critical thinking questions the cask of amontillado

7 Critical Thinking Questions for The Cask of Amontillado

May 24, 2021

Are you looking for Critical Thinking Questions for The Cask of Amontillado by Edgar Allan Poe ? If you are a middle or high school teacher, you probably are!  This classic piece of American Literature was the first Poe short story I ever taught to my ninth-grade English students. It tells the tale of a man, Montresor, bent on revenge. We don’t know why he wants revenge specifically, yet we most eagerly join him on his journey to achieve vengeance against a man named Fortunato.

Because of the twisted plot and ironic resolution, students will love this story! There are so many ways you can approach this story. You can focus on citing evidence, theme, characterization, word analysis, irony, structure, literary analysis writing, etc. It really is up to you! Below are 7 questions you can ask your students as you read this fun, albeit morbidly, fascinating tale!

Keep reading for 7 Critical Thinking Questions for The Cask of Amontillado !

Need help with Test Prep? Check out this  FREE Pack of 3 Test Prep Activities  to help students achieve success on standardized tests!

Table of Contents

TEACHING CENTRAL IDEA QUESTIONS FOR THE CASK OF AMONTILLADO

If you are teaching the Common Core standards (or general state standards) let’s check out what the central idea standard requires when asking questions for The Cask of Amontillado:

CCSS.ELA-LITERACY.RL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

• Determine a theme OR central idea
• Analyze how the theme/central idea develops throughout the text
• Examine how details shape and refine the theme/central idea
• Provide a summary of the text

After reading the text and standard, you will want to use the central idea and/ or main idea questions for The Cask of Amontillado!

1. What is a summary of this short story?

Now, this question seems simple, but you can teach this standard in so many ways! You could focus on the beginning, middle, or end, a specific chunk, or the entire story?

Perhaps, you could teach How To Write a ONE-SENTENCE Summary!

The Cask of Amontillado Summary Activity Pack helps students focus on writing ONE-SENTENCE summaries for chunks within the short story. By breaking down the story into chunks, we can make comprehension MUCH easier for our students!

Click below to get a BUNDLE of activities and questions for The Cask of Amontillado!

2.  What is the central idea of the short story?

This question might seem almost too easy for your students; however, most struggle to capture what the short story is truly about. Or they confuse it with theme (the message of a text).

TIP: Make sure to encourage your students to always cite evidence! Without evidence, the foundation for our response simply breaks down.

Need help with teaching Citing Evidence? Check out How To Cite Textual Evidence: Direct Quotes!

3. Which theme could be true based on the short story?

Check out these 6 possible themes from “The Cask of Amontillado” that may or may NOT be true!

• Outside appearances do not always correspond to what people intend.
• Too much drinking will ultimately lead to death.
• Revenge takes careful planning and hard work.
• Lying is an important part of friendship.
• People take time to become enemies.
• Families determine life outcomes.

Have your students discuss the options and why each could or could not be a theme for this short story!

Want to make this standard a piece of cake? Check out this Digital Quiz below that includes questions for The Cask of Amontillado!

Do you want some ENGAGING ideas for the end of the school year? Check out>>> 11 Fun End of Year Activities for Middle School and High School Students

TEACHING WORDS AND PHRASES QUESTIONS FOR THE CASK OF AMONTILLADO

Here is one of the standards that asks students to analyze words and phrases, in this case figurative language.

CCSS.ELA-LITERACY.L.9-10.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

4.  How does Poe use irony to contribute to the meaning of the text?

Check out the print & teach pack below.

You also might want to focus on TONE! As a part of the standard, students are asked to analyze the impact of diction on tone.

CCSS.ELA-LITERACY.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

This standard has so many parts:

• Determine the meaning of words and phrases as used in the text
• Note both figurative and connotative meanings of words/phrases
• analyze the overall impact of diction on meaning AND tone

5.  What is Montresor’s tone towards Fortunato in the journey through the catacombs?

Teaching citing evidence questions for the cask of amontillado.

For every answer, students should be able to support their responses to the questions for The Cask of Amontillado with evidence! Too often, a student will guess. We don’t want that; we want them to be sure. One way to bolster students’ confidence is to teach them how to cite evidence!

Here is the standard for citing evidence:

CCSS.ELA-LITERACY.RL.9-10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

Let’s break it down. Students must do the following:

• Cite evidence that is both strong and thorough
• Use the evidence to support what the text says explicitly and implicitly
• Make inferences

This is a tough standard for any teacher, which is why we need to consistently ask our students for the evidence!

Below are 2 questions for The Cask of Amontillado that help students understand the connection between characterization and evidence.

6. Which word or phrase from the text best characterizes Montresor? Choose 1 or 2 words and explain why these words best represent him.

7. which sentence demonstrates montresor is enjoying fortunato’s response.

1) I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. 2) The earliest indication I had of this was a low moaning cry from the depth of the recess. 3) It was  not  the cry of a drunken man. 4) There was then a long and obstinate silence.

5) I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. 6) The noise lasted for several minutes, during which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. 7) When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier.

Craving more POE? Read here for activity ideas >>> The Tell Tale Heart Edgar Allan Poe At His Best!

WHY SHOULD WE STILL TEACH POE?

I love teaching Edgar Allan Poe texts. They are what I would call high-engagement literature. Now, I say this knowing that Poe’s overall style can be quite difficult for many of our students. Because of this, I would encourage you to read with your students. With some classes, you may only need to read the first paragraph or two. In other classes, you might need to read the whole short story as a class.

And that is okay! I even used to read more difficult texts with my college students; every kid loves hearing a story read to them. When it comes to Poe, we want our students to get excited about the story and learn new diction and syntax at the same time. Just keep reading…and include questions for The Cask of Amontillado!

