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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
Part 3: The Way Home
Explanation and Analysis—Hans's Idea:
In Part 3: The Way Home, Hans Hubermann has an idea and that leads him to buy a copy of Mein Kampf. The chapter ends with dramatic irony and foreshadowing:
[...]Hans Hubermann’s idea had not only sprung from Liesel, but from his son. Did he already fear he’d never see him again? On the other hand, he was also enjoying the ecstasy of an idea, not daring just yet to envision its complications, dangers, and vicious absurdities. For now, the idea was enough. It was indestructible. Transforming it into reality, well, that was something else altogether. For now, though, let’s let him enjoy it.
We’ll give him seven months.
Then we come for him.
And oh, how we come.
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Part 6: The Visitor
Explanation and Analysis—Basement Inspection:
In Part 6: The Visitor, a Nazi official shows up on Himmel Street to search basements, ostensibly looking for adequate bomb shelters. Intense dramatic irony pervades the scene where he searches the Hubermanns' basement:
Unlock with LitCharts A+[Papa] ordered Liesel to fetch a book and for Rosa to start cooking. He decided the last thing they should do was sit around looking worried. “Well, come on,” he said loudly, “move it, Liesel. I don’t care if your knee hurts. You have to finish that book, like you said.”
Liesel tried not to break. “Yes, Papa.”
“What are you waiting for?” It took great effort to wink at her, she could tell.
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Part 7: The Long Walk to Dachau
Explanation and Analysis—Something She Should See:
In Part 7: The Long Walk to Dachau, Liesel and Rudy find Hans in the crowd of onlookers as Nazi soldiers march Jewish prisoners through Molching to Dachau. There is dramatic irony in Hans's hesitation about whether or not he should send Liesel home, and it also foreshadows the important scene that is about to take place:
Unlock with LitCharts A+They both crossed and made their way up, and Hans Hubermann attempted at first to take them away. “Liesel,” he said. “Maybe …"
He realized, however, that the girl was determined to stay, and perhaps it was something she should see. In the breezy autumn air, he stood with her. He did not speak.
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Part 10: Confessions
Explanation and Analysis—Clueless Goodbyes:
In Part 10: Confessions, Liesel finally shows Rudy The Word Shaker and tells him about Max. Death ends the chapter on a note of both dramatic and situational irony:
Unlock with LitCharts A+Years ago, when they’d raced on a muddy field, Rudy was a hastily assembled set of bones, with a jagged, rocky smile. In the trees this afternoon, he was a giver of bread and teddy bears. He was a triple Hitler Youth athletics champion. He was her best friend. And he was a month from his death.
“Of course I told him about you,” Liesel said.
She was saying goodbye and she didn’t even know it.
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