thesis statement the cask of amontillado

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The Cask of Amontillado by Edgar Allen Poe

A classic short story by Edgar Allan Poe, “The Cask of Amontillado” first appeared in 1846 in the magazine Godey’s Lady’s Book . Since then, it has won fame and popularity to Poe solely due to its exotically terrifying setting. Set in Italy, the story follows Montresor’s twisted plan to seek revenge on his acquaintance, Fortunato, by luring him into the catacombs under the guise of tasting a rare wine. The story’s popularity has endured over time due to its masterful use of suspense, atmosphere, and dark humor, as well as its exploration of themes such as revenge, madness, and the blurred line between reality and illusion. It has become part of anthologies and classroom text booms across the globe, bringing Poe’s reputation tt the top among the master of horror and suspense stories.

Main Events in “The Cask of Amontillado” by Edgar Allen Poe

• Montresor, who feels insulted by his acquaintance Fortunato, decides to seek revenge on him.
• During Carnival, Montresor encounters Fortunato and tells him he has a rare wine called Amontillado that he needs an expert opinion on.
• Fortunato, who is a wine connoisseur, eagerly follows Montresor to the catacombs where Montresor has told him he has stored Amontillado.
• On the way to the catacomb, he showers praises on Fortunato, causing him to feel jealous over the mention of another connoisseur, and coaxes him to go with him. He also gives him sips from his cask to keep him drunk and disoriented.
• Montresor leads Fortunato deep into the catacombs, eventually bringing him to a small room where he has promised to show him the Amontillado.
• Montresor chains Fortunato to the wall and begins to build a wall of bricks around him, effectively burying him alive.
• Throughout the process, Fortunato becomes confused in his thrill and excitement of checking Amontillado, and then begins to realize Montresor’s true intentions.
• Montresor continues to taunt Fortunato, mocking him for his foolishness and begging for his forgiveness.
• Finally, the wall is complete, and Montresor leaves Fortunato to die alone in the darkness.
• The story ends with Montresor reflecting on his successful revenge and paying that “May he rest in peace!”

Literary Devices in “The Cask of Amontillado” by Edgar Allen Poe

• Alliteration : Repetition of consonant sounds at the beginning of words in a sentence, for example “now no human has touched them” in the story, repeating the sounds of /n/, /h/, and /t/.
• Allusion : A reference to a well-known person, place, event, or work of literature, such as the reference to Montresor’s family catacombs.
• Antagonist : Montresor, the protagonist of the story, is also the antagonist because he is the one perpetrating the crime, while Fortunato is an innocent connoisseur.
• Foreshadowing : The hints and clues that Poe drops throughout the story, such as the description of the catacombs and the reference to the Masons, foreshadow the dark and twisted turn that the story takes.
• Hyperbole : An exaggerated statement used to emphasize a point, such as Montresor’s claim that Fortunato’s cough “the cough is a mere nothing; it will not kill me.”
• Imagery : Vivid and descriptive language used to create mental images, such as the description of the damp catacombs and the smell of the nitre about which Montresor tells “It hangs like moss upon the vaults.”
• Irony : The contrast between what is expected and what actually happens, such as the fact that Fortunato is in a jester’s dress and yet facing the risk of death.
• Metaphor : A comparison between two unlike things to highlight a particular similarity, such as the comparison between Fortunato and a “clown.”
• Mood: The emotional atmosphere of a story created by the author, such as the eerie and suspenseful mood that Poe creates in the catacombs.
• Motif : A recurring theme or image, such as the references to the Masons and the coat of arms.
• Personification: The attribution of human qualities to non-human things, such as the personification of the nitre as a “white web-work.”
• Point of View: The perspective from which the story is told, in this case, from Montresor’s point of view.
• Repetition: The repeated use of a word or phrase, such as the repetition of the word “revenge” throughout the story.
• Satire: The use of humor, irony, or exaggeration to ridicule human behavior, such as the irony of Montresor’s twisted sense of revenge.
• Setting: The time and place where the story takes place, in this case, during the carnival season in Italy.
• Simile: A comparison between two unlike things using “like” or “as,” such as the comparison between Fortunato’s smile and that of a wild animal.
• Symbolism: The use of symbols to represent ideas or concepts, such as the coat of arms and the Masons.
• Tone: The author’s attitude towards the subject or the audience, such as Poe’s ominous and foreboding tone throughout the story.

