"Stories From Poe" film directed by Ric White

Transcription

1 "Stories From Poe" film directed by Ric White Study Guide Designed and Published by TENNESSEE THEATRE COMPANY Film Screening by Tennessee Theatre Company

2 For Teachers: Study Guide - Contents of Study Guide for "Stories From Poe" film screening Designed and Published by TENNESSEE THEATRE COMPANY Dear Educators, The staff of the Tennessee Theatre Company is proud to present our film screening of "Stories From Poe" for you and your students. Thank you for your support of the Arts in Tennessee. Tennessee Theatre Company "For Teachers: Study Guide" pages enhance the teaching of Tennessee Curriculum Standards. "For Students: Student Study Guide" supplemental Information/Questions/Activities pages provide multi-grade level materials for Middle and High School students. This guide is a perfect introduction for learning about the life and times of Edgar Allan Poe; and also introduces the film making process. This guide was prepared to provide support material that will enhance the educational experience for those attending the film screening "Stories From Poe". Study Guide - Page 1...Title Page - "Stories From Poe" Study Guide Page 2...Contents of "Stories From Poe" Study Guide Page 3...For Students: Background Information on the Edgar Allan Poe and Poe's Influence on Literature Page 4...For Students: Literary Forms and Devices Page For Students: Major Themes in the Writings of Poe Page For Students: Questions and Activities for "Poe" Discussion - Middle School Level Page For Students: Questions and Activities for "Poe" Discussion - High School Level Page For Students: Synopsis of "The Cask of Amontillado" Page For Students: Student Exercises for "The Cask of Amontillado" Page For Teachers: Teacher's Answers to "The Cask of Amontillado" exercises Page For Students: Synopsis of "The Tell-Tale Heart" Page For Students: Student Exercises for "The Tell-Tale Heart" Page For Teachers: Teacher's Answers to "The Tell-Tale Heart" exercises Page For Students: Synopsis of "The Premature Burial" Page 26...For Students: Student Exercises for "The Premature Burial" Page 27...For Teachers: Teacher's Answers to "The Premature Burial" exercises Page For Students: Synopsis of "The Raven" Page 31...For Students: Student Exercises for "The Raven" Page 32...For Teachers: Teacher's Answers to "The Raven" exercises Page 33.For Students: Film Making Glossary Terms 2

3 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Edgar Allan Poe Background Information Edgar Poe was born in Boston on January 19, 1809 to two traveling stage actors, David Poe, Jr. and Elizabeth Arnold Hopkins. Both of Poe s parents died before Edgar reached the age of three. Some reports state they died within days of each other, others that David died in Elizabeth likely died Dec. 8, Orphaned, Poe was separated from his brother and sister and went to live with John and Frances Allan of Richmond. In 1812, Poe was christened Edgar Allan Poe (with the Allans presumably serving as godparents). Poe s early education consisted of schooling in London as well as America. In 1826, Poe began studying at the University of Virginia in Charlottesville (a school founded by Thomas Jefferson). He later left the University of Virginia over a matter of gambling debts and enlisted in the United States Army. After brief service in the army, Poe spent a few months at West Point. By the age of 22, Poe had already published three books of poetry. In 1836, Poe married his 13-yearold cousin Virginia. They remained married until her death in During this time, Poe continued to write and work for several publications as both editor and contributor, producing such works as The Murders in the Rue Morgue, The Fall of the House of Usher, The Tell-Tale Heart and The Raven. When Virginia died in 1847, Poe was devastated and wrote, Deep in the earth my love is lying and I must weep alone. Poe sank into depression after Virginia s death. He wrote less frequently and turned to alcohol. In 1849, he was found on the streets of Baltimore in a feverish stupor, wearing clothes that were not his. The last moments of his life were spent drifting in and out of consciousness in the Washington College Hospital. Poe s Influence on Literature Edgar Allan Poe was an American poet, short story writer and literary critic. His influence on literature has been immense, affecting writers such as Jules Verne, Charles Baudelaire, Alfred Lord Tennyson, Fyodor Dostoyevsky, Robert Louis Stevenson and Sir Arthur Conan Doyle, among others. His short story Murders in the Rue Morgue and his three tales featuring Auguste Dupin created the detective story genre. Poe is also credited with mastering the short story, especially psychological horror stories. It has even been argued that Poe was the father of modern science fiction. Poe defined poetry as the rhythmical creation of beauty. In poetry, he displayed a propensity for rhythmic effect, particularly in poems such as The Bells, The Raven and Annabel Lee. The first line of The Raven is a good example: Once upon a midnight dreary, while I pondered weak and weary... He also frequently made use of alliteration and onomatopoeia. While Edgar Allan Poe is widely associated with grotesque and gothic themes, he also shows evidence of humor and satire in his short stories and literary criticism (e.g., The Devil in the Belfry, The Duc de l Omelette, Never Bet the Devil Your Head). His personal experiments with writing contributed to the development of his literary theories and criticism. The latter was at times quite scathing. Poe is quoted as saying the purpose of literature is to amuse by arousing thought. Certainly many of his writings are thought-provoking while amusing and suspenseful. Popular association of Poe s work is entrenched in the complexity of the human mind, particularly in the darkness of fear, guilt and obsession. Stories such as The Tell-Tale Heart, The Cask of Amontillado and The Fall of the House of Usher have been reinterpreted and reproduced in films and popular television programs such as Star Trek, Homicide: Life on the Street and The Simpsons. Thus, Edgar Allan Poe s legacy as a master of suspense lives on two centuries after his birth. 3

