114 Sentences With "dramatic irony" | Random Sentence Generator

See consists of a unique sort of visual dramatic irony.

Audiences will watch tonight and tomorrow's finale burdened by dramatic irony.

There's legit puzzling mysteries, dramatic irony, big fireballs, talking goat people.

This scene is tinged with an aura of dread and dramatic irony.

The result for the audience is more than dramatic irony, somehow: It's

In a twist of dramatic irony, Jon and Daenerys don't know they're related.

And that dramatic irony furnishes a lot of the jokes in Good Boys.

The novel relies too heavily on dramatic irony, but it resists trite resolution.

Finally some more unbearable dramatic irony and the grating voice of a whiny teenager!

Cersei gave it to Bronn to kill Tyrion as a deliberate act of dramatic irony.

Cue dramatic irony and a sudden rush to cram everything in to the episode's remaining third.

It lends her paintings of nursing mothers, babies, and children an ominous cast and dramatic irony.

But it's precisely this dramatic irony that gives 'Portraits of Courage' its numinous and haunting quality.

Not to mention the extreme heightening of suspense, dramatic irony, and fake deaths that dotted the films.

Ultimately, these emails — like any ancient corporate emails — are best read with an eye toward dramatic irony.

We know he'll never get back, even as he doesn't, and that creates a terrible dramatic irony.

The scene works because of its dramatic irony: Theon's crisis is Jon's, he just doesn't know it yet.

A hard cut can draw attention to itself to create a sense of dramatic irony or transitional smoothness.

Instead, it offers us a deeply layered story with thematic parallels, rich symbolism, and loads of dramatic irony.

Parts of "Time and the Conways" come off as obvious exercises in dramatic irony, as tedious as those charades.

They took their humor from the dramatic irony inherent in how quickly the life of the internet was moving along.

To wrap up the plot-onslaught, we get back-to-back textbook examples of what AP English teachers call dramatic irony.

The Bachelor gave us a fine example of dramatic irony: We knew what was happening next, but Becca certainly did not.

It's meant as a bit of dramatic irony, but it arrives abruptly and without setup, and lands with a dull thud.

It relishes the dramatic irony of Kurt incorporating both his aunt and his father-in-law into his art without knowing their connection.

But it lacks neither that nor the dramatic irony of Liston's collapse: in effect, prostration to a demiurge of history on the turn.

The fact that Lennon's own comeback will be cut short by his imminent death (at the Dakota's entrance) steeps the story in dramatic irony.

Soliloquies can create dramatic irony, because the audience is made aware of thoughts and events that the other characters in the play are not.

But this is a comedy — a dark one, but a comedy nonetheless, in which a candlelit dinner table becomes a minefield of dramatic irony.

Even Celeste's ultimate courtroom victory feels perfunctory, its moments of poignance and dramatic irony weighted down by the season's palpable disinterest in its own characters.

This is what counts as dramatic irony for George Lucas, and while plenty can be said on his "writing," that is neither here nor there.

When the plane lands, I take my phone out of airplane mode with a sense of dread and dramatic irony, but there's no fatal text message.

The manic "Baster," in which a successful but unpartnered woman gives a party to impregnate herself with donated sperm, is a swift lesson on dramatic irony.

That God has a sense of dramatic irony and narrative surprise seems like one of the most obvious lessons to be drawn from the Trump era.

"What if you could buy a mortgage on your phone?" asks a commercial that will almost certainly be used for dramatic irony in The Big Short 2.

However, it's the dramatic irony that permeates Homegoing — characters' stories trail off and are unknown to their descendants, but not to us — that makes it so moving.

As he does so, his aides are rushing to give him news of the nationalisation of the Suez canal: it is a perfectly tuned piece of dramatic irony.

And the series has surrounded him with equally likable supporting players, including Violett Beane as a journalist who joins his cause, and Joe Morton as his — dramatic irony!!!

When Boyle's character, unaware that she is speaking to her lover's wife, brags about her relationship with Nolte, she is unable to engage the dramatic irony of the situation.

It is a moment of deeply uncomfortable dramatic irony: We, the audience, know something she does not, which is that only moments earlier, Trump was coldly appraising her body parts.

It's a showcase of dramatic irony—Villanelle is watching her the whole time, and she steals Polastri's suitcase, checks out its contents, and buys her a new, flattering, luxury wardrobe.

These interruptions—and they can only be described as interruptions—always take the form of smug winks, moments of dramatic irony so obvious that they would make Guy de Maupassant blush.

For an adult, there's something like dramatic irony inherent in watching a hero of this age: The idealized twelve-year-old boy sees the world in terms of good and evil.

It's not exactly laugh-out-loud funny but technically works because of dramatic irony—the dude doesn't seem to understand the cognitive dissonance the viewer experiences or the discomfort it induces.

It will likely be a treat to watch a young woman perform a live musical number that snarkily defines masculinity around violence and endurance as part of an ongoing dramatic irony bit.

This is sort of a classical example of dramatic irony—how could anyone have known that Conway would leave her role to serve as senior salami beneath our nation's Kielbasa-in-Chief?

Under Wagner's command, music becomes its own language, allowing the orchestra to wordlessly tell the audience things that the characters on stage do not know themselves — a sophisticated kind of dramatic irony.

The audience knows certain big and moments are coming, and no matter how much the writers try to build that central dramatic irony into the storytelling, everything feels like a delay of the inevitable.

The pointless theological rambling about the nature of belief fits better on the page than it does on the screen, where the dramatic irony of an audience knowing more than its characters is far less sustainable.

But it's really a comedy in the classical sense, which usually pitted idealistic youth against societal conventions in setups that yielded dramatic irony (where the audience knows the full significance of what they're watching, but the character doesn't).

And for another, the "birth of consciousness" story that series co-creators Jonathan Nolan and Lisa Joy want to tell requires, in essence, some level of dramatic irony, where the audience knows more than Dolores and her Host counterparts.

That's fine if the show is using it for dramatic irony (as it was in the scene he shared with Emily), but most of the time, the series seems to think we should be as fascinated as he is.

But we do appreciate the dramatic irony of the 36-year-old's emotional turmoil — given that two years ago, he was shaming Bachelorette Andi Dorfman on live TV for taking both him and the other finalist, Josh, to the Fantasy Suite.

And because Sachs never cheats—there are no convoluted plot twists for the sake of cheap dramatic irony—his film's lifelike flow from scene to scene builds to an ending that, really, we should have known was coming all along.

Theranos turned heads with its signature invention — a blood testing machine about the size of a home breadmaker named the Edison, after Thomas and (perhaps in a stroke of dramatic irony) the many failures he endured en route to success.

Far from being the wish-fulfillment fantasies they appeared to be on the surface, the best mid-century social melodramas (by Sirk and others) actually covertly critiqued the ideology they appeared to support, through a heavy dose of dramatic irony.

The cast of Halt and Catch Fire is truly formidable when they work together as a team, which only strengthens the show's unintentional, central dramatic irony: no matter how successful they are, the characters will never manage to accomplish anything truly innovative.

This adds some dramatic irony to the proceedings of her night in the fantasy suite, which is just one way in which this whole affair is remarkably similar to a Shakespearean tragedy, Lifetime's JonBenet Ramsey biopic, Irving Berlin's White Christmas, and all horror movie sequels.

So the scene is laden with dramatic irony, not just because of the actresses' history but also because Fisher wrote the scene, having her mother and her erstwhile stepmother come to some kind of understanding in public (though they'd put it behind them more privately decades earlier).

When Harris was plotting the Columbine massacre, he thought of his project in what now seem like antiquated Hollywood terms, recording in videos that he wanted "a lot of foreshadowing and dramatic irony" and debating with Klebold whether Steven Spielberg or Quentin Tarantino would better handle their story.

Libby Nelson: By mixing up the usual alliances among protagonists, making the central conflict not between Russians and Americans but between the hardliners who want the summit to fail and those who want it to succeed, this season has lengthened the horizon for dramatic irony to the post-1991 world.

The plot is a dramatic irony, with the story ending with plot twist and a moral message.

Most of the humour is situational, rather than playing with language. Because we know what really happened at the beginning, most of the play uses dramatic irony.

See Rich, Charlotte. “The Highly Original Country of the Yanquis: Dramatic Irony and Double Voicing as Cultural Critique In Maria Cristina Mena’s Fiction” Legacy 18.2 (2001) 205-215.

More often they explain the background that led to the events in the original, but sometimes the connections are not completely explicit. Sometimes prequels play on the audience's knowledge of what will happen next, using deliberate references to create dramatic irony.

In terms of the play Leslie and Sarah are very real, a fact that Nancy immediately grasps and embraces. The fantasy aspect of the play creates dramatic irony and allows issues such as progress, values, and differences to be discussed.

If we were as oblivious as the guests, there would be virtually no point in the story. The way to remember the name is that dramatic irony adds to the drama of the story. See Irony for a more detailed discussion, and definitions of other forms of irony.

The examples of somebody being two faced can be seen in numerous Jacksons, such as Trial by Combat, The Villager, The Witch, Charles, The Dummy, Of Course, and Got A Letter From Jimmy. The examples of dramatic irony can be found in Charles, Afternoon in Linen and Colloquy.

"It bears the weight of the potentiality of the black lake that will become her heart with a hopefulness that the rest of the album exposes as crushingly misguided: Björk here bravely makes dramatic irony of her own pain." "Stonemilker" ranked 149th on Pitchork's "200 Best Songs of the 2010s" list.

In a case of dramatic irony, Cindy would end up considering adoption after a tragic event caused her own daughter to drown, which drove her to the brink of despair. When she expressed a longing to take in a family-less child, Ben decided that he could learn to love such a child as much as she would.

One of her earliest literary endeavors (1902) was the translation of the play, Es Lebe das Leben ("The Joy of Living"), by Hermann Sudermann. The Joy of Living was criticized for its title because the heroine swallows poison at the end, and was a short-lived Broadway production. It was, however, a successful book. Many of Wharton's novels are characterized by subtle use of dramatic irony.

Oxford University Press, 2001; pg. 9 As G.R. Thomson writes in his introduction to Great Short Works of Edgar Allan Poe, "the tale has long been hailed as a masterpiece of Gothic horror; it is also a masterpiece of dramatic irony and structural symbolism."Thomson, G.R. Great Short Works of Edgar Allan Poe (HarperCollins, 1970), p. 36. "The Fall of the House of Usher" has been criticized for being too formulaic.

Find the Light (() literally Hero-Sword-Youth) is a 2003 TVB historical costume drama, set in the Qing dynasty. Consisting of 20 episodes, it was broadcast from September 8, 2003 to October 3, 2003, in the prime 8:00 to 9:00 pm weekday slot. The theme song was sung by Francis Yip. The series uses dramatic irony in its telling, the two main protagonists being based on historical figures.

Ultimately he convinces Pyrogopolynices to give up Philocomasium in order to marry a rich divorcee—really a prostitute he hired, Acroteleutium. The dramatic irony created by Palaestrio's asides adds interest and humor to the already hilarious predicament he expertly solves. Palaestrio consistently breaks the fourth wall to explain what is going on in the show to the audience. • Periplectomenus (senex 'old man'): an old man of Ephesus and neighbor of Pyrgopolynices.

This is largely because no one does repression – and its first cousin, denial – like the English . . . the Talking Heads monologues are quiet, exquisitely modulated and veddy, veddy English exercises in dramatic irony. Raise the speakers' voices, literally or figuratively, and you risk turning them from sly character studies into comic gargoyles . . . Though each of the monologues holds your attention, it often seem as if the characters are being impersonated instead of incarnated.

However, critics have suggested that Mena employs a phenomenon called "double voicing" or using dramatic irony to expose the inadequacy of the stereotypical notions about Mexicans that can be found in her work.Rich, 205. Double voicing as defined by Mikhail Bakhtin is when “[T]he author exaggerates, now strongly, now weakly, one or another aspect of the “common language,” sometimes abruptly exposing its inadequacy to its object and sometimes, on the contrary”.

Tragic irony is a special category of dramatic irony. In tragic irony, the words and actions of the characters contradict the real situation, which the spectators fully realize. The Oxford English Dictionary defines this as: Ancient Greek drama was especially characterized by tragic irony because the audiences were so familiar with the legends that most of the plays dramatized. Sophocles' Oedipus Rex provides a classic example of tragic irony at its fullest.

Embarrassing situations have been used for a long time in situational comedy, sketch comedy, dramatic irony, and practical jokes. Traditionally, laugh tracks were used to help cue the audience to laugh at appropriate times. But as laugh tracks were removed from sitcoms, embarrassing situations on television were now accompanied by silence, creating a genre known as cringe comedy, which includes many critically acclaimed sitcom television shows, such as the British television series The Office.

Johann Nepomuk Sepp; Claude-Joseph Drioux; Whittaker, H.A. Studies in the Gospels, Biblia Staffordshire 1984, 2nd Ed. 1989 p. 495 Caiaphas considers, with "the Chief Priests and Pharisees", what to do about Jesus, whose influence was spreading. They worry that if they "let him go on like this, everyone will believe in him, and the Romans will come and destroy both our holy place and our nation." Caiaphas’ fame hinges here on the gospel writer’s use of dramatic irony.

Still, the fact that the minstrel on stage would desire someone the audience knew to be another man was a source of comic dramatic irony. The refrain is simple: However, its meaning is more difficult to identify and varies depending on the preceding verse. For example: The verse makes Lucy out to be a "sexual aggressor who prefers 'tarrying' (casual sex, we may infer) to marrying. ... " The singer for his part seems to be in agreement with the notion.

The composer's musical language and interpretation of the text often dictate the formal design of an art song. If all of the poem's verses are sung to the same music, the song is strophic. Arrangements of folk songs are often strophic, and "there are exceptional cases in which the musical repetition provides dramatic irony for the changing text, or where an almost hypnotic monotony is desired." Several of the songs in Schubert's Die schöne Müllerin are good examples of this.

269 Euripides is also known for his use of irony. Many Greek tragedians make use of dramatic irony to bring out the emotion and realism of their characters or plays, but Euripides uses irony to foreshadow events and occasionally amuse his audience. For example, in his play Heracles, Heracles comments that all men love their children and wish to see them grow. The irony here is that Heracles will be driven into a madness by Hera, and will kill his children.

The Deep Sea Diver's Syndrome is a Science Fiction novel by Serge Brussolo, the first of over 150 novels by the French Author to be translated into English. It was originally published in 1992, and was later translated into English by Edward Gauvin and published in 2016. The surreal story follows David Sarella, a struggling dreamer in a world where dream "ectoplasms" have replaced art. The novel features surreal imagery and settings, frequent use of dramatic irony, and blatant commentary about art.

Later, Billy and Jessamy fixed a swing to an old bough of the mulberry tree, which broke off, revealing the book of hours hidden in a crack, just where the tree house had been. It was damp and discoloured, but Miss Brindle showed it to the house agent, who showed it to the owner of Posset Place. He was delighted to have it, for when the present-day Jessamy visited him at his request, he turned out to be the aged Kitto. Dramatic irony appears.

In a moment of dramatic irony, Macduff begins the conversation urging Malcolm to fight for Scotland rather than to grieve, not knowing that Malcolm has already arranged for English military support (4.3.134–136). Malcolm manipulates Macduff, questioning his loyalty, facilitating his emotional responses, and testing to see how much Macduff’s, and perhaps the audience’s, morality can ultimately be compromised. Malcolm portrays Macbeth as a tyrant, but he positions himself, too, as someone morally repulsive. He describes his own voluptuousness–the bottomless "cistern of [his] lust" (4.3.

Much of Higginson's writing explores different perspectives on the truth. His work increasingly explores character, plot and relationships to be sites for ambiguity and dialogue. He uses techniques from the theatre in his fiction such as differing perspectives and dramatic irony to represent the complexity of post-apartheid South African society – extending these themes to a global context in several instances. The Girl in the Yellow Dress, one of his best known works, dramatises a dialogue between Africa and Europe – the ‘Third’ World with the ‘First’ World.