For more activities, quizzes, and lesson ideas that include questions for The Cask of Amontillado, check out my store Integrated ELA Test Prep !

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Teaching the cask of amontillado, take a drink of shmoop..

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Description

We have a few (non-alcohol, classroom-friendly) mixers to go with Cask of Amontillado, which will make it go down a little more smoothly.

In this guide you will find

• an activity playing with narrative perspective.
• a reading quiz to be sure students know who’s burying whom.
• discussion questions exploring the story’s heady symbolism.

Please Shmoop responsibly.

What's Inside Shmoop's Literature Teaching Guides

Shmoop is a labor of love from folks who love to teach. Our teaching guides will help you supplement in-classroom learning with fun, engaging, and relatable learning materials that bring literature to life.

Inside each guide you'll find quizzes, activity ideas, discussion questions, and more—all written by experts and designed to save you time. Here are the deets on what you get with your teaching guide:

• 13-18 Common Core-aligned activities to complete in class with your students, including detailed instructions for you and your students. 
• Discussion and essay questions for all levels of students.
• Reading quizzes for every chapter, act, or part of the text.
• Resources to help make the book feel more relevant to your 21st-century students.
• A note from Shmoop's teachers to you, telling you what to expect from teaching the text and how you can overcome the hurdles.

Want more help teaching Teaching The Cask of Amontillado?

Check out all the different parts of our corresponding learning guide.

Instructions for You

Objective: " The Cask of Amontillado " is narrated by a murderer and told from his perspective. In this activity students consider the multiple relevant perspectives at stake in the story and employ one of them to retell the tale. Students answer critical questions about the story, participate in classroom discussion, and write an creative retelling of the story from Fortunato's perspective of being buried alive.

Teachers can expect to spend about 30-50 minutes on classroom discussion and possibly one or two more class periods for students to present original work.

Step 1: Pose the following question to your students: consider the perspective through which Poe chose to tell "The Cask of Amontillado." What are some possible reasons why he chose to focus on the murderer's point of view?

Step 2: Have student brainstorm in groups. Ask them to think about what would change if the point of view changed and what effect the point of view has on the story (characters, plot, themes, symbols, etc.).

And now for the prompt:

Rewrite "The Cask of Amontillado" from Fortunato's unfortunate point of view. As you work on your piece, be sure to mirror the story with respect to symbols (for example, what imagery and motifs would be significant to the victim in this last moments alive), themes, and other plot devices.

Step 3: [Optional] Students present their stories to the class or in small groups.

(California English Language Arts Standards Met: 9th & 10th grade Reading 1.1, 1.2, 2.3, 2.5, 2.6, 3.1, 3.3, 3.4, 3.6, 3.7, 3.8, 3.11; Writing 1.1, 1.2, 1.4, 1.5, 1.9, 2.2, 2.3; 11th & 12th grade Reading 1.3, 2.1, 2.2, 2.4, 2.5, 3.2, 3.3, 3.4; Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.9, 2.2.)

Instructions for Your Students

Take two! Feel like " The Cask of Amontillado " is a little one-sided (what with it being told from the murderer's perspective)? Wondering what exactly Fortunato was thinking, feeling, eeking about during the story? Well, here's your chance to set the record straight and retell the story from the perspective of a…um…less crazy person.

Step 1: Consider the perspective through which Poe chose to tell "The Cask of Amontillado." What are some possible reasons why he chose to focus on the murderer's point of view?

Step 2: Write a creative retelling of the story from Fortunato's perspective of being buried alive.

Prompt: Rewrite "The Cask of Amontillado" from Fortunato's unfortunate point of view. As you work on your piece, be sure to mirror the story with respect to symbols (for example, what imagery and motifs would be significant to the victim in this last moments alive), themes, and other plot devices.

Need some help? Check out these Shmoop resources:

• "Cask of Amontillado" narrator point of view
• "Cask of Amontillado" themes
• "Cask of Amontillado" symbolism
• "Cask of Amontillado" quotes
• "Cask of Amontillado" characters: Fortunato

Step 3: [Optional] Present your story to the class or in small groups.

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W hy's T his F unny?

A Summary and Analysis of Edgar Allan Poe’s ‘The Cask of Amontillado’

By Dr Oliver Tearle (Loughborough University)

‘The Cask of Amontillado’ is one of Poe’s shorter classic tales. It was first published in 1846 in a women’s magazine named Godey’s Lady’s Book , a hugely popular magazine in the US in the mid-nineteenth century. (The magazine had published one of Poe’s earliest stories, ‘The Visionary’, twelve years earlier.)

‘The Cask of Amontillado’ is one of Poe’s ‘revenge stories’, and the way he depicts the avenger’s psychological state is worthy of closer analysis.

Plot summary

First, a quick summary of the plot of ‘The Cask of Amontillado’, which is our way of saying ‘those who wish to avoid spoilers please look away now’. The story is narrated by the murderer, Montresor, who takes revenge on a fellow Italian nobleman, Fortunato, during the carnival season.

Fortunato, drunk and dressed in motley, boasts that he can tell an amontillado from other sherry, and so Montresor lures his rival down into Montresor’s family catacombs, saying that he has some amontillado for Fortunato to taste. Fortunato finds the descent difficult, thanks to the nitre in the catacombs, which exacerbate his bad chest.

Montresor plays on Fortunato’s inherent sense of pride in his knowledge of wines, by telling him that, if Fortunato cannot make the journey into the catacombs, they can turn back and Montresor can give the wine to Luchresi, another nobleman, instead.

Of course, this only makes Fortunato even more determined to be the one to taste the amontillado, and so they two of them keep going. When they arrive down in the catacombs, Montresor having plied his enemy with Medoc wine, he chains his drunken rival to the wall and then proceeds to wall him up inside the family vault, burying the man alive.

