The Cask of Amontillado
|The Cask of Amontillado|
Illustration of "The Cask of Amontillado" by Harry Clarke, 1919
|Author||Edgar Allan Poe|
|Genre||Horror short story|
|Publisher||Godey's Lady's Book|
|Media type||Print (Magazine)|
The story is set in a nameless Italian city in an unspecified year and is about the narrator's deadly revenge on a friend who, he believes, has insulted him. Like several of Poe's stories, and in keeping with the 19th-century fascination with the subject, the narrative revolves around a person being buried alive—in this case, by immurement.
The story's narrator, Montresor, tells the story of the day that he took his revenge on Fortunato, a fellow nobleman, to an unspecified person who knows him very well. Angry over some unspecified insult, he plots to murder his friend during Carnival when the man is drunk, dizzy, and wearing a jester's motley.
He baits Fortunato by telling him he has obtained what he believes to be a pipe (about 130 gallons, 492 litres) of a rare vintage of Amontillado. He claims he wants his friend's expert opinion on the subject. Fortunato goes with Montresor to the wine cellars of the latter's palazzo, where they wander in the catacombs. Montresor offers wine (first Medoc, then De Grave) to Fortunato. Montresor warns Fortunato, who has a bad cough, of the damp, and suggests they go back; Fortunato insists on continuing, claiming that "[he] shall not die of a cough." During their walk, Montresor mentions his family coat of arms: a golden foot in a blue background crushing a snake whose fangs are embedded in the foot's heel, with the motto Nemo me impune lacessit ("No one insults me with impunity").
At one point, Fortunato makes an elaborate, grotesque gesture with an upraised wine bottle. When Montresor appears not to recognize the gesture, Fortunato asks, "You are not of the masons?" Montresor says he is, and when Fortunato, disbelieving, requests a sign, Montresor displays a trowel he had been hiding. When they come to a niche, Montresor tells his victim that the Amontillado is within. Fortunato enters and, drunk and unsuspecting, does not resist as Montresor quickly chains him to the wall. Montresor then declares that, since Fortunato won't go back, he must "positively leave".
Montresor walls up the niche, entombing his friend alive. At first, Fortunato, who sobers up faster than Montresor anticipated he would, shakes the chains, trying to escape. Fortunato then screams for help, but Montresor mocks his cries, knowing nobody can hear them. Fortunato laughs weakly and tries to pretend that he is the subject of a joke and that people will be waiting for him (including the Lady Fortunato). As the murderer finishes the topmost row of stones, Fortunato wails, "For the love of God, Montresor!" Montresor replies, "Yes, for the love of God!" He listens for a reply but hears only the jester's bells ringing. Before placing the last stone, he drops a burning torch through the gap. He claims that he feels sick at heart, but dismisses this reaction as an effect of the dampness of the catacombs.
In the last few sentences, Montresor reveals that in the 50 years since that night, he has never been caught, and Fortunato's body still hangs from its chains in the niche where he left it. The murderer concludes: In pace requiescat! ("May he rest in peace!").
"The Cask of Amontillado" was first published in the November 1846 issue of Godey's Lady's Book which was, at the time, the most popular periodical in America. The story was only published one additional time during Poe's life.
Although the subject matter of Poe's story is a murder, "The Cask of Amontillado" is not a tale of detection like "The Murders in the Rue Morgue" or "The Purloined Letter"; there is no investigation of Montresor's crime and the criminal himself explains how he committed the murder. The mystery in "The Cask of Amontillado" is in Montresor's motive for murder. Without a detective in the story, it is up to the reader to solve the mystery.
Montresor never specifies his motive beyond the vague "thousand injuries" to which he refers. Some context is provided, including Montresor's observation that his family once was great (but no longer so), and Fortunato's belittling remarks about Montresor's exclusion from Freemasonry. Many commentators conclude that, lacking significant reason, Montresor must be insane, though even this is questionable because of the intricate details of the plot.
