Category: Irony

How Do Writers Protest War War has now become the norm because of its impact on society. Poets include literary devices in their works to help illustrate their meaning. With this, each writer can share their protests against different wars. Writers have used literary devices throughout all of their writings. All four writers protest the war in various ways. The poem “War is Kind” by Stephen Crane depicts the Spanish War while “Dulce et Decorum Est” by Wilfred Owen displays World War I. Tim O’Brien’s novel, The Things They Carried, portrays the Vietnam War as The Yellow Birds illustrates the Iraq War. Through the use of literary devices, writers protest against war in many different ways.

Crane glorifies and suddenly belittles war by using imagery in his poem, War is Kind. For example, Crane writes about hearing the “horse, booming drums,” once the soldiers are ready for war. Through auditory imagery, Crane allows the reader to experience the horrors of war firsthand. The juxtaposition of positive and negative images of war emphasizes that the reality of war is more gruesome than it appears. Phrases such as “Swift blazing flag of the regiment,” and “eagle with crest of red and gold,” depict the glory of war, as an eagle symbolizes bravery. These phrases are placed before “virtue of slaughter,” “excellence of killing,” and “A field where a thousand corpses lie,” to portray the destruction caused by war. The lines’ purpose is to place images into the reader’s head of how great war might seem, and in doing so it displays an abundant amount of fatalities involved with war. Owen incorporates powerful imagery in his poem “Dulce et Decorum Est” to demonstrate how dreadful war can be.

One of the soldiers dies a slow and painful death from poison gas as he is “guttering, choking, drowning” and “gargling”. This auditory imagery makes it nearly impossible for the reader to not have images and sounds of the man’s death in his or her head. The soldiers all rush to put on their gas masks as someone yells “Gas! GAS! Quick, boys!” through the “Misty panes and thick green light” of the gas mask, the soldiers see their comrades “White eyes writhing in his face” and “froth-corrupted lungs”. Throughout the poem, the soldiers are being assaulted with mustard gas, causing one of their comrades to slowly die a painful death as the other soldiers watch. These vivid images will forever haunt the men post-war. Crane includes irony in his poem, “War is Kind,” to illustrate how war is inhumane. The narrator talks to a maiden, a baby, and a mother, telling them not to cry about a man’s death because “War is Kind.” However, war is not kind because it takes away millions of lives and causes destruction for all the countries involved. Cranes’ characterization of the fallen men in the first, third, and last stanzas offers the immortals of war and its fundamental cruelty.

O’Brien uses irony in his novel The Things They Carried to convey the devastating results of war. One of the men in the novel had “Carried tranquilizers” and then was “shot in the head”. He carries tranquilizers because he is afraid of pain. If the man was ever in a situation with pain he could use his tranquilizers to stop the pain. This is ironic because he was so afraid of pain that he ended up getting shot in the head and that is usually a quick and painless way to die. The nights are cold and wet during the war so each man “carried a green plastic poncho” to protect them against the cold nights. However, when one comrade died “they used his poncho to wrap him up” and he was lifted into the chopper. Ponchos are used to protect the soldiers from the rain but in the end, they are used for carrying dead bodies from the war. O’Brien uses a structure in his novel The Things They Carried to disapprove of war. O’Brien includes a repetition of the weight of the things that the men carry heavily throughout the passage. The men carry certain supplies that they consider necessities. Some of these necessities they have are to keep them sane, even though they would be fine if they did not have it.

