“The madness and satisfaction, the narrator’s tell each

“The Tell-Tale Heart” and
the “Cask of Amontillado” speak of vengeance and brutality. Stories containing madness
and satisfaction, the narrator’s tell each story based on their personal
account. The way in which they deliver their confessions gives an eerie
deepness to the crimes they have committed. Both men are driven by their egos
and their craze with their culprits. Motivated by their own fantasy, each man
seeks revenge against his opponent in the form of calculated homicide.

Cautiously the Montresor planned
exactly how he would get his revenge on Fortunato. There was time and energy dedicated
to this scenario, devising a time that would be best. Much time and great
energy was devoted to this plan, choosing a time that would be best: during a
festival when the town was celebrating making it easier to sneak off without
being noticed. No detail is lost; he allows for no obstacles. He carries his
plan with such assurance that he never sways from carrying out his plan. To carry
on with his plan, he then shows false care for Fortunato as they walk passed
the catacombs. Faulting the dampness in the air, the Montresor suggests that
they go back so they don’t endanger Fortunato’s health, when really he doesn’t have
the intent in doing so. Not once did Fortunato suspect any foul play.

In the “The Tell-Tale
Heart”, the narrator has took the time to thoroughly plan. He sneaks into the man’s
room until l he is ready to carry out his plot. His dissatisfaction does not
lie with the old man. He claims to have love for the old man and admits that
the man had given reason for his murderer to wish death upon him. Instead it is
the old man that is unsettling. He is taken back by the eye looking at him
which makes him mad. It makes him to wish to never look at or be looked at by
that eye again. In his mind, the solution would be to kill the old man. With a close
to similar finess as the Montresor took in “The Cask of Amontillado”, the man
in “The Tell-Tale Heart” had a dedicated plan to kill.

The point of view each
story is told from is a key factor to the unfolding of the events. Had they
been told by an outside party rather than first hand from the men who committed
the crimes, the depth of their insanity may not have been revealed. Recounted
with a harsh callousness, Montresor never pauses or hesitates in his retelling.
He speaks with an unnerving smoothness as if he were speaking of something far
more innocuous than murder. Just the same, he would allow for no distraction
from his plan. His cool manner lends itself to an eerie glimpse of his
personality. No real regret is ascertainable, save for the very end when the
Montresor tells us that his. The narrator of “The Tell-Tale Heart”, however,
confesses his crime with an edgy nervousness. His story is choppy and
disruptive. His madness has a stronger sense of urgency. His remorse for the
loss of the old man can be clearly detected among his admission.
In both narrations, the men each speak with pride of their handiwork. Neither
seems to have any idea of his own disturbed mental state. Both of the men may
have started out sane at some point and were driven to the point of madness and
murder over time. In either case, they are after vengeance for reasons which
make little sense to anyone but themselves. .. The other man has been driven to
his frenzy from an obsession with the old man’s offensive eye which. He quite
insistently declares that he is not mad. His examples for arguing against his
madness are those of how methodically he plotted the murder. His continued
urging that he is quite sane heightens the sense that he is truly very far from
sane. The delivery and ego with which the stories are infused lends itself to
make the reader further question the validity of these stories; as they are
coming directly from the men who have committed murder upon seemingly innocent
men. They are told through a veil of irrational justification of their
atrocities.

With what to each man
must seem to be brilliance, they have both selected burial as the method of
disposal for the bodies. They quite literally cover their evidence. The
Montresor leads Fortunato to the far recesses of his family catacombs where
they shan’t be heard. Once there, he bricks Fortunato alive into the catacombs
while still alive. The other opts to kill first, then dismember and hide the
old man’s body beneath the very floorboards in his room. They are covering
their tracks thoroughly and in a manner that is most disturbing to a mind less
unsettled than their own. While these plans seem sensible to them, their view
of this method only continues to add to the overall feeling of mental
disturbance that each man carries.
The victims of each murder are isolated. They are trapped with no one but their
murderers. The setting is vital to the telling of each of these stories as it
adds much more feeling to the recanting of the deaths. The darkness of the room
in “The Tell-Tale Heart” builds upon the intense fear and the mystery of how
the story will pan out. The quiet and stillness of the dark room heighten the
sense of terror. The dampness and the cold of the catacombs in “The Cask of
Amontillado” adds an overall coldness and eerie horror. Being in a place of
death, surrounded by buried family members of generations past extends a gothic
feeling to the tale. Both stories are given descriptive detail as to the
surroundings: the enveloping darkness of the old man’s chambers in “The
Tell-Tale Heart” and the lengthy, dark and damp vaults depicted in “The Cask of
Amontillado”.

Though it is written only
of “The Tell-Tale Heart”, Magdalen Wing-chi Ki’s writings could easily be
applicable to “The Cask of Amontillado” as well in “Ego-Evil and “The Tell-Tale
Heart”. She writes,. Both men pursue their actions as a result of their ego.
They are self-obsessed as well as consumed by that which they seek to destroy.
She goes on to say. Each story is being told first person, by the man who did
the plotting and carried out the deed. One is very clearly a confession and
wrought with guilt. The other telling, courtesy of the Montresor, appears to be
a boastful recanting of the events which occurred that night. It does not seem
that he is remorseful in any way or admitting any fault for his crime, nor does
it give the impression of being a true confession. The events are swayed by the
twisted minds sharing their own account of how they recall things to have
happened.

“The Cask of Amontillado” and “The Tell-Tale Heart” both focus on deadly
revenge. In each case, a retribution that is carried out in a cruel and callous
fashion. The men fulfilling these actions are cold, calculating, and
contemplative. They have painstakingly endeavored to seek retribution against
what has plagued them: Fortunato and his insults to the Montresor and the old
man’s piercing, chilling eye for the man from “The Tell-Tale Heart”. Driven to
the point of madness by their own obsessions, they plot to murder their
offenders. The tales are told each by the man who has indeed committed the
crime. Each man’s insanity becomes more and more clear as they narrate
confession; the Montresor with the unfailing ease with which he dictates his
account and the man from “The Tell-Tale Heart” with his jagged and rough
delivery. Their distinct mental instability calls into question to reliability
of the report they give.