Irony

For the song by Alanis Morissette, see Ironic (song).

Irony is best known as a figure of speech (more precisely called verbal irony) in which there is a gap or incongruity between what a speaker or a writer says, and what is understood. All the different senses of irony, however, revolve around the notion of incongruity, or a gap between our understanding and what actually happens. For instance, dramatic irony occurs when a character onstage is ignorant, but the audience watching knows his or her eventual fate, as in Sophocles' play Oedipus the King. Socratic irony, the oldest form, takes place when someone pretends to be foolish or ignorant, but is not. Cosmic irony is a sharp incongruity between our expectations of things and what actually occurs, as if the universe were mocking us.

H. W. Fowler, in Modern English Usage, had this to say of irony:

Irony is a form of utterance that postulates a double audience, consisting of one party that hearing shall hear and shall not understand, and another party that, when more is meant than meets the ear, is aware, both of that "more" and of the outsider's incomprehension.

A common metaphor for using irony is to "have your tongue in cheek."

Irony has some of its foundation in the onlooker's perception of paradox. In June, 2005, the State of Virginia Employment Agency, which handles unemployment compensation, announced that they would lay off 400 employees for lack of work, because unemployment is so low in the state. The reader's perception of a disconnection between common expectation, and the application of logic with an unexpected outcome, both has an element of irony in it and shows the connection between irony and humor, when the surprise startles us into laughter. Not all irony is humorous: "grim irony" and "stark irony" are familiar.

Etymology

The Greek etymology of the word irony, είρωνεία (eironeia), means feigned ignorance (a technique often used by the Greek philosopher Socrates, see further), from είρων (eiron), the one who makes a question pretending to be naïve, and είρειν is also a verb radical of the Greek "to speak." The verb είρειν (eirein) itself is probably from the Proto-Indo-European root *wer- say.

Socratic irony

In short, Socratic irony is feigning ignorance in order to expose the weakness of another's position.

The Greek word eironeia - ειρωνεία applied particularly to understatement in the nature of dissimulation. Such irony occurred especially and notably in the assumed ignorance which Socrates adopted as a method of dialectic, the "Socratic irony." Socratic irony involves a profession of ignorance that disguises a skeptical, non-committed attitude towards some dogma or universal opinion that lacks a basis in reason or in logic. Socrates' "innocent" inquiries expose step by step the vanity or illogicality of the proposition by unsettling the assumptions of his dialogue partner by questioning or simply not sharing his basic assumptions. The irony entertains those onlookers who know that Socrates is wiser than he permits himself to appear and who may perceive slightly in advance the direction the "naïve" questioning will take. Fowler describes it:

The two parties in his audience were, first, the dogmatist, moved by pity and contempt to enlighten this ignorance, and, secondly, those who knew their Socrates and set themselves to watch the familiar game in which learning should be turned inside out by simplicity.

Socratic irony, as an elegant, ingenious and polite way of communication, is convenient for discussing and debating dogmas without unbalancing nor compromising.

Many have interpreted Socrates as not feigning ignorance so much as expressing a form of philosophical skepticism.

Television journalist Louis Theroux is someone who has demonstrated expert use of Socratic irony to his audience, by interviewing a number of diverse individuals with an air of relaxed naivety and appreciative curiosity. This has led to his subjects becoming less guarded and more open in answering questions than they would have been in a more adversarial dialogue, while more often than not also granting Theroux subtle control of the interview.

In his character of Ali G, Sacha Baron Cohen uses Socratic irony to satirical effect. For instance, in one sketch he interviews a professor from the National Poison Information Centre about recreational drug use. Ali's pretended stupidity in the form of asking questions like "Does Class A drugs absolutely guarantee that they is better quality?" elicits a response that makes drugs look like any other consumer article.

The 19th century Danish philosopher Søren Kierkegaard admired Socratic irony and used a variation of Socratic irony in many of his works. Kierkegaard wrote on Socratic irony in his master's thesis, titled On the Concept of Irony with Continual Reference to Socrates. In the thesis, Kierkegaard praises Plato's and Aristophanes' use of Socratic irony, and argues that Aristophanes' portrayal of Socrates in The Clouds most accurately captured the spirit of Socratic irony.

Roman irony

In Roman times, irony was used in public speaking and rhetoric, in which the words used were opposite their meaning or intent.

Shakespeare imitated Roman irony in his play Julius Caesar in Marc Antony's part, "Friends, Romans, countrymen, lend me your ears! I come to bury Caesar, not to praise him." (III, ii, 78-79) The subsequent monologue uses extensive irony which glorifies Caesar, all while Antony selects words that seem to support the assassins, although the exact opposite is true.

Verbal irony

Verbal irony is traditionally defined as the use of words to convey something other than, and especially the opposite of the literal meaning of the words. One classic example is a speaker saying, “What lovely weather we are having!” as she looks out at a rainstorm intending to express her dissatisfaction with the weather. However, there are examples of verbal irony that do not rely on saying the opposite of what one means, and there are cases where all the traditional criteria of irony exist and the utterance isn’t ironic.

