In Edgar Allen Poe’s “The Cask of Amontillado,” Montresor lures in Fortunato, using Fortunato’s knowledge of wine as a catalyst, to his own death. Fortunato “prided himself on his connoisseurship in wine,” which suggests that he would go to great lengths in search of rare subjects (Poe 250). To, perhaps, the same “‘length’” Montresor would go for vengeance (250). Fortunato’s hubric nature serves as a vice in Montresor's malicious scheme. Given an amplitude of opportunities to recede from the plot, John Freehafer asserts that “It is Fortunado, not Montresor, who is made to insist upon descending to the vaults and going down to the place of his death” (John Freehafer 316) Furthermore, Fortunato descends with the desire of proving himself greater …show more content…
The earliest signal of the, unnamed, protagonist’s downfall is marked by his souls transition to “a more than fiendish malevolence, gin-nurtured” counterpart (Poe 520). Although the black cat “loved” the protagonist, the protagonist's claims “I slipped a noose about its neck. . .,” ending the black cat's life (521). In context the black cat symbolizes the protagonists prideful nature. The cat assumes an immortal presence, clouding the protagonist judgement. As asserted by Stark Joseph, “by depicting a motiveless murderer whose actions cannot be sufficiently examined” Poe develops a protagonist with vague emotions. The protagonist’s transition, from loving his wife and cat to loving the disposal of their bodies, attests to Stark Joseph's assertion. Accordingly, the protagonist “felt satisfied that all was right” (524) following “the task of concealing the body” (523). Ironically the protagonist “burned to say if but one word, by way of triumph. . .” in search of praise for his perfect crime (524). It is the “Arch-Fiend”, shadowing the protagonist like his own pride, who “consigned [him] to the hangman” (524). Appropriately, the “beast who had seduced [him] into murder,” coerced with pride, ended the protagonist's …show more content…
The protagonist begins his journey with no knowledge of the intolerable conditions ahead. Soaring all the way to “seventy-five degrees below,” temperatures are unbearable (London 3). However, the protagonist claims “the temperatures did not matter” (2). Reaffirming the protagonist’s lack of competence on the dangers of the yukon. Being a “newcomer” to the land, the “strangeness and weirdness of it all. . .” did not deter him from continuing(2). His previous “quick and alert[ness] in the things of life” gave him the false pride in his own skill set (2). No veteran of the yukon would dare “travel alone in the Klondike after fifty below” (6). However, the protagonist separates himself from “the old-timers rather womanish. . .” doctrine by “keep[ing] his head” (6). Only moments after this claim, by his own ignorance, the protagonist’s last hope fire is “blotted out” echoing “his own sentence of death” (6). Such irony can be explained by Jeanne Campbell Reesman, “the kind of knowledge the unnamed hero possesses and the kind he needs, [is] a discrepancy that costs him his life.” Accordingly, the protagonist’s pride self destructs not only any hope of meeting up with the boys but also any chance of living another
Poe carefully details the most brutal scenes of his stories, a quality shared by many of his works. Within “The Black Cat,” three situations stand to illustrate Poe’s message: when the narrator stabs out Pluto’s eye, when the narrator hangs Pluto, and when the narrator murders his wife. Before the first violent act described in the story, the narrator is known to be a drunkard who abused his wife. No matter how despicable this may be, he is still a somewhat ordinary man. Nothing majorly sets him apart from any another, relating him to the common man. However, his affinity towards alcohol, led to “the fury of a demon” (2) that came over him as he “grasped the poor beast by the throat” (2) and proceeded to “cut one of its eyes from the socket.” (2) Poe’s gruesome description of the narrator as a destructive demon, one who was awakened by alcohol, connects his behavior to the common working-class man. Alcohol is a legal drug that can be obtained by many, and when consumed in excess leads to the uncontrollable madness that ensued. The descriptions of the act plants fear into the hearts of the readers, especially those who have consumed alcohol, of ever becoming such a
In “The Cask of Amontillado”, Montresor made up in his mind that he would carry out his act of revenge on Fortunato. Whatever offense Fortunato committed against Montresor drove him to the brink. The hatred inside was somewhat poetic. Montresor schemed to every detail how to carry out his revenge. The setting of the story is a dark, gloomy night at a celebration during carnival season. Montresor would be detailed in describing the monetary status of his enemy, his wardrobe or costume he wore to the celebration. He would set the mood as cheerful. Despite the ill feelings he has towards the now drunken Fortunato, Montresor pretends to care for his company to lure him towards his cunning plan. He strokes Fortunato’s ego and his love for wine to draw him towards the cellar. The dark, damp halls, the claustrophobia, and the human skeletons lying about the earth were all a foreshadowing of Motresor’s plan for the drunken Fortunato. It enhanced suspense to the story, building up to the climax which would be Fortunato entering into his grave. As they further enter the hal...
