CHAPTER I
INTRODUCTION
1.1 The Background of the Studies
American literature has many authors, such as: Mark Twain, Anton Chekhov, Edgar Allan Poe, Ernest Hemingway, Sidney Sheldon, Henry James, F. Scott Fitzgerald, Charles Dickens, Agatha Christie, and there many others.[1] In view of the fact that Prosper Mérimée published some of Edgar Allan Poe’s best short stories in 1829, however, neither Poe nor Hawthorne can justly be called the father of the modern short story. Yet in that realm of terror and unreason which Poe made peculiarly his own, he may still be accounted the greatest if not the first.[2] Poe's name will doubtless be ever intimately associated with the progress of the short story. He was in many respects an innovator.
Poe was born in Boston, January, 19, 1809, died October, 7, 1849 in Baltimore. He deserves more credit than any other writer for the transformation of the short story from anecdote to art. Poe virtually created the detective story and perfected psychological thriller. Also produced some of he most influential literary criticism of his time and has had a worldwide influence on literary.[3]
The writers interesting aspect to be analyzed that one of masterpieces of Edgar Allan Poe’s that titled “The Cask of Amontillado” (1846).[4] This short story is a horror Poe’s story. This works first appeared in Godey's Lady's Book in 1846, is a classic example of the use of an unreliable narrator. Poe's first collection of short stories, Tales of the Grotesque and Arabesque, had appeared in 1840. "The Cask of Amontillado," as Edmund Clarence Stedman has said, "paints with a few strokes all that has been conceived of Roman pride and vengeance." It is a story in Poe's most characteristic manner, and unites, as perhaps no other one of his fictions does, both his chief merits and his particular defects, though the latter are by no means in the ascendant.
In reaction is challenged to discuss objectively believing that the works as independent piece of art. The Cask of Amontillado is one of Poe’s designed two characters: Montresor and Fortunato. In the story, Montresor wants to revenge cause of Fortunato pressure himself. The writer sees, what doing both of characters is normally with a friendship between them. So, the writers presume indicate of influences of the alcoholism for the characters until Montresor killed his friends beside abnormal behavior.
The writers assume that “The Cask of Amontillado”, offers a unique perspective into the mind of a deranged murderer. Montresor killed Fortunato with tragic way, which that Montresor invited Fortunato to the Palazzo, (as grave build under land, dark room, there many bone, niter), there his friends, Fortunato lock with handcraft, plastered and after that he will go back while scream and happy, for the half of a century no mortal. It is nothing meaning of friendship when some one lose their humanism, exactly his mental disturb.
Montresor receive stressing from Fortunato, because mock, thousand injures in his soul, task, because of he wants to revenge (in introduction story). In fact, the theme is revenge of Montresor versus Fortunato. Both of them are drunken people, the main conflict that plays out in the course of Poe’s short story.[5]
Therefore, all of the matters mentioned above become the writer’s reasons of conducting this research entitled: A Psychological Analysis on the Major Characters of Edgar Allan Poe’s Short Stories The Cask of Amontillado.
1.2 The Statement of the Problems
Dealing with the background above, the research questions which to be the guide line of conducting this research as follow:
1. How are the ‘Id’,’ ego’ and ‘superego’ of the major characters?
2. How are the experiences relating to the ‘Id’,’ ego’, and ‘superego’?
3. What are the defense mechanisms which are used by the ego of the major characters?
1.3 The Objective of the Studies
This research is aimed to reveal and analyze how each character in the short stories The Cask of Amontillado formulated each element of mind (id, ego, and superego) which lead to the performing of each their action. Freud comes to see personality as having three aspects which work together to produced all of our conscious behavior: the id, ego, and superego.[6] Based on the previous problems, the study is aimed:
1. To find the experience behind the performing of the id, ego, and superego.
2. To reveal the id, ego and superego.
3. To find the defense mechanism used by the ego of the major characters.
1.4 The Limitation of the Problems
A literary works is established by the elements of character, plot, setting, theme, and point of view. As limitation, in this study the writers specify only internal aspects in the short story, such as the experience behind the performing that material psychology in three items: id, ego, and superego of the major characters: Montresor and Fortunato. And also mechanization had done by ego of the major characters.
1.5 The Method of the Studies
In doing this research is conducting within three steps: collecting the data, analyzing the data and presenting the result data (Berg, 19). In collecting the data, the writers will do the library research in gathering the primary and secondary data. Primary data are obtained by reading and comprehending a short story entitled The Cask of Amontillado as the source of the data. While secondary data are obtained by reading and understanding some supporting books, articles or essay related to required to the theory, and also in internet media related requiring to the theory.
Furthermore, in analyzing the data, the writer firstly, collects all the data which are assumed to match the analysis. Then the data is comprehended using Psychological theory proposed by Sigmund Freud, about three system of psyche: ‘id, ‘ego, and ‘superego. Freud sees personality as having three aspects above which work together to produce all over. Psychoanalysis explores the role of the subconscious in literature including that character (in form what are the characters said in dialog, event, phenomena, behavior, action, and though) in the text.[7] The writer uses content analysis as the method of the research. Content analysis is a research line, which is stated the literary works as an object of research. Mellon says; content analysis is a research method that uses a set of categorization procedures for making valid and replicable inferences from data (texture image) to their context.
Finally, in presenting the result data, the writer applies qualitative method since the data is represented in the form of words, statement or paragraph. To support the analysis, the writer will used descriptive method for presenting the data, as suggested by Bodgan (2002:4):
“Qualitative research is descriptive. The collected data is in the form of word or picture rather than numbers. The written result of the research contains quotation from the data illustrate and substantiate the presentation”[8]
According the quotation above, the writer classified the analysis into qualitative research beside uses the descriptive method for presenting the data in which the result of the analysis is presented in the form of quotation.
I.6 Definition of Key Terms
Psychology : the scientific study of behavior and mental processes
Cask : shaped like a barrel but smaller used for storing liquids, especially alcohols drink
Amontillado : a kind of alcohol drink
Unconscious : the irrational part of the psyche unavailable to a person's consciousness except through dissociated acts or dreams.
Id : completely unconscious part of the psyche that serves as a storehouse of our desires, wishes, and fears.
Ego : mostly to partially (a point of debate) conscious part of the psyche that processes experiences and operates as a referee or mediator between the id and superego
Superego : often thought of as one's "conscience"; the superego operates "like an internal censor (encouraging) moral judgments in light of social pressures.
CHAPTER II
REVIEW OF RELATED LITERATURES
2.1. Review on Related Studies
The Cask of Amontillado is one of Edgar Allan Poe’s richest aesthetic achievements, certainly deserves more searching analysis than it has received. To be sure, critics and anthologists have almost unanimously expressed admiration for the tale still; they have rarely attempted to find in it a consistently developed and important theme. Indeed, most criticism of the story has the definitive that one associates with comments on closed issues.
The writer read criticism from professional namely Arthur Hobson Quinn. Whose works pronounces, Poe's little masterpiece "a powerful tale of revenge in which the interest lies in the implacable nature of the narrator." More recently, Edward Wagenknecht asserts that the tale derives its value from Poe's "absolute concentration upon the psychological effect."
In addition to these reading, the writer also read the Gargano’s essay; he explores Poe's subtle use of action and dialogue. Gargano contends that action and dialogue that at first appear "accidental" actually carry a great deal of "connotative value."
In the essay "The Philosophy of Composition," written in the same year as "The Cask of Amontillado," Poe demonstrates that there are no details in his works that appear due to accident or intuition, and that his work proceeds "to its completion with the precision and rigid consequence of a mathematical problem" (166). While such an approach to creative writing has earned Poe an antipathetic reputation of the first "technocrat of art" from Theodore Adorno (193), it would find support with Russian Formalists.
It is slightly different from previous researches, the writer of this analysis focuses on the psychology aspects support by Sigmund Freud.