The extra weight they carry is not just physical but emotional, for example, guilt and fear. The use of lists and parallel structure helped O’Brien protest the war because the list demonstrates the supplies that were necessary to survive the war. Also by using a parallel structure, he portrays the horrors of the war to the reader. The novel mentions the names of three men and conveys what their necessities are. Powers uses a structure in his novel The Yellow Birds to convey the devastating results of war. Powers uses the lack of structure to portray structure. His use of a run-on sentence shows how jumbled and chaotic his life is after the war. Powers used the stream of consciousness to make his audience feel guilty for his actions during the war. The beginning of the sentence is more mellow and calm, but towards the end of the sentence, it becomes more jumbled and emotional. His use of the second person point of view is used to make the reader see the experiences he had in the war through his eyes. Imagery, irony, and structure are used in many writings to protest war. Writers have been using literary devices to get their points of view across to the reader for centuries. We see how often we’ve refused to learn from the past, to find ways to build towards a better future. Repeating history, can lead to war and cause more damage to the world than good. If we continue to repeat history, the only thing left in the world will be death and destruction.

Introduction

Irony, a literary device often used to convey subtle meanings or add depth to a narrative, plays a significant role in Arthur Miller’s play, “The Crucible.” Miller utilizes various forms of irony, including verbal irony, to underscore the dishonesty of the characters and create tension within the narrative.

Examples of Verbal Irony

In “The Crucible,” characters frequently engage in verbal irony by lying about others being witches or practicing witchcraft. These accusations are often made with the intention of manipulating situations or settling personal vendettas rather than seeking truth or justice. Additionally, Elizabeth Proctor’s lie to protect her husband John’s reputation serves as another example of verbal irony. Despite their reputation for honesty and integrity, characters in the play resort to deception and manipulation to achieve their goals, revealing their moral ambiguity and lack of genuine proof.

Irony in Character Development

The use of verbal irony contributes to the development of characters such as Elizabeth Proctor and John Proctor. Elizabeth’s unexpected lie to protect John’s reputation highlights her willingness to compromise her principles to preserve her family’s honor. Similarly, John Proctor’s inability to recite the commandment against adultery during his interrogation underscores his own moral failings and adds complexity to his character. These instances of irony serve to deepen the tension between characters and offer insights into their inner conflicts and motivations.

Situational Irony

Situational irony is also prevalent throughout “The Crucible,” adding depth to the plot and emphasizing the characters’ moral dilemmas. For example, John Proctor’s confession of adultery, despite his earlier denial, is a striking example of situational irony. Similarly, Elizabeth Proctor’s lie to protect John, unaware of his confession, highlights the irony of her actions and underscores the complexities of their relationship. These instances of situational irony serve to heighten the dramatic tension in the play and challenge the audience’s expectations.

Miller’s Purpose in Using Irony

Arthur Miller employs irony in “The Crucible” to explore themes of appearances versus reality, creating confusion and tension among characters, and encouraging readers to question the motives of the characters. By highlighting the hypocrisy and moral ambiguity of the Puritan society depicted in the play, Miller prompts audiences to confront the complexities of human nature and morality.

Conclusion

In conclusion, verbal irony plays a crucial role in Arthur Miller’s “The Crucible,” serving to highlight the dishonesty of the characters and create tension within the narrative. Through examples of verbal irony, character development, situational irony, and Miller’s overarching purpose in using irony, the play offers a nuanced exploration of human nature and morality in a Puritanical society. Ultimately, irony serves as a powerful tool for revealing character flaws, advancing the narrative, and prompting reflection on timeless themes and issues.

Introduction

In Roald Dahl’s short story “Lamb to the Slaughter,” the theme of irony pervades the narrative, adding layers of complexity and depth to the storytelling. Through various forms of irony, Dahl challenges readers’ expectations and engages them in a tale of deception and unexpected twists.

Situational Irony in Mary Maloney’s Actions

Mary Maloney is initially depicted as a loving and devoted wife, creating an expectation of domestic tranquility. However, the story takes an unexpected turn when Mary murders her husband with a leg of lamb. This drastic action subverts the audience’s expectations and highlights situational irony, where the outcome is the opposite of what is expected based on the initial setup.

