ENC 1102 online
29 September 2012
The Dissection and Synthesis of The Cask of Amontillado
In 1846, Edgar Allan Poe published his work, “The Cask of Amontillado.” The story is told from the perspective of Montresor, who seeks revenge on Fortunato, a man who has given Montresor many reasons to avenge him. The story begins with Montresor describing his dark feelings toward Fortunato, giving reason for his dismal intentions to attain his revenge against Fortunato. Montresor states that he has given Fortunato no reason to doubt his will. Montresor points out that Fortunato has a weakness, for prides himself for his love of wine. Montresor makes use of Fortunato’s intoxication and trust in his friend, to ultimately lead Fortunato into his own tomb where his corpse will forever rest. Poe uses devices like dialogue, irony, and dramatic monologue to help the tale unfold through the words of Montresor. Throughout the story, there is heavy use of dialogue to explain how the situation unfolds. Montresor came across Fortunato one evening at twilight, during the carnival season. Fortunato was dressed in motley costume and already intoxicated when he came upon Montresor. Montresor told Fortunato of his recently acquired Amontillado, and explained that he was on his way to visit Luchresi, to determine if it was indeed Amontillado that Montresor had purchased. Fortunato was certain that, “Luchresi cannot tell Amontillado from Sherry,” so he insisted that he went with Montresor to his vaults. (Poe, pp. 101.) This was a bad decision on Fortunato’s behalf, having no suspicion of Montresor’s intentions. They spoke of the nitre and Fortunato’s cough, leading Montresor to discourage Fortunato to continue on. Fortunato said himself that he would not die of a cough. (Poe, pp. 102.) So they continued further into the catacombs and to drink on their way. Fortunato took a drink of Medoc, and said, “I drink, to the buried that repose...
Cited: Poe, Edgar Allan. “The Cask of Amontillado.” The Norton Introduction to Literature. Tenth Edition. Peter Simon. New York, London: W. W. Norton & Company, 2010. Pp. 101-105. Print.
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