The Cask Of Amontillado Literary Analysis

The Casket of Fortunato

There are a variety of paths to choose from, and an abundance of themes to contemplate, when constructing an analysis of Poe’s “The Cask of Amontillado.” Certainly, one of the main themes of the story is revenge, though there are also themes of mortality, betrayal, and pride, to name just a few. However, no reader can ignore the many nuances, clever word play and ironic wit that permeate this gothic tale of horror. Indeed, it is Poe’s masterful use of irony that provides the remarkable power of “The Cask of Amontillado.”
The irony of Poe’s story lies within both circumstance and character. By his own account, Poe is a careful constructor of stories, and leaves no nuance, no word, to chance: I say to myself,
in the first place, “Of the innumerable effects, or impressions, of which the heart, the intellect, or (more generally) the soul is susceptible, what one shall I, on the present occasion, select?” Having chosen a novel, first, and secondly a vivid effect, I consider whether it can be best wrought by incident or tone—whether by ordinary incidents and peculiar tone, or the converse, or by peculiarity both of incident and tone—afterward looking about me (or rather within) for such combinations of event, or tone, as shall best aid me in the construction of the effect. (Poe, Philosophy)
Poe believed that an author’s work should begin “at the end, where all works of art should begin.” (Poe, Philosophy) and that “…every plot… must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence … by making the incidents, and especially the tone at all points, tend to the development of the intention.” (Poe, Philosophy). These principles are evident in “The Cask of Amontillado,” where Poe’s skillful prose propels the reader toward its climax like an undercurrent in a turbulent sea.
Poe’s use of irony in “The Cask of Amontillado” begins at once, when Montresor tells us the name of his enemy, Fortunato, which name literally means “the fortunate one” in Italian. The reader is aware that Fortunato’s fate will be anything but lucky: “The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge” (Poe, Cask 543). The irony of Fortunato’s name is again seen when Montresor greets him. “My dear Fortunato, you are luckily met” (Poe 543). Montresor’s name, “my treasure” in French, refers to the reputation of his family name, which has suffered an affront by Fortunato. Montresor alludes to this when Fortunato remarks on the expansive Montresor vaults: “The Montresors,” I replied, “were a great and numerous family” (Poe 545).
Montresor, even as he plots his evil revenge, allows Fortunato to believe that all is well between them: “It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation." Montresor then encounters his “friend” (Poe 543) Fortunato on the evening in question during the “supreme madness of the carnival season” (Poe 543). It is significant that Poe depicts the carnival season thus, rather than as a time of joy and celebration: “The carnival image is central to the plot, allowing Fortunato’s costume to underscore ‘his obtuseness’ and Montresor’s to offer a disguise. The carnival atmosphere also provides an ironic contrast to the grim murder” (Reynolds 105).
When he meets Fortunato, Montresor tells him that he is on his way to see Luchesi (a mutual acquaintance of theirs, presumably well versed in Italian wines) to obtain his expertise regarding an alleged pipe of Amontillado that he has acquired. His pride piqued, Fortunato exclaims that “Luchesi cannot tell Amontillado from Sherry” (Poe 544). This exchange furthers the foolish portrayal of Fortunato in that Amontillado is, in fact, a particular variety of sherry: “Actually, amontillado is an especially fine kind of sherry. Its name means “a Sherry of the Montilla Type” (Moffitt 41). This ignorance of wine is again seen when Fortunato “treats DeGrave, an expensive French wine, with very little regard by drinking it in a single gulp.” (Wikipedia). Here we see that Fortunato is no connoisseur of wine, and in this regard he is once again depicted as a fool, alluding to the fact that Montresor plans to make a fool of him as he enacts his revengeful plot.
As the two descend to the vaults, Fortunato inquires as to the Montresor family arms. Montresor describes the arms and the motto that is associated with it: “A huge human foot d’or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel” (Poe 545); “Nemo me impune lacessit” (Poe 545) (this translates as “No one wounds me with impunity”). (See Appendix). The ironic image of the coat of arms has three possible interpretations:
First, the images could both symbolize Montresor as he ‘struggles’ with his psyche ‘and fails’ … Second, Fortunato could be the foot that crushes Montresor while Montresor as the snake gets his revenge. Third, Montresor could be the foot getting revenge on Fortunato, and Fortunato the serpent which ultimately triumphs” (Robertson 39-40).
“The motto … could apply ironically to all three interpretations ‘since it could fit either what is represented by the foot or what is symbolized by the snake or both’” (Robertson 41).
As Montresor and Fotunato proceed further into the vault, Fortunato makes a gesture with the wine bottle that Montresor does not understand. Fortunato asks Montresor if he understands, and Montresor replies that he does not. Fortunato then comments that Montresor is not of the brotherhood (the masons), but Montresor dramatically exclaims that he is: “Yes, yes,” I said “yes! yes” (Poe, Cask 546). The following ironic exchange takes place:
“You? Impossible! A mason?”
“A mason,” I replied.
“A sign” he said.
“It is this,” I answered, producing a trowel from beneath the folds of my roquelaire. [emphasis added]
“You jest,” he exclaimed, recoiling a few paces. “But let us proceed to the Amontillado.”
“Be it so, “ I said … (Poe, Cask 546)
Montresor uses the word mason to mean a craftsman who builds with stone and mortar, alluding, of course, to the fact that he will soon be a constructing a stone wall that will entomb Fortunato, while Fortunato is referring to the society of the Freemasons. This passage, among other things, “draws attention to an important distinction between the two men: Fortunato is a freemason; Montresor is a Catholic (Harris 121).” “Montresor refers to ‘masonry’ and ‘mason-work’ again several times” ...” ‘Against the new masonry I re-erected the rampart of old bones,’ and ends his tale with ‘In pace requiescat,’ the close of the requiem mass, thus suggesting that his motive has been to conduct his own personal inquisition against Fortunato” (Harris 122-23).
Montresor repeatedly expresses a false concern for Fotunato’s health as they descend into the cold damp of the catacombs, while at the same time making reference to the wrongs bestowed upon him by Fortunato: ‘Come,’ I said, with decision, ‘we will go back; your health is precious. You are rich, respected admired, beloved; you are happy as once I was. You are a man to be missed. For me it is no matter’” (Poe, Cask 545). To Fortunato’s “I shall not die of a cough,” Montresor replies, “True – true” (Poe, Cask 545).
Ironically, “He is an ignoramus” (Poe, Cask, 546) are the last words Fortunato speaks before being locked into the crypt. Montresor again mentions the damp and mocks Fortunato: “‘Pass your hand,’ I said, ‘over the wall; you cannot help feeling the nitre. Indeed it is very damp. Once more let me implore you to return. No?’” (Poe, Cask 546). Even as Fortunato shrieks and screams, Montresor continues his mockery: “I replied to the yells of him who clamored. I reechoed – I aided – I surpassed them in volume and in strength … and the clamorer grew still” (Poe, Cask 547).
“The Cask of Amontillado” appropriately culminates at midnight, the traditional witching hour of lore. Fortunato, using the scant molecules of oxygen left to him, says to Montresor “Ha! ha! ha! – he! he! he! – yes, the Amontillado …” This may be interpreted to mean that Fortunato, in a moment of clarity, finally understands the pun behind the word amontillado. “…Fortunato may understand Montresor’s pun … through devising associations between the name of the wine and Italian words. The name of the wine looks like the past participle of the Spanish verb amontinallar … Amontillado, thus, would mean ‘collected in a pile,’ ‘gathered in a mount,’ or ‘piled at the mountain’ … regardless of whether Fortunato knew Spanish, … he might realize that he himself is to become amontillado – a pile of bones gathered in a mount in Montresor’s crypt” (Baraban). Finally, one must ask the question: Did Montresor successfully realize his revengeful plan? Did he complete the perfect murder? G.R. Thompson argues that he has failed in this regard: “Montresor, rather than having successfully taken his revenge ‘with impunity’ ... has instead suffered a fifty-years’ ravage of conscience” (Thompson 13-14). Thompson comments that Montresor’s words “you, who so well know the nature of my soul” (Poe, Cask 543) are spoken to a confessor, “for if Montresor has murdered Fortunato fifty years before, he must now be some seventy to eighty years of age” (Thompson 13-14). This supports the contention that Montresor has a guilty conscience, as does the fact that fifty years later, he can still vividly recall that his heart “grew sick – on account of the dampness of the catacombs” (Poe, Cask 548). But, alas, is this simply more irony? “The narrator is perfectly aware of the effect the second part of his sentence produces on his listener (even if the whole narration is Montresor’s last confession and his listener is a priest). It destroys any hope in Montresor’s humanity and highlights once again that Montresor feels no guilt regarding the murder” (Baraban). As Charles May noted in contemplating Montresor’s guilty conscience, or lack thereof: “Even if our hypothesis that Montresor tells the story as a final confession … is correct, the tone or manner of his telling makes it clear that he has not atoned, for he enjoys himself in the telling too much – as much, in fact, as he did when he committed the crime itself” (May).
The exploration of dramatic and situational irony in an analysis of “The Cask of Amontillado” leads the reader to realize Poe’s genius and skill in the writing of this tale.
Poe revealed much to the reader—through the use of irony by the narrator of the story—that was concealed from Fortunato. At the same time, Poe’s own use of irony, subtle nuances and mysterious references in his composition of “The Cask of Amontillado” leaves the reader with many points of inquiry and much to consider. As a reading of Poe’s Philosophy of Composition would suggest, however, this clearly was Poe’s
intention.

