the cask of amontillado narrative essay

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 ’.

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10 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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Interesting analysis. Revenge can not resolve conflict

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“The Cask of Amontillado” Theme, Summary & Analysis by Edgar Allan Poe (Like Sparknotes)

“The Cask of Amontillado” by Edgar Allan Poe is a frequently anthologized short story and one of my favorites. This gothic/horror tale is set in Europe during the late 18th or early 19th century. It’s told by a first person narrator, Montresor, a nobleman. It deals with an idea that recurred in Poe’s stories—being buried alive in some form. It’s a popular  short story for students .

“The Cask of Amontillado” Summary

Montresor vows revenge against Fortunato over an insult, a revenge that he will take at the right time.

At the bottom is a deep crypt, its walls lined with human remains. Fortunato steps into a recess to find the amontillado. Montresor quickly chains him to the wall.

“The Cask of Amontillado” Theme: Revenge

Montresor makes his motivation plain from the start: “. . . when he [Fortunato] ventured upon insult I vowed revenge.” The narrator tells us what the story he’s about to recount is all about. After hearing the full story, the reader can agree that the narrator was reliable on this point.

“It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.” A secret, convoluted plot to destroy Fortunato’s life won’t satisfy Montresor. Even killing him with subterfuge isn’t enough. The man must know who has come for him.

Montresor hasn’t given Fortunato any cause to raise his defenses. “Neither by word nor deed” did he indicate he held a grudge. He continued “to smile in his face.”

“The Cask of Amontillado” Theme: Remorse

Some things used to support this include:

Some things that suggest Montresor isn’t repenting over a wrong include:

Another possibility is that this point is unsettled so readers will discover their own view on the subject. Conversely, others can appreciate the story and not really care if he’s sorry or not.

In the end, the establishing conceit of the story is that it’s being told to someone who knows Montresor well. That someone is not any of us, so we’re missing some important information about his character that would make the motive behind the story clearer.

“The Cask of Amontillado” Theme: The Dangers of Alcohol

Throughout their interaction, incidents accumulate that might have become suspicious to a sober man, such as:

Ultimately, Fortunato’s intoxication significantly shifts the balance of power. It all but guarantees Montresor’s success.

Other Themes In “The Cask of Amontillado”

End of “The Cask of Amontillado” Themes

“The Cask of Amontillado” Analysis Questions

1. to whom is montressor telling this story.

My guess is that he’s talking to his wife, mistress or friend. I don’t see enough support for repentance to think he’s telling a priest.

2. Are there any examples of irony?

3. does montressor have a valid reason for holding his grudge.

It’s noteworthy that Fortunato doesn’t ask Montresor why he’s killing him. I would guess that would be the first question that would come to someone’s mind—it’s what I would ask. The fact that he doesn’t implies he knows why, suggesting Fortunato has done something to injure or insult Montresor.

“The Cask of Amontillado”

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. 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.

He had a weak point—this Fortunato—although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity—to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack—but in the matter of old wines he was sincere. In this respect I did not differ from him materially: I was skillful in the Italian vintages myself, and bought largely whenever I could.

“Amontillado!”

“As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me——”

“To your vaults.”

Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

“It is farther on,” said I; “but observe the white web-work which gleams from these cavern walls.”

My poor friend found it impossible to reply for many minutes.

Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

He again took my arm, and we proceeded.

“Nemo me impune lacessit.” [“No one wounds me with impunity”]

“It is nothing,” he said; “let us go on. But first, another draught of the Medoc.”

“Then you are not of the brotherhood.”

“A mason,” I replied.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

“The Amontillado!” ejaculated my friend, not yet recovered from his astonishment.

It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato. The voice said—

“For the love of God, Montresor!”

“Fortunato!”

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“The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge.”

