...The Cask of Amontillado “Before you embark on a journey of revenge, dig 2 graves,” by Confucius. In the short story “The Cask of Amontillado”, the description of one of the character’s, Montresor, wants to get revenge on his “friend”. The title caught my eye, because it was a unique title. It was unique because it had the word Amontillado sounded haunting to me. I wondered where it came from. The author, Edgar Allan Poe gives a really good message in the story. I learned that even if you are stressed about an insult from a person, don’t try to hurt them in such a way they might die, try to reason with them. The connection to life is to talk to the person that may have made you mad, to reason with that person. During carnival season, in...
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...Developed by Sigmund Freud, psychoanalytic criticism is used in literature to reveal the motives, motifs, and themes in a work of literature. This analysis focuses on the inner workings of the human mind. The short story, “The Cask of Amontillado” by Edgar Allen Poe, depicts Freud’s conclusion of psychoanalytic criticism. The sole motive for the killing of Fortunato is due to Montresor’s projection of his own failures. To Montresor, Fortunato represents his own downfalls and the way his life used to be––fortunate. Montresor’s motive for killing Fortunato began as an id; an unconscious instinct. It is only natural for a man to be jealous of something he once had. In this case, Montresor is jealous of the life Fortunato lives because this is the lifestyle his family is used to. Not only is it natural to be jealous, but it is also instinctive to feel the pressure of the burdens in a person’s life. Montresor feels as if he is being buried alive by the stress of his misfortunes. Because Montresor feels buried alive, he feels he needs kill Fortunato the same way. This jealousy is proven in the third paragraph of the short story, “In painting and gemmary, Fortunato, like his countrymen, was a quack but in the matter of old...
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...Selfishness and revenge are woven through “The Cask of Amontillado” by Edgar Allan Poe and “A Rose for Emily” by William Faulkner like a fine silk thread, supporting the theme of death in each. In the short story, “A Rose for Emily” by William Faulkner, the cause of death is never obviously revealed but lightly hinted upon Emily as the cause. “The Cask of Amontillado,” a short story by Edgar Allan Poe, the cause of death is revealed but no one knew the cause of Fortunato’s disappearance. These stories contain many differences as well as similarities ranging from imagery, symbolism, theme, and tone. The recognizable commonality of the two is the theme of death. Each of these stories portrays death, or murder, as a result of vengeance, revenge and betrayal. “The Cask of Amontillado” deals with the death of Fortunato and “A Rose for Emily” deals with the death of Homer and Emily. William Faulkner never admits that Emily is the cause of Homer’s death but gives the audience clues that suggest Emily was indeed responsible. Emily’s death seemed to be of natural causes (Faulkner, 1931, p 531). Edgar Allan Poe, in “The Cask of Amontillado” tells the audience of Montresor’s plot of revenge and murder of Fortunato. Betrayal and revenge are obvious throughout both stories. In “A Rose for Emily,” Emily first betrayed Homer after he did not take her for his wife after the whole town saw the two of them together. In “The Cask of Amontillado” betrayal is shown in Montresor’s actions,...
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...Analysis of “The Cask of Amontillado” by Edgar Allan Poe & “Hills Like White Elephants” by Ernest Hemmingway Analysis of “The Cask of Amontillado” by Edgar Allan Poe Abstract “The Cask of Amontillado” by Edgar Allan Poe, is a short story about a man named Montessor who gets revenge on one of his “friends” named Fortunado by trapping him and burying him alive. Treatment Setting: Two kinds Plot: Man gets revenge on his “friend” Characters: Montresor, Fortunado, Montresor’s family, and Luchesi Setting: An underground catacomb, somewhere in Italy, during the carnival season Time: Over two days Conflict: For Montresor to revenge himself for Fortunato’s insult, he has to get away with it – if Fortunato can revenge him back, then Montresor has lost. The punishment must be permanent − Fortunato has to feel it, and he has to know it’s coming from Montresor. Resolution: The satisfaction of the death of Fortunado Narrative point of view: First person, Central (Montresor) Literary devices: Repetition- "Amontillado" - This shows Fourtunato's doubt about the wine being Amontillado. Dialect- "I will not impose upon your good will." - The way the character talks suggests that they are in the past and educated. Onomatopoeia- "ugh...ugh, ugh...ugh." - instead of just saying that Fortunato had a cold or was sick, the author used onomatopoeia to show the reader that he had a cough and was very ill. Evaluation At the end of the story The Cask of Amontillado, by Edgar...
