Poe uses foreshadowing in a different way; throughout the entire story he hints that the main character, Montressor will get revenge on the character Fortunato by saying things that foreshadow future events such as: "The thousand injuries of Fortunato I had borne the best I could, but when he ventured upon insult, I vowed revenge
" (Poe 73) Poe also uses foreshadowing when he writes about the main character's thoughts that leads the reader to believe that Montressor is anticipating a revengeful act such as: "I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation." (Poe 73) In "The Cask of Amontillado", foreshadowing plays a major role in the formation of suspense and plot, and is used continuously until the climax of the story. Both authors use foreshadowing, but in "The Cask of Amontillado", the use of this style element in more salient.
Also, Ellison and Poe use specific vocabulary and diction in different ways to create unique effects. In every sentence in "The Cask of Amontillado", Poe uses very extensive vocabulary to create a tone of mysticism and suspense. In the first paragraph, Poe writes: "At length I would be avenged, this was a point definitely settled - but the very definitiveness with which it was resolved precluded the idea of risk." (Poe 73) By using words like "avenged", "definitiveness", "resolved", and "precluded", Poe adds to the development of the main character by creating a sense that the main character had worked over an extensive period of time to come up with a completely faultless plan. Moreover, using words like "gemmary", "virtuoso", "connoisseurship", and "accosted" (Poe, 73), Poe adds to the serious tone and makes Montressor seem highly intelligent, almost obsessive, and perhaps capable of long elaborate plans to get revenge. Although Ellison does use sophisticated vocabulary like "sensually", "milling", and "apoplexy" he uses it to a lesser degree than Poe.