This is the only explanation Montresor offers as a motive for the vicious revenge he enacts against Fortunato in Edgar Allan Poe’s “The Cask of Amontillado.” Like many of Poe’s protagonists, Montresor seems pathologically obsessed with a single objective that he pursues without clear reason or rationale—to murder Fortunato by burying him alive in catacombs beneath an Italian palazzo.

In writing “The Cask of Amontillado,” Poe’s intent is to horrify readers, and in this he succeeds. But it is not only the subject matter and atmosphere of the story that achieves this effect. Poe’s story, his words and the images they create, has the ability to sink into the reader’s subconscious, to enter the mind and rattle the bones, because every element of the story is woven together to achieve Poe’s singular objective: achieving a horrific effect.

In 1846, Graham’s American Monthly Magazine of Literature and Art published an essay Poe had written called “The Philosophy of Composition.” In it, Poe offers guidelines that both instruct writers how to write great poems and illustrates the careful planning and precision that he claims went into his own work. Using his famous poem “The Raven,” Poe argues that each element in a story should contribute to “unity of effect or impression,” creating in readers a particular emotional response. For this reason, he believed that all great literary works must begin with a singular intention and consideration of effect; only with the “denouement” in view can the writer give consequence, cause, or unified tone to the development of a story. This unity of impression can only be achieved if readers can experience the work in one sitting. Therefore he claims that short works, poems and stories, are the most effective. 

Poe justifies his use of melancholic themes by discussing beauty, “the sole legitimate province of the poem. In exploring beauty, a poem can bypass the intellect and heart and elevate the soul.” He contends that supreme beauty (and its supreme development by a skilled writer) will always evoke feelings of sensitivity and powerful emotions. Thus only melancholy can be the appropriate tone for a beautiful poem. This theory perfectly matches “The Raven,” a heartbreaking work about a man mourning the loss of his beloved Lenore and contemplating his own mortality when faced with a “supernatural” speaking raven. 

Yet, when Poe’s claim about beauty is considered in the tradition of the macabre short stories that would follow this great work, it seems less clear. Can there be beauty in vengeance, murder, and insanity? The answer to these questions posed to any reader would most likely be “no.” However, the meticulous planning that Poe lays out in “Philosophy” begins to offer an explanation of how carefully constructed words can lend beauty to even the darkest of places. What Poe is getting at in this essay is the coherence of thought, the almost pathological (perhaps obsessive) focus on a single tone and objective to which all words, sentences, characters, settings, and even word sounds must cleave. 

Using countless revisions and clear intentions, Poe created unity throughout all of the elements of his short stories. And there is no better example of this technique than the “Cask of Amontillado.” The methodical way Montresor plans and carries out his scheme to punish Fortunato is mirrored in the deliberate use of verbs and adjectives that have ominous connotations which underscore the unspoken elements of the story. Carnival is not chaotic, it is “madness”; the catacombs do not smell bad, they are filled with a “foulness of the air”; Fortunato does not stop at the end of the tunnel, his progress is “arrested by the rock.” These word choices are not accidents but the result of a carefully crafted “development of intention.” Poe uses such words, sounds, and atmosphere to create a palpable image within the reader’s head that evokes a visceral response to the story’s effect. As Neil Gaiman states, “It is beautiful and it is the stuff of nightmare.”

The horror in the narrative is developed through not only Montresor’s act of revenge, but the ambiguity surrounding this grisly event. Montresor lures Fortunato into the catacombs beneath an Italian palazzo by promising him a taste from the cask of an extremely rare Amontillado sherry. Fortunato’s arrogance and foolish nature make it possible for Montresor to succeed in carrying out his carefully crafted scheme. Poe juxtaposes Montresor’s gruesome thoughts with Fortunato’s innocent, drunken obliviousness to create dramatic irony that increases the audience’s horror. Furthermore, even the motivation for Montresor’s actions are as unclear as his reasons for sharing the story. Varying interpretations of Montresor’s tone and confessional style have divided scholars on the character’s mental state and purpose of the story: Does he visit the vault fifty years later because he is tormented by guilt and driven to confession? Or does he take pleasure in recounting his successful vengeance? As the story explores the depth of Montresor’s depravity in avenging a personal insult, we descend deeper into his disturbed mind, having become intimate accomplices to his actions from the very beginning:

“You, who so well know the nature of my soul.” 

