SHORT STORIES, LONG SHADOWS · B2/C1 · 50 min

The Cask of Amontillado

Edgar Allan Poe (1846) — a man tells you, calmly and fifty years late, how he committed the perfect murder

Easier version available: read this lesson at A2/B1 level →

Read in three parts

Poe gives us a murderer who narrates his own crime in the first person, half a century after the fact. Read each part, pause for the discussion box, then continue. Watch the temperature of the voice — it never rises. The last two lines are the whole story; do not skip ahead.

Part 1 — The vow

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 I gave utterance to a threat. At length I would be avenged; this was a point definitively 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.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

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. In this respect I did not differ from him materially: I was skilful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley: a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

"My dear Fortunato, you are luckily met. I have received a pipe of what passes for Amontillado, and I have my doubts."

"How? Amontillado? A pipe? Impossible! And in the middle of the carnival!"

"I have my doubts, and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."

"Amontillado! I have my doubts. And I must satisfy them. Let us go."

"Whither?" said I.

"To your vaults."

Pause and discuss:
  • Montresor never tells us what the "thousand injuries" or the "insult" actually were. Why might Poe withhold them? Does it make him more, or less, frightening?
  • Montresor defines a successful revenge in two conditions. What are they — and what do they reveal about the kind of mind we are listening to?
  • He decides to bait Fortunato through his pride in wine. Why is vanity such a reliable hook?

Part 2 — The descent

There were no attendants at home; they had absconded to make merry in honour of the time. I took from their sconces two flambeaux, and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode. The vaults were insufferably damp. They were encrusted with nitre.

"The nitre! It increases. It hangs like moss upon the vaults. We are below the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough —"

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

I broke and reached him a flagon of wine. He emptied it at a breath. His eyes flashed with a fierce light.

"I drink," he said, "to the buried that repose around us."

"And I to your long life," I answered, raising my own glass as we drank there in the vaults.

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. "You are not of the masons. Then you are not of the brotherhood."

"Yes, yes," I said; "yes, yes."

"You? Impossible! A mason?"

"A mason," I replied.

"A sign," he said; "a sign."

"It is this," I answered, producing from beneath the folds of my cloak a trowel.

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

So saying, he again took my arm, and we continued our route in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, the foul air of which caused the flames of our flambeaux rather to glow than flame.

Pause and discuss:
  • Three times Montresor urges Fortunato to turn back, citing his health. Why does urging him to leave actually keep him moving forward?
  • The trowel is hidden under Montresor's cloak the whole way down. When you re-read, what does that single object now tell you?
  • Fortunato makes the secret sign of the Masons; Montresor produces a trowel — a builder's tool. What kind of joke is this, and who is it on?

Part 3 — The wall

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. Within the wall thus exposed there was a still interior 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.

It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable us to see.

"Proceed," I said; "herein is the Amontillado."

Fortunato stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resist. Withdrawing the key I stepped back from the recess.

"Pass your hand over the wall; you cannot help feeling the nitre. Indeed it is very damp. Once more let me implore you to return. No? Then I must positively leave you. But I must first render you all the little attentions in my power."

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. A succession of loud and shrill screams burst suddenly from the throat of the chained form. For a brief moment I hesitated — I trembled. Then I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I re-echoed, I aided, I surpassed his cries in volume and in strength. I did this, and the clamourer grew still.

It was now midnight, and my task was drawing to a close. I had completed the eighth, the ninth, and the tenth tier. There remained but a single stone to be fitted and plastered in. Then there came forth a low laugh that erected the hairs upon my head.

"Ha! ha! ha! — he! he! he! — a very good joke indeed — an excellent jest. We shall have many a rich laugh about it at the palazzo — he! he! he! — over our wine."

"The Amontillado!" I said.

"He! he! he! — he! he! he! — yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo? Let us be gone."

"Yes," I said, "let us be gone."

"For the love of God, Montresor!"

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud — "Fortunato!" No answer. I called again — "Fortunato!" No answer still. There came forth only a jingling of the bells. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For half of a century no mortal has disturbed them. In pace requiescat!

The final discussion — the ending lands:
  • Read the last two lines again. We are only now told it has been "half of a century" and that no one has ever found the body. What does that single fact reveal about the whole story we have just heard?
  • "In pace requiescat" — rest in peace — is what you say over the dead at a funeral. In Montresor's mouth, what does it become?
  • Montresor admits he "trembled" and "hesitated" for a moment. Does that flicker of feeling make him more human, or more monstrous?
  • Your turn: Montresor nurses his grudge for decades. Why do some grudges harden over time while others fade — and is revenge ever genuinely satisfying?

