Rationale of the study
English has become essential for communication and various aspects of life, making mastery of the language crucial One effective method for learning English is through literature, which allows for the exploration of stylistic devices that enhance the intrigue and appeal of literary works Among these devices, irony stands out as a significant element that learners should focus on However, many students find it challenging to study irony effectively.
Irony is a fascinating linguistic phenomenon commonly found in both spoken and written forms It represents a discrepancy between what is said and what is meant, what is anticipated and what actually occurs, or what readers understand versus what characters perceive As a rhetorical device in literature, irony is often used to create effects that are scoffing, satirical, humorous, and entertaining Additionally, real life is replete with ironic expressions and situations, making the study of irony in literary works relevant and relatable to everyday experiences.
Edgar Allan Poe is celebrated as a master of horror and irony in American literature, skillfully using language to craft impactful short stories Despite his significant contributions, literary criticism often overlooks the role of irony in his works This study, titled “A Study on Irony in Short Stories by Edgar Allan Poe,” aims to enhance learners' understanding of irony, enabling them to identify and interpret various types of irony not only in Poe's stories but also in broader literary contexts.
Aims of the study
(1) finding out common types of irony in Edgar Allan Poe‟s short stories;
(2) investigating the creation of irony in Edgar Allan Poe‟s short stories;
(3) suggesting the implications for teaching and learning irony in literature works.
Scope of the study
Edgar Allan Poe's short stories encompass horror, detective fiction, and science fiction, but this paper focuses primarily on his ironic tales of horror Due to time constraints, the analysis will concentrate on three of Poe's notable horror stories: "The Cask of Amontillado," "The Tell-Tale Heart," and "The Black Cat," all written between 1843 and 1846 These masterpieces exemplify essential gothic elements such as haunted settings, darkness, terror, madness, and death As of 2011, they have been widely translated into Vietnamese and are utilized in teaching American and English literature at various Vietnamese universities.
Significance of the study
Irony serves as a compelling rhetorical device in literature, making its systematic study both theoretically and practically significant This research aims to enhance understanding of the various types of irony and their application in Edgar Allan Poe's short stories Additionally, it seeks to assist Vietnamese learners of English in interpreting irony within literary contexts Furthermore, the findings can enrich the teaching of American and English literature in Vietnamese foreign language universities Ultimately, this study aspires to introduce a fresh perspective on Poe's short stories, contributing to the diversity of research in this area.
Research methodology
Research questions
In order to cover all above aims, the study is to shed light on the following research questions:
(1) What common types of irony are found in Edgar Allan Poe‟s short stories ?
(2) How is irony created in Edgar Allan Poe‟s short stories?
Research methods
This study employs both quantitative and qualitative methods to analyze ironic expressions in three of Edgar Allan Poe's short stories The findings are grounded in a thorough examination of these stories, utilizing descriptive and analytic techniques to identify and explore common types of irony This approach highlights the intricate creation of irony within Poe's work.
Data collection and analysis
This article explores ironic expressions found in three renowned short stories by Edgar Allan Poe: "The Cask of Amontillado," "The Tell-Tale Heart," and "The Black Cat." By analyzing these literary works, we uncover the layers of irony that enhance the narratives and contribute to their enduring appeal The examination of these stories highlights Poe's mastery of irony, showcasing how it serves to deepen the reader's understanding of character motivations and plot developments.
The analysis of data will encompass both quantitative and qualitative approaches Quantitatively, it will focus on the frequencies of verbal, situational, and dramatic ironies as outlined by Muecke (1969:40-42), alongside the occurrence of irony-creating techniques in Edgar Allan Poe's short stories Qualitatively, the study will describe and explain the various types of irony and the methods employed to create irony within Poe's narratives.
Design of the study
In order to make this thesis conventional and well organized, the minor thesis includes three main parts as follows:
Part A: Introduction – This part will cover some points including the rationale, the aims, the scope, the significance, research methodology, and the organization of the study
Part B: Development consists of four chapters, beginning with Chapter I, which presents the theoretical background and literature review This chapter outlines the history of irony studies, defines various types of irony, and highlights the essential elements and grades of irony It also covers methods for detecting and interpreting irony, followed by a discussion of related studies in the field.
Chapter II: Research methodology outlines the methods and procedures utilized in the study, including a detailed description of the sample selection It also explains how the data were collected, described, and analyzed to ensure a comprehensive understanding of the research process.
Chapter III: Common Types of Irony in Edgar Allan Poe's Short Stories offers a comprehensive quantitative analysis of the frequencies of verbal, situational, and dramatic ironies It also includes a qualitative examination of the various types of irony present in Poe's narratives, highlighting their significance in enhancing the depth and meaning of his storytelling.
Chapter IV explores the creation of irony in Edgar Allan Poe's renowned short stories, detailing the techniques employed and their frequency It also clarifies the impact of irony within these narratives, highlighting how it enhances the overall themes and reader experience.
In the conclusion, we summarize the key findings and offer final insights, while also addressing the implications, limitations, and suggestions for future research Additionally, the section includes references and appendices to support the content.
BACKGROUND AND LITERATURE
A brief history of irony studies
Irony is a significant linguistic device that has garnered considerable attention from linguists and scholars throughout history Its study spans a wide range of disciplines, including literature, linguistics, and pragmatics, with notable contributions from researchers such as Muecke, Booth, Wilson, Sperber, and Grice The exploration of irony encompasses both historical and contemporary perspectives, highlighting its relevance across various fields of study.
Muecke (1970:14) reasonably states that giving a precise antiquity of the term irony is not an easy task since the word had been used long before it was named
The term "irony" originates from the Greek word "eironeia," which is rooted in Greek comedy It is associated with the character Eiron, who employed understatement and feigned ignorance to outsmart the alazon, a self-deceptive braggart.
