The Masque of the Red Death
And
The Cask of Amontillado by Edgar Allen Poe
THE RAVEN
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore--
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--vainly I had sought to borrow
From my books surcease of sorrow--sorrow for the lost Lenore--
For the rare and radiant maiden whom the angels name Lenore--
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me--filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;
This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"--here I opened wide the door--
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"--
Merely this and nothing more.
Back into the chamber turning, all my sour within me burning,
Soon again I heard a tapping something louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is and this mystery explore--
Let my heart be still a moment and this mystery explore;--
'Tis the wind and nothing more.
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he,
But, with mien of lord or lady, perched above my chamber door--
Perched upon a bust of Pallas just above my chamber door--
Perched, and sat, and nothing more.
Then the ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore--
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning--little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door--
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its soul in that one word he did outpour
Nothing farther then he uttered; not a feather then he fluttered--
Till I scarcely more than muttered: "Other friends have flown before--
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore--
Till the dirges of his Hope that melancholy burden bore
Of 'Never--nevermore.'"
But the Raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore--
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee
Respite--respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!--
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate, yet all undaunted, on this desert land enchanted--
On this home by Horror haunted--tell me truly, I implore--
Is there--is there balm in Gilead?--tell me--tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!
By that Heaven that bends above us--by that God we both adore--
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore--
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."
"Be that our sign of parting, bird or fiend!" I shrieked, upstarting--
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul has spoken!
Leave my loneliness unbroken!--quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming
And the lamp-light o'er him streaming throws his shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!
The Masque of the Red Death
by Edgar Allan Poe
The Masque of the Red Death
The "Red Death" had long devastated the country. No
pestilence had ever been so fatal, or so hideous. Blood was its
Avatar and its seal--the redness and the horror of blood. There were
sharp pains, and sudden dizziness, and then profuse bleeding at the
pores, with dissolution. The scarlet stains upon the body and
especially upon the face of the victim, were the pest ban which
shut him out from the aid and from the sympathy of his fellow-men.
And the whole seizure, progress and termination of the disease,
were the incidents of half an hour.
But the Prince Prospero was happy and dauntless and sagacious.
When his dominions were half depopulated, he summoned to his
presence a thousand hale and light-hearted friends from among the
knights and dames of his court, and with these retired to the deep
seclusion of one of his castellated abbeys. This was an extensive
and magnificent structure, the creation of the prince's own
eccentric yet august taste. A strong and lofty wall girdled it in.
This wall had gates of iron. The courtiers, having entered,
brought furnaces and massy hammers and welded the bolts. They
resolved to leave means neither of ingress nor egress to the sudden
impulses of despair or of frenzy from within. The abbey was amply
provisioned. With such precautions the courtiers might bid
defiance to contagion. The external world could take care of
itself. In the meantime it was folly to grieve, or to think. The
prince had provided all the appliances of pleasure. There were
buffoons, there were improvisatori, there were ballet-dancers,
there were musicians, there was Beauty, there was wine. All these
and security were within. Without was the "Red Death".
It was towards the close of the fifth or sixth month of his
seclusion, and while the pestilence raged most furiously
abroad, that the Prince Prospero entertained his thousand friends
at a masked ball of the most unusual magnificence.
It was a voluptuous scene, that masquerade. But first let me
tell of the rooms in which it was held. These were seven--an
imperial suite. In many palaces, however, such suites form a long
and straight vista, while the folding doors slide back nearly to
the walls on either hand, so that the view of the whole extent is
scarcely impeded. Here the case was very different, as might have
been expected from the duke's love of the bizarre. The
apartments were so irregularly disposed that the vision embraced
but little more than one at a time. There was a sharp turn at
every twenty or thirty yards, and at each turn a novel effect. To
the right and left, in the middle of each wall, a tall and narrow
Gothic window looked out upon a closed corridor which pursued the
windings of the suite. These windows were of stained glass whose
colour varied in accordance with the prevailing hue of the
decorations of the chamber into which it opened. That at the
eastern extremity was hung, for example in blue--and vividly blue
were its windows. The second chamber was purple in its ornaments
and tapestries, and here the panes were purple. The third was
green throughout, and so were the casements. The fourth was
furnished and lighted with orange--the fifth with white--the sixth
with violet. The seventh apartment was closely shrouded in black
velvet tapestries that hung all over the ceiling and down the
walls, falling in heavy folds upon a carpet of the same material
and hue. But in this chamber only, the colour of the windows
failed to correspond with the decorations. The panes here were
scarlet--a deep blood colour. Now in no one of the seven
apartments was there any lamp or candelabrum, amid the profusion of
golden ornaments that lay scattered to and fro or depended from the
roof. There was no light of any kind emanating from lamp or candle
within the suite of chambers. But in the corridors that followed
the suite, there stood, opposite to each window, a heavy tripod,
bearing a brazier of fire, that projected its rays through the
tinted glass and so glaringly illumined the room. And thus were
produced a multitude of gaudy and fantastic appearances. But in
the western or black chamber the effect of the fire-light that
streamed upon the dark hangings through the blood-tinted panes,
was ghastly in the extreme, and produced so wild a look upon the
countenances of those who entered, that there were few of the
company bold enough to set foot within its precincts at all.
