary tale about the dangers of alcoholism. The narrator’s descent into alcoholism leads him to commit a series of increasingly wicked deeds. Though Poe’s goal may have been to chill the reader’s blood, one can hardly help but take away a message of temperance. Poe, as well as his brother, struggled with alcoholism; his own experiences may have informed “The Black Cat.”

    — Zachary, Owl Eyes Editor
  40. Poe’s choice to name the cat after the Roman god of the underworld is significant. We understand that the cat has supernatural qualities, is associated with death, and may, like its namesake, exist in a liminal state between realms of the living and the dead.

    — Zachary, Owl Eyes Editor
  41. This fact comes as no surprise to Poe’s readers. By drawing attention to popular superstitions regarding black cats, Poe foregrounds the fantastical elements of the story. He also exhibits an awareness of the mythology of the black cat, making the use of such a trope more engaging.

    — Zachary, Owl Eyes Editor
  42. The narrator reveals little about his relationship with his wife. The double-negative phrasing he uses here to introduce his dynamic with his wife may indicate a real lack of connection—a truth which will prove important to the story’s events.

    — Zachary, Owl Eyes Editor
  43. Here we find the establishment of one of the story’s central themes. The narrator searches for some scrap of sense amidst a bewildering series of circumstances and events. The story implicitly asks us whether the world, or even our own actions, can be understood.

    — Zachary, Owl Eyes Editor
  44. Poe loosely foreshadows the outcome of the following events, and yet he is careful to preserve some mystery: we do not know how or why the narrator will die, only that he will. This framing also gives the story a confessional air. We understand from the start that this is a story laden with guilt.

    — Zachary, Owl Eyes Editor
  45. Poe introduces an unusual type of narrator: an unreliable narrator who recognizes his own unreliability. The narrator understands that the events he is about to share may come across as fantastical to the reader. This is an interesting narrative ruse by Poe because the story is indeed fantastical. Addressing the story’s seeming fictionality within the narrative gives the events some weight.

    — Zachary, Owl Eyes Editor
  46. In one of his essays, the great German philosopher Arthur Schopenhauer says very much the same thing about dogs:

    Hence we see the four-footed friendships of so many men of a better nature; for how could we recover from the endless dissimulation, duplicity, perfidy, and treachery of men if it were not for the dogs into whose open and honest eyes we can look without distrust?

    — William Delaney
  47. The narrator of "The Black Cat" strongly resembles the narrator of Poe's "The Tell-Tale Heart" in denying that he is mad while at the same time making it clear to the reader that he actually is mad.

    — William Delaney