text:
The Cask of Amontillado
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
"The Cask of Amontillado"
Illustration of "The Cask of Amontillado" by Harry Clarke, 1919
Author
Edgar Allan Poe
Country
United States
Language
English
Genre(s)
Horror short story
Publication type
Periodical
Publisher
Godey's Lady's Book
Media type
Print (Magazine)
Publication date
November 1846
"The Cask of Amontillado" (sometimes spelled "The Casque of Amontillado" [a.mon.ti.ˈʝa.ðo]) is a short story by Edgar Allan Poe, first published in the November 1846 issue of Godey's Lady's Book. The story, set in an unnamed Italian city at carnival time in an unspecified year, is about a man taking fatal revenge on a friend who, he believes, has insulted him. Like several of Poe's stories, and in keeping with the 19th-century fascination with the subject, the narrative revolves around a person being buried alive – in this case, by immurement. As in "The Black Cat" and "The Tell-Tale Heart", Poe conveys the story from the murderer's perspective.
Contents
1 Plot summary
2 Publication history
3 Analysis
4 Inspiration
5 Adaptations
6 References
7 External links
Plot summary[edit]
Fortunato and Montresor drink in the catacombs. 1935 Illustration by Arthur Rackham
The story's narrator, Montresor, tells an unspecified person, who knows him very well, of the day he took his revenge on Fortunato (Italian for "the fortunate one"), a fellow nobleman. Angry over numerous injuries and some unspecified insult, Montresor plots to murder his "friend" during Carnival, while the man is drunk, dizzy, and wearing a jester's motley.
Montresor lures Fortunato into a private wine-tasting excursion by telling him he has obtained a pipe (about 130 gallons,[1] 492 litres) of what he believes to be a rare vintage of Amontillado. He proposes obtaining confirmation of the pipe's contents by inviting a fellow wine aficionado, Luchesi, for a private tasting. Montresor knows Fortunato will not be able to resist demonstrating his discerning palate for wine and will insist that he taste the amontillado rather than Luchesi who, as he claims, "cannot tell Amontillado from Sherry". Fortunato goes with Montresor to the wine cellars of the latter's palazzo, where they wander in the catacombs. Montresor offers wine (first Médoc, then De Grave) to Fortunato in order to keep him inebriated. Montresor warns Fortunato, who has a bad cough, of the dampness, and suggests they go back, but Fortunato insists on continuing, claiming that he "shall not die of a cough". During their walk, Montresor mentions his family coat of arms: a golden foot in a blue background crushing a snake whose fangs are embedded in the foot's heel, with the motto Nemo me impune lacessit ("No one attacks me with impunity").
At one point, Fortunato makes an elaborate, grotesque gesture with an upraised wine bottle. When Montresor appears not to recognize the gesture, Fortunato asks, "You are not of the masons?" Montresor says he is, and when Fortunato, disbelieving, requests a sign, Montresor displays a trowel he had been hiding. When they come to a niche, Montresor tells his victim that the Amontillado is within. Fortunato enters drunk and unsuspecting and therefore, does not resist as Montresor quickly chains him to the wall. Montresor then declares that, since Fortunato won't go back, Montresor must "positively leave" him there.
Montresor reveals brick and mortar, previously hidden among the bones nearby, and proceeds to wall up the niche using his trowel, entombing his friend alive. At first, Fortunato, who sobers up faster than Montresor anticipated, shakes the chains, trying to escape. Fortunato then screams for help, but Montresor mocks his cries, knowing nobody can hear them. Fortunato laughs weakly and tries to pretend that he is the subject of a joke and that people will be waiting for him (including the Lady Fortunato). As Montresor finishes the topmost row of stones, Fortunato wails, "For the love of God, Montresor!" to which Montresor replies, "Yes, for the love of God!" He listens for a reply but hears only the jester's bells ringing. Before placing the last stone, he drops a burning torch through the gap. He claims that he feels sick at heart, but dismisses this reaction as an effect of the dampness of the catacombs.
In the last few sentences, Montresor reveals that 50 years later, Fortunato's body still hangs from its chains in the niche where he left it. The murderer concludes: In pace requiescat! ("May he rest in peace!").
Publication history[edit]
Montresor walling up Fortunato. 1935 Illustration by Arthur Rackham
"The Cask of Amontillado" was first published in the November 1846 issue of Godey's Lady's Book,[2] which was, at the time, the most popular periodical in America.[3] The story was only published one additional time during Poe's life.[4]
Analysis[edit]
Casks of amontillado in a commercial cellar
Although the subject matter of Poe's story is a murder, "The Cask of Amontillado" is not a tale of detection like "The Murders in the Rue Morgue" or "The Purloined Letter"; there is no investigation of Montresor's crime and the criminal himself explains how he committed the murder. The mystery in "The Cask of Amontillado" is in Montresor's motive for murder. Without a detective in the story, it is up to the reader to solve the mystery.[5]
Montresor never specifies his motive beyond the vague "thousand injuries" and "when he ventured upon insult" to which he refers. Some context is provided, including Montresor's observation that his family once was great (but no longer so), and Fortunato's belittling remarks about Montresor's exclusion from Freemasonry. Many commentators conclude that, lacking significant reason, Montresor must be insane, though even this is questionable because of the intricate details of the plot.[5]
There is also evidence that Montresor is almost as clueless about his motive for revenge as his victim.[6] In his recounting of the murder, Montresor notes, "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". After Fortunato is chained to the wall and nearly entombed alive, Montresor merely mocks and mimics him, rather than disclosing to Fortunato the reasons behind his exacting revenge. Montresor may not have been entirely certain of the exact nature of the insults for which he expected Fortunato to atone.[6]
Additional scrutiny into the vague injuries and insults may have to do with a simple matter of Montresor's pride and not any specific words from Fortunato.[7] Montresor comes from an established family. His house had once been noble and respected, but has fallen slightly in status. Fortunato, as his name would seem to indicate, has been blessed with good fortune and wealth and is, therefore, viewed as unrefined by Montresor; however, this lack of refinement has not stopped Fortunato from surpassing Montresor in society, which could very well be the "insult" motive for Montresor's revenge.[7]
There is indication that Montresor blames his unhappiness and loss of respect and dignity within society on Fortunato.[8] It is easy to ascertain that Fortunato is a Freemason, while Montresor is not, which could be the source of Fortunato's recent ascension into upper class society. Montresor even imparts this blame to Fortunato when he states, "You are rich, respected, admired, beloved; you are happy, as once I was". This interchanging of fortunes is a suggestion that, since the names Montresor and Fortunato mirror one another, there is a psychological reciprocal identification between victim and executioner.[8] This identification reciprocity is further suggested when one takes into consideration that Montresor entombs Fortunato in the Montresor family catacombs rather than dispatching him elsewhere in the city amidst the chaos of the Carnival. It is with this converging of the two characters that one is able to see the larger symbolism of the Montresor crest – the foot steps on the serpent while the serpent forever has his fangs embedded in the heel.[8]
Upon further investigation into the true nature of character, double meaning can be derived from the Montresor crest.[6] It is the position of Montresor to view himself as the owner of the righteous foot that is crushing the insolent Fortunato serpent and his "thousand injuries" that progress into insult. A more allegoric meaning of Poe's places the actors in reverse.[6] The blind oaf Fortunato has unintentionally stepped upon the snake in the grass – the sneaky and cunning Montresor – who, as a reward for this accidental bruising, sinks his fangs deep into the heel of his offender, forever linking them in a form of mutual existence.[6]
Though Fortunato is presented as a connoisseur of fine wine, L. Moffitt Cecil of Texas Christian University argues that his actions in the story make that assumption questionable. For example, Fortunato comments on another nobleman being unable to distinguish amontillado from sherry when amontillado is in fact a type of sherry, and treats De Grave, an expensive French wine, with very little regard by drinking it in a single gulp. Cecil also states that a true wine connoisseur would never sample wine while intoxicated and describes Fortunato as merely an alcoholic. Cecil also suggests that some people might feel Fortunato deserved to be buried alive for wasting a bottle of fine wine.[1]
Immurement, a form of imprisonment, usually for life, in which a person is placed within an enclosed space with no exit, is featured in other works by Poe, including "The Fall of the House of Usher", "The Premature Burial", "The Black Cat", and "Berenice".
Inspiration[edit]
An apocryphal legend holds that the inspiration for "The Cask of Amontillado" came from a story Poe had heard at Castle Island (South Boston), Massachusetts, when he was a private stationed at Fort Independence in 1827.[9] According to this legend, while stationed at Castle Island in 1827 he saw a monument to Lieutenant Robert Massie. Massie had been killed in a sword duel on Christmas Day 1817 by Lieutenant Gustavus Drane, following a dispute during a card game.[10] According to the legend, other soldiers then took revenge on Drane by getting him drunk, luring him into the dungeon, chaining him to a wall, and sealing him in a vault.[11] This version of Drane's demise is false; Drane was courtmartialled for the killing and acquitted,[10] and lived until 1846.[12] A report of a skeleton discovered on the island may be a confused remembering of Poe's major source, Joel Headley's "A Man Built in a Wall",[13] which recounts the author's seeing an immured skeleton in the wall of a church in Italy.[14] Headley's story includes details very similar to "The Cask of Amontillado"; in addition to walling an enemy into a hidden niche, the story details the careful placement of the bricks, the motive of revenge, and the victim's agonized moaning. Poe may have also seen similar themes in Honoré de Balzac's La Grande Bretèche (Democratic Review, November 1843) or his friend George Lippard's The Quaker City, or The Monks of Monk Hall (1845).[15] Poe may have borrowed Montresor's family motto Nemo me impune lacessit from James Fenimore Cooper, who used the line in The Last of the Mohicans (1826).[16]
Thomas Dunn English
Poe wrote his tale, however, as a response to his personal rival Thomas Dunn English. Poe and English had several confrontations, usually revolving around literary caricatures of one another. Poe thought that one of English's writings went a bit too far, and successfully sued the other man's editors at The New York Mirror for libel in 1846.[17] That year English published a revenge-based novel called 1844, or, The Power of the S.F. Its plot was convoluted and difficult to follow, but made references to secret societies and ultimately had a main theme of revenge. It included a character named Marmaduke Hammerhead, the famous author of "The Black Crow", who uses phrases like "Nevermore" and "lost Lenore", referring to Poe's poem "The Raven". This parody of Poe was depicted as a drunkard, liar, and an abusive lover.
Poe responded with "The Cask of Amontillado", using very specific references to English's novel. In Poe's story, for example, Fortunato makes reference to the secret society of Masons, similar to the secret society in 1844, and even makes a gesture similar to one portrayed in 1844 (it was a signal of distress). English had also used an image of a token with a hawk grasping a snake in its claws, similar to Montresor's coat of arms bearing a foot stomping on a snake – though in this image, the snake is biting the heel. In fact, much of the scene of "The Cask of Amontillado" comes from a scene in 1844 that takes place in a subterranean vault. In the end, then, it is Poe who "punishes with impunity" by not taking credit for his own literary revenge and by crafting a concise tale (as opposed to a novel) with a singular effect, as he had suggested in his essay "The Philosophy of Composition".[18]
Poe may have also been inspired, at least in part, by the Washingtonian movement, a fellowship that promoted temperance. The group was made up of reformed drinkers who tried to scare people into abstaining from alcohol. Poe may have made a promise to join the movement in 1843 after a bout of drinking with the hopes of gaining a political appointment. "The Cask of Amontillado" then may be a "dark temperance tale", meant to shock people into realizing the dangers of drinking.[19]
Poe scholar Richard P. Benton has stated his belief that "Poe's protagonist is an Englished version of the French Montrésor" and has argued forcefully that Poe's model for Montresor "was Claude de Bourdeille, comte de Montrésor (Count of Montrésor), the 17th-century political conspirator in the entourage of King Louis XIII's weak-willed brother, Gaston d'Orléans".[20] The "noted intriguer and memoir-writer" was first linked to "The Cask of Amontillado" by Poe scholar Burton R. Pollin.[20][21]
Further inspiration for the method of Fortunato's murder comes from the fear of live burial. During the time period of this short story some coffins were given methods of alerting the outside in the event of live entombment. Items such as bells tied to the limbs of a corpse to signal the outside were not uncommon. This theme is evident in Fortunato's costume of a jester with bells upon his hat, and his situation of live entombment within the catacombs.[8]