Characterization in “The Cask of Amontillado” by Edgar Allen Poe

Major characters:.

• Montresor: He is the narrator and protagonist of the story. Montresor is consumed by the desire for revenge against his acquaintance Fortunato, whom he believes has insulted him. He is cold and calculating, manipulating Fortunato into the catacombs under false pretenses and eventually trapping and killing him by building a wall around him after making him sit in a niche.
• Fortunato: The victim of Montresor’s revenge. Fortunato is a wine connoisseur who is easily lured by Montresor’s promise of a rare wine called Amontillado. He is depicted as arrogant and foolish, unable to see through Montresor’s manipulations until it is too late.

Minor Characters:

• Luchesi: A wine expert whom Montresor mentions as a potential rival to Fortunato. He never appears in the story, but Montresor uses him to manipulate Fortunato’s ego and convince him to continue to check the Amontillado lying in the basement of his catacomb.
• Montresor’s servants: They are briefly mentioned as having left Montresor’s home for the evening, allowing him to carry out his plan without any interference.
• The Montresor and Fortunato families: Both are referenced in the story, with the implication that there may be some sort of long-standing feud or rivalry between them. However, the story does not show specific details.

Overall, the focus of the story is primarily on the relationship between Montresor and Fortunato, with the other characters serving as supporting elements to the plot.

Writing Style in “The Cask of Amontillado” by Edgar Allen Poe

Edgar Allan Poe’s writing style in “The Cask of Amontillado” shows characteristics of its Gothic elements, including vivid descriptions of the setting and a focus on the darker aspects of human nature. In the first-person point of view, the story presents Montresor as the narrator, which creates a sense of intimacy with the reader and adds to the story’s suspense. Poe’s use of foreshadowing and irony is also notable, as he drops hints throughout the story that build up to the shocking ending. The language used is often poetic and evocative, with descriptions of the damp catacombs and the scent of the nitre adding to the story’s eerie atmosphere. Overall, Poe’s writing style in “The Cask of Amontillado” is masterful in that it creates a sense of tension and unease, making it a classic example of Gothic literature.

Major Themes in “The Cask of Amontillado” by Edgar Allen Poe

Some of the major themes in “The Cask of Amontillado” by Edgar Allan Poe include:

• Revenge: The story moves with Montresor’s desire for revenge against Fortunato, who has insulted him. Montresor’s plan to lure Fortunato into the catacombs and murder him is a chilling example of the destructive power of revenge.
• Betrayal: Montresor feels that Fortunato once insulted and betrayed him. This fuels his desire for revenge. However, the story also raises questions about Montresor’s own loyalty, as he plans to murder a man who trusts him.
• Deception: Montresor is a master of deception, using his intelligence and cunning to lure Fortunato into his trap. The story highlights the dangers of trusting others blindly and the power of manipulation.
• Madness: Montresor’s obsession with revenge and his willingness to commit murder suggest that he may be mentally unstable. The story explores the theme of madness and its destructive effects on the human mind.
• Mortality: The catacombs are a symbol of death and decay, reminding the reader of the inevitability of death. The story raises questions about the nature of mortality and the limits of human power and control.