(Abrams, 1999: 134-135) Not until the early eighteen century did the word irony come into general use Since its appearance, this term has developed gradually and expanded its meanings
Traditional theories, according to Jorgensen et al (1984:112), assume ―that an ironist uses a figurative meaning opposite to the literal meaning of the utterance‖
Irony is a rhetorical device in semantic theory, classified alongside metaphor, metonymy, hyperbole, and litotes, and represents a form of non-literal language (Saeed, 2009; Jửnsson, 2010: 4) Rhetoricians regard irony as a master trope, a figure of speech that conveys the opposite of its literal meaning For example, when someone remarks, “What lovely weather” during a rainy day, they are employing irony to express the figurative sentiment of “What terrible weather.”
Grice's theory (1975) classifies irony as a conversational implicature that breaches the cooperative principle and the maxim of quality According to Grice and Searle's pragmatic framework, listeners initially interpret the literal meanings of what speakers say, recognize their contextual inappropriateness, and subsequently arrive at the intended nonliteral meaning based on the cooperative principle and speech act rules Additionally, a speaker's tone of voice serves as a crucial indicator for listeners to discern ironic meanings.
Modern theories, as noted by Attardo et al (2009:407), define irony as an echoic mention where speakers repeat or echo a prior statement or belief, which is understood to convey an ironic meaning in context This phenomenon allows readers to more easily process and evaluate the ironic implications of utterances that reflect or paraphrase earlier statements.
Clark and Gerrig (1984) propose that pretense is essential to understanding irony They argue that when a speaker makes an ironic statement, they are essentially adopting an attitude that does not reflect their true beliefs This act of pretending allows the speaker to mock both the opinion expressed and the individual associated with it.
Definitions of irony
In "The Compass of Irony," Muecke (1969) defines irony as the art of conveying deeper meanings without explicit expression, creating a resonance akin to profound art that communicates significantly more than it appears He describes irony as a method of communication—whether through speaking, writing, or other forms—where the intended meaning starkly contrasts with the superficial or pretended meaning This technique involves using language to express ideas that are fundamentally opposite to their literal interpretations, highlighting the discrepancy between appearance and reality.
Irony, as defined by Thompson (1948), refers to the incongruity between expression and meaning, appearance and reality, or expectation and actual events It highlights the contrast between the surface meaning of statements and their deeper implications, as well as the difference between anticipated outcomes and what truly transpires This study adopts the traditional definitions of irony proposed by Muecke (1969) and Thompson (1948) to explore these dynamics further.
Classification of irony
According to Muecke (1969:40-42), there are four fundamental types of irony: verbal, situational, romantic, and dramatic irony Since Muecke does not provide detailed definitions for these types, the interpretations offered by Abrams (1999) and Ellestrom (2002) are utilized to clarify their meanings.
Verbal irony is a literary device characterized by a stark contrast between what is said and what is actually meant According to Abrams (1999: 135), it involves a statement where the implied meaning significantly differs from the literal expression Thirlwall (1833) originally coined the term, describing it as a figure that allows speakers to convey their intended meaning more powerfully through a juxtaposition of their thoughts and words This contrast enhances the impact of the message, as noted by Ellestrom (2002:50).
Verbal irony is a prevalent literary device found across various genres, including novels, short stories, plays, and poems A notable example is in Shakespeare's "Romeo and Juliet," where Juliet expresses her determination to marry Romeo, whom she loves, by ironically declaring to her mother, "I will not marry yet; and, when I do, I swear it will be Romeo, whom you know I hate, rather than Paris." This statement highlights the contrast between her true feelings and the situation she faces.
Verbal irony is a deliberate form of expression where speakers convey statements that contradict their true feelings or actions (Ellestrom, 2002:50) For effective communication of verbal irony, two key conditions must be fulfilled: the speaker must intentionally deliver the ironic remark, and both the speaker and listener must share relevant contextual knowledge For instance, if they are both caught in the rain and understand the desire for pleasant weather, a comment like "What lovely weather!" can be recognized as ironic However, if the speaker lacks this contrary intention or the listener is unaware of the context, the intended irony may not be understood.
―verbal irony depends on knowledge of fictional speaker‘s ironic intention, which is shared both the speaker and the reader‖ (Abrams & Harpham, 2009: 166)
Kreuz & Roberts (1993: 99) consider sarcasm as a subtype of verbal irony, where
Sarcasm is a form of aggressive irony aimed at insulting or hurting an individual or group, featuring clear markers and a specific target Unlike sarcasm, irony often conveys the opposite of the literal meaning without the intent to harm For instance, saying "You are really brilliant!" to someone who has acted thoughtlessly is an example of sarcasm, while stating "They tell me you're a slow runner" to a marathon winner illustrates irony.
Situational irony, also known as irony of events, refers to a scenario where the outcome starkly contrasts with what was anticipated, highlighting contradictions within the situation itself (Ellestrom, 2002) This form of irony occurs when the actual results differ significantly from the expected results in a given context, making it unintentional and distinct from verbal irony, which involves a mismatch between words and their meanings (Colston, 1997) Overall, situational irony emphasizes the unexpected twists that can arise in various circumstances.
Situational irony in literature and drama arises when characters or events converge in unexpected ways, creating a contrast between anticipated and actual outcomes Unlike verbal irony, which involves a character's awareness of the discrepancy, situational irony occurs when a character is oblivious to the difference between their statements and reality This form of irony often culminates in a plot twist or surprise ending, where a character believes everything is resolved, only for complications to arise Because situational irony is rooted in the unfolding events and circumstances of a narrative, it tends to be more subtle and impactful than verbal or dramatic irony.
