SuperSummary, a contemporary option to SparkNotes and CliffsNotes, uses top quality research study guides that feature in-depth chapter summaries and analysis of significant styles, characters, quotes, and essay topics. This one-page guide consists of a plot summary and short analysis of The Cask of Amontilladoby Edgar Allan Poe.
In his narrative “The Cask of Amontillado,” Edgar Allan Poe reveals in the first paragraph the primary motivation, along with the ideas that weave in the mind of the character, Montresor. Stylistically, it is an interior monologue because Poe provides no grammatical markings to Montresor’s narrative.
Montresor considers his act of revenge and with it, his prepare for the murder of an acquaintance called Fortunato. Fortunato indicates “the fortunate one,” his recommendation in the very first sentence the start of Poe’s unrivaled ability at macabre humor and twists in the mind of someone ready to commit murder. In this case, the murderer entices the reader in as Montresor makes clear his retribution will be carried out on the basis of an insult.
Our interest is stirred when Montresor does not reveal what the particular insult was, only that it was outright enough to call for the most extreme kind of retribution. We are delegated wonder how Montresor will perform his deed, and if it will be successful.
The story’s setting is not called, but is likely in an Italian city. Written in 1846, the manners comport with 19th century manners of the time. Montresor has skillfully chosen to perform his revenge throughout “carnival season,” pointing out the supreme madness of the carnival festivities. Revelers imbibe an abundance of wine and adorn themselves with clothing that show no issue for their station in life.
It remains in this context that Montresor welcomes the things of his revenge, Fortunato. Fortunato is wearing a parti-colored dress and a cone-shaped cap embellished with bells, such as the Fool would use in a Shakespeare play.
Montresor tempts Fortunato with a “pipeline” of Amontillado. A pipeline is 130 gallons. Amontillado, a premiere sherry aged far longer than other sherries, has an exceptional taste and aroma compared with other sherries in Italy and the bulk of Europe. Montresor tells Fortunato that he took the risk of acquiring the sherry, as Fortunato could not be discovered for consultation.
Fortunato is hugely beside himself. The very fact that Montresor has Amontillado in his belongings is relatively more than he can bear as he repeatedly bellows “Amontillado!” As he does, Montresor attempts to dissuade Fortunato from taking his time to trouble with the purchase. Montresor tells Fortunato that he was on his method to see Luchesi– a significant connoisseur of white wines– which not does anything but raise the ire of Fortunato to get to the Amontillado himself.
Montresor tries again to press Fortunato away, which of course, just reels him back in with more intent. Montresor notes that he does not want to press Fortunato, as it is clear he is otherwise engaged.
When Fortunato resists, Montresor admits that he can see that Fortunato is struggling with a cold and the wine vaults are insufferably damp and encrusted with nitre– a substance of potassium nitrate, which grows in wet environments and can induce coughing.
When Montresor has actually exhausted his initial efforts to prove to Fortunato that his desire is not to get him in the dank and clammy environs of his household’s catacombs, Fortunato covered Montresor as they made their method to the vaults. As they entered, Montresor grabbed two bottles of white wine, in big procedure to improve Fortunato’s already progressively increasing inebriation.
Montresor had already planned for his attendants to not be at home for the night. They voluntarily made the most of the chance to join the celebrations of the carnival.
Fortunato and Montresor go into the catacombs. Poe utilizes character action to bring to life the dramatic modification in place. Fortunato enters into a fit of coughing that appears unlimited. He can not promote lots of minutes.
In their exchange, Montresor concurs it’s the nitre. Once again, Montresor makes sport of the victim he is hunting through miscues, manipulation, and the feigning of issue. As he firmly insists that they speed up from the catacombs, Montresor mean his malevolent thoughts when he notes that Fortunato is “rich, highly regarded, admired, cherished; you enjoy as I when was. You are a male to be missed. For me it is no matter.” Montresor makes clear that his household has lost its prominence, regard, and wealth. Once again, he tries to get Fortunato to return with him back outside. He discusses Luchesi, once again prompting a bellicose reaction from Fortunato that Luchesi is a dunce when it comes to white wines.
As they push on, much deeper into the catacombs, Montresor wishes to guarantee their safety against the elements. He gets a Medoc, knocks off the top, and they both imbibe. Once again, Montresor points out that his family was a great and numerous household. Fortunato has actually forgotten what their household arms were. Montresor informs him they were “A substantial human foot d’or, in a field azure; the foot squashes a serpent rampant whose fangs are imbedded in the heel. He tells Fortunato the slogan was: “Nemo me impune lacessit,” or “Nobody can attack me without being punished.”
Montresor reaches for a flagon of De Grave. Fortunato inhales the white wine in one breath. He makes a most unusual gesture. He can inform Montresor does not understand the movement, showing he is not a Mason– a clear sign of his withered status in society. Montresor counters Fortunato’s gesture by getting rid of a mason’s trowel from below the folds of his clothing, a disclosure, which has no effect.
The two males trudge on to where the cask of Amontillado is saved. The walls and the ceiling grow smaller sized as they continue on a path of descent, redolent with foul air. They encounter a sight that advises them of the catacombs of Paris– stacks of human bones. Suddenly, they find themselves in front of an interior crypt where the bones are piled high. It seemingly has no purpose. It is 4 feet deep, 3 feet broad, and 6 or seven feet high. The 2 men keep walking until Fortunato can go no further as there is a granite wall prior to him. In a quick, deft style, Montresor has actually Fortunato wrapped in a chain and padlocked.
Moving the pile of bones aside, Montresor reveals a quantity of stone and mortar. He strongly plies his trowel, building a wall to seal the entrance to the specific niche. Montresor no longer hears the bellowing of the intoxicated guy, but a long and obstinate silence. Suddenly, Fortunato played– or wasn’t playing at all– the card that Montresor so forcefully thrust upon him throughout the evening. Fortunato finds his dilemma to be laughable, hysterically absurd. He reminds Montresor that it is getting late and they need to be getting back.
Montresor throws a torch through the remaining aperture. All he hears is the jingling of the bells. He requires the last stone in place and plasters it. He then re-piles the bones in front of the walled in niche, taking alleviation in the fact that those really bones had actually not been disturbed for 50 years. In pace re quiescat! May he rest in peace.
Evaluating the genius of Edgar Allan Poe, the progenitor of the detective book, can be a difficult task. One can sing the applauds of his technical virtuosity– rather significant in “The Cask of Amontillado.” No doubt, Fortunato will agonize in agony considering the several opportunities he needed to get away. The paradox is that he died in an attempt to show himself, and in pursuit of the finest of sherries.
Yet, as with all geniuses, their very work grows with the work of the Important Theorists. At the turn of the century, and still in style today, is the seminal work of Freud, Marx and Nietzsche. For the functions of this short story, it is as simple as to suggest that we in reality are not in touch with our unconscious minds and the narratives that affect our dream world in addition to our perceptions of truth.
Nevertheless, we can concur with Poe that a successful short story will therefore necessarily show a more unified relationship of part to whole, and part to part, than it is typical ever to discover in a novel. “The Cask of Amontillado” is certainly representative of Poe’s the majority of trenchant insight.