Though Fortunato is presented as a connoisseur of fine wine, Cecil L. Moffitt of Texas Christian University argues that his actions in the story make that assumption questionable. For example, Fortunato comments on another nobleman being unable to distinguish Amontillado from Sherry when Amontillado is in fact a type of Sherry, and treats De Grave, an expensive French wine, with very little regard by drinking it in a single gulp. Moffitt also states that a true wine connoisseur would never sample wine while intoxicated and describes Fortunato as merely an alcoholic. Moffitt also suggests that some people might feel Fortunato deserved to be buried alive for wasting a bottle of fine wine.
Poe may have known bricklaying through personal experience. Many periods in Poe's life lack significant biographical details, including what he did after leaving the Southern Literary Messenger in 1837. Poe biographer John H. Ingram wrote to Sarah Helen Whitman that someone named "Allen" said that Poe worked "in the brickyard 'late in the fall of 1834'." This source has been identified as Robert T. P. Allen, a fellow West Point student during Poe's time there.
An apocryphal legend holds that the inspiration for "The Cask of Amontillado" came from a story Poe had heard at Castle Island (South Boston), Massachusetts, when he was a private there in 1827. According to this legend, while stationed at Castle Island in 1827 he saw a monument to Lieutenant Robert Massie. Massie had been killed in a sword duel on Christmas Day 1817 by Lieutenant Gustavus Drane, following a dispute during a card game. According to the legend, other soldiers then took revenge on Drane by getting him drunk, luring him into the dungeon, chaining him to a wall, and sealing him in a vault (though the last part is untrue, as Drane was courtmartialled and acquitted, living until 1846.). A report of a skeleton discovered on the island may be a confused remembering of Poe's major source, Joel Headley's "A Man Built in a Wall" in his "Letters from Italy" (1844), which recounts the author's seeing an immured skeleton in the wall of a church in Italy. Headley's story includes details very similar to "The Cask of Amontillado"; in addition to walling an enemy into a hidden niche, the story details the careful placement of the bricks, the motive of revenge, and the victim's agonized moaning. Poe may have also seen similar themes in Honoré de Balzac's "Le Grande Bretêche" (Democratic Review, November 1843) or his friend George Lippard's The Quaker City; or The Monks of Monk Hall (1845). Poe may have borrowed Montresor's family motto Nemo me impune lacessit from James Fenimore Cooper, who used the line in The Last of the Mohicans (1826).
Poe wrote his tale, however, as a response to his personal rival Thomas Dunn English. Poe and English had several confrontations, usually revolving around literary caricatures of one another. Poe thought that one of English's writings went a bit too far, and successfully sued the other man's editors at The New York Mirror for libel in 1846. That year English published a revenge-based novel called 1844, or, The Power of the S.F. Its plot was convoluted and difficult to follow, but made references to secret societies and ultimately had a main theme of revenge. It included a character named Marmaduke Hammerhead, the famous author of "The Black Crow", who uses phrases like "Nevermore" and "lost Lenore", referring to Poe's poem "The Raven". This parody of Poe was depicted as a drunkard, liar, and an abusive lover.
Poe responded with "The Cask of Amontillado", using very specific references to English's novel. In Poe's story, for example, Fortunato makes reference to the secret society of Masons, similar to the secret society in 1844, and even makes a gesture similar to one portrayed in 1844 (it was a signal of distress). English had also used an image of a token with a hawk grasping a snake in its claws, similar to Montresor's coat of arms bearing a foot stomping on a snake — though in this image, the snake is biting the heel. In fact, much of the scene of "The Cask of Amontillado" comes from a scene in 1844 that takes place in a subterranean vault. In the end, then, it is Poe who "punishes with impunity" by not taking credit for his own literary revenge and by crafting a concise tale (as opposed to a novel) with a singular effect, as he had suggested in his essay "The Philosophy of Composition".
Poe may have also been inspired, at least in part, by the Washingtonian movement, a fellowship that promoted temperance. The group was made up of reformed drinkers who tried to scare people into abstaining from alcohol. Poe may have made a promise to join the movement in 1843 after a bout of drinking with the hopes of gaining a political appointment. "The Cask of Amontillado" then may be a "dark temperance tale", meant to shock people into realizing the dangers of drinking.
