Critical reading

This article has every bit end a critical reading of “ The Cask of Amontillado ” , by Edgar Allan Poe ( published in 1846 ) . Among the several possibilities of a literary text ‘s analysis, we choose to focuse structural elements of the narrative, including facets associating to the gender/genre and the lingual building of the text. Then we are traveling to see the structural organisation of the literary text and the consequence of its reading excessively.

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The Cask of Amontillado relates the narrative of a adult male called Montresor, who was insulted by Fortunato and he vowed retaliation. Montresor knew that Fortunato had a weak point: he prided himself on his virtu in wine – and took advantage of it. He encountered Fortunato in the Carnival season, he had already drunk much and invited him to speak up about a pipe/cask which he had received, but he had uncertainties if it was Amontillado. Then Fortunato went to Montresor ‘s vaults and he was deceived. There were mp attenders at place and Montresor secured him by his waist with a short concatenation and a padlock, because Fortunato was excessively much astounded to defy. Then Montresor began to palisade up the entryway of the niche and Fortunato screamed, after he thought Montresor was jesting and until laugh. Suddenly he perceived that he was n’t jesting and asked for the love of God to halt, but he went in front and finished his labor. He plastered the wall up and Fortunato was arrested at that place in the catacombs of Montresor ‘s household.

The construction of text is additive, because the narrative is based in enviousness and retaliation, there are indirect ( narrative ) and direct ( duologues ) discourses during the narrative. The narrative creative activity studies about itself. The storyteller belongs to the narrative and state his experience. Sometimes it gives the feeling that the storyteller is speaking to the readers like if it was his scruples ( it seems that he is warranting his act ) – “ The 1000 hurts of Fortunato I had borne as I best could, but when he ventured upon abuse I vowed retaliation. You, who so good cognize the nature of my psyche, will non say, nevertheless, that I gave vocalization to a menace ” .

In the get downing the narrative is on first individual and the storyteller continues warranting his retaliation – “ At length I would be avenged ; this was a point decidedly settled – but the really definitiveness with which it was resolved precluded the thought of hazard. I must non merely penalize but penalize with impunity. A incorrect is unredressed when requital overtakes its redresser. It is equaly unredressed when the retaliator fails to do himself felt as such to him who has done the incorrect ” .

Sometimes the storyteller negotiations about his friend, therefore the narrative is on 3rd individual. The storyteller and character consequence in a sort of intercrossed middleman, which it appears the presence of the indirect discourse – “ He had a weak point — this Fortunato — although in other respects he was a adult male to be respected and even feared. He prided himself on his virtu in vino. Few Italians have the true ace spirit. For the most portion their enthusiasm is adopted to accommodate the clip and chance, to rehearse impersonation upon the British and Austrian millionaires. In picture and gemmary, Fortunato, like his countrymen, was a quack, but in the affair of old vinos he was sincere ” .

After it returns to first individual – “ In this regard I did non differ from him materially ; — I was adept in the Italian vintages myself, and bought mostly whenever I could ” . There are many duologues between the storyteller and his friend excessively ( direct discourse ) – “ My beloved Fortunato, you are fortunately met. How unusually good you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my uncertainties ” . “ How? ” said he. “ Amontillado? A pipe? Impossible! And in the center of the carnival! “ .

SometimesA the storyteller uses the descritive text excessively, rich in inside informations, it seems that he wants the reader know precisely how is the topographic point where they were – “ At he most distant terminal of the crypt at that place appeared another less broad. Its walls had been lined with human remains, piled to the vault operating expense, in the manner of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this mode… within the wall therefore exposed by the displacing of the castanetss, we perceived a still interior crypt or deferral, in deepness about for pess, in width three, in height six or seven… ”

This mix of indirect and direct discourses allow to readers view the intrinsic conditions of the characters, because the storyteller uses some channels of information.

The writer assorted sarcasm, surprise, suspense and fright in the text. The narrative shows the characters-protagonist ( Montresor and Fortunato ) change their action ‘s places, when Fortunato base on balls to be injuried by Montresor. Besides, the narrative evidences the spirit of that clip, when there were retaliations and competitions for the power – people of higher societal degree disputed the power ( both were rich, Mason ) .

The writer keeps the suspense until the terminal of the narrative, because the readers think that Montresor wo n’t able to kill Fortunato, but he does it, in planned mode and in cold blood.


Materials and booklets used in categories, chiefly “ A Personagem de Ficcao ” ;

“ Cinco Licoes de Psicanalise ” A ( ) ;

“ Recepcao critica vitamin E analise de textos literarios ” , de Penha Lucilda de Souza Silvestre ( )



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