It was in this apartment, also, that there stood against the
western wall, a gigantic clock of ebony. Its pendulum swung to and
fro with a dull, heavy, monotonous clang; and when the minute-hand
made the circuit of the face, and the hour was to be stricken,
there came from the brazen lungs of the clock a sound which was
clear and loud and deep and exceedingly musical, but of so peculiar
a note and emphasis that, at each lapse of an hour, the musicians
of the orchestra were constrained to pause, momentarily, in their
performance, to harken to the sound; and thus the waltzers perforce
ceased their evolutions; and there was a brief disconcert of the
whole gay company; and, while the chimes of the clock yet rang, it
was observed that the giddiest grew pale, and the more aged and
sedate passed their hands over their brows as if in confused
revery or meditation. But when the echoes had fully ceased, a
light laughter at once pervaded the assembly; the musicians looked
at each other and smiled as if at their own nervousness and folly,
and made whispering vows, each to the other, that the next chiming
of the clock should produce in them no similar emotion; and then,
after the lapse of sixty minutes, (which embrace three thousand and
six hundred seconds of the Time that flies,) there came yet another
chiming of the clock, and then were the same disconcert and
tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent
revel. The tastes of the duke were peculiar. He had a fine eye
for colours and effects. He disregarded the decora of mere
fashion. His plans were bold and fiery, and his conceptions glowed
with barbaric lustre. There are some who would have thought him
mad. His followers felt that he was not. It was necessary to hear
and see and touch him to be sure that he was not.
He had directed, in great part, the movable embellishments of
the seven chambers, upon occasion of this great fete; and it
was his own guiding taste which had given character to the
masqueraders. Be sure they were grotesque. There were much glare
and glitter and piquancy and phantasm--much of what has been since
seen in "Hernani". There were arabesque figures with
unsuited limbs and appointments. There were delirious fancies such
as the madman fashions. There were much of the beautiful, much of
the wanton, much of the bizarre, something of the terrible, and
not a little of that which might have excited disgust. To and fro
in the seven chambers there stalked, in fact, a multitude of
dreams. And these--the dreams--writhed in and about taking hue
from the rooms, and causing the wild music of the orchestra to seem
as the echo of their steps. And, anon, there strikes the ebony
clock which stands in the hall of the velvet. And then, for a
moment, all is still, and all is silent save the voice of the
clock. The dreams are stiff-frozen as they stand. But the echoes
of the chime die away--they have endured but an instant--and a
light, half-subdued laughter floats after them as they depart. And
now again the music swells, and the dreams live, and writhe to and
fro more merrily than ever, taking hue from the many tinted windows
through which stream the rays from the tripods. But to the chamber
which lies most westwardly of the seven, there are now none of the
maskers who venture; for the night is waning away; and there flows
a ruddier light through the blood-coloured panes; and the blackness
of the sable drapery appals; and to him whose foot falls upon the
sable carpet, there comes from the near clock of ebony a muffled
peal more solemnly emphatic than any which reaches their ears
who indulged in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them
beat feverishly the heart of life. And the revel went whirlingly
on, until at length there commenced the sounding of midnight upon
the clock. And then the music ceased, as I have told; and the
evolutions of the waltzers were quieted; and there was an uneasy
cessation of all things as before. But now there were twelve
strokes to be sounded by the bell of the clock; and thus it
happened, perhaps, that more of thought crept, with more of time,
into the meditations of the thoughtful among those who revelled.
And thus too, it happened, perhaps, that before the last echoes of
the last chime had utterly sunk into silence, there were many
individuals in the crowd who had found leisure to become aware of
the presence of a masked figure which had arrested the
attention of no single individual before. And the rumour of this
new presence having spread itself whisperingly around, there arose
at length from the whole company a buzz, or murmur, expressive of
disapprobation and surprise--then, finally, of terror, of horror,
and of disgust.
In an assembly of phantasms such as I have painted, it may
well be supposed that no ordinary appearance could have excited
such sensation. In truth the masquerade licence of the night was
nearly unlimited; but the figure in question had out-Heroded Herod,
and gone beyond the bounds of even the prince's indefinite decorum.