4 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Literary Forms and Devices A short story is a condensed work of fiction that generally has a small number of characters engaged in a single action with a specific thematic focus. It can be read at one sitting. During the 1800s, many writers began to consider the short story as a separate form of literature. Edgar Allan Poe was perhaps the most important writer to analyze short stories as a distinct literary form. One of the elements of a short story particularly important to him was unity of effect. It was imperative to Poe that all elements of a story contribute to a single emotional impact. The first book about writing short stories, The Philosophy of the Short Story (1901) by Brander Matthews, an American critic, contained many of Poe s ideas. Romanticism is a style in the fine arts and literature. It emphasizes passion rather than reason, and imagination and intuition rather than logic or science. Romanticism favors full expression of the emotions, and free or spontaneous action rather than restraint and order. The Romantic Movement usually refers to the period from around 1750 to During this movement, most writers were discontented with a commercial, inhuman and standardized world. To escape from modern life, the romantics turned their interest to remote and faraway places, the medieval past, folklore and legends, nature, common people and the supernatural. Romantic literature allowed a freer style of expression and more flexible form. It encouraged the mingling of genres (e.g., tragicomedy) and favored twisted, fast-paced plots and complex characters. By using first-person narration in his stories, Poe draws us into the state of mind of his characters, allowing us to identify more effectively with them, adding to the horror effect and intensity of the story. One of Poe s finest talents was his brilliant use of words or diction to describe or set the tone he desired. Two techniques that he used were alliteration and onomatopoeia. Alliteration occurs when two or more words in a sentence begin with the same sound. A crawling, long and horrible snake can become more terrifying with alliteration as a slithering, slippery and slimy snake. Examples from Poe s The Raven are: While I nodded nearly napping (note the n sound) and And the silken sad uncertain rustling of each purple curtain using s. This line about the rustling purple curtain is also a fine example of onomatopoeia, which is the use of a word or words whose sound imitates the sound represented. The repetitive s sounds in the line suggest the sound of rustling curtains. The ur sound in purple and curtain suggests a darker, more foreboding atmosphere. Tapping and rapping are also examples of onomatopoeia in the following lines from The Raven:...suddenly there came a tapping, as of someone gently rapping, rapping at my chamber door. Another example is the word buzz, which suggests, as well as refers to, the sound made by bees. Poe was a master at employing rhythm and sound to advantage. In The Bells, his poetry mimics the chiming of instruments: To the tintinnabulation that so musically wells from the bells, bells, bells, bells, Bells, bells, bells Irony is another device appreciated by Poe. For example, in The Cask of Amontillado, Montressor ironically shows concern for Fortunato s health, even though he intends to kill him. He also appears to try to talk Fortunato out of trying the Amontillado (sherry), even though Montressor clearly wants to get Fortunato drunk. Even Fortunato s name is ironic, since death by starvation and dehydration as a result of being buried alive in a wall does not coincide with his fortunate name. Hyperbole (exaggeration) is another device used in The Cask of Amontillado when Montressor refers to The thousand injuries of Fortunato I had borne as best I could. The injuries may have been many, but one thousand is clearly not a factual count. Poe uses metaphor when he refers to the drunken Fortunato s eyes as two filmy orbs In The Raven, he also refers to the night as a Plutonian shore, referring to the god of the underworld (Pluto). Foreshadowing is another favorite device used by Poe. The appearance of the raven as the narrator ponders the death of his beloved Lenore is one example. The beating of the dead man s heart in The Tell-Tale Heart is another. When Fortunato states (in The Cask of Amontillado), I shall not die of a mere cough, it foreshadows his death of starvation and dehydration, buried alive. Poe was a master at using these and other literary devices to increase the impact of his writing. 4