Don Pedro is considered a character that is the middleman in the story and seems to understand the events more than the other characters. However, Don Pedro also experiences some dramatic irony: For example, he does not know that it is Don John who ruins the wedding until his henchman, Borachio, admits it. Don Pedro has been portrayed by Denzel Washington in the Samuel Goldwyn Company 1993 film Much Ado About Nothing. He was played by Reed Diamond in Joss Whedon's interpretation of the play, which was released in 2012.

Joseph plays into the dramatic irony and manipulates Simeon to feel guilt for having abandoned Joseph. When his brothers return with Benjamin, they state their case again for the plight of their homeland in Canaan and he sells them grain and sends them on their way. Not mentioned in the libretto, Joseph arranges to have a silver cup of his hidden in Benjamin's things. In act 3, Joseph has the Egyptian guards catch up to and seize the brothers, bring them back, and accuses them of stealing the cup.

This contrast of light and dark can be expanded as symbols—contrasting love and hate, youth and age in a metaphoric way. Sometimes these intertwining metaphors create dramatic irony. For example, Romeo and Juliet's love is a light in the midst of the darkness of the hate around them, but all of their activity together is done in night and darkness while all of the feuding is done in broad daylight. This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: loyalty to family or loyalty to love.

A stop sign ironically defaced with a plea not to deface stop signs Irony (Liddell & Scott, A Greek-English Lexicon, v. sub .), in its broadest sense, is a rhetorical device, literary technique, or event in which what on the surface appears to be the case or to be expected differs radically from what is actually the case. Irony can be categorized into different types, including verbal irony, dramatic irony, and situational irony. Verbal, dramatic, and situational irony are often used for emphasis in the assertion of a truth.

Queen use word painting in many of their songs (in particular those written by lead singer Freddie Mercury). In "Somebody to Love", each time the word 'Lord' occurs it is sung as the highest note at the end of an ascending passage. In the same piece, the lyrics 'I've got no rhythm; I just keep losing my beat' fall on off beats to create the impression that he is out of time. In BTS's "Lie", the whole song is written in minor key to create tensity and dramatic irony.

Jesse Porter (Coby Bell) is a former Counterintelligence Field Activity/Defense Intelligence Agency agent introduced in the Season four premiere. He had initially been stationed in the field, but his risky and impulsive tactical maneuvers led to his demotion to desk duty. Because of Jesse's research on the war-profiteering organization that Management was hunting, Michael was forced to unknowingly steal files using duplicates of Jesse's ID, unintentionally burning him. In a use of dramatic irony, the show's writers send Jesse to Michael for help to find out who has burned him.

L'incoronazione di Poppea is frequently described as a story in which virtue is punished and greed rewarded, running counter to the normal conventions of literary morality. The musicologist Tim Carter calls the opera's characters and their actions "famously problematic", and its messages "at best ambiguous and at worst perverted",Carter (2002) p. 263 while Rosand refers to an "extraordinary glorification of lust and ambition". The critic Edward B. Savage asserts that despite the lack of a moral compass in virtually all the main characters, Busenello's plot is itself essentially moral, and that "this morality is sustained by the phenomenon of dramatic irony".

"Had I but known" is a form of prolepsis or foreshadowing that hints at some looming disaster in which the first-person narrator laments their course of action which precipitates some or other unfortunate series of actions. Classically, the narrator never makes explicit the nature of the mistake until both the narrator and the reader have realized the consequence of the error. If done well, this literary device can add suspense or dramatic irony; if overdone, it invites comparison of the story to Victorian melodrama and sub- standard popular fiction. The foreshadowing may be distinguished between, "advance notice":Genette, Gérard (1980).

A key plot point is fabricated for the purposes of dramatic irony: in the book, Marsh has his agent Sam Smith leave a Camarasaurus skull for Cope to find and mistakenly put on the wrong dinosaur. Instead, Hatcher finds it; Smith tries to keep an unwitting Marsh from getting it, but due to Marsh's obnoxious manner he lets him after all. As a result, Marsh mistakenly classifies the (non-existent) Brontosaurus. Ottaviani admits in the book he invented this, as "the literary tradition of hoisting someone up by his own petard was too good to pass up".

However, in Aeschylus' play, Odysseus, who was largely responsible for Philoctetes being marooned on Lemnos was sent to fetch him. In addition to creating dramatic irony, the innovation of having Odysseus sent to fetch Philoctetes also has a benefit in that Odysseus is particularly known for his oratory skills, and oratory skills are particularly valuable in a Greek play. The plot point of having Odysseus being sent to recover Philoctetes after being responsible for his abandonment is a plot point that Euripides and Sophocles retained in their Philoctetes plays. Philoctetes did not recognize Odysseus at first as a result of the suffering Philoctetes endured for the prior ten years alone.

Dramatic Irony is when the reader knows something important about the story that one or more characters in the story do not know. For example, in William Shakespeare's Romeo and Juliet, the drama of Act V comes from the fact that the audience knows Juliet is alive, but Romeo thinks she's dead. If the audience had thought, like Romeo, that she was dead, the scene would not have had anywhere near the same power. Likewise, in Edgar Allan Poe's "The Tell-Tale Heart", the energy at the end of the story comes from the fact that we know the narrator killed the old man, while the guests are oblivious.

She has a generally cheeky personality but will often show harshness towards the other students, most notably Mikan. She grows a close bond with Mahiru and is devastated by her death, and holds thinly veiled contempt for Fuyuhiko for a while. She is the fourth murder victim, having her throat slit by Mikan after she accidentally stumbled upon her killing Ibuki. Her death is played as an example of dramatic irony: despite the amount of abuse she heaped upon Mikan, despair-crazed Mikan, the "real" Mikan, did not even care enough to plan her murder; she was simply in the wrong place at the wrong time.

As the show's main villain, he needed to be a constant and viable threat. After seeing a hallucinated Scorpius interact with Crichton in the second season's fourth episode, "Crackers Don't Matter", they came up with the idea of putting Scorpius inside of John's head. The clone's presence was hinted at in the second and third episodes of the "Look at the Princess" trilogy as well as in "Beware of Dog" before his presence was revealed outright to Crichton in the season's 15th episode, "Won't Get Fooled Again". However, this then became an example of dramatic irony, as Crichton's memory of Harvey was erased, until he was revealed again.

After the execution of his wife, Georges escapes with his young son and joins the Maroons, described by Séjour as "slaves who have fled the tyranny of their master". Georges already knows their watchword: Afrique et liberté, "Africa and freedom." Their use of the French Revolutionary rallying cry liberté, later codified into the motto liberté, egalité, fraternité, is a dramatic irony: white revolutionaries in France and America who fought for freedom in the 1770s and 1790s enslaved free Africans, and opposed the black-led Haitian Revolution of the same era.Shirley Elizabeth Thompson, Exiles at Home: The Struggle to Become American in Creole New Orleans (Harvard University Press, 2009), p.

Having taken Philocomasium without her consent, he barely retracts his intent to take a spoken-for Milphidippa. Finally, Milphidippa's interaction with Pyrgopolynices creates dramatic irony in the play as the audience is aware that Palaestrio and Milphidippa are tricking Pyrgopolynices, who is too self-obsessed to notice. • Palaestrio (servus callidus 'clever slave'): slave to the Pyrgopolynices upon being sold to him by pirates who captured him after he set off to rescue Philocomasium, he is actually Pleusicles' slave. The only one who knows the full extent of the lies told to move the plot along, Palaestrio orchestrates the entire scheme to return Philocomasium to Pleusicles.

307–19 in The theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old."(Anatomy of Criticism, 1957) A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter.

Laura represents the author Flora Thompson herself, born Flora Timms. According to Richard Mabey in his 2014 book Dreams of the Good Life, the author "tells most of the story as a reminiscing adult, but presents Laura's view when she wants to lighten the tone of an example, or show it through the vivid, unmediated vision of a girl. Sometimes the viewpoint of adult and child are deliberately played against one another, with a kind of wry dramatic irony". The novel is neither a straight memoir nor an objective social history, but an imaginary reconstruction of what life felt like to a growing country child in the last years of the 19th century.

