Edgar Allan Poe's short stories have long been regarded as groundbreaking stories, including his contributions of both his tales of mystery and his tales of the macabre. Through his use of irony, symbolism, and mystery, Poe shows his masterful craftsmanship with words in the story "The Cask of Amontillado.".
Poe's use of irony in "Amontillado" flows throughout. As stated by James F. Cooney, the carnival in question is the night before Ash Wednesday, the last day of merriment before the somber forty-day stretch of Lent (325). This lends itself to some irony around Fortunato's death, since the carnival supplies enough commotion for no one to notice the absence of Montresor and Fortunato, as well as guarantee that Montresor's servants would not be present. The commotion is followed at midnight by a turn to the solemn, religious silence of Lent during Fortunato's final hour.
More irony comes from the change of roles played out during the carnival. Fortunato, who is dressed as a jester "in motley", is seen by his peers as respectable, intelligent, and noble. The one who best fits the role of noble at this festival is Montresor, who, while his status has been diminished in the community, plays the calm one, who shows all signs of superiority and charm.
Another ironic change of roles taking place in this story is shown through one man mocking the other as a sign of believed superiority over the other. Early in the story, Fortunato mimics his companion, Montresor by repetition of "Amontillado", suggesting that he will not believe Montresor has come by such a large amount of the wine. By the end of the story, before laying the final brick in the wall, it is then Montresor who mimics Fortunato's cries for mercy with his twisted reply of "Yes For the love of God" (Poe 348).
Another case of irony in this story is the choice of names by Poe. The name Fortunato lends itself to meaning "the fortunate one".