Dramatic Irony In The Age Of Innocence

Dramatic Irony In The age Of InnocenceDramatic caustic remark occurs when the rumourmongerator is aw atomic number 18 of past or future events that make it indulgent to recognize the contradiction in a characters speech or actions. This es judge will explore how and to what center the literary technique of hammy ridicule has been used in portraying the main issue of discord amongst characters and their respective societies in the novels The jump on of Innocence and The House of Mirth by Edith Wharton. This conflict is twain external and internal. At ms the alliance disapproves of the behaviour of the case-by-case and ostracizes the person or displays its displeasure, while at other cadences the character is in a dilemma whether to listen to the public panorama or the voice of his or her protest mind. This will be d sensation through a thorough literary examination of the industrial plant in question, and also by the reading of critics and Whartons own writings on her dickens novels. Wharton uses characters speech and actions, narrators comments and the events of the two novels to create dramatic irony. This helps in the take upance of key themes, characterization, plot progression and providing a twistingow into two different societies of top(prenominal) class novel York in the late 1800s.IntroductionNovels of tact allow the reader to delve into the worlds of contemporary cultures, providing a far more enriching experience than factual research. Edith Whartons works are attractive for their vividly descriptive prose and mildly derisive view of the societies/ cultures depicted. What problems plagued the egresswardly perfect upper class parvenue Yorkers of the late 19th century? In The House of Mirth, Lily baronet is torn between her innate morals and confides and the r come forbidden of the closete that she has been taught to take by public opinion, while in The Age of Innocence, Ellen Olenska and Newland genus Sagittarius are thro wn and twisted into turmoil, at successions resenting the constraints and petty troubles of their society and at other times obedience willingly to its guiding relegate. In studying the conflicts, it is possible to see the restrictive nature and other aspects of twain cultures -their ideals, the role of women, and their outlook on matters such as espousals and divorce. Since both rebels are members of the societies they criticise, readers are fit to regard society from the inside as well as the outside, as they mull over social norms. Throughout the novels, the reader is made to take cognizance of past and future events to feel the impact of a dissolveicular line or situation. Thus, Edith Wharton effectively uses dramatic irony to highlight one of the key issues in her novels-the clash between individual choice and societys unarticulate rules.Marriage and LoveIf she did not marry him?1Lily Bart asks herself as she pursues Percy Gryce. She is supposedly sure of him and sure of herself2, besides the if3in her mind is the first indication of her difference from societys searchations. The dramatic irony lies in the fact that the reader is well sure that Lily actually has no desire to marry Percy Gryce, but Lily herself is unaware of this fact. Ultimately, her own irony4cuts deeper5for she is the one who wanted the conjugation, and even it is she who consciously drives Gryce away. This nonessential marks the opening of the constant clash between what she wants to do and what she is expected to do. Lilys question after she loses Gryce-What wind of folly had driven her out again on those smuggled seas?6is ironic because the wind of folly7is none other than herself. The metaphor also reveals the frivolity of society, as the journey of life history without the comfort of money and a husband is considered dark seas8. It portrays the extent of the womens dependence on men. The issue of marriage arises erstwhile more when Rosedale asks for Lilys hand du ring her exclusion from society. Lily has to stop and consider that, in the stress of her other anxieties, as a breathless momentaneous may have to pause at the cross-roads and try to decide coolly which turn to take.9The simile downs out the tension in the situation and there is a clear conflict between Lilys intuitive repulsion10and years of social discipline11. Ironically, it was earlier Rosedale who was dependant on Lily to give him a permit into society. the authority of society is highlighted here-it can make or break a person. Rosedale eventually rejects Lily, as in the time that accruees between his proposal and her answer, he had mounted nearer to the goal, while she had lost the agent to abbreviate the rest go of the way.12Achieving a position in society is represented as a destination the steps represent the progress of characters. The importance of social stand up is brought out and the unexpected turn of events creates irony since the reader is able to compare Lilys desperation with her previous dismissal of Rosedale. Lily realizes this, and completes Rosedales remark of Then you thought you could do get a bend now-13with You think you can?14. The sharp dramatic irony shows Lilys descent in society and the materialistic attitudes of spate. They are willing to give second priority to sock and friendship for the sake of appearances. The caesura shows that Rosedale is ashamed of the shallowness that he is now a part of. In a twist of cosmic irony, it is the person she snubs who helps her in her time of need. When Lily visits Selden, she smiles, recognizing the irony in the situation. Then she had planned to marry Percy Gryce-what was it she was planning now?15The reader can nock the similarity in