In particular, he sees the death of Cassio as a necessity, saying of him that "He hath a daily beauty in his life that makes me ugly".V.i.19–20 Andy Serkis, who in 2002 portrayed Iago at the Royal Exchange Theatre in Manchester, wrote in his memoir Gollum: How We Made Movie Magic, that: Iago reveals his true nature only in his soliloquies, and in occasional asides. Elsewhere, he is charismatic and friendly, and the advice he offers to both Cassio and Othello is superficially sound; as Iago himself remarks: "And what's he then, that says I play the villain, when this advice is free I give, and honest...?"II.iii.315-16 It is this dramatic irony that drives the play.

Verses 45-57 enlarge upon the threat to kill Jesus which has been developing over several chapters: and relate the Jews' intention to have him killed when an opportunity might arise; verses and indicate more impulsive action: "they took up stones ... to stone Him". According to verse 47, "the chief priests and the Pharisees gathered a council" (, synedrion or Sanhedrin). Kieffer notes that "the main concern of the council is to avoid the destruction of the holy place (which at the time the evangelist wrote had already happened)". Caiaphas, the Jewish high priest, urges the council to sacrifice one man to save the whole nation, which says more than Caiaphas intended but not less than what the Gospel writer intended (dramatic irony).

Fitzwilliam Darcy, generally referred to as Mr. Darcy, is one of the two central characters in Jane Austen's 1813 novel Pride and Prejudice. He is an archetype of the aloof romantic hero, and a romantic interest of Elizabeth Bennet, the novel's protagonist. The story's narration is almost exclusively from Elizabeth's perspective; the reader is given a one-sided view of Darcy for much of the novel, but hints are given throughout that there is much more to his character than meets the eye. The reader gets a healthy dose of dramatic irony as Elizabeth continually censures (with some prejudice) Mr. Darcy's character despite the aforementioned hints (via the narrative voice and other characters' observations) that Mr. Darcy is really a noble character at heart, albeit somewhat prideful.

The book begins with the frame narrative, giving the reader an omniscient "God's eye perspective" which introduces Job as a man of exemplary faith and piety, "blameless and upright", who "fears God" and "shuns evil". The contrast between the frame and the poetic dialogues and monologues, in which Job never learns of the opening scenes in heaven or of the reason for his suffering, creates a sense of dramatic irony between the divine view of the Adversary's wager, and the human view of Job's suffering "without any reason" (2:3). In the poetic dialogues Job's friends see his suffering and assume he must be guilty, since God is just. Job, knowing he is innocent, concludes that God must be unjust.

As such it is one of Priestley's most accomplished and many-layered works for the stage, combining as it does an extremely accessible naturalistic style, heavily tinged with dramatic irony, with a network of sophisticated ideas and insights, which combine to make it one of his most popular plays. The play emerged from Priestley's reading of J. W. Dunne's book An Experiment with Time in which Dunne posits that all time is happening simultaneously; i.e., that past, present, future are one and that linear time is only the way in which human consciousness is able to perceive this. Priestley uses the idea to show how human beings experience loss, failure and the death of their dreams but also how, if they could experience reality in its transcendent nature, they might find a way out.

Some episodes depict an ongoing illicit office romance between Jimmy and Michelle Lee. They make excuses for working late and are seen entering and exiting the underside of the autopsy table. In the episode "Last Man Standing", Palmer admits to Gibbs and Vance that he and Agent Lee had been "doing it" for a while, but he had broken it off because he felt "used" – an important bit of information about Lee's character, as a bit of dramatic irony reveals at the end of the same episode. In "The Good Wives Club", it is revealed that Jimmy is claustrophobic; when he is entering the enclosed hallway he is seen sweating profusely and when he has to go get the body bag he freaks out about having to go back through it.

Her letters prove to be a shining ray of hope to Ben, and the two begin falling in love through their correspondence. While Ginnie remains chaste, though, in hopes of losing her virginity to Ben, Ben releases his sexual frustrations with an emotionally dead but sexually predatory middle aged woman named Maggie. In a bit of dramatic irony, the reader becomes aware that the woman is in fact Ginnie's runaway mother, having dumped her lover and moved on to one-night stands with soldiers. One day, Ben's unit is taken on a dangerous trek by Holdoffer through harsh terrain without proper equipment; in the middle of the night, Holdoffer intentionally gives negligent orders to an elderly soldier after learning that the man is gay, resulting in the soldier's death; the next morning, Holdoffer denies culpability demands that the hike go on.

Colmenares writes that "the analysis of That's the Woman I Want [...] shows great pitfalls derived from the unavailability of studies on comedy as a genre", but that comedy was important within production at the time nevertheless. Colmenares then examines the genre of the film, writing that the plot is driven by a hypocrisy and moral double standard in some of its characters and by the humorous use of a more-stable facade by others, explaining that "ambiguity, deception and impersonation articulate the whole story" until the plots are resolved and truth uncovered. She concludes that the film, therefore, demonstrates the "beliefs and values of the petty bourgeoisie". In terms of storytelling, Colmenares notes the use of dramatic irony and juxtaposition, saying that: Colmenares compliments the use of this system, but notes that the film feels "disharmonious" because of a disparity between the styles of the Venezuelan and Argentine actors in it.

But the scene is a case of dramatic irony: Rabbi Singer is not aware of, or does not want to acknowledge, the relevance of his own words to the situation in early Nazi Germany. When, in the middle of the celebration, a group of Germans march by the synagogue chanting “Jews get out, Jews get out,” he insists that they are in fact only calling out to the city’s youth, that their chant is actually: “Youth come out, youth come out.” The film is particularly compelling in its depiction of the intimate space of the Singer family and their interactions with one another — marked by love, devotion and the all-too-real fear of imminent loss and separation. When the rabbi is forced to watch his synagogue set aflame by the Nazis, and returns home with a swastika emblazoned on his head, he insists that the important thing is that the family is alive and together.

Deepness won the 2000 Hugo Award for Best Novel, the 2000 John W. Campbell Memorial Award, the 2000 Prometheus AwardAwards, at the Libertarian Futurist Society; retrieved March 14, 2017 and the 2004 Kurd-Laßwitz-Preis for Best Foreign Fiction;2004, at Kurd-Lasswitz-Preis.de; retrieved March 14, 2017 as well, it was nominated for the Nebula Award for Best Novel, the 2000 Arthur C. Clarke Award, and the 2000 Locus Award for Best Science Fiction Novel Nick Gevers called Deepness "one of the best constructed and most absorbing space operas of the decade", and commented that its "shrewd triumph" is that neither optimism nor pessimism defeats the other.A Deepness in the Sky by Vernor Vinge, reviewed by Nick Gevers, at InfinityPlus.co.uk; published September 18, 1999; retrieved March 14, 2017 John Clute lauded it as "the most extended example of dramatic irony ever published," in that not only do none of the characters ever learn the truth about the universe, neither does anyone who has not read Fire; he did, however, criticize "the odd dozen-page segments given over to hard-SF geekishness about orbits and computers and stuff".

Inspired by the medium of film Schrofer and Van der Elsken conceived a layout applying all sorts of cinematic elements, such as the flashback; the negative outcome of the love story is shown in the photo and the text on the first page, and what follows is a long flashback in which Manuel tells in first person, in the text and captions, of his experiences in Saint Germain des Prés. At the end of the book the first picture with the three protagonists reappears, with dramatic irony."The climax of van der Elsken's narrative comes first, but we only realise this when we reach the last image, which is a reiteration of the book's opening. Cleverly, this symmetry also means that the volume makes some kind of sense when the pages are flicked from back to front, which is the way that many people naturally ‘read’ photobooks" Combinations of close-ups, medium shots with wide or long are used in the layout as Schrofer combines large, medium-sized and small images and also square and 3:2 format pictures (Van der Elsken photographed with Nikon and Leica 35mm and a Rolleicord 6×6).