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...Hawthorne. Both of these authors lived in the same time period, yet lived very opposite lives. In fact, Poe received notoriety for criticizing Nathaniel Hawthorne. (Poe, 1847) In his career, he wrote several critiques of Hawthorne’s work. On a personal level, Poe often disagreed with how often Hawthorne used allegory. As a literary element that many people use, Poe was not a fan. He once stated that: “I allude to the strain of allegory which completely overwhelms the greater number of his subjects, and which in some measure interferes with the direct conduct of absolutely all.” (Poe, 1847) It seems as though Poe regarded Hawthorne’s work as works of allegory. To say that this was the only literary element he employed, however, would be false. Throughout history, authors have endeavoured to master other forms of literary elements, to become the master of those elements, and equal to none in them. By comparing “The Cask of Amontillado” with “Young Goodman Brown”, is to study two masters, at odds with their specific forms of writing, but each a master in his own right. Each story shows how two people that can be so far apart on a scale, can use the same literary elements in similar and different ways without compromising their work as a whole. Foreshadowing Foreshadowing is vital in the world of literature. Foreshadowing is always about being subtle. How can an author slip in a clue or help build a story to a dramatic, yet unforeseen conclusion? Foreshadowing in the...
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...‘A’ Subject : Introduction to literature and literary analysis(551) Hem lal pandey 31th july,2015 “ The cask of Amontillado” as a gothic story The story “The cask of Amontillado” by Edgar Allan Poe is a fine example of his Gothic writing. As the story features numerous characteristics of gothic literature. For example dark setting, imagery, underground chamber, violent and revenge, the theme of death and decay, extreme circumstances of terror oppression and the motif of double. The story “the cask of amontillado” carries a perfect example of Gothic setting. As the main action takes place in damp catacomb, which is dark and snoopy. As it is mention in the story “it was about dusk, one evening during the supreme madness of carnival season” (Kirszner and Mandell 119) thus the story appears an entirely Gothic story when it’s revenge content is supported with it’s atmosphere which is melancholic and dreadful. Montressor assures Fortunato to provide amontillado and takes him to the underground vaults and winding staircase. He says; I took their scones two Flambeaux, and giving one to Fortunato bowed him through several suits of rooms to the archway that led into vaults I passed down a long and winding staircase … we came at length to the foot of the descent and stood together on the damp ground of the catacomb of the montresors. (Kirszner and mandell 192-193) Montressor and fortunato passed through “walls of piled bones with cask and puncheons intermingling into the inmost recesses...
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...Cornelius Hughes Dr. Montgomery LibA 102 October 13, 2009 Poe’s Use of Irony in His Short Stories Gargano says that “Poe intends his readers to keep their powers of analysis and judgment ever alert;…” (178). Poe is not your average type of literary figure. He often uses personification, metaphors, and symbols in order to give hints at details that would otherwise be unknown. These type of tactics help to keep the readers on their toes, otherwise they would be subject to misinterpreting what they read. In particular, Poe was a profound user of irony in his short stories. Poe used irony to depict the errors in his characters’ ways of thinking and their actions. Stories such as “The Cask of Amontillado”, “The Tell-Tale Heart”, and “The Masque of the Red Death” are all short stories that convey this notion. It is my intention to, based on the evidence found and presented, to prove this point. Let us first look at how Poe’s use of irony proves this point in “The Cask of Amontillado.” . The setting of the events is an “evening during the supreme madness of the carnival season” (Poe, “Cask” 426). This setting alone is symbolic for in this time during a carnival, people dressed themselves in costumes, becoming for a short time something other than their normal selves. Both Fortunato and Montresor are outfitted. Fortunato is wearing “a tight-fitted parti-striped dress, and his head was surmounted by the conical cap and bells” (426). In short, his attire was much...
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...A literary genius, Poe, caused the faint of heart to shudder and the squeamish to tremble. And this he could do succinctly as illustrated in “The Cask of Amontillado”. On the surface, this short story appears to only be concerned with mere revenge over the possible imaginary slights committed by Fortunato against Montressor. However, if you look underneath the cloak of retribution you find darker, deeper motives that may explain Montressor’s radical behavior. Analysis Left to his own devices we find Montressor rationalizing sinister thoughts of retaliation against a fellow citizen, Fortunato, eventually reaching the conclusion that he must commit the dastardly deed of immolation if he is to regain his injured pride. This story is not as simple as it first appears to be. There exists a manifestation of different emotions which have developed over time for both characters. The aforementioned emotions could also be regarded as sinful in nature, and if left unchecked create...
