Examples Of Manipulation In The Cask Of Amontillado

The perils of vengeance and manipulation were evidently prominent in Edgar Allen Poe’s short story, The Cask of Amontillado. Through a unique application of first person narration, Poe captured the essence of suspense in a figure’s untrustworthy nature. Additionally, he used a strong foundation of character to introduce two critical members of the story who share an interesting relationship. For this particular story, the first person perspective was utilized quite effectively to develop the character Montresor. Depicting him was crucial to introducing Fortunato, the story’s second focus. A certain dramatic irony is noticeable throughout the sequence of events that eventually guides the reader to the story’s significant conclusion.
Initially,

Poe provided context for Montresor’s motives, translating them through the character’s passionate description of proposed retaliation. According to Montresor’s account, Fortunato had insulted him, for which he insisted there would be revenge. A primary tactic that Poe implemented in this section was the use of passive voice, which allowed Montresor to victimize himself in the first statement. “The thousand injuries of Fortunato I had borne as best as I could…” (1). This built support for Montresor’s perspective, which was necessary to precede his defense for his cause. He emphasized how he strongly believed that it would inappropriate for him not to respond to Fortunato’s actions with what he defined as retribution, a perspective that Poe effectively conveyed to be indicative of insanity.
Poe described the two acquaintances to have had history, from which Montresor understood one of Fortunato’s prime weaknesses.

Despite his suspicious and untrustworthy nature, Montresor maintained the observant characteristic that is similarly determinant of a criminal. Through this, he understood Fortunato’s passion and obsession with wine, which was useful on the night he strategically came across his presence. To Montresor's benefit, Fortunato had already consumed a decent amount of alcohol, which impaired his judgment and provided Montresor with an opportunity for manipulation. He utilized this by introducing a chance for Fortunato to distinguish a cask of Amontillado, a specific type of wine. Once Fortunato expressed interest, Montresor insisted that another night would be more appropriate, knowing Fortunato would respond stubbornly. Though this incident in the story featured more dialogue, the first person narrative perspective was nevertheless important, as it emphasized Montresor’s understanding of Fortunato's character and how he intended to use his flaws to his

advantage.
Though not explicitly stated, Poe made it clear that Montresor had intended to meet Fortunato that evening in order to execute his plan for vengeance. Upon entering his home, Montresor described the absence of his servants in the household, which was no coincidence. “I had told them that I should not return until the morning and had given them explicit orders not to stir from the house” (24). This, in itself, was peculiar, but drew no concern from Fortunato in his condition. As they progressed towards the pipe, the features of the room became even more suspicious. Montresor, however, described them nonchalantly, similar to the manner he maintained to keep Fortunato clear of ambiguity. When they reached the cavern, the walls were covered in nitre, which impacted Fortunato almost immediately. He began coughing, but continued to pursue the Amontillado. Montresor had knowingly anticipated this move, as he once again insisted that they postpone the endeavor. In this instance, he expressed the epitome of the story’s dramatic irony, as Fortunato remained oblivious of what was to come.
Following this conversation, Montresor presented Fortunato with more wine, which he insisted he consume in a commanding tone.

Upon his agreement, Montresor made note of the jingling bells on Fortunato’s hat, which were one of the story’s critical symbols. They were prevalent in several instances that foreshadowed danger and almost appeared as a sound of happiness and life for contrast. This was most notable through Montresor’s narration and consistent recognition of their appearance. He accompanied this with foreshadowing statements that were most evident to his audience. “You are rich, respected, admired, beloved; you are happy, as I once was. You are a man to be missed” (35). It was as if he wanted to reveal his plan, but prided himself in preserving the obscurity. This was especially apparent when he drew a trowel from his roquelaire to prove he was of the masons, which he would later use in the execution of his

revenge.
Upon engaging in his retaliation, Montresor described his actions while admiring his speed. The words “immediately,” and “instant,” followed one another, and the description of chaining Fortunato to the granite was rather brief. The perspective of narration was especially substantial during this sequence of events, as Montresor revealed the fulfillment he acquired from his ability to prepare and enact his plan successfully. Subsequently, he encouraged Fortunado to bestow upon his work, maintaining a friendly demeanor. It seemed as though he had concentrated on the accomplishment, rather than the satisfaction of avenging his pride.
Interestingly enough, Poe continuously characterized Montresor’s narration with adjectives such as “friend,” which he used when referring to Fortunato. This was likely because he intended to slightly humanize Montresor alongside his unethical motives. After nearly completing his mission for revenge, Montresor made note of Fortunato’s sober moaning cry from the other side of the wall he had built. He admitted to an instance of hesitation towards finishing the construction of the wall, but nevertheless persevered. Additionally, he recognized Fortunato’s sadness, expressing concern when he didn’t respond. This was evident of the conflict he faced within himself, which he eventually resolved by disregarding emotion.
Perhaps one of the greatest ironies in the story regards Fortunato’s name. It resembles the word “fortunate,” which he initially considers himself to be. Yet, at the story’s conclusion he is at the receiving end of misfortune. This evokes the underlying truth that irony is a recurring pattern that is prevalent throughout the text. Poe employed the first person perspective efficiently in this narrative, as any other perspective would not have sufficed. This point of view provided insight to the mind of a deranged murderer, as he followed his actions with commentary that intrigued the reader with dramatic irony. Had Poe decided to describe the events from another point of view, he would not have given sound to the bells of the story.