See consists of a unique sort of visual dramatic irony. from Mashable
Audiences will watch tonight and tomorrow's finale burdened by dramatic irony. from Refinery 29
There's legit puzzling mysteries, dramatic irony, big fireballs, talking goat people. from Vice
This scene is tinged with an aura of dread and dramatic irony. from Refinery 29
The result for the audience is more than dramatic irony, somehow: It's from New Republic
In a twist of dramatic irony, Jon and Daenerys don't know they're related. from Refinery 29
And that dramatic irony furnishes a lot of the jokes in Good Boys. from Vox
The novel relies too heavily on dramatic irony, but it resists trite resolution. from New Yorker
Finally some more unbearable dramatic irony and the grating voice of a whiny teenager! from The Verge
Cersei gave it to Bronn to kill Tyrion as a deliberate act of dramatic irony. from Vox
Cue dramatic irony and a sudden rush to cram everything in to the episode's remaining third. from Mashable
It lends her paintings of nursing mothers, babies, and children an ominous cast and dramatic irony. from Hyperallergic
But it's precisely this dramatic irony that gives 'Portraits of Courage' its numinous and haunting quality. from The New York Times
Not to mention the extreme heightening of suspense, dramatic irony, and fake deaths that dotted the films. from Mashable
Ultimately, these emails — like any ancient corporate emails — are best read with an eye toward dramatic irony. from The Verge
We know he'll never get back, even as he doesn't, and that creates a terrible dramatic irony. from Vox
The scene works because of its dramatic irony: Theon's crisis is Jon's, he just doesn't know it yet. from New Republic
A hard cut can draw attention to itself to create a sense of dramatic irony or transitional smoothness. from Vice
Instead, it offers us a deeply layered story with thematic parallels, rich symbolism, and loads of dramatic irony. from Vox
Parts of "Time and the Conways" come off as obvious exercises in dramatic irony, as tedious as those charades. from The New York Times
They took their humor from the dramatic irony inherent in how quickly the life of the internet was moving along. from The Verge
To wrap up the plot-onslaught, we get back-to-back textbook examples of what AP English teachers call dramatic irony. from The Verge
The Bachelor gave us a fine example of dramatic irony: We knew what was happening next, but Becca certainly did not. from Refinery 29
It's meant as a bit of dramatic irony, but it arrives abruptly and without setup, and lands with a dull thud. from The Verge
It relishes the dramatic irony of Kurt incorporating both his aunt and his father-in-law into his art without knowing their connection. from Hyperallergic
But it lacks neither that nor the dramatic irony of Liston's collapse: in effect, prostration to a demiurge of history on the turn. from New Yorker
The fact that Lennon's own comeback will be cut short by his imminent death (at the Dakota's entrance) steeps the story in dramatic irony. from Economist
Soliloquies can create dramatic irony, because the audience is made aware of thoughts and events that the other characters in the play are not. from The New York Times
But this is a comedy — a dark one, but a comedy nonetheless, in which a candlelit dinner table becomes a minefield of dramatic irony. from Vox
Even Celeste's ultimate courtroom victory feels perfunctory, its moments of poignance and dramatic irony weighted down by the season's palpable disinterest in its own characters. from Vox
This is what counts as dramatic irony for George Lucas, and while plenty can be said on his "writing," that is neither here nor there. from Vice
When the plane lands, I take my phone out of airplane mode with a sense of dread and dramatic irony, but there's no fatal text message. from New Yorker
The manic "Baster," in which a successful but unpartnered woman gives a party to impregnate herself with donated sperm, is a swift lesson on dramatic irony. from The New York Times
That God has a sense of dramatic irony and narrative surprise seems like one of the most obvious lessons to be drawn from the Trump era. from The New York Times
"What if you could buy a mortgage on your phone?" asks a commercial that will almost certainly be used for dramatic irony in The Big Short 2. from Vox
However, it's the dramatic irony that permeates Homegoing — characters' stories trail off and are unknown to their descendants, but not to us — that makes it so moving. from Vox
As he does so, his aides are rushing to give him news of the nationalisation of the Suez canal: it is a perfectly tuned piece of dramatic irony. from Economist
And the series has surrounded him with equally likable supporting players, including Violett Beane as a journalist who joins his cause, and Joe Morton as his — dramatic irony!!! from Vox
When Boyle's character, unaware that she is speaking to her lover's wife, brags about her relationship with Nolte, she is unable to engage the dramatic irony of the situation. from Hyperallergic
It is a moment of deeply uncomfortable dramatic irony: We, the audience, know something she does not, which is that only moments earlier, Trump was coldly appraising her body parts. from The New York Times
It's a showcase of dramatic irony—Villanelle is watching her the whole time, and she steals Polastri's suitcase, checks out its contents, and buys her a new, flattering, luxury wardrobe. from Vice
These interruptions—and they can only be described as interruptions—always take the form of smug winks, moments of dramatic irony so obvious that they would make Guy de Maupassant blush. from New Republic
For an adult, there's something like dramatic irony inherent in watching a hero of this age: The idealized twelve-year-old boy sees the world in terms of good and evil. from New Republic
It's not exactly laugh-out-loud funny but technically works because of dramatic irony—the dude doesn't seem to understand the cognitive dissonance the viewer experiences or the discomfort it induces. from Vice
It will likely be a treat to watch a young woman perform a live musical number that snarkily defines masculinity around violence and endurance as part of an ongoing dramatic irony bit. from The Verge
This is sort of a classical example of dramatic irony—how could anyone have known that Conway would leave her role to serve as senior salami beneath our nation's Kielbasa-in-Chief? from Gizmodo
Under Wagner's command, music becomes its own language, allowing the orchestra to wordlessly tell the audience things that the characters on stage do not know themselves — a sophisticated kind of dramatic irony. from The New York Times
The audience knows certain big and moments are coming, and no matter how much the writers try to build that central dramatic irony into the storytelling, everything feels like a delay of the inevitable. from Vox
The pointless theological rambling about the nature of belief fits better on the page than it does on the screen, where the dramatic irony of an audience knowing more than its characters is far less sustainable. from Mashable
But it's really a comedy in the classical sense, which usually pitted idealistic youth against societal conventions in setups that yielded dramatic irony (where the audience knows the full significance of what they're watching, but the character doesn't). from Vox
And for another, the "birth of consciousness" story that series co-creators Jonathan Nolan and Lisa Joy want to tell requires, in essence, some level of dramatic irony, where the audience knows more than Dolores and her Host counterparts. from Vox
That's fine if the show is using it for dramatic irony (as it was in the scene he shared with Emily), but most of the time, the series seems to think we should be as fascinated as he is. from Vox
But we do appreciate the dramatic irony of the 36-year-old's emotional turmoil — given that two years ago, he was shaming Bachelorette Andi Dorfman on live TV for taking both him and the other finalist, Josh, to the Fantasy Suite. from Refinery 29
And because Sachs never cheats—there are no convoluted plot twists for the sake of cheap dramatic irony—his film's lifelike flow from scene to scene builds to an ending that, really, we should have known was coming all along. from New Republic
Theranos turned heads with its signature invention — a blood testing machine about the size of a home breadmaker named the Edison, after Thomas and (perhaps in a stroke of dramatic irony) the many failures he endured en route to success. from Vox
Far from being the wish-fulfillment fantasies they appeared to be on the surface, the best mid-century social melodramas (by Sirk and others) actually covertly critiqued the ideology they appeared to support, through a heavy dose of dramatic irony. from Vox
The cast of Halt and Catch Fire is truly formidable when they work together as a team, which only strengthens the show's unintentional, central dramatic irony: no matter how successful they are, the characters will never manage to accomplish anything truly innovative. from The Verge
This adds some dramatic irony to the proceedings of her night in the fantasy suite, which is just one way in which this whole affair is remarkably similar to a Shakespearean tragedy, Lifetime's JonBenet Ramsey biopic, Irving Berlin's White Christmas, and all horror movie sequels. from The Verge
So the scene is laden with dramatic irony, not just because of the actresses' history but also because Fisher wrote the scene, having her mother and her erstwhile stepmother come to some kind of understanding in public (though they'd put it behind them more privately decades earlier). from Vox