The most extreme example of situational irony in ―The Ransom of Red Chief‖ by
In O Henry's story, the typical kidnapping scenario is turned on its head, as the kidnapped child proves to be more perilous than his captors Instead of the kidnappers asking for a ransom, the parents demand payment from them to reclaim their son, insisting they return him at night to avoid disturbing the neighbors who are relieved by his absence This unexpected twist leads to the criminals ultimately fleeing from the situation.
Dramatic irony occurs when the reader possesses greater knowledge of events or characters than the characters themselves, leading to a deeper understanding of the narrative According to Abrams (1999:136-137), this literary device involves the audience sharing insight into present or future circumstances that the character remains unaware of As a result, characters often act inappropriately or expect outcomes that starkly contrast with what the reader knows is destined to happen, creating a poignant tension between their intentions and the actual outcome.
Dramatic irony is a literary device that creates tension by contrasting the audience's knowledge with the protagonist's ignorance, as exemplified in William Shakespeare's "Romeo and Juliet." In this tragic love story, Juliet takes a sleeping potion to avoid marrying Paris, leading to a devastating misunderstanding The dramatic irony culminates in the final scene when Romeo, believing Juliet to be dead, takes his own life Upon awakening to discover Romeo's death, Juliet also chooses to end her life This poignant narrative highlights how the audience is aware of the impending tragedy long before the characters recognize their fateful mistakes.
Dramatic irony and situational irony fall under the umbrella of structural irony, where the author incorporates a structural element that maintains a dual meaning and evaluation throughout the narrative This technique enhances the depth of the work, allowing for a more complex interpretation of events and character motivations.
Structural irony is rooted in the narrative framework of a work, relying on the relationship between an unreliable character and the audience to reveal the author's true intentions In contrast, dramatic irony is often compared to verbal irony; while dramatic irony is woven into the structure of the narrative, verbal irony operates at the level of language, where the intended meaning diverges from the literal interpretation Additionally, dramatic irony is sometimes aligned with situational irony, highlighting the complexities of meaning within literary contexts.
Romantic irony, a concept introduced by Friedrich Schlegel and other late eighteenth and early nineteenth-century German writers, refers to a narrative style where the author creates the illusion of reality, only to disrupt it by revealing their role as the arbitrary manipulator of characters and events This form of irony, characterized by a self-aware narrator, has become a prevalent technique in modern complex fiction.
This paper focuses on three primary types of irony found in literary works: verbal, situational, and dramatic irony, as identified by Muecke (1969:40-42) While Muecke also mentions romantic irony, the emphasis here is on the three types that are most relevant to the analysis of irony in literature.
Essential elements of irony
Muecke (1969) identifies three key elements of the pragmatic aspect of irony Firstly, irony operates on two levels: a lower level reflects the situation as perceived by the “victim,” while an upper level reveals how the ironist or observer perceives it Similarly, scholars like Sperber and Wilson (1981) and Clark and Gerrig (1984) emphasize the presence of a speaker intending to be ironic and a victim of that irony Secondly, there is always an opposition between these two levels, which may manifest as contradiction, incongruity, or incompatibility, where what is said contrasts with what is meant Lastly, irony contains an element of innocence, as the victim may be blissfully unaware of the upper level that undermines their perspective, or the ironist may feign ignorance of it.
In situations where a speaker expresses irony, such as stating, "She's really a good friend!" about a woman who has harmed them, the listener must be aware of the context to grasp the true meaning This statement reveals the speaker's disappointment, as the irony suggests the opposite: "She's really not a good friend." Thus, the speaker conveys their negative feelings through a seemingly positive remark, highlighting the complexity of interpersonal relationships and the nuances of communication.
Grades of irony
Muecke (1969:52-61) resolves the problem of classification by grading irony into three classes according to the degree of subtlety: overt irony, covert irony or private irony
Overt irony involves active participation from both the speaker and the listener, as the speaker intentionally conveys irony while the listener quickly grasps its true meaning This form of irony is frequently linked to sarcasm and can be enhanced through gestures like a curled lip or raised eyebrow However, overt irony is often overused, leading to a dilution of its impact.
Covert irony, unlike overt irony, is designed to be subtly detected rather than immediately recognized While overt irony is easily understood, covert irony demands a heightened sensitivity to the text, as the covert ironist intentionally avoids any obvious tonal or stylistic cues that might reveal their ironic intent.
Covert irony can often go unnoticed, leading to a loss of its intended impact on the audience To ensure that readers accurately interpret the irony, the author must include clear cues within the text.
Private irony is a subtle form of irony that remains undisclosed to the victim and others, as it is designed for the amusement of the ironist alone According to Muecke (1969:59), this type of irony is intentionally hidden, making the ironist's true intent inscrutable It can only be identified in written works where a character is marked as a private ironist, while other characters remain oblivious to the irony being employed Recognition of private irony is limited to a select few readers, as it cannot be detected in spoken discourse due to its inherent nature of exclusion from recognition by others.
Detecting and interpreting irony
Booth (1974, 1978), as referenced by Yoder (2008:35-40), outlines key strategies for recognizing and interpreting irony in texts He identifies five distinct types of clues that authors can use to assist readers in accurately identifying ironic statements.