2.2 Reviews on Related Literature
In conducting this research, the writer uses the psychoanalytic criticism by applying the theory and method which was proposed by a medical doctor and Austrian psychoanalyst, Sigmund Freud. We might start by talking about what you already know about Sigmund Freud and his ideas. He's one of the most important thinkers of the twentieth century. He classified id, ego and superego. In order to make subject clearer, it is necessary the definition of psychology itself. According to Dieane E. Papalia and Sally Wenkost in book “Psychology”, 1985, said:
“Psychology is the scientific study of behavior and mental processes. These defense enable people to modify in order to make them easier dealing with the unbalance zone”.[9]
Considering with Papalia opinion above, Psychology the study about behavior and mental processes, which is related to Freud’s mind about the id, ego and superego that reveal to the mental processes of human being. According to Freud (Wilfred L.Guerin, 129):
“Whereas the ‘id’ dominated by pleasure principle ant the ‘ego’ by the reality principle and the ‘superego’ by morality principle. We might say the ‘id’ would make us devils that the ‘superego’ would behave us angels and that it remains for the ago to keep us healthy human being by maintaining a balance between two opposing forces”.[10]
From the quotation above Freud clearly the ‘id’ is dominated by pleasure principle, the ‘ago’ is dominated by reality principle and moreover ‘superego’ is dominated by the morality principle. Freud defines morality as the other regulating agent with elaborates within our society. It is regarded in term of punishment for what the society consider being had behavior and reward for what is considered good behavior.
Freud's psychoanalytic theory, coming as it did at the turn of the century, provided a radically new approach to the analysis and treatment of "abnormal" adult behavior. Earlier views tended to ignore behavior and look for a physiological explanation of "abnormality". The novelty of Freud's approach was in recognizing that neurotic behavior is not random or meaningless but goal-directed. Thus, by looking for the purpose behind so-called "abnormal" behavioral patterns, the analyst was given a method for understanding behavior as meaningful and informative, without denying its physiological aspects.
The technique of psychoanalysis Freud developed a language that described, a model that explained, and a theory that encompassed human psychology. His theories are directly and indirectly concerned with the nature of the unconscious mind.
The psychoanalytic approach to literature not only rests on the theories of Freud; it may even be said to have begun with Freud, who wrote literary criticism as well as psychoanalytic theory. Probably because of Freud’s characterization of the artist’s mind as “one urged on by instincts that are too clamorous,” psychoanalytic criticism written before 1950 tended to psychoanalyze the individual author. Literary works were read as fantasies that allowed authors to indulge repressed wishes, to protect themselves from deep-seated anxieties, or both.
Freud did (that is, as a form and symptom of repression) but rather as a form of discourse. Thus we may study dreams psychoanalytically in order to learn about literature, even as we may study literature in order to learn more about the unconscious.
As a philosopher, Freud was interested in looking at the relationship between mental functioning and certain basic structures of civilization, such as religious beliefs. Freud believed, and many people after him believe, that his theories about how the mind worked uncovered some basic truths about how an individual self is formed, and how culture and civilization operate.
2.2.1 The Mechanism of Psychic Zone
Because it contains repressed desires, things that our conscious mind isn't supposed to want, and isn't supposed to know about, the unconscious is by definition inaccessible to the conscious mind. However, there are some indirect routes into the contents of the unconscious.
Psychoanalytic criticism adopts the methods of "reading" employed by Freud and later theorists to interpret texts. It argues that literary texts, like dreams, express the secret unconscious desires and anxieties of the author, that a literary work is a manifestation of the author's own neuroses. One may psychoanalyze a particular character within a literary work, but it is usually assumed that all such characters are projections of the author's psyche.
One interesting facet of this approach is that it validates the importance of literature, as it is built on a literary key for the decoding. Freud himself wrote:
"The dream-thoughts which we first come across as we proceed with our analysis often strike us by the unusual form in which they are expressed; they are not clothed in the prosaic language usually employed by our thoughts, but are on the contrary represented symbolically by means of similes and metaphors, in images resembling those of poetic speech" (26).[11]
Like psychoanalysis itself, this critical endeavor seeks evidence of unresolved emotions, psychological conflicts, guilt’s, ambivalences, and so forth within what may well be a disunities literary work.
The author's own childhood traumas, family life, sexual conflicts, fixations, and such will be traceable within the behavior of the characters in the literary work. But psychological material will be expressed indirectly, disguised, or encoded (as in dreams) through principles such as "symbolism" (the repressed object represented in disguise), "condensation" (several thoughts or persons represented in a single image), and "displacement" (anxiety located onto another image by means of association).
2.2.1.1 Psychotic Defenses Mechanism
These are the "psychotic" defenses, common in overt psychosis. However, they are found in dreams and throughout childhood as healthy mechanism. Denial: Refusal to accept external reality because it is too threatening; arguing against an anxiety provoking stimuli by stating it doesn't exist; resolution of emotional conflict.[12]
2.2.1.2 Immature Defenses Mechanism
These defenses are often seen in severe depression, personality disorders. In adolescence, the occurrence of all of these defenses is normal. These include: 1) Fantasy: is tendency to retreat into fantasy in order to resolve inner and outer conflicts, 2) Projection is a primitive form of paranoia, 3) Acting out is direct expression of an unconscious wish or impulse without conscious awareness of the emotion that drives that expressive behavior.[13]
2.2.1.3 Mature Defenses Mechanisms
These are commonly found among emotionally healthy adults and are considered the most mature, even though many have their origins in the immature level. However, these have been adapted through the years so as to optimize success in life and relationships. The use of these defenses enhances user pleasure and feelings of mastery. These defenses help the users to integrate conflicting emotions and thoughts while still remaining effective. Persons who use these mechanisms are viewed as having virtues.
This mature defenses mechanism include:[14] 1) Altruism is constructive service to others that brings pleasure and personal satisfaction 2) Anticipation is realistic planning for future discomfort, 3) Identification is the unconscious modeling of one's self upon another person's character and behavior, 4) Introjections is identifying with some idea or object so deeply that it becomes a part of that person
CHAPTER III
THE STRUCTURE OF THE SHORT STORY
The short story is a piece of art that tries to give us a specified impression of the world we live in. It aims to produce a single narrative effect with the greatest economy of means and utmost emphasis. it’s tend to be less complex than novels because they are not as long and can’t hold as much content, but what makes a short story effective.
Short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. Because of their short length, short stories only occasionally have an exposition. More typical though, is an abrupt beginning, with the story starting in the middle of the section. As with any art form, the exact characteristics of a short story will vary by author. To write an effective story it is very important to keep things clear and for everything to have depth and meaning.
According Edgar Allan Poe in his essay with titled The Philosophy of Composition" of 1846 in traditional definition:
“A short story is that it must be able to be read in one sitting, place the maximum word length at 7,500 words. In contemporary usage, the term short story most often refers to a work of fiction no longer than 20,000 words and no shorter than 1,000.[15]
Because of their short length, short stories may or may not follow this pattern. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact
Short stories often contain structural and character elements that are familiar. These elements can be used as "signposts" to help us think about the actions, themes, and contexts of the play.
3.1 Theme
Theme is an idea that runs through a text. A text may have one theme or more. Understanding the themes makes the text more than just a story-it becomes something more significant, because we are encouraged to think deeper about the story and work out what lies beyond the plot. According Laurence Perrine (90-91),
“Theme is the controlling idea or central insight in fiction. It is the unifying generalization about life stated or implied by the story. It may be stated briefly or greater length.”
The theme in a piece of fiction is its controlling idea or its central insight. It is the author's underlying meaning or main idea that he is trying to convey. The theme may be the author's thoughts about a topic or view of human nature. The title of the short story usually points to what the writer is saying and he may use various figures of speech to emphasize his theme, such as: symbol, allusion, simile, metaphor, hyperbole, or irony.
Related to the short story The Cask of Amontillado, Edgar Allan Poe, the force that drives Montresor to commit the horrible murder of Fortunato is his powerful desire for revenge. His first words in the story speak of it: "The thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult, I vowed revenge." The idea of revenge is repeated several times in the opening paragraph. Montresor will not rush to act, he says, but "at length I would be avenged"; he is determined to "not only punish, but punish with impunity." The terms of the revenge are quite clear in Montresor's mind. He will not feel fully revenged unless Fortunato realizes that his punishment comes at Montresor's hand; a wrong is not redressed "when the avenger fails to make he felt as such to him who has done the wrong." In seeking revenge, Montresor is acting out the motto of his people, as it appears on the family coat of arms, Nemo me impune lacessit ("No one wounds me with impunity").
Revenge is portrayed through a person's thoughts and actions, and is most often associated with anger and hatred. The person exacting revenge feels that he has been wronged and feels justified in righting that wrong. Throughout the short story "The Cask of Amontillado" the author, Edgar Allan Poe, develops the feelings of revenge possessed by the central character Montresor through Montresor's family tradition and personal philosophies. Montresor's precise premeditated plan demonstrates his dedication to his act, and as the story progresses the reader learns that Montresor has very explicit notions as to how revenge.
3.2 Characters
The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character. In this directly therapeutic form, it is very similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's ''Interpretation of Dreams''. But many more complex variations are possible. The concepts of psychoanalysis can be deployed with reference to the narrative or poetic structure itself, without requiring access to the authorial psyche (an interpretation motivated by Lacan's remark that "the unconscious is structured like a language"). Or the founding texts of psychoanalysis may themselves be treated as literature, and re-read for the light cast by their formal qualities on their theoretical content (Freud's texts frequently resemble detective stories, or the archaeological narratives of which he was so fond).[16]
According to Freud (Guerin in Zahirin, 12):
“By using mind consciously, human being organizes and coordinates of their action by means of their mental processes. All of these mental processes which occurred in human mind can not be observed physically. But it can be only explained psychology”.[17]
Base on Freud statement above, the writer believe that all of doing human being is apparently controlled by their mind. The human have been emotional, desire, pressure, down, mood, bad emotion, angry, and etc. The mental processing of each person influences to his doing. If some one his mental disturb about there many problems, and added with alcoholism, this is can the some lose of his mental controller, because, the bed effect of alcoholism can lose his normal feel, disturbing mind and his soul.
A character is a person, or sometimes even an animal, who takes part in the action of a short story or other literary work. Here are two meanings for the word character: 1). Person in a work of fiction. Antagonist and Protagonist, short stories use few characters. One character is clearly central to the story with all major events having some importance to this character - he/she is the Protagonist. The opposed of the main character is called the Antagonist. 2). The Characteristic of a person
In order for a story to seem real to the reader its characters must seem real. Characterization is the information the author gives the reader about the characters themselves. The author may reveal a character in several ways:
a) His/her physical appearance
b) What he/she says, thinks, feels and dreams
c) What he/she does or does not do
d) What others say about him/her and how others react to him/her
Characters are convincing if they are: consistent, motivated, and life-like (resemble real people) Characters are:
1. Individual round, many sided and complex personalities
2. Developing - dynamic, many sided personalities that change, for better or worse, by the end of the story.
3. Static - Stereotype, have one or two characteristics that never change and are emphasized e.g. brilliant detective, drunk, scrooge, cruel stepmother,
If we connected to a literary work such as a short story, a character in stories by the writer may present like the human being usual uses mind to reach out his desire. The problem story by the writer is development according to his emotion, writer mind order to organ of the whole story.
3.2.1 Montresor
Montressor primary faction in The Cask of Amontillado is feels terribly offended, even insulted by a friend named Fortunato, and firmly decides to take this friend's life. He would first appear to the reader as a victim but in reality, he is plotting to take the life of Fortunato. Fortunato believe Montessor is a friend and a harmless person, A "Jest" but in reality Montessor is just insane, but give him credit. He was smart about getting revenge with impunity.
Montressor is of a rich french family (how his palazzo has a large catacomb beneath it), the cask never actually existed. Since Montresor claims he is of the masons does not mean he is of the free masons, it could mean he is of the anti-masons which is another group, against this group, since fortunato seems as though he has money, he also admits he is of the masons, probably the free masons, most likely he is of 3rd degree in the main and is one of the grand-masters of the masons. by killing him he exemplifies their master as ignorant..
Montresor is a very manipulative and vengeful person. One would suspect this through his words:
"I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong." (First Paragraph: line: fifth)[18]
Through his thoughts, acts and words, we are able to watch his plan for revenge unfold. In the story Montresor may or may not have had any actual reason to kill Fortunato. We are only seeing things by his point of view. As easily as it is to mistake a comment meaning nothing as being rude and hurtful you should all realize that. Montresor could be just crazy and jealous of Fortunato. It was funny that Furtunato just kept on going deeper and deeper into the catacomb, but it had to do a lot with what Montresor was saying. He kept questioning how much of a man he was by telling him to turn back because he may get hurt from the niter. Of course Fortunato was going to keep going not just to find the wine, but to prove himself a man. Ironically, his pride and his love for wine is what led him to his death. Another ironic thing about the story was when he said "I will not die of a cough" not because he was going to die of a cough (even though he probably did), but because after that Montresor says, "True, true..." because he knows ultimately the reason why he is going to die is because he will trap him in there and leave him to die.
3.2.2 Fortunato
Fortunato is a decayed aristocratic family Italian, friend of Montresor's, and his sworn enemy, whom Montresor has planned to ‘‘punish with impunity. ‘‘Although Montresor's explains that Fortunato has committed a "thousand injuries’’ and a final "insult," no details of these offenses are given. Fortunato displays no uneasiness in Montresor's company, and is unaware that his friend is plotting against him. Fortunato, a respected and feared man, is a proud connoisseur of fine wine, and, at least on the night of the story, he clouds his senses and judgment by drinking too much of it.
Fortunato was innocent, a respected and feared man, is a proud connoisseur of fine wine, and, at least on the night of the story, he clouds his senses and judgment by drinking too much of it. He allows himself to be led further and further into the catacombs by Montresor, stepping past piles of bones with no suspicion. He is urged on by the chance of sampling some rare Amontillado and by his unwillingness to let a rival; Luchresi has the pleasure of sampling it first. His single mindedness, combined with his drunkenness, leads him to a horrible death.
3.3 Setting
The time and location in which a story takes place is called the setting. For some stories the setting is very important, while for others it is not. According O. Henry in The Last Leaf, said:
“The setting of a short story is the time and place in which it happens. Authors often use descriptions of landscape, scenery, buildings, seasons or weather to provide a strong sense of setting.”[19]
There are several aspects of a story's setting to consider when examining how setting contributes to a story (some, or all, may be present in a story): a) Place - geographical location. Where is the action of the story taking place? b) Time - When is the story taking place? (Historical period, time of day, year) c) Weather conditions - Is it rainy, sunny, stormy, etc? d) Social conditions - What is the daily life of the characters like? Does the story contain local color (writing that focuses on the speech, dress, mannerisms, customs, etc. of a particular place)? e) Mood or atmosphere - What feeling is created at the beginning of the story? Is it bright and cheerful or dark and frightening?
The story is supposed to happen more than a hundred years ago (it was first published in 1846) during Italian Carnival festivities, the story begins around dusk, one evening during the carnival season in an unnamed European city. The location quickly changes from the lighthearted activities associated with such a festival to the damp, dark catacombs under Montressor's palazzo, which helps to establish the sinister atmosphere of the story.
3.4 Point of View
Point of view, or is defined as the angle from which the story is told. First, Innocent Eye - The story is told through the eyes of a child (his/her judgment being different from that of an adult). Second, Stream of Consciousness - The story is told so that the reader feels as if they are inside the head of one character and knows all their thoughts and reactions. Third, First Person - The story is told by the protagonist or one of the characters who interacts closely with the protagonist or other characters (using pronouns I, me, we, etc). The reader sees the story through this person's eyes as he/she experiences it and only knows what he/she knows or feels. Four, Omniscient- The author can narrate the story using the omniscient point of view. He can move from character to character, event to event, having free access to the thoughts, feelings and motivations of his characters and he introduces information where and when he chooses.
There are two main types of omniscient point of view:
a) Omniscient Limited
The author tells the story in third person (using pronouns they, she, he, it, etc). We know only what the character knows and what the author allows him/her to tell us. We can see the thoughts and feelings of characters if the author chooses to reveal them to us.
b) Omniscient Objective
The author tells the story in the third person. It appears as though a camera is following the characters, going anywhere, and recording only what is seen and heard. There is no comment on the characters or their thoughts. No interpretations are offered. The reader is placed in the position of spectator without the author there to explain. The reader has to interpret events on his own.[20]
The Cask of Amontillado is told in the first person by Montresor, who reveals in the first sentence that he intends to have revenge from Fortunato. He tells the story to an unidentified "you, who so well know the nature of my soul," but this "you" does not appear to respond in any way as Montresor delivers a long monologue.