Fortunato at first believes it to be a jest, but then realises that he has been left here to die. Fifty years later, Montresor says that the body of Fortunato is still there in the vault.

Why does Montresor want revenge on Fortunato? This is where we see Poe’s genius (a contentious issue – W. B. Yeats thought his writing ‘vulgar’ and T. S. Eliot, whilst praising the plots and ideas of Poe’s stories, thought the execution of them careless) can be seen most clearly in ‘The Cask of Amontillado’.

For Montresor has every reason to confide to us – via his close friend, the addressee of his narrative, who is our stand-in in the story – his reason for wishing to kill Fortunato. But instead of getting a clear motive from him, we are instead given a series of possible reasons, none of which quite rings true.

It may be that Poe learned this idea from Shakespeare’s Othello , where the villainous Iago’s reasons for wishing to destroy Othello’s life are unclear, not because Iago offers us no plausible reasons for wishing to cause trouble, but because he offers us several , the effect of which is that they all cancel each other out, to an extent.

This is made clear in the opening words of the story:

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled – but the very definitiveness with which it was resolved precluded the idea of risk.

Immediately, we are given an insight into the motive for the crime, but there is a sense that Montresor  wants  his crime – which he almost views as a work of art – to be acknowledged and even appreciated, in a strange way, by the victim. In other words, as Montresor explains, he wants Fortunato to know who has killed him (and why), but he wants to make sure nobody else finds out:

I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

That opening sentence is like a literal enactment of the familiar phrase, ‘to add insult to injury’. This provides a key clue to the motivation – shaky and vague as it is – of Montresor. His revenge is not motivated primarily by any tangible harm that Fortunato has done him, so much as a sense of resentment, a way Fortunato has of making Montresor feel inferior.

There are several clues offered by Poe in the story which suggest this as a plausible analysis of Montresor’s character and motivation. First of all, there is Fortunato’s name, suggesting fortune (wealth) but also being fortunate (luck), two qualities which don’t tend to enamour people to you, even though one’s possession of one or both of them hasn’t necessarily harmed anyone else. As F. Scott Fitzgerald, author of The Great Gatsby , put it: ‘Nothing is as obnoxious as other people’s luck.’

Although ‘Montresor’, the narrator’s name, suggests literally a ‘mountain of treasure’, the fortunate Fortunato still has the edge: as we know from such stories as Lawrence’s ‘The Rocking-Horse Winner’ , money is worth little without luck, for luck is how one acquires more money (though hard work doesn’t go amiss, of course). Another clue comes when Montresor fails to interpret a gesture made by Fortunato:

He laughed and threw the bottle upwards with a gesticulation I did not understand.

I looked at him in surprise. He repeated the movement – a grotesque one.

‘You do not comprehend?’ he said.

This taut, clipped conversation continues, as Poe deftly outlines the underlying reasons for the animosity that exists between the two men. In short, Montresor fails to understand the significance of the gesture Fortunato performs, leading Fortunato to suspect that Montresor is not a mason. Montresor insists he is, but Fortunato is having none of it:

‘You? Impossible! A mason?’

Fortunato asks Montresor for a sign that he really is a freemason:

‘It is this,’ I answered, producing from beneath the folds of my roquelaire a trowel.

‘You jest,’ he exclaimed, recoiling a few paces. ‘But let us proceed to the Amontillado.’

This moment suggests a further underlying reason for Montresor’s desire for revenge: Fortunato insults him by belittling him and reminding him that he is not part of the same ‘club’ as Fortunato.

It may be that Montresor – his name perhaps suggesting acquired wealth rather than first-rank nobility like Fortunato (who has inherited his wealth and name by being ‘fortunate’ enough to be born into the right aristocratic family) – is not quite of the same pedigree as Fortunato, and so has had none of the advantages and benefits that Fortunato has enjoyed.

Poe makes his point by some subterranean wordplay on mason : Fortunato refers to the freemasons, that secret elite society known for its mutual favours and coded signs, gestures, and rituals, but Montresor’s trowel suggests the stonemasons, those artisans and labourers who are not aristocrats but possess great manual skill.

This pun is confirmed later in the story by Montresor’s reference to the ‘mason-work’ when he is walling his hapless rival up inside the catacombs.

‘The Cask of Amontillado’ can be productively linked – via comparative analysis – with a number of other Poe stories. Its murderous narrator links the story to ‘The Tell-Tale Heart’ and ‘ The Black Cat ’; its focus on revenge and the misuse of alcohol links it to ‘Hop-Frog’; the alcohol motif is also seen in ‘The Black Cat’, while the use of jester’s motley also suggests a link with Poe’s other great revenge tale, ‘Hop-Frog’, where the title character is a jester in the employ of a corrupt king.

The live burial motif is also found in Poe’s story ‘ The Premature Burial ’ and ‘ The Fall of the House of Usher ’.

9 thoughts on “A Summary and Analysis of Edgar Allan Poe’s ‘The Cask of Amontillado’”

There is something very odd about this story – the title emphasises the ‘amontillado’ which the murderer uses as bait for his victim, and the victim dreamily repeates the word as if it refers to something very unusual and precious. But unless there is something special about this cask – and no one suggests that there is, it could just as easily be the kind of wine you can buy in Sainsbury’s – and I frequently do, to use in cooking. And there is the dismissal of the man who ‘cannot tell Amontillado from sherry’ – but actually of course Amontillado is sherry. And it’s not an ‘Italian wine’ but Spanish. Did Poe know all this? is he implying that the two are not the aristocrats they seem and claim to be, but a pair of drunken louts? or did he use the name because it sounded exotic, without knowing what it was…

I think he used the whole ‘Amontillado is sherry’ thing as a joke. Fortunato and Montresor are an awful lot alike, after all. Even there names mean the same thing.