5 Study Guide on "Stories From Poe" Major Themes Insanity versus rationality In many of Poe's short stories, such as "The Tell-Tale Heart," the narrators are madmen and murderers who fail to disguise their lack of rationality with a discussion of their thought processes. However, their stories inevitably reveal gaps in their chains of thought that speak to their descent into immorality and selfishness. In many cases, insanity is interlocked with the narrators' emotional conceit; they are incapable of empathizing with others and think only of their own desire to satisfy their honor or their need to end the disruptions to their lives. On the other side of the equation lie Poe's rational characters, which are capable of consciously setting aside their own emotions in order to logically solve their problems. For example, C. Auguste Dupin's skill lies in being able to empathize with others in order to solve seemingly impossible cases. Where Poe's irrational characters create confusion out of order, Dupin is capable of reversing the process. Obsession The majority of Poe's narrators are nervous, oversensitive, and given to excessive worrying or strange fixations. In his works, Poe explores the consequences of such obsessive tendencies. In the case of the narrator of "The Tell-Tale Heart," the main character's declarations of oversensitivity are merely a thin disguise for insanity. In other stories, obsession is driven by fear: in "The Premature Burial," the narrator develops catalepsy and begins to take myriad precautions because of his overwhelming fear of being buried alive. Some characters become obsessed by passion, as in the case of the painter in "The Oval Portrait," who essentially abandons his wife for his art. In many of Poe's stories, the narrators' obsessions lead to death and destruction, but Poe also proves false this conclusion in "The Premature Burial," in which the narrator's obsessions come to an abrupt end when his fretting leads him to drastically misinterpret an event in his life. Man's relationship with death The fear of death drives the actions of several of Poe's characters. In particular, the narrator of "The Premature Burial" obsesses about the possibility of premature burial, and his fear makes him so paranoid that when he wakes up in the berth of a ship, he mistakes it for a grave and has a terrifying experience for no real reason. At the same time, Poe describes several characters whose response to their fear of death is to avoid it, although the usual result of their avoidance is increased trauma. Prince Prospero and his courtiers in "The Masque of the Red Death" try to shut themselves away and ignore the slaughter caused by the Red Death, but death pays no attention to their barriers and kills them en masse. Similarly, the attempt by the narrator to arrest M. Ernest Valdemar at the point of death in "The Facts in the Case of M. Valdemar" only causes the consumptive patient to die and have his body gruesomely dissolve into a putrid puddle. However, the main character development of the narrator of "MS. Found in a Bottle" is that he learns to accept his impending death and replace his fear with anticipation. Love and hate Many of the crimes of Poe's protagonists (main characters) are particularly detestable because they involve the death of someone whom they formerly loved. The narrator of "The Tell-Tale Heart" claims that he loved the old man but reveals his madness and evil tendencies through his systematic terrorizing and murder of the old man, which he excuses by citing the old man's evil eye. Poe also introduces villain protagonists such as Montresor of "The Cask of Amontillado" who hate their enemies but whose hate becomes even more sinister and implacable because they mask it with signs of affection. Montresor's false solicitousness for Fortunato's health is ultimately revealed as a ploy to lure Fortunato to his death. In all of these cases, love and hate are shown to be closely connected, as one can easily turn into the other without warning. 5

6 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Questions and Activities for Poe Discussion 1. How did the events in Poe s life affect his writing? The outcome of his life? Is there anything he could have done differently to change the outcome of his life? If he made these changes, how would it have affected his writing? Discuss. 2. Was the main character in The Telltale Heart insane? Why did he murder the Old Man? If it wasn t a beating heart that he heard, what was it? 3. Rewrite the part of The Telltale Heart when the police come to investigate from one of the policemen s point of view. How is it different? What was he thinking about while he sat there? Would the Main Character have been caught if the police had decided to leave earlier? Rewrite the same part from the dead man s point of view. 4. What is the moral or message of The Raven? The Tell-tale Heart? The Cask of Amontillado? Would the same message be told if Poe wrote his stories as comedies? Does a comedy carry as much moral weight as a tragedy? 5. Books and movies are very different mediums. Try taking your favorite short story and writing a scene from it for a movie. (Avoid using a narrator if possible.) Perform it in front of your class. What worked? What didn t work? What are some of the challenges of adapting a book into a movie? What would be different if you adapted a book into a play? 6. How does Poe create suspense? How did the actors in the film build suspense for the audience? 7. How would these stories be different if the main characters were women instead of men? Before viewing the Poe film Questions 1. What is fear? What is horror? What is terror? 2. Are these constants through the ages or have our perceptions changed? 3. Are there things that our ancestors were frightened of which no longer frighten us? 4. Are there things that frightened you when you were younger that no longer do? 5. Why do people enjoy being frightened by scary stories and horror movies? 6. Why does horror sometimes make us laugh? How is it possible for us to find something simultaneously frightening and funny? 7. What is madness? 8. What is the difference between persistence and obsession? 9. What is the difference between immorality and amorality? 6

7 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Question and Activities for Poe Discussion 1. What are some of the differences between a short story and a novel? What are the some of the characteristics that distinguish Edgar Allan Poe s short story form from others? 2. How would Poe s work change if it was written today? How important is language in creating atmosphere? Pick a section of The Telltale Heart and rewrite it in your own words in a modern setting. Be sure to use your own voice. Now compare the two. What are the major differences? Whose is more suspenseful? Poetic? 3. Poe s most famous poem may have been The Raven. Using the meter and rhyming scheme of The Raven, write your own version of The Telltale Heart. Is poetry necessarily a better or easier way to tell a tale? 4. What is more important in creating suspense sound or image? Why? When watching a scary movie, do you cover your eyes? Your ears? How important are sound effects in a film? 5. A fatal flaw is a personality trait that brings about a character s destruction. Which of the characters exhibited a fatal flaw? What was the flaw? Are there any personality flaws that are not considered fatal? What are they? 6. How did Poe use conflict, plot, climax and characters in his stories? 7. Compare the elements exhibited in Poe s style of writing with those of modern writers. What modern writers could have been influenced by Poe? Answer the following questions: 1. How does music create a scary mood in movies or television? 2. Would these stories have had the same effect on you if you had heard them on the radio? Why or why not? 3. Did the stories end the way you expected them to? Would you have preferred another ending? Explain. 4. What words can you use to describe a blood chilling tale? 7

