The short story, as with other literary forms, is not defined by its actual parameters. Subject and theme may be as varied as those within full-length novels, just as the author's individual style plays an inevitable role in shaping the work. That said, there is a common element uniting short stories; they usually create impact due to the brevity itself, which authors typically rely on to make a more direct impression. Condensed, the form offers more overt power, and this is evident in how William Faulkner and Edgar Allan Poe employ it to achieve distinctly Gothic effects. “A Rose for Emily” and “The Cask of Amontillado” are very different stories set in very different worlds, and the tone of the narration in each is equally different. Nonetheless, the stories both offer strong symbolism, and they each rely on how the short story amplifies the Gothic, or dark, by virtue of brief presentation.
Poe's “The Cask of Amontillado” and Faulkner's “A Rose for Emily” both employ a narrator, if not of a similar kind. Each has a specific purpose and a unique story to tell, and the stories are uniformly dark, if not tragic. However, what greatly separates the narrators' voices is tone. With
Poe there is a powerfully elaborate and melodramatic voice in play, consistently demanding understanding and consistently expressing righteous anger. This is clear from the first line, which comes to the reader as a violent challenge acknowledged by the narrator: “The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge” (Poe). The stage is then abruptly set for high drama to follow, as the tone blatantly indicates a baroque attitude. Moreover, Montresor tells his story in a conf...
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...than Faulkner, if he also employs it in broad strokes. Beyond this, however, there remains the fact that both stories have distinct cores of Gothic darkness to reveal, and each revelation benefits from the brevity of the genre. Faulkner's “A Rose for Emily” and Poe's “The Cask of Amontillado” are very different stories set in very different worlds, and the tone of the narration in each is also different. Nonetheless, the stories each offer strong symbolism, as they each rely on how the short story amplifies the Gothic by virtue of shorter length.
Works Cited
Fargnoli, A. N., & Golay, M. Critical Companion to William Faulkner. New York: Infobase Publishing, 2009. Print.
Faulkner, W. A Rose for Emily and Other Stories. New York: Random House, 2012. Print.
Poe, E. A. “The Cask of Amontillado” 2014. Web.
Within this plot of revenge, Poe uses irony and symbolism to develop his theme of a man who tries to gain absolution for the sin he is about to commit. Irony in "The Cask of Amontillado" Poe
The narrators in both works prove to be similar in several ways. In “The Tell-Tale Heart” the story is told through a psycho narrator; both stories contain apparent psychological imbalances within their story tellers, “ -his central character or narrator so psychologically obsessed with a mysterious phenomenon that everything in the story irresistibly revolves around it...”(May, Charles E.) There really is no motive for the murder of the old man; just his eye that he cannot stand. He repeats himself frequently, trying to assure the reader, and himself, that he is sane; leading to believe he may not be psychologically stable. In “The Cask of Amontillado” the narrator can also be considered a mad man by the way he plays games with his victim. Montressor says to Fortunato that they should go home because “his health is precious.” This conversation is ironic because Montressor does not really want to protect Fortunato's health, but to kill him in the catacombs. Both of the narrators are proud of their murders and brag about them within the stories. Not only are the narrators similar but the settings are alike once the murders take place, both locations of the victims are buried in a dark place with no escape.
Poe, Edgar Allan. “ The Cask Of Amontillado.” Heritage Of American Literature .Ed. james E. Miller.Vol.2.Austin:Harcourt Brace Jovanovich,1991.20.Print.
Faulkner, William. "A Rose for Emily." The Norton Introduction to Literature. By Carl E. Bain, Jerome Beaty, and J. Paul Hunter. New York: W. W. Norton & Company, Inc. 1991: 69-76.
Hoping to obtain revenge, Montresor, the narrator, lures Fortunato, one of his friends, into the depths of his catacombs to be murdered. Montresor says, "The thousand injuries of Fortunato I had borne as best I could, but when he ventured upon insult I vowed revenge"(149). This is the first line in the story, and this is why Montresor seeks revenge. There is no explanation of the insults that Montresor received, so the reader may infer that Montresor is just lying. The insults that were received could possibly be just outdoing in the business arena. Montresor might be using that excuse for his desire to kill Fortunato, because he may be killing Fortunato out of jealousy. Montresor is likely telling this story to a family member, friend, or his doctor while lying on his deathbed. Montresor says, "…your health is precious. You are rich, respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter."(150). Montresor just admitted that he knows Fortunato is better than he. Montresor may have been under the influence of jealousy. Redd 4 There are different theories to ...
