Quote 1
It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. (6)
The carnival season represents freedom. It happens just before Lent. Everybody parties during carnival to prepare for the seriousness and sacrifice of Lent. But, for Fortunato, the carnival season soon becomes the opposite of what it’s supposed to be.
“Come,” I said, with decision, “we will go back; your health is precious.” (35)
At this point, Fortunato might still be free to turn back, but he is trapped be his desire for the Amontillado. We wonder what would have happened if he’d tried to leave. Would Montresor have dragged him in to the crypt anyway?
Quote 3
His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand. (54)
Fortunato is both trapped and freed by the drink. It frees him from his inhibitions – but this blinds him to his vulnerability, letting him move deeper and deeper into Montresor’s trap.
Quote 4
A moment more and I had fettered him to the granite. (71)
Fortunato has completely lost his freedom at this point. But he’s still unaware of the fact. He can’t believe Montresor would do this to him. He’s still holding out hope for the Amontillado.
Quote 5
For the half of a century no mortal has disturbed them. (89)
Meaning, the bones covering Fortunato’s casket of despair. Montresor’s crime has gone undetected for fifty years. He’s bragging that he got away free. Or he’s confessing that he killed a man. Or possibly it’s a combination of both.
Quote 6
THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. (1)
It’s important to notice that Montresor wants revenge, not for his injuries, but for the insult. The word “ventured” is also interesting. It literally means “to undertake an action with knowledge that there is risk involved.” This quote suggests that Montresor thinks that Fortunato knew what he was risking, but chose to insult or betray him anyway.
Quote 7
A wrong is unredressed when retribution overtakes its redresser. (1)
To “redress” is to “correct an error, or a fault, or an evil.” Montresor wants to correct the wrong he thinks Fortunato has done him. Montresor’s statement reflects the never-ending cycle that revenge and betrayal can become, unless the parties involved reach some sort of agreement, or one of them dies.
Quote 8
It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. (1)
This is similar to the manner in which people are supposed to be punished after they have been found guilty through the legal process. The punishment is supposed to be severe enough that the wrongdoer is deterred from committing the crime again. Montresor perverts this principle. He becomes judge, jury and executioner, all rolled into one.
“Nemo me impune lacessit.” (49)
This means “no one injures me with impunity. Or, “nobody messes with me and gets away with it.” This motto can’t be the motto of the Montresor family, because it’s the motto of the Scottish Royal Coat of Arms. Montresor, who is constantly fibbing, conveniently appropriates it to make a point – a point that’s sadly lost on Fortunato.
Quote 10
I had finished a portion of the last and the eleventh; there remained but a single stone to be fitted and plastered in. (80)
The revenge is almost complete. After Montresor puts in the last brick, Fortunato will be in no position to re-revenge himself on Montresor. The brick wall also suggests the bricked up psychology of both characters. As long as that small opening remains, both characters have a chance to be free of the cycle of betrayal.
Quote 11
For the half of a century no mortal has disturbed them. (91)
The big reveal at the end: Montresor’s revenge was successful, and he’s gone undiscovered for fifty years. Also note that it doesn’t say the bones outside of Fortunato’s crypt haven’t been disturbed at all, just that they haven’t been disturbed by ‘mortal[s]” − surely ghosts and ghouls aren’t out of the question.
Quote 12
[…] 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 […]. (5)
Does this just mean that they are both a bunch of drunks? Montresor’s statement about Fortunato does seem to prove true. Fortunato is sure sincere about trying to get his hands on some Amontillado. So sincere it costs him his life.
Quote 13
The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. (53)
This passage suggests that the wine is giving both men courage and a sense of elation. While it seems to make Fortunato let down his guard, the wine appears to make Montresor more alert and aware.
Quote 14
I broke and reached him a flagon of De Grâve. He emptied it at a breath. His eyes flashed with a fierce light. (56)
This is a pretty obvious pun. We don’t really need foreshadowing at this point to let us know that wine, in so many ways, is leading Fortunato to his “grave.” Nor do we need to be reminded that things are getting “grave,” as in “serious.” Ironically, this “grave” pun actually lightens the mood, at least a little.
Quote 15
He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum of intoxication. (29)
Distill means to “purify,” “condense” or “refine something.” “Rheum” has to do with mucous (and Fortunato’s cough). Montresor believes that Fortunato’s illness and his intoxication are connected. He also suggests that Fortunato’s eyes are somehow making him both drunker and even more ill.
“The Amontillado!” I said.
“He! he! he!–he! he! he!–yes, the Amontillado. But is it not getting late?” (81, 82)
Now Montresor is letting the truth be known. Fortunato isn’t seeing any Amontillado. Not tonight, not ever. And finally, Amontillado doesn’t sound nearly as interesting as fresh air.
Quote 17
It was not the cry of a drunken man. (78)
At this point, both of the characters are the closest they have been to sober all night. That Montresor waits until Fortunato is sober to begin torturing him in earnest is probably one of the most terrifying aspects of this story.
Quote 18
Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. (68)
This line reminds us that different cultures deal with death in different ways. Catacombs were an art form. What might be gross and scary to one culture can be beautiful and natural to another.
Quote 19
There came forth in reply only a jingling of the bells. My heart grew sick–on account of the dampness of the catacombs. (90)
The jingling of the bells can also be seen as Fortunato’s last words. What do you think he’s trying to express? Jot down whatever comes in to your head.
Quote 20
He had a weak point–this Fortunato […]. (5)
Is weakness the same as foolishness? Some would argue that weakness and foolishness are both necessary to human survival. What would Montresor think about that idea?