8 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Synopsis of "The Cask of Amontillado" "The Cask of Amontillado" Online text of the story with vocabulary support. ( "The Cask of Amontillado" Worksheets, vocabulary practice, and related links. ( "The Cask of Amontillado" Further exercises and worksheets. Plot Summary...It is dusk on a day during the annual carnival celebration in an Italian city. People are eating, drinking, and making merry before the beginning of the 40-day Lenten season....but one of the city s residents, Montresor, is not at all merry. Some time ago, a man named Fortunato a wine connoisseur (expert) wronged Montresor. In fact, according to Montresor, who is the narrator of the story, Fortunato had committed numerous offenses against him the last one an intolerable insult. Montresor now plans revenge against Fortunato. A man can stand only so much....when he encounters Fortunato on the street, Montresor does not let on that he is angry or means harm to Fortunato, who, in keeping with the carnival festivities, is tipsy. Fortunato is wearing a court jester s motley outfit and a cone-shaped hat topped with a bell that sometimes rings when he moves his head. After Montresor greets Fortunato and shakes his hand, he tells Fortunato that he recently came into possession of a pipe (126 gallons) of Amontillado, a prized amber dry wine from Spain. However, Montresor says, he is not sure whether the wine is the genuine article. Proud Fortunato, eager to demonstrate his knowledge of wine, immediately agrees to take up the challenge of determining whether the Amontillado is the real thing....after they arrive at Montresor s palazzo (a lavish and costly private residence), they descend into the cold, damp vaults where the wine is kept. The vaults are part of a network of catacombs containing the bones of longdead members of the Montresor family. Several times, Montresor pretends to be concerned about the health of Fortunato, who has a cough, and suggests that they turn back. But Fortunato says, The cough is a mere nothing; it will not kill me.... True true, Montresor answers without outward show of the inner glee he must have been feeling....montresor takes a bottle of Médoc from a shelf, opens it, and gives Fortunato a deep drink to ward off the cold. He toasts Fortunato, saying, To your long life. Moments later, Montresor presents Fortunato a flagon (container for liquids) of De Grâve (an interesting name for a deadly occasion). Fortunato empties it. His mind now swims in groggy joy....when they arrive at a wall at the end of their subterranean journey, Montresor quickly claps his drunken companion in chains attached to iron staples in the wall, then turns the key of a padlock attached to the chains. The Amontillado! Fortunato says, failing to comprehend his predicament....with stone and mortar that had been ensconced (placed snugly) nearby, Montresor walls up Fortunato. There are screams from the niche, then laughter. Fortunato thinks he is the victim of a joke. Montresor continues to work on the vertical tomb. When he completes his task, he hears the jingling of bells on Fortunato's cap. Then Montresor erects a rampart (fortified embankment) of bones against the wall....fifty years pass. Fortunato remains behind the wall, resting in eternal peace... Setting It is early evening in an Italian city during a carnival immediately preceding Lent. 8

9 Cask of Amontillado continued Characters...Montresor, a deranged man who seeks revenge....fortunato, a haughty wine connoisseur against whom Montresor seeks revenge. Type of Work Cask of Amontillado is a short story in the horror genre, although careful readers will note that the story contains a great deal of subtle humor. Poe was one of the developers of the short story as a literary genre. He defined a short story as a narrative prose work that (1) is short enough to be read in one sitting, (2) takes place in one locale on a single day, (or even in a few hours), (3) centers on a single line of action, and (4) maintains a single mood. Every word or phrase should contribute to the theme and the mood. Narration (Point of View) First-Person Unreliable. Montresor tells the story in the first person, meaning he uses pronouns such as I, me, my, and so on. He is called an unreliable narrator because he is mentally unbalanced; his narration may be untrustworthy. For example, he could have imagined that Fortunato wronged him. Themes Revenge - Fortunato had committed many offenses against Montresor, the last one an insult, according to Montresor. Deception - To lure Fortunato into the catacombs, Montresor deceives Fortunato, telling him he wants to taste some wine to determine whether it is genuine Amontillado. Pride - Fortunato readily accepts Montresor's invitation to taste wine and determine whether it is genuine Amontillado, for Fortunato believes himself to be a great wine connoisseur. So proud is he of his ability that he takes on the challenge even though he has a cough and is already somewhat drunk. Use of Irony Throughout the story, Poe uses verbal and dramatic irony to build suspense, foreshadow the ending, and add a touch of macabre (grim and horrible) humor. Here are some examples of irony: The Title: The word cask, meaning wine barrel, is derived from the same root word used to form casket, meaning coffin. Thus, the cask figuratively represents Fortunato s casket. Fortunato s Name: The Italian name Fortunato suggests good fortune, luck. However, Fortunato is anything but fortunate; he is going to his death. Fortunato s Costume: Fortunato dresses as a court jester. His festive outfit contrasts with the ghastly fate that awaits him. From time to time, the bell on his cone-shaped hat jingles a nice comic touch from Poe. Reference to Masons: Fortunato asks Montresor whether his is a mason, meaning a member of the fraternal order of Freemasonry. Montresor says he is indeed a mason. However, he is using the word to mean a craftsman who builds with stone and mortar (because he will be building Fortunato s tomb, a stone wall.) Poe also uses irony frequently in the dialogue. For example, when Montresor runs into Fortunato, he says, My dear Fortunato, you are luckily met. Later, when Montresor pretends to be concerned about Fortunato s hacking cough as they descend into the vaults, Montresor says, We will go back. Your health is precious. You are rich, respected, admired, beloved; you are happy, as I once was. You are a man to be missed. Fortunato then tells Montresor not to worry: The cough is a mere nothing; it will not kill me. I will not die of a cough. To this reply, Montresor says, True true. The reader at this point can almost see a devilish gleam in Montresor s eyes, for he knows exactly how Fortunato will die. Later, Montresor opens a bottle of wine and toasts Fortunato: To your long life, he says. 9

