This was a term paper I wrote in 2005:
Edgar Allan Poe is a clever writer having the ability to use every word to his advantage, thus creating a short story of great substance. He believes there should be one single effect in a short story and that every word should cater to that effect either directly or indirectly (Single Effect 1693). It is for this reason, it should not be surprising that many symbols and ironies can be found in most of his works. In “The Cask of Amontillado,” Edgar Allan Poe uses irony to create a story of Montressor’s revenge though the description and manipulation of Fortunato and the dialogue between the character as well as the reader.
“The Cask of Amontillado” has three distinct types of ironies including verbal, dramatic and situational. Verbal irony is the most common form of irony which means that the actual meaning of the statement is different than what is actually stated. According to Literary Terms and Definitions I, verbal irony is usually recognized as sarcasm where the character in the story does not pick up on it as easily as the reader. In Fortunato’s case, he does not catch Montressor’s sarcasm until it is too late. Dramatic irony involves a situation where the reader knows something the character does not (Literary). In “The Cask of Amontillado” the reader is aware of the fate that awaits Fortunato. Situational irony involves “…accidental events…that seems oddly appropriate…” (Literary). The situational irony in this story is the possible backfire of Montressor’s plan.
Through the description of Fortunato, Poe uses irony to create a story of Montressor’s revenge by playing the role of the jester. Montressor describes Fortunato as being dressed as a jester for “He had on a tight-fitting party-striped dress, and his head was surmounted by the conical cap and bells” (689). This simple description of Fortunato brings forth several different meanings when the definition of verbal and dramatic irony is applied. As an example of verbal irony, Charles Nevi suggests that while Fortunato is the one dressed as a jester, Montressor is the one that is actually taking on this role. A jester’s role is to make a mockery of human’s imperfections or weaknesses (Nevi 462). Montressor is the one making a mockery of Fortunato’s weaknesses. If taken in the context of dramatic irony, Martha Womack says the reader knows that “Montressor intends to make a fool out of [Fortunato]…” The reader is also aware that Fortunato is quite unfortunate (Womack elec. pag. 5).
Poe uses situational irony to give this simple description even more depth. Montressor’s family motto is also that of the Scottish Order of the Thistle1. Nathan Cervo points out that The Order of the Thistle has a medallion which has an eight point star with a picture of St. Andrew holding a white x-shaped cross. From this information, Fortunato is not just dressed as a clown but a certain type of clown known as a “Merry Andrew [who] usually attends a mountebank or a quack” (Cervo 155). A Merry Andrew used in the context of this story would replace St. Andrew and the x-shaped cross would denote the deletion of the character (Cervo). In the end, Fortunato is essentially crucified like St. Andrew who had died for the love of God (Cervo). This Merry Andrew literally cries out “for the love of God Montressor.” (Cervo).
By acting friendly and by exploiting Fortunato’s weaknesses, Poe uses irony to create a story of Montressor’s revenge through manipulation. Verbal irony is found when Montressor lures Fortunato to his death by acting friendly towards him. In the beginning, Montressor stresses that “…neither by word nor deed had I given Fortunato cause to doubt my good will. I continued…to smile in his face, and he did not perceive that my smile now was at the thought of his immolation. (698). Montressor repeatedly addresses Fortunato as “My friend” (698). It is verbally ironic that he would refer to “…a man he hates enough to kill” as a friend (Nevi 462). He also expresses concern for Fortunato’s health throughout the story. Montressor repeatedly suggests they should turn back so his cough does not get worse (Womack elec. pg. 5). This behavior misleads Fortunato to believe that Montressor is to be trusted.
Dramatic irony is used to show how Montressor lures Fortunato to his death by exploiting his weakness for wine and by challenging his ego. The reader is aware that Fortunato is being lured to his death by the temptation of Amontillado (Womack). Montressor tells us that Fortunato is a genuine connoisseur of wine. “…Fortunato, like his countrymen, was a quack- but in the matter of old wines, he was sincere.” (689). When Montressor tells Fortunato that he just purchased a pipe of Amontillado but he is uncertain of its authenticity, Fortunato is sure to jump at the opportunity to establish the wine’s legitimacy. Montressor then pushes the envelope even further by telling Fortunato he is in search of Luchesi’s opinion. Fortunato taking pride in his “true virtuoso spirit” knows that Luchesi is an imposter. He says that “’Luchesi could not tell Amontillado from Sherry’” (689). Montressor then challenges the integrity of his status by telling him that others have said Luchesi talent is equivalent to Fortunato’s. From this point on, Montressor makes convincing arguments to spare Fortunato’s health then immediately re-mentions the option of asking Luchesi driving Fortunato to fixedly pursue the Amontillado.
Poe also uses irony to create a story of Montressor’s revenge through the dialogue between the characters. Considering his intent, Montressor’s dialogue with Fortunato is full of irony. Verbal irony is expressed when Fortunato is first greeted. Montressor says, “’My dear Fortunato, you are luckily met’” (689). There is nothing lucky about their encounter. Montressor knows he will find Fortunato and follow through with his plan. Fortunato is defiantly not lucky to run into his killer. Another example of verbal irony includes Montressor saying he will not be held responsible if anything happens to Fortunato. In the beginning, Montressor tells the reader “I must not only punish but punish with impunity” (688). He then tells Fortunato “’You will be missed…I cannot be responsible’” (690). He is saying that he cannot be responsible for Fortunato’s disappearance because it would defeat the point of his plan. Fortunato takes it as an expression of concern for his health so he responds with “’I shall not die of a cough.’” Montressor replies with “’True--true’” (690). Because Montressor knows that it will not be his cough which kills him. This verbally ironic dialogue continues when Fortunato makes a toast “’…to the dead that reposes around us.’” Montressor then says “’And I to your long life’” (691) knowing that he is already leading Fortunato to his death.
Poe uses dramatic irony in Montressor’s dialogue with Fortunato when he tells Fortunato that he is a mason. Montressor looks perplexed when Fortunato makes a strange gesture so Fortunato assumes he is “’…not of the brotherhood….not of the Masons’” (691). Montressor tells him he is a mason and proves it by showing him the trowel he has under his cloak. He is a mason by the fact that he will be walling him inside the crypt, but not a Mason in the sense to which Fortunato is referring.
Poe also uses situational irony within the character’s dialogue to forewarn Fortunato of Montressor’s intent. Montressor describes his family’s coat of arms as being “’A huge human foot d'Or, in a field azure; the foot crushes a serpent rampant whose fangs are embedded in the heel’” (691). It is supposed to symbolize “…the foot stepping to its own destruction” (Cervo 155). Although the snake is being crushed by the foot it gets revenge by inflicting harm on the foot by embedding its fangs into the heel before being crushed. Montressor then states his family’s motto: “’Nemo me impune lacessit’” (691) further reinforcing the subject of revenge. Both of these statements should be a warning to Fortunato that he is dealing with a person from a family whose history revolves around vengeance.
Montressor’s dialogue with the reader uses verbal and dramatic irony to describe the unfolding of Montressor’s plan. Verbal irony is used to unfold Montressor’s plan when he tells the reader that the day he decides to carry out his plan is during carnival which is a happy time, not the setting for murder (Nevi 462). Another example of verbal irony is when Montressor tells his servants not to leave to ensure that they would (690). The final example is found in the last sentence of the story. Montressor says “In pace requiescat!” (693). Translated it means “In peace may he rest,” but “In pace…” refers to an austere prison (Womack elec. pg. 5). Montressor feels that Fortunato should be imprisoned for the wrong that he has done to him.
Poe also uses dramatic irony in Montressor’s dialogue with the reader to unfold Montressor’s plan. While describing the final section of the catacombs, Montressor describes three of the walls as being neatly stacked with bones. The bones of the fourth wall, however, “…had been thrown down, and lay promiscuously upon the earth forming at one point a mound of some size.” This is obviously no accident. The reader knows Montressor has something hidden under these bones. The displacement of the bones left a “…recess, in depth about four feet, in width three in height six or seven” (692). These sound like dimensions of a coffin. The reader knows that this is the end of Fortunato search for the Amontillado. This becomes painfully apparent when Montressor tells the reader “…I busied myself among the pile of bones….Throwing them aside, I soon uncovered a quantity of building stone and mortar.” If the reader has not pieced the story together by now it becomes clear that Montressor intends to wall Fortunato up in the recess entombing him alive.