Literary Theories and Interpretation of “The Cask of Amontillado” by Edgar Allen Poe

There are various literary theories and interpretations of “The Cask of Amontillado” by Edgar Allan Poe. Some of these include:

• Gothic Literature: The story is often seen as a classic example of Gothic literature. It shows Gothic features through its dark and eerie atmosphere with an emphasis on the darker aspects of human nature, and the use of suspense and horror. It also creates a sense of terror in the reader.
• Psychoanalytic Theory : Some scholars have interpreted the story through a psychoanalytic lens, suggesting that it reflects Poe’s own psychological struggles and fears. For example, Montresor’s obsession with revenge may be seen as a reflection of Poe’s own struggles with anger and resentment.
• Reader-response Theory: This theory focuses on the reader’s interpretation of the text, suggesting that each reader brings their own experiences and perspectives to the story. In this sense, the story may be interpreted in a variety of ways depending on the reader’s background and context.
• Postcolonial Theory : Some scholars have interpreted the story through a postcolonial lens, suggesting that it reflects Poe’s own anxieties about power and control. For example, Montresor’s manipulation and abuse of power may be seen as a reflection of the oppressive colonial systems that existed in Poe’s time.
• Symbolism: Many elements of the story, such as the catacombs, the nitre, and the Montresor coat of arms, could have symbolic interpretations. For example, the catacombs may represent the dark recesses of the human mind, while the Montresor’s coat of arms may represent the family’s history of violence and vengeance.

Questions-Thesis Statements about “The Cask of Amontillado” by Edgar Allen Poe

• What is the psychological motivation behind Montresor’s desire for revenge against Fortunato?

Thesis Statement: Through the use of characterization and symbolism, Poe demonstrates how Montresor’s thirst for vengeance against Fortunato is driven by his own wounded pride and need for dominance.

• How does Poe use setting and atmosphere to create a sense of dread and horror in the story?

Thesis Statement: By carefully crafting the dark and ominous setting of the catacombs and creating a foreboding atmosphere of suspense, Poe heightens the reader’s sense of terror and anxiety.

• What role does irony play in the story, particularly in the interactions between Montresor and Fortunato?

Thesis Statement: Through his use of dramatic irony, Poe reveals the true nature of Montresor’s plan to the reader, while Fortunato remains oblivious until it is too late, resulting in a tragic and ironic end.

• How does Poe use foreshadowing to create tension and anticipation throughout the story? Thesis Statement: By dropping subtle hints and clues throughout the story, such as Montresor’s mention of his family motto and the imagery of the crypts and tombs, Poe builds a sense of foreboding that ultimately culminates in the shocking finale.
• What is the significance of the title “The Cask of Amontillado” and how does it relate to the themes of the story?

Thesis Statement: The title “The Cask of Amontillado” is significant because it symbolizes the deceptive nature of appearances and how things are not always as they seem. Through this symbolism, Poe explores the themes of revenge, betrayal, and the dangers of unchecked pride.

• How does Poe’s use of unreliable narration contribute to the impact and meaning of the story?

Thesis Statement: By using Montresor as an unreliable narrator, Poe heightens the ambiguity and moral complexity of the story, forcing the reader to question their own assumptions about justice and revenge.

Short Questions About “The Cask of Amontillado” by Edgar Allen Poe

• What is the significance of the carnival setting in the story, “The Cask of Amontillado” by Edgar Allen Poe?

The carnival setting serves as a significant backdrop for the story’s events. It creates a sense of chaos and deception, where things are not what they seem, making it easier for Montresor to lure Fortunato into the catacombs without arousing suspicion. The carnival is also a time of excess and indulgence, where people often abandon their inhibitions and indulge in their desires. This creates an opportunity for Montresor to exploit Fortunato’s love of wine and pride in his connoisseurship to carry out his act of revenge. The carnival atmosphere also provides an ironic contrast to the story’s dark and macabre tone, adding to the sense of horror and foreboding.

• What is the role of wine and alcohol in the story, “The Cask of Amontillado” by Edgar Allen Poe?

Wine and alcohol play a symbolic role in the story, representing both pleasure and danger. Fortunato’s love of wine and his desire to taste the rare Amontillado are used by Montresor to lure him into the catacombs and ultimately lead to his downfall. The wine also serves as a metaphor for the intoxicating effects of pride, as both Montresor and Fortunato are consumed by their own sense of superiority and self-importance. Additionally, the consumption of wine leads to Fortunato’s impaired judgment and inability to perceive the danger he is in, making him an easy target for Montresor’s revenge.

• What is the significance of the family motto “Nemo me impune lacessit” in the story, “The Cask of Amontillado” by Edgar Allen Poe?

The family motto “Nemo me impune lacessit,” which translates to “No one attacks me with impunity,” serves as a warning to anyone who would dare to insult or cross the Montresor family. It also underscores the theme of revenge and the idea that Montresor feels justified in seeking retribution for Fortunato’s perceived insult. By using the family motto, Poe creates a sense of history and tradition surrounding the Montresor family, emphasizing the importance of pride and honor within their culture. Additionally, the use of Latin adds to the story’s gothic and archaic tone, contributing to its overall eerie atmosphere.

• What is the overall message or lesson of the story?

“The Cask of Amontillado” is a cautionary tale about the dangers of unchecked pride and the destructive consequences of revenge. It shows how even the most meticulously planned acts of revenge can ultimately lead to one’s own downfall and suffering, emphasizing the importance of forgiveness and letting go of grudges. Through the characters of Montresor and Fortunato, Poe illustrates the toxic effects of pride and the corrosive nature of revenge. Ultimately, the story serves as a warning against the dangers of succumbing to our baser instincts and allowing our desires for revenge and power to consume us.

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"The Cask of Amontillado" By Edgar Allan Poe

Editorial Statements

Research informing these annotations draws on publicly-accessible resources, with links provided where possible. Annotations have also included common knowledge, defined as information that can be found in multiple reliable sources. If you notice an error in these annotations, please contact [email protected].

Original spelling and capitalization is retained, though the long s has been silently modernized and ligatured forms are not encoded.

Hyphenation has not been retained, except where necessary for the sense of the word.

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THE thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged; this was a point definitely, settled-- but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who had done wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point--this Fortunato--although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity, to practice imposture upon the British and Austrian millionaires . In painting and gemmary gemmary , Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially;--I was skilful in the Italian vintages myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He accosted me with excessive warmth, for he had been drinking much. The man wore motley motley . He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I thought I should never have done wringing his hand.

I said to him--"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."

"How?" said he. "Amontillado? A pipe? Impossible! And in the middle of the carnival!"

"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargin."

"Amontillado!"

"I have my doubts."

"And I must satisfy them."

"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me--"

"Luchresi cannot tell Amontillado from Sherry."

"And yet some fools will have it that his taste is a match for your own."

"Come, let us go."

"To your vaults."

"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"

"I have no engagement;--come."

"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre nitre ."

"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."

Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of black silk and drawing a roquelaire roquelaire closely around my person, I suffered him to hurry me to my palazzo palazzo .

There were not attendants at home; they had absconded absconded to make merry in honour of the time. I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. The orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned.

I took from their sconces two flambeaux flambeaux , and giving one to Fortunato, bowed him through several suites of rooms to the archway that led into the vaults. I passed down a long and winding staircase, requesting him to be cautious as he followed. We came at length to the foot of the descent, and stood together upon the damp ground of the catacombs of the Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.

"The pipe," he said.

"It is farther on," said I; "but observe the white web-work which gleams from these cavern walls."

He turned towards me, and looked into my eyes with two filmy orbs that distilled the rheum rheum of intoxication.

"Nitre?" he asked, at length.

"Nitre," I replied. "How long have you had that cough?"

"Ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!--ugh! ugh! ugh!"

My poor friend found it impossible to reply for many minutes.

"It is nothing," he said, at last.

"Come," I said, with decision, "we will go back; your health is precious. You are rich, respected, admired, beloved; you are happy, as I once was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi--"

"Enough," he said; "the cough is a mere nothing; it will not kill me. I shall not die of a cough."

"True--true," I replied; "and, indeed, I had no intention of alarming you unnecessarily--but you should use all proper caution. A draught of this Medoc medoc will defend us from the damps.