This is one of my favorite Poe stories and a fantastic analysis!

Thank you! It’s one of my favourites too – and there are plenty of fine stories to choose from :)

Nobody likes a clever dick, do they?

Sent from my iPad

Iago–yes, that is very clear intertextuality. I’ll bring that in with my Othello unit with my seniors.

Reblogged this on Greek Canadian Literature .

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The Cask of Amontillado: 6 Critical Thinking Lesson Plans (Story Included)

Description

These lesson plans are for Edgar Allan Poe's "The Cask of Amontillado". The various components can be done in combination or individually.

The story is included with the lesson plans.

The lesson plans are broken into the following sections:

Each of our lesson plans begins with a short intro page giving a brief review of the story and its publication history: when it was first published and where.

Story in Context

Brief background is provided for certain concepts that students may be unfamiliar with. Enough to encourage class discussion, but not enough to be distracting to the story itself.

Here we provide background on the history of catacombs so that students have a concept for the main setting of the story.

Stories in Conversation

Stories do not exist in a vacuum. Our lesson plans try to connect the dots between the story itself and other stories, movies, and media that came before and after.

Here we acknowledge some of Poe's inspirations for this tale, including his feud with the author Thomas Dunn English, whose novel 1844 parodied Poe himself and which Poe nods to in the story, as well as the nonfiction account of JT Headley, who wrote about seeing the skeleton of a man who had been chained and entombed inside the wall of a church.

Interrogating Characters

Interrogating Characters presents students with a way to engage with specific characters in the story. We select characters other than the main character or narrator so that students can ponder other points of view.

Here we ask students to consider the story from Fortunato's point of view. Is he really as bad as Montresor makes out? What does Fortunato think of Montresor?

Missing in Action

Every story has gaps or missing points of view. In Missing in Action, we ask students to consider those neglected viewpoints in order to gain a better understanding of what the author has left out.

Here we ponder what Montresor's servants might truly know about their master. Were they really all gone that night? Are any of them aware that their employer is a madman?

Analyzing Language

Analyzing Language provides 6 questions that look specifically at the language the author has used and asks students to consider those choices to better understand the story.

Each lesson plan has one Activity. Some are solo projects, others are done with partners or in groups. Activities engage students with the text in ways that are analytical but not based on essay responses.

Here we ask students to design their own family crests and come up with their own family mottos.

Launchpad asks students to write their own stories using the story selection as a starting point. Usually this is a continuation of the tale that asks students to use their imaginations.

Here we ask students to write the tale of Lady Fortunato's revenge.

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GetSetNotes

Critical Analysis of Edgar Allan Poe The Cask of Amontillado

First published in 1846, Edgar Allan Poe’s “The Cask of Amontillado” is a chilling and intriguing short story that delves into the themes of revenge, betrayal, and the darker parts of human nature. The story is set in Italy and is narrated by Montresor, a man who seeks revenge on his acquaintance, Fortunato, for perceived insults. As the story unfolds, the reader is taken on a harrowing journey into the depths of human psychology and the consequences of unchecked vindictiveness.

One of the most striking elements of the story is the way in which Poe gradually builds a sense of unease and foreboding through his use of setting and mood. The story takes place during the carnival season in an Italian city, a time of revelry and celebration. However, the catacombs and the damp, dark underground passages to which Montresor leads Fortunato create a stark contrast to the festive atmosphere. This contrast sets the stage for the impending horror and adds to the overall sense of dread and trepidation that permeates the narrative.

Poe’s skillful use of symbolism and imagery adds depth to the story and serves to heighten the sense of impending doom. One of the most prominent symbols in the story is the cask of Amontillado itself, a rare and precious wine that becomes the focal point of Montresor’s plan for revenge. The cask represents both the lure of wealth and luxury and the hidden dangers that lie beneath the surface. In addition, the imagery of the damp, dark catacombs and the masonry that Montresor uses to entomb Fortunato serve as powerful symbols of the unconscious and the repressed, reflecting the dark and twisted motivations of the characters.

The psychology of Montresor and his motivations for seeking revenge are also a focal point of the story, serving as a stark reminder of the destructive power of unchecked anger and resentment. Montresor’s cold and calculated plan to lead Fortunato to his demise reveals a chilling lack of empathy and remorse. His desire for revenge is driven by a sense of wounded pride and a need to assert his own superiority, ultimately leading to an act of violence and betrayal that is both monstrous and deeply disturbing.

Furthermore, the character of Fortunato also raises important questions about the nature of trust and betrayal. Despite Montresor’s thinly veiled contempt for him, Fortunato remains oblivious to the danger he is in, leading to his tragic demise. The story serves as a cautionary tale about the consequences of blind trust and the dangers of underestimating the true intentions of others.

The theme of deception is depicted through the actions and motivations of the main character, Montresor. Montresor deceives his acquaintance, Fortunato, by luring him into the catacombs under the guise of tasting a rare wine called Amontillado. Montresor exploits Fortunato’s pride and love for wine to manipulate him.

Throughout the story, Montresor masks his true intentions behind a friendly facade, pretending to be concerned about Fortunato’s health and insisting on his expertise in wine. This deception allows Montresor to gain Fortunato’s trust and ultimately lead him to his demise.

Furthermore, Montresor’s narration adds another layer of deception. He presents himself as a reliable narrator, recounting the events in a seemingly straightforward manner. However, as the story progresses, it becomes apparent that Montresor is an unreliable narrator, as he reveals his sinister motives and the depths of his deceit. The theme of deception in “The Cask of Amontillado” highlights the treacherous nature of human relationships and the lengths to which individuals can go to exact revenge. It serves as a cautionary tale, reminding readers of the dangers of deceit and manipulation.