Verbal irony is distinguished from related phenomena such as situational irony and dramatic irony in that it is produced intentionally by speakers. For instance, if a speaker exclaims, “I’m not upset!” but reveals an upset emotional state through his voice while truly trying to claim he is not upset, it would not be verbal irony just by virtue of its verbal manifestation. But if the same speaker said the same words and intended to communicate he was upset by claiming he was not, the utterance would be verbal irony. This distinction gets at an important aspect of verbal irony: speakers communicate implied propositions that are intentionally contradictory to the propositions contained in the words themselves.

A fair amount of confusion has surrounded the issue regarding the relationship between verbal irony and sarcasm, and psychology researchers have addressed the issue directly. For example, ridicule is an important aspect of sarcasm, but not verbal irony in general. By this account, sarcasm is a particular kind of personal criticism leveled against a person or group of persons that incorporates verbal irony. Research also shows that most instances of verbal irony are considered to be sarcastic, suggesting that the term sarcasm is more widely used than its traditional definition suggests it should be. Some psycholinguistic theorists suggest that sarcasm, hyperbole, understatement, rhetorical questions, and jocularity should all be considered kinds of verbal irony.

Use of irony

The word "irony" is frequently used figuratively, especially in such phrases as "the irony of fate," of an issue or result that seems to contradict normal expectations derived from the previous state or condition.

Situational irony

Players and events coming together in improbable situations creating a tension between expected and real results. example:

• A shipboard scene of reconciliation and hope for an estranged couple ends with the camera pulling back to reveal a life preserver stenciled "SS Titanic."

Irony of fate

The expression "irony of fate" stems from the notion that the gods (or the Fates) are amusing themselves by toying with the minds of mortals, with deliberate ironic intent. For example:

• Ludwig van Beethoven's loss of hearing;
• The 1956 loss by fire of the top of Harvard's Memorial Hall tower, while being restored by workmen.

Through comic or genuine delusions of grandeur, petty coincidences may loom at irony of fate:

• The rain that sets in immediately after one finishes watering one's garden, following many days of putting off watering in anticipation of rain;

Examples of ironic incidents might involve a highway patrolman receiving a speeding fine, or the death of a Christian killed by a falling cross. In the first case, an incongruity exists between what happens (the person is fined) and what is expected (the person normally fines motorists); in the second case, a strong contrast emerges between the person's beliefs and his apparent fate.

Another use of irony of fate occurs in the climax of Disney's The Hunchback of Notre Dame.

Template:Spoiler Frollo, the villain, stands upon a gargoyle. He raises his sword to strike Esmeralda, and says, "And He shall smite the wicked and plunge them into the firey pit!" At that moment, the gargoyle breaks off, sending Frollo falling to his death into the courtyard, filled with molten lead that Quasimodo had spilled to stop the oncoming guards. The irony is purely that Frollo's line is used in reference to Esmeralda, but instead it winds up applying to Frollo himself as he plunges into the firey pit of molten lead. Template:Endspoiler

Situations resembling poetic justice, but lacking the aspect of justice, may also be ascribed to the irony of fate.

Tragic irony

In tragedy, what is called "tragic irony" becomes a device for heightening the intensity of a dramatic situation. Tragic irony particularly characterized the drama of ancient Greece, owing to the familiarity of the spectators with the legends on which so many of the plays were based. In this form of irony the words and actions of the characters belie the real situation, which the spectators fully realize. It may take several forms: the character speaking may realize the irony of his words while the rest of the actors may not; or he or she may be unconscious while the other actors share the knowledge with the spectators; or the spectators may alone realize the irony. Sophocles' Oedipus the King provides a classic example of tragic irony at its fullest and finest.

Irony may come to expression in inappropriate behavior. A witness to a scene involving threats of violence, for example, may perceive continued politeness on the part of the victim as increasingly ironic as it becomes increasingly inappropriate. Sometimes the "second" audience is the private self of the ironist.

When not recognized, irony can lead to misunderstanding. Even if an ironic statement is recognized as such, it often expresses less clearly what the speaker or writer wants to say than would a direct statement.

Cosmic irony

Layers of cosmic irony pervade Jane Austen's novels. The first sentence of Pride and Prejudice famously opens with a nearly mathematical postulate. "It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife." The scene that follows immediately betrays the proposal. "No, a rich young man moving into the neighborhood did not come to seek a wife." In fact, it soon becomes clear that Austen means the opposite: women (or their mothers) must always be in need of, and desperately on the lookout for, a husband. The irony deepens as the story promotes his romance and ends in a double wedding.

Metafiction

Main article: Metafiction.