Dramatic Irony in Mary’s Interactions with the Police

As Mary interacts with the police following the murder, dramatic irony comes into play. While Mary deceives the police and feigns ignorance about her husband’s death, readers are aware of her true intentions. This creates tension and suspense as the police remain oblivious to Mary’s guilt, contrasting sharply with the readers’ knowledge of the murder weapon and the circumstances of the crime.

Subversion of Gender Roles and Expectations

The story also explores the subversion of traditional gender roles, particularly through Mary’s unexpected transformation into a cunning murderer. In a society where women are often portrayed as passive and submissive, Mary’s actions challenge these expectations and reveal the irony inherent in her defiance of gender norms. Dahl uses this subversion to comment on societal expectations and the complexity of human behavior.

Unearthing Hidden Irony and Enriching the Narrative

Beyond the overt instances of irony, “Lamb to the Slaughter” is replete with subtle moments of irony that enrich the narrative. These hidden ironic elements contribute to the story’s depth and complexity, inviting readers to uncover layers of meaning beneath the surface. Through these concealed ironic details, Dahl enhances readers’ engagement and understanding of the narrative, prompting deeper reflection on the themes of deception and betrayal.

Conclusion

In conclusion, Roald Dahl masterfully employs verbal irony in “Lamb to the Slaughter” to craft a narrative that challenges expectations and engages readers on multiple levels. From situational irony in Mary Maloney’s actions to dramatic irony in her interactions with the police, and the subversion of gender roles throughout the story, Dahl weaves a tale that is rich in irony and complexity. Through the unearthing of hidden irony, Dahl invites readers to delve deeper into the narrative, prompting reflection on the intricacies of human nature and the unpredictability of human behavior. Overall, the use of verbal irony enhances the effectiveness of the story, leaving a lasting impact on readers long after they have finished reading.

Introduction

William Shakespeare’s “Romeo and Juliet” is a timeless tragedy filled with complex characters, intricate plot twists, and poignant themes. Among the literary devices employed by Shakespeare in this play, verbal irony plays a significant role in enhancing the dramatic tension and adding depth to the narrative.

Exploring Verbal Irony in ‘Romeo and Juliet’

Mercutio’s Queen Mab Speech

One of the most famous examples of verbal irony occurs in Act 1, Scene 4, when Mercutio delivers his Queen Mab speech. While describing the whimsical and fantastical nature of Queen Mab, Mercutio’s speech is laden with sarcasm and irony. Despite the playful tone, Mercutio’s words subtly foreshadow the tragic events that unfold later in the play, underscoring the unpredictability of fate.

Juliet’s Declaration of Love for Romeo

In Act 3, Scene 2, Juliet professes her love for Romeo, unaware that he is listening nearby. She laments, “Deny thy father and refuse thy name, / Or, if thou wilt not, be but sworn my love, / And I’ll no longer be a Capulet.” (2.2.34-36). Juliet’s words are dripping with dramatic irony, as the audience knows that Romeo is indeed present and hears her confession. However, Juliet remains oblivious to Romeo’s presence, heightening the tension and setting the stage for the tragic consequences of their forbidden love.

Friar Lawrence’s Warnings

Throughout the play, Friar Lawrence serves as a voice of reason and guidance for Romeo and Juliet. In Act 2, Scene 6, he warns Romeo about the dangers of rash decisions, advising him to “Wisely and slow. They stumble that run fast.” (2.6.94). Despite Friar Lawrence’s sage advice, his words are tinged with irony, as both Romeo and Juliet ultimately rush headlong into their ill-fated romance with tragic consequences.

Romeo’s Final Soliloquy

In the climactic scene of the play, Romeo arrives at Juliet’s tomb believing her to be dead. As he gazes upon her lifeless body, he delivers a poignant soliloquy filled with verbal irony. Romeo muses, “Here’s to my love! O true apothecary! / Thy drugs are quick. Thus with a kiss I die.” (5.3.119-120). While Romeo intends to join Juliet in death, his words are ironic, as the audience knows that Juliet is only feigning death. This dramatic irony intensifies the emotional impact of the scene and underscores the tragic misunderstanding that leads to the lovers’ untimely demise.