10 Study Guide on "Stories From Poe" for the film screening Student Exercises for The Cask of Amontillado I. Using context clues, what do the underlined words mean? 1. The catacombs were cold and damp. 2. He was determined to get revenge after he was insulted. 3. The wine was in a cask in the cellar. 4. They carried flambeaux down the dark hallway. 5. Fortunato wanted to taste the amontillado. II. Answer the following questions? 1. What added impression of Fortunato do you get from his costume? 2. How did the carnival help Montresor execute his plans? 3. What kind of person is Montresor? Do you think he is insane? Why or Why not? 4. Do you think Montresor will ever get caught for this crime? How? III. Define these terms: Foreshadowing- Irony - Discuss literary terminology foreshadowing and irony. Can you think of a movie where the screenwriter gives you some clues on what is going to happen or who the villain in the story is? It may be the music, or a facial expression from a character that gives you a clue. The screenwriter helps the viewer predict what is going to happen. Poe also gives the reader clues in his writing of what is going to happen. Poe chooses the words in his story very carefully. The title of the story and the main characters names were not given by accident. Many times the words or phrases he used gave the reader a clue of what was to follow. He also used double meanings of words to lead to his sarcastic humor. Analyze the following lines or scenes from the story. Do they contain foreshadowing or irony? Explain why? 1. "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." 2. "The man wore motley. He had on a tight-fitting parti-striped dress and his head was surmounted by the conical cap and bells." 3. I said to him -- "My dear Fortunato, you are luckily met. How remarkably well you are looking to day!" 4. "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." 5. "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" 6. "The cough is a mere nothing; it will not kill me. I shall not die of a cough." "True -- true," I replied. 7. I drink," he said, "to the buried that repose around us." "And I to your long life, I said. 8. "Nemo me impune lacessit." 9. "Once more let me IMPLORE you to return. No? Then I must positively leave you." 10. "Let us be gone." "Yes," I said, "let us be gone." 11. The Cask of Amontillado - the title 12. Fortunato - name of main character The choice of words can have a tremendous impact on the story. Poe s descriptive writing and play on words is what makes his stories able to be read on many different levels. 10

11 Student Exercises for The Cask of Amontillado continued IV. Answer the following questions: 1. Re-read the first paragraph of "The Cask of Amontillado." What does the narrator think of himself? To whom might he be speaking? 2. The narrator tells us that he had dealt with "injuries" and finally even an "insult" from Fortunato. What examples can you find in the story to support the narrator's perception that Fortunato really is so rude? 3. In paragraph 42 of the story, Montresor says he drinks to Fortunato's "long life." Now that you have read the whole story, what double meaning can you understand? 4. Re-read the final paragraph. Does Montresor feel any remorse for his actions? Explain your answer. 5. List two ways this story would be different if it were told by Fortunato, waiting to die in the crypt. V. Circle the correct answer: 1. Why does Fortunato cough when he enters the catacombs in "The Cask of Amontillado"? A. Allergies B. Choking C. Dust D. Nitre 2. What does Montresor offer Fortunato when the latter begins coughing in "The Mask of Amontillado"? A. Medoc wine B. A handkerchief C. Nitre D. Amontillado 3. In "The Cask of Amontillado," what is on the arms of the Montresors? A. A red cross B. A foot d'or crushing a serpent rampant C. A dragon on a field of blue D. A lion and a unicorn 4. How does Montresor kill Fortunato in "The Cask of Amontillado"? A. He allows Fortunato to die from nitre. B. He walls Fortunato into a niche in the catacombs. C. He poisons the amontillado. D. He causes Fortunato to become lost in the catacombs. 5. What are Fortunato's last words to Montresor in "The Cask of Amontillado"? A. "Ugh! ugh! ugh!" B. "God help us all!" C. "For the love of God, Montresor!" D. "The Amontillado!" 6. Why does Montresor vow revenge on Fortunato in "The Cask of Amontillado"? A. Fortunato tried to poison him. B. He was tired of the thousand injuries of Fortunato. C. Fortunato stole from him. D. He disagreed with Fortunato's taste in wine. 11

