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Introduction
Edgar Ellan Poe’s skillfulness in creating characters that strike the reader with their horrific perception of the world around and abilities to turn this world into the dark place where there is no way out is the keystone of his The Cask of Amontillado ‘s success. Originally published in November 1846, in Godey’s Lady’s Book this story is regarded now as a classic tale of revenge pierced with subtle irony that the author implements at different levels.
Discussion
Along with other techniques like the use of action, dialogues and symbolism irony plays crucial role in the story that can be called one of the richest aesthetic achievements of the author. Poe resorts to various types of irony throughout the story. The three types that can be singled out are: verbal irony, when what is said differs from what is implied, situational irony which occurs when there is a difference between what happens and what is expected to happen and dramatic irony which emerges when the reader perceives something that the character of the story fails to feel or understand.
The use of irony starts with the choice of name for one of the main characters. Giving Fortunato a name that resembles the word fortunate is the first author’s hint that something awful was going to happen and the character knew nothing about it. The thing is that though Fortunato was a man of a good reputation and wealth still, he could not be called fortunate as he was destined to pay with his life for some injury that he caused Montresor. From the first lines of the story we see what “fortunate” Fortunato can’t see: he treats Montresor as his friend whereas the latter is going to kill him. “It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation” (Poe 340) – these lines are intended for readers only and not for poor Fortunato who step-by-step approached his death being completely in the dark. The knowledge by the narrator displayed to the reader but not to the character is the basic approach that Poe uses in creating dramatic irony.
The setting of the story presents an example of situational irony. The action takes place during the Venice Carnival. Naturally, carnival is regarded as a time of joy and happiness for everyone. But as the story goes on it clears out that carnival is a place for revenge and death. As the atmosphere of gaiety during the carnival changes to the horror from the catacombs beneath Montresor’s palazzo the reader ascertains that the carnival was a prelude created by the author to admit the drastic difference between the life that the carnival symbolized and the death that the catacombs witnessed.
Moreover, the author dresses Fortunato in a cap and bells that means that he is a clown that is expected to make fool of others. Instead, the character is made fool of himself. Fortunato’s so-called friend dressed in a black-colored cloak, his face covered with a black mask, does not give him any hint of fooling but, in the long run, Fortunato becomes a victim of the most malignant deception that costs him his life.
There are numerous examples of verbal irony in the short story under analysis. The scene wherein the heraldic emblem of Montresor’s family is discussed is one of them. The narrator believes that he is upholding his family motto, that is, “Nemo me impune lacessit”, or “no one dare attack me with impunity” (Poe 55). When Fortunato asks the narrator about his arms he replies without hesitation: “A huge human foot d’or, in a field of azure; the foot crushes a serpent rampant whose fangs are embedded in the heel.” (Poe 55). Fortunato seems to like the arms and the motto: “Good!” he said.” (Poe 55). Thus he appears to be blind to Montresor’s menacing irony and remains in a state of ignorance up to the end of the story.
As far as the problem of heraldic emblem is concerned Harold Bloom in his The Tales of Poe (1987) states that it represents all the irony of life that Fortunato cannot comprehend. But, the researcher claims, that the problem is far deeper and can be understood in a twofold way as there are two possible ways of reading the irony of the emblem: Montresor’s and Poe’s one.
In the first case, the narrator identifies himself with the golden foot, ponderously triumphing over the lashing serpent. When Montresor tells Fortunato about it he thinks of the golden legitimacy of his vengeance, a just and absolute revenge for the thousands of injuries he has silently suffered from. He expects to squash Fortunato into the ground and he really seals him in stone (Bloom 56).
According to Poe’s reading, Bloom suggests, Montresor is not identified so easily with the foot. The snake appears to be a more obvious choice. Mystery, sneakiness, serpentine subtlety – these are the themes the story mostly focuses on. And the huge, golden boot fits very well the Fortunato that Montresor depicts to the reader – large, powerful, and very clumsy. The larger story offers that the emblem should be read as follows: a giant has blindly stepped on a snake (Bloom 56).