The most striking thing about Montresor's voice, in fact, is its uninterrupted calm and confidence. He tells the story from beginning to end with no diversion, no explanation, and no emotion. If he is gleeful at gaining his revenge, or if he feels guilty about his crime, he does not speak of it directly, and his language does not reveal it. Even at the most terrifying moment in the story, when Fortunato realizes that Montresor intends to seal him up behind a wall, the narrator is calm and detached: "I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato.
The effectiveness of the story is largely due to its first person point of view, which allows the reader a deeper involvement into the thoughts and motivations of the protagonist, Montresor. The first person narration results in an unbalanced viewpoint on the central conflict of the story, man versus man, because the reader knows very little about the thoughts of the antagonist, Fortunato. The setting of “The Cask of Amontillado”, in the dark catacombs of Montresor’s wine cellar, contributes to the story’s theme that some people will go to great lengths to fanatically defend their honor. Because Montresor narrates the story in the first person, the reader is able to perceive his thoughts and understand his motivations and justifications for his ruthless murder in a manner which a third person point of view would not allow.
Montresor tells his tale of revenge smugly, as he invites the reader to applaud his cleverness. By telling the story from Montresor's point of view, Poe forces the reader to look into the inner workings of a murderer's mind. Although several characters are mentioned in this story, the true focus lies upon Montresor, the diabolical narrator of this tale of horror, who pledges revenge upon Fortunato for an insult. When the two meet during the carnival season, there is a warm greeting with excessive shaking of hands which Montresor attributes to the fact that Fortunato had been drinking.
3.5 Language Style
The Cask of Amontillado was a short story of lies and deceit. It was also a story full of irony. There are three different kinds of irony. There is verbal irony, dramatic irony, and irony of the situation. Each of these plays a key role in forming the story and its characters. With some of these occurrences, one might exclaim aloud at the sight of the irony. Other times, some one could not realize there was irony until after reading it.
Irony is important as it is entertaining. Verbal irony is when you say something while really meaning another. Like sarcasm, it can mean the complete opposite of what it seems when looked at carefully. For example, in “The Cask of Amontillado”, a masked Montresor encounters Fortunato (Italian for “fortunate”), the one man that he loathes and seeks cold, calculated revenge upon for some insult that is unknown to the reader, at the carnival (Poe, 6). Montresor smiles at the thought of Fortunato’s destruction as he tells him that he is looking remarkably well (Poe, 6). One might not realize how ironic this is if they did not know what the carnival season is. Another name for Mardi Gras, the carnival season is filled with costumes, laughter, and wine (Poe, 6). Since Fortunato is one to join in on the carnival festivities, so was he. Dressed in a jester’s outfit, bright bells donned his hat, costume, and feet. Red and gold velvet danced on his outfit as he pranced about in his red leggings. He looked quite the fool, and everybody knew it but him (Poe, 7). “Remarkably well” wasn’t exactly the phrase to describe his outfit.
Another kind of irony is dramatic irony. Dramatic irony is when the reader knows something that the character definitely does not. This kind of irony is important because without it, there wouldn’t be as much suspense in the story or screaming “no, don’t do that!” at the characters. Since the story was written in first person, we knew of Montresor’s plans for Fortunato (Poe, 8). Montresor was planning to lead Fortunato into the catacombs, and his planning was good (Poe, 8). Knowing Fortunato’s weakness for wine, he used it to his advantage, telling a falsehood of buying a pipe of amontillado. He also knew what Fortunato thought of Luchesi, another sherry and wine lover. Luchesi did not have as much experience as Fortunato, and Fortunato stressed that point (Poe, 9). Another instance of irony takes place when and leading up to when Montresor seals Fortunato in his tomb. As he is dying he must have heavily regretted his insistence upon continuing deep into the catacombs. Many times Montresor suggests that the two head back, but Fortunato continually insists that, “[his] cough's a mere nothing; it will not kill [him],” and that, “[he] shall not die of a cough” (Poe, 10). Fortunato was right – it would not be his cough that killed him, but rather his adamancy that his cough would not. The final example of irony takes place when Montresor realizes that Fortunato is dead. After repeatedly calling Fortunato’s name, Montresor collects himself and says, “In pace requiescat,” which translates as “rest in peace.” While this itself does seem a bit ironic since Montresor kills Fortunato and then wishes him peace, it can’t yet be fully appreciated. In Italian “in pace requiescat” does translate as “rest in peace,” but the phrase, “in pace” by itself means a, “secure, monastic prison.” This description very well represents Fortunato’s final resting place – secure because it is deep underground and behind a brick wall, and monastic because its location is very secluded and almost has a religious air about it because of the human remains scattered about.
Fortune and misfortune are both part of irony. Irony makes us laugh, but it also makes us realize the true colors of the characters (Poe, 12). Montresor’s idea of revenge was probably entirely different from what some one else thought of. This short story captures the depth of Montresor’s loathing and the vulnerability and naivety of Fortunato. In closing, irony is indeed a very important part of this story, and it would have much less impact on the reader if it did not contain this literary device. The irony seems to pull the reader into the story and make them active in the story, because as they notice it they feel as if they’re interacting with the text. The above examples are only a few of the ironies in this story, but the most relevant and interesting of them all.
Irony appears in Fortunato's name, once we are made aware, in the second paragraph, that he is going to be killed, but it (the irony) continues present during all the short story as something to call our attention to what is really happening.
In the second paragraph Montressor states that in spite of his decision of killing Fortunato, he continued smiling in his face ( Fortunato's ), but he adds: "...and he did not perceive that my smile now was at the thought of his immolation." So, when they meet each other they behaved as always, but now Montressor's smile had another meaning for himself.
Certain evening, “during the supreme madness of carnival season...” Montressor meets his "friend" Fortunato and Montressor is very kind, even affectionate towards him. He greets Fortunato... "My dear Fortunato, you are luckly met...”. The reader that knows Montressor's real intentions notices here that this greeting has another meaning, different from what it would mean if we did not know about Montressor's plan.
Once we are aware of Montressor's intentions, we perceive that the real meaning of the sentence could be something like my odious enemy fortunato, it is bad luck for you having met me, for instance. Here, the irony dresses itself with a bitter taste of sadist disguised angry.
However, there are passages in which is impossible to assure that Montressor was using irony in his speech. For example, in the passage that Fortunato says- "Enough (...), the cough is a mere nothing; it will not kill me. I shall not die of a cough." and Montressor replies- "True-true...” we can not be sure that Montressor said that because he knew Fortunato was going to die by a different cause. Perhaps Montressor said that without thinking that he himself would be the cause of Fortunato's death, or at least the agent to cause it.
Another very interesting passage in which there is explicit or implicit irony is when the two men talk about Montressors' arms. In this case the irony has meaning by itself. It is not a sentence said dubiously, but an object that has its own unique meaning. The Montressors' arms consisted of a image of someone's foot treading a rampant serpent whose fangs were imbedded in the heel. And the motto was Nemo me impune lacessit that means no one insults me with impunity. Fortunato does not know that everything symbolized in Montressors' arms is going to happen to him. He is the "foot" that is going to be bit by the revengeful "Montressor's fangs". It is another reminding of what is the real Montressor's Purpose in taking Fortunato to the catacombs.
All these examples demonstrate how Edgar Allan Poe uses dramatic irony in his short story to call the readers' attention to the double meaning of words, and for extension, as one of Poe's favorite motifs, the duplicity of human nature
3.6 Plot
A plot is a series of events and character actions that relate to the central conflict. Conflict is essential to plot. Without conflict there is no plot. It is the opposition of forces which ties one incident to another and makes the plot move. Conflict is not merely limited to open arguments; rather it is any form of opposition that faces the main character. Within a short story there may be only one central struggle, or there may be one dominant struggle with many minor ones.
