Dramatic Irony Quotes

Simply put, dramatic irony is when a person makes a harmless remark, and someone else who hears it knows something that makes the remark have a different, and usually unpleasant, meaning. For instance, if you were in a restaurant and said out loud, "I can't wait to eat the veal marsala I ordered," and there were people around who knew that the veal marsala was poisoned and that you would die as soon as you took a bite, your situation would be one of dramatic irony.

If what's always distinguished bad writing--flat characters, a narrative world that's clichéd and not recognizably human, etc.--is also a description of today's world, then bad writing becomes an ingenious mimesis of a bad world. If readers simply believe the world is stupid and shallow and mean, then [Bret] Ellis can write a mean shallow stupid novel that becomes a mordant deadpan commentary on the badness of everything. Look man, we'd probably most of us agree that these are dark times, and stupid ones, but do we need fiction that does nothing but dramatize how dark and stupid everything is? In dark times, the definition of good art would seem to be art that locates and applies CPR to those elements of what's human and magical that still live and glow despite the times' darkness. Really good fiction could have as dark a worldview as it wished, but it'd find a way both to depict this world and to illuminate the possibilities for being alive and human in it. Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy. Few artists dare to try to talk about ways of working toward redeeming what's wrong, because they'll look sentimental and naive to all the weary ironists. Irony's gone from liberating to enslaving. There's some great essay somewhere that has a line about irony being the song of the prisoner who's come to love his cage… The postmodern founders' patricidal work was great, but patricide produces orphans, and no amount of revelry can make up for the fact that writers my age have been literary orphans throughout our formative years. We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion. A how-to. We are shown how to fashion masks of ennui and jaded irony at a young age where the face is fictile enough to assume the shape of whatever it wears. And then it’s stuck there, the weary cynicism that saves us from gooey sentiment and unsophisticated naïveté. Sentiment equals naïveté on this continent. You burn with hunger for food that does not exist. A U. S. of modern A. where the State is not a team or a code, but a sort of sloppy intersection of desires and fears, where the only public consensus a boy must surrender to is the acknowledged primacy of straight-line pursuing this flat and short-sighted idea of personal happiness.

Peter, who broke his enemies on the rack and hanged them in Red Square, who had his son tortured to death, is Peter the Great. But Nicholas, whose hand was lighter than that of any tsar before him, is "Bloody Nicholas". In human terms, this is irony rich and dramatic, the more so because Nicholas knew what he was called.

Dramatic irony is a cruel occurrence, one that is almost always upsetting and I'm sorry to have it appear in this story, but Violet, Klaus, and Sunny have such unfortunate lives that it was only a matter of time before dramatic irony would rear its ugly head.

What could he say? That, back then, I wasn't caught by the Wen Sect because I wanted to go back to Lotus Pier to retrieve my parents' corpses. That, at the town we passed on our way, when you were buying food, a group of Wen Sect cultivators caught up. That, I discovered them early and left where I sat, hiding at the corner of the street and didn't get caught, but they were patrolling the streets and would soon run into you outside. That this was why I ran out and distracted them. But just like how the past Wei Wuxian couldn't tell him the truth of giving him his golden core, the current Jiang Cheng wasn't able to say anything either.

As you and I listen to Uncle Monty tell the three Baudelaire orphans that no harm will ever come to them in the Reptile Room, we should be experiencing the strange feeling that accompanies the arrival of dramatic irony. This feeling is not unlike the sinking in one's stomach when one is in an elevator that suddenly goes down, or when you are snug in bed and your closet door suddenly creaks open to reveal the person who has been hiding there. For no matter how safe and happy the three children felt, no matter how comforting Uncle Monty's words were, you and I know that soon Uncle Monty will be dead and the Baudelaires will be miserable once again.

The irony of the young man’s situation is suffocating; a young boy turned violent criminal as the result of bullying, an activity he would now and forever experience from guards and fellow inmates until the day he died.

There does seem to be a something in the air of Hartfield which gives love exactly the right direction, and sends it into the very channel where it ought to flow.

I don’t know if there is a sense of dramatic irony in the fact that I’ve been taken captive with the one person in the world I hate most, or if there is a semblance of relief in the realization that I am not alone in this.

we should be experiencing the strange feeling that accompanies the arrival of dramatic irony. This feeling is not unlike the sinking in one’s stomach when one is in an elevator that suddenly goes down, or when you are snug in bed and your closet door suddenly creaks open to reveal the person who has been hiding there.

In rereading, the irony is all dramatic.