12 Student Exercises for The Cask of Amontillado continued VI. See how the season of Carnival is celebrated throughout the world. The setting of the story takes place during the carnival season in Venice, Italy. Explore this web site and take a virtual tour of Venice, Italy. ( What is the significance of carnival season? The word Carnival can be traced to the Medieval Latin carnem levare or carnelevarium, which means to take away or remove meat. Carnival is a celebration, which proceeds the 40 days of Lent leading up to Easter. Many Christian religions celebrate and indulge themselves in the Carnival season before having to give up something during the Lenten season. Many people give up meat, hence the term Carnival. Although many countries and nationalities celebrate Carnival, the first day of the carnival season varies with both national and local traditions. View website on Students will be able to view Carnival celebrations in Trinidad, Rio de Janeiro, Salvador, New Orleans, Vera Cruz, San Francisco, Toronto, Nice, London and New York. Using NEWSBANK, EBSCO, SIRS or another periodical database. Students will look for magazine and newspaper articles about the carnival season. To help with your search you may want to refer to Vocabulary Words Following is a glossary of difficult words used in the story: Amontillado [uh MON te YAH doh] - Dry, amber wine. The word Amontillado is derived from Montilla, the name of a Spanish town. The suffix ado means in the style of. Thus, Amontillado is a wine in the style of the kind made in Montilla, Spain. Aperture - Opening. Carnival - Festival just before Lent. It is called Mardi Gras in some western countries. The word carnival is derived from the Latin words carne (meat) and vale (farewell). Thus, it literally means farewell to meat. During Lent, Roman Catholics do not eat meat on Ash Wednesday and all the Fridays thereafter, until Easter. Catacombs - Underground burial places. Circumbscribing - Encircling, surrounding; tracing a line around. Fetter - Shackle, chain, bond. Flambeau - Torch; plural, flambeaux. Hearken - Listen carefully. Immolate - Kill a person as a sacrifice. Imposture - Deception, fraud. Impunity - Freedom from punishment; exempt from punishment. Médoc - Red wine from the Bordeaux region of France. Motley - Apparel of many colors; jester s costume. Nemo me impune lacessit [NAY moh MAY im POO nay lah CHESS it] - Latin for No one injures me with impunity. This sentence appeared on coins of James I of England. Nitre - Potassium nitrate. Palazzo - Palace; splendid home. Pipe - Cask holding 126 gallons. Puncheon - Cask holding 84 gallons. Rapier [RAY pe er] - Two-edged sword. Rheum [ROOM] - Watery discharge. Roquelaure [rok uh LAHR or rok LAHR] - Knee-length, often fur-trimmed cloak after Duc de Roquelaure ( ) Sconce - Bracket on a wall for holding a candle or a torch. 12

13 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Teacher's Answers to The Cask of Amontillado exercises I. Using context clues, what do the underlined words mean? 1. The catacombs were cold and damp. 2. He was determined to get revenge after he was insulted. 3. The wine was in a cask in the cellar. 4. They carried flambeaux down the dark hallway. 5. Fortunato wanted to taste the amontillado. ANSWERS: 1. Catacombs- underground cemetery 2. Revenge- to get back at someone for pain inflected 3. Cask- a barrel for holding liquids 4. Flambeaux- torches 5. Amontillado- a pale-dry wine II. Answer the following questions? 1. What added impression of Fortunato do you get from his costume? Fortunato was dressed as a fool at the carnival and was played for one. 2. How did the carnival help Montresor execute his plans? -Montresor s home was free of his servants due to the carnival. -The drunkenness at the carnival made it easier for Fortunato to be persuaded. -The costumes at the carnival allowed them to be seen together without being recognized. -The noise of the carnival prevented anyone from hearing cries for help from Fortunato. 3. What kind of person is Montresor? Do you think he is insane? Why or Why Not? Opinions will vary 4. Do you think Montresor will ever get caught for this crime? How? Opinions will vary III. Define these terms: Foreshadowing - to indicate or suggest something, usually something unpleasant that is going to happen Irony - using words to suggest the opposite of their literal meaning. Something said or written that uses sarcastic humor 13

14 Teacher's Answers to "Cask of Amontillado" exercises continued Discuss literary terminology foreshadowing and irony. Can you think of a movie where the screenwriter gives you some clues on what is going to happen or who the villain in the story is? It may be the music, or a facial expression from a character that gives you a clue. The screenwriter helps the viewer predict what is going to happen. Poe also gives the reader clues in his writing of what is going to happen. Poe chooses the words in his story very carefully. The title of the story and the main characters names were not given by accident. Many times the words or phrases he used gave the reader a clue of what was to follow. He also used double meanings of words to lead to his sarcastic humor. Analyze the following lines or scenes from the story. Do they contain foreshadowing or irony? Explain why? 1. 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. Foreshadowing- Montresor smiles in Fortunato s face as he is thinking about killing him. 2. The man wore motley. He had on a tight-fitting parti-striped dress and his head was surmounted by the conical cap and bells. Ironic- Fortunato comes to the carnival dress like a fool. He is taken for a fool by going after the amontillado, which leads him to his death. 3. I said to him -- "My dear Fortunato, you are luckily met. How remarkably well you are looking to day! Ironic- Montresor comments how lucky they are to meet. By this chance meeting Montressor s plan of revenge begins to take form. Although Fortunato looks good now, he will be dead by the end of the day. 4. 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. Ironic & Foreshadowing- It is ironic that he cautions him going down the stairs when he is planning to kill him shortly. The descending to the catacombs is a foreshadowing of Fortunato s fate. 5. "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" Ironic & Foreshadowing Montresor tells Fortunato to go back that his health is precious and that he will be missed if something should happen to him. Yet Montresor is plotting his death. The quote you are happy as I once was is a foreshadowing of the revenge that is about to be inflicted. 6. "The cough is a mere nothing; it will not kill me. I shall not die of a cough." "True -- true," I replied Ironic & Foreshadowing Poe shows his sarcastic humor here. It is ironic that Fortunato brings up the topic of dying. He will not die from the cough but by Montresor s revengeful plan. 7. "I drink," he said, "to the buried that repose around us." "And I to your long life", I said. Ironic The toast to the dead around them and to Fortunato s long life is another sarcastic play on words knowing that Fortunato s life will be over shortly. 8. "Nemo me impune lacessit." Ironic The motto on Montresor s coat of arms is translated from Latin meaning: "No one injures (attacks) me with consequences It is because of Fortunato s insults or verbal attacks that Montresor is killing him 9. Once more let me IMPLORE you to return. No? Then I must positively leave you. Foreshadowing- He begs him to leave one last time and then states that he will leave him for good. 14

