Irony is a useful device for giving stories many unexpected twists and turns. In Kate Chopin's "The Story of an Hour," irony is used as an effective literary device. Situational irony is used to show the reader that what is expected to happen sometimes doesn't. Dramatic irony is used to clue the reader in on something that is happening that the characters in the story do not know about. Irony is used throughout Chopin's "The Story of an Hour" through the use of situational irony and the use of dramatic irony. A very dull and boring story can be made into a great story simply by adding in something that is unexpected to happen. When the unexpected is used in literature it is known as irony. An author uses irony to shock the reader by adding a twist to the story. The author of “The Story of an Hour” is Kate Chopin. Her use of irony in the story is incredibly done more than once.
Each of the stories in Dubliners consists of a portrait in which Dublin contributes to the dehumanizing experience of modem life. The boy in the story "Araby" is intensely subject to the city's dark, hopeless conformity, and his tragic yearning toward the exotic in the face of drab, ugly reality forms the center of the story. On its simplest level, "Araby" is a story about a boy's first love. On a deeper level, however, it is a story about the world in which he lives a world inimical to ideals and dreams. This deeper level is introduced and developed in several scenes: the opening description of the boy's street, his house, his relationship to his aunt and uncle, the information about the priest and his belongings, the boy's two trips-his walks through Dublin shopping and his subsequent ride to Araby.
North Richmond Street is described metaphorically and presents the reader with his first view of the boy's world. The street is "blind"; it is a dead end, yet its inhabitants are smugly complacent; the houses reflect the attitudes of their inhabitants. The houses are "imperturbable" in the "quiet," the "cold," the "dark muddy lanes" and "dark dripping gardens." The first use of situational irony is introduced here, because anyone who is aware, who is not spiritually blinded or asleep, would feel oppressed and endangered by North Richmond Street. The people who live there represented by the boy's aunt and uncle are not threatened however are falsely pious and discreetly but deeply self-satisfied. Their prejudice is dramatized by the aunt’s hopes that Araby, the bazaar the boy wants to visit, is not some “Freemason affair," and by old Mrs. Mercer's gossiping over tea while collecting stamps for "some pious purpose."
The background or world of blindness extends from a general view of the street and its inhabitants to the boy's personal relationships. It is not a generation gap but a gap in the spirit, in empathy and conscious caring that results in the uncle's failure to arrive home in time for the boy to go to the bazaar while it is still open. The uncle has no doubt been to the local pub, negligent and indifferent to the boy's anguish and impatience. The boy waits well into the evening in the "imperturbable" house with its musty smell and old, useless objects that fill the rooms. The house, like the aunt and uncle, as well as the entire neighborhood, reflects people who are well intentioned but narrow in their views and blind to higher values. Take for example, even the street lamps lift a "feeble" light to the sky. The total effect of such setting is an atmosphere permeated with stagnation and isolation.
The second use of symbolic description-that of the dead priest and his belongings-suggests remnants of a more vital past. The bicycle pump rusting in the rain in the back yard and the old yellowed books in the back room indicate that the priest once actively engaged in real service to God and man, and further, from the titles of the books, that he was a person given to both piety and flights of imagination. But the priest is dead; his...
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