Lilys situation now and a year ago-marriage is her only way out, and she is standing in Seldens living room. The reader wonders if she will finally bow to the dictates of society and marry Rosedale or tread her own path. Throughout the course of the book, Lily also struggles with the feelings that she has for Selden, a man not rich enough and who does not bang enough about high society to be of value in Lilys social climb. They share a conversation, and Selden passes his judgement on Lilys pursuit of Gryce and all the things she is striving for through it-money, name and a social life. She sums up Then the best you can say for me is, that after struggling to get them I probably shant bid them?16What a miserable future you foresee for me17In a cruel twist of dramatic irony, his lecture foreshadow Lilys future. Selden is seen as an intuitive character who can see through Lilys ambitions. He foresaw that I should elicit hateful to myself18she tells Gerty Farish. Lilys true character is revealed through her exclamation. She grows disillusioned with the shallow, materialistic life her friends lead. This is seen again as she sets up a comparison between Gryce and Selden at the dinner table. Wharton brings out the irony of th e situation by highlight a fact, which the reader is well aware of it is this comparison which is her undoing19. The pull towards Selden that Lily feels distracts her from the task of marrying Gryce, which ultimately leaves her alone, and penniless. Lilys whirl with Rosedale become symbolic in the light of her earlier walk with Selden, which represented an irresistible flight from conscionable such a climax as the present excursion was designed to bring about20. Lily herself points out the ironic contrast to her present situation21, thus creating dramatic irony. Ultimately, it is with a kind of sad irony that Selden resolves to declare his love to her the daytime after she dies, thinking, It was strange that it had not come to his lips sooner-that he had let her pass from him the evening before without macrocosm able to speak it. moreover what did that matter, now that a new day had come? It was not a word for twilight, but for the morning.22The theme of forbidden love runs th rough The Age of Innocence as well, in which Ellen and bowman fall in love despite Archers engagement and ensuant marriage to Ellens cousin, whitethorn. This is first foreshadowed when Archer muses on Ellens alleged kinship with her husbands secretary, thinking that Rich and idle and decorative societies must produce many more such situations and there force even be one in which a woman naturally sensitive and aloof would still, from the force of circumstances, from sheer defencelessness and loneliness, be drawn into a tie inexcusable by conventional standards.23As the reader knows, but Archer does not, this is exactly what happens between Archer and Ellen later on in the novel. The author uses this thought of Archers to compare New York society to European ones and indirectly comment on it. The adjectives rich and idle and ornamental24also outline New York society, while naturally sensitive and aloof25characterize Ellen. The sentence provides about justification for the rel ationship that is to develop between the two characters, so that the reader is able to see their side as well as societys. whitethorn at first refuses to hasten her and Archers wedding, giving him a chance to leave her. May is the typical young New York woman, and the fact that it is her telling Archer that, when two mint really love distributively other26, there may be situations which make it right that they should-should go against public opinion27adds a flash of situational irony to the omniscient dramatic. May is speaking of Mrs. Thorley Rushworth, an older woman with whom Archer had had an affair. tensity is created when she does not mention names, simply referring to two people28, but Archer and the reader initially entrust that May has guessed about Ellen, for the advice is well-suited to Ellen and Archers situation. There is a hidden criticism of society in this ironic sentence, for although May says that society bends its rules for true love, it does not in the case of Ellen and Archer, choosing instead to send Ellen out of its affluent circles. Archer uses Mays refusal to implore Ellen to throw conventions away and be with him. Shes refused that gives me the right-29he begins, but Ellen cuts him off to strike him, as well as the reader, with a sharp bolt of dramatic irony. Ah, youve taught me what an ugly word that is,30she says, reminding the reader of Archers hold adherence to conventions when he convinces her not to get a divorce although she has a right to, by verbal expression that though legislation favours divorce, social usance dont.31This once again brings out the idea of a parliament governed by society, as well as old New Yorks attitude towards divorce. Ellen evidently understands New Yorkers weaken than one of their own. Finally, Archer meets Ellen alone a few years after they part. They sit at a restaurant, close together and safe and shut in yet so chained to their separate destinies that they might as well have been half the world apart.32Although their literal propinquity is apparent, Wharton reminds the reader that they are in completely different worlds figuratively. The verb chained33suggests unwillingness on both parts, while also hinting at the power that society holds over the individual. This type of dramatic irony, known as tragic irony, is drawn out yet again when Archer and Ellen sit next to from each one other in Mays brougham and interwoven with cosmic irony The precious moments were slipping away, but he had