“The Cask of Amontillado” (“Cask”) by Edgar Allen Poe is a short story rich with complex characters and literary devices, lending it to an interesting analysis using the formalistic method. Rather than focus on influences outside of the work such as the author 's personality as a Psychological review would, formalism focuses on the text itself. How elements such as plot, tone, phrases of speech, and structure construct the reader 's interpretation of the text is the goal of formalism. Although Poe 's work is notoriously dark and disturbing, his work remains renowned this day due to his alarming skill at absorbing the reader with his masterful storytelling. Upon first read, “Cask” appears to be a story of a man obsessed with revenge who kills
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“It is the 'mocking echo ' motif that is most suggestive of the two men 's relationship” (Stepp, 2). Fortunato is depicted as being Montresor 's opposite, yet the reader gets a sense that in spite of the wrongdoing, Montresor still appreciates Fortunato. Although Montresor 's true intentions are known, the reader sees evidence that Montresor may be having an internal conflict about revenge, while externally he considers his foe a friend. Montresor describing the carnival as 'supreme madness ' is foreshadowing to the madness he himself is capable of. When they meet, Fortunato is ironically dressed as a jester, which is fitting since Montresor fools him easily, leading him to certain death. Montresor even gives Fortunato chances to save himself when mentioning the nirte, and that they should go back several times while searching for the Amontillado. The reader understands that Motresor is mocking the man enjoying his own cunning. Fortunato 's name in itself is ironic because his luck turns out to be anything but fortunate. When the speaker says he “should have never done wringing his hand,” (Poe) the reader finds a pun since Montresor obviously only wants to wring Fortunato 's …show more content…
The most disturbing segment of the story is when Fortunato begins screaming shrilly and pulling furiously on his chains as he comes to realize what his happening to him. However, when he speaks he is in denial of his fate as if pretending his doom is a ruse will bring him some comfort in his last seconds of life. Montresor even humors the dying man saying, “Yes, let us be gone” (Poe). When Montresor replies, “Yes, for the love of God!” (Poe) to Fortunato 's final plea, “We are surely mistaken if we see Montresor 's invocation of the divine as blasphemy or reduce it to parody” (White, 5). Montresor instead feels that is it is for the love of his family and his fear of God that made him avenge his
“It is the 'mocking echo ' motif that is most suggestive of the two men 's relationship” (Stepp, 2). Fortunato is depicted as being Montresor 's opposite, yet the reader gets a sense that in spite of the wrongdoing, Montresor still appreciates Fortunato. Although Montresor 's true intentions are known, the reader sees evidence that Montresor may be having an internal conflict about revenge, while externally he considers his foe a friend. Montresor describing the carnival as 'supreme madness ' is foreshadowing to the madness he himself is capable of. When they meet, Fortunato is ironically dressed as a jester, which is fitting since Montresor fools him easily, leading him to certain death. Montresor even gives Fortunato chances to save himself when mentioning the nirte, and that they should go back several times while searching for the Amontillado. The reader understands that Motresor is mocking the man enjoying his own cunning. Fortunato 's name in itself is ironic because his luck turns out to be anything but fortunate. When the speaker says he “should have never done wringing his hand,” (Poe) the reader finds a pun since Montresor obviously only wants to wring Fortunato 's …show more content…
The most disturbing segment of the story is when Fortunato begins screaming shrilly and pulling furiously on his chains as he comes to realize what his happening to him. However, when he speaks he is in denial of his fate as if pretending his doom is a ruse will bring him some comfort in his last seconds of life. Montresor even humors the dying man saying, “Yes, let us be gone” (Poe). When Montresor replies, “Yes, for the love of God!” (Poe) to Fortunato 's final plea, “We are surely mistaken if we see Montresor 's invocation of the divine as blasphemy or reduce it to parody” (White, 5). Montresor instead feels that is it is for the love of his family and his fear of God that made him avenge his