Dramatic Irony

Pachinko

by Min Jin Lee

Pachinko: Dramatic Irony 3 key examples

Definition of Dramatic Irony

Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a character's understanding of a given situation, and that of the... read full definition
Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a character's understanding of a given... read full definition
Dramatic irony is a plot device often used in theater, literature, film, and television to highlight the difference between a... read full definition
Book 2, Chapter 4
Explanation and Analysis—Isak’s Return:

Pachinko avoids emotional excess but packs a gut punch. At its most brutal moments, the novel chronicles the worst of human misfortunes and cruelties. That is the case when Noa returns home in Book 2, Chapter 4 one afternoon dramatic irony couples with pathos to heart-wrenching effect:

The man was sobbing now, and Noa felt bad for him. There were many poor people on the street, but no one looked as bad as this man. The beggar’s face was covered with sores and black scabs. Noa reached into his pocket and pulled out the coin. Afraid that the man might grab his leg, Noa stepped just close enough to place the coin on the floor near the man’s hand.

Book 2, Chapter 8
Explanation and Analysis—Noa's Father:

Pachinko builds dramatic irony when Yoseb arrives at Tamaguchi’s farm. In Book 2, Chapter 8, Noa’s burned uncle comes upon an uncomfortable discovery as Hansu tends to him:

Despite his well-tailored suit and highly polished leather brogues, Hansu appeared at ease in the barn, indifferent to the harsh smells of the animals and the cold drafts.

Yoseb said, ‘You’re the father of the boy, aren’t you?’…‘That’s why you do all this,’ [...]

Unlock with LitCharts A+
Book 2, Chapter 20
Explanation and Analysis—Mieko’s Cruelty:

Dramatic irony comes to the fore in Book 2, Chapter 20, as Sunja searches desperately for Noa across the city. Standing on the palatial doorsteps of Hansu’s mansion, she begs his wife and gets casually brushed aside:

Hansu’s wife, Mieko, nodded. The beggar was no doubt a Korean who wanted money…

Mieko turned to the servant girl, ‘Give her what she wants and send her away. There’s food in the kitchen if she is hungry.’ This was what her husband would do. Her father had also believed in hospitality toward the poor.

Unlock with LitCharts A+