Crime Stories READERS

The Tell-tale Heart

By Edgar Allan Poe
Part 2

Teacher’s notes
Author: Daniel Barber
Level: Advanced
Age: Young adults / Adults
Aims: In this lesson the students will:
1. listen to various predictions about the story’s ending;
2. listen for gist to check the predictions;
3. listen for detail;
4. explore stress timing;
5. discuss aspects of the story in detail;
6. debate the storyteller’s state of mind.
Materials: one copy of the worksheet per student; Track 1 (full audio for Part 2) and
Track 2 (short extract) downloaded from onestopenglish; one copy of the full transcript
per student; one set of the Role cards per group of three students
Summary: A cold-blooded killer explains how he prepared what he believes is the
perfect murder of the old man he lived with. All went according to plan until the police
paid a call after a neighbour reported hearing a noise. The story is told in two parts. In
Part 2, can he stay calm long enough to avoid suspicion?

Warmer • Put an exclamation mark next to the

most unexpected ideas.
Aims: to share the various predictions the
students made in the previous lesson; to • Are any ideas close to your group’s? Put
listen extensively for gist an ‘equals’ sign (=) next to these.
1. Remind the students that at the end of 3. Now use your notes to create a quick
the last lesson they made predictions about quiz for the class. Tell students to clap or
the end of the story. Explain that they are raise their hand if they know the answers.
going to listen to each other’s predictions Ask questions like:
and then to Part 2 in order to find out
• Which group thinks the old man dies
whose prediction was most accurate. Let
of fright?
the students get into the groups they were
in at the end of the last lesson. • What does Gabi’s group think is going to
happen to the lantern?
Hand out the envelopes from the last
lesson. Ask a spokesperson from each Note: If you prefer, you could prepare
group to read their predictions to the the quiz before the lesson by opening the
class. Ask them to make notes on the envelopes and reading the predictions.
other groups’ predictions. They need to
make notes because there will be a quiz 4. Now let the students hear what actually
afterwards. Make sure you also make happens in the story and play Track 1.
notes because you will be asking the class 5. Ask for a show of hands to see which
questions afterwards. group’s ideas were closest to the original
2. When all the groups have given their story. Ask individuals to justify their
predictions, ask everyone to follow these choices – this is important because they
instructions: can show what they have understood.
Congratulate the winners when students
• Draw a star next to your have voted on all the groups and award
favourite prediction. the prize (if you promised one!).
• Put a circle around the one you think
is most likely true.
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2
Activity 1 of the body. The night waned, and I

Teacher’s notes
worked hastily, but in silence. First of all I
Aim: to listen for detail
dismembered the corpse. I cut off the head
1. Hand out the worksheet. Show the class and the arms and the legs.
Activity 1. Explain that they should decide
Allow students to check their answers in
whether each statement is true or false.
pairs before checking with the whole class.
Give them time to read the statements
Ask the class which types of words are
and let them work with a partner to try to
usually stressed, and why they think this
remember any answers they may know
is so.
from the first listening.
Key: Typically, words that carry the
2. Play Track 1 again. After the story has
lexical meaning of the sentence, such as
finished, let them confer in their pairs
nouns, verbs and adjectives are stressed.
again before handing out the transcripts
It is useful to identify words that are not
and giving them time to check their
normally stressed too. These include
answers. Finally, elicit the answers in
prepositions, pronouns and articles.
whole-class feedback.
3. Play Track 2 again, this time encouraging
Key: 1. F – He hears a sound similar to
the students to tap their fingers in time
a watch.; 2. T; 3. F – He is able to stay
with the stressed syllables. Ask them if they
motionless.; 4. T; 5. T; 6. F – He opens the
notice a rhythm created by the spacing of
lantern the moment he attacks.; 7. F – He
the stressed syllables.
shrieks once. 8. F – He pulls him to the
floor and pulls the bed on top of him. 9. 4. Ask students to work in pairs and take
Unclear – According to the storyteller, the turns at being the storyteller, reading aloud
old man’s heart continues beating for some the passage, focusing on sentence stress.
time; however, it is unlikely that the sound
Activity 3
is the old man’s heart.; 10. T; 11. T; 12.
F – He is calm and confident at first.; 13. T; Aims: to more fully understand the story;
14. T – Although the sound is first described to discuss how the students feel about
as a ‘ringing’, he goes on to describe it as the characters
being like the sound ‘a watch makes’.; 15.
T; 16. F – The policemen do nothing; he 1. Get the students into groups and
confesses without being forced. allow them a few minutes to discuss
the questions on the worksheet. Listen
Activity 2 in on their discussions, prompting and
challenging them where appropriate. When
Aim: to sensitize students to stress timing
most of the groups are coming to the end
1. Point out Activity 2 on the worksheet. Tell of their discussions, field a whole-class
the students to read the extract and predict summary of their ideas.
which syllables are stressed. Tell them that
Role-play
the first four stressed syllables have been
marked and tell them to continue marking Aims: to debate the storyteller’s state of
the stressed syllables in the same way. mind; to further explore the themes of
Allow students to check their predictions madness and the criminal mind
with a partner.
1. The students may have already
2. Play Track 2 (short extract) and tell suggested during the discussion in the
the students to listen and check previous activity that the storyteller
their predictions. would go on trial for his crime and that
he may be telling his story to a lawyer
Key: If still you think me mad, you will
or judge in a court of law. Explain, if
think so no longer when I describe the wise
necessary, that before someone is tried
precautions I took for the concealment
for a crime their state of mind needs to
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2
be determined because if it is decided Follow-up tasks