Poe may have known bricklaying through personal experience. Many periods in Poe's life lack significant biographical details, including what he did after leaving the Southern Literary Messenger in 1837.[22] Poe biographer John H. Ingram wrote to Sarah Helen Whitman that someone named "Allen" said that Poe worked "in the brickyard 'late in the fall of 1834'". This source has been identified as Robert T. P. Allen, a fellow West Point student during Poe's time there.[23]
Adaptations[edit]
In 1951, EC (Entertaining Comics) published a comic adaptation in Crime Suspenstories #3, under the name "Blood Red Wine". The adaptation was written by Albert B. Feldstein, with art by Graham Ingels, and a cover by Johnny Craig. The ending was changed from Poe's original to show the murderer get his come-comeuppance only moments after the crime. It was reprinted in 1993 by Russ Cochran.
In 1951, Gilberton's Classics Illustrated #84 featured a faithful adaptation, with art by Jim Lavery. It has been reprinted multiple times over the years.
In 1960, Editora Continental (Brazil) published an adaptation in Classicos De Terror #1 by Gedeone Malagola.
Roger Corman's 1962 anthology film Tales of Terror combines the story with another Poe story, The Black Cat[24] This loosely adapted version is decidedly comic in tone, and stars Peter Lorre as Montresor (given the name Montresor Herringbone) and Vincent Price as Fortunato Luchresi. The amalgamation of the two stories provides a motive for the murderer: Fortunato has an affair with Montresor's wife.
In 1963, Dell Comics adapted the version from Roger Corman's Tales Of Terror with art by Fran Matera.
In 1965, Warren Publishing included an adaptation in Creepy #6. It was written by Archie Goodwin, with art by Reed Crandall. The ending borrows from the 1951 EC version, except for the murderer getting what was coming to him 50 years later. This version has been reprinted many times over the years.
In 1967, Editora Taika (Brazil) issued an adaptation in Album Classicos De Terror #4. It was adapted by Francisco De Assis, with art by Osvaldo Talo. This borrows Archie Goodwin's revised ending verbatim.
In 1970, O Livreiro Editora (Brazil) published an adaptation in Terror Ilustrado #1 by Edmundo Rodrigues.
In 1970, Vincent Price included a solo recitation of the story in the anthology film An Evening of Edgar Allan Poe. The production features Montresor recounting the story to an unseen guest in a vast, empty dining room.
"The Merciful", a 1971 episode of Night Gallery, features the story with a twist: an old couple in a basement, with the wife (Imogene Coca) building the wall and quoting from the Poe story, while the husband (King Donovan) sits passively in a rocking chair. Once she has finished, he gets up from the chair and walks up the stairs. The wife has sealed herself in.
In 1974, Skywald did an adaptation in Scream #5. Adaptation by Al Hewetson, art by "Maro Nava" (a possible psudonym for Jerry Grandenetti). In 1989, this was reprinted by Eternity Comics in Murders In The Rue Morgue #1.
In 1975, Warren did an adaptation in Creepy #70. Adaptation by Rich Margopoulos, art by Martin Salvador. This has been reprinted multiple times over the years.
In 1976, The Alan Parsons Project released an album titled Tales of Mystery and Imagination with one of the tracks called "The Cask of Amontillado".
In 1977, Marvel Comics did an adaptation in Marvel Classics Comics #28. Adaptation & layouts by Don McGregor, art by Michael Golden, making his professional comics debut. This has been reprinted twice by Editora Bloch (Brazil).
In 1977, Pendulum Press did an adaptation in The Best Of Poe (part of their Now Age Books / Pendulum Illustrated Classics / Now Age Illustrated series). Adaptation by Naunerle Farr, art by Noly Zamora. This has been reprinted multiple times since, most recently by Saddleback Illustrated Classics in 2006.
In 1979, Moby Books did an illustrated story adaptation in Tales Of Mystery And Terror (part of their Great Illustrated Classics series). Adaptation by Marjorie P. Katz, art by Pablo Marcos.
In 1980, Organizacion Editorial Novaro (Mexico) did an illustrated story adaptation in Cuentos De Edgar Allan Poe (part of their Clasicos Ilustrados series). Adaptation by Hector D. Shelley, art by Guido Del Carpio Rivera.
In 1982, Troll Associates did an illustrated children's book. Adaptation by David E. Cutts, art by Ann Toulmin-Rothe.
In 1989, Globe Communications Corp did an adaptation in Monsters Attack #2. Adaptation by Charles E. Hall, art by Walter James Brogan.
In 1995, Mojo Press did an adaptation in The Tell-Tale Heart: Stories And Poems by Edgar Allan Poe. Art by Bill D. Fountain.
In 1997, Cottage Classics did an illustrated version in Maxon's Poe: Seven Stories And Poems by Edgar Allan Poe. Art by Maxon Poe.
"The Cask of Amontillado" was made into a British film in 1998, directed by Mario Cavalli, screenplay by Richard Deakin and starring Anton Blake as Montresor and Patrick Monckton as Fortunato.[25]
In 1999, Albin Michel – L'Echo des Savanes (France) did a comics version, "El Tonel De Amontillado" in Le Chat Noir. Adaptation & art by Horacio Lalia.
In 2001, Eureka Productions featured an adaptation in Graphic Classics #1. Art by Pedro Lopez.
In 2003, Lou Reed included an adaptation on the extended edition of his Poe-themed album The Raven, titled "The Cask" and performed by Willem Dafoe (as Montresor) and Steve Buscemi (as Fortunato).
In 2009, Edelvives Zaragoza (Spain) did a comics version, "El Barril De Amontillado" in Tres Cuentos De Poe. Adaptation & art by Xavier Besse.
Edgar Allan Poe's The Cask of Amontillado (2011) stars David JM Bielewicz and Frank Tirio, Jr. It was directed by Thad Ciechanowski, produced by Joe Serkoch, by production company DijitMedia, LLC/Orionvega. It was a winner of 2013 regional Emmy Award.[26]
In 2013, Lance Tait's stage adaptation located the action of the story in Nice, France.[27]
In 2014, Dark Horse Comics did an adaptation in The Premature Burial. Adaptation & art by Richard Corben.
In 2014, Ediciones De La Flor (Argentina) did an adaptation in Lo Mejor De Poe ("The Best of Poe"). Adaptation & art by Edu Molina.
in 2014, Keith Carradine starred in Terroir, a feature length film adaptation by John Charles Jopson.
This story is told in Christopher Moore's book The Serpent of Venice (2014) from the perspective of the main character, Pocket, a jester. In this version, Pocket is saved by a mermaid.
The fourth episode in season 9 American Masters titled Edgar Allan Poe: Terror of the Soul adapts the story.[28]
In spring 2017, Udon Entertainment's Manga Classics line will publish The Stories of Edgar Allan Poe, which will include a manga format adaptation of "The Cask of Amontillado".[29]
References[edit]
^ Jump up to: a b Cecil, L. Moffitt (1972). "Poe's Wine List". Poe Studies. 5 (2): 41. doi:10.1111/j.1754-6095.1972.tb00193.x.
Jump up ^ Sova, Dawn B. (2001). Edgar Allan Poe: A to Z. Checkmark Books. p. 45. ISBN 0-8160-4161-X.
Jump up ^ Reynolds, David F. (1993). "Poe's Art of Transformation: 'The Cask of Amontillado' in Its Cultural Context". In Silverman, Kenneth. The American Novel: New Essays on Poe's Major Tales. Cambridge University Press. p. 101. ISBN 0-521-42243-4.
Jump up ^ "Edgar Allan Poe – 'The Cask of Amontillado'". The Edgar Allan Poe Society of Baltimore.
^ Jump up to: a b Baraban, Elena V. (2004). "The Motive for Murder in 'The Cask of Amontillado' by Edgar Allan Poe". Rocky Mountain Review of Language and Literature. 58 (2): 47–62. doi:10.2307/1566552. JSTOR 1566552. Archived from the original on 2012-07-14.
^ Jump up to: a b c d e Stepp, Walter (1976). "The Ironic Double In Poe's 'The Cask of Amontillado'". Studies in Short Fiction. 13 (4): 447.
^ Jump up to: a b St. John Stott, Graham (Winter 2004). "Poe's 'The Cask of Amontillado'". Explicator. 62 (2): 85–88. doi:10.1080/00144940409597179.
^ Jump up to: a b c d Platizky, Roger (Summer 1999). "Poe's 'The Cask of Amontillado'". Explicator. 57 (4): 206. doi:10.1080/00144949909596874.
Jump up ^ Bergen, Philip (1990). Old Boston in Early Photographs. Boston: Bostonian Society. p. 106.
^ Jump up to: a b Vrabel, Jim (2004). When in Boston: a time line & almanac. Northeastern University. ISBN 1-55553-620-4 / ISBN 1-555-53621-2 p. 105
Jump up ^ Wilson, Susan (2000). Literary Trail of Greater Boston. Boston: Houghton Mifflin Company. p. 37. ISBN 0-618-05013-2.
Jump up ^ "Battery B, 4th U.S. Light Artillery – First Lieutenants of the 4th U.S. Artillery".
Jump up ^ Headley, J. T. (1844). "A Man Built in a Wall". Letters from Italy. London: Wiley & Putnam. pp. 191–195.
Jump up ^ Mabbott, Thomas Ollive, editor. Tales and Sketches: Volume II. Urbana, Ill.: University of Illinois Press, 2000. p. 1254
Jump up ^ Reynolds (1993), pp. 94–5.
Jump up ^ Jacobs, Edward Craney (1976). "Marginalia – A Possible Debt to Cooper". Poe Studies. 9 (1): 23. doi:10.1111/j.1754-6095.1976.tb00266.x.
Jump up ^ Silverman, Kenneth (1991). Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial. pp. 312–313. ISBN 0-06-092331-8.
Jump up ^ Rust, Richard D. (2001). "Punish with Impunity: Poe, Thomas Dunn English and 'The Cask of Amontillado'". The Edgar Allan Poe Review. 2 (2): 33–52. JSTOR 41508404.
Jump up ^ Reynolds (1993), pp. 96–7.
^ Jump up to: a b Benton, Richard P. (1996). "Poe's 'The Cask of Amontillado': Its Cultural and Historical Backgrounds". Poe Studies. 30 (1–2): 19–27. doi:10.1111/j.1754-6095.1997.tb00089.x.
Jump up ^ Pollin, Burton R. (1970). "Notre-Dame de Paris in Two of the Tales". Discoveries in Poe. Notre Dame, Indiana: University of Notre Dame Press. pp. 24–37.
Jump up ^ Silverman, Kenneth (1991). Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial. pp. 129–130. ISBN 0-06-092331-8.
Jump up ^ Thomas, Dwight; Jackson, David K. (1987). The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co. p. 141. ISBN 0-7838-1401-1.
Jump up ^ Sova, Dawn B. (2001). Edgar Allan Poe, A to Z: the essential reference to his life and work. New York City: Facts on File. p. 28. ISBN 0-8160-4161-X. OCLC 44885229.
Jump up ^ "The Cask of Amontillado (1998)". IMDb. Retrieved 2016-06-17.
Jump up ^ "2013 Emmy Winners". www.natasmid-atlantic.org. National Academy of Television Arts & Sciences. Retrieved 20 June 2014.
Jump up ^ Caridad, Ava (2016). "Lance Tait: The Black Cat and Other Plays: Adapted from Stories by Edgar Allan Poe". The Edgar Allan Poe Review. Penn State University Press. 17 (1): 66–69. doi:10.5325/edgallpoerev.17.1.0066. JSTOR 10.5325/edgallpoerev.17.1.0066. p. 67.
Jump up ^ "Edgar Allan Poe: Terror of the Soul". IMDb. Retrieved 2016-06-17.
Jump up ^ "Udon Ent. to Release Street Fighter Novel, Dragon's Crown Manga". Anime News Network. July 21, 2016.
.
External links[edit]
Wikisource has original text related to this article:
The Cask of Amontillado
Wikimedia Commons has media related to The Cask of Amontillado.
"The Cask of Amontillado" – Full text of the first printing, from Godey's Lady's Book, 1846
Full text on PoeStories.com with hyperlinked vocabulary words.
Free-to-download MP3 dramatisation of the story (Yuri Rasovsky)
The Cask of Amontillado public domain audiobook at LibriVox
hide
v
t
e
Edgar Allan Poe
Bibliography
Poems
"Tamerlane" (1827)
"Al Aaraaf" (1829)
"Sonnet to Science" (1829)
"To Helen" (1831)
"The City in the Sea" (1831)
"The Haunted Palace" (1839)
"The Conqueror Worm" (1843)
"Lenore" (1843)
"Eulalie" (1843)
"The Raven" (1845)
"Ulalume" (1847)
"A Dream Within a Dream" (1849)
"Eldorado" (1849)
"The Bells" (1849)
"Annabel Lee" (1849)"
Tales
"Metzengerstein" (1832)
"Bon-Bon" (1832)
"MS. Found in a Bottle" (1833)
"Berenice" (1835)
"Morella" (1835)
"The Unparalleled Adventure of One Hans Pfaall" (1835)
"Ligeia" (1838)
"A Predicament" (1838)
"The Devil in the Belfry" (1839)
"The Man That Was Used Up" (1839)
"The Fall of the House of Usher" (1839)
"William Wilson" (1839)
"The Conversation of Eiros and Charmion" (1839)
"The Business Man" (1840)
"The Man of the Crowd" (1840)
"The Murders in the Rue Morgue" (1841)
"A Descent into the Maelström" (1841)
"Never Bet the Devil Your Head" (1841)
"Eleonora" (1841)
"The Oval Portrait" (1842)
"The Masque of the Red Death" (1842)
"The Mystery of Marie Rogêt" (1842)
"The Pit and the Pendulum" (1842)
"The Tell-Tale Heart" (1843)
"The Gold-Bug" (1843)
"The Black Cat" (1843)
"The Spectacles" (1844)
"A Tale of the Ragged Mountains" (1844)
"The Premature Burial" (1844)
"The Oblong Box" (1844)
"The Angel of the Odd" (1844)
"Thou Art the Man" (1844)
"The Purloined Letter" (1844)
"Some Words with a Mummy" (1845)
"The Thousand-and-Second Tale of Scheherazade" (1845)
"The Imp of the Perverse" (1845)
"The System of Doctor Tarr and Professor Fether" (1845)
"The Facts in the Case of M. Valdemar" (1845)
"The Cask of Amontillado" (1846)
"Hop-Frog" (1849)
Essays
"Maelzel's Chess Player" (1836)
"The Philosophy of Furniture" (1840)
"Morning on the Wissahiccon" (1844)
"The Philosophy of Composition" (1846)
"The Poetic Principle" (1846)
Eureka: A Prose Poem (1848)
Novels
The Narrative of Arthur Gordon Pym of Nantucket (1837)
The Journal of Julius Rodman (1840)
Collections
Tamerlane and Other Poems (1827)
Tales of the Grotesque and Arabesque (1840)
Play
Politian (1835)
Other
The Conchologist's First Book (1839)
The Balloon-Hoax (1844)
The Light-House (1849)
Related
Virginia Eliza Clemm Poe (wife)
Eliza Poe (mother)
David Poe Jr. (father)
William Henry Poe (brother)
Poe Museum
Poe Cottage
Edgar Allan Poe House and Museum
National Historic Site
The Penn magazine
Death
Edgar Award
In popular culture
film and television
music
Poe Toaster
Tales of Mystery & Imagination
Authority control
BNF: cb16163302n (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Cask_of_Amontillado&oldid=864527232"
Categories:
1846 short stories
Short stories by Edgar Allan Poe
Fiction with unreliable narrators
Horror short stories
Revenge in fiction
Short stories adapted into films
Works originally published in Godey's Lady's Book
Hidden categories:
Pages using deprecated image syntax
Articles with LibriVox links
Wikipedia articles with BNF identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Azərbaycanca
Български
Català
Čeština
Deutsch
Español
فارسی
Français
한국어
Italiano
Nederlands
Polski
Português
Română
Русский
Simple English
Türkçe
Українська
中文
11 more
Edit links
This page was last edited on 17 October 2018, at 20:03 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class href