When Harris was plotting the Columbine massacre, he thought of his project in what now seem like antiquated Hollywood terms, recording in videos that he wanted "a lot of foreshadowing and dramatic irony" and debating with Klebold whether Steven Spielberg or Quentin Tarantino would better handle their story. from The New York Times
Libby Nelson: By mixing up the usual alliances among protagonists, making the central conflict not between Russians and Americans but between the hardliners who want the summit to fail and those who want it to succeed, this season has lengthened the horizon for dramatic irony to the post-1991 world. from Vox
The plot is a dramatic irony, with the story ending with plot twist and a moral message.
Most of the humour is situational, rather than playing with language. Because we know what really happened at the beginning, most of the play uses dramatic irony.
See Rich, Charlotte. “The Highly Original Country of the Yanquis: Dramatic Irony and Double Voicing as Cultural Critique In Maria Cristina Mena’s Fiction” Legacy 18.2 (2001) 205-215.
More often they explain the background that led to the events in the original, but sometimes the connections are not completely explicit. Sometimes prequels play on the audience's knowledge of what will happen next, using deliberate references to create dramatic irony.
In terms of the play Leslie and Sarah are very real, a fact that Nancy immediately grasps and embraces. The fantasy aspect of the play creates dramatic irony and allows issues such as progress, values, and differences to be discussed.
If we were as oblivious as the guests, there would be virtually no point in the story. The way to remember the name is that dramatic irony adds to the drama of the story. See Irony for a more detailed discussion, and definitions of other forms of irony.
The examples of somebody being two faced can be seen in numerous Jacksons, such as Trial by Combat, The Villager, The Witch, Charles, The Dummy, Of Course, and Got A Letter From Jimmy. The examples of dramatic irony can be found in Charles, Afternoon in Linen and Colloquy.
"It bears the weight of the potentiality of the black lake that will become her heart with a hopefulness that the rest of the album exposes as crushingly misguided: Björk here bravely makes dramatic irony of her own pain." "Stonemilker" ranked 149th on Pitchork's "200 Best Songs of the 2010s" list.
In a case of dramatic irony, Cindy would end up considering adoption after a tragic event caused her own daughter to drown, which drove her to the brink of despair. When she expressed a longing to take in a family-less child, Ben decided that he could learn to love such a child as much as she would.
One of her earliest literary endeavors (1902) was the translation of the play, Es Lebe das Leben ("The Joy of Living"), by Hermann Sudermann. The Joy of Living was criticized for its title because the heroine swallows poison at the end, and was a short-lived Broadway production. It was, however, a successful book. Many of Wharton's novels are characterized by subtle use of dramatic irony.
Oxford University Press, 2001; pg. 9 As G.R. Thomson writes in his introduction to Great Short Works of Edgar Allan Poe, "the tale has long been hailed as a masterpiece of Gothic horror; it is also a masterpiece of dramatic irony and structural symbolism."Thomson, G.R. Great Short Works of Edgar Allan Poe (HarperCollins, 1970), p. 36. "The Fall of the House of Usher" has been criticized for being too formulaic.
Find the Light (() literally Hero-Sword-Youth) is a 2003 TVB historical costume drama, set in the Qing dynasty. Consisting of 20 episodes, it was broadcast from September 8, 2003 to October 3, 2003, in the prime 8:00 to 9:00 pm weekday slot. The theme song was sung by Francis Yip. The series uses dramatic irony in its telling, the two main protagonists being based on historical figures.
Ultimately he convinces Pyrogopolynices to give up Philocomasium in order to marry a rich divorcee—really a prostitute he hired, Acroteleutium. The dramatic irony created by Palaestrio's asides adds interest and humor to the already hilarious predicament he expertly solves. Palaestrio consistently breaks the fourth wall to explain what is going on in the show to the audience. • Periplectomenus (senex 'old man'): an old man of Ephesus and neighbor of Pyrgopolynices.
This is largely because no one does repression – and its first cousin, denial – like the English . . . the Talking Heads monologues are quiet, exquisitely modulated and veddy, veddy English exercises in dramatic irony. Raise the speakers' voices, literally or figuratively, and you risk turning them from sly character studies into comic gargoyles . . . Though each of the monologues holds your attention, it often seem as if the characters are being impersonated instead of incarnated.
However, critics have suggested that Mena employs a phenomenon called "double voicing" or using dramatic irony to expose the inadequacy of the stereotypical notions about Mexicans that can be found in her work.Rich, 205. Double voicing as defined by Mikhail Bakhtin is when “[T]he author exaggerates, now strongly, now weakly, one or another aspect of the “common language,” sometimes abruptly exposing its inadequacy to its object and sometimes, on the contrary”.
Tragic irony is a special category of dramatic irony. In tragic irony, the words and actions of the characters contradict the real situation, which the spectators fully realize. The Oxford English Dictionary defines this as: Ancient Greek drama was especially characterized by tragic irony because the audiences were so familiar with the legends that most of the plays dramatized. Sophocles' Oedipus Rex provides a classic example of tragic irony at its fullest.
Embarrassing situations have been used for a long time in situational comedy, sketch comedy, dramatic irony, and practical jokes. Traditionally, laugh tracks were used to help cue the audience to laugh at appropriate times. But as laugh tracks were removed from sitcoms, embarrassing situations on television were now accompanied by silence, creating a genre known as cringe comedy, which includes many critically acclaimed sitcom television shows, such as the British television series The Office.
Johann Nepomuk Sepp; Claude-Joseph Drioux; Whittaker, H.A. Studies in the Gospels, Biblia Staffordshire 1984, 2nd Ed. 1989 p. 495 Caiaphas considers, with "the Chief Priests and Pharisees", what to do about Jesus, whose influence was spreading. They worry that if they "let him go on like this, everyone will believe in him, and the Romans will come and destroy both our holy place and our nation." Caiaphas’ fame hinges here on the gospel writer’s use of dramatic irony.
Still, the fact that the minstrel on stage would desire someone the audience knew to be another man was a source of comic dramatic irony. The refrain is simple: However, its meaning is more difficult to identify and varies depending on the preceding verse. For example: The verse makes Lucy out to be a "sexual aggressor who prefers 'tarrying' (casual sex, we may infer) to marrying. ... " The singer for his part seems to be in agreement with the notion.
The composer's musical language and interpretation of the text often dictate the formal design of an art song. If all of the poem's verses are sung to the same music, the song is strophic. Arrangements of folk songs are often strophic, and "there are exceptional cases in which the musical repetition provides dramatic irony for the changing text, or where an almost hypnotic monotony is desired." Several of the songs in Schubert's Die schöne Müllerin are good examples of this.
269 Euripides is also known for his use of irony. Many Greek tragedians make use of dramatic irony to bring out the emotion and realism of their characters or plays, but Euripides uses irony to foreshadow events and occasionally amuse his audience. For example, in his play Heracles, Heracles comments that all men love their children and wish to see them grow. The irony here is that Heracles will be driven into a madness by Hera, and will kill his children.
The Deep Sea Diver's Syndrome is a Science Fiction novel by Serge Brussolo, the first of over 150 novels by the French Author to be translated into English. It was originally published in 1992, and was later translated into English by Edward Gauvin and published in 2016. The surreal story follows David Sarella, a struggling dreamer in a world where dream "ectoplasms" have replaced art. The novel features surreal imagery and settings, frequent use of dramatic irony, and blatant commentary about art.
Later, Billy and Jessamy fixed a swing to an old bough of the mulberry tree, which broke off, revealing the book of hours hidden in a crack, just where the tree house had been. It was damp and discoloured, but Miss Brindle showed it to the house agent, who showed it to the owner of Posset Place. He was delighted to have it, for when the present-day Jessamy visited him at his request, he turned out to be the aged Kitto. Dramatic irony appears.
In a moment of dramatic irony, Macduff begins the conversation urging Malcolm to fight for Scotland rather than to grieve, not knowing that Malcolm has already arranged for English military support (4.3.134–136). Malcolm manipulates Macduff, questioning his loyalty, facilitating his emotional responses, and testing to see how much Macduff’s, and perhaps the audience’s, morality can ultimately be compromised. Malcolm portrays Macbeth as a tyrant, but he positions himself, too, as someone morally repulsive. He describes his own voluptuousness–the bottomless "cistern of [his] lust" (4.3.
Much of Higginson's writing explores different perspectives on the truth. His work increasingly explores character, plot and relationships to be sites for ambiguity and dialogue. He uses techniques from the theatre in his fiction such as differing perspectives and dramatic irony to represent the complexity of post-apartheid South African society – extending these themes to a global context in several instances. The Girl in the Yellow Dress, one of his best known works, dramatises a dialogue between Africa and Europe – the ‘Third’ World with the ‘First’ World.
