![]() ![]() ‘The Cask of Amontillado’ has been interpreted as a story about two very different kinds of artist: the lucky successful artist and the talented but overlooked genius. (Since fifty years have elapsed since Fortunato’s murder, we can assume his account is something akin to a deathbed confession.) ![]() Indeed, he seems to be proud of having pulled off the perfect crime, without ever having been caught and charged. Although it is ostensibly a confession of his crime, he informs us of the details of Fortunato’s murder, and how he laid the trap for his enemy, with a calm rationality that appears to be devoid of remorse. Whether this is his victim haunting him from beyond the grave, or a manifestation of the criminal’s guilty conscience, he is eventually overwhelmed by the incessant beating from beneath the floor until he confesses his crime.īut Montresor’s ‘confession’ is rather different. So in ‘The Tell-Tale Heart’, for example, the murderer’s remorse is exemplified by the sound of his victim’s heart beating under the floorboards where he has buried the body. In many of Edgar Allan Poe’s other tales of murder and other crimes, the perpetrator is eventually forced to confront their crimes and come to terms with their guilt over what they have done. ![]()
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