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...In Aesop’s fable, “The Wolf and the Lamb,” the moral of the story asks the reader to examine the desire for an object—and how we justify our behavior if we cannot obtain that object. This moral is graphically presented through the repeated use of key words to describe the fox’s repeated failure to get what he wants. The fox’s first attempt is foiled as he “just missed” the grapes (35). He attempts “again and again”, running and jumping repeatedly, but has “no greater success” (35). He then becomes disgusted and walks away. These successive descriptions of his failure build to his disdainful comment that the grapes are probably sour (35). The repeated demonstration of fox’s failures and his self-rationalization of why is he walking away—not that he has failed but because he has decided that the grapes are sour and he does not want them anyway—cleverly portrays the moral of the fable: if you can’t get it, blame something else, not yourself. It therefore asks the readers to Aesop’s Fables 3 of 93 The Wolf and the Lamb Once upon a time a Wolf was lapping at a spring on a hillside, when, looking up, what should he see but a Lamb just beginning to drink a little lower down. ‘There’s my supper,’ thought he, ‘if only I can find some excuse to seize it.’ Then he called out to the Lamb, ‘How dare you muddle the water from which I am drinking?’ ‘Nay, master, nay,’ said Lambikin; ‘if the water be muddy up there, I cannot be the cause of it, for it runs down from you to me.’ ‘Well...
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...A LIT 210 CheckPoint 1: Literary Canon Response LIT 210 CheckPoint 2: Writing About Literature Response LIT 210 Assignment: Literary Definitions Activity LIT 210 CheckPoint: Final Paper Rough Draft 1 of 2 LIT 210 CheckPoint: Final Paper Rough Draft 2 of 2 LIT 210 Week 2 CheckPoint: Young Goodman Brown Matrix LIT 210 Week 2 DQs LIT 210 Week 3 CheckPoint: Analytical Essay LIT 210 Week 4 DQs LIT 210 Week 3 Assignment: Comparative Character Matrix and Newspaper Ads- Appendix D LIT 210 CheckPoint: Newspaper Ads for Dramatic Characters LIT 210 Week 5 Assignment: Oedipus Rex and A Raisin in the Sun Essay LIT 210 Week 5 CheckPoint: Comparative Drama Matrix LIT 210 Week 7 Assignment: Comparative Poetry Matrix- Appendix h LIT 210 Week 6-Checkpoint - Word Order Activity LIT 210 Week 6 DQs LIT 210 Final Paper Outline LIT 210 Week 8 Checkpoint Analyzing the Essay LIT 210 Week 8 DQs LIT 210 Capstone Checkpoint LIT 210 Final Project Comparative Literature Paper ............................................................................................................................................................... LIT 210 Assignment Literary Definitions Activity (UOP) For more course tutorials visit www.tutorialrank.com Tutorial Purchased: 4 Times, Rating: A+ Resources: Appendix B and the glossary on pages 1204-1215 in Literature: The Human Experience • Date Due: Day 7 [post to the Individual forum] • Complete the Literary Definitions Activity in Appendix...
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...English 175-‐02: Introduction to Literary Genres Instructor: Aaron Schab aschab@uidaho.edu 209 Brink Hall Department of English University of Idaho Course Meets: Life Sciences South 163 Monday/Wednesday/Friday 9:30 am – 10:20 am January 9, 2013 – May 10, 2013 Course Description In this class, we will learn about the basic conventions and terms used to understand and discuss the three major genres of literature: fiction, poetry, and drama. This class will help you understand the sometimes baffling world of literature, and is intended to provide the general student with basic experience in literary analysis. Additionally, I hope this class will lead you to a lifelong appreciation for (and engagement with) reading literature. Although this class features extensive reading and writing, it is not necessary for you to be a bookworm or a writing superstar to succeed in this class – if you ...