The Cask of Amontillado is an eloquent story narrated from the murderer’s point of view. Montressor seeks revenge against Fortunato for numerous insults the reader can only imagine. In order to determine the severity of the apparent injustices, Fortunato himself must be understood. Montressor describes him as being “rich, respected, admired, [and] beloved,” as well as “a man to be … feared” (Poe 274-276). Fortunato was a flawed individual, however. His greatest imperfection was his love for wine. Fortunato’s “connoisseurship” (274) of wine resulted in his intoxicated state throughout the short story. His physical and mental capacities were impaired by his drunkenness, and as a result, he was unable to resist Montressor’s lure into the catacombs.
DiSanza begins with stating that the language and type of narration the story exudes is that of being drunk from the drinks that Fortunato is drinking, “His drunkenness is our drunkenness.” (195) DiSanza also says that as the audience, in our drunken state, we ignore details such as the motive and Poe’s purpose for telling the story. Some of the theories for motive in “The Cask of Amontillado” include James E. Rocks’ who opposes that Montresor regards Fortunato as both a political and a religious enemy and is therefore motivated by “a faithful Catholic’s hatred and fear of the brotherhood of freemasonry.” (Rocks, 1927). Another is that of Elena V. Barban, who believes that since there is no explanation for Montresor’s hatred for Fortunato, it concludes that Montresor is insane. DiSanza explains that if Montresor is insane, then he neither needs an audience or a motive. He also also compares this type of analysis to other Poe tales and their lack of
Montresor does not want Fortunato to die from anything other than his own plan of slow death by asphyxiation. Symbolism in "The Cask of Amontillado" This story by Poe has numerous examples of symbolism. For example, the manner in which Fortunato is dressed is ironic for a man with his societal prominence.
In Edgar Allan Poe’s, “The Cask of Amontillado,” the main character and narrator, Montresor begins the story by expressing how he has put up with many insults from a man named Fortunato and that he has had enough and vows revenge against him. Montresor lures Fortunato into the catacombs to taste the Amontillado so as to kill him secretly. Montresor portrays in the beginning of the story that he is going to be lying to Fortunato’s face, acting one way while really thinking another. This fact indicates that Montresor is an unreliable narrator for telling the story because he lies to people he knows, gives hints that he is jealous of Fortunato, does not offer an explanation for wanting to murder Fortunato and his tone of narrating the story.
A main theme presented in “The Cask of Amontillado” by Edgar Allan Poe is that Montresor shows obsession with the murder of fortunato. This is exemplified by Montresor’s precise planning, carefulness and slowness of speed in the process.
In his article “On Memory Forgetting, and Complicity in “the Cask of Amontillado”” Raymond DiSanza suggests that an act of wrongdoing is always at the heart of good horror stories. (194) DiSanza’s article on “The Cask of Amontillado” by Edgar Allan Poe describes Poe’s writing in a way I didn’t think of myself. DiSanza finds Poe’s language in this story to “taste like amontillado: smooth, slightly sweet, and appropriately chilled”. (DiSanza 195) Throughout his article he mostly talks about what possibly could have been Montresor’s motive to kill Fortunato? And why did Montresor wait fifty years to tell the story?