Appendix

The Montresor Coat of Arms (Fossemò)

Works Cited
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Moffitt, Cecil, L.. "Poe 's Wine List," from Poe Studies, Vol. V, no. 2. December 1972. p. 41. Web. 1 May 2013.
Fossemò, Sandro D.
The Mysterious Revenge in “The Cask of Amontillado.” http://blogmetropolis.myblog.it/archive/2012/05/09/ Web. 12 May 2013
Harris, Kathryn M. “Ironic Revenge in Poe’s ‘The Cask of Amontillado.’” Studies in Short Fiction 6 (1969); 333-35. Reprinted in Critics on Poe: Readings in Literary Criticism. Ed. David B. Kesterson. Coral Gables, FL.: University of Miami Press, 1973. Pp. 121-24. Print.
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Poe, Edgar Allan. (1903). “The Philosophy of Composition.” The Works of Edgar Allan Poe (Lit2Go Edition). Web. 11 May 2013.
Reynolds, David S. “Poe’s Art of Transformation: ‘The Cask of Amontillado’ in Its Cultural Context.” In New Essays on Poe’s Major Tales. Ed. Kenneth Silverman. Cambridge: Cambridge University Press, 1993. Pp. 93-112. Print.
Robertson, Patricia. “Poe’s ‘The Cask of Amontillado’—Again.” Arkansas Philological Association 14.1 (1988): 39-46.
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Thompson, G.R. Poe’s Fiction: Romantic Irony in the Gothic Tales. Madison: University of Wisconsin Press, 1973. Print.
Wikipedia contributors. "The Cask of Amontillado." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 1 May. 2013. Web. 12 May 2013.