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...[pic] JPPSS ELA COURSE GUIDE 2011-2012 ENGLISH I The JPPSS Instructional Sequence Guides are aligned with the LA Comprehensive Curriculum. JPPSS Implementation of Activities in the Classroom Incorporation of activities into lesson plans is critical to the successful implementation of the Louisiana Comprehensive Curriculum. The Comprehensive Curriculum indicates one way to align instruction with Louisiana standards, benchmarks, and grade-level expectations. The curriculum is aligned with state content standards, as defined by grade-level expectations (GLEs), and organized into coherent, time-bound units with sample activities and classroom assessments to guide teaching and learning. The units in the curriculum have been arranged so that the content to be assessed will be taught before the state testing dates. While teachers may substitute equivalent activities and assessments based on the instructional needs, learning styles, and interests of their students, the Comprehensive Curriculum should be a primary resource when planning instruction. Grade level expectations—not the textbook—should determine the content to be taught. Textbooks and other instructional materials should be used as resource in teaching the grade level expectations...
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...LICENCE LANGUES, LITTÉRATURES ET CULTURES ÉTRANGÈRES ET RÉGIONALES SPÉCIALITÉ ANGLAIS DESCRIPTIF DES ENSEIGNEMENTS Année universitaire 2014-2015 Page 1 SOMMAIRE L1—PREMIERE ANNÉE SEMESTRE 1 CULTURE DES PAYS ANGLOPHONES 1 E11 AN5 (6 ECTS) LANGUE 1 E12 AN5 (4 ECTS) CIVILISATION 1 E13 AN5 (4 ECTS) VERSION 1 ET LITTÉRATURE AMÉRICAINE 1 E14 AN5 (4 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E1P AN5 (1 ECTS) 5 5 6 8 10 13 SEMESTRE 2 CULTURE DES PAYS ANGLOPHONES 2 E21 AN5 (5 ECTS) LANGUE 2 E22 AN5 (4 ECTS) LITTÉRATURE BRITANNIQUE 2 E 23 AN5 (4 ECTS) CIVILISATION BRITANNIQUE 2 ET TRADUCTION (VERSION) 2 E24 AN5 (5 ECTS) PROJET PROFESSIONNEL PERSONNALISÉ (P.P.P.) E2P AN5 (1 ECTS) 14 15 17 18 20 2 L2—DEUXIEME ANNÉE SEMESTRE 3 LANGUE 3 E31 AN5 (6 ECTS) CIVILISATION AMÉRICAINE 3 E32 AN5 (5 ETCS) LITTÉRATURE BRITANNIQUE 3 E33 AN5 (5 ECTS) TRADUCTION (VERSION) 3 ET PRISE DE PAROLE EN CONTINU 3 E34 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 3 21 21 23 24 26 29 E3PF12L5 (6 ECTS) SEMESTRE 4 LANGUE 4 E41 AN5 (5 ECTS) CIVILISATION BRITANNIQUE 4 E42 AN5 (6 ECTS) LITTÉRATURE AMÉRICAINE 4 E43 AN5 (5 ECTS) TRADUCTION (VERSION) 4 ET PRISE DE PAROLE EN CONTINU 4 E44 AN5 (6 ECTS) PREPROFESSIONNALISATION : MÉTIERS DE L’ENSEIGNEMENT DES LANGUES VIVANTES ÉTRANGÈRES ET RÉGIONALES 4 30 32 34 36 39 E4PF12L5 (6 ECTS) 3 L3—TROISIEME...
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...cover next page > title author publisher isbn10 | asin print isbn13 ebook isbn13 language subject publication date lcc ddc subject : : : : : : : : : : : cover next page > < previous page page_i next page > Page i 1100 Words You Need to Know Fourth Edition Murray Bromberg Principal Emeritus Andrew Jackson High School, Queens, New York Melvin Gordon Reading Specialist New York City Schools . . . Invest fifteen minutes a day for forty-six weeks in order to master 920 new words and almost 200 useful idioms < previous page page_i next page > < previous page page_ii next page > Page ii © Copyright 2000 by Barron's Educational Series, Inc. Prior edition © Copyright 1993, 1987, 1971 by Barron's Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron's Educational Series, Inc. 250 Wireless Boulevard Hauppauge, NY 11788 http://www.barronseduc.com Library of Congress Catalog Card No. 00-030344 International Standard Book Number 0-7641-1365-8 Library of Congress Cataloging-in-Publication Data Bromberg, Murray. 1100 words you need to know / Murray Bromberg, Melvin Gordon. p. cm. Includes index. ISBN 0-7641-1365-8 1. Vocabulary. I. Title: Eleven hundred words you need...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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