In the short story “The Cask of Amontillado” Montresor who has been so humiliated by Fortunato that the only way Montresor can be satisfied is with revenge. So Montresor decides that Fortunato is going to get the worst punishment ever. Therefore the night of the Carnival Montresor invites Fortunato to this palazzo. He tells him that he needs help with an Amontillado (sherry wine) because he has doubts about it. Montresor decides to tease Fortunato because he knows Fortunato has too much pride and he tells him “ I am in my way to Luchresi. If anyone has a critical turn it is he. He will tell me.” (Poe 20) There was
In “The Cask of Amontillado”, Edgar Allen Poe uses indirect characterization to show the different traits that Montresor possesses while carrying out his revenge. Montresor’s deceitful character is shown by his speech. For instance, it states in the text, “‘And I, Fortunato — I drink to your long life.’” Montresor says that he drinks to Fortunato’s longevity with irony, knowing that later on, Fortunato will face death as a result of his vengeance. Another example states, “‘But is it not late? Should we not be going back? They will be expecting us. Let us go.’ ‘Yes. Let us go.’ As I said this I lifted the last stone from the ground.” In this part, instead of freeing Fortunato the way he sounded like he would, he did the exact opposite. Montresor covered up the only opening of the room. His speech, as he desires strongly to do harm to Fortunato, shows that he is a deceitful man.
Among Poe's most intriguing tales is "The Cask of Amontillado," first published in Godey's Lady's Book in November of 1847. A surface reading of that story reveals only a simple description by Montresor (the narrator) of how he kills another man who was called, ironically, Fortunato. Montresor exploits Fortunato's vanity concerning the connoiseurship of wine; specifically, Montresor pretends to want a wine cask of Amontillado verified as genuine. Montresor chooses a time when Fortunato is drunk to dupe him into going down the spiral stairs into the catacombs, which serve as a sort of family burial grounds for the race of Montresors. But rather than a mere cask of wine, Fortunato finds his death; for Montresor bricks him into a niche of the catacombs which has remained undisturbed for the fifty years since the murder was performed. How simple!
Furthermore, Poe’s plot development added much of the effect of shocking insanity to “The Black Cat.” To dream up such an intricate plot of perverseness, alcoholism, murders, fire, revival, and punishment is quite amazing. This story has almost any plot element you can imagine a horror story containing. Who could have guessed, at the beginning of the story, that narrator had killed his wife? The course of events in “The Black Cat’s” plot is shockingly insane by itself! Moreover, the words in “The Black Cat” were precisely chosen to contribute to Poe’s effect of shocking insanity. As the narrator pens these he creates a splendidly morbid picture of the plot. Perfectly selected, sometimes rare, and often dark, his words create just the atmosphere that he desired in the story.
The Cask of Amontillado, one of Edgar Allen Poe’s most celebrated works, paints a very sinister and dark tale of revenge. It is riddled with symbolism of what is in store for Fortunato who has betrayed Montresor in what Montresor perceives to warrant a grievous end. Throughout their the interaction, there are subtleties in which one might think there is a way out, but ultimately greed takes over which leads to Fortunato 's undoing.
Accordingly, Poe is well responsive to this psychological trait of the human brain. Likewise, Poe employs the perception of perversity and remorse in “The Cask of Amontillado.” The reason of burying Fortunato is not only vengeance, but also a robust reaction that is described in “The Black Cat”. There is a passionate yearning in Montresor to hurt Fortunato even if he has not made any harm to him. Although Montresor asserts that he has been injured several times by Fortunato, he cannot defy calling him “respected, admired, beloved,” admitting his “good nature,” and also calling him “noble” (Little 212). These expressions confirmed that Fortunato is a good quality person and the expression “injuries” used in the first phase of the story is simply a hyperbole that Montresor’s psyche has fabricated. Furthermore, wickedness does not come unaccompanied, but it carries itself a sense of remorse. Even if Montresor reflects himself as the diplomat of his family for deafening down rivals, he suffers remorse while walling up Fortunato. Consequently, Poe’s clasp of unreasonableness and culpability of the human mind is
In Edgar Allan Poe’s “The Cask of Amontillado,” Montresor sets out on a vengeful mission that will end Fortunato’s life in an untimely fate. Montresor appeals to Fortunato’s love for wine to tempt the unsuspecting fellow to his impending doom. While Montresor tricks the foolish Fortunato frightfully, it is ultimately Fortunato’s pride that leads to his demise in the crypt. Poe uses several literary devices to foreshadow this murderous exploit of Montresor. Through the use of irony, symbolism, and imagery, the story entices readers to delve into the relationships and differences between Montresor and Fortunato.