The plot is how the author arranges events to develop his basic idea; it is the sequence of events in a story or play. The plot is a planned, logical series of events having a beginning, middle, and end. The short story usually has one plot so it can be read in one sitting. According to Laurence Perrine (67):
“A plot structure is the way in which the story elements are arranged. Writers very structure depending on the need of the story.” [21]
There are five essential parts of plot:
a) Introduction
The beginning of the story where the characters and the setting is revealed.
b) Rising Action
This is where the events in the story become complicated and the conflict in the story is revealed (events between the introduction and climax).
c) Climax
This is the highest point of interest and the turning point of the story. The reader wonders what will happen next; will the conflict be resolved or not?
According to Hammond,
"Whether the story is read as an allegory on the eternal conflict between the unimaginative man and the creative artist, or simply as a self-portrait of two aspects of Poe himself, 'The Cask of Amontillado' remains one of his most brilliantly written tales and one which deserves to be included in any anthology of horror."[22]
d) Falling action
The events and complications begin to resolve themselves. The reader knows what has happened next and if the conflict was resolved or not (events between climax and denouement).
e) Denouement
This is the final outcome or untangling of events in the story. It is helpful to consider climax as a three-fold phenomenon: 1) the main character receives new information. 2) Accepts this information (realizes it but does not necessarily agree with it) 3) acts on this information (makes a choice that will determine whether or not he/she gains his objective).
The conflict is a struggle between two people or things in a short story. The main character is usually on one side of the central conflict. There are two types of conflict: 1) External - A struggle with a force outside one's self. 2) Internal - A struggle within one's self; a person must make some decision, overcome pain, quiet their temper, resist an urge, etc.
There are four kinds of conflict:
1) Man vs. Man (physical) - The leading character struggles with his physical strength against other men, forces of nature, or animals.
2) Man vs. Circumstances (classical) - The leading character struggles against fate, or the circumstances of life facing him/her.
3) Man vs. Society (social) - The leading character struggles against ideas, practices, or customs of other people.
4) Man vs. Himself/Herself (psychological) - The leading character struggles with himself/herself; with his/her own soul, ideas of right or wrong, physical limitations, choices, etc.[23]
Introduction
As the story opens, an unnamed narrator explains, ‘‘the thousand injuries of Fortunato I had borne as best I could; but when he ventured upon insult, I vowed revenge.’’ There is no hint as to whom the narrator is speaking or writing, and the "thousand injuries'' and the "insult'' committed by Fortunato are never described. Nevertheless, the narrator contemplates his desire for revenge and his plan to "not only punish, but punish with impunity''; that is, to punish Fortunato without being caught or punished himself. Furthermore, he is determined not to act in secrecy, for Fortunato must know that his pain is handed to him by Montresor.
Rising Action
Fortunato has no idea that Montresor is angry with him — Montresor has given no hint of it. When Montresor encounters his "friend'' on the street one evening during the carnival season, Fortunato has no reason to be suspicious. Montresor asks Fortunato to come with him and sample a large cask of Amontillado, a type of wine, which Montresor has just purchased. Fortunato is justifiably proud of his ability to recognize good wines, and he is already drunk. He is easily persuaded to follow his friend, especially when Montresor assures him that if Fortunato cannot sample the wine for him, another man, Luchesi, will surely do it.
Climax
Montresor and Fortunato, who is dressed in his carnival costume of striped clothing and a conical jester's cap with bells, go to Montresor's palazzo. Conveniently, the servants are away enjoying the carnival, and no one sees them enter. They descend a long, winding staircase to the wine cellar and catacombs, the dark and damp tunnels and caverns beneath the palazzo where generations of Montresors have been laid to rest. As they walk on, they pass piles of bones and piles of wine casks, intermingled in the passageways. Montresor fusses over Fortunato's health and his schedule, knowing that the more he suggests Fortunato give up the quest, the more his companion will be determined to see it through.
As they walk along, the men converse in an idle way, about the potentially hazardous nitre forming on the walls, and the coat of arms of the Montresor family. To protect Fortunato from the damp, Montresor gives him drinks of two wines that are stored in the the catacombs. When Fortunato reveals himself to be a member of the Masons, Montresor pulls a trowel from beneath his cape and declares that he, too, is a mason. Always Fortunato is pulled forward by the promise of the Amontillado. Eventually they reach the last chamber, a crypt nearly full of piled bones with only a small alcove of empty space within. When Fortunato steps to the back to look for the Amontillado, Montresor quickly chains him to two iron staples fastened to the wall. He uncovers a pile of building stones concealed beneath some of the bones and begins to build a wall, sealing Fortunato in. As Fortunato recovers from his drunkenness and becomes aware of what is happening to him, he cries out for mercy, but Montresor pays no attention. He still refuses to speak of the offenses that have brought him to the point of murder, and Fortunato does not ask why Montresor is ready to kill him. Montresor finishes his wall and piles bones up against it, leaving Fortunato to die. In the last lines, Montresor the actor is replaced again by Montresor the narrator, who began the story. Now he reveals that the murder happened fifty years before. In Latin he speaks over Fortunato's body: 'Rest in Peace.'
Getting back to the palazzo, where his wife and others are waiting. "Let us be gone," Fortunato says, and Montresor repeats, "Yes…let us be gone." At this, Fortunato realizes Montresor is serious, and says, "For the love of God, Montresor!" Again, Montresor repeats, "Yes…for the love of God." Fortunato grows quiet at this. Although Montresor calls out to him, he hears only the sad jingling of the bells on Fortunato's jester's cap. Montresor says his heart grew sick at that sound, but explains the "dampness of the catacombs made it so."He hurriedly finishes the wall, placing the pile of bones in front. Lastly, he states, "For the half of a century no mortal has disturbed them," ending with, "In pace requiescat," or "May he rest in peace."
Montresor also appears to be happy to see Fortunato since he is planning to murder him. Fortunato's jester's costume appears to be appropriate not only for the carnival season but also for the fact that Montresor intends to make a fool out of him.
Fortunato does not suspect Montresor's plan. In fact, when they meet in the street during carnival, Fortunato is very glad to see him. Fortunato is dressed like a jester, and has been drinking. Throughout the story, Montresor exploits Fortunato's interest in wine. First, he tempts Fortunato by claiming he has purchased a cask of Amontillado, which is a dry sherry, but he is unsure if it’s authentic. Instead of asking Fortunato directly to examine the Amontillado, Montresor says he will ask another because Fortunato is busy, thereby playing upon both Fortunato's pride and greed.
Falling action
Fortunato agrees to accompany Montresor home, where the servants have all gone to enjoy the festivities. Montresor grabs two torches and leads the way into the family catacombs, which are lined with nitre and cause Fortunato to cough. Montresor says they will go back, but Fortunato wants to see the Amontillado, claiming, "I shall not die of a cough," to which Montresor replies, "True—true."
While they walk deeper into the catacombs, Montresor describes his family's coat of arms and motto, which is "Nemo me impune lacessit," or "No one insults me with impunity." They also consume more wine. When Fortunato makes a secret sign of the masons, Montresor does not understand. Fortunato asks him for a sign he is of the masons, and Montresor produces a trowel from his cloak. Although Fortunato seems to be confused, he still wants to see the Amontillado, and they continue deeper into the tombs.
At the end of the crypt, there is a room lined with bones, with a pile of bones on one side. Fortunato, looking for the cask, steps into a small interior recess, and Montresor quickly chains him to the wall, taunting him with all the opportunities he had allowed for Fortunato to back out. Fortunato, in shock, can't comprehend what is happening as Montresor uses the trowel and stone and mortar buried under the pile of bones to wall up the crypt.
Denouement
Fortunato comes to his senses and begins to moan and test the chains. Montresor waits until Fortunato stops shaking the chains, then continues boarding up the crypt. He raises the torch to look inside, and Fortunato begins screaming. Montresor is shocked, and unsheathes his sword, afraid Fortunato's screams will be heard. But reassuring himself of the solid walls of the catacombs, he also begins to yell, louder than Fortunato. After this, "the clamourer grew still."
Nearing midnight, Montresor is nearly finished the wall. When there is only one more stone to be added, Fortunato begins to laugh, and says in a sad voice that he has enjoyed Montresor's joke.
