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Definition of Irony
Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this seems like a loose definition... read full definition
Irony is a literary device or event in which how things seem to be is in fact very different from how they actually are. If this... read full definition
Irony is a literary device or event in which how things seem to be is in fact very different from how... read full definition
Key Examples in Mary Barton
Chapter 11
Explanation and Analysis—Love and Rejection:
Mary Barton’s romance plot reaches its ironic turning point in Chapter 11, just after Jem’s failed marriage proposal. Having spurned and scorned her childhood family friend for years, Mary experiences a sudden change of heart:
Her plan had been, as we well know, to marry Mr. Carson, and the occurrence an hour ago was only a preliminary step. True; but it had unveiled her heart to her; it had convinced her that she loved Jem above all persons or things… She felt as if she almost hated Mr. Carson, who had decoyed her with his baubles. She now saw how vain, how nothing to her, would be all gaieties and pomps, all joys and pleasures, unless she might share them with Jem; yes, with him she had harshly rejected so short a time ago. If he were poor, she loved him all the better.
Related Themes:
Chapter 21
Explanation and Analysis—We’ve the Best:
Dramatic irony hovers over Esther and Mary’s reunion in Chapter 21. After visiting the site of Harry’s murder and finding a sheet of paper with Mary’s name on it, the homeless aunt knocks on her grief-dazed niece’s door one night. The ensuing visit feels surreal and strained at the same time—when Mary offers dinner, Esther politely declines:
Unlock with LitCharts A+Oh! Mary, my dear! don’t talk about eating. We’ve the best of everything, and plenty of it, for my husband is in good work. I’d such a supper before I came out. I couldn’t touch a morsel if you had it.
Related Themes:
Chapter 23
Explanation and Analysis—I Can Prove It:
Mary’s visit to Margaret and Job’s corners her into dramatic irony in Chapter 23. As she pleads Jem’s unlikely innocence before her friends, she struggles to make a case for him without causing that other “dreadful secret” to come tumbling out:
Unlock with LitCharts A+‘Oh! Job, and wont you ever believe me when I tell you he’s innocent? Indeed, and indeed I can prove it; he was with Will all that night; he was, indeed, Job!’ ‘My wench! whose word hast thou for that?’ said Job, pityingly. ‘Why! his mother told me, and I’ll get Will to bear witness to it. But, oh! Job’ (bursting into tears), ‘it is hard if you won’t believe me. How shall I clear him to strangers, when those who know him, and ought to love him, are so set against his being innocent?’
Related Themes:
Chapter 30
Explanation and Analysis—One Little Lie:
Job Legh’s white lies create an instance of dramatic irony in Chapter 30. His arrival at Liverpool has not gone to plan—Will Wilson has not shown up, and Mary disappears during her search for him. But in an attempt to comfort the distraught Mrs. Wilson, he assures her that the key witness has all come in time:
Unlock with LitCharts A+‘Asleep! How could I sleep till I know’d if Will were found?’
‘Now for it,’ muttered Job to himself. Then in a louder voice, ‘Never fear! he’s found, and safe, ready for to-morrow’
‘And he’ll prove that thing for my poor lad, will he? He’ll bear witness that Jem were with him? Oh, Job, speak! tell me all!’
‘In for a penny, in for a pound,’ thought Job. ‘Happen one prayer will do for the sum total. Any rate, I must go on now. Ay, ay,’ shouted he, through the door. ‘He can prove all; and Jem will come off as clear as a new-born babe.'
Related Themes:
Chapter 35
Explanation and Analysis—Tore in Two:
Chapter 35’s groaning, gasping John Barton traces his missteps and the irony of his sins. Mary Barton’s murder plot ends somewhat expectedly, with the killer confessing his guilt. What might be more surprising is how he came to commit the deed:
Unlock with LitCharts A+All along it came natural to love folk, though now I am what I am. I think one time I could e’en have loved the masters if they’d ha’ letten me; that was in my Gospel-days, afore my child died o’ hunger. I was tore in two oftentimes, between my sorrow for poor suffering folk, and my trying to love them as caused their sufferings (to my mind).
At last I gave it up in despair, trying to make folks’ actions square wi’ th’ Bible; and I thought I’d no longer labour at following th’ Bible mysel’. I’ve said all this afore, maybe. But from that time I’ve dropped down, down—down.
Related Themes:
