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The Cask of Amontillado: Difference between revisions
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==Major Themes== | ==Major Themes== | ||
Montresor is motivated by hate and seeks revenge on Fortunato. He feels as if he has insulted him and caused a thousand injuries to him but the injuries are not identified in the short story "The Cask of the Amontillado. | Montresor is motivated by hate and seeks revenge on Fortunato. He feels as if he has insulted him and caused a thousand injuries to him but the injuries are not identified in the short story "The Cask of the Amontillado" | ||
One theme is rivals, Montresor depicts his homicide of Fortunato in a tone of truth.{{sfn|Elhefnawy|2018|p=103}} However, his description of the episode offers very little with regard to what he thought and felt.{{sfn|Elhefnawy|2018|p=104}} Obviously, a significant part of the analysis of the story is committed to working out Montresor's thought process from the slight detail on offer.{{sfn|Elhefnawy|2018|p=105}} Rather than the thought processes that drive individuals to kill.{{sfn|Elhefnawy|2018|p=103}} Montresor even makes directed reference toward his anger regarding Fortunato's action.{{sfn|Elhefnawy|2018|p=103}} This is manner satisfactory to drive Montresor to kill, how Montresor goes with regards to his vengeance—the hero not looking for fulfillment in a duel yet demanding it through a more barefaced and surprising technique for homicide.{{sfn|Elhefnawy|2018|p=104}} | |||
The plot revolves around alcohol and inebriation, with both contributing to Fortunato's gullibility and eventual demise in Montresor's wine cellar. Engaging Fortunato in dialogue ripe with irony, Montresor lures his victim deep into the family catacombs, urging him to try other wines along the way. {{sfn|Nesbett|2000|p=297}} | The plot revolves around alcohol and inebriation, with both contributing to Fortunato's gullibility and eventual demise in Montresor's wine cellar. Engaging Fortunato in dialogue ripe with irony, Montresor lures his victim deep into the family catacombs, urging him to try other wines along the way. {{sfn|Nesbett|2000|p=297}} | ||