Montresor begins with this direct address to simultaneously absorb the audience as his confidant and obscure the details of the story. From the beginning, he withholds information from the reader, speaking to us as if we already know why he murdered Fortunato, and as if we are complicit in his actions. This obscurity adds to the irony of Montresor’s narrative style. He juxtaposes meticulous descriptions of the setting with cryptic presentations of both characters, their relationship, and the very motive for the savage murder. The first person narration makes the story more intimate and believable. So much so that the reader momentarily forgets the impossibilities within Montresor’s account: his perfect reconstruction of the dialogue fifty years later, his ability to remember every detail of the catacombs, his precise memory of Fortunato’s last words and facial expressions. Montresor’s narration is eerie, almost monstrous, in its perfection. 

The reader witnesses gruesome revenge at the the end of the story with no other explanation than what can be inferred about Montresor’s motives and character from the psychopath’s own twisted words. Readers are, in a sense, just as much ensnared and misled by the end of the story as Fortunato is to his tomb.

This chilling effect is a result of the haunting situational and verbal irony that permeates the story. It begins situated in the boisterous celebrations of Carnival. Poe juxtaposes the joyful setting of Carnival with the dark, damp catacombs were Montresor will enact his heinous revenge. The irony in this juxtaposition permeates even the basic elements of the story. For instance, Fortunato’s name means “fortunate one.” His untimely demise makes his name grimly ironic, as does Montresor’s greeting when he first sees him: “you are luckily met.” Fortunato remains ignorant to Montresor’s motives throughout the story, adding to the irony with his actions. He toasts the dead of the catacombs not knowing that he will shortly be one of them; he mocks Montresor using a sign of the masons, not realizing that Montresor intends to kill him because of such insults. Montresor ironically uses a trowel the symbol of the masons—to entomb Fortunato; he kills Fortunato with the very insult lodged against him. 

Poe expertly uses these ironies to move past the logical conclusions of the text. This creates a cryptic feeling throughout the story that forces the reader to question everything Montresor has claimed to be true. Nothing is what it seems. Without a logical conclusion or motive for the main action, the reader begins to question whether or not they are themselves trapped in ironies and being led through a tangled catacomb just as Fortunato is, with nothing but dead ends without answers waiting for them. 

A classic tale of deception and revenge, “The Cask of Amontillado” undoubtedly showcases Poe’s mastery as a storyteller. His pathological attention to detail and deft use of irony arrests the reader’s imagination in order to evoke a palpable feeling of revulsion. Poe creates the perfect short story as every sentence and word contributes to the tale’s overall theme and effect and forces us to examine human nature and the darkness to be found in the human psyche. For this reason, “The Cask of Amontillado” has served as a basis for many conventions of the modern short story form.

Gaiman, Neil. “Introduction: Some Strangeness in the Proportion. The Exquisite Beauties of Edgar Allan Poe.” Tales of Mystery and Imagination. New York: Barnes and Noble Inc., 2011. Print.

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“The Cask of Amontillado” by Edgar Allan Poe Essay

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In the short story Cask of Amontillado, Edgar Allan Poe portrays a dark story of horrid and calculated revenge. Poe is known to be a master of using words and literary elements to create the necessary environment necessary for the story and deriving emotional reactions from the reader. In this story, Poe manipulates point of view and setting as contributing factors to establishing an eerie and unreliable tone and perspective that drive forward the concept of the plot.