Here I knocked off the neck of a bottle which I drew from a long row of its fellows that lay upon the mould.

"Drink," I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his bells jingled.

"I drink," he said, "to the buried that repose around us."

"And I to your long life."

He again took my arm, and we proceeded.

"These vaults," he said, "are extensive."

"The Montresors," I replied, "were a great and numerous family."

"I forget your arms."

"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel."

"And the motto?"

" Nemo me impune lacessit nemo ."

"Good!" he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the Medoc. We had passed through long walls of piled skeletons, with casks and puncheons puncheons intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made bold to seize Fortunato by an arm above the elbow.

"The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are below the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it is too late. Your cough--"

"It is nothing," he said; "let us go on. But first, another draught of the Medoc."

I broke and reached him a flaçon of De Grâve. He emptied it at a breath. His eyes flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did not understand.

I looked at him in surprise. He repeated the movement--a grotesque one.

"You do not comprehend?" he said.

"Not I," I replied.

"Then you are not of the brotherhood."

"You are not of the masons."

"Yes, yes," I said; "yes, yes."

"You? Impossible! A mason?"

"A mason," I replied.

"A sign," he said, "a sign."

"It is this," I answered, producing from beneath the folds of my roquelaire roquelaire a trowel.

"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado."

"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm. He leaned upon it heavily. We continued our rout in search of the Amontillado. We passed through a range of low arches, descended, passed on, and descending again, arrived at a deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the 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 still 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 interval 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 vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth of the recess. Its termination the feeble light did not enable use to see.

"Proceed," I said; "herein is the Amontillado. As for Luchresi--"

"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I followed immediately at his heels. In an instant he had reached the extremity of the niche niche , and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered 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. Throwing the links about his waist, it was but the work of a few seconds to secure it. He was too much astounded to resit. Withdrawing the key I stepped back from the recess.

"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? Then I must positively leave you. But I will first render you all the little attentions in my power."

"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.

"True," I replied, "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man. There was then a long and obstinate obstinate silence. I laid the second tier, and the third, and the fourth; and then I heard the furious vibrations of the chain. The noise lasted for several minutes, duing which, that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon the bones. When at last the clanking subsided, I resumed the trowel, and finished without interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with my breast. I again paused, and holding the flambeaux over the mason-work, threw a few feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled. Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I reapproached the wall. I replied to the yells of him who clamoured. I re-echoed, I aided, I surpassed them in volume and in strength. I did this, and the clamourer grew still.

It was now midnight, and my task was drawing to a close. I had completed the eight, the ninth, and the tenth tier. I had finished a portion of the last and eleventh; there remained but a single stone to be fitted and plastered in. I struggled with its weight; I placed it it partially in its destined position. But now there came from out the niche a low laugh that erected the hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as that of the noble Fortunato. The voice said--

"Ha! ha! ha!--he! he! he!--a very good joke, indeed--an excellent jest. We will have many a rich laugh about it at the palazzo--he! he! he--over our wine--he! he! he"

"The Amontillado!" I said.

"He! he! he!--he! he! he!--yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."

"Yes," I said, "let us be gone."

" For the love of God, Montresor! "

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud--

"Fortunato!"

No answer. I called again--

No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat! requiesat

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“The Cask of Amontillado” by Edgar Allan Poe Essay

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In the short story Cask of Amontillado, Edgar Allan Poe portrays a dark story of horrid and calculated revenge. Poe is known to be a master of using words and literary elements to create the necessary environment necessary for the story and deriving emotional reactions from the reader. In this story, Poe manipulates point of view and setting as contributing factors to establishing an eerie and unreliable tone and perspective that drive forward the concept of the plot.

