The Cask of Amontillado

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The Cask of Amontillado
In “The Cast of Amontillato,” Edgar Poe manipulates the story to be the way he wants it to be by using the narrator’s point of view. The point of view could be very important in influencing the reader’s perception of the story. By reading the first paragraph of the story, we realize that the narrator is trying to bring the reader to his side, even though he presents us a really vague understanding of his motivations. Montresor’s actions of good will and careful manipulation of Fortunato presents the attention of his plans of Fortunato’s death. “The thousands injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge” (Poe 236). The narrator tries to win the reader right away by telling him that Fortunato has crossed over the line. In fact, we don’t really know if Fortunato has really insulted Montresor, the narrator, or if Montresor is just an unreasonable, cold-blooded murderer. In contrast, the narrator displays a particularly black sense of humor when he amuses himself and the horrified audience as he leads Fortunato into his deadly trap. He also tells the reader about his intentions right before he begins the story of his last meeting with Fortunato, and Poe applies both dramatic and verbal irony to guide the darkness of the story. Verbal irony happens when the literal meaning of what the speaker says totally contracts with the speaker’s actual message. For instance, Poe, the author of the story, gives the victim the Italian name of Fortunato, which means “the fortunate one,” however; he adds an extra cynical element of humor to Fortunato’s ungenuous character. Montresor’s conversation makes particular use of verbal irony, since he knows that Fortunato doesn’t even suspect what is about to happen and therefore will totally misinterpret Montresor’s words and intentions. In addiction, Montresor tells Fortunato, “My dear Fortunato, you are luckily met.” (Poe 237) In Fortunato’s head, all it means...
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