Skip to main content

The Cask of Amontillado

by Edgar Allan Poe · 1846 · Godey's Lady's Book

2,309 words9 min readintermediateGothic HorrorMystery
Jump to summary & analysis (spoilers)

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 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.

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. 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.

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. He had on 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.

I said to him--"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day! But I have received a pipe of what passes for Amontillado, and I have my doubts."

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

"I have my doubts," I replied; "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."

"Amontillado!"

"And I must satisfy them."

"Amontillado!"

"As you are engaged, I am on my way to Luchesi. If any one has a critical turn, it is he. He will tell me--"

"Luchesi cannot tell Amontillado from Sherry."

"And yet some fools will have it that his taste is a match for your own."

"Come, let us go."

"Whither?"

"To your vaults."

"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchesi--"

"I have no engagement;--come."

"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre."

"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchesi, he cannot distinguish Sherry from Amontillado."

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

There were no attendants at home; they had absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.

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 on 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 pipe," said he.

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

He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication.

"Nitre?" he asked, at length.

"Nitre," I replied. "How long have you had that cough?"

"Ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!"

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

"It is nothing," he said, at last.

"Come," I said, with decision, "we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchesi--"

"Enough," he said; "the cough is a mere nothing; it will not kill me. I shall not die of a cough."

"True--true," I replied; "and, indeed, I had no intention of alarming you unnecessarily--but you should use all proper caution. A draught of this Medoc will defend us from the damps."

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

"Drink," I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

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

"And I to your long life."

He again took my arm, and we proceeded.

"These vaults," he said, "are extensive."

"The Montresors," I replied, "were a great and numerous family."

"I forget your arms."

"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel."

"And the motto?"

"Nemo me impune lacessit."

"Good!" he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through walls of piled bones, with casks and puncheons intermingling, into the inmost recesses of catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

"The nitre!" I said; "see, 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 De Grave. He emptied it at a breath. His eyes flashed with a fierce light. 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.

"Not I," I replied.

"Then you are not of the brotherhood."

"How?"

"You are not of the masons."

"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 a trowel from beneath the folds of my roquelaire.

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

"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. 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, in which the foulness of the air caused our flambeaux rather to glow than flame.

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 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.

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. As for Luchesi--"

"He is an ignoramus," interrupted my friend, as he 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, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock. 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," I said, "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."

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

"True," I replied; "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

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. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. 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. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated--I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall; I replied to the yells of him who clamoured. I re-echoed--I aided--I surpassed them 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. 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--

"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--he! he! he!"

"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, the Lady Fortunato and the rest? 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. I thrust a torch through the remaining aperture and let it fall within. There came forth in reply only a jingling of the bells. My heart grew sick on account of the dampness of the catacombs. I hastened to make an end of my labour. 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 the half of a century no mortal has disturbed them. In pace requiescat!


Reading guide by Jack Shi · Contains spoilers

What is The Cask of Amontillado about?

The Cask of Amontillado is a first-person confession by Montresor, who says that Fortunato injured and then insulted him and that he vowed revenge. During carnival he lures the proud, half-drunk Fortunato into his family catacombs with the promise of tasting a rare Amontillado, chains him in a niche, and walls him in alive. Montresor ends by saying that for half a century no one has disturbed the bones he piled against the new wall.

One-page summary

Narrator
Montresor, a nobleman, tells the story to a listener he addresses as “You, who so well know the nature of my soul.” The text never names that listener.
Fortunato
The victim is a man “to be respected and even feared,” whose weak point is that “He prided himself on his connoisseurship in wine.”
Where and when
An unnamed Italian city at dusk during carnival, then the catacombs beneath Montresor’s palazzo, where the servants have “absconded to make merry.”
The bait
Montresor says he has bought “a pipe of what passes for Amontillado” and has his doubts, and that he will take it to Luchesi, a rival taster, if Fortunato is busy.
The descent
They pass through the vaults, past nitre on the walls, a growing cough, two flagons of wine, and Montresor’s family arms and motto, to a crypt at the deepest point.
The crime
In a niche about four feet deep, Montresor chains Fortunato to two iron staples in the granite and builds a wall of stone across the opening, tier by tier.
How it ends
Fortunato screams, then laughs, then calls for the love of God; Montresor answers only with echoes. He finishes the wall, restacks the bones, and says no mortal has disturbed them for half a century.
Themes
Revenge, pride, deception, and how far a narrator can be trusted.
Length
About 2,309 words in this edition, roughly a nine-minute read.