The story utilizes a first-person point of view when the narrator named Montresor relates the story. The plot is told from the first person as the pronoun “I” is used and the story is told in the past tense. However, unlike most literary works where the story is told in the past tense and the narrator is objective, therefore reliable – Poe makes the narrator in The Cask of Amontillado intentionally unreliable. Montresor retells the events in a sadistic, manipulative, and somewhat sarcastic tone, which creates dramatic irony. “I would make him pay, yes; but I would act only with the greatest care…the wrong would not be made right unless Fortunato knew that he was paying and knew who was forcing him to pay” (Poe 68). The unreliability of the narrator is shown by this as he attempts to justify a sadistic act as well as showing evidence of psychological inconsistencies.

The setting largely matches the tone of the narrator, described as eerie and dark (Poe 70). The way that Poe characterizes the setting changes as the story progresses, particularly the deeper that the characters descend into the catacombs. At first, it was a deep place under the palace, cool and dark. However, as they go further, the setting is visualized as grim, extremely constrained, and the air barely breathable. The descriptions of small details such as bones spread out on the ground foreshadow the grim end for Fortunato (Poe 71).

Despite being often overlooked, point of view and setting can contribute greatly to the perception of the reader in the tone of the story. Poe highlights the use of the first person in an unreliable narrator to emphasize their dark psychological state which is contributed to the eerie, almost metaphorical descriptions of the setting which contributes to the horrendousness of this story of murderous revenge.

Poe, Edgar A. The Cask of Amontillado. 1847, Web.

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Home Essay Samples Literature The Cask of Amontillado

The Cask of Amontillado: A Tale of Spiteful Vengeance and Murder

• Poe, E. A. (1846). The Cask of Amontillado. Godey's Lady's Book, 33(4), 157-159.
• Meyers, J. (2001). The Mystery of the Montresor Family: A Reading of Poe's "The Cask of Amontillado". The Edgar Allan Poe Review, 2(1), 25-33.
• Bell, R. (1997). The Cask of Amontillado: A Masquerade of Motives. Journal of Evolutionary Psychology, 18(1-2), 87-92.
• Wilson, J. (2003). Poe's "The Cask of Amontillado" and the Ethics of Revenge. Midwest Quarterly, 44(1), 73-83.
• Magistrale, T. (2019). A Shrill and Piercing Cry: An Examination of Revenge in Edgar Allan Poe's "The Cask of Amontillado". International Journal of Humanities and Social Science Research, 7(1), 1-11.
• Vogelmann, P. (1993). The Cask of Amontillado: A Study of Vengeance and Pride. Studies in Short Fiction, 30(4), 473-478.
• Silverman, K. (1991). Gothic Terror and Poe's "The Cask of Amontillado". Studies in Short Fiction, 28(3), 343-349.
• Birk, J. L. (1997). Montresor's Revenge: Poe's Economies of Telling in "The Cask of Amontillado". Studies in Short Fiction, 34(2), 155-167.
• Ransford, D. (2008). Poe's 'The Cask of Amontillado': Its Cultural and Historical Contexts. The Explicator, 67(1), 42-45.
• Broda, D. C. (2015). "The Cask of Amontillado": Symbolism and Irony. In Literature Criticism from 1400 to 1800 (Vol. 184, pp. 152-157). Gale.

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rewrite a short, brief version of "the cask of amontillado" for fortunado's point of view. there is no minimum or maximum length. ensure you cover the major events of the story.​

Even though I cannot provide a whole rewritten story here, I can give you some details to focus on and develop:

1. Keep in mind that Fortunato is drunk for the most part of the story. Thus, even if he can sense there is something wrong in Montresor's actions, he cannot know for sure what it is.

2. You can use the very same dialogue of the original story. Just add Fortunato's thoughts in between the lines. Think of why he asks the questions about Montresor's family.

3. When Montresor shackles Fortunato to the wall, think of how surprised Fortunato is. Develop his train of thought. At the beginning, he may think it is just a joke. Then, he realizes he is doomed and gets desperate.

4. You can end the story focusing on the darkness that surrounds Fortunato . You can also mention that the only sounds he can hear are of his own breathing and his heart beating.

