As for the researches from abroad, only a few analyze the irony in “The Cask of Amontillado”。 Some of them introduce the verbal irony and the situational irony。 Others just mention a little about the irony in their papers。 For example, St。 Graham John Stott (2004) analyzes from the verbal irony。 He thinks that Montresor’s motives might be taken to be pride, amour-proper, indeed anything but the love of God。 Again, they could be interpreted as a sign of insanity, in that Montresor is by now echoing everything that Fortunato says and does。 Nevertheless, he suggests that they are taken literally, for if they are, other details fall into place。 Joudeh, Jinan Lucille Saleh (2009), suggests that through “The Cask of Amontillado”, Poe is regarded as a “hoax” writer。 In his novel, he usually plays tricks with readers。 What he has said in the novel may be misleading。 He elaborates a Melvillean “poetics of the hoax”, in order to analyze the singular ways that figures of confidence, tricks and traps, deception, queerness, and an uneasy irony threaten to confuse the sense of what is non-literary, real, true or historical。 J Gruesser (2010) concentrates his research mainly on verbal irony。 He claims that Fortunato literally and symbolically makes the last laugh because he knows what is waiting for Montresor and himself in the next world。 Significantly, Fortunato is the one who first alludes to what J。 Gerald Kennedy calls Montresor’s “theological” guilt when he calls out, “For the love of God, Montresor,” shortly before he is entombed。 Pettineo, Jeffrey Frank (2012) concludes that a type of situational irony (an incongruity between result and expectation) manifests itself when characters in these fictional works attempt to replicate or counter (in their own fictional worlds) a plot or characterization from another narrative。 His study aims to expand the conceptual scope of irony while highlighting the comedic aspects of some of the more influential works of the nineteenth century。 The study concludes with a discussion of how elements of embedded irony in the work of Poe’s “The Cask of Amontillado”。 From a book named Edgar Allan Poe Review (2013), recently, more criticism considers Poe as a detached, wise artist, a contained literary hoaxer who handles terror by the irony which demonstrates intellectual control。 Critics have begun to guess that even in Poe’s most famous “Gothic” works, there may be ironic double and triple perspectives playing upon them。 In Poe’s “Ligeia”, “The Black Cat”, “The Cask of Amontillado”, “The Pit and the Pendulum” and “The Fall of the House of Usher”, there is likely to be a dark current of unapparent mockery that is either at cross-purposes with, or a counterpart to, the surface meaning or intent of the superficial plot。