forgotten everything that he had meant to say to her and could only helplessly flock on the mystery of their remoteness and their proximity, which seemed to be symbolised by the fact of their sitting so close to each other, and yet being unable to see each others faces.34This sentence serves as an explanation of Whartons technique. She uses symbolism to convey Archer and Ellens predicament. The words remoteness35and proximity36are contrasting, highlighting the frustration and sorrow of the characters circumstances. Ellen as well as adds to the tragic irony, saying, Were near each other only if we stay far from each other.37This paradox also helps to bring out the more or less ridiculous wretchedness of the moment.The Struggle within the CharacterThe conflict between the individual and society is in part caused by the battle between two sides of Lilys character. While one part of her lusts after the money and power associated with New Yorks elite, another part of her yearns to be free from the clutches of materialism. At first, Selden is only aware that the qualities distinguishing her from the herd of her sex were chiefly external as though a fine glaze of beauty and fastidiousness had been applied to vulgar clay.38The simile shows Lilys superficiality and artificiality. Ironically, Lilys the reader soon recognizes difference is on the inside rather than the outside, when she voluntarily strays from the beaten path of marriage and comfort. Lily is also comp ared to an orchid when she works with a charitable organization. All this was in the natural order of things, and the orchid basking in its artificially created atmosphere could round the delicate curves of its petals undisturbed by the ice on the panes.39This, unfortunately, does not hold true for her. There is some verbal irony in the metaphor, but it is the dramatic irony that comes through strongest, for Lily, unlike the orchid, does not stick out untouched much longer. She has been feeling, and will continue to feel the burden of poverty. The metaphor also reflects the nature of society, for it is also like the orchid, untouched by reality and unable to see anything beyond its world. Wharton employs symbolism to unfurl the dramatic irony, as Lily decides to marry Gryce and thus enter inner societial circles, but thinks that her friends had earlier symbolized what she was gaining, now they s to a faultd for what she was giving up.40This disenchantment is further developed when Lily also feels a vague sense of failure, of an inner isolation41, and continues throughout the novel. Although Lily herself scarcely knew what she had been seeking42, the reader realizes that she desires freedom from societys constraints as she later refuses to be tied down by marriage despite having to remain poor and ostracized. The theme of freedom is touched upon here.Newland Archer too displays a mutinous streak, which is seen first when he visits Ellens home, although he thinks that she ought to know that a man whos just engaged doesnt spend his time calling on married women43. This is also the beginning of the irresistible pull that Ellen and Archer feel towards each other. The author also comments that, if Archer had cared to look within himself, he would have found there the press that his wife should be as wordly-wise and as eager to please as the married lady whose charms had held his regard44. Ironically, Ellen comes through as wordly-wise45and eager to please46, a nd not his real wife, May. The love between Ellen and Archer is foreshadowed at the opening of the novel. When Archer enters the florists, he sees a cluster of yellow roses. He had never seen any as sun-golden before, and his first impulse was to send them to May instead of the lilies. But they did not look like her-there was something too rich, too strong, in their fiery beauty.47He instead sends them to Ellen and his impulsive action foreshadows his attraction towards Ellen. Therefore, the flowers become symbols, the roses standing for Ellen and the lilies, with their purity and innocence, May. Archer feels that Nothing about his betrothed pleased him more than her resolute determination to subscribe to to its utmost limit that ritual of ignoring the unpleasant in which they had both been brought up.48Dramatic irony is created as he later comes to resent her exactly for this. When she warns him to close the window, saying, Youll catch your death.49, Archer recognizes the irony in her words and thinks, But Ive caught it already. I am dead-Ive been dead for months and months.50Archers change in beliefs shows his character development he now feels the humdrum of a society that cannot face reality. In yet another case of dramatic irony, Janey, Archers sister, is in the dark about past events. Immediately after Archer unsuccessfully attempts to persuade Ellen to marry him since May refuses to pre-pone the wedding, he receives a telegram from May agreeing to postpone the wedding. Archer realizes the twist of fate and throws back his head with a long laugh.51Janeys question, But, dearest, why do you keep on laughing?52further emphasises the irony by reiterate references to his laughter.The Direct Conflict with SocietyUltimately, Lily finds herself cast out of societal circles. Her destitution is ominously foreshadowed from the very beginning of the novel. Lawrence Selden is struck with the irony of suggesting to her such a life as his cousin Gertrude Farish had c hosen53. It is impossible to count on this sybarite as anything but rich. The reader, however, recognizes a different kind of irony-dramatic-for Lily does later lead a life even worse than the lonely, poverty-stricken Gertrude Farishs. However, her real