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Related Questions

I/ Supply the correct tense, Present Perfect or Simple Past: 1. When I last saw him, he (be) _____________ in good health. 2. She (do) _____________ very little work recently. 3. We (wait) _____________ for the doctor since 7 o’clock. 4. My father (work) _____________ in this factory for many years. 5. I (not speak) _____________ to her since last week. 6. His uncle (teach) _____________ English in our school 5 years ago. 7. They (build) _____________ this school in 1965. 8. She (dance) _____________ with me at the party last night. 9. I (already / see) _____________ this play. 10. He (visit) _____________ Dalat several times. II/ Change into the Passive: 1. Mr. Brown wrote the report yesterday.  The report ____________________________________________________________ 2. You have to finish this work on time.  This work ____________________________________________________________ 3. His uncle will buy that house.  That house ____________________________________________________________ 4. The fire has destroyed many houses.  Many houses ____________________________________________________________ 5. They paint their house every four years.  Their house ____________________________________________________________ 6. The engineers are going to build the bridge.  The bridge ____________________________________________________________

1) was 2) did 3) waited 4) worked 5) didn't speak 6) taught 7) built 8) danced 9) have seen 10) visited 1. The report was written by Mr. Brown yesterday. 2. This work has to be finished on time. 3. That house will be bought by his uncle. 4. Many houses were destroyed by the fire. 5. Their house was painted every four years. 6. The bridge will be built by engineers.

HELP PLEASE ASAP I WILL GIVE BRAINLIEST AND 46 POINTS IF YOU ANSWER THIS CORRECTLY!!!!! Part A What is a central idea in the Newsela article "Health Benefits of Reading, Writing, Are Not Just for Patients"? Reading and writing can improve health. Positivity is important for health. Reading and writing are healthy. Everyone should read every day. Reading might be beneficial for health. More research is needed to prove it. Reading and writing can help cure disease. Science is studying the benefits Part B Which statements from the text best support the answer in Part A? Select the two correct answers. "'We learn through the experiences of the characters we read about,' Coke says. Because we empathize, or feel what others are feeling, we expand our understanding of other people in other situations. We are also less bothered by our own misfortunes." “A movement called narrative medicine has been growing. It comes from the idea that both writing and reading literature can help doctors and patients to communicate better." “Raymond Mar is a professor at York University in Toronto. He studies the effect reading fiction and nonfiction has on our ability to understand what others are feeling." "If you have an experience and you sit down and write about it, you can pour that emotion out,' Harper says. 'Getting rid of these thoughts and emotions helps to find meaning in the death or the survival of a patient — and then allows you to move on with your life, he says.'"

Part a: Reading and writing can improve health. Positivity is important for health. part b: "'We learn through the experiences of the characters we read about,' Coke says. Because we empathize, or feel what others are feeling, we expand our understanding of other people in other situations. We are also less bothered by our own misfortunes."

Explanation:

i am not sure but i hope it's right. good luck

“No legacy is so rich as honesty.” Explain.

Learning to be honest and portray a truthful character is more powerful than any other trait existing.

what would we do without this app... fr.

I don't know xd

My mind is blank this time

TC bye bye Have a bangtastic day ahead

HELP ME OUT PLEASE I NEED HELP! There is a place in London, England, where you can meet many famous (and infamous) people. You can meet kings and queens, presidents and their ladies, and theater and movie stars. All of the people are wax likenesses of many of the world's best-known figures-both good and evil. Madame Tussaud's Wax Museum on Baker Street began during the time of the French Revolution by Marie Grosholtz, who was married to a man named Francois Tussaud. What is the tone of this passage? What is the tone of this passage? A) suspicious B) humorous C) informational D) sarcastic​

From THE LIGHTNING THIEF... what effect does remembering sally’s love and words have on Percy? plz help I need a 250 word essay plzzzzz

Percy's mother wanted to be an author or book writer but could not because she did not get a college degree.

Hope this helps:)

don't you think that is too complex like a 250 essay you should do it on your own plus if someone does it and you copy it its plagiarism.

