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The 129 pages that link to Dramatic irony, each with the reason it gives.

• John IrvingRelated: Irving’s plots often let readers recognize impending consequences before characters do.

• Literary deviceBroader topic: The audience’s greater knowledge makes a character’s actions carry double meaning.

• Maurice MaeterlinckRelated: His characters often sense danger without understanding its cause, while the audience recognizes the approaching tragedy.

• The HousemaidRelated: Uneven knowledge between characters and audience sharpens scenes of household tension.

• Three's CompanyRelated: Viewers often know the truth behind a misunderstanding while the landlords draw the wrong conclusion.

• Alan AyckbournRelated: Crossed conversations and hidden intentions let audiences anticipate his characters’ social disasters.

• AmélieRelated: The audience often sees Amélie’s hidden interventions before their beneficiaries do.

• As You Like ItRelated: The audience knows Ganymede is Rosalind while Orlando treats him as a male friend.

• Calvin and HobbesRelated: Scenes with Calvin and Hobbes often let readers perceive more than Calvin’s parents do.

• Ferenc MolnárRelated: His plots often let audiences recognize disguises or schemes before other characters do.

• Georges FeydeauRelated: The audience often sees a misunderstanding forming before the characters recognize it.

• Henri-Georges ClouzotRelated: Clouzot often makes unequal knowledge intensify dread around characters’ choices.

• J. B. PriestleyNarrower topic: Priestley uses unequal knowledge to make family confidence and moral blindness visible.

• Jean AnouilhRelated: Familiar myths and historical outcomes let Anouilh build tension from what audiences already know.

• Jean GiraudouxRelated: Familiar myths let his audiences recognize outcomes that characters still try to prevent.

• Russian rouletteRelated: Scenes involving the game often build tension around what characters and viewers know about the weapon.

• Tess of the d'UrbervillesRelated: The reader’s knowledge of Tess’s past makes Angel’s idealized expectations especially fraught.

• The ClassicRelated: The letters let the audience understand the past’s emotional stakes before Ji-hye fully does.

• Troilus and CressidaRelated: The audience sees the gap between reputations for honor and characters’ conduct.

• Willem Frederik HermansRelated: Readers often recognize dangers or contradictions that Hermans’s characters miss.

• Clarissa; or, The History of a Young LadyRelated: Readers can compare correspondents’ letters and recognize dangers that Clarissa cannot yet see.

• Horror and terrorRelated: Unequal knowledge can intensify terror by making danger seem imminent to the audience.

• Khaby LameRelated: The audience sees the obvious shortcut while the original video’s creator performs an unnecessarily complex method.

• M. Night ShyamalanRelated: His suspense often grows from gaps between a character’s understanding and the audience’s suspicions.

• Music of Star WarsRelated: A familiar theme can signal a character’s identity or fate before the scene confirms it.

• Pierre de MarivauxRelated: Disguises often let spectators recognize identities before characters do.

• R. C. SherriffRelated: The audience’s awareness of the war’s dangers deepens the tension in the officers’ conversations.

• Sławomir MrożekRelated: Mrożek’s characters often treat absurd rules as natural, while the audience sees their contradictions.

• Widow's BayRelated: Comedy and dread can arise when viewers recognize danger before the characters do.