Clue 1 The author may give explicit signs in title, epigraphs,etc to indicate the use of irony These kind of clues are straightforward and helpful when supplied
Clue 2 The author asserts known errors The indicators of irony occur when a known error is proclaimed such as conventional wisdom is flaunted or historical facts misreported or an absurd premise asserted The mere presence of these errors is not sufficient to detect irony, but they are strong indicators
Clue 3 The author contradicts himself or herself within his/her writings A conflict suggests that the author may be speaking ironically through one of the characters in the dialogues Clue 4 The author‟s own style or words is inconsistent or incongruous relative to the meaning or the author‟s usual practice A sudden change in style is one way that a written work can apply to mimic the tonal clues that an ironic speaker has at her disposal
Clue 5 There is a conflict between the text as it is given and the author‟s known or expected beliefs In this circumstance, the reader is so familar with the author‟s way of thinking that the reader is able to discern the true beliefs of the author even if the true belief is never directly stated In cases where the irony is particularly subtle and covert, it is perhaps necessary for more than one clue to be present in order to confidently interpret the author‟s intent At the very least, the more telling clues are needed
Muecke (1969), as cited by Lemieux (1991), identifies four modes of irony—impersonal, self-disparaging, ingenuous, and dramatized—and outlines twenty techniques under the impersonal mode that are essential for recognizing irony in literature These techniques, which include praising to blame, blaming to praise, and rhetorical questions, serve as a framework for this study, focusing on their application in Edgar Allan Poe's three short stories The techniques also encompass elements like innuendo, ambiguity, and irony by analogy, highlighting the ironist's presentation method as a key factor in conveying irony effectively.
Ramos (2000), as referenced by Shively et al (2008:104), highlights that stylistically signaled irony employs linguistic cues, including specific syntactic structures and vocabulary choices, to convey irony effectively.
Previous studies
Due to the limited time, the writer has only focused on some researches implemented in Vietnam in the recent years
A significant study on irony in short stories is presented in Hoàng Anh Tuấn's 2010 graduation paper, titled "A Study on Irony in Some O'Henry's Short Stories." This research provides foundational insights into various types of irony, enhancing our understanding of their application in O'Henry's narratives.
This article explores the expression of irony in selected short stories by O Henry, comparing it with the irony found in the works of Nguyễn Công Hoan By examining the similarities and differences between these two authors, learners can enhance their understanding of irony in short stories across both English and Vietnamese literature However, the article notes that the definition of irony is not clearly articulated, and the analysis lacks depth.
Recent research on Edgar Allan Poe highlights two significant Vietnamese Ph.D dissertations: “Sự Tiếp Nhận Edgar Allan Poe ở Việt Nam” by Hoàng Kim Oanh (2011) and “Nghệ Thuật Xây Dựng Cốt Truyện của Edgar Allan Poe” by Ngô Bích Thu (2014) Hoàng Kim Oanh's dissertation offers a meticulous and scientific examination of Poe's reception in Vietnam, covering research, criticism, composition, translation, and teaching from the early twentieth century to 2011 It includes valuable tables, charts, and statistical data on the translation and study of Poe's works, serving as a crucial reference for future research This work not only enriches knowledge about Edgar Allan Poe but also sparks interest in exploring various aspects of his literary contributions.
Ngô Bích Thu's Ph.D dissertation (2014) provides a comprehensive overview of research conducted in both Vietnamese and English, highlighting the significance of a new analytical approach The study effectively explores Edgar Allan Poe's mastery in crafting plots across genres such as horror, detective fiction, and science fiction Additionally, it addresses key issues related to these literary genres while elucidating Poe's profound influence on writers and artists globally, including in Vietnam The thesis ultimately affirms Poe's substantial contribution to the modernization of literature in the United States and worldwide.
While there has been research on irony in literature and studies focused on Edgar Allan Poe in Vietnam, none have specifically examined irony as an artistic device in his works This study aims to address this gap, contributing to and enriching the analysis of Poe's short stories.
This chapter establishes the theoretical framework for the study by offering an overview of various concepts of irony, particularly emphasizing Muecke's (1969) theory of irony Additionally, it reviews notable studies relevant to this research, facilitating a shared understanding between the readers and the author regarding advancements in this field.
RESEARCH METHODOLOGY
Edgar Allan Poe and his works
2.1.1 Biography of Edgar Allan Poe
Edgar Allan Poe (1809-1849), born in Boston and orphaned in childhood, was taken in by the Allan family in Richmond, Virginia, but eventually fell out with them due to his irresponsible behavior Despite his tumultuous life, Poe emerged as a literary genius of the nineteenth century, recognized as a key figure in the American Romantic Movement and a pioneer of Symbolism He is renowned for his mastery of the short story, particularly in the horror genre, and is credited with founding detective fiction, as well as laying the groundwork for science fiction and psychoanalytic narratives Poe's influence extends beyond American literature, impacting fields like cosmology and cryptography, and he became the first American writer to enter Vietnamese literary circles in the early twentieth century Two hundred years later, Edgar Allan Poe remains a cherished figure in both American and global literature, celebrated as a "precious thing" for humanity, including the Vietnamese.
2.1.2 Edgar Allan Poe's horror story writing style
Edgar Allan Poe, recognized as the grandfather of horror in American literature, is celebrated for his unique style and criteria for short stories, which he believes should be read in a single sitting Central to his works is the theme of death, which evokes mystery and horror, while he intricately weaves emotions such as hatred, anger, despair, insanity, and the pain of loss throughout his narratives Additionally, Poe employs various stylistic elements in his writing techniques, further enhancing the depth and impact of his stories.
Edgar Allan Poe often employs an unnamed narrator in his stories, creating a relatable point-of-view that immerses readers in the narrative's fear and tension This choice may symbolize the universal experience of acting impulsively or perversely, highlighting the consequences that follow such actions By omitting a specific name, Poe allows readers to connect with the narrator on a personal level, making the story's emotions and experiences feel more authentic and immediate.
