Poe masterfully creates suspense in “The Cask of Amontillado” by opening with a question – not a direct question, but by providing a hint at a mystery that immediately engages the reader. In the very first sentence the reader must ask himself or herself what were the thousands of injuries that Fortunato had committed, and what has the narrator done about it or what will he or she do about it. These are meaningful questions which require meaningful answers.
In the next few lines we discover that the revenge has taken place and that this is the story of that revenge. The original questions, however, remain throughout the story. Even up to the last line there is some mild hope that Fortunato might really get away, that Montresor might relent, and all the while we are left wondering why? Why the murder? Why the slow, careful planning? Why was there no suspicion on Fortunato’s part?
The beauty of the mystery here is that it remains truly unsolved and yet it does not leave the reader feeling unsatisfied. We know the major events. We feel resolution for all of the characters. We need not know Fortunato’s guilt in order to know that Montresor is completely satisfied with his revenge and that he feels no guilt for it. Yet the driving question from the beginning carries the story forward and through its completion because it is an interesting question.
In addition to the key question, Poe further creates suspense by offering Fortunato a number of opportunities for escape. Montresor invites him to leave the catacombs, offers to take him out, even points out the futility of continuing and as readers we must think to ourselves “Yes, get out! You fool!” and yet we cannot help but watch in horror as he goes to his doom.
[...] however these examples give a short overview of Poe’s use of irony, which in this case is used to develop suspense and mood in a methodical and carefully planned manner. Filed under: Analysis Comment (0) Article [...]