Because Montresor narrates the story in the first person, the reader is able to perceive his thoughts and understand his motivations and justifications for his ruthless murder in a manner which a third person point of view would not allow. Montresor’s personal narration of the events of the story does not justify his crime in the audience’s eyes, but it does offer a unique opportunity for the audience to view a murder from the perspective of a madman killer. It is Poe’s usage of this unique angle that causes the story to be so captivating and gruesomely fascinating. As the story opens, Montresor explains why it is necessary that he “not only punish but punish with impunity” to avenge for Fortunado’s insult to him. This justification for his crime is a piece of information that the audience is able to learn only because they are permitted inside the mind of the protagonist. In the final scene, when Montresor is carrying out his murder pl...
Faulkner, William. “A Rose For Emily.” An Introduction to Fiction. 10th ed. Eds: X.J. Kennedy and Dana Gioia. New Yorkk: Pearson Longman, 2007. 29-34.
Edgar Allan Poe has a style that is dark and morbid. His tone is very gloomy and obscure. The tone of “The Cask of Amontillado” is almost tame compared to the tone of “The Black Cat”, his other work we covered. The tone of that work is almost maddening. “The Cask of Amontillado” tone is very sinister and methodic. Whereas “The Black Cat”, has a pulse to a cadence and rhythm though no clear pattern is established. Poe’s style of writing seems so personal, as a reader I had to remind myself this was fiction. His first-person style of writing is so detailed and intricate it is very easy to become invested in the world he creates. “The Cask of Amontillado” and “The Black Cat” both have themes of revenge where the supposed victim is untimely
Three key elements link William Faulkner's two short stories "A Rose for Emily" and "Dry September": sex, death, and women (King 203). Staging his two stories against a backdrop of stereotypical characters and a southern code of honor, Faulkner deliberately withholds important details, fragments chronological times, and fuses the past with the present to imply the character's act and motivation.
Gothic literature is known for captivating readers by bringing to light the dark side of humanity. The Gothic possesses many key elements such as paranoia, anxiety, death, etc. It strikes fear and suspense in the reader not by creating fictional monsters, but showing the reader the types of monsters that lurk within human beings. In “the Cask of Amontillado” by Edgar Allan Poe, various themes of the Gothic are present throughout the short story such as gloom and doom, darkness, and madness. These elements are used to enhance the central theme of the piece: revenge. I will argue that Poe uses a number of the Gothic elements to craft an intense dark tale of revenge: an unreliable narrator, madness, darkness, a haunted setting, and evil/devil
A virtuoso of suspense and horror, Edgar Allan Poe is known for his Gothic writing style. His style is created through his use of punctuation, sentence structure, word choice, tone, and figurative language. Punctuation-wise; dashes, exclamation marks, semicolons, and commas are a favorite of Poe. His sentences vary greatly; their structures are influenced by punctuation. Much of his word choice set the tone of his works. Figurative language colors his writings with description. Such is observed in the similarities between two of his most well-known short stories, “The Cask of Amontillado” and “The Tell-Tale Heart”
William Faulkner’s “A Rose for Emily” has many gothic themes such as, when Emily buys the arsenic and the tomb that lay buried in her house. These themes show that gothic literature consists of cryptic and dark settings and tones. This mysterious story is filled with violent events and creates suspense and terror.
Edgar Allan Poe’s “The Cask of Amontillado” is a frightening and entertaining short story about the severe consequences that result from persistent mockery and an unforgiving heart. Poe’s excellent use of Gothicism within the story sets the perfect tone for a dark and sinister plot of murder to unfold. “The Cask of Amontillado” simply overflows with various themes and other literary elements that result from Poe’s Gothic style of writing. Of these various themes, one that tends to dominant the story as a whole is the theme of revenge, which Poe supports with his sophisticated use of direct and indirect factors, irony, and symbolism.
Faulkner, William. "A Rose for Emily." The Norton Anthology of Short Fiction. Shorter 5th ed. Ed. R.V.Cassill. New York: W.W. Norton & Comp., 1995.
Faulkner, William. "A Rose For Emily." The Bedford Introduction to Literature: Reading, Thinking, Writing. Ed. Michael Meyer. 9th ed. Boston: Bedford/St. Martins, 2008. 91-99. Print.