In conclusion, “The Cask of Amontillado” is a masterful exploration of the darker aspects of human nature and the destructive power of unchecked vengeance. Through his skillful use of setting, symbolism, and psychological insight, Edgar Allan Poe creates a haunting and unforgettable tale that continues to captivate readers to this day. The story serves as a stark reminder of the consequences of letting anger and resentment fester, as well as a chilling exploration of the depths to which human beings can descend when driven by the darker impulses of the human psyche.

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The Cask of Amontillado

45 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Introduction

Before Reading

Reading Context

Reading Questions & Paired Texts

Discussion/Analysis Prompt

Essay Questions

Exam Questions

Exam Answer Key

Reading Check

1. In the opening sentence, Montresor says that an insult from Fortunato motivated him to seek revenge. (Paragraph 1)

2. The story primarily takes place in the catacombs below Montresor’s home. (Paragraph 25)

3. Fortunato has been drinking excessively in carnival celebrations, making him easy for Montresor to manipulate. (Paragraph 4)

4. Montresor says he has purchased a rare cask of Amontillado wine, stored in the catacombs, and says he could use Fortunato’s help in affirming that it really is Amontillado. (Paragraph 3)

5. Montresor chains Fortunato in a small recess in the catacomb, builds a wall to seal him in, and leaves him there to die. (Paragraph 71-end)

6. The prevailing mood is one of foreboding, suspense, and darkness. (Various paragraphs)

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Short Answer

1. Examples of verbal irony include Fortunato’s name, suggesting good fortune although he meets a tragic end, and the double meaning of mason —Fortunato is a Freemason, while Montresor plans to build a literal wall. The irony contributes to the mood of horror because the humor contrasts so sharply with Montresor’s evil plan. (Paragraphs 54-66)

2. “The Cask of Amontillado” symbolizes both the object of desire that lures Fortunato to his demise and the hidden revenge contained within the story’s events. (Various paragraphs)

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Critical Analysis of Poe’s The Cask of Amontillado

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It is Edgar Allan Poe’s intense use of symbolism and irony throughout The Cask of Amontillado that establishes the short story as an indeed interesting piece worthy of thorough analysis. The skilful use of these devices is utilized by the author to create this horror and suspense in his masterpiece.

The Cask of Amontillado is a horror short story, which revolves around the themes of revenge and pride. The plot involves two men: Montresor, the narrator, who is an Italian aristocrat seeking revenge against the second main character: Fortunato, a proud man that boasts about his connoisseurship of wines and who finally walks to his own death.

The irony is a manner of expression through which words or events convey a reality different from and even opposite to appearance or expectation. The use of such a device in the story provides it with humour and wit and makes the piece more sophisticated. The sustained irony is detected through style, tone and the clear use of exaggeration of Montresor, the narrator.

From the very beginning, we notice the apparition of irony in the story. The very name Fortunato would clearly imply that this is a man of good fortune when the actual case is that he is about to suffer a mostly untimely demise: the end of his life. The setting in which the story takes place again shows an ironic element. It is during Venice’s Carnival that the characters meet. Carnival is supposed to be a time of celebration and happiness for everybody. However, in the tale, it is a time for revenge and death. The atmosphere changes drastically when the two protagonists leave the gaiety of carnival for the gloomy and desolate catacombs beneath Montresor’s palazzo. We learn from the narrator that when he first meets Fortunato the latter has apparently been drinking and is dressed in many colours, resembling a jester. His costume suggests that he will be the one playing the fool. On the other hand, Montresor is dressed in a black-coloured cloak and has his face covered with a black mask. At this point one can mention the presence of symbols: the black mask and outfit might be a representation of Death or the devil. Such figure foreshadows the events taking place later that night in the damp catacombs.

The way the narrator treats his enemy is one of the clearest examples of ironic elements. When the characters meet, Montresor realises that Fortunato is afflicted with a severe cold, nevertheless, he makes a point of him looking “remarkably well”. Montresor acts in the most natural and friendly way towards the main object of his revenge and even praises his “friend’s” knowledge in the subject of wines. Also upon their meeting, Montresor begins a psychological manipulation of Fortunato. He claims that he needs his knowledge to ascertain that the wine he has purchased is indeed Amontillado. Furthermore, he acknowledges that Fortunato is engaged in another business (i.e.: the celebration of carnival), so he would go to Luchesi, who, one is made to believe, is a competitor of Fortunato’s. To these words, Fortunato is forced by his pride to accompany Montresor to the vaults (where the Amontillado is kept), dissipate his doubts and also to prove his higher status than Luchesi as a connoisseur of wine. In fact, during their way down under in the catacombs, the twisted mind of Montresor dares to give Fortunato the chance to go back, due to the almost unbearable dampness and foulness rampant in the vaults and Fortunato’s state of health. The narrator clearly knows about the stubborn nature of Fortunato and is positive that his pride would not allow him to retreat. Thus, Fortunato continues his journey towards death by his own will.

“The vaults are insufferably damp. They are encrusted with nitre.” “Let us go, nevertheless. The cold is merely nothing. Amontillado!”

Another memorable line in the story is given by Montresor in response to Fortunato saying, “I will not die of a cough.” To what Montresor responds, “True— true…” And then also when the hypocritical narrator toasts to Fortunato’s long life, already knowing that he was taking to affect the devilish crafted plan of revenge.

Further evidence of ironic components is found with Montresor as a “Mason”. We anticipate this means he is a member of the distinguished group of men, yet he actually is a stonemason, someone whose job is to prepare and use stone for building. Montresor makes use of his skill as a mason as well as of the trowel he had shown his rival to build up the wall that will lock up unfortunate Fortunato inside the niche.