Don Pedro is considered a character that is the middleman in the story and seems to understand the events more than the other characters. However, Don Pedro also experiences some dramatic irony: For example, he does not know that it is Don John who ruins the wedding until his henchman, Borachio, admits it. Don Pedro has been portrayed by Denzel Washington in the Samuel Goldwyn Company 1993 film Much Ado About Nothing. He was played by Reed Diamond in Joss Whedon's interpretation of the play, which was released in 2012.
Joseph plays into the dramatic irony and manipulates Simeon to feel guilt for having abandoned Joseph. When his brothers return with Benjamin, they state their case again for the plight of their homeland in Canaan and he sells them grain and sends them on their way. Not mentioned in the libretto, Joseph arranges to have a silver cup of his hidden in Benjamin's things. In act 3, Joseph has the Egyptian guards catch up to and seize the brothers, bring them back, and accuses them of stealing the cup.
This contrast of light and dark can be expanded as symbols—contrasting love and hate, youth and age in a metaphoric way. Sometimes these intertwining metaphors create dramatic irony. For example, Romeo and Juliet's love is a light in the midst of the darkness of the hate around them, but all of their activity together is done in night and darkness while all of the feuding is done in broad daylight. This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: loyalty to family or loyalty to love.
A stop sign ironically defaced with a plea not to deface stop signs Irony (Liddell & Scott, A Greek-English Lexicon, v. sub .), in its broadest sense, is a rhetorical device, literary technique, or event in which what on the surface appears to be the case or to be expected differs radically from what is actually the case. Irony can be categorized into different types, including verbal irony, dramatic irony, and situational irony. Verbal, dramatic, and situational irony are often used for emphasis in the assertion of a truth.
Queen use word painting in many of their songs (in particular those written by lead singer Freddie Mercury). In "Somebody to Love", each time the word 'Lord' occurs it is sung as the highest note at the end of an ascending passage. In the same piece, the lyrics 'I've got no rhythm; I just keep losing my beat' fall on off beats to create the impression that he is out of time. In BTS's "Lie", the whole song is written in minor key to create tensity and dramatic irony.
Jesse Porter (Coby Bell) is a former Counterintelligence Field Activity/Defense Intelligence Agency agent introduced in the Season four premiere. He had initially been stationed in the field, but his risky and impulsive tactical maneuvers led to his demotion to desk duty. Because of Jesse's research on the war-profiteering organization that Management was hunting, Michael was forced to unknowingly steal files using duplicates of Jesse's ID, unintentionally burning him. In a use of dramatic irony, the show's writers send Jesse to Michael for help to find out who has burned him.
L'incoronazione di Poppea is frequently described as a story in which virtue is punished and greed rewarded, running counter to the normal conventions of literary morality. The musicologist Tim Carter calls the opera's characters and their actions "famously problematic", and its messages "at best ambiguous and at worst perverted",Carter (2002) p. 263 while Rosand refers to an "extraordinary glorification of lust and ambition". The critic Edward B. Savage asserts that despite the lack of a moral compass in virtually all the main characters, Busenello's plot is itself essentially moral, and that "this morality is sustained by the phenomenon of dramatic irony".
"Had I but known" is a form of prolepsis or foreshadowing that hints at some looming disaster in which the first-person narrator laments their course of action which precipitates some or other unfortunate series of actions. Classically, the narrator never makes explicit the nature of the mistake until both the narrator and the reader have realized the consequence of the error. If done well, this literary device can add suspense or dramatic irony; if overdone, it invites comparison of the story to Victorian melodrama and sub- standard popular fiction. The foreshadowing may be distinguished between, "advance notice":Genette, Gérard (1980).
A key plot point is fabricated for the purposes of dramatic irony: in the book, Marsh has his agent Sam Smith leave a Camarasaurus skull for Cope to find and mistakenly put on the wrong dinosaur. Instead, Hatcher finds it; Smith tries to keep an unwitting Marsh from getting it, but due to Marsh's obnoxious manner he lets him after all. As a result, Marsh mistakenly classifies the (non-existent) Brontosaurus. Ottaviani admits in the book he invented this, as "the literary tradition of hoisting someone up by his own petard was too good to pass up".
However, in Aeschylus' play, Odysseus, who was largely responsible for Philoctetes being marooned on Lemnos was sent to fetch him. In addition to creating dramatic irony, the innovation of having Odysseus sent to fetch Philoctetes also has a benefit in that Odysseus is particularly known for his oratory skills, and oratory skills are particularly valuable in a Greek play. The plot point of having Odysseus being sent to recover Philoctetes after being responsible for his abandonment is a plot point that Euripides and Sophocles retained in their Philoctetes plays. Philoctetes did not recognize Odysseus at first as a result of the suffering Philoctetes endured for the prior ten years alone.
Dramatic Irony is when the reader knows something important about the story that one or more characters in the story do not know. For example, in William Shakespeare's Romeo and Juliet, the drama of Act V comes from the fact that the audience knows Juliet is alive, but Romeo thinks she's dead. If the audience had thought, like Romeo, that she was dead, the scene would not have had anywhere near the same power. Likewise, in Edgar Allan Poe's "The Tell-Tale Heart", the energy at the end of the story comes from the fact that we know the narrator killed the old man, while the guests are oblivious.
She has a generally cheeky personality but will often show harshness towards the other students, most notably Mikan. She grows a close bond with Mahiru and is devastated by her death, and holds thinly veiled contempt for Fuyuhiko for a while. She is the fourth murder victim, having her throat slit by Mikan after she accidentally stumbled upon her killing Ibuki. Her death is played as an example of dramatic irony: despite the amount of abuse she heaped upon Mikan, despair-crazed Mikan, the "real" Mikan, did not even care enough to plan her murder; she was simply in the wrong place at the wrong time.
As the show's main villain, he needed to be a constant and viable threat. After seeing a hallucinated Scorpius interact with Crichton in the second season's fourth episode, "Crackers Don't Matter", they came up with the idea of putting Scorpius inside of John's head. The clone's presence was hinted at in the second and third episodes of the "Look at the Princess" trilogy as well as in "Beware of Dog" before his presence was revealed outright to Crichton in the season's 15th episode, "Won't Get Fooled Again". However, this then became an example of dramatic irony, as Crichton's memory of Harvey was erased, until he was revealed again.
After the execution of his wife, Georges escapes with his young son and joins the Maroons, described by Séjour as "slaves who have fled the tyranny of their master". Georges already knows their watchword: Afrique et liberté, "Africa and freedom." Their use of the French Revolutionary rallying cry liberté, later codified into the motto liberté, egalité, fraternité, is a dramatic irony: white revolutionaries in France and America who fought for freedom in the 1770s and 1790s enslaved free Africans, and opposed the black-led Haitian Revolution of the same era.Shirley Elizabeth Thompson, Exiles at Home: The Struggle to Become American in Creole New Orleans (Harvard University Press, 2009), p.
Having taken Philocomasium without her consent, he barely retracts his intent to take a spoken-for Milphidippa. Finally, Milphidippa's interaction with Pyrgopolynices creates dramatic irony in the play as the audience is aware that Palaestrio and Milphidippa are tricking Pyrgopolynices, who is too self-obsessed to notice. • Palaestrio (servus callidus 'clever slave'): slave to the Pyrgopolynices upon being sold to him by pirates who captured him after he set off to rescue Philocomasium, he is actually Pleusicles' slave. The only one who knows the full extent of the lies told to move the plot along, Palaestrio orchestrates the entire scheme to return Philocomasium to Pleusicles.
307–19 in The theatrical genre of Greek comedy can be described as a dramatic performance which pits two groups or societies against each other in an amusing agon or conflict. Northrop Frye depicted these two opposing sides as a "Society of Youth" and a "Society of the Old."(Anatomy of Criticism, 1957) A revised view characterizes the essential agon of comedy as a struggle between a relatively powerless youth and the societal conventions that pose obstacles to his hopes. In this struggle, the youth is understood to be constrained by his lack of social authority, and is left with little choice but to take recourse in ruses which engender very dramatic irony which provokes laughter.
