“The Cask of Amontillado” is one of Poe’s best-known tales of horror. It is primarily about pride and revenge. “The Cask of Amontillado” is a pretty straightforward story of crime and guilt, of conscience and suffering, and of a man who cannot repent for his sin; a man who enjoyed killing his victim, and enjoys reliving the memory. The story begins with the main character, Montressor, presumably old and on his death bed, attempting a confession to a nameless priest. Yet, as he begins to tell his story, in great detail, we sense that there is no contrition or sorrow for the crime, and thus there will be no forgiveness. The crime the main character committed was the murder of an acquaintance who wounded only his pride.
In the story, the narrator states that he has been insulted by an acquaintance by the name of Fortunato, and he seeks revenge. He wants to do so in a measured way, without any risk to himself, and indeed hatches just such a plan to exact his retribution. Montressor decides to use Fortunato’s fondness for Italian wine against him. During the carnival season, the narrator approaches Fortunato, telling him that he has acquired something that could pass for Amontillado (a light Spanish sherry).
He tells Fortunato that since he was not around, a man named Luchesi tasted it. Fortunato is apparently competitive with Luchesi and claims that this man could not “tell Amontillado from Sherry.” Fortunato is anxious to taste the wine and to determine for Montressor whether it is Amontillado or not. Fortunato insists that they go to the narrator’s vaults. When the two men arrive at the narrator’s house, no servants are around. They descend into the vaults, which are very damp and full of notre, which makes Fortunato cough. The narrator keeps offering to bring Fortunato back home, but Fortunato refuses.
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The Tell-Tale Heart by Edgar Allen Poe deals with a mans mental deterioration and his descent into madness. The story focuses on the narrator and his obsessions. It is told from a first person point of view by the protagonist himself. The point of view of the story is important because the reader only has one side of the story to work with. Therefore, the reader only knows what the narrator thinks ...
The men go deep into the long vaults, which are full of the dead bodies of the Montressor family. At one point in their journey, Fortunato makes a movement that is a secret sign of the Masons, an exclusive, fraternity-like organization. Montressor does not recognize this hand signal, but claims that he is a Mason. When Fortunato asks for proof, Montressor shows him his trowel.
(The implication is that Montressor is a stonemason. ) Fortunato says that he must be jesting and the two men continue onward. They walk into a crypt, where human bones decorate three of the four walls (the bones from the fourth having been thrown down on the ground).
On the exposed wall is a small recess, where Montressor tells Fortunato that the Amontillado is being stored. Fortunato starts to try to move a stone blocking the recess.
Montressor chains Fortunato to the stone. Then, taunting Fortunato with an offer to leave, Montressor begins to wall up the entrance to this small crypt, leaving Fortunato inside. Fortunato screams as Montressor builds layer upon layer of the wall. Just as Montressor is about to finish, Fortunato laughs as if Montressor were playing a joke on him, but Montressor is not joking. Finally, Fortunato stops answering Montressor, who claims that his heart feels sick because of the dampness of the catacombs.
He fits the last stone into place and plasters the wall closed. He repositions the bones on the wall. For fifty years, he writes, no one has disturbed them. The final line is Latin for “May he rest in peace.” The two most important literary elements within this story are Poe’s use of irony and foreshadowing. The ironic twists make the remain interesting from start to finish, and the foreshadowing creates a wonderfully effective atmosphere of suspense and tension. The combination of these elements leads to a conclusion that is at once brilliant and fulfilling, carefully tying together each strand of Poe’s expert storytelling in a neat package of gothic horror.
The Essay on Coat Of Arms Montressor Fortunato Cask
The short story " The Cask of Amontillado," by Edgar Allen Poe, contains various symbolisms in it. I will discuss the tight-fitting dress and conical cap (134), the silk mask and roquelaure (135) and Montressor's family coat of arms (136); furthermore, the symbolism of the cask of wine. I will try to show how I interpret these symbolisms as I see them. Poe uses Fortunato's clothing as a symbol "he ...
Irony plays a huge part in the telling of this story, and in the effect is has upon its audience. This irony is very evident throughout the story, but particularly in the unusual form of revenge played out by the narrator, and the implications of success — and which characters ultimately attained it — after the whole story is played out. The mode of revenge in this story is interesting. Montressor avenges himself by fooling his victim into literally walking into his own grave.