Poe uses situational irony in Montressor’s dialogue with the reader to show Montressor’s plan unraveling. Throughout the story, Montressor seems to be enjoying his play on words with Fortunato and anticipating Fortunato’s reaction when he realizes how brilliantly executed Montressor’s plan has been. It is ironic that when Fortunato starts screaming Montressor becomes startled. “A succession of loud and shrill screams, bursting from the throat of the chained form, seemed to thrust me violently back. For a brief moment I hesitated—I trembled” (693). The hairs on Montressor’s head stand on end when Fortunato begins to laugh. He even refers to him as “…the noble Fortunato.” Fortunato seems to have gone mad and Montressor seems to have a moment of sympathy for his victim. When Fortunato calls out, “’For the love of God, Montressor!’” Montressor replies, “’Yes, for the love of God!’” Montressor thinks that Fortunato has come back to his senses and wants to make his punishment be felt. “But to these words, I hearkened in vain for a reply….I called aloud: ‘Fortunato!’ No answer. I called again….No answer still….There came forth in return only the jingling of the bells. My heart grew sick—on account of the dampness of the catacombs. I hastened to make an end of my labor.” Francis Henninger believes his heart grew sick because he realizes that if Fortunato has gone mad, or lost touch with reality then Montressor cannot avenge himself as he had planned, in the name of is family (Henninger 39). “A wrong is unredressed when the avenger fails to make himself felt as such to him who has done the wrong” (688). Roger Platizky notes that at the time this story was written live burial was an issue. The bells on Fortunato’s hat are ironically similar to the dead ringer bells2 used to alert people that someone had been buried alive (Platizky elec. pg. 1). In this case, the bells are ironic because Fortunato is in fact, being buried alive. Instead of being used to rescue him they symbolize his burial resonating in Montressor’s memory (Platizky elec. pg. 1).
“The Cask of Amontillado” is the perfect example of Poe’s theory of the single effect. In this story, the single effect is Montressor’s revenge on Fortunato. It is stated in the first paragraph of the story and there is nothing written throughout the story that does not reflect this effect. Poe uses irony to aid in this reflection. Almost every statement in the story has ironic implications. This story includes prime examples of verbal, dramatic and situational ironies and how they are used effectively. He uses these ironies to create different dimensions bringing forth new interpretations with every reading. The quality of his words is measured by the quantity of, their interpretations Poe brings the reader into a world where demented things are being carried out by seemingly normal people causing the reader to consider other avenues of thought to figure out what is really happening. Poe has found a method of writing that has stimulated the minds of literary critics for over a century and a half. Focusing on the basic human fears, Poe’s stories do not become outdated. Stories like “The Cask of Amontillado” will continue to be analyzed and criticized for many years to come.
Notes
1. The Order of the Thistle in Scotland has that same motto as Montressor’s family: “Nemo me impune lacessit:” Which means No one wounds me with impunity, or no one harms me without punishment. The history of the Order of the Thistle shows the significance of Montressor’s family arms and motto. The Danes were sneaking up on the Scots and a Dane stepped on a Thistle which alerted the Scots of their presence. The Scots then attacked the Danes and “…slaughtered them” (Cervo 155).
2. A dead ringer was a term used for a person who was rescued after being buried alive. This term was used mainly because during the eighteenth and nineteenth centuries people were improperly declared dead and would be buried alive. To alleviate this problem bodies were equipped with a device, usually, bells, to alert people that they were still alive giving them a chance to be rescued (Platizky elec. pg. 1).
Works Cited
Cervo, Nathan. “Poe’s ‘The Cask of Amontillado’.” Explicator 51.3 (Spring 1993): 155-56. Academic Search Premier. EBSCOhost. Georgia Perimeter College Lib., Clarkston , GA. 5 Oct. 2005.
Henninger, Francis J. “The Bouquet of Poe’s Amontillado.” South Atlantic Bulletin 35.2 (Mar. 1970): 35-40. JSTOR. JSTOR. Georgia Perimeter College Lib., Clarkston , GA. 25 Nov. 2005.
Literary Terms and Definitions I. 10 Nov. 2005.
Nevi, Charles N. “Irony and ‘The Cask of Amontillado’.” English Journal 56.3 (1967): 461-63. JSTOR. JSTOR. Georgia Perimeter College Lib., Clarkston , GA. 5 Oct. 2005.
Platizky, Roger. “Poe’s ‘The Cask of Amontillado’.” Explicator 57.4 (Summer 1999): 206-09. Academic Search Premier. EBSCOhost. Georgia Perimeter College Lib., Clarkston , GA. 24 Sept. 2005.
Poe, Edgar Allan. “The Cask of Amontillado.” The Story and It’s Writer: An Introduction to Short Fiction. Ann Charters. Compact 6th ed. Boston : Bedford , 2003. 688-93.
---. “The Importance of the Single Effect in a Prose Tale.” The Story and It’s Writer: An Introduction to Short Fiction. Ann Charters. 6th ed. Boston : Bedford , 2003. 1692-94.
Womack, Martha. “Edgar Allan Poe’s ‘The Cask of Amontillado’.” 5 Oct. 2005.