Edgar Allan Poe's writing style is characterized by his effective use of symbolism, which plays a crucial role in his psychological and symbolic horror narratives Symbolism, a literary device where objects, characters, or colors represent deeper meanings, allows Poe to convey abstract ideas and themes By consistently reiterating these symbols throughout his short stories, Poe enhances the emotional impact and depth of his work, drawing readers into a more profound understanding of his themes.
Edgar Allan Poe is renowned for his unique writing style, characterized by self-building sentences, frequent use of dashes, italicized words, and repetition He is particularly famous for crafting surprise endings and emphasizes the importance of keeping the dénouement in mind, often revealing climactic conclusions in the final paragraph Poe's stories consistently embody a sense of irony, solidifying his status as one of the most ingenious authors of Gothic and horror literature.
2.1.3 Three short stories by Edgar Allan Poe
―The Cask of Amontillado‖ is a famous horror story by Poe first published in 1846
Set in an unnamed Italian city during the vibrant carnival season of the 18th century, the tale unfolds a chilling narrative of revenge by the narrator, Montresor, against his friend Fortunato, who has wronged him Edgar Allan Poe masterfully employs irony to highlight the themes of vengeance and murder Spanning seven pages and 2,379 words, the story invites readers to delve into Montresor's meticulously crafted plan to entice the wine enthusiast Fortunato into tasting a rare Amontillado, ultimately leading to his grim fate of being buried alive.
"The Tell-Tale Heart," first published in 1843 and revised for The Broadway Journal in 1845, is one of Edgar Allan Poe's most renowned short stories, establishing him as a pioneer of the horror genre The narrative follows a mentally unstable man who meticulously plans and executes the murder of an elderly neighbor with an "evil eye," ultimately leading to his confession In just four pages and 2,229 words, the story delves into the psychological complexities of the narrator, exploring the thin boundaries between sanity and insanity, as well as innocence and guilt.
"The Black Cat," first published on August 19, 1843, in The Saturday Evening Post, is a renowned short story by Edgar Allan Poe that explores themes of domestic violence and guilt, serving as his second psychological study following "The Tell-Tale Heart." Unlike premeditated murder, the narrative delves into the disturbed psyche of the narrator, who inflicts cruelty on a black cat, ultimately leading to the brutal killing of his wife when she intervenes to protect the animal The chilling tale culminates with the narrator concealing her corpse within a wall in the cellar With its compelling 7-page length, "The Black Cat" is highly recommended for readers seeking a gripping psychological thriller.
2.1.3.4 The similarities and differences among the three short stories
Edgar Allan Poe's renowned works, including "The Cask of Amontillado," "The Tell-Tale Heart," and "The Black Cat," feature unreliable first-person narrators who exhibit clear signs of mental disturbance In these stories, the motivations for murder appear irrational; Montresor kills Fortunato over an insult, the narrator of "The Tell-Tale Heart" is driven to murder by the old man's unsettling eye, and the narrator in "The Black Cat" kills his wife in a fit of rage when she defends the cat Alcoholism plays a significant role in these narratives, as Fortunato's pride in his wine expertise leads to his demise, while the narrator in "The Black Cat" struggles with temper issues exacerbated by heavy drinking Ultimately, all three tales explore the theme of inescapable guilt, demonstrating that despite successfully concealing their crimes, the narrators are ultimately haunted by their own consciences.
The motivations behind the narrators' stories in "The Black Cat" and "The Tell-Tale Heart" vary significantly; in "The Black Cat," the narrator seeks to unburden his soul before death, while in "The Tell-Tale Heart," the narrator desperately attempts to demonstrate his sanity.
In Edgar Allan Poe's "The Tell-Tale Heart," the narrator meticulously plans a murder, patiently biding his time for the perfect opportunity In contrast, the narrator of "The Black Cat" acts impulsively, committing murder in a fit of blind rage without any prior contemplation.
The narrators were found out in different ways too; in ―The Tell-Tale Heart‖ the narrator confessed openly when he was afraid of being found out However, in
In "The Black Cat," the police uncover the truth not through a confession but by discovering the body themselves Unlike the protagonist of this tale, Montresor may evade justice, yet he cannot escape the prison of his own conscience Despite narrating the story with clarity, it is evident that the haunting details of Fortunato's murder have tormented him for 50 years The fear of being buried alive looms over Montresor, symbolized by the jingling of bells that follows him eternally Ultimately, their actions illustrate the inescapable connection between cause and effect.
Research questions
This study aims to identify common types of irony and examine its creation in Edgar Allan Poe's short stories By doing so, it assists students in understanding irony concepts, recognizing various types of irony, and interpreting them in Poe's works as well as in literature overall The research specifically addresses key questions related to these themes.
(1) What common types of irony are found in Edgar Allan Poe‟s short stories ?
(2) How is irony created in Edgar Allan Poe‟s short stories?
Research methods
Quantitative research, as defined by Aliaga and Gunderson (2002), involves explaining phenomena through the collection and analysis of numerical data using mathematical methods, particularly statistics In contrast, qualitative research focuses on understanding social or human problems from various perspectives, as noted by Berg (2001), who distinguishes between the two approaches by highlighting that qualitative research is primarily concerned with words, language, and experiences, while quantitative research emphasizes measurements, statistics, and numerical figures.
Quantitative research is praised for its neutrality and generalizability, yet it faces challenges in accurately measuring theoretical constructs and establishing causality in social sciences (Roman et al., 2013) Conversely, qualitative research excels in exploring and generating insights on new or under-researched issues and phenomena (Seipel & Rieker, 2003).
