Cask Amontillado Analysis

The second occurrence of Poe’s use of verbal irony takes place when Fortunato toasts to the dead surrounding him and Montresor to Fortunato’s long life. While they are venturing through the vaults towards the Amontillado, Montresor presents Fortunato with a bottle of wine after he has a coughing fit. Once Fortunato receives the bottle he says, “‘I drink, to the buried that repose around us’”, and Montresor replies, “‘And I to your long

Two prime examples of dramatic irony occurs when Montresor approaches Fortunato, who is intoxicated during the evening of the carnival. Montresor blissfully capitalizes on his friend’s state. Integrating to the dramatic effect, Poe names the character Fortunato, which designates, one of great fortune. The irony becomes apparent when Fortunato’s unfortunate fate is revealed. Poe’s ingenious utilization of verbal irony is witnessed in a memorable moment in the story, Montresor suggests to his friend that he should head home due to his cough, Fortunato’s responds “I shall not die of a cough.” Montresor’s knowingly replies, true –true.” (Poe 3). In another utilization of verbal irony, Fortunato utilizes the word “Ignoramus” to describe Luchresi; however, it is he who is indeed unaware of what is transpiring around him, and what is going to transpire to him. Montresor has provided Fortunato numerous times with the liberation to go; however, due to his intoxication, Fortunato fails to optically discern the designations Montresor has provided for

Edgar Allan Poe’s “The Cask of Amontillado” is a goosebump-evoking tale that follows one man’s twisted plot for revenge. Although carnival season is in full-swing above ground, Fortunato finds himself being lead to his death underground in the catacombs. His “past insults” will ensure that he will never again participate in such feasts and merriment; Montresor, his “frenemy”, will make sure of that. As if the story isn’t creepy enough, Poe uses dialogue and sensory details to produce a mood that is both suspenseful and dark.

<br>The way the narrator treats his enemy is one of the clearest examples for ironic elements. When the characters meet, Montresor realises that Fortunato is afflicted with a severe cold, nevertheless he makes a point of him looking "remarkably well". Montresor acts in the most natural and friendly way towards the man object of his revenge, and even praises his "friend's" knowledge in the subject of wines. Also upon their meeting, Montresor begins a psychological manipulation of Fortunato. He claims that he needs his knowledge to ascertain that the wine he has purchased is indeed Amontillado. Furthermore, he acknowledges that Fortunato is engaged in another business (i.e.: the celebration of carnival), so he would go to Luchresi, who, one is made to believe, is a competitor of Fortunato's. To these words, Fortunato is forced by his pride to accompany Montresor to the vaults (where the Amontillado is kept), dissipate his doubts and also to prove his higher status than Luchresi as a connoisseur of wine. In fact, during their way down under in the catacombs, the twisted mind of Montresor, dares to give Fortunato the chance to go back, due to the almost unbearable dampness and foulness rampant in the vaults and Fortunato's state of health. The narrator clearly knows about the stubborn nature of Fortunato, and is

Edgar Allen Poe’s tale of murder and revenge, “The Cask of Amontillado”, offers a unique perspective into the mind of a deranged murderer. The effectiveness of the story is largely due to its first person point of view, which allows the reader a deeper involvement into the thoughts and motivations of the protagonist, Montresor. The first person narration results in an unbalanced viewpoint on the central conflict of the story, man versus man, because the reader knows very little about the thoughts of the antagonist, Fortunato. The setting of “The Cask of Amontillado”, in the dark catacombs of Montresor’s wine cellar, contributes to the story’s theme that some people will go

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitively settled — but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.

Irony permeates every single line of this tragedy. A good example is when there is only one stone left to fit into the wall, and Fortunato says, “Let us be gone.” This is ironic because Montresor is obviously not taking Fortunato with him and this dialogue simply tortures the poor Fortunato and teases him even further with the tantalizing promise of the freedom stolen from him. Hope is the only thing Fortunato can hold onto anymore, and it fails him. Montresor’s reply is even more ironic, “Yes, let us be gone.” He’s torturing Fortunato with his irony – and has been all along. (16.

Ultimately, it can be argued that the whole short story has the overall theme of dramatic irony, because Montresor knows all along that he is going to kill Fortunato, and Fortunato is completely oblivious towards the whole situation (Poe 1-6). A specific example of dramatic irony, however, could be when the audience finds out that Fortunato is dressed as a jester, which is also known as a fool (Poe 1). This is ironic, because as the audience, we already know that he is going to be tricked into something fatal. Another example of dramatic irony can be seen through the dialogue between Montresor and Fortunato discussing masonry; Fortunato states, “You are not one of the masons”, Montresor replies with “Yes, yes” (Poe 4). The conversation goes on to where Fortunato asks Montresor to show a sign of him being a mason, where Montresor then presents a trowel, a tool for masonry. This is ironic, because little does Fortunato know, that same trowel that Montresor offers, is the same one that will, figuratively and literally, seal Fortunato’s fate in the catacomb wall (Poe

In the short story “The Cask of Amontillado”, the author Edgar Allan Poe allow the reader to be a participant in the story. The story is told by Montresor who shows a rancor against Fortunato for a displeasure that is never textualized defined. Montresor leads an intoxicated Fortunato into a series of halls under his palazzo with the promise of a taste of Amontillado. Throughout the story the, the author uses the first-person point of view to describe Montresor surroundings and show us his thinking, and his feelings.