Conclusion

In “Romeo and Juliet,” William Shakespeare masterfully employs verbal irony to heighten the dramatic tension, develop characters, and convey underlying themes of fate, love, and mortality. From Mercutio’s witty banter to Juliet’s unwitting confessions and Romeo’s poignant soliloquy, verbal irony permeates the play, enriching the narrative and inviting audiences to delve deeper into its complexities. Through the exploration of verbal irony in “Romeo and Juliet,” readers gain a deeper appreciation for Shakespeare’s timeless masterpiece and the enduring power of irony in literature.

Introduction

Geoffrey Chaucer’s “The Pardoner’s Tale” is a classic exemplar of medieval literature, rich with elements of irony that add depth and complexity to the narrative. Among the various forms of irony employed by Chaucer, verbal irony stands out as a prominent device, serving to illuminate the characters’ motivations and the overarching themes of the tale.

The Pardoner’s Deceptive Rhetoric

At the heart of “The Pardoner’s Tale” lies the character of the Pardoner himself, a cunning and manipulative figure who employs verbal irony to exploit the gullibility of his audience. Through his sermons and speeches, the Pardoner adopts a sanctimonious tone, ostensibly preaching against the sins of greed and avarice. However, his words are laced with hypocrisy, as he shamelessly indulges in the very vices he condemns. This glaring contradiction between the Pardoner’s outward piety and his underlying moral depravity serves as a prime example of verbal irony, revealing the insincerity and duplicity of his character.

The Irony of the Pardoner’s Tale

In addition to his deceptive rhetoric, the Pardoner’s tale itself is replete with instances of verbal irony that underscore the story’s moral ambiguity. As the Pardoner spins his tale of three riotous young men seeking Death, he employs vivid imagery and persuasive language to captivate his audience. Yet, beneath the surface lies a deeper irony, as the characters within the tale unwittingly bring about their own demise through their greed and treachery. The Pardoner’s ostensibly cautionary tale thus serves as a veiled indictment of human folly and moral corruption, employing verbal irony to convey its underlying message.

The Paradox of the Relics

Another notable example of verbal irony in “The Pardoner’s Tale” is found in the Pardoner’s shameless peddling of relics and indulgences. Through his sales pitch, the Pardoner seeks to exploit the superstitions and credulity of his audience, promising salvation in exchange for monetary gain. Yet, his brazen disregard for the spiritual significance of these relics belies the true nature of his motives, revealing the inherent hypocrisy of his profession. This irony is further compounded by the fact that the Pardoner himself is morally bankrupt, casting doubt upon the efficacy of his supposed remedies for sin.

The Pardoner’s Self-Indictment

Perhaps the most striking example of verbal irony in “The Pardoner’s Tale” is the Pardoner’s own unwitting confession of his deceitful practices. In a moment of unguarded honesty, the Pardoner openly admits to his audience that he is a fraud, confessing to his manipulation of naive parishioners for personal gain. This startling revelation serves as a powerful commentary on the corrupting influence of greed and the pervasiveness of moral hypocrisy within society. By exposing his own duplicity through verbal irony, the Pardoner unwittingly implicates himself in the very sins he purports to condemn.

Conclusion

In conclusion, verbal irony plays a central role in Geoffrey Chaucer’s “The Pardoner’s Tale,” enriching the narrative with layers of complexity and moral ambiguity. Through the deceptive rhetoric of the Pardoner, the ironic twists of the tale itself, and the paradoxical nature of the relics he peddles, Chaucer invites readers to question the true motivations and values of the characters involved. By exposing the hypocrisy and moral bankruptcy inherent in the Pardoner’s profession, “The Pardoner’s Tale” serves as a timeless critique of human folly and moral corruption, rendered all the more powerful through the skillful use of verbal irony.