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: th

attrs: colspan style

value: tr

value: img

attrs: alt src width height srcset data-file-width data-file-height

attrs: href class

attrs: href title

value: td

attrs: scope style

values:
row
white-space: nowrap

values: Representation in the International Phonetic Alphabet (IPA)

values: checkbox button toctogglecheckbox toctogglecheckbox display:none

attrs: alt src width height class srcset data-file-width data-file-height

values:
/wiki/Christmas_Day
mw-redirect
Christmas Day

values:
/wiki/Democratic_Review
mw-redirect
Democratic Review

values:
/wiki/The_New_York_Mirror
mw-redirect
The New York Mirror

values: Claude de Bourdeille, comte de Montrésor

values: Tales of Mystery and Imagination (Alan Parsons Project album)

values:
nofollow
external text
//doi.org/10.2307%2F1566552

values:
nofollow
external text
//www.jstor.org/stable/1566552

values:
nofollow
external text
//www.jstor.org/stable/41508404

values:
/wiki/Facts_on_File
mw-redirect
Facts on File

values:
nofollow
external text
//www.worldcat.org/oclc/44885229

values:
nofollow
https://www.imdb.com/title/tt0409800/
external text

values:
nofollow
https://www.imdb.com/title/tt0287996/
external text

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values: wikisource:The Works of the Late Edgar Allan Poe/Volume 1/The Cask of Amontillado

values: commons:Category:The Cask of Amontillado

values:
nofollow
external text
http://poestories.com/read/amontillado

values: Edgar Allan Poe Museum (Richmond, Virginia)

values: nowraplinks hlist collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible

attrs: alt src width height style srcset data-file-width data-file-height

values: Category:Short stories by Edgar Allan Poe

values: Category:Fiction with unreliable narrators

values: Category:Short stories adapted into films

values: Category:Works originally published in Godey's Lady's Book

values: Category:Pages using deprecated image syntax

values: Category:Wikipedia articles with BNF identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/The_Cask_of_Amontillado
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values: برميل الأمونتيلادو – Arabic

values: Amontiladon dolu çəllək (hekayə) – Azerbaijani

values:
interlanguage-link interwiki-az
display: none;

values: Бъчвата с амонтилядо – Bulgarian

values:
interlanguage-link interwiki-bg
display: none;

values:
interlanguage-link interwiki-ca
display: none;

values:
interlanguage-link interwiki-cs
display: none;

values: El barril de amontillado (Poe) – Spanish

values: چلیک آمونتیلادو – Persian

values:
interlanguage-link interwiki-fa
display: none;

values: 아몬틸라도의 술통 – Korean

values:
interlanguage-link interwiki-it
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values:
interlanguage-link interwiki-ro
display: none;

values: Бочонок амонтильядо – Russian

values: The Cask of Amontillado – Simple English

values:
interlanguage-link interwiki-simple
display: none;

values: Барильце амонтильядо – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values: 一桶阿蒙蒂亞度酒 – Chinese