News stories are most likely to be examples of what kind of writing? expository narrative persuasive all of the above

With most of her flowers folded over, only time would tell if the flowers would survive. What figurative language is the, “only time would tell if the flowers would survive part”? Due at 11:59 please help!

I didn't pay attention to these but I think it's metaphor

You recently arranged a surprise party your parents' wedding anniversary. You went to a lot of trouble to make the party a success. Unfortunately, your cousin was ill and unable to attend. Which of the following would you say to your cousin? Why? Where were you? Everyone expected you to come. 2. Why didn't you arrive? You should have been there 3. It was such a shame you couldn't make 4. You disappointed us very much

2) . why didn't you arrive ? You should have been there .

Explanation : Firstly i chose this option cuz it was was asking why didn't u come ? so first ur asking why did she / he not come to the party .

secondly 'you should have been there ' it feels like u r telling that she / he shd have been there cuz everyone was there and all but only she / he weren't there .

hope this helped !

Which sentence best describes voice rather than style? A. In the last chapter, the author writes in short, panicky sentences. B. The author's love of short sentences is on display in the novel. C. The author's dialogue is able to capture the way Einstein spoke. D. Part II begins a major shift as the author switches perspective. No links plsss :)

You’re backpacking in Southeast Asia. In one city, there is a highly popular Western-owned backpacker hostel with excellent reviews on the internet. It looks like a busy, fun, chilled-out place to stay and a good place to meet other travelers. They have good burgers. On your way there, you’re also passing by some local guesthouses, which look quieter, but still inviting. Some don’t have an internet. What will you do?​

what inspires people to do something that they've never done before

Help help help help help help help please

When reading a text that’s new to you, what’s the main benefit of questioning in understanding the work?

Questioning techniques help the reader to clarify and comprehend what he is reading. Struggling readers tend not to ask questions of themselves or the text as they read. Teachers who model how to ask questions while reading help children to learn how to build interest with the text and become stronger readers.

It helps you practice before taking part in class discussion

Shed light on the difference between an ordinary woman and an actress. from the matter of husband?​

The difference between the ordinary woman and an actress is;

In the story , "A Matter of Husband", the ordinary woman is portrayed as a simple-minded and timid person who was easily deceived by the false story told by the actress.

She had come to the actress in tears completely sure that her husband was having an affair with the actress. However , the actress sold a story to her of how her husband was trying to regain the love he had for her by doing things to get her jealous .

Without asking questions, the ordinary woman believed her and bought into the story.

In the end, it was revealed that her husband was actually in the actress's room. This shows that the actress was cunning while the ordinary woman was timid .

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What does Jekyll say about his house and Mr. Hyde?

I am not sure if this is the answer since you didn't give me the chapters.

Jekyll owns a fancy town house with a tumble down lab on the back. The town house is described as having an 'open fire' in the front hall. This represents Jekyll as it is warm and inviting and hugely welcoming – all things that match Jekyll's character. Jekyll assures Utterson that he will never again set eyes on Hyde, that Hyde is "quite safe," and that he will never be heard of again. Utterson is concerned, however, and betrays his anxiety for his old friend Jekyll. At this, Jekyll takes out a note and asks Utterson to study it and keep it for him. (creds to internet)

The people in a story are called the

Answer:characters

Explanation:…

The people in the story are called the Characters.

If we categorize character types by the role they play in a narrative, we can hone in on seven distinct varieties: the protagonist, the antagonist, the love interest, the confidant, deuteragonists, tertiary characters, and the foil.

I hope it helps!!

What strategies has the school used to improve the eating habits of their students?

