Cask of Amontillado notes
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Prepared for Deaf and hard of hearing students in Ms. Amy LC's English class.
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Cask of Amontillado notes
- 8. Edgar Allen Poe born: 1809 died: 1846
- 9. Edgar Allen Poe born: 1809 died: 1846 Poe made “short stories” popular in America.
- 10. Edgar Allen Poe born: 1809 died: 1846 Poe made “short stories” popular in America. We ask about Poe’s characters: are they sane or insane?
- 11. Edgar Allen Poe born: 1809 died: 1846 Poe made “short stories” popular in America. We ask about Poe’s characters: are they sane or insane?
- 12. Edgar Allen Poe born: 1809 died: 1846 Poe made “short stories” popular in America. We ask about Poe’s characters: are they sane or insane?
- 13. Poe’s Biography:
- 14. Poe’s Biography: Poe’s family life was sad:
- 15. Poe’s Biography: Poe’s family life was sad: His parents were actors.
- 16. Poe’s Biography: Poe’s family life was sad: His parents were actors. His father left the family when he was one.
- 17. Poe’s Biography: Poe’s family life was sad: His parents were actors. His father left the family when he was one. His mother died when he was two.
- 18. Poe’s Biography: Poe’s family life was sad: His parents were actors. His father left the family when he was one. His mother died when he was two. The orphaned children
- 19. Poe’s Biography: He published his first stories at 19. His poems and stories were popular.
- 20. Poe’s Biography: He published his first stories at 19. His poems and stories were popular. He died at age 37.
- 21. Poe’s parents, brother, sister and wife died at young ages. These sad stories influenced his ideas.
- 22. Poe’s parents, brother, sister and wife died at young ages. Their sad stories influenced his ideas.
- 23. Most of Poe’s stories are about death and murder!
- 24. Most of Poe’s stories are about death and murder!
- 25. Most of Poe’s stories are about death and murder! Many of Poe’s works are about the macabre.
- 26. Most of Poe’s stories are about death and murder! Many of Poe’s works are about the macabre.*
- 27. Most of Poe’s stories are about death and murder! Many of Poe’s works are about the macabre.* *ghosts and horror.
- 28. His most famous poem: The
- 29. His most famous poem: The
- 30. His most famous poem: The
- 31. His most famous poem: The
- 32. His most famous poem: The Poe wrote The Raven after his young wife, Virginia, died of lung disease.
- 36. The Cask of Amontillado: set in a basement.
- 37. The Cask of Amontillado: set in a basement.
- 50. People in USA celebrate Carnival. In New Orleans, it is called Mardi Gras.
- 51. Carnival: a holiday 40 days before Easter.
- 52. Carnival: a holiday 40 days before Easter. During the 40 days before Easter, many Christians give up things they like (meat, candy, parties). They celebrate carnival before they begin the 40 days.
- 53. Carne + Val
- 55. alcohol + costumes = ????
- 59. a cask wine
- 60. a cask wine
- 61. making casks a cask wine
- 62. making casks
- 66. Cask? ...or
- 67. Cask? ...or
- 69. torch
- 71. Damp cellar walls covered with nitre.
- 72. Masons –or freemasons-- are a club.
- 73. Freemasons are a club.
- 74. Freemasons are a club.
- 75. Freemasons are a club.
- 76. maso n
- 77. maso n
- 78. trowel
- 79. using a trowel
- 80. using a trowel
- 82. Coat of Arms ( family symbol)
- 83. Coat of Arms ( family symbol)
- 84. The Cask of Amontillado is set in the catacombs. What are catacombs?
- 88. Catacombs:
- 90. Paris Catacombs *Under the city *Bones of 5 to 6 million people. *Beginning around 1790, cemeteries were full. Pollution was a big problem. *Solution: Poor people put dead bodies underground.
- 94. Rich people built catacombs for their families under their palaces.
- 97. The Cask of Amontillado “…but when he ventured upon insult, I vowed revenge.” The narrator tells how he gets revenge against his friend.
- 98. revenge
- 99. revenge
- 101. Montresor
- 102. Montresor Fortunado is terrible! He insulted me too many times! I will get revenge!
- 103. Montresor Fortunado loves wine. I will fool him...!
- 104. Montresor Fortunado loves wine. I will fool him...!
- 105. Montresor Fortunado loves wine. I will fool him...!
- 107. Montresor Fortunado loves wine. I will fool him...!
