Dupin is correct in his accusation and places an ad in the Gazette for a found orangutan. The owner comes right to him, and the mystery is solved. Two literary devices that are evident are Poe's creative use of point of view and gothic setting. This point of view provides for a more intimate relation of the sordid tale, stating, " I often dwelt meditatively upon the old philosophy of the Bi-Part Soul, and amused myself with the fancy of a double Dupin-the creative and the resolvent. This "up close and personal" view of Dupin is known because of the first person narration.
Another point of view is also useful. Using this technique, Dupin delves into the mind of a careless Frenchman and his pet orangutan.
Poe also incorporates a gothic setting into the story. The gothic setting is absolute. Located on the Rue Morgue-"Death Street," the title foreshadows a catastrophe.
The murder scene is a grotesque setting complete with hideously dismembered bodies and severed heads. The Paris suburb of Faubourg-St. The narrator then describes the circumstances in which he met a man named C. Auguste Dupin. Both men were searching for the same book at an obscure library in the Rue Montmartre, in Paris, and began to converse. Soon, they became friends and decided to share the expenses of a residence together.
Soon thereafter, the narrator and Dupin read newspaper headlines about a horrible murder in the Rue Morgue.
Free Essay: In Edgar Allan Poe's “The Murders in the Rue Morgue”, a crucial statement is declared about how he views the inner workings of men, as well as. The Murders In The Rue Morgue by Edgar Allan Poe Essay. Words7 Pages . What makes a short story great? Great characters? A great plot? Whatever it is.
The neighbors hear two voices, then silence. The neighbors and two policemen finally break into the locked apartment to find utter disorder and multiple pieces of evidence of a crime, including a blood-smeared razor, locks of gray human hair, bags of money, and an opened safe. They find no traces of the older woman. However, the noticeable traces of soot in the room lead them to the chimney, where they find the corpse of Mademoiselle Camille.
They reason that the murderer must have choked Camille to death and then thrust her body up into the chimney.
They find her badly beaten, with her throat severely cut. When the police move the body, in fact, her head falls off. Then there was silence. When the fourth story was reached, and they entered the apartment, they found it in wild disorder.
Thus, we are given the bare facts of the murder. The old woman had "thick tresses" of her hair pulled out, her throat was cut so deeply across that when the police picked up the body, the head fell off. Furthermore, the woman was completely covered with bruises, so terribly that the police assume that she was bludgeoned badly before her head was almost severed. The body itself was found lying in the courtyard four flights down from the woman's apartment, and it is impossible to determine how the body got into the courtyard because the room was completely locked from within.
Her daughter was choked to death, apparently, by the hands of an extremely powerful man, and she was stuffed up the chimney, head downward. It would have taken super-human strength to have put her there because it took such violents tugs to remove her.
The newspaper recounts how the old woman had just withdrawn 4, francs in gold from her bank; unaccountably, the two bags of money were found in the middle of the room, which was totally torn apart. The men who entered the apartment were all interviewed by the police, and all of the witnesses agree on one matter: There were two voices — one was the deep voice of a Frenchman and the other was a shriller, higher voice, but no one who heard that voice could identify the accent conclusively.
The physician and the surgeon both agree that Mademoiselle Camille was "throttled to death" and that "the corpse of the mother was horribly mutilated. It is concluded that some kind of heavy club was used on her. Because an acquaintance of M.
Dupin is accused of the murders, M. Dupin receives permission to investigate the environs, a setting which is extremely intriguing since the newspapers report that the crime seems impossible to solve because there could be no way for a murderer to escape from the locked, enclosed apartment. Dupin then begins his now-famous method of ratiocination.
He maintains that one should not ask "what has occurred," but, instead, "what has occurred that has never occurred before.
He announces to his friend, the narrator, that he is waiting on confirmation of his solution; he expects a person to arrive momentarily to confirm his theory. Dupin then points out to the narrator some of the obvious things that the police have overlooked. Among the witnesses who heard the two voices were an Italian, an Englishman, a Spaniard, a Hollander, and a Frenchman.
Each one thought that the shrill voice they all heard was the voice of a foreigner, but none agreed on the nationality; furthermore, the Englishman thought it belonged to a German, but he does not understand German, the Spaniard thought it to be English, but he does not understand English, the Italian believed it to be Russian, but he does not understand Russian, and so on in every case.
No person can identify the nationality of the shrill voice. And whereas they all agree that the deep French voice uttered discernible words, such as mon Dieu my God and sacre and diable , the shrill voice uttered no discernible words — only sounds. As to the matter of egress from the room being impossible, the police reject the notion because of its impossibility. Dupin, however, says that he will show that "these apparent 'impossibilities' are, in reality," possible. Using this logic, he discovers that the locked windows have a spring in them that, once pressed, can be opened.
Furthermore, since the police abandoned further examination of the windows after they saw that they were nailed down, M. Dupin decided to examine the nails.
He found a nail in one window to be broken off just at the shaft so that it only appeared to be nailed shut; the nail separated when the window was open. Thus someone could have entered by the open window and closed it upon leaving, thereby springing the spring closed and making it appear as though it were nailed shut since the two parts of the nail met again after the window was closed. When they observed the outside of the building, the police looked up at only one angle and decided that no one could possibly climb up the outside walls; M.
Dupin, however, notices that if the shutters were open, a person or thing of great agility could conceivably hop from the lightning rod to the shutter of the window, thereby gaining ingress and egress to the apartment and still giving the appearance of its being impossible.
Additionally in his investigations, M. Dupin notices that no human being could kill with such ferocity and brutality — no human being possesses such strength. Thus his intuitive and analytical mind now must conceive of a murderer who has astounding agility, superhuman strength, a brutal and inhuman ferocity, and, moreover, he must explain a murder a butchery without a motive — a grotesque "horror absolutely alien from humanity" and a "voice foreign to all ears and devoid of any distinct syllabifications.
In other words, imagination and emotion should not limit, but guide the natural world. Although they appear to be locked by nails, Dupin concludes that they must have a concealed spring that allows the windows to fasten themselves. New to Wikipedia? If you would like to participate, you can edit one of the articles mentioned below, or visit the project page, where you can join the project and contribute to the general Project discussion to talk over new ideas and suggestions. There appeared to be no furniture in any part of the building except in the fourth story. If I am in error, he will merely suppose that I have been misled by some circumstance into which he will not take the trouble to inquire.
Most readers, however, are like the narrator and will need even further clues. These M.