Edgar Allan Poe

Edgar Allan Poe

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Dear students, welcome to this online arrangement! Here you will find our everything you ever wanted to know about Edgar Allan Poe; his life, his stories and of course his death! Who was the man behind the twisted stories? Let's find out!

This arrangement will give you the following things:

  • What was Edgar Allan Poe's life like and what time did he live in?
  • Why should you know who he is?
  • An in-depth analyses of one of his stories, The cask of Amontillado
  • A presentation or product related to Edgar Allan Poe to your classmates

What do you know?

Who was Edgar Allan Poe?

Who was Poe?

Poe had a turbulent life and that showed. He died when he was only forty years old and during that time became estranged with many people in his life. As such, it is hard to pinpoint the character of the man who was so very good at making up characters to his stories.
When and where was Poe born?

Edgar (Allan) Poe was born in Boston, Massachusetts on January 19, 1809 as a middle child. He had an elder brother named William and a younger sister named Rosalie. When Edgar was only two years old his father abandoned the family and a year later his mother died of consumption (now known as Tuberculosis). He became a foster child of John Allan, who was a merchant in Richmond, Virginia. They gave him the name Edgar Allan Poe, even though they never formally adopted him.
Family Life

John Allan was a hard man to life with. One moment he spoiled Poe and gave him everything his heart could ever desire. The other moment he was severly punished for even the smallest infractions. He expected the best once Poe started his schooling.
Schooling

Poe attended grammar school for a short period in Irvine, Scotland when the family sailed to the UK, before he joined the family in London in 1816. He then studies at a boarding school in Chelsea until 1817, after which he entered Reverend John Bransby's Manor House School at Stoke Newington.

In 1820 the Allans moved back to Richmond and in 1826 Poe registered at the University of Virginia in February 1826 to study ancient and modern languages.
When did Poe marry and whom?

Even his marriage was not exactly conventional. On September 22, 1835 Poe petitioned for a licence to marry Virginia Clemm. They were married for 11 years before she also died of consumption, just like Poe's mother. So what was so controversial? Well, there were two things. First of all, Poe was 27 when he got married, but his wife was only thirteen at the time. Second of all, Virginia was Poe's cousin...
Rebel

Even though Poe joined a good university, he wasn't able to follow the rules. After only one year he left university with a gambling debt and an alcohol problem. He had accused his father of not giving him enough money and, as such, didn't feel welcome to go back home.
Military life

Since he didn't feel welcome to go back home and his father had stopped sending him money, Poe was unable to support himself. Therefore, in May 1827 he joined the military. He used a fake name (Edgar A. Perry) and told the drafting agent that he was 22 years old, even though he was only 18. He served for two years and was able to get the rank Sergeant Major for Artillery. By then he was tired of the military and revealed his name and age to his comanding officer, in hopes of being let go. The Luitenant told him he was only allowed to leave if he made peace with his father. For several months he was ignored until his mother died. His father, softened by the death of his wife, allowed Edgar to leave the military in 1829. However, his father had re-married again without his knowledge and in 1831 his father officially disowned him, because Poe could not accept his new wife. 
Writer's life

Poe was one of the first American writer's who wanted to live by writing alone. He moved to Richmond with his wife and her mother and worked at newspapers for a while to make a living. Meanwhile, he continued to publish both poems and short stories. In 1842 his wife started to show the first signs of consumption and in 1845 his poem 'The Raven' was published, making him instantly famous. Many believe his ill wife was his inspiration for the poem. Finally, on January 30, 1847, his wife died. 
The end

Poe was rumoured to never have recovered from his wife's death. He became unstable and started drinking. On October 3, 1849, Poe was found delirious on the streets of Baltimore. According to Joseph W. Walker, who found him, he was 'in great distress, and.... in need of immediate assistance'. He died on October 7, 1849, but was never again coherent enough to explain how he came to be in such dire condition and wearing clothing not his own. He is said to have repeatedly called for "Reynolds" before his death, though it is uncertain who he was referring to.

It has been said that Poe's last words were: "Lord help my poor soul."

How Poe died will forever remain a mystery, since all official death records, including his death certificate have disappeared.

 

Draw my life

Why should you read his stories?

Poe, the horror!

Edgar Allan Poe was not the first writer of horror stories, but his literary techniques form the foundation of the immensely popular literary genre as we know it today. His use of psychological horror through first-person narration would inspire other writers such as Ambrose Bierce and H.P. Lovecraft to write horror stories.

Although Edgar Allan Poe began his literary career as a poet, he quickly recognized the demand for short fiction. Initially, Poe wrote burlesques of the Gothic story, but soon began to write seriously in the Gothic vein. Gothic tales often involve circumstances of mystery and horror, a general atmosphere of gloom and doom, and elements like dungeons, ghosts, and decaying castles with secret passageways.

In many of his stories, Poe uses his main character as a first-person narrator to heighten suspense and draw readers into the character’s situation. It also gives readers an intimate view of the character’s psyche and provides an additional layer of realism to Poe’s stories, allowing the readers to feel more connected to—and therefore more afraid for—the characters.

One of Poe’s most masterful uses of first-person narration in a horror story is his unreliable narrator in “The Tell-Tale Heart.” At the outset of the story, the paranoid narrator hastens to assure the reader that he is of sound mind and body. However, as the story progresses, the reader witnesses the narrator’s mind unravel as it is wracked with paranoia. At the height of the man’s distress, the reader follows his emotions as they build inside his mind:

“I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder.