This study employs both quantitative and qualitative methods for data analysis, with a focus on qualitative approaches The conclusions drawn are rooted in thorough data analysis, utilizing descriptive and analytic techniques to explore the various forms of irony and its creation in Edgar Allan Poe's short stories.
Data collection
Edgar Allan Poe's notable horror tales, "The Cask of Amontillado," "The Tell-Tale Heart," and "The Black Cat," written between 1843 and 1846, are celebrated for their mastery of irony Due to the difficulty in accessing Poe's original works, researchers often utilize reliable online resources These selected stories exemplify the essential elements of gothic literature, including themes of haunted houses, darkness, terror, madness, and death Furthermore, these tales have garnered international popularity, including among readers in Vietnam, and are widely translated.
As of 2011, Vietnamese readers showed a strong preference for Edgar Allan Poe's short stories, which have also been utilized in teaching American Literature at the University of Social Sciences and Humanities and the University of Da Nang (Hoàng Kim Oanh, 2011: 182-186).
The procedures of collecting the data
The writer analyzed three of Edgar Allan Poe's short stories to gain a comprehensive understanding of their themes and narratives However, Poe's use of complex vocabulary presents challenges for readers To enhance comprehension of the words and their contexts, the researcher consulted various reputable English references, including essays and writings available on official websites.
The research primarily utilizes qualitative textual data derived from statements, words, phrases, and sentences found in Edgar Allan Poe's three short stories The quotes from each story, sourced from [PoeStories.com](http://www.poestories.com/), are organized sequentially from top to bottom Detailed information regarding the types of irony and the construction of irony within these stories can be found in Appendices 2 and 3.
31 samples of ironical expressions were found in Poe‟s three short stories.These samples have been collected and classified according to the following table:
No Works Sample analyzed Total
Data analysis
The model as well as the instrument of analyzing data collected in Poe‟s three short stories was adopted from Muecke as introduced in his invaluable book of “The
In "Compass of Irony" (1969), irony is categorized into four types: verbal, situational, dramatic, and romantic However, an analysis of Edgar Allan Poe's short stories reveals three primary types of irony: verbal, situational, and dramatic A total of 31 instances of ironic expressions were identified across three of Poe's stories, including one instance that combines verbal and dramatic irony, resulting in 32 occurrences of irony throughout these works.
Irony can be crafted using various techniques, with Muecke (1969) identifying twenty methods; however, the data reveals that these can be categorized into ten primary techniques Among 31 samples of ironic expressions, three demonstrate a combination of two techniques, resulting in a total of 34 instances of irony creation Additionally, Ngô Bích Thu (2014) introduces five subtypes of symbols, with one of the three stylistically signaled ironies being utilized.
This study employs both quantitative and qualitative methods for data analysis, prioritizing qualitative analysis Initially, the quantitative analysis examines the frequency of verbal, situational, and dramatic ironies, as outlined by Muecke (1969), along with the techniques for creating irony in Edgar Allan Poe's short stories Subsequently, the qualitative analysis provides a detailed description of these three types of irony and the methods used to create them in Poe's works.
Research procedures
* Step 1: Determine the research topic The fact that no previous researches have been done about irony in Poe‟s short stories inspires the author to make this study
* Step 2: Based on the main aims of the study and the thorough literature review, the study come to determine the research questions
* Step 3: Present the theoretical background and literature review for the study
* Step 4: Collect ironical expressions in the three selected short stories
* Step 5: Analyze the data by using quantitative and descriptive qualitative methods
* Step 6: Present some conclusions, some implications for teachers and learners, limitations and suggestions for further studies
Reliability and validity
This study relies on dependable English materials, ensuring reliability through accurate citations that include authors, publishers, publication dates, and page numbers The data analyzed is representative and examined with a high degree of accuracy This chapter provides an overview of the methodology, structured around research questions, methods, data collection, analysis, and procedures, ultimately addressing the study's validity and reliability.
COMMON TYPES OF IRONY IN EDGAR ALLAN POE’S SHORT STORIES
This chapter explores the prevalent types of irony in Edgar Allan Poe's short stories, utilizing Muecke's framework from 1969 The analysis focuses on three renowned horror tales by Poe, identifying four key types of irony: verbal, situational, romantic, and dramatic However, the findings reveal that Poe predominantly employs verbal, situational, and dramatic irony in his works.
3.1 Frequency of use of common types of irony in Poe’s short stories
Table 3.1 outlines the distinct occurrences of verbal, situational, and dramatic ironies found in 31 ironic expressions across three of Poe's short stories, including one instance that uniquely combines both verbal and dramatic irony.
The Tell- Tale Heart The Black Cat
Table 3.1: Occurrence and Percentage of types of irony in Poe’s short stories
In an analysis of thirty-two occurrences of irony in Poe's three short stories, situational irony is the most prevalent, accounting for 47% of the instances Dramatic irony follows closely behind at approximately 31%, while verbal irony is the least frequent, comprising around 22% of the total occurrences.
The Cask of Amontillado features a significant prevalence of irony, accounting for 50% of the total instances across three stories In contrast, both The Tell-Tale Heart and The Black Cat exhibit an equal representation of irony, each contributing 25% to the overall count.
3.2.1 Verbal irony in The Cask of Amontillado
In the story, the first instance of irony occurs when Montresor encounters Fortunato and exclaims, "My dear Fortunato, you are luckily met." This statement is steeped in verbal irony, as the situation is far from fortunate for Fortunato While Montresor feigns delight at their meeting, his true feelings reveal a sinister intention—he is pleased to see Fortunato because it allows him to execute his plan for revenge This contrast between Montresor's words and his actual intent highlights the story's underlying tension and sets the stage for the unfolding drama.