The irony is that even as digitization is making an increasing amount of information available, it is diminishing the space required for deep, concentrated thought. Today’s near-constant stream of media increases the cost, and thus decreases the frequency, of contemplation. Algorithms promote what seizes attention in response to the human desire for stimulation—and what seizes attention is often the dramatic, the surprising, and the emotional. Whether an individual can find space in this environment for careful thought is one matter. Another is that the now-dominant forms of communication are non-conducive to the promotion of tempered reasoning.

Wait a second,” said Ash. “How is there a ‘moon in springtime before the start of the new year’? I think it’s a riddle. It makes no sense.” “Yes, it does,” said Jared. “The new year was in March in England until the 1700s, when the pope introduced a new calendar.” Everyone stared at him. Jared flushed slightly, scar thrown into relief, and muttered, “I read a lot of old books.” “Well done,” said Jon. “See where learning gets you, lads? So much better than messing around with girls or playing those video games which one hears are full of violence.” Kami, as a witness to many of her father’s video game marathons, gave him a long judgmental stare. “You total hypocrite.” “Hypocrisy is what being a parent is all about,” Jon said. “Well done for cracking the books, Jared and Holly. You see how it pays off.” Holly smiled and the light of her smile seemed to spill all over the room, reflections of light refracted all over everywhere. “It’s true reading is a wonderful thing,” Rusty observed. “I read a Cosmo a year ago, and I still remember how to keep my nails in perfect condition and also ten top tips on how to dress to accentuate my ass.” Now everybody was staring at Rusty. Unlike Jared, he did not blush. “Those tips are working,” he said. “Don’t pretend you haven’t all noticed. I know the truth.” Kami rolled up a magazine on the table—sadly, for the sake of dramatic irony, not a Cosmo—and hit Rusty over the head with it. “Does anybody have anything else to say—I can’t stress this enough—specifically about Elinor Lynburn and medieval New Year?” “Want to know what it was called? You’ll like this,” Jared added, and he looked at Kami. It was a simple glance from his gray eyes, but it felt like being put in a room that was just the two of them. “Lady Day.” Kami beamed at him. “You know what I like, sugarprune

Overtaken by demographic transformation and two generations of socio-geographic mobility, France’s once-seamless history seemed set to disappear from national memory altogether. The anxiety of loss had two effects. One was an increase in the range of the official patrimoine, the publicly espoused body of monuments and artifacts stamped ‘heritage’ by the authority of the state. In 1988, at the behest of Mitterrand’s Culture Minister Jack Lang, the list of officially protected items in the patrimoine culturel of “France—previously restricted to UNESCO-style heirlooms such as the Pont du Gard near Nîmes, or Philip the Bold’s ramparts at Aigues-Mortes—was dramatically enlarged. It is revealing of the approach taken by Lang and his successors that among France’s new ‘heritage sites’ was the crumbling façade of the Hôtel du Nord on Paris’s Quai de Jemappes: an avowedly nostalgic homage to Marcel Carné’s 1938 film classic of that name. But Carné shot that movie entirely in a studio. So the preservation of a building (or the façade of a building) which never even appeared in the film could be seen—according to taste—either as a subtle French exercise in post-modern irony, or else as symptomatic of the unavoidably bogus nature of any memory when subjected thus to official taxidermy.

This is merely another definition of dramatic irony: to see through a character’s eyes while being encouraged to see more than the character can see (an unreliability identical to the unreliable first-person narrator’s). 11

I don't mean to bum you out but... we're all going to die. The thing is, very few of us actually believe it. We look at pictures of people who have died and marvel at the pathos. 'Ah, there's Jean all smiling. She didn't know she'd be dead in three months.' Well, maybe Jean knew and maybe she didn't. But what she didn't do was go around hoping to provide someone else with a satisfying sense of dramatic irony. Nobody lives like that and it's odd that we do it to the dead sometimes.

