It is Edgar Allan Poe's extraordinary use of incongruity throughout The Cask of Amontillado that makes the new a fascinating candidate worthy of careful consideration. The competent use of the gadget is used by the creator to create this perfect, terrible and intense work of art. The use of incongruity in the story provides entertainment and wit, and makes the play more advanced. It is identified by the style, tone and unmistakable use of embellishments of Montresor, the storyteller. From the first starting point, the reader can see the nebulous vision of incongruity in the story. Fortunato's very name would clearly suggest that he is a man of favorable luck, when in reality he is in for a mostly difficult end. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The context in which the story takes place again demonstrates an unexpected element. It is in the middle of the Venice Carnival that the characters meet. The Jamboree should be a time of celebration and joy for all. Either way, in the story, it's a time of vengeance and passing. The climate changes definitively when the two heroes leave the joy of the fair for the dark and devastated tombs located under the palace of Montresor. The reader learns from the storyteller that when he first meets Fortunato, he had visibly been drinking and was wearing many shades, looking like an artist. His ensemble suggests that he be the one to play the trick. Again, Montresor wears a dark-colored shroud and his face is protected by a dark covering. One of the clearest examples of funny elements is the way the storyteller treats his opponent. As the characters meet, Montresor understands that Fortunato is suffering from an extreme cold, all things considered, he finds him "surprisingly well." Montresor acts in the most regular and pleasant manner towards the man who protests his punishment, and even praises the knowledge of his "friend" in matters of wine. Also during their gathering, Montresor begins mind control of Fortunato. He guarantees that it takes his insight to know that the wine he bought is indeed Amontillado. He recognizes that Fortunato is busy with another business (the fair), so he would go to Luchresi, his identity, made to accept, is a pretender to that of Fortunato. At these words, Fortunato is forced by his pride to accompany Montresor to the cellars (where the Amontillado is kept), to disperse his questions and in addition to demonstrate his superior status to that of Luchresi as a wine expert. Indeed, in the midst of their descent into the tombs, the bent personality of Montresor, undertakes to allow Fortunato to turn back, due to the relatively deplorable desolation and indecency prevalent in the vaults and the state well-being of Fortunato. The storyteller undoubtedly thinks of Fortunato's unyielding idea and is sure that his pride would not allow him to back down. With this in mind, Fortunato continues his excursion towards death by his own will. Remarkable lines from the story are given by Montresor because of Fortunato saying, "I'm not going to go into a hack." To which Montresor reacts: “Genuine – true…” And then likewise when the deceptive storyteller toasts Fortunato's long life, realizing definitively that he was successfully producing the evil revenge plan. Further confirmation of amusing segments is found with Montresor as the “Mason”. The reader expects this to imply that he is an individual of the recognized group of men, but he..