Vocabulary — click each card to reveal

Ten words drawn from the story. Several are old-fashioned in Poe's hands but live on in modern English. Tap each card to reveal the meaning and a usable example.

cask
noun
A large wooden barrel used to store liquid, especially wine or spirits.
"He claimed to have bought a cask of rare sherry." (Poe also uses "pipe" — a cask holding roughly 500 litres.)
connoisseur
noun
An expert judge in matters of taste — wine, art, food — who claims fine discrimination.
"Fortunato fancied himself a connoisseur, and his vanity made him easy to lead."
catacomb
noun (often plural)
An underground cemetery of tunnels and recesses where the dead are placed in the walls.
"He led his victim down into the family catacombs."
niche
noun
A shallow recess set into a wall. (In business English, also: a small, specialised market segment.)
"He chained him into the niche." / "The firm found a profitable niche."
vault
noun
A large underground chamber with an arched roof, used for storage or burial.
"The wine was kept in the damp vaults beneath the house."
impunity
noun
Freedom from punishment or any harmful consequence for what you have done.
"He wanted to take revenge with impunity — to act and never be caught."
recoil
verb
To draw back suddenly in fear, shock or disgust.
"He recoiled a few paces at the sight of the trowel."
gesticulate
verb
To make dramatic or exaggerated movements with the hands and arms while speaking.
"Drunk, he gesticulated grotesquely with the empty bottle."
intoxication
noun
The state of being drunk; figuratively, being overwhelmed by excitement or emotion.
"As the masonry rose, his intoxication wore off and the screaming began."
avenge / redress
verb
Avenge: to inflict harm in return for a wrong. Redress: to set a wrong right, to obtain justice for it.
"He vowed to avenge the insult." / "A wrong is unredressed when the avenger is caught."

How Poe controls the reader — three devices to listen for

The horror of this story is not in what is described; it is in how the voice describes it. Notice three things at work in every paragraph.

DeviceWhat it isMarker in the text
Verbal ironySaying the opposite of what is meant; the words are kind, the intent is murderous"Your health is precious… we will go back ere it is too late." (said by the man leading him to his death)
The cold first-person narratorA killer who reports his crime with perfect calm and zero remorse"I re-echoed, I aided, I surpassed his cries." (drowning out the screams — and noting it neutrally)
ForeshadowingEarly details that quietly point to the ending before we understand themThe hidden trowel; the carnival "motley"; the family motto about punishing all who wrong them

The grammar this story teaches itself

Every step Montresor takes has a purpose, and every purpose has a result. That is exactly the grammar of purpose and result. We use one set of structures to say why something is done, and another to say what follows from it.

1. Clauses of purpose — saying why

so that / in order that + clause (often with would, could, might): "He flattered him so that he would follow."
in order to / so as to + infinitive: "He lied in order to lure him down." / "He spoke softly so as not to alarm him."
lest + clause (formal/literary; means "so that … not", "for fear that"): "He hid the trowel lest Fortunato suspect him."

1. Montresor flattered Fortunato he would follow him into the vaults. (so / that)

2. He gave Fortunato wine keep him drunk and unsuspecting. (in order / to)

3. He repeatedly urged him to turn back not to arouse suspicion. (so / as)

4. He spoke softly Fortunato should grow afraid too soon. (one formal word)

1. so that (so that + would)

2. in order to (in order to + infinitive: "to keep")

3. so as (so as not to + infinitive)

4. lest ("lest" + should/subjunctive; formal and literary — exactly Poe's register)

2. Clauses of result — saying what followed

so + adjective/adverb + that: "The vaults were so damp that Fortunato coughed."
such + (a/an) + adjective + noun + that: "It was such a remote crypt that no one heard the screams."
so much / so many / so little / so few … that: "He had drunk so much wine that he could barely stand."

1. The vaults were damp Fortunato began to cough. (so / that)

2. It was a remote crypt his screams could not be heard. (such / that)

3. Fortunato had drunk much wine he offered no resistance. (so / that)

1. so … that (so + adjective + that)

2. such … that (such + a + adjective + noun + that)

3. so … that (so much + noun + that)

3. Purpose or result? — choosing the right structure

The trap: so that (purpose) and so … that (result) look alike. Purpose answers "What was the aim?" Result answers "What was the consequence?" Rewrite each sentence using the structure in brackets.

1. Montresor wanted revenge but no punishment. (purpose, in order to)
He planned everything carefully being caught.

2. The carnival was very noisy. Nobody noticed them leave. (result, so … that)
The carnival was noisy nobody noticed them leave.

3. He brought a trowel. He could wall up the niche. (purpose, so that)
He brought a trowel he could wall up the niche.

1. in order to avoid (in order + not to be caught is also fine: "in order not to be caught")

2. so … that ("The carnival was so noisy that nobody noticed…")

3. so that ("…a trowel so that he could wall up…")

What Poe does — and the verbs to describe it

Four moves to spot. They are the reason a story published in 1846 still makes a reader uneasy today.

1. Verbal and dramatic irony — the kind words of a killer

Almost everything Montresor says means its opposite. He calls Fortunato "my friend"; he worries aloud about his "precious" health while leading him to his death; he toasts "to your long life." This is verbal irony. And because we slowly grasp the plan before Fortunato does, every reassurance becomes dramatic irony — we understand what the victim cannot. The gap between word and intent ironises every line of dialogue.