Introduction

In Guy de Maupassant’s renowned short story “The Necklace,” verbal irony serves as a powerful literary device, shedding light on the characters’ true intentions and values. Maupassant masterfully employs verbal irony to highlight the stark contrast between appearance and reality, revealing deeper layers of meaning within the narrative.

Unveiling Hidden Desires

Verbal irony is prominently showcased through the protagonist Mathilde’s actions and dialogue. Despite her outward appearance of contentment, Mathilde harbors a profound desire for wealth and social status. When presented with the opportunity to attend a prestigious ball, Mathilde initially rejects the invitation, citing her lack of suitable attire. However, her true longing for such an event is revealed through her wistful daydreams and aspirations. This juxtaposition between Mathilde’s spoken words and her inner desires exemplifies the essence of verbal irony, exposing the characters’ inner conflicts and motivations.

The Illusion of Contentment

Throughout the story, verbal irony serves to challenge the reader’s perception of the characters’ satisfaction with their circumstances. Mathilde’s husband, Monsieur Loisel, expresses genuine admiration for a modest potpie, proclaiming it to be the “best potpie” he has ever tasted. However, this seemingly innocuous statement belies the couple’s true discontentment and yearning for a more affluent lifestyle. Despite their outward displays of contentment, the verbal irony inherent in Monsieur Loisel’s praise underscores the stark contrast between their aspirations and their reality.

The Facade of Social Status

Verbal irony also operates to expose the facade of social status and prestige upheld by the characters. Mathilde, in her pursuit of societal acceptance, feigns indifference towards the ball invitation, dismissing it as inconsequential. However, her underlying desire for admiration and recognition is evident in her longing glances at wealthy women adorned with jewels and fine attire. This discrepancy between Mathilde’s words and her true desires highlights the superficiality of societal norms and the deceptive nature of appearances.

Critiquing Social Norms

Maupassant utilizes verbal irony as a means of critiquing societal norms and values prevalent during his time. Through Mathilde’s interactions with other characters, such as her wealthy friend Madame Forestier, the author exposes the superficiality of social hierarchy and the relentless pursuit of material wealth. Mathilde’s exaggerated praise for Madame Forestier’s jewels serves as a thinly veiled attempt to ingratiate herself into higher social circles, further emphasizing the facade of social status perpetuated by verbal irony.

Conclusion

In conclusion, verbal irony serves as a potent tool in Guy de Maupassant’s “The Necklace,” enriching the narrative with layers of complexity and nuance. Through the characters’ dialogue and actions, Maupassant skillfully unveils the discrepancies between appearance and reality, inviting readers to scrutinize the true motivations and values driving the narrative. By employing verbal irony to critique societal norms and expose the facade of social status, Maupassant offers a poignant commentary on the pitfalls of vanity, materialism, and social ambition. As readers delve deeper into the world of “The Necklace,” they are confronted with the sobering realization that what is said may often conceal deeper truths lurking beneath the surface.

Edgar Allan Poe, renowned for his macabre tales and mastery of the Gothic genre, utilizes verbal irony to great effect in his short story “The Cask of Amontillado.” Through the careful manipulation of language and character interactions, Poe creates a chilling atmosphere of deceit and betrayal. This essay will critically analyze the use of verbal irony in the story, exploring its significance in conveying Poe’s themes and message.

Irony in Setting and Character Names

The carnival setting in “The Cask of Amontillado” serves as a stark contrast to the dark and sinister plot unfolding within its confines. While festivities typically evoke feelings of joy and celebration, Poe employs this setting to underscore the deceptive nature of the characters’ actions. Moreover, the ironic name of the antagonist, Fortunato, adds another layer of complexity to the narrative. Despite his name suggesting good fortune and luck, Fortunato meets a gruesome fate at the hands of the story’s protagonist, Montresor. This ironic twist highlights the theme of deception and foreshadows the tragic outcome of the story.