15 Teacher's Answers to "Cask of Amontillado" exercises continued 10. Let us be gone." "Yes," I said, "let us be gone." Ironic Fortunato states let us be gone meaning lets go back to the carnival the joke is over. Montresori states let us be gone meaning your death is approaching. 11. The Cask of Amontillado Irony - The title of the story is also a play on words for it is this cask, which leads him to his casket. 12. Fortunato Irony - Fortunato name means Fortunate which he is anything but. IV. Answer the following questions: 1. Re-read the first paragraph of "The Cask of Amontillado." What does the narrator think of himself? To whom might he be speaking? The narrator sees himself as a victim who deserves revenge. He mentions that he is speaking to someone who knows the nature of [his] soul. This could be someone close to him, a wife, a son, a close friend, or a priest. The final paragraph says that the incident happened 50 years earlier, so this could be a deathbed confession. It might also be a deathbed boast. 2. The narrator tells us that he had dealt with "injuries" and finally even an "insult" from Fortunato. What examples can you find in the story to support the narrator's perception that Fortunato really is so rude? Fortunato insults Luchresi several times. He also makes a point of saying that Montresor is not of the brotherhood, which is a kind of one-upping him. He does not, however, seem to be a monster. He acts in the way many people act from time to time. Montresor may be overreacting. 3. In paragraph 42 of the story, Montresor says he drinks to Fortunato's "long life." Now that you have read the whole story, what double meaning can you understand? Montresor knows he is going to bury Fortunato alive, so he hopes Fortunato will suffer a long time before he dies. 4. Re-read the final paragraph. Does Montresor feel any remorse for his actions? Explain your answer. Answers will vary. Some students may say that leaving the scene undisturbed for 50 years shows no remorse, and Montresor never says that he is sorry. Other students may point to my heart grew sick as an expression of remorse, despite the claim that it was caused by the dampness. They may also point to his haste to finish the job. 5. List two ways this story would be different if it were told by Fortunato, waiting to die in the crypt. Answers will vary, depending on the student's interpretation of Fortunato. V. Circle the correct answer: 1. Why does Fortunato cough when he enters the catacombs in "The Cask of Amontillado"? D. Nitre 2. What does Montresor offer Fortunato when the latter begins coughing in "The Mask of Amontillado"? A. Medoc wine 3. In "The Cask of Amontillado," what is on the arms of the Montresors? B. A foot d'or crushing a serpent rampant 4. How does Montresor kill Fortunato in "The Cask of Amontillado"? B. He walls Fortunato into a niche in the catacombs. 5. What are Fortunato's last words to Montresor in "The Cask of Amontillado"? C. "For the love of God, Montresor!" 6. Why does Montresor vow revenge on Fortunato in "The Cask of Amontillado"? B. He was tired of the thousand injuries of Fortunato. 15

16 Study Guide on "Stories From Poe" for the film screening Designed and Published by TENNESSEE THEATRE COMPANY Synopsis of "The Tell-Tale Heart" "The Tell-Tale Heart" ( Online text of the story with vocabulary support. "The Tell-Tale Heart" ( Follow links for a downloadable audio file or to listen and read at the same time. Plot Summary The narrator has been so nervous that he jumps at the slightest sound. He can hear all things on heaven and earth, he says, and some things in hell. But he maintains that he is not mad. To prove his sanity, he says, he will calmly tell the reader his story. One day, he decided to take the life of an old man for no other reason except that he had an eye resembling that of a vulture a pale blue eye with a film over it. Over time, it became so unbearable to look upon it that the narrator had no other choice but to get rid of the old man. The way he went about the task, with such calculation and cunning, demonstrates that he is not mad, the narrator says. At midnight, he would turn the knob on the door of the old man s bedroom. Then he would open the door ever so slowly. In fact, it would take him an hour to open the door wide enough to poke his head into the room. Would a madman have been so cautious? Then he would open a little slot on his lantern, releasing light, to check the hideous eye. For seven straight nights, it was closed, and so it was impossible to do the work, he says, for it was not the old man who vexed me but his Evil Eye. On the eighth night, the narrator opened the door with greater caution than before. As before, the room was completely dark. He was about to shine the lantern when the old man sat up and said, Who s there? The narrator did not answer but remained in place, not moving a muscle, for an entire hour. All the while, the old man continued to sit up, wondering the narrator speculated what he had heard. The wind? A mouse? A cricket? Although he did not hear the old man lie down again, the narrow open the lantern slot just a sliver, then wider. The beam fell upon the open vulture eye. Then the narrator heard a low, muffled sound the beating of the man s heart! Or so he believed. The heartbeat louder then louder and louder. Would a neighbor hear it? Shouting, the narrator rushed into the room. After the old man shrieked, the narrator quickly threw him to the floor and pulled the bed on top of him. The heart continued to beat, but only softly. Moments later, the beating stopped. The narrator checked his pulse. Nothing. The old man was dead. After moving the bed aside, the narrator took up three floorboards, secured the old man between the joists, and replaced the boards. The narrator felt proud of himself, for there was no blood to wash out, no other task of any kind to do. At 4 a.m., just when he had finished his work, the narrator answered a knock at his front door. When he opened it, three policemen entered, saying a neighbor had reported hearing a shriek, possibly indicating foul play. They needed to search the premises. I smiled, the narrator says, for what had I to fear? After welcoming the police, he told them the shriek was his own; he had cried out during a dream. He also told them that the old man who lived in the house was away in the country. Next, he took the police all over the house, inviting them to search everything thoroughly. After they entered the old man s chamber, the narrator pointed out that the old man s possessions had not been disturbed. In his swelling self-confidence, the narrator brought in chairs and invited the policemen to rest. I myself, in the wild audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim, the narrator says. The police appeared completely satisfied that nothing criminal had occurred in the house. However, they continued to chat idly, staying much longer than the narrator had expected. By and by, he began to hear a rhythmic ringing in his head. While he was talking with the police, the noise which had the cadence of a ticking watch but a much louder sound persisted, becoming more distinct. A moment later, he concluded that the rhythmic ringing was outside of him. Still, he talked on, now more loudly. The policemen did not seem to hear the noise. When it grew even louder, the narrator rose and began arguing with the officers about trivial matters, punctuating his conversation with wild hand movements. He also paced back and forth. Then he raved and cursed and dragged his chair over the floorboards, all in an apparent attempt to drown out the noise he was hearing. Meanwhile, it grew still louder, and louder, and louder. How was it possible that they could not hear it? In fact, they must have heard it, the narrator decided. And they must have suspected him of a crime all along. Their calm manner and idle chatter were part of a ruse to mock him. Unable to brook their counterfeit behavior any longer, unable to endure the sound any longer, the narrator brought the whole business to a crashing climax. "Villains!" I shrieked, "dissemble no more! I admit the deed! tear up the planks! here, here! it is the beating of his hideous heart!" Setting The story opens in an undisclosed locale, possibly a prison, when the narrator tells readers that he is not mad. To defend his sanity, he tells a story which he believes will prove him sound of mind. His story is set in a house occupied by the narrator and an old man. The time of the events in the story is probably the early 1840's, when Poe wrote the story. The action in the narrator's story takes place over eight days. 16