"Let's return," I insisted, "your health is too valuable You are wealthy, respected, and loved; you embody happiness, much like I once did Your absence would be deeply felt My own well-being is of little concern We must go back; I cannot bear the thought of you falling ill Additionally, there's Luchesi to consider."
―Enough,‖ he said; ―the cough‘s a mere nothing; it will not kill me I shall not die of a cough.‖
Montresor employs irony in his interactions with Fortunato, feigning concern for his health and urging him to retreat from the damp catacombs to protect his cough The phrase "True—true" serves to intensify the ironic tone of his words Ultimately, the irony lies in the reality that Fortunato's fate is sealed not by his cough, but by Montresor's sinister intentions to entomb him alive.
(3) ―I drink,‖ he said, ―to the buried that repose around us.‖
―And I to your long life.‖ (86-87, p 3)
In a chilling twist of irony, Montresor toasts to Fortunato's long life, while secretly wishing for his imminent death, as Fortunato remains blissfully unaware that he is about to join the ranks of the dead in the catacombs This dark irony heightens the horror of the unfolding events, showcasing Poe's mastery in creating a sense of impending doom.
(4) ―You do not comprehend?‖ he said
―Then you are not of the brotherhood.‖
―You are not of the masons.‖ (113, p 4)
―Yes, yes," I said; ―yes, yes.‖
―It is this,‖ I answered, producing from beneath the folds of my roquelaire a trowel
In a striking example of verbal and dramatic irony, Fortunato inquires if Montresor is a member of the Freemasons, a secretive social organization However, Montresor cleverly interprets "mason" to refer to a skilled stonecutter, a role he embodies later in the story when he entombs Fortunato alive The revelation of the trowel serves as a chilling symbol of Montresor's true intentions, highlighting the dramatic irony as readers grasp the sinister meaning behind Montresor's words.
In Edgar Allan Poe's narrative, the term "mason" carries a dual meaning, as Montresor intends to entomb Fortunato behind a brick wall using a trowel This creates a layer of verbal irony, as Montresor embodies the role of a mason by sealing Fortunato within the crypt, yet he subverts the traditional interpretation of the term that Fortunato assumes.
(5) Verbal irony in the story is exemplified by the statement of Montresor: In pace
In his tale, Montresor reveals the lasting impact of his crime, as he recounts it with mental clarity fifty years later, indicating that the memory has haunted him throughout the years The fear of being buried alive resonates deeply, and the constant jingling of bells symbolizes the inescapable weight of his guilt, suggesting that his conscience has never allowed him to find peace.
3.2.2 Verbal irony in The Tell- Tale Heart
(6) I loved the old man (7-8, p.1) ―I was never kinder to the old man than during the whole week before I killed him.‖ (15-16, p.1)
In this scene, the narrator expresses a deep love for the old man while simultaneously harboring a profound hatred for his eye, which he perceives as evil This obsession with the old man's eye consumes him day and night, leading him to contemplate murder as a means to eliminate his fear Ironically, he boasts about his love and kindness towards the old man even as he schemes to take his life, highlighting a stark contrast between his words and actions.
You may consider me mad, but true madness lacks awareness Witness how carefully and cleverly I executed my plan! Would a madman act with such wisdom? If you still doubt my sanity, my meticulous precautions for hiding the body will surely change your mind.
The narrator's repeated insistence on his sanity paradoxically highlights his madness, as his meticulous planning to murder the old man only reinforces this perception He rationalizes that killing is acceptable when provoked by discomfort and irritation, showcasing a distorted sense of normalcy The use of verbal irony amplifies the character's insanity, as he attempts to validate his clear-mindedness through his own irrational actions.
3.3.1 Situational irony in The Cask of Amontillado
Situational irony occurs when an event contradicts the expectations of the characters or readers Fortunato himself in the story contains irony when considering Montresor's plans for him
The title "The Cask of Amontillado" cleverly embodies situational irony, as the term "cask," referring to a wine barrel, shares its root with "casket," which signifies a coffin This linguistic connection suggests that the cask symbolizes Fortunato's eventual fate, transforming what seems to be a mere wine barrel into a metaphorical representation of his casket.
(9) Second situational irony is Fortunato's name The Italian name Fortunato means
THE CREATION OF IRONY IN EDGAR ALLAN POE’S
This chapter will explore the techniques for creating irony in Poe‟s short stories
Irony can be generated by twenty different techniques introduced by Muecke (1969)
The collected data reveals ten primary techniques in the art of irony, including five subtypes of symbols identified by Ngô Bích Thu (2014:59-70) Additionally, one of the three stylistically signaled ironies is utilized, along with three out of thirty-one ironic expressions formed through a combination of two distinct techniques For a comprehensive list of the techniques used to create irony, please refer to Appendix 3.
4.1 Frequency of use of techniques for creating irony in Poe’s short stories
1 Pretended advice to the victim 2
2 Pretended agreement with the victim 1
Table 4.1: Occurrence and Percentage of techniques for creating irony in Poe’s short stories
Table 4.1 indicates that stylistically signalled irony is the most prevalent technique in the three stories analyzed, with 15 occurrences, making up approximately 44% of the total ten techniques identified The remaining nine techniques account for 19 occurrences, or about 56% Notably, techniques such as pretended agreement with the victim, pretended advice or encouragement, innuendo, insinuation, and ambiguity were absent in both The Tell-Tale Heart and The Black Cat, indicating no ironic expressions of these types in these stories Furthermore, The Cask of Amontillado demonstrates a significant use of irony techniques, with 17 occurrences, representing 50% of the total techniques found across Poe's three selected stories, while The Tell-Tale Heart and The Black Cat show nearly identical occurrences of irony techniques.