Teacher’s notes
they are mentally ill, they cannot be found
• Ask the students to imagine that they
guilty and punished but will be treated as a
are forensic psychologists. One of their
psychiatric patient instead.
roles is to testify in court regarding the
Tell the students that they are going to state of mind of a suspected criminal.
determine whether the storyteller, or Treat the transcript as forensic evidence.
‘defendant’, should stand trial or not by Reread it, looking for signs that the
debating the matter before a panel of storyteller is either mentally unstable,
judges, who will decide based on the and therefore unable to stand trial, or
evidence. Divide the class into three sane and therefore responsible for his
groups: the prosecution, the defence, actions. Write your report for the judge.
and the panel of judges. Hand out
• Suggest that the students investigate
the corresponding role cards and give
one of the following:
the students ten minutes to plan their
– the ‘insanity defence’ in criminal law;
arguments and form their questions.
– the Gothic tradition in fiction (‘The
The panel of judges will probably need most Tell-tale Heart’ is considered a classic
help from you in thinking up questions for Gothic short story);
each side; to do so they will have to predict – Poe’s theories about fiction.
the arguments that each side will make.
• There have been numerous adaptations
The prosecution may also find it hard to
of ‘The Tell-tale Heart’, especially in film
argue sanity (he certainly seems insane!)
and animated film versions. Several of
so you might suggest they think about his
these are easily available to watch on
motives for telling the story (to appear
the internet on sites such as YouTube.
insane). The defendants, on the other hand,
Ask the students to find at least two of
should have little difficulty finding evidence
these online, watch them and choose a
for his unstable mind.
favourite. They can either tell the class
2. When the groups have prepared their about their favourite, why they chose
arguments, regroup the students so that it over the other(s) and where their
there is one or two of each group together classmates can find it or, if you have the
(e.g. two defence lawyers, two prosecution necessary equipment in class, show it to
lawyers and one or two judges). Explain the rest of the class.
that the judges in each group are now in
charge and must chair the debate. Monitor
to check the groups are working well
together to reach a decision. You may want
to make a note of errors you hear and other
interesting use of language to feed back to
them after.
3. When all the groups have finished, check
with the judges that they have reached a
decision. Ask each one in turn: Have you
reached a decision, your honour? What say
you? Count up the number of ‘not guilty
by reason of insanity’ and ‘of sound mind’
decisions and announce the class’s
overall decision.
4. You may want to provide feedback on
their performance during the debate and
correction on their use of English.
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2
Activity 1

Worksheet
Listen again and decide whether the statements are true (T) or false (F).
1. The storyteller hears a watch ticking.
2. The noise makes him angry.
3. He tries to keep still but can’t because he is so emotional.
4. The noise gradually becomes stronger.
5. He becomes worried that a neighbour might be able to hear the noise.
6. He attacks the old man in darkness.
7. The old man makes no sound.
8. He kills the old man in his bed.
9. Death is almost instant.
10. He hides the body under the floorboards of the old man’s bedroom.
11. The police arrive in the early hours of the morning.
12. He is nervous that the policemen are in his house.
13. He sits and talks to the policemen in the old man’s bedroom.
14. He starts to hear the same sound as before.
15. He starts to panic.
16. The policemen find it easy to force him to confess to the murder.