Fortunato pursues the “cask” which ends up being his own casket. Montressor even asks Fortunato repeatedly whether he would like to turn back. With this method, he takes Fortunato completely by surprise and makes his death ironic. After all, Fortunato is the one eager to get to the end of the catacombs. Another instance of irony is Montressor’s statement to his friend that they should return because his “health is precious.” This bit of conversation is ironic because Montressor does not really want to protect Fortunato’s health, but indeed to kill him. It is also ironic in that Fortunato falls prey to Montressor’s plans because he is so proud of his connoisseurship of wine, and it is for the sake of his own pride that Montressor takes revenge on Fortunato.
To build suspense in “The Cask of Amontillado,” Poe uses a great deal of foreshadowing. First, when Fortunato says, “I shall not die of a cough,” Montressor replies, “True,” because he knows that Fortunato will in fact die from dehydration and starvation in the crypt. Then, Montressor’s description of his family’s arms also acts as foreshadowing. The shield is “A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel.” In this image, the foot represents Montressor and the serpent Fortunato.
Although Fortunato has hurt Montressor with insults, Montressor will ultimately crush him. But the question remains to be seen whether that is the extent of the damage being depicted in this coat of arms. A key feature to focus in on Montressor’s coat of arms is that it is a circular argument. It depicts a giant foot crushing a serpent that bites the foot. Either way, both things die. The foot is bitten by the snake, presumably a poisonous reptile, and dies.
The Essay on Frankenstein Monster Story Fear
Mary Shelley's novel of Frankenstein to me is a gothic novel. These types of novels have the following characteristics: grotesque, the story can impose fear and the locations can be strange and mysterious. In this essay, I will give my justifications in why I feel this novel takes shape of a gothic story. Grotesque is defined by Webster's dictionary as "departing markedly from the natural, the ...
The snake is crushed to death by the foot. And that’s the point: Montressor loses no matter what he does. And though he takes great pride in his coat of arms, he never really understands it. The Montressors are doomed. In fact, the setting of the catacomb is rather ingenious, because that is the burial place for all the other Montressors, all of them now dead.
He is the last of his clan, and now he will go down. Snake or foot? It doesn’t matter. They will both die. Another instance of foreshadowing comes with the trowel scene. Fortunato asks whether Montressor is a member of the Masonic order, but Montressor replies with a visual pun. When he declares that he is a “mason,” he means that he is a stone mason — that is, that he will be building things out of stones and mortar: namely Fortunato’s grave.
What is perhaps unnatural is that Fortunato denies Montressor the pleasure of hearing him scream and beg. He grows silent, and only the jangle of the chain is heard at the end. It isn’t clear, but it’s quite possible that Fortunato dies (of a heart attack or something like that) before he has any chance to really suffer by starving to death in the ghastly tomb. After all of Montressor’s clever plans, Fortunato dies! Yet, nature wins out. Fortunato becomes “the fortunate one” in the sense that he may well “get to Heaven”, while Montressor is really the one who will be “buried alive in the darkness” — the darkness of Hell. Montressor is unable to repent.
He enjoys telling his story to his Confessor. And the amount of detail in the story reveals this fact. Symbolically, Montressor buries himself alive in the catacombs. The fortunate one escapes punishment. Montressor is cheated by his crime. He never gets the ultimate satisfaction of glorying in Fortunato’s sufferings, because Fortunato never suffers.
Only Montressor suffers, by the very fact of being cheated in the end. And now, because he cannot repent, he will suffer eternally. Evidence of this is shown when Montressor has almost finished bricking up the crevice and he is overcome by a sudden fear, and he places his hand on the wall, to feel something solid, in order to get back his senses. It’s almost as if he gets a glimpse of eternity, of Hell, for a moment, and he becomes fearful that there may indeed be a spiritual side after all. Montressor seems to go into his crime without any religious faith.
The Essay on Fears & Phobias Opinion Paper
“A strong dislike of flying is a fear, whereas a pathological fear (an intense, uncontrollable, unendurable, physical fear) is considered to be a phobia” (Rob Kelly). Not many people know the difference between fears and phobias neither did I until I began researching for my project. Many people have fears such as a fear of mice or a fear of the dentist. For some people there fears are very minor ...
Yet, we know he is confessing this crime on his deathbed, so it seems that somewhere along the line he begins to have doubts. He may even come to believe in God and the afterlife. And still, he will lose any chance of a possible Heaven because he can’t feel sorry for what he did. A clue to understanding this is found in that moment where he touches the wall. This is the only time during the murder that Montressor actually displays fear. However, I think the remainder of his life has been lived in fear.
He only comes to face his fear — and his true self — when he balances his fear of going to Hell against his joy of killing Fortunato, the scale tips towards the joy. And that will be Montressor’s undoing; that is what “Cask of Amontillado” is all about.
