In the following essay, Pittman argues that the perceived inconsistencies of Poe's tale contribute to its narrative, tonal, and thematic unity, positing that a symbolic schema, in which Fortunato's character assumes diabolic proportions, structures the tale.

In the following essay, Rea interprets Montresor's actions in terms of Poe's theory of perversity.

In the following essay, Clendenning details the story's parody of Catholic rites and enological errors, identifying Montresor and Fortunato as classic comic figures.

In the following essay, Freehafer provides an overview of scholarship on Poe's tale.

In the following essay, Randall demonstrates how Fortunato's violations of the aristocratic code of honor motivate Montresor's revenge.

In the following essay, Stepp casts Fortunato as a "negative" image of Montresor's doppelgänger, comparing Fortunato's function to that of the double in Poe's story "William Wilson."

In the following essay, Gargano considers the symbolic value of Montresor and Fortunato, arguing "'The Cask of Amontillado' is a work of art (which means it embodies a serious comment on the human condition) and not just an ingenious Gothic exercise. "

In the following essay, Stewart draws parallels between Poe's narrative and the stagecraft of Elizabethan revenge tragedy, highlighting his use of sound effects.

In the following essay, White justifies Montresor's actions and his lack of remorse, explaining the symbolism of the family shield and his sense of familial obligation.

In the following essay, Henninger explains how the ending of Poe's story always elicits shock, despite the conclusion's obvious predictability.

In the following essay, Engel discusses the narrative function of enclosure as a literary device in Poe's tale, focusing on the ways it affects and transforms the characters.

In the following essay, Spisak considers Montresor's pleasure in telling his story as both the protagonist and the narrator.

In the following essay, Schick traces incidental similarities between Poe's tale and Joel Tyler Headley 's Letters from Italy (1845).

In the following essay, Sweet argues that Montresor's murder of Fortunato is motivated by an unconscious desire to destroy a despised part of himself

In the following essay, Jacoby addresses the significance of Fortunato's silence.

In the following essay, Harris indicates how Masonic imagery coheres the tale's ironic effects.

In the following essay, each critic focuses on the structure of Poe's tale. In the first part, Felheim explains two requisites for Montresor to perfect his revenge; in the second part Moon accounts for Montresor's failure to exact revenge; and in the third part, Pearce compares Poe's story to a profane rite, or scriptural parody.

In the following essay, Rocks provides a cultural context for the Catholic-Masonic conflict that informs the plot.

In the following essay, Cooney elucidates ironic aspects of the tale from the theological perspective of Roman Catholicism.

In the following essay, Kirkham comments on the multiple meanings of some proper nouns in Poe's story.