I love masks for two completely contrary reasons… One is that they they’re a way of covering up an experience or a feeling. The other is that they’re a way of exposing through a liberation. A mask is a way of taking on another personality for a period of time. Now, I play it both ways, I think, in the drawings, and in the fiction as well. Clearly there are some things that we can do in masked form that we would not otherwise – this is the classic dramatic device of the masked ball. You put on the mask and you’re allowed to do all kinds of things that hitherto you wouldn’t do: you seduce the people you would fear to seduce unmasked; you say the things you most fear to say unmasked. But there’s another way, which is that masks can be something that we plaster onto our faces to cover up the possibility of this eruption. I think masks have two quite contrary forms… I think some of the masks I’ve put on characters are very bland – wilfully bland. And then others seems to want erupt in all directions. That’s the paradox.’ Barker’s love affair with the stage also plays a part in his affection for these symbols of theatre. ‘There’s a whole series of sketches of actors, basically… People with masks on killing each other with wooden swords. People with masks on seducing each other. Just very simple ideas for things. They compare, forcibly, I think, with the masks which are just simply hanging up or floating in the air, as though the person who had once occupied them has just flitted away.’ Indeed, one of the most powerful of these pictures is a simple study of a mask hanging from a tree, laid aside carefully while its owner has a moment in which he doesn’t require it. There are also those masks which allow the wearers to express themselves in a way maybe they couldn’t otherwise… expressing themselves more strongly than human physiognomy will allow.’ Seen in this light, the monsters of Nightbreed and The Skins of the Fathers are clearly just a larger than life version of humanity - just like us beneath their demon masks; seen in this light, we could all just as easily put on the tragic button eyes and zipper mouth of a homicidal maniac. Barker, both in his artwork and his words, remains sagely mute on the obvious (and moralistic) question: are we truest to ourselves when we put on our masks, or when we take them off? If anything, his drawings will admit only to unembroidered irony and acceptance. When two lovers sit in a studied yet impassioned embrace – his penis erect, her nipples swollen – they are able to reveal these most private parts of themselves freely. It is their faces, seemingly the most public part of their personae, that are, in reality, still hidden, as they proceed through life as actors in this stageplay of their own creation. By trying on masks, people experiment with who they are and with who they want to be, free in the knowledge that they can turn back at any time. After all, pretending to be a fish is still a long way from becoming one. It should come as no surprise that, when we begin with humanity and then expose its masks, we find ourselves at transformation, the heart of Barker’s fiction. It is not always an easy place to be. ‘These images of transformation are, for me, ways to draw characters that are exploding out of their condition into something else. Becoming something else. Dissolving into something else… There isn’t rage in the drawings. There’s an awful lot less anger in the drawings than there is in the fiction. When there are images of constriction they tend to be very strong images of constriction, and then there is an eruption from that constriction. There are a lot more images of peace, or at least the possibility of peace, in my drawings than there are in the fiction.

contemporary feminism has made a comfortable home for itself within the gender paradigm and even polices its linguistic boundaries. It is a sad paradox that a movement centered on the rights of women has led us to this curious juncture where the very definition of “woman” is under fierce dispute. How this happened is a strange story, rich in dramatic irony, and ultimately ruinous.

But my favourite cautionary tale is of Australian junior doctor Barry Marshall and his pathologist colleague Robin Warren. In the early 1980s they disagreed with the general medical consensus that most stomach ulcers were caused by stress, bad diet, alcohol, smoking and genetic factors. Instead Marshall and Warren were convinced that a particular bacterium, Helicobacter pylori, was the cause. And if they were right, the solution to many patients’ ulcers could be a simple course of antibiotics, not the risky stomach surgery that was often on the cards. Barry must have picked the short straw, because instead of setting up a test on random members of the public – and having to convince those well-known fun-skewerers of human trials: ethics committees – he just went ahead and swallowed a bunch of the little bugs. Imagine the joy, as his hypothesis was proved right! Imagine the horror, as his stomach became infected, which led to gastritis, the first stage of the stomach ulcers! Imagine his poor wife and family, as the vomiting and halitosis became too much to bear! Dr Marshall lasted 14 days before taking antibiotics to kill the H. pylori, but it was another 20 years before he and Warren were awarded the 2005 Nobel Prize for Physiology or Medicine. So, hang on, is self-experimenting really that bad if it wins you a Nobel Prize? I guess you can only have a go and find out…but please don’t go as far as US army surgeon Jesse Lazear: in trying to prove that yellow fever was contagious, and that infected blood could be transferred via mosquito bites, he was bitten by one and died. The mosquito that caused his death might not even have been part of his experiment. It’s thought that it could just have been a local specimen. But one that enjoyed both biting humans and dramatic irony. Gastrointestinal elements

think I’ll sit this one out,” I muttered to myself, sitting down on the floor and eating the sandwich I’d brought with me. “ARE YOU SERIOUS!?” “You look like you’ve got this under control,” I replied to Dinnerbone, before digging into my delicious sandwich. Yum. Eggs and bacon. “Errr…” CRASH! Dinnerbone was blasted into his little chair, as this new figure bombarded him with purple orbs of what I could only assume was dark magic. “DESPAWN! DESPAWN! DESPAWN! DESPAWN! DESPAWN! DESPAWN! DESPAWN! DESPAWN!” Fairly dramatic, dontcha think? BANG! Man, I love these catchy sound effects! The mysterious stranger was launched backwards, as Dinnerbone approached his foe with glowing white eyes. If it weren’t for his ridiculous moustache, you could easily have mistaken him for Herobrine. “MY MOUSTACHE IS NOT RIDICULOUS!” “Get back to fighting!” “BEGONE!” Purple spears, purple swords and other purple objects morphed into existence, before flying towards Dinnerbone and exploding upon impact. The poor guy didn’t deserve(d) it. “MY SPLEEN!” he moaned in pain, as he rolled around on the floor. “STOP MOVING!” his opponent demanded, attempting to hit him with the attack. Surprisingly, he couldn’t land a single blow after Dinnerbone started rolling around. “HELP ME OUT!” Dinnerbone begged. Oh. So the guy who wanted to destroy my server was asking for help. I couldn’t help but feel there was some sort of irony here. “THAT’S NOT HOW YOU USE IRONY!” “QUIT SCREAMING!