The story utilizes a first-person point of view when the narrator named Montresor relates the story. The plot is told from the first person as the pronoun “I” is used and the story is told in the past tense. However, unlike most literary works where the story is told in the past tense and the narrator is objective, therefore reliable – Poe makes the narrator in The Cask of Amontillado intentionally unreliable. Montresor retells the events in a sadistic, manipulative, and somewhat sarcastic tone, which creates dramatic irony. “I would make him pay, yes; but I would act only with the greatest care…the wrong would not be made right unless Fortunato knew that he was paying and knew who was forcing him to pay” (Poe 68). The unreliability of the narrator is shown by this as he attempts to justify a sadistic act as well as showing evidence of psychological inconsistencies.

The setting largely matches the tone of the narrator, described as eerie and dark (Poe 70). The way that Poe characterizes the setting changes as the story progresses, particularly the deeper that the characters descend into the catacombs. At first, it was a deep place under the palace, cool and dark. However, as they go further, the setting is visualized as grim, extremely constrained, and the air barely breathable. The descriptions of small details such as bones spread out on the ground foreshadow the grim end for Fortunato (Poe 71).

Despite being often overlooked, point of view and setting can contribute greatly to the perception of the reader in the tone of the story. Poe highlights the use of the first person in an unreliable narrator to emphasize their dark psychological state which is contributed to the eerie, almost metaphorical descriptions of the setting which contributes to the horrendousness of this story of murderous revenge.

Poe, Edgar A. The Cask of Amontillado. 1847, Web.

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"The Cask of Amontillado": Summary & Brief Analysis

• Trent Lorcher
• Categories : Literature study guides and chapter summaries
• Tags : Homework help & study guides

It would probably take you less time to read “The Cask of Amontillado” than it will to read this summary:

Montresor doesn’t like Fortunato on account of the thousands of injuries he has caused, injuries that he bears magnanimously (yes, that’s sarcasm), but when Fortunato resorts to insult, Montresor vows revenge, a revenge which excludes punishment and a revenge which makes Fortunato completely aware of who’s getting the revenge.

It’s Carnival in Italy and good wine is at a premium. Montresor uses stratagem to lure Fortunato into his underground vaults to exact his revenge. Fortunato, ever so happy to display his wine wisdom, agrees to accompany Montresor into the catacombs to test the wine, hoping to expose Montresor as a fool, ironic considering Fortunato’s wearing the fool’s costume.

There are two things that allow Montresor’s plan to succeed: (1) Fortunato is extremely drunk; (2) Montresor is a master of reverse psychology and irony. Numerous times, he cautions Fortunato about his cough and declares his wish to go to Luchesi–whom we know little of other than Fortunato thinks he’s an “ignoramus.” This mention of Fortunato’s rival makes him all the more eager to prove Montresor’s imbecility in buying Amontillado from a huckster.

The two proceed down the ancient corridor when, suddenly, Montresor chains Fortunato to a wall, where he has remained ever since.

• The Unreliable Narrator - Any analysis of “The Cask of Amontillado” must take into account the story’s point of view. Everything we know is filtered through the demoniacal brain of Montresor. Montresor is easily offended, jealous of Fortunato, and a little strange. His propensity for being offended stems from his insecurity, an insecurity that could lead him to invent a story about masterminding the perfect murder/revenge. His jealousy of Fortunato leads him to slant everything in the story to make Fortunato look stupid–his motley dress, his drunkenness, his pomposity. The story itself indicates Montresor lacks sanity and cannot be trusted. It’s his insanity, however, that leads the reader to believe he is capable of such an act.
• The Insult - Montresor vows revenge after Fortunato insults him. The question that must be answered is what exactly, if anything, does Fortunato do to cause such hatred in Montresor. The two exchange lively banter in the catacombs, yet nothing is revealed in regards to the insult needed to be avenged. Why doesn’t Poe include the insult? Because the insult’s irrelevant and may have never occurred.
• Premature Burial - Poe had an irrational fear of being buried alive and many of his stories have some aspect of premature burial: (1) A cat is walled up, feasting on his dead wife’s brain in “The Black Cat” ; (2) The protagonist in “The Pit and the Pendulum” nearly falls down a pit, sitting in the middle of a cell that resembles a tomb; (3) “The Premature Burial,” as the title suggests, contains stories about people being buried alive; (4) “The Fall of the House of Usher” contains another example of being buried alive.
• Theme - Posssible themes include revenge, deception, pride, and insanity. For more on themes, view example thesis statements for “The Cask of Amontillado” below.