Activity 2
Underline the stressed words.

If still you think me mad, you will think so no longer when I describe the wise precautions I

took for the concealment of the body. The night waned, and I worked hastily, but in silence.

First of all I dismembered the corpse. I cut off the head and the arms and the legs.

Activity 3
Discuss the following questions in groups.
• Why did the police visit the house? Do you think they suspected the murderer? What
would have happened if the storyteller had stayed calm?
• Do you feel sorry for the old man at all? Why? Why not? What about the storyteller?
How do you feel about him?
• Whose is The Tell-tale Heart in the title of the story?
• What do you think happens after the end of the story? Where do you imagine the
storyteller is when he tells the story? Who is he telling it to?
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2

Role cards
The prosecution
Your objective is to convince the judge that the storyteller, or defendant, should
be tried because he was not mentally ill at the time of the killing. Study the story,
or ‘evidence’, for signs that he knew exactly what he was doing and prepare to
present them to the judge.
You may want to think about:

#
• a possible motive that he is trying to hide;
• his preparation for the crime;
• the clear way that he tells the story;
• what is best for society;
• any other information or ideas that might help your case.
Good luck! Your job won’t be easy, and the defence has a very strong team!

The defence
Your objective is to convince the judge that your client, the storyteller or
‘defendant’, should not be tried because he is insane and was so at the time of the
murder. Study the ‘evidence’ for signs that he was not in control of his actions and
prepare to present them to the judge.
You may want to think about:

#
• the motive for the killing;
• his preparation for the crime;
• the way that he tells the story;
• what is best for him and for society;
• any other information or ideas that might help your case.
Good luck! The judge is hard on criminals and the prosecution team has some
excellent lawyers!

The panel of judges

Your objective is to listen to the two sides of the argument: the prosecution,
who will want the trial to go ahead and so will be trying to persuade you that the
storyteller, or ‘defendant’, knew what he was doing; and the defence, who will
#

argue that he was not in control of his actions. Listen carefully, ask both sides
questions and make your decision based on the strength of their presentations.
Prepare some questions to challenge each side and test the strength of their
arguments. You may read the ‘evidence’ beforehand to help you do this.
At the end of the hearing, you will need to decide whether the defendant is ‘not
guilty by reason of insanity’ or ‘of sound mind’.
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2

Transcript and glossary

And have I not told you that what you mistake for madness is but over-acuteness of the
sense? – now, I say, there came to my ears a low, dull, quick sound, such as a watch
makes when enveloped in cotton. I knew that sound well, too. It was the beating of the
old man’s heart. It increased my fury, as the beating of a drum stimulates the soldier
into courage.
But even yet I refrained and kept still. I scarcely breathed. I held the lantern
motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the
hellish tattoo of the heart increased. It grew quicker and quicker, and louder and louder
every instant. The old man’s terror must have been extreme! It grew louder, I say,
louder every moment! – do you mark me well I have told you that I am nervous: so I
am. And now at the dead hour of the night, amid the dreadful silence of that old house,
so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes
longer I refrained and stood still. But the beating grew louder, louder! I thought the
heart must burst. And now a new anxiety seized me – the sound would be heard by a
neighbour! The old man’s hour had come! With a loud yell, I threw open the lantern
and leaped into the room. He shrieked once – once only. In an instant I dragged him to
the floor, and pulled the heavy bed over him. I then smiled gaily, to find the deed so far
done. But, for many minutes, the heart beat on with a muffled sound. This, however,
did not vex me; it would not be heard through the wall. At length it ceased. The old
man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone
dead. I placed my hand upon the heart and held it there many minutes. There was no
pulsation. He was stone dead. His eye would trouble me no more.
If still you think me mad, you will think so no longer when I describe the wise

