Montresor is a dangerous and evil person in The Cask of Amontillado by Edgar Allen Poe. In this short story, Montresor is sensitive, trickey, and evil. Montresor is sensitive because he is going to kill Fortunato because he insulted him. In the story, Poe also shows us through the indirect characterization methods of Montresor’s own actions, words, and looks. When Montresor is ready to go to the catacomb with Fortunato, he puts “on a mask of black silk” and wraps himself up in “a roquelaire.” He wears the mask and the roquelaire because it hides his identity.
Montresor, in Edgar Allan Poe’s The Cask of Amontillado, vows to take revenge on his supposedly good friend, Fortunato, chaining him in the catacombs underneath his home to rest with the other bodies for all eternity. Despite what he seems to be telling the reader, this character is not a sociopath driven by anger. Montresor is compelled to methodically cleanse his life of this stain. It is less an act of revenge than it is a cleansing ritual. The setting of the story raises it from a mere horror story to one of religious rebirth.
Poe uses a unique setting of bumping into Fortunato at a carnival. Carnivals equate happiness and festive times, and those in attendance will be far too distracted with partying than thinking a haneous crime will be commited. Fortunato gave his entire staff the night off, so that nobody would get in the way of his vengeful evening. Fortunato was an afficianado of a very special sherry called Amontillado. In order to enact revenge on Fortunato, Montresor lures Fortunato to his catacombs to experience a newly acquired cask of Amontillado.
“The Black Cat” and “The Fall of the House of Usher” are two of Poe’s stories that exhibit profound examples of fear of one’s self, and Poe uses these conventions to express his characters emotions outwardly. For example, in “The Black Cat,” as the narrator starts to lose his patience with Pluto, he says, “The fury of a demon instantly possessed me. I knew myself no longer. My original soul seemed, at once, to take flight from my body; and a more fiendish malevolence, gin-nurtured, thrilled every fibre of my frame” (Poe 706). The narrator of this story is plagued by his addiction that is seemingly haunting him.
We turn off the lights when watching scary movies, and when it’s time to go to bed, we secretly make sure the closet doors are shut. Fear keeps our hearts pumping and endorphins rushing, for it is an emotion that reminds us of our mortality. How ironic it is to experience more life in our fascination with death. The two legendary writers, Poe and King, have ruled the universe of death and horror with remarkable success, both gifted with the talent of introducing each reader to his or her own subconscious fears. Edgar Allan Poe and Stephen King are the masters of their craft, blessed- or perhaps cursed- with imaginations that set higher standards in the field of writing.
03 Write about the ways Browning tells the story in ‘The Laboratory’? In the poem ‘The Laboratory’, Robert Browning adopts various methods with he uses to tell a story. The poem describes a jealous Marquise waiting for a poison to be concocted in a laboratory, obsessively intent on getting revenge on the woman who stole her love. ‘The laboratory’ is written as a dramatic monologue in first person by an erratic and vengeful Marquise. Browning uses quatrains with rhyming couplets throughout the poem, giving a calm and controlled feel with contrast dramatically with the dark, murderous theme of the poem and the erratic thoughts of the Marquise.
Macbeth sees a dagger before him, confusing him about whether or not to kill King Duncan. The porter at the gate is drunk, and pretends to be the porter of Hell Gate, and unknowingly allows Macduff and Lennox into the castle, allowing them to find King Duncan’s corpse. Lady Macbeth sees blood on her hands in her sleep, showing her guilt for her evil deeds. Although the guilt caused by these actions seem like punishment enough, they still endure further consequences. Macbeth is deceived by his ambition, his power, and most of all by his fear.
03.05 Fascination with Fear By: Gabrielle Laurenzo The Premature Burial is a short story written by Edgar Allan Poe where he discovers the narrator’s fear of being buried alive by analyzing examples of this event. The narrator explains how terrifying it was for him being prematurely buried. The setting takes place in the middle of the 19th century at the narrator’s home in Richmond, Virginia. At the end of the story, the narrator explains how, “There are moments when, even to the sober eye of Reason, the world of our sad Humanity may assume the semblance of a Hell—but the imagination of man is no innocent, exploring its every cavern is not without risk. Alas!
Revelry IS Edgar Allan Poe. The Cask of Amontillado (wine) represents drunken revelry with an open-air Italian celebration. The masquerade ball is relief from the plague-infested air. (Revelry ties Poe’s stories together.) The portrayal of the masquerade ball foreshadows the similar setting of the carnival in “The Cask of Amontillado.” Revenge combined with terror is the subject of “The Cask of Amontillado.” “Then summoning the wild courage of despair, a throng of the revelr at once threw themselves into the black apartment, and, seizing the mummer, whose tall figure stood erect and motionless within the shadow of the ebony clock, gasped in unutterable horror at finding the grave-cerements [shrouds] and corpse-like mask which they handled with so violent a rudeness, untenanted by an tangible form” (The Cask of Amontillado).
In order to make amends she orders the witches to create more spells to give Macbeth overconfidence as you all know security is mortals chiefest enemy (Act 3 scene 5). Another supernatural element that Shakespeare uses in the play represents Macbeths guilt and beginning of his madness is through the floating daggers in Act 2, which occur in Macbeths own home whilst King Duncan was guest. Before Macbeth commits the murder of King Duncan, he sees a bloody dragger that leads him to Duncans room. Macbeth questions if the dagger is real or a dagger of the mind, a false creation (Act 2 scene 1), in other words it is a hallucination. This dagger makes it so Macbeth cannot resist killing Duncan.