CHAPTER IV
THE ANALYSIS OF MAJOR CHARACTERS BASED ON
SIGMUND FREUD THEORIES
The characters of short story are Montersor and Fortunato. They like human being. To find the answer the question how are the id, ego and superego of the characters? The writer uses approach psychoanalyses to analyze major characters of this short story proposed by Sigmund Freud (1856-1939) through three aspect of personality of human are the 1) das es (the id), 2) das ich (the ego), 3) das ueber ich (the superego). It is all aspect has function, characteristics, component, and principle work and dynamic, however the third has correlation and not easy to separates between them in phenomena human behavior.
The explanations all of system, the writers quote with detail about each system of psychology Freud theorist: The characteristics of the id are:[24]
a) The form biology personal, because there is biology’s unsure, include that the instinct.
b) The original system in personality, because bring since birth and did not blended with something out. Internal aspect/subject of human and never less not correlated into objective world.
c) The real realities psyche because inners world/subjective human and did not has correlation into objective world.
d) The resources psyche energy which that activation the ego. When psyches energy in inners the id are rise because of stimulate, so emerge suspense which was feeling not delicious until the id try to decrees
e) The Principle the id to suspend decrees are pleasure principle which way decrees suspend with way to lost un pleasure and run pleasure. Principle pleasure usually that doing with two process, such as:
1) Reflect and automatically reaction, e.g. sneeze, flicker
2) Primary process, e.g. the person hungry has imagination to food.
There are four characteristics of the ego, which are:
a) The form of psychologies aspect of individual, because of appear organism to be in good contact with reality and mediator from instinctive needed with condition of surrounding.
b) Active with reality principle with way lost suspend with that search the exactly object in the reality for suspend decrees.
c) The process to find the accurate object are the secondary process, it mean think realistic process with way planning formulate satisfied needed and testing it (called reality tasting) for knows what are to be success or not.
d) Make up executives aspect of personality, because form aspect arrange and controlling road take also choosing the exactly object for needed satisfied.
There are three characteristics of the superego, which are:
a) The form of sociologist aspect of personality
b) The form of morality aspect, because the primary functions to establish what are the something true or false, suitable or not, moralities or not, so some one could does with according the society morality.
c) When we are related all of three aspect personality, the primary functions of the superego are:
1) Interfere the impulse of the id especially sexuality impulse and aggression are not suitable of society.
2) To motivate the ego to running out the moralities then realistic.
3) To running out perfectly[25]
Montresor and Fortunato are human life in the story. Suitable of human being, they characteristic can see with psychology personal is the study of how to know about behavior. According Psychoanalysis, behavior of person can understand with way unconscious condition, consciousness is just little part of all psyche of human, exactly the important part are unconsciousness.
The definition of personality according Artkinson in Farozin (1998:3) statements:
“Personality is all of form of system’s mind, emotion, and different behavior and as characteristics of personal style of individualism has influences with surrounding.”
The information of psychology personal we can see in the literary works that reflected in the characters of the literary works. This study, to analyze and explanation of psychology of the characters in The Cask of Amontillado short story by Edgar Allan Poe base on Freud theorist and support with another psychologist that has correlation. Freud is one of current behaviorist, he opinion, the determining factor of human behavior are inner motivate of human self as form instinct and another motivate.
4.1 The experiences that Influence the Performing of ‘Id, ‘Ego and ‘Superego of the Major Characters
Dynamics of personality has than how that ways psyches energy to distribution and also uses of the id, ego and superego, because the human has limited energy, so that affect compete between three aspects it in uses energy. If aspect certain strong, so others can lowly.
Montresor (French) and Fortunato (Italian) are two characters in this story have differences experience and differences personalities. Each of them has the id, ego and superego in themselves. Montresor as protagonist characters have previously he is of a rich French great family and numerous (how his palazzo has a large catacomb beneath it) while, Fortunato is an Italian people who that know about the drunker which that much know the name of alcohol drink well. His knowledge and prided about wine (the name of wine is Amontillado: the best wine) used Montresor to kill him with way always pretend to him.
4.1.1 The Motive of Disturb ness of French and Italian in the Short Story
The conflict has happened from French and Italian people to build in this story happen. The result that, Montresor has French can not receive mock and ‘thousand injuries’ from Fortunato. However, the reason about ‘thousand injuries’ is not tell, but we knows, very much was killed of Montresor’s family. This is one reason why Montresor want to killing Fortunato, because he could not bear the ‘thousand injuries’ of Fortunato. So, as human, when some one are not hold out for something happened in himself, because of that some one struggle. That something was happened of French family is bad experience in the pass for himself and also his family as great and rich. Let see in their dialog:
"These vaults," he said, "are extensive."
"The Montresors," I replied, "were a great and numerous family."
"I forget your arms."
"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose fangs are imbedded in the heel."
"And the motto?"
"Nemo me impune lacessit."
From quotation above, Montresor live in a great family and rich, he has palazzo, and so an violence pretend man, beside it, he come from pass generation. Until last limit of humanism is passing away, so he wants to revenge. The opening lines of “The Cask of Amontillado” are cunningly crafted to both entice the reader and immediately situate the narrative: ‘The thousand injuries’ of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged…” (123).[26] As usual human in reality, that some one when lost defense, then some one to do some thing for to maintain him.
While event of Fortunato shall the best wine: Amontillado. But, when Montresor will go to meet Luchresi to ask him about Amontillado Fortunato forbid. As a drunker and knows about the best wine in Italy although he chough. As soon as to find Amontillado he did not care about himself sick. In dark room of Palazzo have many niters make his cough serious condition. He does not disturb of his cough but for when he can not find amontillado, and invite Montresor to go out from palazzo. He said, himself can not die by cough but die his desire to find and taste Amontillado, although he can’t find it, but he face to die with slowly in condition his hand handcuff in dark room and tight hole.
When Fortunato sees shovel, he think Montresor is a mason. But, Montresor claims he is of the masons does not mean he is of the free masons, it could mean he is of the anti-masons which is another group, against this group, since Fortunato seems as though he has money, he also admits he is of the masons, probably the free masons, most likely he is of 3rd degree in the main and is one of the grand-masters of the masons by killing him he exemplifies their master as ignorant..
As long as trip to where Amontillado’s take place, Montresor always pretend friendly for Fortunato. Montresor make his friends had been in influence alcohol, he gave Medoc until that plan place of Montresor. Whereas the Amontillado that has Montresor’s promise there is not. This is the reason and method to killed Fortunato.
4.1.2 Wanted by Thriller, Revenge and Enemy
This short story constitutes horror of Poe’s. Base on setting and environment of the stories through behavior, action of Montresor and Fotunato to find what their wants, desire, and dreams. Freud said in Muh. Farozin (2004):
“The beginning, all of psyche’s energy has the id properties to all of form reflect and to find desire. Because of necessity through the id which way imagination, so to be used the ego function to do it.”[27]
The previous experiences that give influences to the soul stressing one, these is Montresor’s soul. According to Elaine Welsters (in Davidoff, 550) said, People who have better physical appearance tend to be loved more and it boost their-self esteem.[28]
Human as creature social can not stand alone life, their uses another man. Every people have experience, what is good or not. That experience is what are their do, think, feel, or happened for some one. The experience is a make characters each human. The human life in the war season that has traumas, depression, fear in life. If the man life in high social class, rich family, advance country, so, the alcohol drink is daily drinking. Although is not good for health. The habit would make some one can not free of it. Additional the effect of the substance there is.
Regardless of the exact character of our ambiguous “you,” the result of all Poe’s obfuscation and misdirection is the centering of our attention firmly on the narrative action, the creation of powerful suspense. At the tale’s conclusion, our attention has been so artfully focused on the fates of Fortunato and Montresor (of whom we know virtually nothing) that when we attempt to ascertain the implications of the tale, we find none. We are told of Fortunato’s hubristic behavior in the opening line, but we have neither enumeration of the offences in question, nor any reason to trust our gleeful murderer of a narrator. There is no lesson to be taken from Cask, nor, Poe intends to communicate one. His intent was to grip us, to take us into the mind of a murderer, and, with luck, to scare us.
While this opening appears significantly more conventional than Cask’s, it manages to communicate more concrete information. It presents us with a protagonist and his location in an unremarkable way. This is more situational information than we receive about Montresor at any point.