Characters

Montresor

The narrator and murderer. He claims “The thousand injuries of Fortunato I had borne as I best could,” but never says what any injury or the insult was. He plans for revenge “with impunity,” keeps smiling at his victim, and shows concern for Fortunato’s health at every step, concern the text shows to be calculated.

Fortunato

A wine expert, proud and already drunk when the story opens. He wears motley and a cap with bells. He insists on going on even when Montresor offers to turn back, saying “the cough is a mere nothing; it will not kill me.” His pride about wine is the lever Montresor pulls.

Luchesi

He never appears. Montresor names him as someone who could judge the Amontillado instead, which stings Fortunato: “Luchesi cannot tell Amontillado from Sherry.” Luchesi works in the plot as a threat to Fortunato’s standing, not as a character.

The servants

They are not seen either. Montresor says he gave “explicit orders not to stir from the house,” knowing these orders would ensure their “immediate disappearance,” so the empty house is part of the plan.

Setting and timeline

The story moves from a carnival street at dusk to Montresor’s palazzo, down a winding staircase, and through catacombs where walls are “piled bones” and the air is damp. The festive noise above is replaced by an enclosed, dark, silent place, which is where the crime happens.

Montresor gives measurable details for the final niche: “in depth about four feet in width three, in height six or seven,” backed by “solid granite,” with two iron staples about two feet apart. The precision matches the narrator’s controlled, methodical way of telling the story.

  1. Dusk, carnival eveningMontresor meets Fortunato, who “wore motley,” and mentions the Amontillado and Luchesi.
  2. At the palazzoFortunato takes his arm; the servants have gone out to celebrate; they take two torches and descend.
  3. In the catacombsNitre on the walls, Fortunato’s cough, repeated offers to turn back, and a first drink: “And I to your long life.”
  4. The arms and mottoMontresor describes his family arms and the motto Nemo me impune lacessit; Fortunato says “Good!”
  5. The masonic jokeFortunato makes a sign Montresor does not understand; Montresor shows a trowel and says he is a “mason.”
  6. The deepest cryptThey reach the inner recess; Fortunato steps in and is fettered to the granite.
  7. The wallMontresor lays tier after tier; at the seventh tier the wall is “nearly upon a level with my breast”; screams, then a quiet laugh near the eleventh tier at midnight.
  8. The last wordsFortunato cries “For the love of God, Montresor!”; Montresor repeats it back, finishes the wall, and ends with “In pace requiescat!”

Symbols and their meanings

Nitre

It hangs like moss upon the vaults.

Montresor keeps pointing to the nitre and the damp as a reason to go back, which is both concern for Fortunato’s cough and a way of drawing him on. Read symbolically, the white crust is decay and the sense of a place where things are buried and forgotten.

The arms and motto

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

The arms show a foot crushing a serpent that bites its heel. With the motto Nemo me impune lacessit, “No one provokes me with impunity,” it announces the story’s logic of injury and revenge in a form Fortunato fails to read.

The trowel and the masons

producing a trowel from beneath the folds of my roquelaire

Fortunato asks whether Montresor is a Freemason; Montresor says yes and shows a trowel, a stonemason’s tool. The pun is a joke at Fortunato’s expense and a hint of what the trowel is for, which Fortunato takes as a jest.

The cap and bells

There came forth in reply only a jingling of the bells.

Fortunato’s jester costume makes him a fool in the carnival sense; the bells are the last sound from the niche. Their jingling returns at the end as the only reply, close to a signature of the victim’s surrender.

The toast

And I to your long life.