Poe scholar Richard P. Benton has stated his belief that "Poe's protagonist is an Englished version of the French Montrésor" and has argued forcefully that Poe's model for Montresor "was Claude de Bourdeille, Count of Montrésor, the 17th-century political conspirator in the entourage of King Louis XIII's weak-willed brother, Gaston d'Orléans". The "noted intriguer and memoir-writer" was first linked to "The Cask of Amontillado" by Poe scholar Burton R. Pollin.
Further inspiration for the method of Fortunato's murder comes from the fear of live burial. During the time period of this short story some coffins were given methods of alerting the outside in the event of live entombment. Items such as bells tied to the limbs of a corpse to signal the outside were not uncommon. This theme is evident when we observe Fortunato's costume of a jester with bells upon his hat, and his situation of live entombment within the catacombs.
- Cecil, L. Moffitt. "Poe's Wine List", from Poe Studies, Vol. V, no. 2. December 1972. p. 41.
- Sova, Dawn B. Edgar Allan Poe: A to Z. Checkmark Books, 2001. ISBN 0-8160-4161-X p. 45
- Reynolds, David F. "Poe's Art of Transformation: 'The Cask of Amontillado' in Its Cultural Context", as collected in The American Novel: New Essays on Poe's Major Tales, Kenneth Silverman, ed. Cambridge University Press, 1993. ISBN 0-521-42243-4 p. 101
- Edgar Allan Poe — "The Cask of Amontillado" at the Edgar Allan Poe Society online
- Baraban, Elena V. "The Motive for Murder in 'The Cask of Amontillado' by Edgar Allan Poe", Rocky Mountain E-Review of Language and Literature. Volume 58, Number 2. Fall 2004.
- Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991: 129–130. ISBN 0-06-092331-8
- Thomas, Dwight & David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co., 1987: 141. ISBN 0-7838-1401-1.
- Bergen, Philip. Old Boston in Early Photographs. Boston: Bostonian Society, 1990. p. 106
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- Vrabel, p. 105
- Battery B, 4th U.S. Light Artillery - First Lieutenants of the 4th U.S. Artillery
- Mabbott, Thomas Ollive, editor. Tales and Sketches: Volume II. Urbana, Ill.: University of Illinois Press, 2000. p. 1254
- Reynolds, David F. "Poe's Art of Transformation: 'The Cask of Amontillado' in Its Cultural Context", as collected in The American Novel: New Essays on Poe's Major Tales, Kenneth Silverman, ed. Cambridge University Press, 1993. ISBN 0-521-42243-4 pp. 94–5
- Jacobs, Edward Craney. "Marginalia – A Possible Debt to Cooper", collected in Poe Studies, vol. VIII, no. 1. June 1976.
- Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991: 312–313. ISBN 0-06-092331-8
- Rust, Richard D. "Punish with Impunity: Poe, Thomas Dunn English and 'The Cask of Amontillado'" in The Edgar Allan Poe Review, Vol. II, Issue 2 – Fall, 2001, St. Joseph's University.
- Reynolds, David F. "Poe's Art of Transformation: 'The Cask of Amontillado' in Its Cultural Context", as collected in The American Novel: New Essays on Poe's Major Tales, Kenneth Silverman, ed. Cambridge University Press, 1993. ISBN 0-521-42243-4 pp. 96–7
- Benton, Richard P. (June 1996). "Poe's 'The Cask of Amontillado': Its Cultural and Historical Backgrounds". Poe Studies 29: 19–27.
- Burton R. Pollin (1970). "Notre-Dame de Paris in Two of the Tales". Discoveries in Poe. Notre Dame, Indiana: University of Notre Dame Press. pp. 24–37.
- Platizky, Roger. "Poe's The Cask of Amontillado." Explicator 57.4 (1999): 206. Academic Search Premier. Web. 23 Aug. 2012.
|Wikisource has original text related to this article:|
- "The Cask of Amontillado" – Full text of the first printing, from Godey's Lady's Book, 1846
- Full text on PoeStories.com with hyperlinked vocabulary words.
- Free-to-download MP3 dramatisation of the story (Yuri Rasovsky)
- LibriVox recording