When Fortunato is trapped behind the wall his avenger built, Montresor “re-echoes” and even“surpasses” Fortunato’s yelling apparently to sympathise with the victim. He is evidently being ironic since he is actually delighted by what he has done and only stops shrieking till Fortunato is silent. The story ends with Montresor’s words “In pace requiescat!” (May he rest in peace). His words are unmistakably sarcastic: he has been the performer of the dreadful murder, then how could he pray for him to rest in peace?

The story also contains many accounts of symbolism. They can be classified as reinforcing; that is, their meaning is not apparent to the reader. It is only after several readings that the symbols begin to be clear. The first example in the story was mentioned earlier, the fact that Montresor’s costume is black would suggest beforehand that he would be playing the role of an evil being.

The coat of arms of Montresor’s family is perhaps the best example of symbolism and foreshadowing in the whole story:

“A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel”

It is clear that a metaphor has been constructed. In this image, the foot is symbolic of Montresor and the serpent of Fortunato. Fortunato had wronged Montresor and had offended both him and his ancestors. Although Fortunato has hurt Montresor, the coat of arms suggests that Montresor will ultimately crush him. Montresor is determined to uphold his family’s motto: “Nemo me impune lacessit”, which is the Latin for “No one can injure me with impunity”. The sinister narrator seeks his vengeance in support of this principle.

A further manifestation of symbolism is the vaults at the end of the catacombs piled with skeletons. The accumulation of human remains may be an implication of human destruction. The absence of light and the dank murkiness that surrounds the characters are sensory images that aid for a perfect setting of horror and makes the reader capable of getting the sensation of impending doom.

Finally, the very title of the story: The Cask of Amontillado , represents the imminent ruin of Fortunato: his pursuit of the cask which, in the end, will be his own casket.

The Cask of Amontillado is a carefully crafted short story. The originality and artistic genius of Edgar Allan Poe overflows through this “grotesque” tale. Every trait of irony and symbolism Poe uses contributes to a single and meaningful effect: Conveying his message in a creative and original manner, not allowing the reader to stop.

“The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge.” The opening line of the story presents irony of situation. How often have we heard: “Sticks and stones may break my bones, but names will never hurt me?” Poe’s speaker says the opposite. He has suffered injuries without complaint, but insults he will not abide. The protagonist Montresor has a name that means “my treasure.” He declares his intention to wreak vengeance on unfortunate Fortunato, who has committed some unspecified insult to Montresor’s name and reputation.

We know that Montresor hates Fortunato, but Fortunato is unaware of this. We know that the doomed character does not know that Montresor’s friendly attitude is a fabrication of goodwill, that his smile is at the thought of Fortunato’s immolation. This dramatic irony will continue until the final page when Fortunato becomes an initiate.

Ironically, the story takes place during the carnival season of madness and merrymaking. The drunken Fortunato is wearing motley and the cap and bells of a jester, but a wise fool he is not. Montresor plays on Fortunato’s pride in his wine connoisseurship, asking him to verify whether or not Montresor’s recent bargain-price wine purchase is expensive amontillado or ordinary sherry. Fortunato agrees over Montresor’s protests that it would be an imposition and a health danger since the vaults where the wine is stored are cold, damp and “encrusted with nitre.” Montresor’s expressed concern for the other man’s well-being is at odds with his true intentions.

How did Montresor know that no servants would be present? He had informed them that he would be gone all night and “given them explicit orders not to stir from the house.” That, he knew, would be enough “to ensure their immediate disappearance” as soon as he left.

The two descend into the catacombs, Montresor repeatedly expressing worry about the nitre-covered walls and exacerbation of Fortunato’s cough.

The unfortunate victim-to-be says, “the cough is a mere nothing; it will not kill me. I shall not die of a cough.” True.

Accepting a bottle of Medoc that Montresor has chosen from the many wines lying in the mould, Fortunato toasts “to the buried that repose around us,” unaware that he will soon join them.“And I to your long life,” responds Montresor. Fortunato inquires about the Montresor coat of arms. “A huge human foot d’or, in a field of azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.” The motto is Nemome impune lacessit – No one can harm me unpunished. The reader again recognizes the relationship of arms and inscription to what is happening. The unfortunate one does not.

More wine is consumed. This second bottle is a flagon of De Grave – another turn of the ironic screw. Montresor makes sure Fortunato will continue by suggesting that they instead turn back to escape the bad air, a scene worthy of vaudevillian comedy ensues as Fortunato asks whether Montresor is a member of the masons. Montresor produces a mason’s trowel from under his cloak. Fortunato thinks it a joke, unaware that he is seeing a tool to be used in his entombment. The brotherhood of Free and Accepted Masons is far removed from what has brought these two men together.

They proceed through the charnel house, passing the remains of generations of Montresors, to n interior recess. Finding the opening of the 4 by 3 by 6-foot chamber requires displacement of piled bones. They penetrate to a granite wall accessorized with iron staples, one holding a short chain, the other a padlock. Seconds later Montresor has his drunken dupe in chains.

Fortunato is an ignoramus, the term he uses to insult Luchesi, whom Montresor has several times suggested as a connoisseur who could substitute for Fortunato. Such name-calling may be the propensity for the insult that has prompted Montresor’s deadly revenge. Even chained to the wall, Fortunato thinks it’s all a big joke and asks about the non-existent amontillado. Building stone and mortar readily at hand, Montresor uses his trowel and begins walling up the niche.

As the aperture closes with each row of masonry, the realization begins to penetrate Fortunato’s drunkenness. He screams and struggles. As the final stone is about to be inserted, Fortunato laughs again saying it’s all been a joke they can they can share with the revelers at the palazzo.

But it’s after midnight; shouldn’t we call it quits? My wife will be wondering where I am. “Let us be gone.”

