Professional Documents
Culture Documents
Amontillado
For English Learners
Story by
Annotated by
Jakub Marian
http://jakubmarian.com/cask/
http://jakubmarian.com/pronunciation/
http://jakubmarian.com/english-mistakes/
If you find any error in the book, please send an email with a
description of the error to
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Table of Contents
Foreword ................................................................... 6
v 6 v
and then immediately reread the same paragraph once or sev-
eral times again, until you can fully understand its meaning
without looking at the annotations; repeatedly seeing new
words in context will help you remember them.
v 7 v
The Cask of
Amontillado
T he thousand injuries of Fortunato 1 I had borne2 as I
best could, but when he ventured 3 upon insult4, I
vowed5 revenge. You, who so well know the nature of my
soul, will not suppose, however, that I gave utterance 6 to a
threat.
v 9 v
The difference between “avenging something” and “taking
revenge” is that revenge is usually taken for personal
satisfaction, whereas you avenge for rightful reasons. In other
words, when you avenge something, it is an act of justice, and
when you take revenge, it is an act of passion.
v 10 v
lionaires. In painting and gemmary2, Fortunato, like his
countrymen, was a quack3—but in the matter of old
wines he was sincere. In this respect I did not differ from
him materially4: I was skillful in the Italian vintages 5 my-
self, and bought largely whenever I could.
v 11 v
3 parti-striped /ˈpɑːrtiˌstraɪpt/ US, /ˈpɑːtiˌstraɪpt/ UK; having
stripes of different colours.
v 12 v
“Amontillado!”
“I have my doubts.”
“Amontillado!”
“Amontillado!”
“And yet some fools will have it that his taste is a match
for your own.”
“Whither1?”
v 13 v
“My friend, no; I will not impose1 upon your good nature.
I perceive you have an engagement2. Luchesi—”
“I have no engagement;—come.”
v 14 v
Thus1 speaking, Fortunato possessed 2 himself of my arm.
Putting on a mask of black silk, and drawing a roquelaire3
closely about my person, I suffered4 him to hurry me to
my palazzo.
4 stir /stɝː/ US, /stɜː/ UK; to move. The verb is more commonly
used in connection with liquids; for example, when you stir
your tea, you make it move with a spoon to mix it.
v 15 v
I took from their sconces1 two flambeaux2, and giving
one to Fortunato, bowed3 him through several suites 4 of
rooms to the archway that led into the vaults. I passed
down a long and winding5 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.
v 16 v
“The pipe,” said he.
v 17 v
“Come,” I said, with decision, “we will go back; your
health is precious. You are rich, respected, admired, be-
loved; 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—”
1 lay /leɪ/; here the past tense of lie (“be located”). This may be
confusing because “lay” can also be a verb meaning “to put
something somewhere”, whose past tense is laid. So, if you
lay something somewhere, it lies there. If you laid something
somewhere in the past, it lay there. Also note that the past
tense of “lie” in the sense of “not tell the truth” is “lied”, not
“lay”.
v 18 v
to lie on a mouldy floor, but the intended meaning here is
most likely a different one. A mould (or mold in American
English) is a hollow form used to give a liquid a certain shape,
such as when casting a glass bottle. The bottles here lay on a
conveniently shaped mould.
1 leer /lɪr/ US, /lɪə/ UK; a side glance (look) that expresses
passion, nowadays mostly in the sense of inappropriate
sexual desire.
v 19 v
“A huge human foot d’or1, in a field azure2; the foot
crushes a serpent3 rampant4 whose fangs are imbedded5
in the heel.”6
1 d’or is French for “of gold”. The word “or” is used in heraldry
(the art of making and studying coats of arms) for a golden
colour.
“Good!” he said.
v 20 v
through walls of piled bones, with casks and puncheons 2
intermingling, into the inmost recesses of catacombs. I
paused again, and this time I made bold to seize Fortu-
nato by an arm above the elbow.
v 21 v
“Then you are not of the brotherhood.”
“How?”
“A mason,” I replied.
v 22 v
“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.
v 23 v
It was in vain that Fortunato, uplifting his dull torch, en-
deavoured to pry1 into the depth of the recess. Its termin-
ation the feeble2 light did not enable us to see.
v 24 v
1 fetter /ˈfɛtɚ/ US, /ˈfɛtɚ/ UK; to bind up with a fetter, i.e. small
chain used to restrict a person’s movement, usually by
binding their legs together. The verb “fetter” is also used
figuratively in the sense of restricting someone’s freedom.
“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 atten-
tions in my power.”
v 25 v
mortar1. With these materials and with the aid of my
trowel, I began vigorously2 to wall up the entrance of the
niche.
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 hearken1 to it with the more satisfaction, I ceased
my labours and sat down upon the bones. When at last
the clanking2 subsided3, I resumed the trowel, and fin-
ished 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
figure4 within.
v 26 v
1 hearken /ˈhɑːrkən/ US, /ˈhɑːkən/ UK; to listen actively to
something.
5 rapier /ˈreɪpiɚ/ US, /ˈreɪpiə/ UK; a very thin, long, light sword.
v 27 v
1 clamour /ˈklæmɚ/ US, /ˈklæmə/ UK (in modern American
English usually spelled clamor); to demand by shouting.
v 28 v
But to these words I hearkened in vain for a reply. I grew
impatient. I called aloud—
“Fortunato!”
“Fortunato—”
v 29 v
Final words
I hope that you enjoyed reading the book. You might be inter-
ested also in my book about the most common pronunci-
ation mistakes made by English learners (entitled Improve your
English pronunciation and learn over 500 commonly mispronounced
words):
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http://jakubmarian.com/english-mistakes/
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v 30 v
Appendix: IPA Symbols
v 31 v
English, as in just, gene, jealous.
æ – cat, bad, sad; a sound approximately between /a/ and /ɛ/ and
probably the most commonly mispronounced vowel by
English learners. The words but /bʌt/, bat /bæt/, and bet /bɛt/
all sound different. If you pronounce two of them the same,
I recommend listening to all three pronounced by native
speakers (most online dictionaries will allow you to listen to
recordings of words).
iː – feel, mean, see.
ɪ – pit, sit, hit; a short vowel exactly between /ə/ and /i/.
ɔː – fall, hawk, saw.
ɒ – only in British English: lot, John, God. A short vowel similar
to /ɔ/ used in British English to pronounce the letter “o”. It is
usually replaced by /ɑː/ or /ɔː/ in American English.
uː – goose, food, chew.
v 32 v
ʊ – full, good, woman; a short vowel similar to /u/. Words with
“oo” are often mispronounced because some of them are
pronounced with a long /uː/ (e.g. food, mood), while others
are pronounced with a short /ʊ/ (e.g. good, hood), and there
is no way to tell the difference other than remembering the
correct pronunciation.
v 33 v
Alphabetical Index