2. The unreliable, cold narrator — calm is the horror

Montresor reports a live burial with no more heat than a man describing a dinner. He never asks us to forgive him; he assumes we already understand ("You, who so well know the nature of my soul"). Poe destabilises us by making the calm itself the frightening thing. We cannot trust the voice, and yet it is the only voice we have. That is the unreliable narrator at full strength.

3. Foreshadowing — the clues hidden in plain sight

The ending is planted from the start. The trowel rides concealed under his cloak the whole way down — a builder's tool, carried by a man who will build a wall. The coat of arms and motto ("Nemo me impune lacessit" — no one wounds me unpunished) announce the plot in Latin. The carnival setting, with its costumes and licensed madness, lets a man vanish unnoticed. Poe foreshadows and distils the whole crime into objects we only understand on re-reading.

4. The closing line — the reframe

The final two lines — "For half of a century no mortal has disturbed them. In pace requiescat!" — reframe everything. Until then we might have read a tale of madness caught in the act. After them, we realise we have been listening to a confession of a perfect crime: undiscovered, unpunished, recalled in tranquillity decades later. The funeral blessing, in his mouth, recasts the narrator from criminal to something colder — a man at peace with what he did.

Effect verbs to use in your analysis

ironises destabilises foreshadows reframes recasts distils juxtaposes undercuts implicates recontextualises

Spot-the-technique — quick MCQ

Montresor repeatedly says "your health is precious… we will go back," while in fact leading Fortunato deeper towards his death. What technique is at work?
Only at the very end do we learn the crime was committed fifty years ago and never discovered. What does this do to the reader?
Montresor carries a trowel hidden under his cloak from the moment they enter the vaults. What is the main effect of Poe placing it there so early?

Now move to the next tab. The technique work above feeds directly into the three speaking tasks.

Speaking tasks

Do all four. Each one builds on the last. The timer is for your benefit — it forces you to fill the time rather than escape it. Use the purpose-and-result structures and the effect verbs from the previous tabs.

Time remaining: 4:00
Task A · Retell the story in your own words (3 minutes)

Before we discuss it, tell the story back to me as if I had never read it — in your own words, not line by line. Aim for about eight to ten sentences.

As you go, use at least five words from the Vocabulary tab and keep the events in order using the clauses of purpose and result from the Grammar tab. These beats will help you: Montresor, nursing an insult, plots revenge on Fortunato · at carnival he tempts the wine-proud Fortunato with a rare Amontillado · he leads him deep into the damp family catacombs, feigning concern for his cough · at the crypt's end he chains Fortunato into a niche · he walls him up brick by brick — "For the love of God, Montresor!" — and fifty years of silence.

Task B · The grudge, and whether revenge ever satisfies (4 minutes)

Montresor carries his grievance for decades and acts on it in cold blood. Describe a grudge — one you have watched in others, at work or in a family, or your own if you wish. Take it in three steps:

  1. what the original wrong was, and why it stung so much;
  2. what the wronged person did, or wanted to do, in response;
  3. whether getting even ever actually settles anything — or whether it just moves the wound.

Use at least one purpose clause ("They did it in order to…") and at least one result clause ("It was so personal that…"), plus two effect verbs from the Technique tab.

Task C · Persuasion by flattery (3 minutes)

Montresor moves Fortunato exactly where he wants him — not by force, but by flattering his pride as a connoisseur. Pick a real situation where you needed to persuade someone: a client, a colleague, a teenager, a boss.

Talk me through how you used their self-image to get a "yes" — what you praised, what you withheld, what door you opened so that they walked through it themselves. Was it manipulation, or just reading people well?

Build the account around purpose clauses ("I praised X so that…", "I stayed quiet so as not to…").

Task D · Become an unreliable narrator (4 minutes)

Tell me about a real event from your week — a meeting, a meal, a journey. But narrate it the way Montresor narrates: calm, reasonable, certain you are in the right. Your task is to tell it so smoothly that, sentence by sentence, I begin to distrust you — to suspect you are leaving something out, or shading the truth in your favour.

Drop in small details that do not quite add up. Reassure me too much. Use result clauses ("It was such a small thing that…") to wave away the part that matters most. At the end, ask me what I no longer believe.

Final open discussion — if time allows

  1. Montresor never tells us what Fortunato actually did to him. Does a wrong feel bigger when it is never named, or smaller? Why?
  2. We listen to a murderer for the length of the whole story and never once hear his victim's side. What has Poe quietly made us complicit in?
  3. The motto "no one wounds me unpunished" could be a warning, a boast, or a confession. Whose family, company, or country today seems to live by it?
  4. If Fortunato could speak one more sentence from behind the wall, what do you think he would say — and would it change how you judge Montresor?