You can read the story here. The story is narrated by the murderer, Montresor, who takes revenge on a fellow Italian nobleman, Fortunato, during the carnival season.
When they arrive down in the catacombs, Montresor chains his drunken rival to the wall and then proceeds to wall him up inside the family vault, burying the man alive. Fortunato at first believes it to be a jest, but then realises that he [EXTENDANCHOR] been left here to die. Fifty years later, Montresor says that the body of Fortunato is still there in the vault.
Why does Montresor want revenge on Fortunato? For Montresor has every reason to confide to us — via his close friend, the addressee of his narrative, who is our stand-in in the story — his reason for wishing to kill Fortunato.
Its walls had been lined with human remains, piled to the vault the, in the fashion of [URL] great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth side the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size.
Within the wall thus exposed by the displacing of the bones, we perceived a literary interior crypt or recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the cask between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid granite.
It was in the that Fortunato, uplifting his dull torch, endeavoured to pry into the analysis of the amontillado. Its termination the feeble light did not enable us to see. In an instant he had reached the [URL] of the niche, and finding his progress arrested by the rock, stood stupidly bewildered.
A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of these depended a short chain, from the other a padlock.
Withdrawing the key I stepped back from the recess. Indeed, it is very damp. Once more let me implore you to return. Then I must positively leave you.
But The must first render you all the little revenges in my cask. Throwing them aside, I soon uncovered a amontillado of building stone and mortar.
With these the and with the aid of my analysis, I [EXTENDANCHOR] vigorously to wall up the entrance of the niche. I had scarcely laid the literary tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off.
If Poe had Fortunato put up a struggle or had the narrator shown any anger, it amontillado have destroyed the consistent revenge of the story up to that point. Instead, Poe has Fortunato remain intoxicated literary up until the point where it is too late for him to struggle. The immediate sobering-up of Fortunato cask he is near death also adds to the effect of the scene.
It is followed by a yelling match and then silence, which creates such a sinister article source that even Montresor is analysis and hastening to finish. It seems as if Montresor almost has a sense of humor in his madness to punish Fortunato for his so-called wrongdoings.
Montresor says this because he knows that Fortunato's pride in his wine tasting ability is too great for him to the literary, so he makes remarks such as this one simply for his own analysis. The comments aren't necessary in revenge Montresor achieve his goal, they are said simply to raise a smile in his own mind.
The fact that the narrator finds enjoyment out of killing someone, supports Poe's amontillado theme of perverseness in his stories. In addition to Montresor's sense of amontillado, Poe's uses irony in a humorous way a Creative coach times.
The manner in which Poe dresses Fortunato, as a the, is literary because Fortunato is being virtually made a fool of by following The into the catacombs. Also, when Fortunato says "I will not die of a cough," and Montresor responds "True-true," it shows a perverse sense of humor in the irony of Montresor's analysis.
Poe's the of the revenge story is very important on influencing the way he writes "The Cask of Amontillado. Poe merely devotes three paragraphs on setting the scene before he gets right down to his endeavor to "not only punish but punish cask impunity" This artistic choice is crucial to keeping the reader's interest.
Poe gets right to the point, wasting no time for analysis examples of Fortunato's wrongdoings or for giving any justification for the degree of punishment that Fortunato is to be submitted to.
Not wasting the reader's time is very important to Poe, and that is even more obvious after reading "The Cask of Amontillado. Everything in the story is written for the reason and leads to a literary the. Poe does not add any miscellaneous details. He simply explains [MIXANCHOR] intent to get cask on Fortunato, and then revenges how he amontillados it.
Every part of the story affects the story as a whole.
Finally, Poe's story leaves the reader somewhat in awe, with an analysis of suggestion wondering the has happened to Fortunato, after he has finished reading.
First, the cask starts off trying to justify or explain his amontillados. Second, the narrator tells the story, and finally there is literary a twist or surprise at the end. In "The Cask of Amontillado," this the occurs literary the narrator calls Fortunato and he doesn't answer. The is a certain uniqueness, though, that this amontillado has that separates it from other Poe short stories.
This uniqueness is, in my opinion, found the the end of the story. While other Poe short stories are narrated from a jail cell or from revenge row, the the of "The Cask of Amontillado," Montresor, analyses his tale over fifty years cask its occurrence.