Documente Academic
Documente Profesional
Documente Cultură
10/6/08
4°
In the horrific and sadistic stories of Edgar Allen Poe’s “The Cask of Amontillado” and
Richard Connell’s “The Most Dangerous Game,” the authors use imagery to convey the mood.
Although both stories occur about one hundred years apart, death remains to be carried out in
Fortunato, an imprudent man who has an addiction to fine alcoholic beverages. Montresor, a man
who cannot bear Fortunato’s insults, uses Fortunato’s desire of Amontillado against him to lure
him to his death. In Connell’s “The Most Dangerous Game,” Rainsford, a skillful hunter, falls off
a yacht into the Amazon. After seeking land, he finds a seemingly civilized mansion with
delicious food, comfortable furniture, and even electricity. There he meets the hunting fanatic
General Zaroff, who eventually implies that the only creatures that give him a thrill to hunt are
humans. An appalled Rainsford thought that since he was being treated so well, he and Zaroff
were to hunt other humans together; however, he soon finds out that he is the one who will be
hunted. Rainsford almost crosses the fine line of life and death multiple times, but he is saved by
his well developed instincts. Authors Poe and Connell use imagery to illuminate a foreboding
atmosphere in their tales “The Cask of Amontillado” and “The Most Dangerous Game”.
In the eerie and vengeful anecdote “The Cask of Amontillado,” Edgar Allen Poe uses
imagery to unearth an ominous mood. He describes Fortunato, the antagonist, as someone who
“[wears] motley. He [has] on a tight-fitting parti-striped dress, and his head [is] surmounted by
the conical cap and bells” (Poe 7). The motley expresses the chaotic atmosphere of carnival
season, suggesting that although the costume may appear jovial, it masquerades the true eeriness
of carnival season. The tight-fitting dress illuminates that everyone is ensnared inside the
carnival, with no possible escape until the carnival ends; until then, all the individuals partying
formulate a façade hiding their true selves. The stripes on the dress symbolize life itself, as the
stripes begin at one point and end abruptly at another. Death can occur unexpectedly, but one
knows it will come about eventually, just like one is aware that the stripes will end. The
alternating stripes resemble the diversity of life, yet it shows oneself that all of humankind must
originate and perish at a single point. The different circumferences of the varied curvature that
compose the pointed cap convey the different levels and stages of life, with the point, or death, at
the end. Life also takes oneself in unforeseen directions, which is why there are so many routes
from the base of the cap to point. Every individual undergoes a stage of being, although they all
end up under the reign of Death eventually. The bells symbolize a happy, joyous life, but only
when they’re ringing. When the sound of the bells slowly fades away, it suggests one’s life may
be close to an end. The bells illustrate that Providence or Death, whoever it may be, will always
send out a subtle warning before slicing through one’s heart. Fortunato’s entire costume reeks
wholly of anguish and fatality. Fate is foreshadowed further when Montresor and Fortunato near
“At the most remote end of the crypt there [appears] another less spacious. Its walls [are]
lined with human remains, piled to the vault overhead, in the fashion of the great
catacombs of Paris. Three sides of the crypt [are] still ornamented in this manner. From
the fourth side the bones had been thrown down, and [lie] promiscuously within the earth,
The three sides of the crypt with neatly lined human remains bear a resemblance to a wall that is
built from the remains of the deceased. However, since only three sides of the wall are
completed, more of humanity must be bereaved. The needed skeletons to complete the final wall
portray that Montresor’s duty is to annihilate Fortunato and to complete the barrier dividing the
living and those incarcerated by the mighty Death Himself. Moreover, life and death contradict
each other when Montresor and Fortunato encounter the end of the crypt:
“Within the wall thus exposed by the displacing of the bones, [Montresor and Fortunato
perceive] a still interior crypt or recess, in depth about four feet, in width three, in height
six or seven. It [seems] to have been constructed for no especial use within itself, but
[forms] merely the interval between the two of the colossal supports of the roof of the
catacombs, and was backed by one of their circumscribing walls of solid granite” (10).
The depth of the sepulcher measuring approximately four feet symbolizes life, since the four
seasons represent life as a repeating and continuous cycle. The measurement of three in width
conveys that although death will occur, life will always rise from it, representing the resurrection
of Jesus on the third day after his death. The height of six or seven resembles life, as God created
man on the sixth day; the numeral seven unites life and death harmoniously, as seven is the digits
four and three added together. The interval between the two roof supports are the border where
life and death meet; the walls enclosed around the crypt are the bounds that bind life and death
together.
The corrupt, inhumane methods used in Richard Connell’s “The Most Dangerous Game”
foreshadow the corrupt events of the near future using elements from the setting. For instance
when Rainsford falls off the ship, he sees that the “lights of the yacht [become] faint and ever-
vanishing fireflies; then they [are] blotted out entirely by the night” (Connell 21). The weakening
luminescence of the lights, which resembles one’s life deteriorating, indicates the occurrence of a
brutal demise. The night encasing the light of the vessel is essentially Death, snuffing out the
seemingly eternal flame of life by using a breath greater than the power of the Almighty himself.
In addition, after Rainsford has been swimming for what seemed like hours, he uses “his
remaining strength [to drag] himself from the swirling waters. Jagged crags [appear] to jut into
the opaqueness… What perils that tangle of trees and underbrush might hold for him did not
concern Rainsford just then” (21-22). The water churning beneath the uneven rock face is the
mouth of one of the many thresholds to Hell. Rainsford is aware that he has escaped the first
gateway to Hell, yet he is unaware of the existence of the other portals. The clandestine route to
another entryway of Hell is the dense, atypical jungle that lies before him. Furthermore, when
Rainsford discovers a mansion in the middle of the Amazon rainforest, he questions his eyes but
realizes that it is “no mirage, he [finds], when he [opens] the tall spiked iron gate. The stone steps
[are] real enough; the massive door with a leering gargoyle for a knocker [is] real enough; yet
about it all hung an air of unreality” (23). The spikes of the iron gate appear to be the stakes that
are used to crucify and torture human beings until they willingly follow the one way road to Hell,
the road representing the stone steps. Rainsford’s entering of the iron gate is him unknowingly
stepping into the verge of Hell. The gargoyle knocker on the door symbolizes the guardian of
Hell, which lies right beyond the doors. The term gargoyle, which is partially derived from a
Latin root meaning “to swallow,” suggests the gargoyle will swallow Rainsford into the
whirlpools of Hell. The manor obtained an atmosphere of unreality because, at first glance, it
seems to be a wealthy home, not the lair of the devil. He who reigns over Hell cannot completely
Imagery is used to express the portentous mood in “The Cask of Amontillado” and “The
Most Dangerous Game;” the symbolism of fatality is hidden throughout the stories through great
detail. Poe’s story uses imagery to create an atmosphere, while Connell applies detail to subtly
indicate the events of the near future. The imagery and picturesque elements allow the reader to
gain a better understanding of both stories and look inside them to find their true inner meanings.