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Kjetil Seefelt
Michelle Jarvie
Honors Writers’ Workshop
9 January 2014
True Lies
According to Michael Ende, “when it comes to controlling human beings, there is no
better instrument than lies.” The character Montresor in Edgar Allen Poe's short story "The Cask
of Amontillado" displays his expertise in lying and knowledge of psychology throughout the story.
Montresor possesses a deep understanding of psychology visible through his multiple steps to
ensure his plan to kill Fortunato works. He demonstrates this through utilizing his manipulative
tone towards Fortunato, using irony of the setting at which he killed Fortunato, and juxtaposing
Fortunato and Luchesi.
To begin, during the whole of the story, Montresor uses reverse psychology and makes
Fortunato think he is worried about his safety with his concerned tone, but he is just the opposite.
As Fortunato begins coughing uncontrollably for some time, Montresor says "we will go back;
your health is precious.You are rich, respected, admired, beloved; you are happy, as once I was.
You are a man to be missed" (120). He pretends to care about Fortunato's cough and offers to
take him back to the carnival, to which Fortunato becomes defensive and says he will continue
on in the catacombs. By doing this, Montresor makes Fortunato feel a sense of confidence that
Montresor predicted to happen and will use to his advantage. Again, moments later, Fortunato
begins to cough, and again Montresor puts on his mask of concern, stating "come, we will go
back ere it is too late. Your cough­­­" (120). Once more, Fortunato shrugs off Montresor's
invitation to go back saying "the cough is a mere nothing; it will not kill me" (120). Montresor
makes Fortunato feel confident and comfortable to lure him into his imminent death. This false
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feeling compels Fortunato to lower his guard, making him vulnerable, which allows for
Montresor's covert plan to persist. Montresor urges Fortunato to feel safe, when in reality he is
not as Montresor is utilizing his mastery in reverse psychology to attain that sense of
comfortability.
Next, of all times and places to kill Fortunato, Montresor chooses the catacombs
underneath a carnival. Montresor first confronts Fortunato "one evening during the supreme
madness of the carnival season" (118). It is ironic that Montresor chooses a time of celebration
where everyone is having fun to hide his plot to murder Fortunato. It furthers his plan because
Fortunato, or anyone for that matter, does not expect to be killed during a party. Furthermore,
when Montresor is building a wall around Fortunato, the "succession of loud and shrill screams"
(122) coming from Fortunato cannot be heard by the people at the carnival because the men are
below the laughter, music, and sounds of the carnival. This too abets his scheme by concealing
the death and deception in the catacombs from the joy and celebration of the party. Adding on, it
is ironic Montresor kills him in a catacomb, which is an underground cemetery. Montresor ends
the story saying "for the half of a century no mortal has disturbed them" (122), referring to
Fortunato and the already dead in the catacombs. Fortunato dies amongst numerous skeletons
scattered around him. This part of his plan is important because one does not look for the living
among the dead. Montresor knows that Fortunato will not be on his toes during the carnival and
takes full advantage.
Lastly, Montresor juxtaposes Fortunato and Luchesi multiple times, making Fortunato
defensive. From the very beginning, Montresor tries to generate excuses for Fortunato to not go,
but every time Fortunato is too proud to let Montresor take Luchesi. Before they even enter the
catacombs, Montresor says, before being interrupted by Fortunato, "as you are engaged, I am on
my way to Luchesi. If anyone has a critical turn, it is he. He will tell me­­­" (118). Fortunato will
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not pass up an opportunity to taste some Amontillado and insists Montresor bring him instead of
Luchesi. Montresor knows that comparing Fortunato to Luchesi will make Fortunato more willing
to go into the catacombs, fulfilling his plan. Later, he brings up Luchesi again, stating "you will be
ill, and I cannot be responsible. Besides, there is Luchesi­­­" (120). Again, Fortunato interrupts
Montresor before he can utter anymore about bringing in Luchesi. Any doubt Montresor shows
for Fortunato is quickly doused as Fortunato says he is fine and drinks more wine. The more he
drinks, the more he falls right into Montresor's trap. Montresor intentionally does all of this to
force Fortunato into an inebriated state, where he cannot decipher the true purpose Montresor
has for him.
In Edgar Allen Poe's short story "The Cask of Amontillado," Montresor is a genius of
psychology and an expert in deception, displayed in his highly advanced scheme to kill
Fortunato. First, he uses a manipulative tone towards Fortunato. By doing this, Fortunato feels
comfortable and becomes even more unsuspecting of Montresor’s murder plot. This forces
readers to consider how prone humans are to deception of character and dwell on who is
trustworthy. Next, he strengthened his plan using irony of the setting where he killed Fortunato.
He covers the dastardly actions of murder in the catacombs from the joyful festivities of the
carnival. This causes Fortunato to lower his guard and become vulnerable to Montresor’s plan. It
prompts the audience to ponder that no matter how enjoyable a situation is, there are always
dreadful acts happening. Finally, Montresor juxtaposes Fortunato and Luchesi. Fortunato allows
for his pride to get in the way and drinks more wine to show he is better than Luchesi. However,
in doing so, he becomes too intoxicated to truly see what Montresor has planned. It illustrates to
the readers how egos are dangerous and should be avoided. Poe’s intention of writing this story
was to be weary of surrounding people, as one never knows who is secretly out to get them.
Works Cited:
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Ende, Michael, and Roswitha Quadflieg. The Neverending Story. Garden City, NY:
Doubleday, 1983. Print.
Poe, Edgar Allan. The Cask of Amontillado. Philadelphia, PA: Godey's Lady's Book,
November 1846. Print.