Irony in Montresor’s Actions and Words

Montresor’s duplicitous behavior and ironic greetings to Fortunato further emphasize the theme of betrayal and manipulation. Despite harboring murderous intentions towards Fortunato, Montresor greets him warmly and pretends to be concerned for his well-being. This feigned kindness serves to mask Montresor’s true motives and adds to the sense of dramatic irony permeating the story. Additionally, Montresor’s manipulation of Fortunato’s drunkenness to lure him into the catacombs demonstrates his cunning and deceitful nature, further heightening the tension and suspense of the narrative.

Irony in the Climax and Resolution

The climax of “The Cask of Amontillado” sees Montresor chaining Fortunato to a wall and sealing him behind a brick wall, effectively entombing him alive. This act of cruelty is accompanied by Montresor’s ironic invocation of God, as he proclaims, “For the love of God, Montresor!” This blasphemous plea serves to underscore the hypocrisy and moral depravity of Montresor’s character, as he commits a heinous act of murder while invoking divine mercy. Furthermore, Montresor’s lack of remorse and his final ironic words, “In pace requiescat” (rest in peace), further highlight the chilling nature of his actions and the moral ambiguity of the narrative.

Conclusion

In conclusion, Edgar Allan Poe’s masterful use of verbal irony in “The Cask of Amontillado” adds depth and complexity to the story, heightening its suspense and thematic resonance. Through ironic character names, deceptive dialogue, and morally ambiguous actions, Poe crafts a tale of betrayal and revenge that continues to captivate readers to this day. The pervasive use of verbal irony underscores Poe’s skill as a storyteller and his ability to convey profound themes through subtle narrative techniques.

“[Austen] began by being an ironical critic; she manifested her judgement of them not by direct censure, but by the indirect method of imitating and exaggerating the faults of her models, thus clearing the fountain by first stirring up the mud. This critical spirit lies at the foundation of her artistic faculty. Criticism, humour, irony, the judgement not of one that gives sentence but of the mimic who quizzes while he mocks, are her characteristics”. That’s Richard Simpson’s assessment, and I wholeheartedly agree with him. Jane Austen often and very skillfully used irony in her works, and ‘Pride and Prejudice’ is no exception. To confirm this belief of mine, in my essay, I will give 5 examples of irony in the novel.

“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife” (p.1). This first sentence of ‘Pride and Prejudice’ is the first instance of irony. It is supposed to set the scene by explaining how the novel’s society works, namely that any eligible bachelor with a ‘fortune’ would actually seek a wife. Ironically, that is not the case. Rachel Brownstein writes that the truth at issue here is not really that single men want girls, but that poor girls need husbands. If anything, women and their families would seek out men to marry off their daughters for financial stability, as many do in the novel.

“‘You ought certainly to forgive them, as a Christian, but never to admit them in your sight, or allow their names to be mentioned in your hearing’. That is his notion of Christian forgiveness!” (p.303-305). This quote, found in Chapter 57 of the novel, is uttered by Mr. Collins about Lydia Bennet and Wickham’s elopement. He suggests forgiving them since he is a ‘Christian’, but opposes having them in one’s sight or ever hearing their names (despite having almost no control over the latter). His ‘contradictory’ notion of Christian forgiveness is precisely why, ironically enough, he is not fit to be a clergyman.

“There certainly was some great mismanagement in the education of those two young men. One has got all the goodness, and the other all the appearance of it” (p.191). The working title of ‘Pride and Prejudice’ was in fact ‘First Impressions’. This ties into the fact that Elizabeth Bennet’s first impressions of others are accurate, except for those of Mr. Wickham and Mr. Darcy. This is ironic since she was initially charmed by Wickham, only to realize his and Darcy’s true intentions until later on in the novel. Upon their first reading, the reader makes the same mistake as Elizabeth due to her narration and ironic detachment, which can be considered to be somewhat unreliable.