Coming back to the verbal irony another bright example of it occurs when Fortunato insists that he will not die of his cough when Montresor keeps on inquiring about his health: “the cough is a mere nothing; it will not kill me. I shall not die of a cough ” to what Montresor replies: “True-true…” (Poe 342) Later, the narrator toasts to Fortunato’s long life having planned in detail his revenge and taking it to effect.
In general, the way Montresor treats his enemy presents a large amount of ironic elements. The narrator clearly sees that Fortunato suffers from a severe cold but still admits that he looks great: “How remarkably well you are looking to-day!” (Poe 340) At the beginning of their intercourse the narrator behaves so naturally that one could never think that one person is going to kill another. But as their conversation proceeds Montresor begins a psychological manipulation of his enemy. Praising Fortunato’s knowledge in the subject of wines Montresor implies that this knowledge would be extremely helpful as he has to ascertain the type of wine he had bought. Meanwhile he says that he realizes Fortunato has another business, therefore, he chooses to ask for help Fortunato’s competitor Luchresi. This is where Fortunato’s pride wins: he wants to prove that he is the best connoisseur of wine thus signing one’s own death sentence.
Fortunato starts on a journey towards his death and numerous ostensible attempts of the narrator to stop this journey do not lead to his retreat, as this is pride that he is moved by. It seems that the narrator remains ironic during all his communication with Fortunato, his irony seizes only when he realizes that his enemy is silent. At the end of the story Montresor’s irony grows into sarcasm: “In pace requiescat!” (Poe 345) The words are sarcastic as the murderer cannot possibly pray for his victim.
Several cases of irony use considered we conclude that the author resorted to it to create a desired effect. To be more exact, the author strived to render the atmosphere of deception of reality and ironical elements helped him in this. Montresor deceives his victim and the author follows him in this deception so that the reader does not know for sure up to the end of the story what will happen. Even though the reader is given many of the author’s hints and direct indications of the murder that was to happen he or she is constantly kept in suspense. Verbal, situational and dramatic irony of The Cask of Amontillado contributes to this feeling of not knowing what to expect next. As well as Montresor manipulates his victim, Poe manipulates the thoughts of the reader through the use of irony. The reader cannot resist this manipulation and reads the story up to the end remaining in the dark as Fortunato did.
Conclusion
Thus, in combination with other devices like point of view and symbolism the author manages to create the work which strikes one with its mysteries and uncertainties. The more questions the reader asks the more answers appear. And as long as this dialogue exists as long the The Cask of Amontillado remains immortal.
Works Cited
Anderson, Carl L. Poe in Northlight: The Scandanavian Response to His Life and Work. Durham, NC: Duke Unversity Press, 1973.
Benton, Richard P. “Poe’s ‘The Cask of Amontillado’: Its Cultural and Historical Backgrounds.” Poe Studies/Dark Romanticism 29 (1996): 19-26.
Bloom, Harold, ed. The Tales of Poe. New York: Chelsea House Publishers, 1987.
Cervo, Nathan.”Poe’s ‘The Cask of Amontillado’” Explicator 51 (1993): 155-156.
Flannery, Silas. “The Cask of Amontillado.” The Review of Contemporary Fiction 23.2 (2003): 103.
Harris, Kathryn Montgomery. “Ironic Revenge in Poe’s ‘The Cask of Amontillado’” Studies in Short Fiction 6 (1969): 333-336.
“Irony.” The Columbia Encyclopedia. Sixth Ed. 2007.
Magistrale, Tony. Student Companion to Edgar Allan Poe. Westport, CT: Greenwood Press, 2001.
Poe, Edgar Allan. Thirty-Two Stories. Ed. Stuart Levine and Susan F. Levine. Indianapolis: Hackett Publishing, 2000.
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