17. Poe’s Biography:
Poe’s family life was
sad:
His parents were
actors.
His father left the
family when he was
one.
His mother died when
he was two.
18. Poe’s Biography:
Poe’s family life was
sad:
His parents were
actors.
His father left the
family when he was
one.
His mother died when
he was two.
The orphaned children
52. Carnival: a holiday 40 days before Easter.
During the 40 days before Easter, many Christians give up
things they like (meat, candy, parties).
They celebrate carnival before they begin the 40 days.
90. Paris Catacombs
*Under the city
*Bones of 5 to 6 million
people.
*Beginning around 1790,
cemeteries were full.
Pollution was a big
problem.
*Solution: Poor people put
dead bodies underground.
136. "For the love of god! Montresor!”
"Yes" I said, "For the love of god!"
137.
138. 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.
139.
140.
141. I ceased my labours and sat
down upon the bones.
142.
143. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
144. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
145. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
146. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
147. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
148. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
149. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
150. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
151. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
152. title and author:The Cask of Amontillado, Edgar Allan Poe
point of view: first person point of view
setting:carnival, Italy
characters: the narrator Montresor, Fortunado (ironic
name)
plot: Montresor lures Fortunado into his cellar.
conflict: Montresor wants revenge from Fortunado’s insults.
climax: Montresor chains Fortunado in the cellar and builds a
wall around him to bury him alive. No one hears his screams.
resolution: Montresor tells this story fifty years later.
Elements of a Story: The Cask of Amontillado
153. Questions
• Do you think people outside hear screams
from Montresor’s catacombs?
• Will you visit your friend’s catacombs?
154. Comprehension Check
1. The narrator of the story says that Fortunato has _______________ him since childhood.
a. been angry at
b. made fun of
c. been good friends with
d. given him money
2. Fortunato last words were that he thought the whole thing was a __________ .
a. joke
b. terrible crime
c. bad dream
d. demonstration of wall building
3. Fortunato didn't suspect anything because he thought that the narrator was his ________ .
a. enemy
b. wife's lover
c. future employer
d. friend
4. Amontillado is a type of ______________ .
a. festival
b. wine
c. many colored costume
d. restaurant
5. On the way down to the wine cellar, the narrator and Fortunato had to go past some _________ .
a. tombs
b. other celebrants
c. wet rocks
d. other wines
155. 6. As they walked further into the wine cellar, Fortunato began to ____________ .
a. laugh
b. sing
c. stumble
d. cough
7. Fortunato stared stupidly at two _______________ that were attached to the wall. He didn't know they were meant for
him.
a. handcuffs
b. whips
c. knives
d. bricks
8. Before the narrator placed the last brick, he called Fortunato's name, however, he heard _____________ .
a. only a low crying sound
b. Fortunato's curse
c. no answer
d. the sound of scratching
9. Another name for this story could be ________________ .
a. "An Italian Festival"
b. "The Best Wine in Rome"
c. "Wealthy Italian Families"
d. "Fortunato's Fortune”
10. The story is mainly about _______________ .
a. Italian wine
b. a tale of revenge
c. two rich Italians
Hinweis der Redaktion
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Miniature by John A. McDougall
Watercolor of Edgar Allan Poe [thumbnail]
(fig. 11)
Miniature by John A. McDougall
[Illustration on page 29]
This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43)
According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life.
The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption:
AN UNPUBLISHED PORTRAIT OF POE
The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it.
— THE EDITOR.
http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
Miniature by John A. McDougall
Watercolor of Edgar Allan Poe [thumbnail]
(fig. 11)
Miniature by John A. McDougall
[Illustration on page 29]
This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43)
According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life.
The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption:
AN UNPUBLISHED PORTRAIT OF POE
The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it.
— THE EDITOR.
http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
Miniature by John A. McDougall
Watercolor of Edgar Allan Poe [thumbnail]
(fig. 11)
Miniature by John A. McDougall
[Illustration on page 29]
This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43)
According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life.
The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption:
AN UNPUBLISHED PORTRAIT OF POE
The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it.
— THE EDITOR.
http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
Miniature by John A. McDougall
Watercolor of Edgar Allan Poe [thumbnail]
(fig. 11)
Miniature by John A. McDougall
[Illustration on page 29]
This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43)
According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life.
The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption:
AN UNPUBLISHED PORTRAIT OF POE
The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it.
— THE EDITOR.
http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11
Miniature by John A. McDougall
Watercolor of Edgar Allan Poe [thumbnail]
(fig. 11)
Miniature by John A. McDougall
[Illustration on page 29]
This skillfully painted watercolor is the work of John Alexander McDougall (1810/1811-1894), a talented miniaturist who spent much of his career working in Newark, New Jersey. Trained at the National Academy of Design, McDougall worked at various times in New Orleans, Charleston, and Saratoga Springs. By 1839 he had settled in Newark, at 33 Market Street, but for several years thereafter continued to maintain a succession of studios in nearby New York City, enjoying “a wide acquaintance and many clients.”(42) McDougall’s popularity seems to have been well deserved: four examples of his early work now preserved at the New-York Historical Society reflect a level of craftsmanship attained only by the better miniaturists of the period. During the 1840s he also began to experiment with photography, and about 1846 opened his own daguerreotype parlor in Newark. McDougall’s interest in daguerreotypy now seems rather ironic — it was the advent of this inexpensive portrait medium that would lead to the decline, and ultimately to the obsolescence, of miniature portrait painting. Although McDougall would continue to paint miniatures for the next three decades (he was, in fact, one of the few American artists to do so), his dabblings with photography evidently had an unfavorable effect on his painting. After 1850 his work began to lose much of its earlier deftness and delicacy, becoming instead clumsier and more photographic. By 1880 he had abandoned miniature painting altogether, his artistic abilities sadly reduced to “touching up and coloring photographs he had taken.”(43)
According to his son, Walter Hugh, McDougall was a likable, learned man who “knew everybody in New York worth the knowing” — over the years his studio would become a haven for such notables as Thomas Dunn English, Thomas Edison, and the painters George Inness, Thomas Moran, and Asher B. Durand.(44) The younger McDougall also asserted that his father had once painted Edgar Allan Poe, and while this miniature of the poet (fig. 11) cannot be authenticated beyond all question, there is strong circumstantial evidence to suggest that the portrait was indeed painted from life.
The verifiable history of the likeness begins in Newark, about 1910, when the watercolor surfaced in the hands of Mrs. John A. Crockett, a cousin of McDougall’s wife. It was first reproduced in the Century Magazine for June 1910, accompanied by the following caption:
AN UNPUBLISHED PORTRAIT OF POE
The miniature of Edgar Allan Poe from which the above is made, and which has not before been published, was painted from life by J. A. McDougall, in New York City, about 1846, three years before the poet’s death. The artist was a friend of Poe and other literary men of that time. The portrait was given as a wedding present by McDougall to John A. Crockett, from whose widow, now living at Newark, N.J., we have obtained permission to reproduce it.
— THE EDITOR.
http://www.eapoe.org/papers/misc1921/deas105a.htm#fig11