And now, it turns out that our mother’s name means benevolence and generosity to people as objects of love! This is both a unique and beautiful name, Charity. “It was one of life’s cruel ironies,” I thought, “that a midwife, or whoever filled in the documents, must have known our mom’s name. I suppose she had a lot of fun naming us Hope and Faith! Or, on the contrary, she sympathized.

Turning fiction into mechanical puzzle pieces – like something you could manufacture in an assembly line – was the only way I could pass his literature assignments. Plug protagonist into slot A. Attach conflict and dramatic irony, using two minor characters and one antagonist. Rotate ninety degrees and locate symbolism. Slide climax into place, and fasten with resolution. Use the provided bonding compound if structure seems unstable. No problem.

The irony of the NYPD strike is that it has demonstrated the opposite. When police do not do their jobs, at least as defined under current policy, the costs are low. There is no dramatic damage to public safety. Relative to the precipitous drop in policing, there have been very minor increases in violent crime. Nor are the other costs, such as the decline in revenue from fines and tickets, particularly significant. Meanwhile, the benefits to (formerly) over-policed neighborhoods is large. With their slowdown, New York police officers have shown that most of their activities are inessential. Society is better off when they are not engaging in broken windows, quality-of-life harassment of poor neighborhoods. The next logical step is to simply normalize the present. In the infamous words of one former vice president, this should be the “new normal.

The dramatically different manner in which the couple responded to William’s injury publicaly underlined what those within their immediate circle have known for some time, the fairy-tale marriage between the Prince of Wales and Lady Diana Spencer is over in all but name. The breakdown of their marriage and the virtual collapse of their professional relationship is a source of sadness to many of their friends. This much discussed union which began with such high hopes has now reached an impasse of mutual recrimination and chilling indifference. The Princess has told friends that spiritually their marriage ended the day Prince Harry was born in 1984. The couple, who have had separate bedrooms at their homes for years, stopped sharing the same sleeping quarters during an official visit to Portugal in 1987. Little wonder then that she found a recent article in the Tatler magazine which posed the question: “Is Prince Charles too sexy for his own good” absolutely hilarious because of its unintentional irony.

So, when we see him staggering around later acting the fool, will that be an example of proleptic irony or dramatic irony?” “Could be both.” “Now that would be ironic.

You needn't worry about bombs, by the way. Dresden is an open city. It is undefended, and contains no war industries or troop concentrations of any importance.

The painful irony is that those who make this accusation are themselves “acting white” when they perpetuate a redneck culture from a bygone era. Even such a modern ghetto creation as gangsta rap echoes the violence, arrogance, loose sexuality, and self-dramatization common for centuries in white redneck culture, and speaks in exaggerated cadences common in the oratory of red-necks in both the antebellum South and those parts of Britain from which their ancestors came.284

all expecting me to move, I really should move. She used to think the doctors who fainted at an autopsy were fools, really. How could such a thing affect one so physically? If you hit me with a baseball bat, I might pass out. Oh, God, what you don’t know about life is really just beginning to reveal itself in this room. And your mother is in that coffin. What did you think, that she would wait here, alive, until you came? Until you finally realized … Down here, in this strange land! Why, this is like another country, this. The white-haired Englishman came towards her. Yes, who are you? Why are you here? Why are you so dramatically and grotesquely out of place? But then again, he wasn’t. He was just like all of them, the inhabitants of this strange land, so decorous and so gentle, and not a touch of irony or self-consciousness or false sentiment in his kindly face. He drew close to her, gently making the handsome young man give way.

Furthermore, states Guelzo, Reconstruction “restored the Union without destroying federalism, without triggering a second civil war or a genocidal race war, and without punitive waves of executions for treason. Instead, it is one of the monumental ironies of Reconstruction that the victors—freed slaves, Northern whites—were more often the targets of violence and murder than the vanquished.” That was most certainly a dramatic departure in the history of civil conflicts.