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-The_Cask_of_Amontillado rootpage-The_Cask_of_Amontillado skin-vector action-view


text:
The Power Elite
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The Power Elite
First edition, 1956
Author
C. Wright Mills
Country
United States
Language
English
Subject
Sociology
Publication date
1956
The Power Elite is a 1956 book by sociologist C. Wright Mills, in which Mills calls attention to the interwoven interests of the leaders of the military, corporate, and political elements of society and suggests that the ordinary citizen is a relatively powerless subject of manipulation by those entities.
Contents
[hide]
1 Background
2 Summary
3 Reception and criticism
4 In popular culture
5 See also
6 References
7 External links
Background[edit]
The book is something of a counterpart of Mills' 1951 work, White Collar: The American Middle Classes, which examines the then-growing role of middle managers in American society. A main inspiration for the book was Franz Leopold Neumann's book Behemoth: The Structure and Practice of National Socialism in 1942, a study of how Nazism came into a position of power in a democratic state like Germany. Behemoth had a major impact on Mills and he claimed that Behemoth had given him the "tools to grasp and analyse the entire total structure and as a warning of what could happen in a modern capitalist democracy".[1]
Summary[edit]
The Joint Chiefs of Staff, pictured here in 1949, are four of six ruling elites Mills identified.
According to Mills, the eponymous "power elite" are those that occupy the dominant positions, in the dominant institutions (military, economic and political) of a dominant country, and their decisions (or lack of decisions) have enormous consequences, not only for the U.S. population but, "the underlying populations of the world." The institutions which they head, Mills posits, are a triumvirate of groups that have succeeded weaker predecessors: (1) "two or three hundred giant corporations" which have replaced the traditional agrarian and craft economy, (2) a strong federal political order that has inherited power from "a decentralized set of several dozen states" and "now enters into each and every cranny of the social structure," and (3) the military establishment, formerly an object of "distrust fed by state militia," but now an entity with "all the grim and clumsy efficiency of a sprawling bureaucratic domain."
Importantly, and in distinction from modern American conspiracy theory, Mills explains that the elite themselves may not be aware of their status as an elite, noting that "often they are uncertain about their roles" and "without conscious effort, they absorb the aspiration to be ... The Ones Who Decide." Nonetheless, he sees them as a quasi-hereditary caste. The members of the power elite, according to Mills, often enter into positions of societal prominence through educations obtained at eastern establishment universities like Harvard, Princeton, and Yale. But, Mills notes, "Harvard or Yale or Princeton is not enough ... the point is not Harvard, but which Harvard?" Mills identifies two classes of Ivy League alumni, those initiated into an upper echelon fraternity or final club, such as Porcellian and Fly Club, and those who are not. Those so initiated, Mills continues, receive their invitations based on social links first established in elite private preparatory academies, where they are enrolled as part of antebellum family traditions. In this manner, the mantle of the elite generally passes through families.
Historically prominent families, such as the Kennedy family, form the "Metropolitan 400." Shown here are Rose and Joseph Kennedy in 1940.
The resulting elites, who control the three dominant institutions (military, economy and political system) can be generally grouped into one of six types, according to Mills:
the "Metropolitan 400" - members of historically notable local families in the principal American cities, generally represented on the Social Register
"Celebrities" - prominent entertainers and media personalities
the "Chief Executives" - presidents and CEOs of the most important companies within each industrial sector
the "Corporate Rich" - major landowners and corporate shareholders
the "Warlords" - senior military officers, most importantly the Joint Chiefs of Staff
the "Political Directorate" - "fifty-odd men of the executive branch" of the U.S. federal government, including the senior leadership in the Executive Office of the President, sometimes variously drawn from elected officials of the Democratic and Republican parties but usually professional government bureaucrats
Mills formulated a very short summary of his book: "Who, after all, runs America? No one runs it altogether, but in so far as any group does, the power elite."[2]
Reception and criticism[edit]
Commenting on The Power Elite, Arthur M. Schlesinger, Jr. derisively said, "I look forward to the time when Mr. Mills hands back his prophet's robes and settles down to being a sociologist again."[3]
Adolf Berle noted the book contained "an uncomfortable degree of truth", but Mills presented "an angry cartoon, not a serious picture".[3] Dennis Wrong described The Power Elite as "an uneven blend of journalism, sociology, and moral indignation".[4]
A review of the book in the Louisiana Law Review bemoaned that the "practical danger of Mr. Mills' pessimistic interpretation of the current situation is that his readers will concentrate on answering his prejudicial assertions rather than ponder the results of his really formidable research".[5]
Nonetheless, consideration of the book has become moderately more favorable over time. In 2006, G. William Domhoff wrote, "Mills looks even better than he did 50 years ago".[6] Mills' biographer, John Summers, admitted that The Power Elite was "vulnerable to the charge of conspiracy-mongering" but declared that its historical value "seems assured".[3]In a purposeful extension of Mills' Power Elite, his proposed International System, and Comparative Sociology, Muhammed Asadi (2012) suggests that the modern World System is highly militarized and a counterpart of the US permanent war economy where a global division of labor based on military Keynesian stabilization exists concomitant with economic accumulation. He calls these countries, militarized states, whose economic growth stabilizes the World System run by the Command States (counterpart to Wallerstein's Core but includes military and political domination in addition to financial and trade domination) just like military spending in the US stabilizes the US economy. Militarization and wars are therefore encouraged by the Command States and facilitated by them just as suggested by Mills in The Causes of World War Three (1958), the preparation for war leads to wars. [7]
In popular culture[edit]
Episode 5 of the Netflix TV series Mindhunter contains a scene in which one of the main characters, a sociology PhD student Deborah "Debbie" Mitford, writes a paper on C. Wright Mills's The Power Elite.
See also[edit]
Elite theory
Iron law of oligarchy
Mass society
Military-industrial complex
New Left
Power (social and political)
Social alienation
References[edit]
Jump up ^ C.Wright Mills: Power, Politics and People, (New York, 1963 p.174)
Jump up ^ Mills, C. Wright. The Sociological Imagination. Oxford University Press. p. 31.
^ Jump up to: a b c Summers, John (14 May 2006). "The Deciders". New York Times. Retrieved 14 February 2014.
Jump up ^ Wrong, Dennis (September 1956). "The Power Elite, by C. Wright Mills". Commentary Magazine. Retrieved 14 February 2014.
Jump up ^ Woodard, Calvin (December 1956). "THE POWER ELITE, by C. Wright Mills". Louisiana Law Review. Retrieved 14 February 2014.
Jump up ^ Domhoff, G. William (2006). "Mills's The Power Elite, 50 Years Later". Contemporary Sociology. |access-date= requires |url= (help)
Jump up ^ https://books.google.com.pk/books/about/The_Military_Economy_and_the_State.html?id=H1VIMwEACAAJ&redir_esc=y
External links[edit]
C.W Mills, Structure of Power in American Society, British Journal of Socoiology, Vol.9.No.1 1958
C. Wright Mills, About F. Neumanns study Structure of Nazi Germany in Power, Politics and People
A Mills Revival? by S .Aronowitz
C.Wright Mills, On Intellectual Craftsmanship from The Sociological Imagination, How Power Elite was made
Sociology-Congress in Köln 2000 workshop: C. Wright Mills and his Power Elite: Actuality today?
Art inspired by The Power Elite
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Power_Elite&oldid=844968619"
Categories:
1956 books
Books by C. Wright Mills
Elite theory
Military–industrial complex
Sociology books
Social class in the United States
Political science theories
Sociological theories
Political science books
Social status
Income in the United States
Economic inequality
Social inequality
Power (social and political)
Oxford University Press books
C. Wright Mills
Hidden categories:
Pages using citations with accessdate and no URL
Pages to import images to Wikidata
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
العربية
Deutsch
فارسی
日本語
Polski
Svenska
中文
Edit links
This page was last edited on 8 June 2018, at 12:29 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

value: i

values: firstHeading firstHeading en

values: siteSub noprint

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: caption

values:
/wiki/East_coast_of_the_United_States
mw-redirect
East coast of the United States

values: Fraternities and sororities in North America

values:
/wiki/Executive_Office_of_the_President
mw-redirect
Executive Office of the President

values:
/wiki/Arthur_M._Schlesinger,_Jr.
mw-redirect
Arthur M. Schlesinger, Jr.