“‘This is quite shocking! He deserves to be publicly disgraced’. ‘Sometime or other he will be – but it shall not be by me. Till I can forget his father, I can never defy or expose him’” (p.70). Wickham states that he will not expose Darcy. Ironically, he is doing so as he speaks. Somehow, Elizabeth admired him and thought him more handsome than ever as he expressed this, partly due to Wickham’s nature as an attractive-deceptive figure and her own hasty prejudices of both him and Darcy.

“‘She is tolerable; but not handsome enough to tempt me’” (p.13). Initially, Darcy does not have a glowing impression of Elizabeth Bennet, merely viewing her as ‘tolerable’ and tempting to someone, but not to him. This is ironic since later on, in Chapter 34, he confesses his love to her: “My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you” (p.161).

The ironical critic Jane Austen, as Richard Simpson called her, made good use of irony in her novels, particularly in ‘Pride and Prejudice’, and the above, although only five quotes, prove it.

Shakespeare ‘Macbeth’ was written in 1606, it’s based on a man named Macbeth who wanted to become the king of Scotland (where he resides). The main theme of Macbeth is the spoiling nature of his unchecked ambition, which is displayed through his struggles against himself, his wife, and society all driven by the want of power. Dramatic irony is foreshadowed throughout the play by the use of many dramatic techniques. Some language devices are used to create imagery such as hallucinations pulled from a soliloquy. Both dramatic techniques and the use of language devices are the fundamentals in to understanding Macbeth. However, through a psychoanalytical lens Macbeth ambition to be king has pushed him to a point of no return thus leading him into his down fall

One way to analyze is through a psychoanalytic lens in which is the subconscious thoughts affect the conscious thoughts while the ego, super ego, and Id is affected. Throughout the play there’s been many conflicts starting with the three witches eventually ending with Macbeth’s death. After Macbeth’s wife whom is Lady Macbeth convinced Macbeth to kill the king; Macbeth is consumed with guilt. After the deed is done, he starts to regret it. In his conscious thoughts he might think he’s okay but his subconscious knows he’s done wrong. “Will all great Neptune’s ocean wash this blood clean from my hand? No, this my hand will rather the multitudinous seas incarnadine”. This quote is to help further prove Macbeth was going insane.

The psychoanalytic lens can be broken down into three parts ID, Ego, and Super ego. The ID has to do with urges and Macbeth has an urge to kill King Duncan to become a king himself. The super ego is the complete opposite of the ID. Macbeth’s super ego is terrified and in remorse because of the kingdom everyone is talking and there’s so much hopelessness around because a kingdom has lost a king. Everyone is disheartened and heated Macbeth feels pressured and is suck on what to do. The ego is what balances the ID and super ego that is why his subconscious though come to light in his conscious thoughts.

Although Macbeth’s actions aren’t complete his fault. In the beginning scene three witches give him a prophecy in which sparks a want to be king. All awhile his wife, Lady Macbeth is telling to kill king Duncan, she wants him dead and manipulates Macbeth into think that what he wants also by questioning his manhood. “When you durst do it, then you were a man”. Macbeth is having a mental fight with himself and now his wife, his wife uses words to confuse and question himself. Thus, leading into the begging of the down fall.

Through a literary device, the mental state of Macbeth was expressed. “The dagger I see before me” is a soliloquy based on Macbeths mental state. The soliloquy reveals the Macbeth has hallucinate a dagger in his hands while there is nothing there. His subconscious and taking over his conscious because he’s so consumed with guilt. There’re voices in his head saying “Macbeth sleep no more”, he can’t sleep, can’t even think straight because he knows of what he did and no one can find out.

The irony of it all shapes the whole play Macbeth wants to be king so he kills the king while he cannot enjoy it because the guilt of it all. He continues to kill in order to remain in power until he becomes a despised tyrant who is destroyed by his own people. Lady Macbeth also has irony she was so shameful for Macbeth not wanting to kill while in the end she kills herself.

