Use Of Dramatic Irony In The Cask Of Amontillado

The Cask of Amontillado illustrates Poe's use of first–person narration, using an unreliable character, whose guilt and infrequent irrationality prevents him from revealing himself straightforwardly to the reader. He engages both verbal and melodramatic humor to indicate the darkness within the plot of the story. Poe’s criticism fails to emphasize that Fortunato and Montresor are friends”, (Whatley 1), though it is evident as Montresor states, “that I encountered my friend, he accosted me with excessive warmth” (Poe 715). Montresor, in actuality despises Fortunato and is only pleased to see him so that he may be able to now complete his murderous plans. He presents to the audience a vague understanding of his motivations, and his deception
The dramatic irony is when Fortunato, is not aware of his own actions. Montresor entertains himself and the reader as he leads Fortunato into his trap. The setting of the story is ironic, in that Montresor has chosen the cheerful carnival season to facilitate his murder because no one will be around to witness. As they drink the Medoc, Fortunato drinks to the dead and buried, not understanding that he is about to be amongst them, and Montresor amusingly drinks to Fortunato's health. Nonetheless the end of the story reveals Montresor to be both villainous and intelligent. He implies to Fortunato, he comes from a family with a long tradition of revenge, as he secures Fortunato into the burial ground of his avenging family. White suggests, “from his point of view, he is acting patriotically” (551). The story occurs about fifty years after the incident, implying Montresor was never discovered nor has his opinion of the crime unjustified. Whatley propose, “Judge, executioner, and priest Montresor is too sane and wily to be considered mad. Montresor does not have remorse”