Track 2
precautions I took for the concealment of the body. The night waned, and I worked
hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the
arms and the legs.
I then took up three planks from the flooring of the chamber, and deposited all between
the scantlings. I then replaced the boards so cleverly, so cunningly, that no human
eye – not even his – could have detected anything wrong. There was nothing to wash
out – no stain of any kind – no blood-spot whatever. I had been too wary for that. A tub
had caught all – ha! ha!
When I had made an end of these labors, it was four o’clock – still dark as midnight.
As the bell sounded the hour, there came a knocking at the street door. I went down to
open it with a light heart, – for what had I now to fear? There entered three men, who
introduced themselves, with perfect suavity, as officers of the police. A shriek had
been heard by a neighbour during the night; suspicion of foul play had been aroused;
information had been lodged at the police office, and they (the officers) had been
deputed to search the premises.
I smiled, – for what had I to fear? I bade the gentlemen welcome. The shriek, I said,
was my own in a dream. The old man, I mentioned, was absent in the country. I took
my visitors all over the house. I bade them search – search well. I led them, at length,
to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2

Transcript and glossary

my confidence, I brought chairs into the room, and desired them here to rest from their
fatigues, while I myself, in the wild audacity of my perfect triumph, placed my own
seat upon the very spot beneath which reposed the corpse of the victim.
The officers were satisfied. My manner had convinced them. I was singularly at
ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere
long, I felt myself getting pale and wished them gone. My head ached, and I fancied a
ringing in my ears: but still they sat and still chatted. The ringing became more distinct:
I talked more freely to get rid of the feeling: but it continued and gained definiteness –
until, at length, I found that the noise was not within my ears.
No doubt I now grew very pale; – but I talked more fluently, and with a heightened
voice. Yet the sound increased – and what could I do? It was a low, dull, quick sound
– much such a sound as a watch makes when enveloped in cotton. I gasped for breath
– and yet the officers heard it not. I talked more quickly – more vehemently; but the
noise steadily increased. I arose and argued about trifles, in a high key and with violent
gesticulations; but the noise steadily increased. Why would they not be gone? I paced
the floor to and fro with heavy strides, as if excited to fury by the observations of the
men – but the noise steadily increased. Oh God! what could I do? I foamed – I raved
– I swore! I swung the chair upon which I had been sitting, and grated it upon the
boards, but the noise arose over all and continually increased. It grew louder – louder
– louder! And still the men chatted pleasantly, and smiled. Was it possible they heard
not? Almighty God! – no, no! They heard! – they suspected! – they knew! – they were
making a mockery of my horror! – this I thought, and this I think. But anything was
better than this agony! Anything was more tolerable than this derision! I could bear
those hypocritical smiles no longer! I felt that I must scream or die! and now – again!
– hark! louder! louder! louder! louder!
“Villains!” I shrieked, “dissemble no more! I admit the deed! – tear up the planks!
here, here! – It is the beating of his hideous heart!”
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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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Crime Stories READERS
The Tell-tale Heart
By Edgar Allan Poe
Part 2

Transcript and glossary

Glossary
refrain (formal) to stop yourself from doing something
tattoo (military) a signal that tells soldiers to return to their buildings at night, played on
a drum or a bugle
mark well (old-fashioned) used for emphasizing that what you are saying is important
shriek to shout in a loud high voice because you are frightened, excited, or surprised
wane (literary) to come to an end, to become weaker
scantlings beams of wood found under floorboards in old houses
suavity (unusual noun from adjective: suave) confidence and politeness
bade (formal, past simple of bid) to say ‘hello’, ‘goodbye’, etc. to someone
fatigues (old-fashioned) hard work
ere (old-fashioned) before
vehemently with extremely strong feelings or beliefs
trifles (old-fashioned) unimportant things
gesticulations movements with your hands and arms when you are talking, usually
because you want to emphasize what you are saying or because you are excited
foam to show your anger
rave to talk in an angry and uncontrolled way
make a mockery to make someone or something seem stupid or useless
derision the opinion that someone or something is stupid, unimportant or useless
hark (old-fashioned) to listen
dissemble (literary) to hide your real thoughts, feelings or intentions

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LISTENING SKILLS / Macmillan Literature Collections / The Tell-tale Heart: Part 2

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