values:
/wiki/Adolf_Berle
mw-redirect
Adolf Berle

values:
/wiki/Military-industrial_complex
mw-redirect
Military-industrial complex

values:
reflist mw-references-wrap
list-style-type: decimal;

values: Category:Social class in the United States

values: Category:Pages using citations with accessdate and no URL

values: Category:Pages to import images to Wikidata

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/The_Power_Elite
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: نخبگان قدرت – Persian

values: パワーエリート – Japanese

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-The_Power_Elite rootpage-The_Power_Elite skin-vector action-view


text:
Stopping by Woods on a Snowy Evening
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Stopping by Woods on a Snowy Evening" is a poem written in 1922 by Robert Frost, and published in 1923 in his New Hampshire volume. Imagery, personification, and repetition are prominent in the work. In a letter to Louis Untermeyer, Frost called it "my best bid for remembrance".[1]
Contents
[hide]
1 Overview
2 Use in eulogies
3 References
4 External links
Overview[edit]
Frost wrote the poem in June 1922 at his house in Shaftsbury, Vermont. He had been up the entire night writing the long poem "New Hampshire" and had finally finished when he realized morning had come. He went out to view the sunrise and suddenly got the idea for "Stopping by Woods on a Snowy Evening".[1] He wrote the new poem "about the snowy evening and the little horse as if I'd had a hallucination" in just "a few minutes without strain".[2]
The poem is written in iambic tetrameter in the Rubaiyat stanza created by Edward Fitzgerald. Each verse (save the last) follows an a-a-b-a rhyming scheme, with the following verse's a's rhyming with that verse's b, which is a chain rhyme (another example is the terza rima used in Dante's Inferno.) Overall, the rhyme scheme is AABA-BBCB-CCDC-DDDD.[3]
The text of the poem describes the thoughts of a lone rider (the speaker), pausing at night in his travel to watch snow falling in the woods. It ends with him reminding himself that, despite the loveliness of the view, "I have promises to keep, / And miles to go before I sleep."
Use in eulogies[edit]
In the early morning of November 23, 1963, Sid Davis of Westinghouse Broadcasting reported the arrival of President John F. Kennedy's casket to the White House. As Frost was one of the President's favorite poets, Davis concluded his report with a passage from this poem but was overcome with emotion as he signed off.[4][5]
At the funeral of former Canadian prime minister Pierre Trudeau, on October 3, 2000, his eldest son Justin rephrased the last stanza of this poem in his eulogy: "The woods are lovely, dark and deep. He has kept his promises and earned his sleep."[6]
References[edit]
^ Jump up to: a b Tuten, Nancy Lewis; Zubizarreta, John (2001). The Robert Frost Encyclopedia. Greenwood Publishing. p. 347. ISBN 0-313-29464-X. Retrieved 9 December 2011.
Jump up ^ Frost, Carol. "Sincerity and Inventions: On Robert Frost". Academy of American Poets. Retrieved 2010-03-04.
Jump up ^ Poirier, Richard (1977). Robert Frost: The Work of Knowing. London: Oxford University Press. p. 181. ISBN 0-19-502216-5. In fact, the woods are not, as the Lathem edition would have it (with its obtuse emendation of a comma after the second adjective in line 13), merely 'lovely, dark, and deep.' Rather, as Frost in all the editions he supervised intended, they are 'lovely, [i.e.] dark and deep'; the loveliness thereby partakes of the depth and darkness which make the woods so ominous.
Jump up ^ "My Brush with History - "We Heard the Shots …": Aboard the Press Bus in Dallas 40 Years Ago" (PDF). Archived from the original on 26 September 2012. Retrieved 2013-06-30. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ Davis, Sid; Bennett, Susan; Trost, Catherine ‘Cathy’; Rather, Daniel ‘Dan’ Irvin Jr (2004). "Return To The White House". President Kennedy Has Been Shot: Experience The Moment-to-Moment Account of The Four Days That Changed America. Newseum (illustrated ed.). Naperville, IL: Sourcebooks. p. 173. ISBN 1-4022-0317-9. Retrieved 10 December 2011.
Jump up ^ "Justin Trudeau's eulogy". On This Day. Toronto, ON, CA: CBC Radio. 3 October 2000. Retrieved 10 December 2011.
External links[edit]
Frost, Robert, Stopping by Woods on a Snowy Evening, Representative poetry (online ed.), University of Toronto . Text of the poem, along with the rhyming pattern.
"Woods", Frost, Poets, UIUC . Discussion and analysis of the poem.
[hide]
v
t
e
Robert Frost
Poems
"Acquainted with the Night"
"After Apple-Picking"
"Birches"
"The Death of the Hired Man"
"Fire and Ice"
"The Gift Outright"
"Mending Wall"
"Nothing Gold Can Stay"
"Out, Out-"
"The Oven Bird"
"A Question"
"The Road Not Taken"
"Stopping by Woods on a Snowy Evening"
Poetry
collections
A Boy's Will
North of Boston
Mountain Interval
New Hampshire
West-Running Brook
Collected Poems of Robert Frost
A Further Range
A Witness Tree
In the Clearing
Plays
A Masque of Reason
Related
Robert Frost Farm, New Hampshire
The Frost Place, Home and Museum
Robert Frost Farm (Ripton, Vermont)
Robert Frost Farm (South Shaftsbury, Vermont)
Robert Frost House, Massachusetts
Robert Frost Medal
Frostiana (1959 choral art)
Robert Frost: A Lover's Quarrel with the World (1963 documentary)
Robert Frost: A Life (2000 biography)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Stopping_by_Woods_on_a_Snowy_Evening&oldid=826525203"
Categories:
Poetry by Robert Frost
1923 poems
Hidden categories:
CS1 maint: BOT: original-url status unknown
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Brezhoneg
فارسی
Nederlands
日本語
ਪੰਜਾਬੀ
Русский
Edit links
This page was last edited on 19 February 2018, at 16:59.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: b

attrs: href class title

values:
/wiki/New_Hampshire_(book)
mw-redirect
New Hampshire (book)

values:
/wiki/Imagery_(literature)
mw-redirect
Imagery (literature)

value: sup

value: p

attrs: role tabindex class

values: button 0 togglelink

value: span

values:
/wiki/Edward_Fitzgerald_(poet)
mw-redirect
Edward Fitzgerald (poet)

values:
/wiki/Rhyming_scheme
mw-redirect
Rhyming scheme

values: Category:CS1 maint: BOT: original-url status unknown

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
/wiki/New_Hampshire_(collection)
mw-redirect
New Hampshire (collection)

values: Robert Frost Farm (Derry, New Hampshire)

values: nowraplinks collapsible autocollapse navbox-inner

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Stopping by Woods on a Snowy Evening – Breton

values: ایستادن کنار جنگل در شامگاهی برفی – Persian

values: Stopping by Woods on a Snowy Evening – Dutch

values: 雪の降る夕方森に寄って – Japanese

values: ਰੁਕਣਾ ਜੰਗਲ ਦੀ ਨਿਆਈਂ ਬਰਫ਼ੀਲੀ ਸ਼ਾਮ ਨੂੰ – Punjabi

values: Остановившись у леса снежным вечером – Russian

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Stopping_by_Woods_on_a_Snowy_Evening rootpage-Stopping_by_Woods_on_a_Snowy_Evening skin-vector action-view


