Fortunato was too drunk to even realize what was going on, much less resist his imprisonment. Very quickly, Montresor uncovered a "quantity of building stone and mortar" and began to "wall up the entrance. Suddenly there was "a succession of loud and shrill screams" from inside the crypt and, at first, Montresor was momentarily frightened and then he delighted in joining in with the screams. Then there was silence. By the time Montresor had finished the last tier, with only one more stone to be put into place, there came a long low laugh from within.
Then Fortunato's voice called upon Montresor to put an end to this joke. Finally, Fortunato pleaded " For the love of God, Montresor ," a request which Montresor mocked by repeating the phrase. Then Montresor looked through the remaining opening with his torch and could see nothing, but he did hear the jingling of Fortunato's bells as he laid the last stone in place.
For fifty years, he tells us, no one has disturbed the peace of this place. As noted in this discussion, the story abounds in ironies. The name of the victim, Fortunato, meaning "the fortunate one," is the first irony. Then, too, the entire situation is ironic — that is, the most terrible and gruesome deeds are executed in a carnival atmosphere of gaiety and happiness; Montresor is using the atmosphere of celebration to disguise the horribly atrocious act of entombing a man alive.
The reader should, perhaps, at one point ask himself who is Montresor, and, then since Montresor seems to be apparently addressing someone, the reader should ask himself whom Montresor is talking to or writing about and why.
Since the deed was committed some fifty years ago, and at the time of the deed Montresor could not have been a young person, he must now be very old. It could be that he is talking to one of his descendants, or else making his last confession to a priest. After all, from what we can glean from the story, Montresor, in spite of the reputed insults of Fortunato, came from an ancient, perhaps noble family, and he is also a person of considerable taste in gems, in paintings, in wines, and in other matters , and it is evident that he possesses considerable intelligence, albeit a type of diabolical intelligence.
In his plan to entomb Fortunato in the Montresor catacombs, he was clever at the right time; his planning was perfect. Remember that he anticipated letting the servants off at a time that would not arouse suspicion since it was carnival time; clearly, his entire plan of revenge was contrived with such perfection that Montresor had to be an exceptionally gifted person. Montresor chooses the setting of the carnival for its abandonment of social order.
While the carnival usually indicates joyful social interaction, Montresor distorts its merry abandon, turning the carnival on its head. Because the carnival, in the land of the living, does not occur as Montresor wants it to, he takes the carnival below ground, to the realm of the dead and the satanic. SparkTeach Teacher's Handbook. Character List Roderick Usher C. Themes Motifs Symbols. Important Quotes Explained. Mini Essays Suggested Essay Topics.
Page 1 Page 2. Take a Study Break. This is just one example of the dramatic irony that permeates the short story. In this case, readers know what Montresor plans to do, but Fortunato remains ignorant. This creates tension in the short story. Other than the fact that he seems to have wronged Montresor somehow, readers learn very little about Fortunato directly. For example, we know Fortunato thinks he and Montresor are friends, and they likely were at one point.
For example, Poe implies that Montresor seems to come from money—he lives in a palazzo, which is basically an Italian palace, which has its own crypt.
But most importantly, he lacks remorse. As a result, his final wish for Fortunato comes across as sarcastic rather than sincere. Montresor plays this rivalry to his advantage. Keep in mind that Luchresi is an innocent bystander in all of this—Montresor is just borrowing his name and reputation. An older Montresor is speaking to an unnamed listener, recounting how he killed Fortunato in revenge.
But from an analysis standpoint, the listener is important. It reminds us that Montresor is telling this story to someone else, and in doing so, trying to communicate his personal perspective. It makes readers question whether Montresor is telling the whole truth, too.
Was Fortunato really as bad as Montresor says he was, for example? Think of a time that you did something you knew your parents would punish you for. When you explained the situation to your parents, how did you do it? More than likely, you tried to downplay your actions without lying!
This is a good example of how perspective matters. For your parents, what you did is a serious offense. But is that accurate? Notes and comments can be found on Sparknotes or on Wikipedia. Tags: , Amontillado , cask of amontillado , edgar allan poe , Short story.
Ruben is a Certified Sherry Educator who fell in love with sherry some twenty years ago, but switched to a higher gear in and started writing about it. Lived in Madrid for a couple of years, now back in Belgium.
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