Montresor drinks to Fortunato’s long life while planning to end it within the hour. It is the story’s clearest example of verbal and dramatic irony: the words mean something different to the speaker and to the listener.

What the narrator claims, and what the text shows

Montresor has been gravely injured.

The thousand injuries of Fortunato I had borne as I best could

The story never says what any injury or the later insult was, so the reader has only Montresor’s word. The vagueness is what makes the grievance impossible to test.

The revenge must be safe.

I must not only punish, but punish with impunity.

The plan matches the claim: the servants are sent away, Fortunato is flattered and kept drinking, and the crime is concealed behind restacked bones.

He cares about Fortunato’s health.

your health is precious

He says this while leading Fortunato deeper, and each offer to go back is followed by another drink or another reason to continue. The concern works as a tool, not a feeling.

Nobody has found the body.

For the half of a century no mortal has disturbed them.

This cannot be checked from the text; it is the narrator’s own statement, and the listener and the reason for telling it now are never named.

Ending explained

After the last stone is set, Montresor writes that his “heart grew sick on account of the dampness of the catacombs.” The text offers dampness as the cause and does not say what else might make his heart sick. One common reading takes this as a flicker of conscience; another takes it as the narrator’s refusal to admit one.

The closing words are “In pace requiescat!”, Latin for “May he rest in peace.” Readers disagree about the tone. It can be sincere, a grim joke, or a formula used by a man who finishes the job and moves on. The text does not settle it.

The half-century gap raises the question the story never answers: why tell this now, and to whom? The opening address to “You, who so well know the nature of my soul” suggests a listener, but no one is identified.

Word counts in this text

Counts from the 2,309-word text on this page, so you can check any of them against the story above. They describe this edition; other printings may differ slightly.

  • “Amontillado”: 16 — The bait word returns throughout the walk and again at the wall.
  • “Fortunato”: 14 — The victim is named often; the narrator’s own name appears once, in Fortunato’s last cry.
  • “Luchesi”: 6 — The absent rival is named several times and never speaks.
  • “nitre”: 5 — Montresor keeps returning to the nitre as a reason to turn back.
  • “bells” and “jingl-”: 5 — “bells” appears 5 times; forms of “jingle” appear 4 times in all.
  • “tier”: 4 — The wall is built tier by tier in the narrator’s telling.

Vocabulary from the text

  • immolation — killing as a sacrifice In the text: “the thought of his immolation”
  • connoisseurship — expert knowledge and taste In the text: “He prided himself on his connoisseurship in wine.”
  • roquelaire — a knee-length cloak In the text: “drawing a roquelaire closely about my person”
  • nitre — a white mineral crust that forms on damp walls In the text: “They are encrusted with nitre.”
  • flambeaux — lit torches In the text: “I took from their sconces two flambeaux”
  • impunity — freedom from punishment In the text: “punish with impunity”
  • motley — a jester’s multicolored costume In the text: “The man wore motley.”
  • fettered — chained In the text: “I had fettered him to the granite”

Classroom activities

  • Test the narrator. Pick three things Montresor says about himself or Fortunato and find the lines that support or undercut each. Which claims can the reader check, and which rest only on his word?
  • Map the irony. Find the toast, the arms and motto, the trowel, and “let us be gone.” For each, write what Fortunato understands and what the reader understands.
  • Compare two confessions. Read The Tell-Tale Heart and The Cask of Amontillado. Both are told by the person who committed the crime. How does each narrator try to persuade the listener that he is in control?

Publication and sources

The story was first published in the November 1846 issue of Godey’s Lady’s Book and printed again on 14 November 1846 in the New England Weekly Review. Wikipedia: The Cask of Amontillado.

Wikipedia lists possible inspirations including Joel Headley’s “A Man Built in a Wall,” works by Honoré de Balzac and George Lippard, and Poe’s rivalry with Thomas Dunn English. These are suggested sources, not proof of any single origin. Wikipedia: The Cask of Amontillado.

Frequently asked questions

Who tells The Cask of Amontillado?

Montresor tells it in the first person, many years after the crime. He is both the narrator and the murderer, which is why readers question his account.

What is Amontillado?