When Montresor repeats that line, “be gone” has a different meaning. Fortunato has uttered his last words. Montresor hears only the jingling of the bells on his victim’s cap. “My heart grew sick,”he says. Remorse? No. Montresor blames his illness on the dampness. Shaking off his malaise, he inserts the last stone, plasters it, returns the displaced bones.

“For the half of a century no mortal has disturbed them.” Montresor has been relating a grisly event of long ago. He has indeed punished with impunity, giving new meaning to the motto on his coat of arms. The final sentence echoes the Latin of the requiem mass. In pace requiescat May he rest in peace.

A final irony presents itself. Poe’s story The Black Cat is about a black cat. There is both a pit and a pendulum in The Pit and the Pendulum . But there never was a cask of amontillado. There is no other literary work named for a non-existent object except The Cask of Amontillado .

One more unexpected twist came to me dozens of years after my first boyhood reading of the tale and numerous re-readings for personal enjoyment and as a teaching material to exemplify and illustrate all varieties of irony and their interplay, I had always considered The Cask of Amontillado a purely fictional outgrowth of Poe’s fevered imagination. Such people as Montresor aren’t realistic.Events like this don’t happen in the world we live in.

Then, curious about the life of the most bizarre person in the pantheon of American Literature,I did some biographical research. I learned that during his ill-starred career in the army, Private Poe had been stationed at Fort Independence on an island in Boston Harbor. He became fascinated with the inscription on a gravestone just outside the fort. He learned that the entombed soldier died ten years earlier near the spot of the grave.

Knowing there had been no military combat in 1817, Poe began interviewing officers about what had happened. He learned that a popular lieutenant had been involved in a card game with captain reputed to be a bully. An accusation of cheating led to a duel and the death of the lieutenant.The captain vanished soon after and was written off as a deserter.

Friends of the fallen lieutenant had plied the captain with liquor, carried his unconscious body into a dungeon, shackled him, sealed up the vault where he lay and left him to die a horrible death.

Hearing about Poe’s investigations, the post commander summoned him and swore him to secrecy about the scandalous affair. This took place years before Poe penned his similar story set in Italy. In 1905, workers doing repairs on the old fort, came across a walled section that didn’t appear on their plans, They chiseled an opening in the wall that wasn’t supposed to be where it was and found a skeleton in fragments of an old army uniform and shackled to the floor.

In The Cask of Amontillado , Edgar Allan Poe uses several different artistic choices in the construction of the story. He manipulates the story to be the way he wants it to be by using the point of view of the narrator, the setting, and a common monotonous sentiment throughout. Poe is successful in maintaining a “spirit of perverseness” that is prevalent in most of his works.

The point of view plays a very important role in influencing the reader’s perception of the story. The first line of the story is a good example of how the narrator attempts to bring the reader to his side right from the start.

“The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge”. Montresor, the narrator of the story, immediately tries to win the reader to his side by telling him that Fortunato has “ventured upon insult,” and apparently crossed over the line. This attempt is clever, but the reader never gets a sense of what Fortunato has actually done to the narrator. This fact alone raises the question in my mind as to whether Fortunato has really insulted Montresor, or whether Montresor is creating it in his own mind.

The point of view of the story can also affect the emotional attachment that the reader gets, or fails to get in this case, for a given character. When a reader is involved in a story, the point of view from where the story is being told is crucial to the feelings the reader has. In this story, Montresor dominates the progression of the story in every regard. In other words, the reader only knows what Montresor tells him, or what he can infer from the story. This being the case, it is difficult for the reader to develop any liking for another character unless Montresor describes him or him in a favorable way.Fortunato never stands a chance.

Montresor begins putting down Fortunato in the reader’s mind with the first line of the story,“when he ventured upon insult I vowed revenge”. Even his most prized skill, wine tasting, is described as “a weak point.” This puts Fortunato at a major disadvantage in the fight for the reader’s liking, and ultimately the fight for his life.

As in most Poe stories, the narrator tries to steer the reader away from seeing the perverseness of his actions. In The Cask of Amontillado , Montresor tries to convince the reader that walling up Fortunato is his way making himself “felt as such to him who has done the wrong”. In reality, Poe tells the story from Montresor’s point of view in order to increase the astonishment and perverseness that the reader feels when reading the story.

Edgar Allan Poe uses the setting in many different ways in his various works. There are two primary settings in The Cask of Amontillado , the carnival and the catacombs. There are several reasons that make the carnival the ideal setting for Poe to lure Fortunato away. “It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend”. This sentence contains two important details as to why the carnival is a perfect setting for Montresor’s under-takings. The first is that it is dusk, which makes it harder for people at the carnival to notice what is happening, and also adds some gloom to the story. The second and most important detail, is that the carnival is a scene of “supreme madness.” Fortunato, along with most others at the carnival, has likely been drinking most of the day, is relaxed, and more likely to disappear with Montresor on a quest into the dark catacombs than he would be on a normal day. The “excessive warmth,” that Fortunato greets Montresor with even further proves his intoxication and relaxed state.

Poe’s descriptive setting is an asset to the appeal of the story, particularly when the story proceeds to the catacombs. “We came at length to the foot of the descent, and stood together on the damp ground of the catacombs of the Montresors”. Descriptions such as this, are a very distinct characteristic of Poe stories, and are one of his greatest strengths. His descriptions allow the reader to put themselves in the story and get the same feeling as the characters. In this example, the reader subconsciously puts himself in Fortunato’s position, walking along with a madman in the catacombs of Montresors, not knowing your fate. The only difference in this case is that the reader has a better sense of Fortunato’s fate than he does.

Besides using it as appeal to continue reading a story, Poe also uses the setting in symbolic ways as well. “The drops of moisture trickle among the bones” is symbolic of what Fortunato’s bones will someday look like after he is walled up in the catacomb. Also, when the narrator walls up Fortunato with the Amontillado, it is symbolic of Fortunato’s pride for his wine tasting ability that he is walled up with the wine.

