The Pit and the Pendulum

"The Pit and the Pendulum"
Author Edgar Allan Poe
Country United States
Language English
Genre(s) Horror
Short story
Published in The Gift: A Christmas and New Year's Present for 1843
Publication type Periodical
Publisher Carey & Hart
Media type Print
Publication date 1842

"The Pit and the Pendulum" is a short story written by 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.

Plot summary

The story depicts the Spanish Inquisition. An unnamed narrator is brought to trial before sinister judges. Poe provides no explanation of why he is there or what he has been arrested for. Before him are seven tall white candles on a table, and, as they melt, his hopes of survival also diminish. He is condemned to death and finds himself in a pitch black compartment. 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 hem from his robe against a 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 slips on the hem of his robe and discovers that if he had not tripped, he would have walked into a deep pit in the center of the cell, with water at the bottom.

After losing consciousness again the narrator discovers that the prison is slightly illuminated and that he is bound to a wooden board by ropes. He looks up to see a painted picture of Father Time on the ceiling. Hanging from the figure is a gigantic pendulum with a crescent razor measuring "one feet from horn to horn," and swinging slowly back and forth. The pendulum is inexorably sliding downwards and will eventually kill him. However, the condemned man is able to attract rats to his bonds with the meat left for him to eat and they start chewing through the ropes. As the pendulum reaches a point inches above his heart, the prisoner breaks free of the ropes and watches as the pendulum is drawn back to the ceiling.

He then sees that the walls have become red-hot and have begun moving inwards, driving him into the center of the room and towards the brink of the pit. As he gazes into the pit, he decides that no fate could be worse than falling into it: "Neither could I forget what I had read of these pits -- that the sudden extinction of life formed no part of their most horrible plan."

As the narrator moves back from the pit, he sees that the red-hot walls are leaving him with no foothold. As he begins to fall into the pit, he hears human voices, a loud trumpeting, and a huge boom as loud as "a thousand thunders." The walls rush back and an arm catches him. The French Army has taken Toledo and the Inquisition is in the hands of its enemies.

Lack of historical authenticity

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).

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,[1] and it had appeared, without attribution, as an item of trivia in the 1836 Southern Literary Messenger, a periodical to which Poe contributed.[2] It does not appear, however, that the market was ever built as intended. Charles Baudelaire, a noted French writer who translated Poe's works into French and who was largely inspired by him, said that the building on the site of the Old Jacobin Club had no gates and, therefore, no inscription.[3]

Analysis

"The Pit and the Pendulum" is a study of the effect terror has on the narrator,[4] 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").[5] 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.[6] Unlike much of Poe's work, the story has no supernatural elements.[7] 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.[8] 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.

Inspiration

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.[9] It has also been suggested that Poe's "pit" was inspired by a translation of the Koran (Poe had referenced the Koran 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."[10] 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.[11] 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.[12][13][14]

Publication and response

The cover of The Gift, Carey and Hart, Philadelphia, 1843.
First appearance in The Gift, Carey and Hart, Philadelphia, 1843.

"The Pit and the Pendulum" was included in The Gift: A Christmas and New Year's Present for 1843, published by Carey & Hart. It was slightly revised for a republication in the May 17, 1845 issue of the Broadway Journal.[15]

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."[16]

Adaptations

References

  1. ↑ Google Books
  2. ↑ Google Books
  3. ↑ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. ISBN 0-8160-4161-X p. 188-9
  4. ↑ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 359. ISBN 0-8018-5730-9
  5. ↑ Kennedy, J. Gerald. Poe, Death, and the Life of Writing. Yale University Press, 1987. p. 53. ISBN 0-300-03773-2
  6. ↑ Kennedy, J. Gerald. Poe, Death, and the Life of Writing. Yale University Press, 1987. p. 32. ISBN 0-300-03773-2
  7. ↑ Fisher, Benjamin F. "Poe and the Gothic Tradition." in The Cambridge Companion to Edgar Allan Poe, Kevin J. Hayes, ed. Cambridge, UK: Cambridge University Press, 2002. p. 84 ISBN 0-521-79727-6
  8. ↑ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. p. 204 ISBN 0-06-092331-8
  9. ↑ Alterton, Margaret. "An Additional Source for Poe's 'The Pit and the Pendulum'" from Modern Language Notes, Vol. 48, No. 6 (Jun., 1933), p. 349
  10. ↑ Murtuza, Athar. "An Arabian Source for Poe's "The Pit and the Pendulum" from Poe Studies, vol. V, no. 2, December 1972, p. 52
  11. ↑ "The Iron Shroud" at Google Books
  12. ↑ Online Biography of William Mudford from the Dictionary of Literary Biography hosted by BookRags p. 2
  13. ↑ Oxford Journals Critique of William Mudford Notes and Queries July 31, 1943 p. 83
  14. ↑ Title The Narrative of Arthur Gordon Pym of Nantucket, and Related Tales The world's classics Oxford World's Classics Author Edgar Allan Poe Editor J. Gerald Kennedy Edition reissue, illustrated Publisher Oxford University Press, 1998 ISBN 0-19-283771-0, ISBN 978-0-19-283771-4 Length 336 pages Quote: "Explanatory Note #254: Poe apparently got the idea for his shrinking chamber from an 1830 Blackwood's story titled the 'Iron Shroud'"
  15. ↑ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. ISBN 0-8160-4161-X p. 188
  16. ↑ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York: Cooper Square Press, 1992. ISBN 0-8154-1038-7 p. 274
  17. ↑ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. ISBN 0-8160-4161-X p. 189

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