'Elements Of Irony In Native Son Essay\r'

'Elements of Irony in inhering Son Native Son paints a disturbing, harsh picture of keep inside the â€Å"Black Belt” of dinero in the 1940s. Wright uses irony; roughlytimes subtly and at other times obviously to shape the view of the reviewer and as a foreshadowing mechanism. From our sign mental picture to large’s death, the technique of irony sedulous by Wright is effective, and devastating. Our initial symbol which foreshadows the fate of our help is the â€Å"huge black rat” (5). The rat represents the feelings which Wright explores within larger.\r\nThe rat is killed right away, onwards it really has a chance, yet it is able to attack bigger before it is un off. By attacking instead of fleeing, the rat is caught and destroyed, untold like larger as the allegory progresses. lots like the rat, large teeters between the predatory (the initial response to the rat) and the hunted (the rat as killed by bigger). The fact that the rat is destroyed by Bigger makes this scene even more ironic. The idea of sightlessness permeates the novel in several ways.\r\nWe can knock against the psychological and emotional blindness of Bigger, the blindness to humankind by the hyper-religious Ma, and the blindness to the real role and ideals of the communist party by both Jan and bloody shame. possibly the vanquish use of irony is the physical blindness of Mrs. Dalton. Mrs. Dalton is the abridgment of blind; she has very sensitive senses (she notices the smell of alcoholic beverage in Mary’s room, saying: â€Å"You’re dead drunk! You stink with whiskey! ” (86)) unaccompanied she is unable to deal Bigger kill her daughter.\r\nHer unnecessary sensitive hearing and lack of sight accord Bigger the rea tidings and opportunity to smother Mary. Yet, the straightforward irony falls into the situation surrounding Mr. and Mrs. Dalton’s participation with groups such as the NAACP. While they rely that contri plainlyions of ping pong tables to inner city y come outhfulness will help, their insulting charity to Bigger, coupled with Mr. Dalton’s excessive rent charges, ultimately causes the death of their daughter. Bigger is the most ironic element of the entire novel.\r\nFrom his name, we require this character to make something out of himself, to escape from the ghettoes of Chicago and end up rich, successful and consequential. Wright does not include this. The idea that Bigger will be destroyed is planted into his own head and into the readers right away. The denomination of this character is a clever device employ by Wright, though it’s irony is bitter. Bigger is not ironic simply due to his name. His actions alike represent a sort of sick irony. Perhaps the saddest, sickest display of this is the rape of Bessie.\r\nWhile we are uncertain, and it would be impossible to prove that Bigger raped Mary prior to killing and decapitating her, by raping and murdering Bes sie, a portrayal of Bigger as the violent monster is created. This is main(prenominal) because it not only shapes the view of the public within the novel, but also that of the reader. Wright changes the tone stating: â€Å"He had through with(p) this. He had brought all this about” (239). Wright adjoinms to do this for a reason, to illustrate how easy it is for the opinion of Bigger to shift, but also to show what a man is adequate of when it is expected of him.\r\nThe irony is that Bigger has, in effect, make himself in by murdering and raping Bessie. He believes that by killing her and tossing her body down the air shaft he shall escape, though just the opposite occurs. Ma represents a religious and foreshadowing irony that follows her character end-to-end Native Son. When she warns Bigger that â€Å"the gallows is at the end of the route [he] is traveling”, she is foreshadowing the fate of her son by the end of the novel (9). She tells Bigger to acknowledge h is humans by killing (the rat), which manifests into his killing Bessie.\r\nThrough religion, however, we train the most obvious and devastating irony represent by Ma. She attempts to pray for the soul of her son, and gives him a woody cross to wear around his neck. This cross, particularly due to its construction, appears identical to the burning cross of the Klu Klux Klan which Bigger sees out his jail cell window. Ma has effectively false Bigger away from Christianity forever, in spite of her go for to do nothing other than save her son’s soul.\r\nBigger ends up feeling that he â€Å"can die without a cross.. . [that he] ain’t got no soul! ” (338) Irony follows Bigger throughout his life, and ultimately in his death. The introduction of Boris A. Max in Native Son represents a change; this is the number 1 time Bigger has been able to explore some of his feelings, and with a white Jewish man! It is important to look at Max as a Communist and a Jew, becau se this makes him suspect in the look of popular opinion. Max is able to ask Bigger questions which are uncomfortable, but which make him think, which finally make him a man.\r\nMax states: â€Å"You’re human, Bigger” (424). This is the only time that anyone really says anything of this sort to Bigger. Bigger recognizes this and makes intend of it, ironically, as he is about to be dress to death. It is a difficult and important change which Wright employs at this point. Bigger Thomas was doomed from the beginning of the novel. We could see this foreshadowed by the rat, we could quickly sense the irony in his name and his very being. The world in which Bigger Thomas lived was cruel, unyielding in its destruction.\r\nWe learn archean that Bigger could not beat his fate, and we can see this in David Buckley. The district attorney is able to vanquish Bigger and gain public acceptance by putting him to death. There is an ironic twist, if we look approve to the beginni ng of the novel. We can see Bigger breeding a sign with Buckley’s picture and the slogan, â€Å"YOU lav’T WIN! ” (13). Sadly, we find this to be true, with Bigger Thomas’s death by the novel’s end. Work Cited Wright, Richard. Native Son.\r\n'