There are chords in the hearts of the most reckless which cannot be
touched without emotion. Even with the utterly lost, to whom life
and death are equally jests, there are matters of which no jest can
be made. The whole company, indeed, seemed now deeply to feel that
in the costume and bearing of the stranger neither wit nor
propriety existed. The figure was tall and gaunt, and shrouded
from head to foot in the habiliments of the grave. The mask which
concealed the visage was made so nearly to resemble the countenance
of a stiffened corpse that the closest scrutiny must have had
difficulty in detecting the cheat. And yet all this might have
been endured, if not approved, by the mad revellers around. But
the mummer had gone so far as to assume the type of the Red Death.
His vesture was dabbled in blood--and his broad brow, with all
the features of the face, was besprinkled with the scarlet horror.
When the eyes of the Prince Prospero fell upon this spectral
image (which, with a slow and solemn movement, as if more fully to
sustain its role, stalked to and fro among the waltzers) he was
seen to be convulsed, in the first moment with a strong shudder
either of terror or distaste; but, in the next, his brow reddened
with rage.
"Who dares,"--he demanded hoarsely of the courtiers who stood
near him--"who dares insult us with this blasphemous mockery?
Seize him and unmask him--that we may know whom we have to hang, at
sunrise, from the battlements!"
It was in the eastern or blue chamber in which stood the
Prince Prospero as he uttered these words. They rang throughout
the seven rooms loudly and clearly, for the prince was a bold and
robust man, and the music had become hushed at the waving of his
hand.
It was in the blue room where stood the prince, with a group
of pale courtiers by his side. At first, as he spoke,
there was a slight rushing movement of this group in the direction
of the intruder, who at the moment was also near at hand, and now,
with deliberate and stately step, made closer approach to the
speaker. But from a certain nameless awe with which the mad
assumptions of the mummer had inspired the whole party, there were
found none who put forth hand to seize him; so that, unimpeded, he
passed within a yard of the prince's person; and, while the vast
assembly, as if with one impulse, shrank from the centres of the
rooms to the walls, he made his way uninterruptedly, but with the
same solemn and measured step which had distinguished him from the
first, through the blue chamber to the purple--through the purple
to the green--through the green to the orange--through this again
to the white--and even thence to the violet, ere a decided movement
had been made to arrest him. It was then, however, that the Prince
Prospero, maddening with rage and the shame of his own momentary
cowardice, rushed hurriedly through the six chambers, while none
followed him on account of a deadly terror that had seized upon
all. He bore aloft a drawn dagger, and had approached, in rapid
impetuosity, to within three or four feet of the retreating figure,
when the latter, having attained the extremity of the velvet
apartment, turned suddenly and confronted his pursuer. There was
a sharp cry--and the dagger dropped gleaming upon the sable carpet,
upon which, instantly afterwards, fell prostrate in death the
Prince Prospero. Then, summoning the wild courage of despair, a
throng of the revellers at once threw themselves into the black
apartment, and, seizing the mummer, whose tall figure stood erect
and motionless within the shadow of the ebony clock, gasped in
unutterable horror at finding the grave cerements and corpse-like
mask, which they handled with so violent a rudeness, untenanted by
any tangible form.
And now was acknowledged the presence of the Red Death. He
had come like a thief in the night. And one by one dropped the
revellers in the blood-bedewed halls of their revel, and died each
in the despairing posture of his fall. And the life of the ebony
clock went out with that of the last of the gay. And the flames of
the tripods expired. And Darkness and Decay and the Red Death held
illimitable dominion over all.
The Cask of Amontillado
by Edgar Allan Poe
The Cask of Amontillado
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
I 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 wont, to smile in his face, and he did not perceive that my
smile now was at the 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 skillful 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 pipe
of 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 Luchesi. If any one
has a critical turn, it is he. He will tell me--"
"Luchesi 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. Luchesi--"
"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 Luchesi, he
cannot distinguish Sherry from Amontillado."
Thus speaking, Fortunato possessed himself of my arm.
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 on
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," said he.
"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 eyes 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 Luchesi--"
"Enough," he said; "the cough is 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 walls
of piled bones, with casks and puncheons intermingling, into
the inmost recesses of 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 a trowel from beneath the folds of
my roquelaire.
"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 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
Luchesi--"
"He is an ignoramus," interrupted my friend, as he stepped
unsteadily forward, while I followed immediately at his heels. In
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 un-
covered 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 shall 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 reply only a jingling
of the bells. My heart grew sick on account of the dampness of
the catacombs. 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!