troubles begin when she receives The Dorsets invitation to go abroad with them54. Although it seems to come as an almost miraculous release from c speed difficulties55, it is but a precursor to even greater difficulties. Lily does not yet know this, but the reader does. The same type of irony can be seen in the narrators comment that The fact that the money freed her temporarily from all minor obligations obscured her sense of the greater one it represented.56Lily later fall into debt and social disgrace due to her borrowing from Gus Trenor. When Lily returns to Bertha immediately before Bertha accuses her of having an affair with George Dorset, she is more than ever affright at the possible consequences of her long absence.57Iron ically, Lily innocently fears for Mrs. Dorsets reputation, when it is her own she should care for. There is some situational irony as well, since the reader also expects Bertha to be afraid for her reputation, but she is in full command of her usual faded elegance58. Pity for Lily is created, as her kind nature shines through, while Bertha is seen to be cunning and false. Dnouement-isnt that too big a word for such a small casualty?59she asks, little knowing that the incident is big enough for the word, while the reader shares this knowledge with Bertha. Berthas remark to Lily, I suppose I ought to say good morning60holds dramatic irony as the reader is informed that it is the day Lily is to be thrown out of her friends good graces. The author points this out through the phrase with a faint touch of irony61prior to Berthas sentence. Once again, Berthas malicious nature comes across. Lily finally finds herself probing the very depths of insignificance62and courting the approval of p eople she had disdained under other conditions63. Lily Bart, once a figure to arrest even the suburban traveller rushing to his last train64and create a general sense of commotion65by her mere presence, has been reduce to an inconspicuous speck. The reader is fully able to appreciate the tragic irony of the novels conclusion through the innocent contrast.Ellen Olenska clashes with the highly conventional New York setting from her arrival as she brings with her odd European ways and the outrage of having left her husband. Oh centuries and centuries so long, she says at first, that Im sure Im dead and buried, and this dear old place is heaven66Although she does not know it yet, New York turns out to be anything but heaven for Ellen later on as her ideals and life-style constantly clash with the conformist society. Ellens comment shows her to be a very liberal woman, expecting a society rooted in traditions to forget its differences with her, and creates some curiosity about her. A rcher warns her, with a flash of derision67, that New Yorks an awfully safe place68, but she takes him literally. The reader is able to discern his meaning, being aware of her subsequent exclusion from society. Ellen is evidently very innocent, emphasised by her exclamation on New York If you knew how I like it for just that-the straight-up-and-downness, and the big honest labels on everything69Little does she realize that most things remain unspoken here, such as the ritual of ignoring the unpleasant70. When Ellen finally realizes this, she admits, New York simply meant peace and freedom to me it was plan of attack home.71, but the reader is able to appreciate the dramatic irony in the narrators comment simple-hearted kindly New York, on whose larger charity she had apparently counted, was precisely the place where she could least hope for indulgence72. Ellen also believes that she is conforming to American ideas in asking for her freedom.73However, American ideas are the opposit e of this, as society is shocked at her desire for a divorce. There is no freedom for the women of New York, and the standing that a marriage brings is esteemed. Initially, Archer too expresses his forward thinking through his violent I hope she will74, but he is later the one who convinces her not to go ahead with it, saying our legislation favours divorce-our social customs dont.75The power that society holds over even an open-minded man and womens lack of freedom is manifest here. When the avant-garde der Luydens host Ellens welcoming party, Archer notices a number of the recalcitrant couples who had declined to meet her at Mrs. Lovell Mingotts.76Only when an powerful family supports Ellen, society rallies behind her. Its hypocrisy and shallowness is observable here, and also in Mr. van der Luydens remark its abject to expect people who are accustomed to the European courts to troubles themselves about our little republican distinctions.77Absurdly, this is exactly what they e xpect of Ellen as can be seen throughout the novel, from the time she is persuaded to remain married until the time she is sent out of New York. At one point, Mrs. Welland wonders, I wonder what her fate will be?78Archer adds the irony by reminding the reader of what her fate actually becomes towards the end of the novel What weve all contrived to make it79. Lawrence Lefferts had once remarked, our children will be marrying Beauforts bastards.80Archers son marries Fanny Beaufort, who had appeared in New York at eighteen, after the death of her parents, had won its heart much as Madame Olenska had won it thirty years earlier only instead of being distrustful and afraid of her, society took her joyfully for granted. She was pretty, amusing and accomplished what more did anyone want? Nobody was minute enough to take a rake up against her the half-forgotten facts of her fathers past and her own origin. Only the older people remembered so obscure an incident in the business life of New York