9 and 8 expressions, equivalent to 26.5 % and 23.5 % respectively
4.2 Techniques for creating irony in Poe’s short stories
4.2.1 Pretended advice or encouragement to the victim
In "The Cask of Amontillado," Montresor feigns concern for Fortunato's health by suggesting they turn back due to the dampness of the catacombs, using reverse psychology to draw him deeper into danger When Fortunato toasts to the dead in the crypts, Montresor responds, "And I to your long life," highlighting his true intentions of impending murder rather than genuine goodwill.
4.2.2 Pretended agreement with the victim
As Fortunato descends into the catacomb, he dismisses his cough, assuring Montresor that it is harmless Montresor's response, "True—true," reveals his sinister knowledge of Fortunato's impending fate This exchange highlights Montresor's ulterior motive, as his agreement serves only to further his vengeful intentions.
In Edgar Allan Poe's "The Tell-Tale Heart," the narrator poses three rhetorical questions that reveal his unstable mental state: "How, then, am I mad?" "Ha! would a madman have been so wise as this?" and "I smiled, for what had I to fear?" Despite his insistence on his sanity, the narrator's increasingly erratic reasoning leads readers to conclude that he is, in fact, losing his grip on reality.
Poe uses several words and phrases from other languages for effect in―The Cask of
Amontillado‖ ―Nemo me impune lacessit‖ (94-96, p.4) is a Latin phrase meaning
Montresor firmly believes that no one can insult him without facing consequences Although the insult was directed at Fortunato, his foolishness prevents him from recognizing the impending punishment.
(4) ―You do not comprehend?‖ he said
―Then you are not of the brotherhood.‖
―You are not of the masons.‖ (113)
―Yes, yes," I said; ―yes, yes.‖
―It is this,‖ I answered, producing from beneath the folds of my roquelaire a trowel
The above words mason are quite ambiguous in―The Cask of Amontillado‖ A mason (113, p.4) that Fortunato means differs from a mason (116, p.5) that
The name Montresor cleverly alludes to the term "mason," highlighting Fortunato's ignorance of Montresor's true intentions Ultimately, Fortunato is unaware that Montresor will utilize a trowel to entomb him alive, revealing the dark twist in their relationship.
In "The Cask of Amontillado," the statements made by Montressor about Fortunato's fortunate encounter are deceptive, as Montressor's true intention is to murder Fortunato Additionally, the promised Amontillado does not exist; it serves merely as a lure in Montressor's sinister scheme.
False statement is also discovered in the occurrence of (6) I loved the old man (7-
8, p.1) in The Tell- Tale Heart, the narrator empathizes with the old man, while planning to kill him
In Edgar Allan Poe's "The Cask of Amontillado," the character Fortunato exhibits a profound internal contradiction when he reacts with laughter to Montresor's sinister intentions, exclaiming, “Ha! ha! ha! he! he! he! a very good joke, indeed an excellent jest” (178, p.6) This moment captures Fortunato's shock and confusion, blurring the line between humor and reality Ultimately, what he perceives as a jest is, in fact, Montresor's calculated act of revenge for past insults, highlighting the dark irony of the situation.
The character’s internal contradiction is also shown in (17) and (19) in The Black
In the story, the narrator's initial affection for his wife and pets gradually transforms into neglect and hatred, highlighting the irony between love and deliberate acts of cruelty After tragically killing his beloved cat, Pluto, he acquires another cat in a misguided attempt to alleviate his guilt, yet this new pet only serves as a painful reminder of his actions.
Edgar Allan Poe effectively employs irony by delving into the psychological landscapes of his characters In "The Cask of Amontillado," the narrator's motive for entombing Fortunato alive stems from a personal insult, highlighting the dark complexities of revenge Similarly, the act of murdering the old man in his other works underscores the profound depths of human emotion and moral conflict.
―The Tell-Tale Heart‖ is his obsession about his Evil eye, ―the eye of a vulture‖,
In "The Black Cat," the narrator's justification for murdering his beloved wife stems from her interference in his desire to kill the cat However, these misguided rationalizations are insufficient to justify such a heinous act Ultimately, it is the narrator's moral decay and mental instability that drive him to commit murder, highlighting the profound impact of psychological turmoil on one's actions.
Overstatement is a figure of speech that contains an exaggeration for emphasizing the truth of a statement (Cuddon, 1998) The first occurrence of overstatement is in
―The Cask of Amontillado‖ with ―The thousand injuries of Fortunato I had borne as I best could; but when he ventured upon insult, I vowed revenge‖ (1-2, p.1) The
Montresor's claim of having suffered "a thousand injuries" at the hands of Fortunato establishes a seemingly justified motive for revenge This hyperbolic expression parallels the exaggerated claims in Poe's "The Tell-Tale Heart," where the narrator insists, "I heard all things in the heaven and in the earth I heard many things in hell." The use of an unreliable narrator in both stories casts doubt on their credibility, while Poe's skillful overstatement enhances the irony of their situations.
Edgar Allan Poe skillfully employs various stylistic elements to craft irony in his writing, with a particular emphasis on symbolism, denouement, and deliberate word choice, which prominently enhance the depth of his works.
In "The Cask of Amontillado," Edgar Allan Poe uses the name Fortunato, which means "fortunate" in Italian, as a powerful symbol that contrasts with the character's true fate Despite his name suggesting good fortune, Fortunato ultimately becomes an unfortunate victim in the story, highlighting the irony of his situation.
Montresor‟s avenge just due to insulting Montresor
The second symbol comes from the Item- symbol The words cask from the title of