Sample Thesis Statements

Just in case you’ve been assigned an essay, I’ve included thesis statements:

• Edgar Allan Poe’s “The Cask of Amontillado,” doubles as an essay on how to get revenge.
• Fortunato in Edgar Allan Poe’s “The Cask of Amontillado” gets what he deserves.
• Montresor’s use of irony in Edgar Allan Poe’s “The Cask of Amontillado” demonstrates that the crime he narrates never actually took place.
• The setting in Edgar Allan Poe’s “The Cask of Amontillado” establishes the perfect backdrop for the perfect crime.

Feel free to share your thesis statements by leaving a comment below.

This post is part of the series: Short Story Study Guides

These short stories are commonly taught in high school. I teach high school. I can help.

• Summary and Analysis of “TheTell-Tale Heart”
• “The Tell-Tale Heart” Study Questions with Answers
• Study Guide for “The Cask of Amontillado”
• Symbolism and Irony in “The Cask of Amontillado”

Sample details

Edgar Allan Poe

Cask Of Amontillado

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Related Topics

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• The Tell Tale
• The Fall of The House of ...
• The Pit and the Pendulum
• The Tell Tale Heart
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Cask of Amontillado Thesis Theme

In The Cask of Amontillado, Edgar Allen Poe displays the theme of revenge. In the story, Montressor narrates the story and feels he has been wronged by Fortunado and vows for vengeance against him. Montressor attempts to justify his future crime to the reader. “A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. ” (Poe 101) Fortunado is unaware of the wrong he caused Montressor by insulting him. Montressor feels that this is reason enough for his retribution. The thousand injuries of Fortunado I had borne as I best could, but when he ventured upon insult I vowed for revenge. ” (Poe 101) The thought of revenge is not only the plot to the short story, but also the underlying theme that Poe supports throughout. An internal conflict of pride is a major element to the story. Fortunado thinks of himself on being a connoisseur of fine wine. The thought of Montressor seeking outside help in Luchresi for a wine tasting practically infuriates Fortunado. “Luchresi cannot tell Amontillado from Sherry. (Poe 101)

This causes Fortunado to be easily manipulated into following Montressor deep into his family vaults underneath his home. Fortunado’s pride even causes him to ignore his own health as moves deeper into the catacombs, “the cough is a mere nothing; it will not kill me. I shall die of a cough. ” (Poe 102) The pride in Fortunado ultimately leads to Montressor fulfilling his plot of revenge to the point of Fortunado walking into his own resting place. “It was in vain that Fortunado, uplifting his dull torch, endeavored to pry into the depth of the recess. (Poe 104) Montressor’s pride is shown when he finally corners Fortunado and locks him up before he lays bricks, blocking him in the recess. “I will first render you all the little attentions in my power. ” (Poe 104) He finally is satisfied with the preceding outcome that he finally reveals his true nature to Fortunado. Poe uses foreshadowing in The Cask of Amontillado. The reader has a full understanding that Montressor is going to kill Fortunado, it is the means of how he will do it; which is unidentified to the reader at the beginning of the story.

