Nov 14, 2009

The Cask of Amontillado | Introduction

‘‘The Cask of Amontillado’’ was first published in the November 1846 issue of Godey's Lady's Book, a monthly magazine from Philadelphia that published poems and stories by some of the best American writers of the nineteenth century, including Nathaniel Hawthorne Henry Wadsworth Longfellow, and Harriet Beecher Stowe. The story next appeared in the collection Poe's Works, edited by Rufus W. Griswold, Poe's literary executor, in 1850. By the time Poe wrote this story, he was already nationally known as the author of the poem ‘‘The Raven’’ (1844) and of several short stories collected in a book called, simply, Tales (1845). These earlier stories were widely reviewed and argued over by critics who found them brilliant and disturbing, and their author perplexing and immoral. Although "The Cask of Amontillado'' was not singled out for critical attention when it appeared, it did nothing to change the opinions of Poe's contemporary admirers and detractors. Like Poe's other stories, it has remained in print continuously since 1850.

The story is narrated by Montresor, who carries a grudge against Fortunato for an offense that is never explained. Montresor leads a drunken Fortunato through a series of chambers beneath his palazzo with the promise of a taste of Amontillado, a wine that Montresor has just purchased. When the two men reach the last underground chamber, Montresor chains Fortunato to the wall, builds a new wall to seal him in, and leaves him to die. Several sources for the story have been suggested in the last century and a half: Edward Bulwer-Lytton's historical novel The Last Days of Pompeii (1843); a local Boston legend; a collection of Letters from Italy; and a real quarrel Poe had with two other poets. Wherever Poe got the idea and the impetus for ‘‘The Cask of Amontillado,’’ this story and Poe's other short fiction had an undisputed influence on later fiction writers. In the nineteenth century, Poe influenced Ambrose Bierce and Robert Louis Stevenson among others. Twentieth-century writers who have looked to Poe include science fiction writer H. P. Lovecraft and horror author Stephen King.

According to Vincent Buranelli, Poe's short stories also influenced the music of Claude Debussy, who was "haunted" by the atmosphere of Poe's tales, and the art of Aubrey Beardsley, as well as the work of other composers and artists in the United States, Great Britain, and in Europe. Poe was criticized in his own time for daring to examine a crime with no apparent motive, and a murderer with no apparent remorse. For one hundred and fifty years, these themes have continued to challenge readers, who are attracted and repulsed by Poe's creation.

The Cask of Amontillado Summary

"The Cask of Amontillado" was first published in 1846. The first-person narrator, Montresor, is unreliable and is attempting to explain his actions of 50 years before. The story begins with Montresor addressing someone familiar, who knows the "nature of my soul." He explains that he had borne "the thousand injuries of Fortunato," but finally Fortunato went too far, and he devised a plan for revenge.

Fortunato does not suspect Montresor's plan. In fact, when they meet in the street during carnival, Fortunato is very glad to see him. Fortunato is dressed like a jester, and has been drinking. Throughout the story, Montresor exploits Fortunato's interest in wine. First, he tempts Fortunato by claiming he has purchased a cask of Amontillado, which is a dry sherry, but he is unsure if its authentic. Instead of asking Fortunato directly to examine the Amontillado, Montresor says he will ask another because Fortunato is busy, thereby playing upon both Fortunato's pride and greed.

Fortunato agrees to accompany Montresor home, where the servants have all gone to enjoy the festivities. Montresor grabs two torches and leads the way into the family catacombs, which are lined with nitre and cause Fortunato to cough. Montresor says they will go back, but Fortunato wants to see the Amontillado, claiming, "I shall not die of a cough," to which Montresor replies, "True—true."

While they walk deeper into the catacombs, Montresor describes his family's coat of arms and motto, which is "Nemo me impune lacessit," or "No one insults me with impunity." They also consume more wine. When Fortunato makes a secret sign of the masons, Montresor does not understand. Fortunato asks him for a sign he is of the masons, and Montresor produces a trowel from his cloak. Although Fortunato seems to be confused, he still wants to see the Amontillado, and they continue deeper into the tombs.

At the end of the crypt, there is a room lined with bones, with a pile of bones on one side. Fortunato, looking for the cask, steps into a small interior recess, and Montresor quickly chains him to the wall, taunting him with all the opportunities he had allowed for Fortunato to back out. Fortunato, in shock, can't comprehend what is happening as Montresor uses the trowel and stone and mortar buried under the pile of bones to wall up the crypt.

Fortunato comes to his senses and begins to moan and test the chains. Montresor waits until Fortunato stops shaking the chains, then continues boarding up the crypt. He raises the torch... » Complete The Cask of Amontillado Summary