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Dialogue - The Locket
At midnight, Paul went outside and sat on the bench on the old, plank porch. Despite bundling himself in a heavy blanket, he shivered in the cold. The eastern sky before him was dotted with stars, scintillating above the quiet spread of desert. A few lonely clouds were drifting by.
Patricia timidly opened the door; hesitant to disrupt Paul’s solitude. As he glanced up at Patricia, she could see the melancholy in his eyes.
“What you said today at the funeral was beautiful,” she murmured.
Paul smiled sadly.
“I just wanted to tell you that. Good night.”
Paul extended his hand. “Would you join me?”
Patricia took his hand and sat down on the bench next to him. Paul wrapped the blanket
around her small shoulders. She turned to look at him.
“I suppose that I have never properly thanked you for saving my life. I am sorry for that. I was not sure then that I wished it saved.”
He thought about her words. “What keeps you with him?” he asked.
It took a long time for her to answer. “It is my lot.”
Paul frowned. “That’s not much of an answer.”
“No,” she replied, “but maybe that’s all there is.”
“Have you considered returning to Ireland?”
“It is not a possibility.”
“But if it were?”
“No good comes from considering things that cannot be.”
Patricia was firm. Paul considered this a moment before speaking.
“I suppose you’re right. Where about in Ireland are you from anyway?”
“I came from Cork.”
“You do not carry much of a brogue.”
“I have worked hard to eliminate my brogue. Jack mocks me for it, and there are those in this country who hate me for it.”
“It is unfortunate,” Paul said. “I think that it sounds beautiful.”
Her gratitude and pleasure showed in her eyes. Paul glanced downward and noticed her petite fingers nervously playing with a locket that hung around her neck. The locket was cast in the shape of a four-leaf clover. It was unique, and she wore it religiously–it was almost as if she had been born with the necklace around her neck. It was as much a part of her as her deep auburn hair and green eyes.
“I have heard it said of Cork, that the sky does not rain, it weeps,” Paul continued.
“It is a beautiful, tragic land,” Patricia replied.
“I took a deep breath and listened to the deep brag of my heart. I am, I am, I am.” She wears the latter part of this quote on a necklace to remind herself that she is present and alive despite hardships.
“I had never seen anyone use a lanyard/ or wear one, if that’s what you did with them/” (Collins 13-14). However, the uselessness of his gift did not deter him from making it; “strand over strand again and again/until I had made a boxy/ red and white lanyard for my mother” (Collins 16-18). Once recollecting the lanyard, the speaker addresses the crowd in the present explaining all his cherished mother had done for him. He spoke of his infant years, his sick days as a young boy, his mile stones, and his daily neediness stating his mother was there at his every life’s breath. “Here are thousands of meals, she said, /and here is clothing and a good education/ And here is your lanyard, I replied” (Collins 27-29). The speaker states, in the third person, that at the moment his mother received his gift with gracious humility, and kindness he knew she was acknowledging his simple gesture of love; his humble gesture was enough repayment for her years of unconditional love. “But the rueful admission that when she took the two-toned lanyard from my hand, I was as sure as a boy could be that this useless, worthless thing I wove/ out of boredom would be enough to make us even” (Collins
Baraban, Elena V. “The Motive for Murder in "The Cask of Amontillado" by Edgar Allan Poe”. Rocky Mountain Review of Language and Literature 58.2 (2004): 47–62. JSTOR. Web. 17 Mar. 2016.
Poe, Edgar Allan. The Cask of Amontillado. Mankato, MN : The Creative Company, 2008. Print.
Poe, Edgar Allan, et al. The short fiction of Edgar Allan Poe: an annotated edition. University of Illinois Press, 1990.
"What a Tricke Weele Serve Him: A Possible Source for Poes The Cask of Amontillado (Notes)." Student Resource Center. Detroit: Thomson Gale, 2007. Student Resource Center - Gold. Gale. Brevard County School District Main. 22 May 2008
Poe, Allan Edgar. “The Cask of Amontillado.” The Norton Introduction to Literature: The Shorter Eleventh Edition. Ed. Spencer Richardson-Jones. New York: Norton, 2013. 164-170. Print.
Rocks, James E. “Marginalla.” Poe Studies. Edgar Allan Poe Society of Baltimore, 24 October 2013. Web. 20 November 2013.
Macdonald, Dwight. Poems of Edgar Allen Poe. New York: Thomas Y. Crowell Company, 1965. 77-80, 107-135.
The sinful deceit in ?The Cask of Amontillado? is linked to Poe?s use of irony, descriptive detail, and character traits. The short story successfully creates an emotion of sin and deceit. Through his writing techniques we get a vivid idea of his deception and darkness. The damp catacombs of ?The Cask of Amontillado? complement the dark doings, but the setting gives closure to the total effect in a subtle fashion. Although, a short story, Poe creates a nightmare that is almost guaranteed to give his readers a sleepless night. As the ?cask? of Amontillado draws Fortunato into the ?casket?, we get a feeling of our own fear.
“Hello, yes,”the person said, “Uh.. How should I put this your parents…. Were in a horrible, just horrible accident and I was calling to say I’m so sorry and that you will have some money delivered to you right away.”
We continued down the infinitely long interstate towards our destination. Thunder clouds continued to rumble in, like an ocean tide rolling closer and closer to the beach front. Within minutes the entire landscape was calm and dark. It looked like a total eclipse of the sun, and the once ...
"Language and Suspense in The Cask of Amontillado by Poe." Article Myriad. N.p., n.d. Web. 22 Nov. 2013. .
Edgar Allan Poe was born on January 19, 1809, to David and Elizabeth Poe, both actors, in Boston, Massachusetts. His father, a heavy drinker, abandoned the family when Poe was a year old, and at two years of age, Poe witnessed his mother’s death of tuberculosis. He was haunted by his mother’s death; it was a topic that he often explored in his writings later in life. Poe was then separated from his two sibling and taken in by the Allans, from whom he took his second name, in Richmond, Virginia. Although, Poe had a good relationship with his foster mother, he had a turbulent relationship with his foster father, with whom he often argued (Giammarco, 2012).
The Necklace also displays distinctive realism in the use of socioeconomic influences which are essential to the plot. The major conflict in the story would be absent and the theme would not be obtainable without Mathilde Loisel’s insecurity about her own socioeconomic reputation. An example of Loisel’s self-deprivation nature is presented when she realizes she does not have a necklace, she says “I shall look absolutely no one. I would almost rather not go to the party” (Maupassant, sec. 3). Another example of the self-conflict caused by social pressure is Loisel’s immediate attempt to replace the necklace and her reluctance to speak to her friend Madame Forestier about the necklace for ten whole years. If she were not conflicted by societal pressures she might have avoided the whole situation altogether. The Necklace establishes a realistic difference in value between the necklaces and proposed clothing. Her husband proposes flowers which were valued 10 franks so in any case if she had chosen the flowers there would have been an insignificant economic loss. Her decision not to tell her friend about the necklace ends up costing her seven times the worth of the original. The roses symbolize the simpler things in life to the theme of the story. Mathilde Loisel’s withered appearance at the end