Laura represents the author Flora Thompson herself, born Flora Timms. According to Richard Mabey in his 2014 book Dreams of the Good Life, the author "tells most of the story as a reminiscing adult, but presents Laura's view when she wants to lighten the tone of an example, or show it through the vivid, unmediated vision of a girl. Sometimes the viewpoint of adult and child are deliberately played against one another, with a kind of wry dramatic irony". The novel is neither a straight memoir nor an objective social history, but an imaginary reconstruction of what life felt like to a growing country child in the last years of the 19th century.
In particular, he sees the death of Cassio as a necessity, saying of him that "He hath a daily beauty in his life that makes me ugly".V.i.19–20 Andy Serkis, who in 2002 portrayed Iago at the Royal Exchange Theatre in Manchester, wrote in his memoir Gollum: How We Made Movie Magic, that: Iago reveals his true nature only in his soliloquies, and in occasional asides. Elsewhere, he is charismatic and friendly, and the advice he offers to both Cassio and Othello is superficially sound; as Iago himself remarks: "And what's he then, that says I play the villain, when this advice is free I give, and honest...?"II.iii.315-16 It is this dramatic irony that drives the play.
Verses 45-57 enlarge upon the threat to kill Jesus which has been developing over several chapters: and relate the Jews' intention to have him killed when an opportunity might arise; verses and indicate more impulsive action: "they took up stones ... to stone Him". According to verse 47, "the chief priests and the Pharisees gathered a council" (, synedrion or Sanhedrin). Kieffer notes that "the main concern of the council is to avoid the destruction of the holy place (which at the time the evangelist wrote had already happened)". Caiaphas, the Jewish high priest, urges the council to sacrifice one man to save the whole nation, which says more than Caiaphas intended but not less than what the Gospel writer intended (dramatic irony).
Fitzwilliam Darcy, generally referred to as Mr. Darcy, is one of the two central characters in Jane Austen's 1813 novel Pride and Prejudice. He is an archetype of the aloof romantic hero, and a romantic interest of Elizabeth Bennet, the novel's protagonist. The story's narration is almost exclusively from Elizabeth's perspective; the reader is given a one-sided view of Darcy for much of the novel, but hints are given throughout that there is much more to his character than meets the eye. The reader gets a healthy dose of dramatic irony as Elizabeth continually censures (with some prejudice) Mr. Darcy's character despite the aforementioned hints (via the narrative voice and other characters' observations) that Mr. Darcy is really a noble character at heart, albeit somewhat prideful.
The book begins with the frame narrative, giving the reader an omniscient "God's eye perspective" which introduces Job as a man of exemplary faith and piety, "blameless and upright", who "fears God" and "shuns evil". The contrast between the frame and the poetic dialogues and monologues, in which Job never learns of the opening scenes in heaven or of the reason for his suffering, creates a sense of dramatic irony between the divine view of the Adversary's wager, and the human view of Job's suffering "without any reason" (2:3). In the poetic dialogues Job's friends see his suffering and assume he must be guilty, since God is just. Job, knowing he is innocent, concludes that God must be unjust.
As such it is one of Priestley's most accomplished and many-layered works for the stage, combining as it does an extremely accessible naturalistic style, heavily tinged with dramatic irony, with a network of sophisticated ideas and insights, which combine to make it one of his most popular plays. The play emerged from Priestley's reading of J. W. Dunne's book An Experiment with Time in which Dunne posits that all time is happening simultaneously; i.e., that past, present, future are one and that linear time is only the way in which human consciousness is able to perceive this. Priestley uses the idea to show how human beings experience loss, failure and the death of their dreams but also how, if they could experience reality in its transcendent nature, they might find a way out.
Some episodes depict an ongoing illicit office romance between Jimmy and Michelle Lee. They make excuses for working late and are seen entering and exiting the underside of the autopsy table. In the episode "Last Man Standing", Palmer admits to Gibbs and Vance that he and Agent Lee had been "doing it" for a while, but he had broken it off because he felt "used" – an important bit of information about Lee's character, as a bit of dramatic irony reveals at the end of the same episode. In "The Good Wives Club", it is revealed that Jimmy is claustrophobic; when he is entering the enclosed hallway he is seen sweating profusely and when he has to go get the body bag he freaks out about having to go back through it.
Her letters prove to be a shining ray of hope to Ben, and the two begin falling in love through their correspondence. While Ginnie remains chaste, though, in hopes of losing her virginity to Ben, Ben releases his sexual frustrations with an emotionally dead but sexually predatory middle aged woman named Maggie. In a bit of dramatic irony, the reader becomes aware that the woman is in fact Ginnie's runaway mother, having dumped her lover and moved on to one-night stands with soldiers. One day, Ben's unit is taken on a dangerous trek by Holdoffer through harsh terrain without proper equipment; in the middle of the night, Holdoffer intentionally gives negligent orders to an elderly soldier after learning that the man is gay, resulting in the soldier's death; the next morning, Holdoffer denies culpability demands that the hike go on.
Colmenares writes that "the analysis of That's the Woman I Want [...] shows great pitfalls derived from the unavailability of studies on comedy as a genre", but that comedy was important within production at the time nevertheless. Colmenares then examines the genre of the film, writing that the plot is driven by a hypocrisy and moral double standard in some of its characters and by the humorous use of a more-stable facade by others, explaining that "ambiguity, deception and impersonation articulate the whole story" until the plots are resolved and truth uncovered. She concludes that the film, therefore, demonstrates the "beliefs and values of the petty bourgeoisie". In terms of storytelling, Colmenares notes the use of dramatic irony and juxtaposition, saying that: Colmenares compliments the use of this system, but notes that the film feels "disharmonious" because of a disparity between the styles of the Venezuelan and Argentine actors in it.
But the scene is a case of dramatic irony: Rabbi Singer is not aware of, or does not want to acknowledge, the relevance of his own words to the situation in early Nazi Germany. When, in the middle of the celebration, a group of Germans march by the synagogue chanting “Jews get out, Jews get out,” he insists that they are in fact only calling out to the city’s youth, that their chant is actually: “Youth come out, youth come out.” The film is particularly compelling in its depiction of the intimate space of the Singer family and their interactions with one another — marked by love, devotion and the all-too-real fear of imminent loss and separation. When the rabbi is forced to watch his synagogue set aflame by the Nazis, and returns home with a swastika emblazoned on his head, he insists that the important thing is that the family is alive and together.
Deepness won the 2000 Hugo Award for Best Novel, the 2000 John W. Campbell Memorial Award, the 2000 Prometheus AwardAwards, at the Libertarian Futurist Society; retrieved March 14, 2017 and the 2004 Kurd-Laßwitz-Preis for Best Foreign Fiction;2004, at Kurd-Lasswitz-Preis.de; retrieved March 14, 2017 as well, it was nominated for the Nebula Award for Best Novel, the 2000 Arthur C. Clarke Award, and the 2000 Locus Award for Best Science Fiction Novel Nick Gevers called Deepness "one of the best constructed and most absorbing space operas of the decade", and commented that its "shrewd triumph" is that neither optimism nor pessimism defeats the other.A Deepness in the Sky by Vernor Vinge, reviewed by Nick Gevers, at InfinityPlus.co.uk; published September 18, 1999; retrieved March 14, 2017 John Clute lauded it as "the most extended example of dramatic irony ever published," in that not only do none of the characters ever learn the truth about the universe, neither does anyone who has not read Fire; he did, however, criticize "the odd dozen-page segments given over to hard-SF geekishness about orbits and computers and stuff".
Inspired by the medium of film Schrofer and Van der Elsken conceived a layout applying all sorts of cinematic elements, such as the flashback; the negative outcome of the love story is shown in the photo and the text on the first page, and what follows is a long flashback in which Manuel tells in first person, in the text and captions, of his experiences in Saint Germain des Prés. At the end of the book the first picture with the three protagonists reappears, with dramatic irony."The climax of van der Elsken's narrative comes first, but we only realise this when we reach the last image, which is a reiteration of the book's opening. Cleverly, this symmetry also means that the volume makes some kind of sense when the pages are flicked from back to front, which is the way that many people naturally ‘read’ photobooks" Combinations of close-ups, medium shots with wide or long are used in the layout as Schrofer combines large, medium-sized and small images and also square and 3:2 format pictures (Van der Elsken photographed with Nikon and Leica 35mm and a Rolleicord 6×6).