In the story it is a wine that Montresor says he has bought a “pipe” of; a pipe is a large cask. Fortunato says Luchesi “cannot tell Amontillado from Sherry,” which places it among sherry-type wines in the story’s own terms. The text never shows the cask.

What does “Nemo me impune lacessit” mean?

It is Montresor’s family motto, and the story translates it by implication as “No one provokes me with impunity.” It tells the reader how Montresor sees his revenge.

Why does Montresor take revenge on Fortunato?

He says Fortunato inflicted “The thousand injuries” and then insulted him, but the story never says what they were. That gap is one reason the narrator is called unreliable.

Does Fortunato deserve what happens?

The text does not say. It shows Fortunato as proud and a little foolish, but it never shows an act that would justify being walled in alive. Readers decide how much weight to give Montresor’s unproven grievance.

What does “In pace requiescat” mean?

It is Latin for “May he rest in peace.” Whether it is remorse, mockery, or habit is left to the reader.

Is the story based on a true event?

The story is fiction. Wikipedia lists possible literary sources and a personal rivalry as inspirations, but it does not identify a real event.

Explore the techniques and writing guides

Analysis

Summary

Montresor, nursing a grudge over an unspecified insult, lures his acquaintance Fortunato deep into underground catacombs during carnival season under the pretense of evaluating a rare cask of Amontillado sherry. Exploiting Fortunato's pride as a wine connoisseur and his drunken state, Montresor chains him inside a narrow recess and methodically walls him in with stone and mortar, entombing him alive. Fifty years later, Montresor recounts the crime, and the remains have never been found.

Plot Structure

expositionMontresor introduces his grievance against Fortunato and his resolve to exact a revenge that will go unpunished.
rising ActionDuring carnival, Montresor lures the drunken Fortunato into the family catacombs with the promise of tasting a rare Amontillado sherry.
climaxMontresor chains Fortunato to the wall inside a narrow recess deep within the vaults.
falling ActionMontresor methodically builds a wall of stone and mortar, sealing Fortunato inside as his victim progresses from disbelief to screaming to silence.
resolutionMontresor reveals that fifty years have passed and no one has ever disturbed the remains behind the wall.

Themes

Revenge & Obsession

Montresor's meticulous, premeditated plan reveals how the desire for revenge can consume a person entirely, transforming a perceived slight into justification for murder.

Pride as Weakness

Fortunato's vanity about his wine expertise is the lever Montresor uses to manipulate him. His pride blinds him to every warning sign and leads him willingly into his own tomb.

Deception & Manipulation

Montresor performs the role of a concerned friend throughout the entire journey, offering to turn back and expressing worry about Fortunato's cough, while secretly orchestrating his death.

Techniques

Unreliable Narrator

Montresor is both confessor and criminal, controlling every detail of the narrative. The reader never learns the nature of the "thousand injuries" or the insult, raising the question of whether his revenge is justified or delusional.

Montresor claims Fortunato caused him a "thousand injuries" yet provides no evidence, leaving his reliability in serious doubt.

Irony

The story is saturated with dramatic and verbal irony — Montresor toasts to Fortunato's "long life" while leading him to his death, and the jester costume makes Fortunato a literal fool.

Montresor drinks to Fortunato's "long life" while planning to end it within the hour.

Foreshadowing

Details like the family motto ("No one provokes me with impunity"), the coat of arms depicting a foot crushing a serpent, and the descending catacombs all hint at the fatal outcome.

The Montresor coat of arms — a foot crushing a serpent — signals that Montresor will crush anyone who strikes at him.

Discussion Questions

  1. Can Montresor be considered a reliable narrator? What details suggest his account may be distorted or self-serving?
  2. How does Poe use the carnival setting to heighten the contrast between the festive world above and the horror below?
  3. What role does Fortunato's pride play in his own downfall, and to what extent is he responsible for what happens to him?
  4. Why does Montresor wait fifty years to tell this story, and who might his audience be?
  5. How does the family motto "Nemo me impune lacessit" function both as characterization and as foreshadowing?

Related Stories