Macbeth was consumed with guilt for the want for power which led to his down fall. One a noble brave man to a tyrant among those who matter. Dramatic irony takes place throughout the story while the literary deceives help better interpret the meaning and sensation of the words. Macbeth who is a man with thoughts and feeling began to go mentally insane due to killing the king to become king. His ID took over when he killed while his super ego came back for him to make him think but his ego balanced it out and knew he was wrong.

In ‘The Ransom of Red Chief’, the characters’ actions are the opposite of what is expected, which creates irony. O. Henry, the author, develops irony through contrasting character points of view and uses irony to create humor and surprise.

O. Henry begins the story with Sam, the narrator and kidnapper, discussing how he and Bill Driscoll plan to kidnap a child to earn money so they can commit a crime in Illinois. The kidnappers select Summit because they expect the parents of the town to be protective of their children. He says, “Philoprogenitiveness, says we, is strong in semi-rural communities; therefore, and for other reasons, a kidnapping project ought to do better there than in the radius of newspapers that send reporters out in plain clothes to stir up talk about such things” (page 1). They think if they take a kid from Summit, they will earn the $2000 ransom money for their scheme. At least, that’s what they expect. We expect it as well because the narrator explains how well they plan everything out. What actually happens, though, is the exact opposite, creating a surprisingly funny story.

The first example of irony is that the kid Bill and Sam kidnap enjoys being kidnapped. When Sam, Bill, and the boy, are having supper, the boy, Red Chief, begins to see the kidnapping as an adventure or vacation. Red Chief says, “I like this fine. I never camped out before” (page 2). Red Chief also decides that he is having more fun being kidnapped than being at home. Instead of being scared of being kidnapped, the kid is having fun. This is ironic and funny because the opposite of what is expected happens.

Another example of irony that Red Chief is so terrible, the kidnappers end up being scared of him. It is funny to think of grown criminals being scared of small child, but Red Chief terrorizes Bill. When Bill first kidnaps the boy, he “catches Bill neatly in the eye with a piece of brick” (page 2). One morning, Sam is woken up by Bill screaming. When he looks over, he sees “Red Chief was sitting on Bill’s chest, with one hand twined in Bill’s hair. In the other he had the sharp case knife we used for slicing bacon; and he was industriously and realistically trying to take Bill’s scalp” (page 3). Bill’s experiences with Red Chief break his spirit. Bill and Sam can’t wait to get rid of the kid. They even sign their ransom note ‘Two Desperate Men’. Sam sends the ransom note to Red Chief’s dad thinking he’ll pay up to get his son back. What happens, though, is the exact opposite. Mr. Dorset responds with a “counter-proposition” asking for money to accept his son back. He says, “You bring Johnny home and pay me two hundred and fifty dollars in cash, and I agree to take him off your hands” (page 9). With all of the kidnappers’ planning and putting up with Red Chief, they should have been successful and rewarded with money. However, Bill and Sam finally decide to pay the money to return the boy to his father. When Ebenezer agrees to take back his son, he suggests the kidnappers should return the kid after dark because “the neighbors believe he is lost, and I couldn’t be responsible for what they would do to anybody they saw bringing him back” (page 9). Instead of being worried about his son, Mr. Dorset is worried about the kidnappers’ well-being and what the town will when Red Chief returns. When the kid realizes the kidnappers are leaving him with his family, he doesn’t want to leave the kidnappers. His father, Dorset, has to hold onto the Red Chief so the kidnappers can escape. This is ironic and funny because you would expect that Dorset would hold onto the kidnappers instead of his kid so they couldn’t escape. In the end, the kidnappers ran as fast as they can out of Summit 250 dollars poorer!

The author develops contrasting points of view and the events happen differently than the reader expects. This creates irony, surprise, and humor.