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As the tale moves along, more clues are given to the outcome of he story. Montressor’s family motto, “Nemo me impune lacessit,” which means “no on provokes me with impunity,” shows Montressor’s diabolical nature. He also describes his family crest. “A huge human foot d’or in a field azure, the foot crushes a serpent rampant whose fangs are imbedded in the heel. ” (Poe 103) He basically shows Fortunado that he is going to be punished for the harm that he supposedly caused him. Fortunado doesn’t suspect any future punishment since Montressor has been acting nice towards him. “It must be understood that neither by word nor deed had I given Fortunado cause to doubt my good will. (Poe 101) Montressor also toasts to Fortunado’s “long life” (Poe 103) which is more deception played out to prove Fortunado’s life was ending soon. The irony in Montressor’s narration is heavy device used to support the story. Irony is a meaning or outcome contrary to what is expected. Montressor constantly shows a concern for Fortunado’s health even though he leading him to his own death. He most definitely doesn’t really care if he’s healthy or not, “we will go back; your health is precious. ” (Poe 102) Even Fortunado’s name is ironic since his impending death is definitely not fortunate.

The outfit which Fortunado was wearing also shows irony in the story. “He had on a tight-fitting parti-striped dress, and his head was surmounted by the conical cap and bells. ” (Poe 101) The clothing which Fortunado was wearing is that of a jester’s outfit. It’s merely a costume that he chooses to wear during “the supreme madness of the carnival season. ” (Poe 101) The costume shows that the joke was essentially played on Fortunado in exacting Montressor’s revenge. “Amontillado! You have been imposed upon. ” (Poe 102) The Amontillado or the wine mentioned in the title and throughout the story is a symbol for Fortunado’s death. The Amontillado! ” (Poe 104) The Amontillado never existed and was the means by which Montressor lured Fortunado to his less fortunate demise. The “Cask” mentioned in the title is a euphemism for the final resting place or coffin for Fortunado. Montressor even jokes with Fortunado about being a member of the freemasons by “producing from beneath the folds of my roquelaire a trowel. ” (Poe 103) Montressor is using the word mason to describe a craftsman who uses brick and mortar and is a precursor to the methods by which he would kill Fortunado. Ultimately, irony is a useful tool used by

Poe to help convey Montressor’s intentions of revenge. Edgar Allan Poe uses literary devices to describe and support the underlying theme of revenge. Poe uses foreshadowing in the story since you pretty much know what’s going to happen to Fortunado in the form of his heinous death by the end of the story. Throughout there is a steady change of scenery from a lively carnival to a dark underground chasm. Fortunado’s pride plays into his downfall tremendously. He showed no concern for his health at the thought of somebody else’s opinion being higher valued over his own. The Amontillado was a metaphor for Fortunado’s unfortunate death.

Montressor’s concern for Fortunado’s health and his friendly treatment towards him are the first signs of irony during the story. The title itself is ironic since “Cask” is a symbol for Fortunado’s coffin. The irony spreads from Fortunato’s name to his jester outfit. At the conclusion of Poe’s The Cask of Amontillado, Montresor has gotten his revenge against unsuspecting Fortunato, whose connoisseurship of wine has led him to his own downfall. Montressor’s coat of arms and the Montresor family motto should be highly recognized. The crest is symbolic of Montresor’s diabolical personality, who like the serpent, intends to get his revenge.

Works Cited Poe, Edgar Allan. “The Cask of Amontillado.” The Norton Introduction to Literature. Peter Simon. W.W. Norton & Company, Inc. 2010. 101-105. Print. Womack, Martha. “Edgar Allan Poe’s ‘The Cask of Amontillado.’” The Poe Decoder. 1 Oct 2010.

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MY THESIS FOR THE STORY "CASK OF AMONTILLADO" - good?

lucyindasky 1 / 2   Oct 24, 2012   #2 Edgar Allen Poe demonstrates bias in a setting allowing his emotions free to motivate his plan for revenge seems good

darreninthai - / 1   Jul 16, 2013   #3 Thesis statement for Critical essay on "The Cask of Amontillado" I have to write a critical essay on this story and I have a couple of Thesis statements. Can anyone tell me which one is better or do I need to make any changes. Edgar Allen Poe develops the theme that pride is a destructive force by showing the lengths that Montressor will go to in order to exact revenge on Fortunato. Edgar Allen Poe develops the theme that Montressor's character is consumed by pride that does not allow him to change who he is and goes to lengths to hint at his static character. Any help is much appreciated!