The scene where Montresor walls-up Fortunato is by far the most perverse scene in the story. The scene is particularly effective in my opinion because of the cordial manner maintained by the narrator up to the point where he is nearly finished. There is no struggle or resistance put up by Fortunato: “He was much too astonished to resist”. If Poe had Fortunato put up a struggle or had the narrator shown any anger, it would have destroyed the consistent mood of the story up to that point. Instead, Poe has Fortunato remain intoxicated right up until the point where it is too late for him to struggle.

The immediate sobering-up of Fortunato when he is near death also adds to the effect of the scene. “It was not the cry of a drunken man” tells the reader that Fortunato now knows fully well what is happening to him. It is followed by a yelling match and then silence, which creates such a sinister atmosphere that even Montresor is trembling and hastening to finish.

It seems as if Montresor almost has a sense of humour in his madness to punish Fortunato for his so-called wrongdoings. His constant insistence that Fortunato leave the catacomb with him provides seven further ‘insult to injury’ for Fortunato. “Come, we will go back ere it is too late. Your cough…”. Montresor says this because he knows that Fortunato’s pride in his wine tasting ability is too great for him to turn back, so he makes remarks such as this one simply for his own amusement. The comments aren’t necessary in helping Montresor achieve his goal, they are said simply to raise a smile in his own mind. The fact that the narrator finds enjoyment out of killing someone, supports Poe’s common theme of perverseness in his stories.

In addition to Montresor’s sense of humor, Poe’s uses irony in a humorous way a few times. The manner in which Poe dresses Fortunato, as a clown, is ironic because Fortunato is being virtually made a fool of by following Montresor into the catacombs. Also, when Fortunato says “I will not die of a cough,” and Montresor responds “True-true,” it shows a perverse sense of humor in the irony of Montresor’s response.

Poe’s theory of the short story is very important on influencing the way he writes The Cask of Amontillado . A major component of his short story theory is that the stories are brief and engaging. The Cask of Amontillado achieves both of these goals. Poe merely devotes three paragraphs on setting the scene before he gets right down to his endeavor to “not only punish but punish with impunity”. This artistic choice is crucial to keeping the reader’s interest. Poe gets right to the point, wasting no time for giving examples of Fortunato’s wrongdoings or for giving any justification for the degree of punishment that Fortunato is to be submitted to. Not wasting the reader’s time is very important to Poe, and that is even more obvious after reading The Cask of Amontillado .

The story complies with Poe’s other components of a short story as well. Everything in the story is written for a reason and leads to a final event. Poe does not add any miscellaneous details. He simply explains his intent to get revenge on Fortunato, and then shows how he gets it. Every part of the story affects the story as a whole. Finally, Poe’s story leaves the reader somewhat in awe, with an undercurrent of suggestion wondering what has happened to Fortunato, after he has finished reading.

The Cask of Amontillado is similar to Poe’s other short stories in many ways. For example, the narrator walls up Fortunato in The Cask of Amontillado just like the narrator walls up his wife in The Black Cat, and the old man in. Another parallel between The Cask of Amontillado and other short stories of Poe, is the basic layout of the story. First, the narrator starts off trying to justify or explain his actions. Second, the narrator tells the story, and finally, there is always a twist or surprise at the end. In The Cask of Amontillado this twist occurs when the narrator calls Fortunato and he doesn’t answer.

This is a certain uniqueness, though, that this story has that separates it from other Poe short stories. This uniqueness is, in my opinion, found at the end of the story. While other Poe short stories are narrated from a jail cell or from death row, the narrator of The Cask of Amontillado Montresor, tells his tale over fifty years after its occurrence. He is not in jail and has seemingly served no time for his crime. Montresor, unlike many of his short story narrator counterparts, has apparently gotten away with his crimes. He doesn’t break down and confess his actions to the authorities as Poe’s narrators often do. Instead, Montresor goes on with his life and waits until he is of old age to pass on his tale. “In pace requiescat” is more than just a traditionally saying for the narrator, it is a phrase of triumph. The triumph of the narrator, and ultimately perverseness, over justice, makes The Cask of Amontillado one of Poe’s most unique works and is an example of Poe’s perversity at its best.

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The Cask of Amontillado — Sequel Story Map

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A sequel story map worksheet is a graphic organizer or template designed to help students plan and organize the key elements of a sequel to a story. It provides a structured framework for outlining the plot, character development, setting, and other important elements of a narrative.

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The Cask of Amontillado. Reading Comprehension Questions, Multiple-choice questions

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3 April 2024

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The Cask of Amontillado. 30 multiple-choice questions (Editable)

The Cask of Amontillado. 40 Reading Comprehension Questions (Editable)

The Cask of Amontillado by Edgar Allan Poe, with our comprehensive bundle, combining 40 thought-provoking reading comprehension questions with 30 meticulously crafted multiple-choice questions. Explore the depths of the narrative as you unravel its themes, analyze character motivations, and dissect plot developments with precision. Perfect for educators seeking to enrich their curriculum with rigorous yet accessible assessments, this bundle promises to empower students to critically engage with the text while honing their reading comprehension skills. Whether used for individual assessment, group discussion, or classroom activities, these questions are designed to foster critical thinking and literary exploration among students of all levels. Perfect for literature studies, literature, comprehension, critical thinking, discussion and independent learning and can be used as a test quiz.

Note to Buyers This resource does not contain answer keys. We intentionally designed it this way to encourage students to actively engage with the text and collaborate in finding their own answers. Embrace the opportunity for students to develop critical thinking skills and explore diverse interpretations while working through the comprehension questions

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