text:
Oscar De La Hoya vs. Manny Pacquiao
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The Dream Match
Date
December 6, 2008
Venue
MGM Grand Garden Arena, Las Vegas, United States
Title(s) on the line
None (Fought at welterweight)
Tale of the tape
Boxer
Oscar De La Hoya Manny Pacquiao
Nickname
The Golden Boy Pac-Man
Hometown
East Los Angeles, California, USA General Santos City, Philippines
Pre-fight record
39-5 (30 KO) 47-3-2 (35 KO)
Height
5 feet, 10 inches 5 feet, 6.5 inches
Weight
145 pounds 142 pounds
Style
Orthodox Southpaw
Result
Pacquiao via 8th round TKO
Oscar De La Hoya vs. Manny Pacquiao, also billed as The Dream Match, was a professional boxing welterweight superfight. The bout took place on December 6, 2008 at the MGM Grand Garden Arena, Las Vegas, Nevada, United States. Pacquiao defeated De La Hoya via technical knockout when De La Hoya decided not to continue with the fight before the start of the ninth round. The card was a co-production of Bob Arum's Top Rank Boxing and De La Hoya's Golden Boy Promotions and was aired live on pay-per-view (PPV) on HBO PPV. The fight is notable for propelling Manny Pacquiao to full-blown superstar status in much of the western world (mostly in The United States), as Oscar De La Hoya symbolically "passed the torch", so to speak, to Pacquiao.
Despite no title belts being disputed, the bout received a lot of publicity since the two boxers were decorated, with Pacquiao being the current number one pound for pound boxer in the world as judged by The Ring, and a five-time world champion in five different weight divisions (Pacquiao was the reigning WBC lightweight champion at the time of the bout). Meanwhile, De La Hoya was an Olympic gold medalist and past holder of 10 world titles in six weight divisions.
Pacquiao had to step up two weight divisions (from lightweight), and De La Hoya had to go down one weight division (from light middleweight), to be eligible for the bout's welterweight division.
Contents
1 Idea of the bout
2 Buildup
3 Pre-fight publicity
4 The fight
4.1 Rounds 1–4
4.2 Rounds 5–7
4.3 Round 8 and aftermath
5 Business
6 Undercard
7 References
Idea of the bout[edit]
Karylle sang Lupang Hinirang, the Philippine national anthem.
The ideas of having De La Hoya and Pacquiao fight came from HBO boxing analyst Larry Merchant talking with ESPN boxing analyst Dan Rafael. Larry then presented the idea to Golden Boy Promotions CEO Richard Schaefer and Top Rank CEO Bob Arum. Bob presented the idea to Manny Pacquiao trainer Freddie Roach. It was even mentioned on the PPV broadcast that it was Larry's idea, even mentioning Dan Rafael by name. Freddie Roach since the De La Hoya- Mayweather fight has said in the media and in the De La Hoya/Pacquiao 24/7 series, press conferences, promos leading to the Dream Match that Oscar "can't pull the trigger anymore."[citation needed]
Buildup[edit]
After De La Hoya's May 5 loss to Floyd Mayweather, Jr. in 2007 (see De La Hoya-Mayweather boxing match), De La Hoya decided to close out his career with three fights in 2008. The first would be a tune-up bout in May before finishing with two mega bouts in September and December respectively. De La Hoya defeated Stevie Forbes in the May tune-up bout in preparation for Mayweather. Due to Mayweather's unexpected retirement however, Ricky Hatton was the new potential candidate to fight De La Hoya on September 20. However, Hatton rejected the offer because he felt the scheduled date was too close to his last bout. De La Hoya then decided to pass on a fight in September to set the stage for a showdown against either Manny Pacquiao or Miguel Cotto, should Cotto win his fight against Antonio Margarito in July. After Cotto was defeated by Margarito, it was announced that De La Hoya and Pound For Pound superstar Manny Pacquiao had agreed to fight December 6, 2008 at the MGM Grand in Las Vegas at the welterweight limit of 147 lbs. On August 28, 2008, a teleconference was held by Golden Boy Promotions to officially announce the fight.[1]
Pre-fight publicity[edit]
Presented by Golden Boy Promotions and Top Rank, Inc., the bout was scheduled as a 12-round, non-title fight contested at the 147-pound welterweight limit. Although Pacquiao went into the fight recognized as the leading pound-for-pound boxer in the world, some boxing pundits speculated that 147 pounds could be too far above his natural weight against the larger De La Hoya.[2]
Many boxing analysts believed the fight would favor Oscar. Boxing analysts stated that Oscar's size, reach, experience, and good chin made Manny the underdog in this mega fight. Training for the fight Oscar hired trainers Angelo Dundee, Ignacio "Nacho" Beristain, and young boxing talent Edwin Valero. Oscar told the news that his team is unbeatable, while Freddie Roach said, "No one is going to be able to help Oscar pull the trigger when he faces Manny Pacquiao on Dec. 6".
Tickets reportedly sold out just hours after they went on sale. The total gate revenues were said to be nearly $17 million. That amount apparently gave the bout the second-largest gate revenue in boxing history (after the De La Hoya-Mayweather Jr. fight on May 5, 2007 which generated $18.4 million in gate revenue).[3]
The fight[edit]
Manny Pacquiao soundly defeated Oscar De La Hoya, surprising many pre-fight analysts who had predicted a victory by De La Hoya. The fight ended at the beginning of the 9th round after Oscar and his corner threw in the towel.[4][5]
Rounds 1–4[edit]
On round 1, De La Hoya's opening punches miss Pacquiao; Pacquiao's own straight left followed by a combination connects. The boxers exchange punches, with another Pacquiao straight left to end the round. At the start of the second round, a double jab by De La Hoya persuades Pacquiao to retreat. Only the second of De La Hoya's two combinations hits Pacquiao. A combo from Pacquiao leaves De La Hoya's face reddened. A flurry of punches from Pacquiao ends the round. The third round is more of the same as De La Hoya becomes increasingly unable to answer Pacquiao's combos.[6]
Rounds 5–7[edit]
Pacquiao unleashes a flurry of punches in round 5; De La Hoya saw it coming but wasn't able to react fast enough. De La Hoya himself lands a body shot and a couple of hooks, but the two boxers exchange punches at the end of the round. The next round begins as the last ended, with the men exchanging jabs. Pacquiao appears winded as he misses a left hook, but the follow-up lands on target. Pacquiao lands a right, and a four-punch combo to end the round.
In Round 7, Pacquiao lands a jab as De La Hoya misses his; Pacquiao unleashes another flurry of punches as De La Hoya's legs almost gave out, just as he ceased punching back. His uppercut misses Pacquiao as his opponent releases more jabs to end round 7.[7]
Round 8 and aftermath[edit]
Pacquiao pursues De La Hoya's body but is warned by referee Tony Weeks to "keep them up" (keep punches above the belt). De La Hoya's right connects, but Pacquiao's combo pins De La Hoya in the corner. Another left by Pacquiao dazes the Mexican-American, as the Filipino follows up with another combination which wobbles De La Hoya. Pacquiao throws another combo as De La Hoya goes for the body. The Filipino unleashes a four-punch combo to end the round.
The fight is stopped before the start of the ninth round and Pacquiao is awarded the victory.[6][8]
Pacquiao was ahead on all three judges' scorecards before the stoppage, with two judges scoring the fight at 80-71 (Pacquiao won all rounds) and one scoring it at 79–72 (Pacquiao won 7 rounds and lost 1).[9] After the bout trainer Freddie Roach stated, "We knew we had him after the first round. He had no legs, he was hesitant and he was shot."[10] Confirming Roach's pre-fight predictions that he'd grown too old, De La Hoya crossed the ring to Pacquiao's corner after the bout was stopped and told Roach, "You're right Freddie. I don't have it anymore."[11] When asked by reporters whether he would continue fighting, De La Hoya responded, "My heart still wants to fight, that's for sure. But when your physical doesn't respond, what can you do? I have to be smart and make sure I think about my future plans."[12]
Business[edit]
On December 10, 2008, HBO announced that the fight generated 1.25 million PPV buys totalling more than $70 million in PPV revenue. This fight was only the fourth non-heavyweight bout to have more than one million buys at that time, along with De La Hoya–Mayweather Jr. (2.4 million buys) in May 2007, De La Hoya–Hopkins (1 million buys) in 2004, and De La Hoya–Trinidad (1.4 million buys) in 1999.
The PPV card was the highest-grossing PPV event of the year in North America, ahead of UFC 91 (Randy Couture vs. Brock Lesnar) and WrestleMania XXIV.[13]
Undercard[edit]
Juan Manuel Lopez KOs Sergio Medina in the first round to retain the junior featherweight title.
Victor Ortíz KOs Jeff Resto in the second round.
Daniel Jacobs KOs Victor Lares in the second round.
Danny Garcia defeats Jose Alfredo Lugo via unanimous decision.
Jose Angel Beranza defeats Jesus Rojas via unanimous decision.
Richie Mepranum defeats Cesar Ganigal Lopez via unanimous decision.
Robert Marroquin KOs Isaac Hidalgo in the first round.
Adrien Broner KOs Scott Furney in the first round.
Sergio Caro KOs Steven Sampson in the sixth round.
References[edit]
Wikinews has related news: Boxing: Pacquiao stuns De La Hoya with eighth round TKO
Jump up ^ Rafael, Dan.Sources: De La Hoya, Pacquiao agree to Dec. 6 fight in Vegas, ESPN.com
Jump up ^ mirror.co.uk, Barry McGuigan - This little and large freak show makes me feel queasy
Jump up ^ Sep 24, 6:14 pm EDT. "Tickets for De La Hoya-Pacquiao nearly sold out - Boxing - Yahoo! Sports". Sports.yahoo.com. Retrieved 2008-10-02.
Jump up ^ Dec 6, 11:50 pm EDT. "Pacquiao wins in ninth round over De La Hoya". Associated Press. Retrieved 2008-12-06.
Jump up ^ "De La Hoya-Pacquiao round-by-round". USA Today. 2008-12-06. Archived from the original on December 8, 2008. Retrieved 2008-12-06.
^ Jump up to: a b Iole, Kevin (2008-12-06). "Pacquiao makes De La Hoya quit after eight". Yahoo! Sports. Retrieved 8 December 2008.
Jump up ^ Ortiz, Darius. "Fight Credential - De La Hoya vs. Pacquiao". ESPN.com. Retrieved 8 December 2008.
Jump up ^ "Weight wasn't an issue as Pacquiao easily defeats De La Hoya". Lasvegassun.com. 2008-12-06. Retrieved 2009-04-29.
Jump up ^ https://web.archive.org/web/20081208002357/http://www.latimes.com/sports/la-spw-boxing7-2008dec07,0,2656956.story. Archived from the original on December 8, 2008. Missing or empty |title= (help)
Jump up ^ "De La Hoya fails to answer bell in welterweight match" - Charleston Daily Mail
Jump up ^ "De La Hoya is Golden Boy no more" - NYDailyNews.com
Jump up ^ https://www.google.com/hostednews/ap/article/ALeqM5hx1Xddmk1C1IaY354rWTaDLoj6OAD94TM1GG0
Jump up ^ Lesnar blasts UFC toward record year, Dave Meltzer, Yahoo! Sports
Preceded by
vs. Steve Forbes Oscar De La Hoya's bouts
December 6, 2008 Retired
Preceded by
vs. David Diaz Manny Pacquiao's bouts
December 6, 2008 Succeeded by
vs. Ricky Hatton
show
v
t
e
Oscar De La Hoya
Fights
De La Hoya vs. Ruelas
Chávez vs. De La Hoya
Whitaker vs. De La Hoya
De La Hoya vs. Camacho
De La Hoya vs. Chavez II
De La Hoya vs. Trinidad
De La Hoya vs. Mosley
De La Hoya vs. Vargas
De La Hoya vs. Mosley II
Sturm vs. De La Hoya
Hopkins vs. De La Hoya
Mayorga vs. De La Hoya
De La Hoya vs. Mayweather
De La Hoya vs. Pacquiao
Related
Golden Boy Promotions
show
v
t
e
Manny Pacquiao
Boxing career
Fights
Pacquiao vs. Julio
Pacquiao vs. Larios
Diaz vs. Pacquiao
De La Hoya vs. Pacquiao
Hatton vs. Pacquiao
Pacquiao vs. Cotto
Pacquiao vs. Clottey
Pacquiao vs. Margarito
Pacquiao vs. Mosley
Pacquiao vs. Marquez III
Pacquiao vs. Bradley
Pacquiao vs. Marquez IV
Pacquiao vs. Rios
Pacquiao vs. Bradley II
Pacquiao vs. Algieri
Mayweather vs. Pacquiao
Pacquiao vs. Bradley III
Pacquiao vs. Vargas
Pacquiao vs. Horn
Pacquiao vs. Matthysse
Works about
Pacquiao: The Movie
Kid Kulafu
Manny
Other
Show Me Da Manny
Manny Many Prizes
Retrieved from "https://en.wikipedia.org/w/index.php?title=Oscar_De_La_Hoya_vs._Manny_Pacquiao&oldid=858168126"
Categories:
Boxing matches involving Manny Pacquiao
2008 in boxing
Boxing in Las Vegas
2008 in sports in Nevada
Golden Boy Promotions
December 2008 sports events
Boxing matches involving Oscar De La Hoya
MGM Grand Garden Arena
Hidden categories:
Pages with citations lacking titles
Pages with citations having bare URLs
All articles with unsourced statements
Articles with unsourced statements from December 2008
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Add links
This page was last edited on 5 September 2018, at 14:47 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: small

values:
/wiki/General_Santos_City
mw-redirect
General Santos City

values:
/wiki/Technical_knockout
mw-redirect
Technical knockout

values:
/wiki/Top_Rank_Boxing
mw-redirect
Top Rank Boxing

values:
/wiki/Ring_Magazine_pound_for_pound
mw-redirect
Ring Magazine pound for pound

values: checkbox button toctogglecheckbox toctogglecheckbox display:none

values: This claim needs references to reliable sources. (December 2008)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/Floyd_Mayweather,_Jr.
mw-redirect
Floyd Mayweather, Jr.

