10 Matching Annotations
  1. Last 7 days
    1. After a thorough investigation of every portion of the house, without farther discovery, the party made its way into a small paved yard in the rear of the building, where lay the corpse of the old lady, with her throat so entirely cut that, upon an attempt to raise her, the head fell off.{i} The body, as well as the head, was{j} fearfully mutilated — the former so much so as scarcely to retain any semblance of humanity.

      I wonder how did the murderer cut the Madame L’Espanaye's neck so deeply that her head fell off when people tried to raise her corpse. Also, what knid of weapon did the murderer use? I guess the weapon is probably big or long, but how did the murderer take away and nobody saw it?

    2. We know of them, among other things, that they are always to their possessor, when inordinately possessed, a source of the liveliest enjoyment.

      I feel troubling at first. This sentence kind of makes me feel like it's narrtive by a psychpath who has serious obsessive behaviour.

    3. but an unusual quantity of soot being observed in the fire-place, a search was made in the chimney, and (horrible to relate!)(24) the corpse of the daughter, head downward,{h} was dragged therefrom; it having been thus forced up the narrow aperture for a considerable distance.

      I was horrified by this scene, but also curious at the same time. I couldn’t understand how the daughter could be “head downward and was dragged”. Was she trying to hide in the fire-place but fell down? Or was she trying to run but being caught by the animal?

    4. The faculty of re-solution{d} is possibly much invigorated by mathematical study, and especially by that highest branch of it which, unjustly, and merely on account of its retrograde operations, has been called, as if par excellence, analysis. Yet to calculate is not in itself to analyse. A chess-player, for example, does the one without effort at the other. It follows that the game of chess, in its effects upon mental character, is greatly misunderstood. I am not now writing a treatise, but simply prefacing a somewhat peculiar narrative by observations very much at random; I will, therefore, take occasion to assert that the higher powers of the reflective intellect are more decidedly and more usefully tasked{e} by the unostentatious game of draughts than by all the elaborate frivolity of chess. In this latter, where the pieces have different and bizarre{f} motions, with various and variable values, what{g} is only complex is mistaken (a not unusual error) for what{h} is profound. The attention is here called powerfully into play. If it flag for an instant, an oversight is committed, resulting in injury or defeat. The possible moves being not only manifold but involute, the chances of such oversights are multiplied; and in nine cases out of ten it is the more concentrative rather than the more acute player who conquers. In draughts, on the contrary, where the moves are unique{i} and have but little variation, the probabilities of inadvertence are diminished, [page 529:] and the mere attention being left comparatively unemployed, what advantages are obtained by either party are obtained by superior acumen.{j} To be less abstract — Let us suppose a game of draughts where the pieces are reduced to four kings, and where, of course, no oversight is to be expected. It is obvious that here the victory can be decided (the players being at all equal) only by some recherché{k} movement, the result of some strong exertion of the intellect. Deprived of ordinary resources, the analyst throws himself into the spirit of his opponent, identifies himself therewith, and not unfrequently sees thus, at a glance, the sole methods (sometimes indeed absurdly simple ones) by which he may seduce into {ll}error or hurry into miscalculation.{ll}

      Using chess to connect with the concept of analysis at the beginning of the story is innovative, however, I have to admit that this "chess metaphor" doesn't work for me ----It neither provides me any necessary background information nor triggers my interest and curiosity to read on.

    5. There appeared to be no furniture in any part of the building except in the fourth story.

      I couldn't find myself understanding why there is no furniture in the other parts of the building. Is it because of any superstitions? Or is it just mainly because of the home owner's preference. Or it may just be an unimportant statement I can ignore.

    6. The brute took up his position on the wash-basin stand; and every attempt to dislodge him brought to the ground some fragile articles of furniture — glasses, basins, and jugs

      This sentence troubles me because it portrays the monkey as a destructive force, wreaking damage without care. The chaos described here feels almost excessive, making it difficult to imagine how an animal could cause so much intentional damage.