Metafiction is a kind of fiction which self-consciously addresses the devices of fiction. It usually involves irony and is self-reflective. Metafiction (or "romantic irony" in the sense of roman the prose fiction) refers to the effect when a story is interrupted to remind the audience or reader that it is really only a story. Examples include Henry Fielding's interruptions of the storyline to comment on what has happened, or J.M. Barrie's similar interjections in his book, Peter Pan. Daniel Handler's A Series of Unfortunate Events could also be considered a form of romantic irony, in which the action is frequently halted for a warning that the events to follow could be potentially distressing. The concept is also explored in a philosophical context in Sophie's World, by Jostein Gaarder. A similar example occurs in the Hitch Hiker's Guide to the Galaxy novel where the narator reveals in advance "in the interest of reducing stress" that nobody will get hurt by a pair of incoming nuclear warheads, but that he will leave some suspense by stating that he would not reveal whose upper arm would get bruised in the process.

Usage controversy

The material above deals with the primary dictionary meaning of the word irony. There is no controversy that the usage above is a correct usage; the controversy is over whether it is the only correct usage. Authority, in the form of dictionaries and usage guides, can be cited on both sides.

Descriptivists generally discount such self-proclaimed language authorities in favor of studying how individuals currently use the word.

It is currently quite common to hear the word ironic used as a synonym for incongruous in situations where there is no "double audience," and no contradiction between the ostensible and true meaning of the words. Two examples of such usage:

Ironically, Sir Arthur Sullivan is remembered for the comic operas he found embarrassing, rather than the serious works he hoped would be his legacy.

Adolph Coors III was the former heir to the Coors beer empire. Ironically, Coors was allergic to beer.

The American Heritage Dictionary's usage panel found it unacceptable to use the word ironic to describe mere unfortunate coincidences or surprising disappointments that "suggest no particular lessons about human vanity or folly." This definition still allows the above usage but excludes examples like "ironically, I encountered a traffic jam when I was already late," as made popular by Alanis Morissette's "Ironic".

However, the American Heritage Dictionary recognizes a secondary meaning for irony: "incongruity between what might be expected and what actually occurs." In other words, ironic in this sense is synonymous with incongruous. The word incongruity is not in the active vocabulary for most speakers of the English language, irony being much more widespread among those wanting to be precise in their language.

Other historical prescriptivists have even stricter definitions for the word irony. Henry Watson Fowler, in The King's English, says "any definition of irony — though hundreds might be given, and very few of them would be accepted — must include this, that the surface meaning and the underlying meaning of what is said are not the same." Fowler would thus consider the Sullivan example above as incorrect usage.

Recent developments

Alanis Morissette's popular 1995 song "Ironic" breathed new life into the ongoing controversy over the definition of irony. The song attracted a great deal of attention from prescriptivists for its (arguably) blatant misuse of the word ironic. Morissette's alleged misuses of the word include the following:

It's like a traffic jam/When you're already late

He won the lottery/And died the next day

Among those who assert that the song uses an invalid definition of irony, many find it ironic that Morissette would write a song titled "Ironic" with no actual irony in it. In 2004, Morissette herself acknowledged that the song doesn't live up to the definition, which is what makes it ironic. But even that is not technically ironic.

This sort of meta-irony was almost certainly the goal of the writers of Saturday Night Live in their "Tales of Irony" sketch, in which guest host Jason Alexander presided over a Masterpiece Theatre-like presentation of short films which, to his increasing dismay, lacked ironic content. Irony played the role of the punchline in many Bill Brasky skits of Saturday Night Live, famously the interchange "He hated Mexicans!" / "And he was half Mexican!" / "And he hated irony!"

Dave Eggers' novel, A Heartbreaking Work of Staggering Genius contains a lengthy discourse criticizing (what the author regards as) the misuse of the word irony.

Another popular definition of irony appears in the 1997 film Con Air, in which Garland Greene, played by actor Steve Buscemi, states (while 'Sweet Home Alabama' by Lynyrd Skynyrd plays in the background):

"Define irony: a bunch of idiots dancing around on a plane to a song made famous by a band that died in a plane crash."

Template:Spoiler The character of Greene in the film almost appears to represent the force of irony personified. Described as a violent serial killer and rapist, he innocently plays with a little girl and doesn't harm her at all despite the 'warning' of ominous music, and he is one of the few characters who is both made likable and who survives to the end of the story and escapes, and most viewers tend to be happy about this. In this the character also serves as a sort of secondary background-character protagonist, but as an anti-hero.

It may be that popular usage patterns are shifting the predominant meaning of irony toward references to ironies of fate. Whether this has been caused, exemplified or popularized by the American Heritage Dictionary (or by Alanis Morissette) is unclear.

Cultural variation

In some countries in the English-speaking world, it would appear apprehension and use of irony is more acceptable and understood than others. Most notably, it is a widely accepted belief in both Britain and Australia that Americans are unable to understand the use of irony which is characteristic of British and Australian humour, instead taking deadpan, ironic comments literally.

Similar to variation in the styles of humour and comedy, it would appear that some national or cultural frameworks find irony difficult to appreciate, while others appear to anticipate or expect usage. It is also possible that the `implicit' signals that irony is present (e.g. tone of voice, posture) vary from culture to culture independently of language, since often members of different cultures in the same language group each believe the other fails to understand irony.

External links

• "The final irony" – a Guardian article about irony, use and misuse of the term
• Article on the etymology of Irony
• AHD Definition of irony
• AHD Definition of and usage note for ironic