Philosophy of Literature in as Projected in the Cask of Amontillado, Essay Example

Edgar Allan Poe initially wrote The Philosophy of Composition in 1846 as an explanation of how his literally work, The Raven was composed. He presented the Philosophy of Composition as a template through which the composition of poetry should follow. Despite this allusion to the Raven, the text is perceived among critics as a hoax that is meant to discredit his critics’ way of writing. Furthermore, it is perceived as a way to enhance interest to his famous writing, the Raven. Despite the different sentiments on this text, the text postulates that the centrality of a work of art is the unity of effect and the beauty created in the process being the main aim of a poem or a text. Allan Poe in The Philosophy of Literature describes various attributes that he believes must be met for a poem to be effective. He demonstrated that a typical poem should be read in a one-sitting. He also argued that artful writing has to be demonstrated in every sentence. An audience gets to feel the mood and other artistic features in every sentence. In essence, every part of literary work contributes to the final feeling depicted in that work. According to Poe, a work of literature is expected to be compact and simple but still demonstrate suggestiveness and indefinite meaning in every sentiment that the author propagates. This nature of presenting literary works is evident in Poe’s The Cask of Amontillado. The poem fulfills most of the said expectations, as discussed below.

In the Philosophy of composition, Poe asserts that an effective literary work should be read within one sitting. The compactness of literary work makes every sentence to offer a tangible contribution to the development of the plot. In this way, Allan Poe felt that the short stories that can be read within a short time are the superior forms of literary works. He further suggests that the unity of an artwork ensures that the psychical necessity is maintained for a short period. He writes that “it is needless to demonstrate that a poem is such only in as much as it intensely excites, by elevating the soul; and all intense excitements are, through a psychal necessity, brief” (Poe 166). In the Cask of Amontillado, the storyline is compact, short, and an audience can read through in one sitting.

Poe asserts that the elevation of the soul in art is meant to enhance the immortality that human beings sup from literary work. He further argues that the beauty of literary work is unending, and it has to be raised throughout the quest to attain its immortality. In the Philosophy of Literature, he writes that “the beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears” (Poe 165). This might have emanated from Poe’s life experiences. The demonstration of unquenchable urge to attain art beauty is, however, not adequately demonstrated in The Cask of Amontillado. The plot is quite predictable after Montresor plans to punish Fortuna. Montresor had sent away his servants to attend the carnival festival and then invites Fortuna to taste the wine at home. The ascension to the Vaults creates a sense of danger for Fortuna. The audience can see the unfolding events away from the antagonist. The beauty that is expected to be created through suspense is lacking.

Every comment and sentence in the work of art is meant to enhance an effect on the reader (Poe 167). This philosophical argument is evident in The Cask of Amontillado. The poem is riddled with indefinite meanings and suggestiveness even though he presents his work as simple and straightforward. The Cask of Amontillado reflects this nature of writing, as brought forth in Poe’s Philosophy of composition. The use of irony is evident throughout The Cask of Amontillado. Montresor leads Fortuna to his death, and they walk through skeletons of Montresor’s dead family members, and yet Fortuna expects to be offered wine in such an environment. Fortuna’s expectations of wine turn out to be a trap, and he regrets it. The irony evident in this text reflects Poe’s assertion that a work of art is meant to enhance an effect on the audience.

The multiple ironies presented in the poem are a fulfillment of Poe’s Philosophy of composition. In The Cask of Amontillado, Fortuna wore bells, and they made sounds similar to the ones prevalent during funeral processions in Italy. After being trapped in the vaults, Fortuna’s bells make a sound similar to the ones made during funeral processions as he struggled to try and let loose. The sounds from his bells create a scenario of a funeral procession. In essence, that is ironical since his ego and greediness led him to the vaults while drank, leading to his demise. Montresor had compared him with Lucchese in relation to wine tasting in Carval, and he wanted to outdo Lucchese. His ego made him abandon other activities in the ceremony leading to his death. The use of irony creates a unification that simplifies artful writing. The ironies contribute to the final effect that a reader elucidates from Poe’s writings.

On a larger scale, Poe’s Philosophy of Composition is reflected in The Cask of Amontillado. The piece of art contains multiple ironies and is relatively short that it can be read in one sitting. However, the demonstration of the unquenchable urge to attain art beauty is not adequately demonstrated in The Cask of Amontillado. This is because the plot is quite predictable after Montresor plans to punish Fortuna. Overall, Poe has, without a doubt, tried to fulfill the requirements of literal works, at least as presented in the Philosophy of Literature.

Works Cited

Poe, Edgar Allan. “The Raven, and the Philosophy of Composition. Good Press, 2019.