values:
/wiki/Stevie_Forbes
mw-redirect
Stevie Forbes

values:
/wiki/Ignacio_Beristain
mw-redirect
Ignacio Beristain

values:
/wiki/Victor_Ort%C3%ADz
mw-redirect
Victor Ortíz

values:
/wiki/Danny_Garcia_(boxer)
mw-redirect
Danny Garcia (boxer)

values:
/wiki/Robert_Marroquin
mw-redirect
Robert Marroquin

values: wikinews:Boxing: Pacquiao stuns De La Hoya with eighth round TKO

values:
/wiki/Yahoo!_Sports
mw-redirect
Yahoo! Sports

values: -moz-column-width: 35em; -webkit-column-width: 35em; column-width: 35em; list-style-type: decimal;

values:
/wiki/Manny_Pacquiao_vs._David_Diaz
mw-redirect
Manny Pacquiao vs. David Diaz

values: Template talk:Oscar De La Hoya (page does not exist)

values: Oscar De La Hoya vs. Julio César Chávez II

values: nowraplinks collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible mw-collapsed

values:
/wiki/Pacquiao_vs._Larios
mw-redirect
Pacquiao vs. Larios

values:
/wiki/David_Diaz_vs._Manny_Pacquiao
mw-redirect
David Diaz vs. Manny Pacquiao

values:
/wiki/Ricky_Hatton_vs._Manny_Pacquiao
mw-redirect
Ricky Hatton vs. Manny Pacquiao

values: Manny Pacquiao vs. Juan Manuel Marquez III

values: Manny Pacquiao vs. Juan Manuel Márquez IV

values:
/wiki/Manny_Pacquiao_vs._Brandon_Rios
mw-redirect
Manny Pacquiao vs. Brandon Rios

values: nowraplinks hlist collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible mw-collapsed

values: Category:Boxing matches involving Manny Pacquiao

values: Category:Boxing matches involving Oscar De La Hoya

values: Category:Pages with citations lacking titles

values: Category:Pages with citations having bare URLs

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from December 2008

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values: Discussion about the content page [ctrl-alt-t]

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Oscar_De_La_Hoya_vs_Manny_Pacquiao rootpage-Oscar_De_La_Hoya_vs_Manny_Pacquiao skin-vector action-view