One of the main rhetorical devices evident within the short story is the use of dramatic irony, which Poe uses to foreshadow the climax of the story, which is Fortunato's death. For example, one of the most obvious uses of irony in the story is the name of Fortunato himself, which translates to “the fortunate one”. However,

Vengeance and murder infects the minds of Montresor and Fortunato upon an exchange of insult in Edgar Allan Poe’s "The Cask of Amontillado”. This is the story of pure revenge after Forturano disrespects Montresor. The story follows the characters meeting up at a carnival and eventually the disguised Montresor lures Fortunato into the catacombs of his home by convincing him that he acquired something that could pass for Amontillado, a light Spanish sherry. Fortunato grows eager to taste this wine and to determine for Montresor whether or not it is truly Amontillado. He leads him back to the catacombs of his home and carries out his plot to bury him alive. Edgar Allan Poe writes from a mysterious first person perspective, uses colorful symbolism and situational irony to present the man's inner self, in turn revealing that revenge is fundamentally infeasible.

Edgar Allan Poe’s The Cask of Amontillado is thought to be one of his most popular vengeful short novels. The two main characters, Montresor and Fortunato are re-acquainted friends who meet each other at The Carnival. Montresor has intentionally planned to lure Fortunato to his own death by deceiving him to believe that Fortunato is coming to Montresor's family catacombs to taste a fine wine “Amontillado”. After Montresor leads Fortunato into the crypts, Montresor eventually chains Fortunato up in a secluded section and mortars him behind a brick wall while he is still alive. The story ends with Montresor throwing a flaming torch into the small opening while he continues to put the last brick in place, essentially burning Fortunato alive. Edgar Allan Poe creates conflict between characters Montresor and Fortunato which primarily creates the major theme of revenge in this story. Edgar Allan Poe depicts setting in this novel by portraying death by illustrating human bones, within a cold and damp crypt to contribute to the eerie theme of revenge. Montresor's characterization is expressed through the betrayal of his friend, which adds another element to the theme of revenge in this story. In Edgar Allan Poe’s The Cask of Amontillado, Edgar Allan Poe utilizes conflict, setting, and characterization to create a theme of revenge.

"The Cask of Amontillado" is one of Edgar Allan Poe's greatest stories. In this story Poe introduces two central characters and unfolds a tale of horror and perversion. Montresor, the narrator, and Fortunato, one of Montresor's friends, are doomed to the fate of their actions and will pay the price for their pride and jealousy. One pays the price with his life and the other pays the price with living with regret for the rest of his life. Poe uses mystery, irony, and imagery to create a horrifying, deceptive, and perverse story.

Edgar Allan Poe’s, “The Cask of Amontillado” (1846) is narrated by Montressor. He is a gothic narrator, as his motives are associated with revenge and mental instability. In fact, the story opens with Montressor’s description of revenge of his friend Fortunato, who supposedly “insulted” him, and he lures Fortunato to his family’s catacombs for his death. However, Montressor is unwilling to reveal Fortunato’s insult and he is uncertain of why he wants to commit the horrendous act. Montressor’s narration is unreliable, and as the story unfolds we deduce his mental state. By carefully analyzing the tale, Montressor’s psychological dilemma encourages us to find the missing pieces of the puzzle and interpret the events in a metaphorical sense suggesting that the events are far less associated with revenge but more with Montressor’s guilt.

Edgar Allan Poe utilises dramatic irony in Montresor's narration and dialogue to not only reveal his murder plan, but also to explore disturbing details about his characters. From the beginning, Montresor makes it clear he despises Fortunato and vows for revenge. He promises to not only "punish, but punish with impunity" and "at length I would be avenged."  However, unlike the reader, Fortunato is unaware of Montresor's desire for revenge. This is the requirement for dramatic irony. Later, once Montresor has lured Fortunato into the catacombs and Fortunato begins coughing, Montresor fakes consolation and sympathy to cajole Fortunato closer and closer to his death. Here Montresor says: "come, we will go back; you are rich, respected, admired and beloved…" His dialogue is troubling: behind his sympathetic and caring façade lies a devious and crafting person. It leads naturally onto questions such as: how well do we know the people around us? Is what they show us their true self and feelings? Therefore, Poe doesn't just use dramatic irony to add complex elements to Montresor's character, but also to explore aspects of human condition. In the short story, the particular human condition focuses on revenge. Fortunato continues into the catacombs, bravely saying, "I shall not die of a cold." We know Fortunato will not die of a cold! Due to dramatic irony, and Montresor’s carefully orchestrated executions of actions, we know from the very start that Fortunato will die. But we do not how. This creates suspense. To which Montresor brazenly replies "true, true." Montresor is toying with Fortunato, and is in complete control, and yet Fortunato is ignorant. Through the short story, Fortunato insults Montresor numerous times. Fortunato’s character is also explored through dramatic irony and provides insight into our own lives: sometimes we say things that are intended to be personally funny, except in this situation Montresor is aware, and it's not embarrassing- it is chilling. We realise how much danger Fortunato is in, and his insults are only adding to the flame. He does not. We can see the gap between what he thinks he knows and what he truly knows. Aside from creating suspense and apprehension, dramatic irony also