Close Reading Models

Students: Need help with close reading analysis?

Check out the following web sites to help guide you to success!

http://www.fas.harvard.edu/~wricntr/documents/CloseReading.html

http://etext.virginia.edu/railton/07twain/closereadexs.html

Example of Close Reading From: http://parkrose.orvsd.org/mod/resource/view.php?id=8985:

Terror Created
One need not wonder any longer why Edgar Allen Poe was a master of the terror genre after reading “The Cask of Amontillado.” Through the use of tension and ambiguity Poe has succeeded in creating suspense and terror right up to the very end of his story. It is an excellent example of how tension, imagery, and irony, combine to create an overwhelming effect of terror.

The story begins with Montresor declaring his intention of revenge on Fortunato. “I must not only punish, but punish with impunity,” leaves little doubt that he intends the revenge to be extremely severe (1146). So, upon the initial meeting and throughout the sequence of events, when Montresor is incredibly amiable, calling Fortunato “my friend” and declaring how pleased he is to see him, the tension begins to build (1146). The more solicitous Montresor becomes, the greater the tension. The friendly greeting “my dear Fortuanto” magnifies the irony in “you are luckily met” (1146). The reader infers that Fortunato is anything other than lucky in meeting Montresor this night. The clear statement of intent to “make himself felt as such to him who has done the wrong,” juxtaposed with the graciousness and eagerness with which Montresor addresses Fortunato creates the tension (1146).

Another masterful tool of suspense is the vagueness of the “thousand injuries” and the ultimate insult(1146). If Poe specified the crime, the level of retribution would be more clear, but because the wrongs are completely omitted, readers are unaware of what to expect. We cannot even guess at the level of revenge, or offense, based on knowledge of either character because both are depicted vaguely. Montresor hints at his own character when he suggests that those who know the nature of his soul will also know that he would not have tipped his hand by uttering a threat (1146). The hint is an unobtrusive view into the possibility of a sly and devious character. Likewise, the character of Fortunato is only suggested by referring to him as “a man to be respected and even feared”(1146). Then the vagueness is solidified with the use of the word “quack,” and a comical depiction of Fortunato as pompously adopting expertise regarding painting and gemmary to impress the British and Austrian millionaires(1146). One of the lessons revealed from this vagueness is the successful creation of tension by the gaps, as well as the hints.