An Therapist(☞ ಠ_ಠ)☞ O

in your opinion what's a good parent??​

Being a good parent means you need to teach your child the moral in what is right and what is wrong. Setting limits and being consistent are the keys to good discipline. Be kind and firm when enforcing those rules. Focus on the reason behind the child's behavior.

a good parent is a person you can trust and depend on and always feel like your safe. I grew up with just my mom, she made me feel safe and help me to grow and be the person I am today. So in my opinion the definition of a good parent is someone who shows unconditional love along with a mutual respect between you to and with a strong sense of discipline.

what does it mean to contrast ideas? is it the same thing as comparing?​

Is it the same thing as comparing?

no, coz contrasting means looking the things differ. While comparing examining how things are similar.

No, contrasting ideas and comparing are not the same things. Comparing them involves pointing out their similarities and/or differences, whereas contrasting entails comparing two or more things or events in order to highlight their contrasts.

Sometimes we want to connect two concepts that are dissimilar to one another or we want to connect one concept to another that is unexpected or startling. However, although, and despite are all linking words that can be used to do this. Contrast frequently refers to the "opposite" of something; for instance, black is the antithesis of white, making the contrast between black ink and white paper obvious.

Compare and contrast is a useful method for any significant judgments you need to make and is frequently utilized as a development strategy for essay assignments . In general, when two items are related in some way, comparing highlights similarities while contrasting highlights contrasts.

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How did Martin Luther king jr use pathos and logos in his speech "I have a dream" and "letter from Birmingham jail" Please add some of his quotes if you can

He used pathos to appeal to the people's emotions and logos to appeal to logic to evidence and to support reasoning. He used pathos to show how unfair and unjust it was and how cruel they are treated, and so. It touched his heart with that letter. These are the logos in his speeches  “ Five score years ago, a great American, in whose symbolic shadow we stand today, Signed the Emancipation Proclamation.”

Pls help me pls I need help pls.

Solids also have a definite volume and a fixed shape.

The molecules in a solid are packed together very closely and only vibrate in place.

Liquids are a form of matter that has fixed volume but takes the shape of its container. The molecules of liquid are packed more loosely than in a solid and move by slide past each other.

Gas is a form of indefinite that has the volume and shape of its container. Molecules in a gas are so loosely arranged and move so rapidly that they will fill their container.

Give an example of a noun, pronoun, verb, adjective, adverb, preposition, conjunction, interjection (label)

Noun: Paris (person, place, or thing)

Pronoun: He, she, them (referring to what a person considers themselves as)

Verb: Running (action) (trick: just ask yourself "Can I get up and____?)

Adjective: Green, slimy, spiky. (describes a noun)

Adverb: She swims well (modifies a verb)

Preposition: He went to the park (shows direction, time, place.)

Conjunction: She wanted a cookie, but her mom said no (but, yet, and, or)

Interjection: Uh-Oh he fell and skinned his knee (describes how one is trying to relay something)

REALLY HOPE THIS HELPS!!!

Write and define any five types of organic manure

How is reading other writers work informing your own writeing, what did you learn from someone else

it helps you develop an ideas on good ways to format your own writing

the impact of computers to woking conditions has been good. About the environment, however, the changes have been negative.

Society suffers from multiple problems such as (social - economic problems). submit proposals (solutions) to reduce these problems. FAST PLEASE

Socio-economic issues are factors that have negative influence on an individuals' economic activity including: lack of education, cultural and religious discrimination, overpopulation, unemployment and corruption.

Poverty-By providing education, skill training and job opportunities in a society.

Unemployment-Providing job-oriented education,training to the people by Government to solve the problem of unemployment.

What should follow the salutation of a friendly letter? A) a colon, B) a period, C) a semicolon, D) a comma. Will Mark Brainliest. ​

What should follow the salutation of a friendly letter?

B) a period

C) a semicolon

Help help me help help please help help me help help please help help me help help please help help me help

Answer: Exaggerated or confusing. I think it’s exaggerated.

Explanation: I hope that was right sorry if it wasn’t

4. “If you don't vote for this applicant, you must be a Communist." What type of fallacy is this?

False Dilemma/Dichotomy

“If you don't vote for this applicant, you must be a Communist.”