- 108. Montresor Fortunado loves wine. I will fool him...!
- 109. Montresor Fortunado loves wine. I will fool him...!
- 110. Montresor Fortunado loves wine. I will fool him...!
- 111. Montresor
- 115. Montresor
- 116. Montresor
- 118. !
- 124. Coat of Arms ( family symbol)
- 125. trowel
- 134. ?
- 136. "For the love of god! Montresor!” "Yes" I said, "For the love of god!"
- 138. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast.
- 141. I ceased my labours and sat down upon the bones.
- 143. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 144. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 145. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 146. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 147. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 148. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 149. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 150. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 151. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 152. title and author:The Cask of Amontillado, Edgar Allan Poe point of view: first person point of view setting:carnival, Italy characters: the narrator Montresor, Fortunado (ironic name) plot: Montresor lures Fortunado into his cellar. conflict: Montresor wants revenge from Fortunado’s insults. climax: Montresor chains Fortunado in the cellar and builds a wall around him to bury him alive. No one hears his screams. resolution: Montresor tells this story fifty years later. Elements of a Story: The Cask of Amontillado
- 153. Questions • Do you think people outside hear screams from Montresor’s catacombs? • Will you visit your friend’s catacombs?
- 154. Comprehension Check 1. The narrator of the story says that Fortunato has _______________ him since childhood. a. been angry at b. made fun of c. been good friends with d. given him money 2. Fortunato last words were that he thought the whole thing was a __________ . a. joke b. terrible crime c. bad dream d. demonstration of wall building 3. Fortunato didn't suspect anything because he thought that the narrator was his ________ . a. enemy b. wife's lover c. future employer d. friend 4. Amontillado is a type of ______________ . a. festival b. wine c. many colored costume d. restaurant 5. On the way down to the wine cellar, the narrator and Fortunato had to go past some _________ . a. tombs b. other celebrants c. wet rocks d. other wines
- 155. 6. As they walked further into the wine cellar, Fortunato began to ____________ . a. laugh b. sing c. stumble d. cough 7. Fortunato stared stupidly at two _______________ that were attached to the wall. He didn't know they were meant for him. a. handcuffs b. whips c. knives d. bricks 8. Before the narrator placed the last brick, he called Fortunato's name, however, he heard _____________ . a. only a low crying sound b. Fortunato's curse c. no answer d. the sound of scratching 9. Another name for this story could be ________________ . a. "An Italian Festival" b. "The Best Wine in Rome" c. "Wealthy Italian Families" d. "Fortunato's Fortune” 10. The story is mainly about _______________ . a. Italian wine b. a tale of revenge c. two rich Italians
Editor's Notes
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- Miniature by John A. McDougall Watercolor of Edgar Allan Poe [thumbnail] (fig. 11) Miniature by John A. McDougall [Illustration on page 29] This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43) According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life. The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption: AN UNPUBLISHED PORTRAIT OF POE The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it. — THE EDITOR. http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
- Miniature by John A. McDougall Watercolor of Edgar Allan Poe [thumbnail] (fig. 11) Miniature by John A. McDougall [Illustration on page 29] This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43) According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life. The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption: AN UNPUBLISHED PORTRAIT OF POE The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it. — THE EDITOR. http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
- Miniature by John A. McDougall Watercolor of Edgar Allan Poe [thumbnail] (fig. 11) Miniature by John A. McDougall [Illustration on page 29] This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43) According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life. The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption: AN UNPUBLISHED PORTRAIT OF POE The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it. — THE EDITOR. http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
- Miniature by John A. McDougall Watercolor of Edgar Allan Poe [thumbnail] (fig. 11) Miniature by John A. McDougall [Illustration on page 29] This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43) According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life. The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption: AN UNPUBLISHED PORTRAIT OF POE The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it. — THE EDITOR. http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
- Miniature by John A. McDougall Watercolor of Edgar Allan Poe [thumbnail] (fig. 11) Miniature by John A. McDougall [Illustration on page 29] This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43) According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life. The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption: AN UNPUBLISHED PORTRAIT OF POE The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it. — THE EDITOR. http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
- http://rmc.library.cornell.edu/poe/exhibition/horrorsuspense/index.html
- http://rmc.library.cornell.edu/poe/exhibition/horrorsuspense/index.html
- http://rmc.library.cornell.edu/poe/exhibition/horrorsuspense/index.html
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