The reader does not know whether to believe that it is impossible for a dead man’s heart to continue beating, or whether to trust the narrator’s passionate insistence that he is sane and that these events truly happened exactly the way that he relates them. This uncertainty and mystery adds another layer of terror to the story, a fear of uncertainty and of the devolving mental state of the narrator.

In “The Fall of the House of Usher,” Poe uses the title’s double meaning (the destruction of the Usher family, along with the literal fall of their house) to its fullest extent. He also uses near-allegorical symbolism to elevate the meaning of the story by describing the house as having “vacant eye-like windows” and other facial features. In this and many other horror stories, Poe uses descriptive language and chilling visuals to give the stories a graphic and realistic sense of terror.

Today, Edgar Allan Poe's tales still stand as some of the finest examples of the horror genre. From "The Pit and the Pendulum" to "The Black Cat," Poe's tales continue to hold us in the master's ghastly grip.

So what about America?

Poe's places

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America in the 1800s

America in the 1800s

The cask of Amontillado

The story

The Story
 

By Edgar Allan Poe - Published 1847

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged; this was a point definitely, settled --but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. 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 in to smile in his face, and he did not perceive that my to smile now was atthe 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 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. 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 pipeof 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 Luchresi. If any one has a critical turn it is he. He will tell me --" "Luchresi 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. Luchresi--" "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 Luchresi, he cannot distinguish Sherry from Amontillado." Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my palazzo.

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 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 pipe," he said. "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 eves 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 Luchresi --" "Enough," he said; "the cough's 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 long walls of piled skeletons, with casks and puncheons intermingling, into the inmost recesses of the 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 from beneath the folds of my roquelaire a trowel. "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 crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.

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 Luchresi --" "He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In niche, and finding 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 will 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 return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. 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!

The characters

Montresor

Montresor (if that’s his real name), our narrator, is Mr. Sinister. He’s the guy you don’t want to meet in an underground graveyard, or anywhere else. He’s a cold and ruthless killer. He not only enjoys killing, but also thinks it’s necessary.

As the narrator, he’s telling the story fifty years after it happened. However, he is also known as an unreliable narrator. The story is told from Montresor perspective. As such, it can't be known if he is speaking the truth. We only get his side of the story, which makes it unclear if he is telling the truth or not. In addition to being the classic unreliable narrator, on the surface, Montresor is a classically unsympathetic character. A sympathetic character isn’t necessarily character we feel sympathy for; a sympathetic character is simply a character we can relate to, at least on some level.

Critics have been arguing for a hundred years over whether Montresor is confessing his sins or bragging about his crimes.
Fortunato

At first glance, Fortunato seems easier to identify with than Montresor. It’s much simpler to relate to the victim than to the victimizer. But, in some ways, he seems even more foreign to the reader than Montresor. Part of this is because Montresor is telling us the story, and he doesn’t give us much information on his prey.

As you surely noticed, Montresor doesn’t tell us how Fortunato hurt him, nor how he insulted him. So we can’t really say whether Fortunato’s punishment fits his crime.

Fortunato is addicted to wine. He’s already really drunk when he meets Montresor, and he thinks the Amontillado can help him take it to the next level. Right up until the end, he thinks of Amontillado, and only Amontillado.

Whether he really hurt and insulted Montresor or not, he’s so insensitive, he doesn’t notice that Montresor is mad at him, something any fool can see. 

Being too trusting can be a weakness – if you hang out with guys like Montresor. Montresor says he made sure Fortunato had no reason to doubt him. But still, Fortunato should know better than to follow a masked man into a catacomb.
The Montresor family

When Fortunato comments on how big the catacombs are, Montresor implies that all the bodies in the place are dead members of the Montresor family. There seem to be quite a lot of them. This is before we know Montresor’s name, but it’s implied that he’s a member of that family.

Is our narrator the last surviving member of the family? If so, what happened to the rest of the Montresors? Did he, perhaps, kill them all? Or maybe Montresor is lying and it’s not just Montresor bones in that massive graveyard. Maybe the Montresors were a family of killers, and the catacomb is full of unsuspecting victims, like Fortunato.

Maybe Montresor isn’t really Montresor at all. Maybe he murdered the last of the Montresors and then stole their name, so he could use it for his nefarious purposes. Montresor, if that’s his real name, makes clear in paragraph five that he is not Italian (though where he comes from is never revealed). So if he’s not Italian, what is his whole family doing buried in an Italian catacomb?

Ultimately, we don’t get any concrete information on the mysterious family Montresor; we have more questions than answers. In fact, Poe invites us to such speculations. They enhance the general creepiness of the reading experience, and make us suspect that Montresor, or whoever he is, is an even bigger villain than we might have thought.

The timeline

The themes

Themes

Assignment

Quiz

Assignment and rubric

Assignment

You are going to give a presentation to the class, using the information you have learned from this arrangement.

The presentation must include the following points:
* Information about Edgar Allan Poe's live
* America in the 1800s
* The horror genre created by Poe
* Why you think Poe should still be read
* Information about 'The Cask of Amontillado

How you are going to present it is up to you, but to give you some examples:
* PowerPoint
* A website
* Prezi
* Nearpod
* A video

Try to make it active and fun for your classmates (and teacher)!

A couple of points need to be taken into consideration:
* You are allowed to give the presentation alone or in groups of up to 4 people
* If you chose to give the presentation as a group, it needs to be clear who has done what
* The presentation needs to be between 15 and 20 minutes long

Through this presentation you will prove that you have learned something about Poe from this arrangement.

This is also what you will be graded on; the rubric for the presentation can be found here:

Questionnaire

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