    7. “I will explain,” he said, “and that you may comprehend all clearly, we will first retrace the course of your meditations, from the moment in which I spoke to you until that of the rencontre{j} with the fruiterer in question. The larger links of the chain run thus — Chantilly, Orion, Dr. Nichol,{k} (16) Epicurus, Stereotomy, the street stones, the fruiterer.” There are few persons who have not, at some period of their lives, amused themselves in retracing the steps by which particular conclusions of their own minds have been attained. The occupation is often full of interest; and he who attempts it for the first time is{l} astonished by the apparently illimitable distance and incoherence between the starting-point and the goal.(17) What, then, must have been my amazement when I heard the Frenchman speak what he had just spoken, and when I could not help acknowledging that he had spoken the truth. He continued: “We had been talking of horses, if I remember aright, just before leaving the Rue C———. This was the last subject we discussed. As we crossed into this street, a fruiterer, with a large basket upon his head, brushing quickly past us, thrust you upon a pile of paving-stones collected at a spot where the causeway is undergoing repair. You stepped upon one of the loose fragments, slipped, slightly strained your ankle, appeared vexed or sulky, muttered a few words, turned to look{m} at the pile, and then proceeded in silence. I was not particularly attentive to what you did; but observation has become with me, of late, a species of necessity. “You kept your eyes upon the ground — glancing, with a petulant expression, at the holes and ruts in the pavement, (so that I saw you were still thinking of the stones,) until we reached the little alley called Lamartine,(18) which has been paved, by way of [page 536:] experiment, with the overlapping and riveted blocks.(19) Here your countenance brightened up, and, perceiving your lips move, I could not doubt that you murmured{n} the{oo} word ‘stereotomy,’ a term very affectedly applied to this species of pavement.{oo} I knew that you could not {pp}say to yourself ‘stereotomy’ without{pp}, being brought to think of atomies, and thus of the theories of Epicurus;(20) and since{q} when we discussed this subject not very long ago, I mentioned to you how singularly, yet with how little notice, the vague guesses of that noble Greek had met with confirmation in the late nebular cosmogony, I felt that you could not avoid casting your eyes upward{r} to the great nebula{s} in Orion,(21) and I certainly expected that you would do so. You did look up; and I was now{t} assured that I had correctly followed your steps. But in that bitter tirade upon Chantilly, which appeared in yesterday's ‘Musée,’ the satirist, making some disgraceful allusions to the cobbler's change of name upon assuming the buskin, quoted a{u} Latin line{v} about which{w} we have often conversed. I mean the line {xx}Perdidit antiquum litera prima sonum{xx} I had told you that this was in reference to Orion, formerly written Urion; and, from certain pungencies connected with this explanation, I was aware that you could not have forgotten it.(22) It was clear, therefore, that you would not fail to combine the two ideas of Orion and Chantilly. That you did combine them I saw by the character of the smile which passed over your lips. You thought of the poor cobbler's immolation. So far, you had been stooping in your gait; but now I saw you draw yourself up to your full height. I was then sure that you reflected upon the diminutive figure of Chantilly. At this point I interrupted your meditations to remark [page 537:] that as, in fact, he was a very little fellow — that Chantilly — he would do better at the Théâtre des Variétés.”{y}

      I know that the author wants to create an image of Dupin as a detective who is good at reasoning; however, I wondered, how could he link all these details together and never miss one action or facial expression from our narrator? If the author had cut some of the details, would it be more convincing to most people? Since most of us could barely do that, we might not be able to think of it and resonate with it.

    8. The piece has a fault, shared by too many later detective stories, of one too gory passage, something avoided in the far finer tale, “The Purloined Letter,” which Poe himself valued more highly.

      The explicit depiction of violence can evoke discomfort or revulsion in readers, prompting them to question the necessity of such details in the narrative.

    9. The{a} mental features discoursed of as the analytical{a′} are, in themselves, but little, susceptible of analysis.

      still found it hard to fully understand this, but Edgar put it in the beginning of the story, it should be an important or inspiring idea.

  2. Sep 2024
    1. Like all the rest [of the tales], it is written backwards.

      I had to reread this paragraph multiple times to understand this line. Does it mean the story starts from the present and end at the past? It means, that the story forms clearer and clearer with each edition.