But more importantly, we are immediately confronted with layers of symbolism not to be found in “Cask.” When he crosses the threshold, then leans across it to bid his wife goodbye, their incipient separation is strongly emphasized and given an air of irrevocability that is later fully realized. So, in “The Cask of Amontillado,” suspense and terror, while present, are not the primary effects of the narrative; after all, the identity of the mysterious stranger is stated unequivocally very early in the narrative, while it might have been played for much greater suspense. Instead, a variety of symbolic effects are used to expand the tale from an incidental occurrence to a psychological study of general application.
So despite the fact that both tales can be called horror stories, their structural methods of inducing horror vary widely. “The Cask of Amontillado” is a self-contained tale of murder, relying on the shock value of burying a man alive to scare us; its terror ends with the story. Revenge is the act of retaliation for an offense or injury caused to a person by another. It can overwhelm a person, and become the single most important facet in their life.
The phenomena can be seen in the Cask of Amontillado occur as the impact of revenge, murder, enemies. Furthermore, it also tries to give information to the reader about all of the facts of happening in Italy carnival season in 1846. There is the mirror of real reality in the carnival which that gay, alcohol drink in the night party. It is the satiation as drawn of the atmosphere in the Italy at the carnival season.
Montresor (characters and the first narrator) met Fortunato in the carnival season to pretend ask about Amontillado.
Fortunato:
"Amontillado, A pipe? Impossible! And in the middle of the carnival!"
"Amontillado!"
Fortunato as Montresor’s enemy did not knows this is the firs step to kill him, because Montresor always friendly as usually behavior to him as previously he planning. While Fortunato did not know his friend wants to kill him. This is a good firstly. Then, they were going to underground with torch trace catacombs, of palazzo.
The form of revenge in this tale is Fortunato as a fear man, trifling and arrogant was killed himself.
Fortunato said:
"Amontillado!"
“As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --"
"Luchresi cannot tell Amontillado from Sherry."
"And yet some fools will have it that his taste is a match for your own.
“Come, let us go."
Further Fortunato as the most knows about Amontillado. Base on what he said, we can interpret he want to find may be to taste, to drink because Amontillado is the best wine in Italy. Whereas himself enter to Montresor’s trap. The writer found the brilliant of Montresor to formulation his desire.
4.2 The ‘id, ‘ego and ‘superego of the Major Characters
Freud theories formulated human psychology in three system psyche and mental process. Literary works is a produce of authors. The authors argue in form of story. They created from imagination, with narrative use language as medium to convey what he feel, think, opinion, idea, understanding about life, religion, society, experience and some thing which is bring to make a literary works. In make short story Poe used mind to tell his characters to make a stories interesting, violence, great, unique and interest to say something to the reader.
Usually the greatest author and famous, write the story not only uses mind, but also soul. The result of authors mind in form of literary works e.g. novel, short story, poem, or drama. The characters are built in the play is a characters in people in real in form nature. So, each character told of the authors as reflected of imagination of mind. Authors in made stories come in form of text. Psychology characters as has been formed of the author mind. Montresor as main narrator in this story has a man which that life as a human.
The characters Montresor and Fortunato are like a personal in reality. An expert of psychology, Allport looks in Burhanuddin Sallam’s book (2000): Etika Individual: Pola Dasar Filsafat Moral:
“Personality is dynamic organization within the individual of those psychopsyical systems that determine his unique adjustment to his environment”
The writer look, both of characters in this story has a powerful personality. Through of personality of the characters, we can see behavior and moral of them. Psychologist statements, personality attitude to come into fourth influences, which are: 1) habit, 2) the study, 3) religion, and 4) consciousness.[29] The habits of the characters are to drink wine. This is form of the social condition of the Italy as setting of this short story.
As follow Freud theories in psychology formulates in three system of mental: id, ego and superego. The third of system psyche we can found the conflict in play when protagonist and antagonist are not same. Between the id and ego is contradiction, so conflict inner of the Montresor.
Freud said that the id is biological; the ego is psychological aspect and the superego is sociological aspect. (Suryabrata: 2005) the Id is biological aspect that constitutes original system in human spirit and also a system that serves as a supplier of energy required by such as system in order to operate activities. Next ego the psychological aspect to protect some one from de id; this term also can be associated with reason of human from his own mind in other words, psychological aspect. It is appear because of organism needs to communicate well with the real world. Ego is function base on the reality principle. Ego is formed and so, the individual personality as contact for outside word. Finally, superego sociological aspect of personality: this term constitutes the rule from society that prevents us from the id. In other words, superego is sociological aspect personality. This aspect takes priority on reflection that fun. Superego is constituted tradition values and society that have interpreted and taught law. Therefore, the focus of analysis is on the psychology of the main characters through the theory of Freud about the Passion (id), reason (ego), and social rule (superego).
4.2.1 Montresor
Three system of Freud, we can analyze and explained one by one. First, the id is the biological aspect of personality: completely unconscious part of the psyche that serves as a storehouse of our desires, wishes, and fears. The indicates of the id, Freud said:
“The id the resources psyche energy which that activation the ego. When psyches energy in inners the id are rise because of stimulate, so emerge suspense which was feeling not delicious until the id try to decrees.”[30]
Montresor’s Id is ‘thousand injuries’ in his soul, ill-heart, angry, that do cause of Fortunato mock to himself and his great family in pass long ago. These we knows in introduction of play, Montresor said in monologues, as speak with the reader:
“The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. (Act I)
Montresor did not received what doing Fortunato for himself. From phrase ‘thousand injuries’, we could interpretation, he angry, there is lost the limited of his patient. Freud said in this situation, Montresor there is in consciousness; he can get control his emotional, his behavior and do in normal attitude. Then, when Fortunato ventured upon insult he vowed revenge. It is form of defenses mechanism of the every man to defenses himself.
The next, Montresor does revenge through careful and the best planning to do it. He statement “I must not only punish but punish with impunity,” his mind used to thinking how the way to do. Because of he does revenge with not get the risk of the effect what he does. As a mature man, he knows to kill some one is bad behavior and did not teach in his society. So, to do it he must do but free risk, the risk is law. For him it is not imagination easier. Writer sees Montresor is a brilliant character, he wants to killing Fortunato but is no one knows what he does it. He’s said:
“I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong, (at the last first paragraph).[31]
The second system is the ego; the psychological aspect to protect some one from the id. The Montresor’s ego is want to revenge, murder and want to kill Fortunato and also he want free of heart illness and his soul. The writer find about Montresor’s mind and action in phenomena which that see in the play. For going to murder him constantly as usual and unsuspicious what he does for Fortunato. He always laughs, sees good, and not show he does brutal Like Montresor said under:
“It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my in to smile in his face, and he did not perceive that my, to smile now was at the thought of his immolation.” (At second Paragraph)
To arrange and good result of his plan, Montresor believe that every man have even feared. He used Fortunato prided knowledge about the best wine. Fortunato is a man quack. The writers assume this is about aphorism, “the gun killing has a gun”. Without conscious of Fortunato, he inter to Montresor’s trap. Montresor as a drunker, he pretend unknowns about Amontillado: the best Italian wine, he comes to Fortunato in carnival for ask about this alcohol with pretend. What was said Montresor in dialog at carnival:
“I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have received a pipe of what passes for Amontillado, and I have my doubts."
This is form of pretend. The next quotation:
"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to be found, and I was fearful of losing a bargain."
…
"Amontillado!"
"I have my doubts."
"Amontillado!"
"And I must satisfy them."
"Amontillado!"
In front of Fortunato, Montresor apparently always pretend, Montresor will not want to disturb his carnival, he asks to Luchresi to as about that wine. But Fortunato forbid. We can see in the next:
Whereas, Montresor so skilful about amontillado. According Montresor said,
“…Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely whenever I could.”
Third system is superego; the sociological aspect: social rule. The social norms of human are inherent of human being, there intrinsic in human, immutable and universal. The wrong norm when some one do does not appropriate with the norm universal in society or country.