17 The Tell-Tale Heart continued Characters The Narrator: Deranged unnamed person who tries to convince the reader that he is sane. The narrator's gender is not identified, but Poe probably intended him to be a man. Here is why: Poe generally wrote from a male perspective, often infusing part of himself into his main characters. Also, in major short stories in which he identifies the narrator by gender stories such as "The Black Cat," "The Cask of Amontillado," and "The Fall of the House of Usher" the narrator is male. Finally, the narrator of "A Tell-Tale Heart" exhibits male characteristics, including (1) A more pronounced tendency than females to commit violent acts. Statistics demonstrate overwhelmingly that murder is a male crime. (2) Physical strength that would be unusual in a female. The narrator drags the old man onto the floor and pulls the bed on top of him, then tears up floorboards and deposits the body between joists. (3) The narrator performs a man's chore by bringing four chairs into the old man's bedroom, one for the narrator and three for the policemen. If the narrator were a woman, the policemen probably would have fetched the chairs. But they did not. The Old Man: Seemingly harmless elder who has a hideous "evil eye" that unnerves the narrator. Three Policemen: Officers who search the narrator's house after a neighbor reports hearing a shriek. Year of Publication "The Tell-Tale Heart" was first published in the winter of 1843 in The Pioneer, a Boston magazine. Themes Theme 1: A human being has a perverse, wicked side another self that can goad him into doing evil things that have no apparent motive. This is the same theme of another Poe story, "The Black Cat." The narrator of "The Tell-Tale Heart" admits in the second paragraph of the story that he committed a senseless crime, saying: "Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire." However, he does note that his evil deed, murder, was not entirely unprovoked; for the old man he killed had a hideous eye that unnerved him. Unable to look upon it any longer, he decided to kill the old man. Theme 2: Fear of discovery can bring about discovery. At the end of the story, the narrator begins to crack under the pressure of a police investigation, hearing the sound of the murdered man's beating heart, and tells the police where he hid the body. Fear of discovery is the principle under which lie detectors work. Theme 3: The evil within is worse than the evil without.. The old man has a hideous, repulsive eye; outwardly, he is ugly. But, as the narrator admits, he is otherwise a harmless, well-meaning person. The narrator, on the other hand, is inwardly ugly and repulsive, for he plans and executes murder; his soul is more repulsive than the old man's eye. Point of View The story is told in first-person point of view by an unreliable narrator. The narrator is obviously deranged, readers learn during his telling of his tale, even though he declares at the outset that he is sane. As in many of his other short stories, Poe does not name the narrator. A possible explanation for this is that the unnamed narrator becomes every human being, thereby enhancing the universality of the short story. In other words, the narrator represents anyone who has ever acted perversely or impulsively and then had to pay for his deed. Prose Beats Like a Heart From time to time, Poe uses a succession of short sentences or word groups, creating a rhythm not unlike that of a heartbeat. Note the following examples from the story: Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! I scarcely breathed. I held the lantern motionless. I tried how steadily I could to maintain the ray upon the eye. Meantime the hellish tattoo of the heart increased. Was it possible they heard not? Almighty God! no, no? They heard! they suspected! they KNEW! they were making a mockery of my horror! this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision! I could bear those hypocritical smiles no longer! I felt that I must scream or die! and now again hark! louder! louder! louder! LOUDER! "Villains!" I shrieked, "dissemble no more! I admit the deed! tear up the planks! here, here! it is the beating of his hideous heart!" 17