by Chrisanne Sikora

Created on: May 24, 2010

At its heart, Edgar Allan Poe’s The Cask of Amontillado is a revenge tale.  An Italian nobleman, Montresor, concocts an elaborate plan to exact revenge for a series of slights inflicted upon him by his rival, Fortunato.  Simple on the surface, yet Poe’s use of irony throughout the narration elevates it from a generic revenge story into a much more frightening horror story.

The use of irony is apparent in both the setting and the name of Montresor’s victim.  The name Fortunato implies someone fortunate or lucky.  Yet since Montresor states at the outset his intentions to harm his rival, the audience knows early on that Fortunato is most decidedly un-lucky.  Likewise, when Fortunato encounters Montresor, it is at a carnival; a festive time of light, happiness and celebration.  Probably one of the last things anyone would expect of a carnival is the culmination of a murder plot. 

In keeping with the season and having partaken of the festivities, when we meet him Fortunato is dressed as a court jester or a fool.  As the story progresses, it becomes clear that Fortunato is a fool in truth, for Montresor fools him into believing in the existence of the story’s namesake wine until the bitter end.  He is also proven a fool for believing Montresor has his best intentions in mind when, during their journey through the catacombs, his companion protests the dampness of the caverns will have an ill affect on Fortunato’s health and entreats him to turn back.  As it turns out, the feigned concern is all part of the ruse used to lure Fortunato deeper into the trap, for the more Montresor suggests turning back the more determined Fortunato becomes to continue onward.

In addition to the setting and character names, much of the dialogue and interaction between the two characters is layered with irony.  On several occasions, Montresor refers to Fortunato as “my friend” when, of course, he considers the two to be bitter enemies.  Later, while in the catacombs, he gives Fortunato a bottle of wine and offers a toast to his “long life”, even though he plans to kill Fortunato in the catacombs.  In one particularly chilling exchange, he even hints at the manner in which he intends to do away with Fortunato.  After his inebriated victim asks if he is a Mason, referring to the fraternal order of Freemasonry, Montresor replies that he is indeed a mason—as in

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