Base on play, superego of Montresor is fear to inter to the jail, get punishment and he also knows to kill some one is a form of bad behavior contrary of right and who does it will punishment. But when he has does bad attitude of Fortunato he feel what he do is the best for him and must to be finished. Because his soul can not piece before he does it. And additional, Fortunato is an Italian regard and respected, because of Montresor is a protagonist characters which an intelligent but he is a coward man. He fears when the person knows what he does to Fortunato. He live in country has surrounding drunkard people in the party.
Burhanuddin (200, p. 8) said, the action as pass up limited, contravene general respectful, his called immoral: Immoral is referring to conduct, applies to a person who acts contrary to or does no obey or conform to standards of morality. And to analyze sources of human behavior we can see from influences of mind and desire. The mind has influence to behavior of human. The writers look at Montresor as protagonist in this story but he has a bad behavior as like an antagonist.
Before Montresor will kill Fortunato, he was known, to kill is the bad behavior as what he knows in his study and norm in individual. The characteristic of human as like a fashion, it is can not separate. Then the doing mistake as a load in Montresor’s soul. He fear the people knows, he feel do wrong and afraid to inter to punishment zone. Because what he does is a contrary with law the nature of human or himself. So, to realization what he wants; to revenge to Fortunato he must be careful to do and think the great work.
Montresor said:
“…It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong.”
4.2.2 Fortunato
Fotunato is an antagonist; to describe he the characters as target of murder of Montresor he made Montresor injuries. From narrator, Fortunato is not Fortune as like his call name Fortunato. He must received revenge of Montresor. Although, between them are friend. The friendly was lost because what Fortunato does to Montresor. He made Montresor soul ill. The id and ego each of them is not same and one perception in communication in dialogue.
Each character in the story base on writers opinion has the characters we can sees in the action, speaking, dialog of the environment of them. We can find through what they do some thing, think and behavior in plot of story.
Freud saw three system of psychology of personality; there are the id, ego and superego. Each of term would analyze in three ways:
The first the id of Fortunato is desire to get Amontillado, the inner motivate to happiness, hedonist and taste of wine, wants to drink it, because this wine the best in Italian. He has sensation need some think and dream to have it. When Montresor said Amontillado, he has imagination about it in his taste. This case Aristoteles statement, “comfortable and conform not happiness”. [32]We can see from dialog between them:
"My friend, no; I will not impose upon your good nature. I perceive you have an engagement. Luchresi--"
"I have no engagement; --come."
"My friend, no. It is not the engagement, but the severe cold with which I perceive you are afflicted. The vaults are insufferably damp. They are encrusted with nitre."
The second system is the ego. Fotunato’s ego is he immediately wants to get amontillado. The writer look, what does Fortuanto want to get it is ego of fortunate, because base on Burhanuddin Salam (2000) said:
Egoisme etis cenderung menjadi hedonistis, karena menekanankan dan kebahagian pribadi berdasarkan hal yang menyenangkan dan mengenakkan. Setiap tindakan yang mengenakkan dan mendatangkan kebahagian bagi diri sendiri selalu dinilai sebagai tindakan yang baik dan pantas dilakukan.
Egoism ethic usually became hedonist, because emphasize and happiness individual base on that some think has comfortable and delicious. Every doing delicious and come to happiness for individual always was value as the best behavior and must do it (in writers own translate)
Base on Fortunato forbid Montresor come to Luchresi, this show to us he wants taste this wine. If he permits Montresor to ask Luchresi he can not get it. He says that, Luchresi can not distinguish Sherry from amontillado:
"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."
Whereas, Montresor says, at there place of amontillado has many niters, it is not good for his health, he has been caught. But Fortunato thus speaking possessed of Montresor’s arm; and putting on a mask of and hurry to Montresor’s palazzo. Base on Fotunato’s action we assume that he going quickly to get the taste of amontillado.
Than, the third system, it is superego, according Freud opinions: the superego is:
“Third system is superego. Base on characteristic the writer analyze and interpretation: The form of sociologist aspect of personality and the form of morality aspect, because the primary functions to establish what are the something true or false, suitable or not, moralities or not, so some one could does with according the society morality.”
Base on quotations above, we can application in the characters of Fortunato. What he desire to get the amontillado. As we know that, the amontillado is the best wine. This is one reason why he wants to could it this think. Before was writers said, Fortunato has skilful in the kind of the best Italian wine because he is a drunkard. As a serious drunkard, so, When Montresor comes to him, to ask about amontillado because Montresor be wary but actually he pretends. The writers look, Fortunato very loved amontillado; he has desire and imagination in taste to drink it. But himself known, to drink the alcohol drink is not good for his health and that has many effect for his body and life. Because of his desire motivation inner he must get it. So, his ego immediately to do it, he goes to search in Montresor’s palazzo in night with thorn. Although, he has serious cough and participate in carnival party.
Base on explanation above, the superego of Fortunato is his knowledge about the effect of alcohol drink. But he is id and ego’s impulse very strong, so Freud statement, when which one of three system is strong, so the other low. This is the social rule, its means his knowledge and the effect of substance of alcohol inferior to.
4.3 The Ago Defense Mechanism that are used by the major characters
The defenses mechanisms are the ways of person for suspend decrees. These identify of mechanism are:
a) Refuse, to false, or to disturb reality.
b) Unconsciousness, so the individual is not knows what happen.[33]
The writers previous again about form of mechanisms, which are:
a) Repression
This mechanism of ego to do subside feel worried with ways pressing that effect of motivations worried in unconsciousness. E.g.: some one false saying something when he says or when a dreamer says alone.
b) Altruism is constructive service to others that brings pleasure and personal satisfaction
c) Anticipation is realistic planning for future discomfort. E.g. the some one knows before going out of room he bring umbrella if days rainy.
d) Identification is the unconscious modeling of one's self upon another person's character and behavior,
e) Introjections is identifying with some idea or object so deeply that it becomes a part of that person
f) Projection
The formulate defense mechanism for some one has worried which ways to change positions behavior, motivations, to another people. E.g.: the child is not permit examinations says to his parent with ways did not because crazy but because his teachers hate him.
g) Rationalizations
h) Reaction-formations
i) Regression
4.3.1 Montresor
4.3.2 Fortunato
[1]Yasmi Fajri Dian, dkk, Buku SaktiMenulis Fiksi, Jakarta: 2004, h. 79
[4]Roberts, Edgar V, Writing About Literature, United States of America: 1999, h 229
[5] Ibid.
[6]http://www.questia.com/pm.qst?=old=50018068rer=deny
[8]Bodgan, The Qualitative Research Method, New York: MA Intercooperated Publisher, 1992
[9]Papalia, Deane. E. Sally Wenkost Olds. Psychology. United States of America: Mac Graw Hill. 1985
[10] Guerin, L Wilfred, and Friends, A Handbook of Critical Approaches to Literature, Oxford University Press: New York, 1999
[11]Abrams, M.H. "Psychological and Psychoanalytic Criticism, “A Glossary of Literary Terms. 7th ed. Fort Worth: Harcourt Brace College Publishers, 1999. 247-253.
[13]Ibid
[14]Ibid
[15] http://en.wikipedia.org/wiki/Short_story
[17] Zahirin, A Psychology Analysis on the Main Characters of Robert Louis Stevenson’s Kidnapped, IAIN Imam Bonjol Padang, 2007, h.2
[18] http://poestories.com/text.php?file=ovalportrait
[19]Loc Cit
[20]Ibid
[21]Laurence Perrine, op. cit. 67
[22] Hammond, J.R. An Edgar Allan Poe Companion. London: The MacMillan Press LTD, 1981.
[23] http://www.hrsbstaff.ednet.ns.ca/engramja/elements.html
[24]Muh. Farozin, dkk, Pemahaman Tingkah Laku, Jakarta: Pt. Asdi Mahastya, 2004 p. 45
[25]Ibid p. 47
[26] Op. Cit.
[27]Ibid p. 48
[28]Hall, S. Calvin. Sigmund Freud: Suatu Pengantar ke dalam Ilmu Jiwa Sigmund Freud, Jakarta: Pustaka Sarjana, P.T Pembangunan, 1980
[29]Ibid p.
[31] ibid
[32] Loc cit Burhanuddin Salam, Etika Individual: Pola Dasar Filsafat Moralp. 33
[33] Ibid p. 48
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