text:
The Autobiography of an Ex-Colored Man
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011) (Learn how and when to remove this template message)
The Autobiography of an Ex-Colored Man
Author
James Weldon Johnson
Country
United States
Language
English
Genre
African American Novel
Publisher
Sherman, French, & Co.
Publication date
1912
Pages
236
The Autobiography of an Ex-Colored Man (1912/1927) by James Weldon Johnson is the fictional account of a young biracial man, referred to only as the "Ex-Colored Man," living in post-Reconstruction era America in the late nineteenth and early twentieth centuries. He lives through a variety of experiences, including witnessing a lynching, that convince him to "pass" as white to secure his safety and advancement, but he feels as if he has given up his dream of "glorifying" the black race by composing ragtime music.
Contents
1 History
2 Plot summary
2.1 Early life
2.2 Time with the Rich White Gentleman
2.3 The lynching
2.4 Passing
3 Themes
3.1 Race, Passing, and the Tragic mulatto
4 Reception and later criticism
5 References
6 External links
History[edit]
Johnson originally published The Autobiography of an Ex-Colored Man anonymously in 1912, via the small Boston publisher Sherman, French, & Company.[1] He decided to publish it anonymously because he was uncertain how the potentially controversial book would affect his diplomatic career. He wrote openly about issues of race and discrimination that were not common then in literature.[2] The book's initial public reception was poor.[3] It was republished in 1927, with some minor wording changes,[4] by Alfred A. Knopf,[5] an influential firm that published many Harlem Renaissance writers, and Johnson was credited as the author.
Despite the title, the book is a novel. It is drawn from the lives of people Johnson knew and from events in his life. Johnson's text is an example of a roman à clef.[citation needed]
Plot summary[edit]
The novel begins with a frame tale in which the unnamed narrator describes the narrative that follows as "the great secret of my life."[6] The narrator notes that he is taking a substantial risk by composing the narrative, but that it is one he feels compelled to record, regardless. The narrator also chooses to withhold the name of the small Georgia town where his narrative begins, as there are still living residents of the town who might be able to connect him to the narrative.
Throughout the novel, the adult narrator from the frame interjects into the text to offer reflective commentary into the events of the narrative.
Early life[edit]
Born shortly after the Civil War in a small Georgia town, the narrator's African-American mother protected him as a child and teenager. The narrator's father, a wealthy white member of the Southern aristocracy, is absent throughout the narrator's childhood but, nevertheless, continues to provide financial support for the narrator and his mother. Because of that financial support, she had the means to raise her son in an environment more middle-class than many blacks could enjoy at the time.
The narrator describes learning to love music at a young age as well as attending an integrated school. It is through his attendance at this school that the narrator first realizes he is African-American and thus subject to ridicule and mistreatment for his racial heritage. This "discovery" occurs when he is publicly corrected by his teacher and the headmaster when he stands when "the white scholars" (schoolchildren) are asked to stand. Returning from school, the distraught narrator confronts his mother, asking her if he is a "nigger." His mother reassures him, however, noting that while she is not white, "your father is one of the greatest men in the country—the best blood of the South is in you."[7] The narrator notes that this event became a racial awakening and loss of innocence that caused him to suddenly begin searching for—and finding—faults in himself and his mother, setting the stage for his eventual decision (though far in the future) to "pass" as a white man.
While in school, the narrator also grows to admire and befriends "Shiny," an unmistakably African-American boy, who is described as one of the brightest and best-spoken children in the class.
After the narrator's mother dies, he becomes a poor orphan and subject to harsh conditions.
He adapted very well to life with lower-class blacks and was able to move easily among the classes of black society. During this carefree period, he taught music and attended church, where he came in contact with upper-class blacks. Living in an all black community, he discovers and describes three classes of blacks: the desperate, the domestics, and the independent workmen or professionals.
The Ex-Colored Man believed the desperate class consists of poor blacks who loathe the whites. The domestic worker class comprises blacks who work as servants to whites. And the artisans, skilled workers, and black professionals class included blacks who had little interaction with the whites. Many white readers, who viewed all blacks as a stereotype of a single class, were unfamiliar with class distinctions described among blacks.[citation needed]
Time with the Rich White Gentleman[edit]
While playing ragtime at a late night hot spot in New York, the Ex-Colored Man caught the attention of a wealthy white gentleman. The gentleman's liking for ragtime develops as liking for the Ex-Colored Man himself. The white gentleman hired him to play ragtime piano for guests at parties. Soon the Ex-Colored Man spent most of his time working for the white gentleman, who paid him to play ragtime music for hours at a time. He would play until the white gentleman would say "that will do." The Ex-Colored man would tire after the long hours but would continue playing as he saw the joy and serenity he brought the white gentleman.
The white gentleman frequently "loaned" the Ex-Colored Man out to other people to play at their parties. The gentleman was not "loaning" him out as a piece of property, but simply giving the narrator a broader palette to display his talents. The Ex-Colored man saw how the rich lived; he was thrilled to live in this lifestyle. The Rich White Gentleman influenced the Ex-Colored Man more than anyone else he met. In his relationship toward the Rich White Man he was aware of aspects of the slave/master, but saw there was also one of friendship. While he was with the white gentleman, the Ex-Colored Man decided he would use his skills to aid in abolitionism. Even though life was pleasant, it was void of substance; using his music to aid poor African Americans he felt would be a better use of his talents. The Ex-Colored Man continued to show devotion to the white gentleman, as the white gentleman treated him with kindness, which eventually led to the forming a friendship while in Paris.
The Ex-Colored Man’s devotion to the white gentleman expresses the relationship that some slaves had with their masters (slaves who showed devotion to the slave-owner). Johnson suggests that, although the Ex-Colored Man had "freedom," he was still suffering from the effects of slavery. After playing for the white gentleman while touring Europe, the Ex-Colored Man decided to leave him and return to the South to study Negro spirituals. He planned to use his knowledge of classical and ragtime music to create a new Black American musical genre. He wanted to "bring glory and honor to the Negro race," to return to his heritage, and proud and self-righteous race.
Many critics have suspected that the Rich White Gentleman may not be white but is passing, as well. His love for ragtime music and his conviction that the Ex-Colored Man not embrace his blackness to pursue a career as a definitively black composer could be used to argue that he experienced inner turmoil with his racial identity similar to that experienced by the Ex-Colored Man.[original research?][citation needed]
James Weldon Johnson
The narrator's time in Paris, however, is cut short when he goes to see a performance of Faust, during which he sits next to a beautiful young woman for whom he initially expresses great admiration. However, throughout the performance, he notices the young woman speaking to an older couple whom she refers to as "mother" and "father." The narrator is shocked when he recognizes the man as his own, wealthy white father, whom he has not seen for ten years, and realizes that the two women must be the man's lawful wife and daughter, making the young woman the narrator's biological half-sister. This event leaves a deep impression upon the narrator and causes him to decide to leave the company of his patron (the Rich White Gentleman) to return to the United States on his mission of advancing African-American musical forms.
The lynching[edit]
Just as the Ex-Colored Man began to work on his music in the South, he witnessed the lynching of a black man. The crowd wanted to hang the man but burned him instead. The Ex-Colored Man narrates in detail what he saw, "He squirmed, he withered, strained at his chains, then gave out cries and groans that I shall always hear." The narrator is horrified by the extent of this violent racism played out in the town square. He continues, "The cries and groans were choked off by the fire and smoke; but his eyes, bulging from their sockets, rolled from side to side, appealing in vain for help." The scene that day stuck vividly in his mind and burned a sharp image in his brain. He finishes with, "Some of the crowd yelled and cheered, others seemed appalled at what they had done, and there were those who turned away sickened at sight. I was fixed to the spot where I stood powerless to take my eyes from what I did not want to see".
Many critics[who?] believe that Johnson wrote this scene to heighten awareness of and opposition to lynchings. The turn of the century was the peak of lynchings conducted against blacks, mostly in the South, in the period when southern states disfranchised blacks through new constitutions and practices such as poll taxes, literacy tests, grandfather clauses and white primaries. Michael Berube writes, "there is no question that Johnson wrote the book, in large part, to try to stem the tide of lynchings sweeping the nation."[citation needed]
After the lynching, the Ex-Colored Man decides to “pass” as white. He gives up his dream of making music to glorify his race and thinks he does not want to be "identified with people that could with impunity be treated worse than animals," or with people who could treat other humans that way. He simply wishes to remain neutral. The Ex-Colored Man declares that he "would neither disclaim the black race nor claim the white race."
Passing[edit]
Grace Nail Johnson, wife of the author, in Panama where he was posted as a diplomat
The world accepted the Ex-Colored Man as white. Our narrator has been "passing" as a white man for the remainder of his life, and titles his autobiographical narrative "Ex-Colored Man." At the same time, the narrator learns that his childhood friend, "Shiny," is now teaching as a professor at a Negro college, suggesting a contrast between himself, who has chosen to pass, and Shiny, who has embraced his African-American heritage.
The narrator eventually begins a courtship with a white woman, causing an internal dilemma as to whether or not to reveal his African-American heritage, and he asks her to marry him. After the two have a chance meeting with Shiny, in which the narrator is "surprised at the amount of interest a refined black man could arouse,"[8] the narrator decides to reveal his secret to her. At first shocked, she flees, and the narrator resolves to give her her space and let her make up her mind. Eventually, she returns to him, having absorbed his revelation and chosen to accept him. They are eventually married and have two children, and the narrator lives out his life as a successful yet mediocre businessman.
His wife dies during the birth of their second child, leaving the narrator alone to raise their two children. At the end of the book, the Ex-colored Man says:
"My love for my children makes me glad that I am what I am, and keeps me from desiring to be otherwise; and yet, when I sometimes open a little box in which I still keep my fast yellowing manuscripts, the only tangible remnants of a vanished dream, a dead ambition, a sacrificed talent, I cannot repress the thought, that after all, I have chosen the lesser part, that I have sold my birthright for a mess of pottage.”
"Passing" could be interpreted as a decision to avoid the black race. He states that he "regrets holding himself back." He may have been implying that if he had, he embraced the Negro community and let the community embrace him, that he could have made a difference.[citation needed]
The Ex-Colored Man was one of the few people who was not held back by being black. He had a strong education, smart wits, and light skin. The masses all assumed he was white. However, his talent was in black music. Because of his fear of being a Negro, he threw away his talent as a musician to "become" a white man. This is one portrayal of the social strains due to racial discrimination; he felt that society forced him to choose between his love of African-American music and the safety and convenience of being white with the majority. The white gentleman fully accepted the Ex-Colored Man for who he was, but he feared that others would not. He decided to protect his mixed-race children by having them grow up "white." He wanted to give them every advantage he could.[citation needed]
Themes[edit]
Race, Passing, and the Tragic mulatto[edit]
[original research?]
The narrator in some ways reflects the trope of the Tragic mulatto, however, rather than suffering a catastrophic downfall; as a result, the narrator's tragedy is much more subversive. The "Ex-colored Man" is compelled by fear, not only for himself but for his children's sake (so they can grow up "white"), to exist in degraded mediocrity, despite his apparent potential and lofty goals of advancing the African-American race. In this way, his boyhood friend, "Shiny," and his symbolic name, act as a foil for the narrator. The narrator has admired since childhood, his inability to "pass" forces him to accomplish, rather than merely aspire as the narrator does. At the end of the novel, Shiny has risen to refinement and prestige while embracing his racial heritage and contributing to the community, while the narrator is relegated to mediocrity and obscurity, unable to risk revealing his racial background.
A major shift in the plot occurs during a performance of "Faust" in Paris, when the narrator sees his wealthy white father and his legitimate family, including his biological half-sister. Throughout the novel, the narrator is locked in a continual cycle of bargaining. The final bargain is trading his aspirations and talents for mediocrity to "pass" and allow his children to pass, raising the question as to whether this is damnation or continual striving.
Reception and later criticism[edit]
Knowing, as we do today, the multiple obstacles successfully surmounted by the black community it is hard to accept the premise that it is "most natural" to marry a lighter skinned person to advance one's position in society. At the same time, it is hard to fault the desire to live a relatively happy, and by far safer, life as a "white man."
—  David Burn (Poet, Critic, and Storyteller)
[9]
This scene is interesting not so much for the way the stereotypical attitudes of the Northerner and Southerner are depicted, but rather for what it fails to disclose and for the way the Jew and the narrator himself are positioned as the scene unfolds. What the narrator does not reveal is that the smoking-compartment is, undoubtedly, for whites only. This is, after all, a portrayal of the Deep South at the turn of the twentieth century. The narrator is clearly "passing." As a "black" man, he would be denied access to such a space, a (purportedly) all-white and all-male hegemonic site. It is only by virtue of his "light skin" and the assumption of whiteness that he is privy to the discussion at all.
—  Catherine Rottenberg
[10]
The impetus fueling Johnson's narrative experiment seems clearer if one summons to view the African-American male writers tradition. In his autobiography, 'Along This Way (1933),' Johnson maintains that he expected that the title, 'The Autobiography of an Ex-Colored Man,' would immediately reveal the work's ironic inflections and implicit relationship to prevailing discourses on black male subjectivity. He writes: "When I chose the title, it was without the slightest doubt that its meaning would be perfectly clear to anyone." (238). Although Johnson's ironic title borders on satire, the discursive subversion marked by satire is meaningless without a clear contextualization of the black male literary enterprise upon which satire would, as it were, "signify."
—  Heather Russell Andrade
[11]
References[edit]
Jump up ^ Anonymous [James Weldon Johnson] (1912). The Autobiography of an Ex-Colored Man (First ed.). Boston: Sherman, French & Company.
Jump up ^ Roberts, Brian. Artistic Ambassadors. pp. 57–59.
Jump up ^ Andrews, William L. "Introduction". The Autobiography of an Ex-Colored Man. Penguin. p. 6. ISBN 9780140184020.
Jump up ^ National Humanities Center. "The Autobiography of an Ex-Colored Man by James Weldon Johnson: Excerpted, and illustrations added, by the National Humanities Center for use in a Professional Development Seminar" (PDF). National Humanities Center.
Jump up ^ Johnson, James Weldon (1927). The Autobiography of an Ex-colored Man. Knopf.
Jump up ^ "Chapter 1". The Autobiography of an Ex-colored Man. p. 1147.
Jump up ^ "Chapter 1". The Autobiography of an Ex-colored Man.
Jump up ^ "Chapter 11". The Autobiography of an Ex-colored Man. p. 1158.
Jump up ^ Burn, David. "Economic necessity and Racial Identity in The Autobiography of An Ex-Colored Man". DavidBurn.com.
Jump up ^ Rottenberg, Catherine. "Race and ethnicity in The Autobiography of an Ex-Colored Man and The Rise of David Levinsky: the performative difference". findarticles.cm.
Jump up ^ Russell, Heather. "Revising critical judgments of The Autobiography of an Ex-Colored Man". Findarticles.cm.
External links[edit]
African-American portal
Novels portal
The Autobiography of an Ex-Colored Man (full text) at ibiblio.org
"The Autobiography of an Ex-Colored Man, transcript accompanied by audio narration". University of South Florida. Retrieved July 3, 2012.
The Autobiography of an Ex-Colored Man public domain audiobook at LibriVox
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Autobiography_of_an_Ex-Colored_Man&oldid=835616633"
Categories:
1912 American novels
African-American novels
Existentialist novels
Works published anonymously
Novels set in New York City
Southern United States in fiction
Works by James Weldon Johnson
Hidden categories:
Articles needing additional references from April 2011
All articles needing additional references
Books with missing cover
All articles with unsourced statements
Articles with unsourced statements from June 2016
All articles that may contain original research
Articles that may contain original research from June 2014
All articles with specifically marked weasel-worded phrases
Articles with specifically marked weasel-worded phrases from June 2016
Articles with unsourced statements from June 2014
Articles that may contain original research from June 2016
Articles with LibriVox links
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Português
Edit links
This page was last edited on 9 April 2018, at 19:30 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

values: Help:Introduction to referencing with Wiki Markup/1

values: plainlinks metadata ambox ambox-content ambox-Refimprove

values:
/wiki/African_american_literature
mw-redirect
African american literature

values: Sherman, French, & Co. (page does not exist)

values: checkbox button toctogglecheckbox toctogglecheckbox display:none

values: Sherman, French, & Company (page does not exist)

values: This claim needs references to reliable sources. (June 2016)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/War_Between_the_States
mw-redirect
War Between the States

values: Edit section: Time with the Rich White Gentleman

values:
/wiki/Negro_spirituals
mw-redirect
Negro spirituals

values: The material near this tag possibly contains original research. (June 2014)

values: The material near this tag possibly uses too-vague attribution or weasel words. (June 2016)

values: Wikipedia:Manual of Style/Words to watch

values: Disfranchisement after Reconstruction era

values:
/wiki/Poll_tax_(United_States)
mw-redirect
Poll tax (United States)

values:
/wiki/Michael_Berube
mw-redirect
Michael Berube

values: This claim needs references to reliable sources. (June 2014)

values: Historically Black colleges and universities

values:
/wiki/African_American_music
mw-redirect
African American music

values: Edit section: Race, Passing, and the Tragic mulatto

values: The material near this tag possibly contains original research. (June 2016)

values: Edit section: Reception and later criticism

values:
nofollow
external text
http://davidburn.com/jwj.php

values: display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle

values: margin:0.5em 0 0.5em 1em;border:solid #aaa 1px

values: Category:Southern United States in fiction

values: Category:Articles needing additional references from April 2011

values: Category:All articles needing additional references

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from June 2016

values: Category:All articles that may contain original research

values: Category:Articles that may contain original research from June 2014

values: Category:All articles with specifically marked weasel-worded phrases

values: Category:Articles with specifically marked weasel-worded phrases from June 2016

values: Category:Articles with unsourced statements from June 2014

values: Category:Articles that may contain original research from June 2016

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Autobiografia de um Ex-Negro – Portuguese

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-The_Autobiography_of_an_Ex-Colored_Man rootpage-The_Autobiography_of_an_Ex-Colored_Man skin-vector action-view