INTRODUCTION
The first thing to notice about this model is that it has three parts: an introduction, a body, and a conclusion. The introductory paragraph has a single sentence which orients the reader by giving the title of the story, the name of the author, and a statement of a main idea.
BODY
DEFINITION
After this the writer defines the term "irony." The information taken from a library source is enclosed in quotation marks, and the source is documented in the parentheses at the end of the sentence. The first time the source is cited, the author's name and page number are given; the second time the source is referred to, only the page number is given. Full bibliographic information is given at the bottom of the page.
EVIDENCE
Following the introduction comes the body of the paper. In the body, the writer explains the irony in the story. This is done by presenting quotations from the story which illustrate the ironic contrast between the real role of the Englishmen as prisoners and their seeming role as guests. The writer integrates the quotations into his own sentences and explains their relevance. Each of these paragraphs is introduced by a topic sentence which points to the specific focus of that paragraph.
CONCLUSION
The concluding paragraph ties up the discussion by referring back to the main idea stated in the first paragraph and by quoting the narrator's final statement about the impact the experience had on him. Giving the narrator's last words provides a sense of completeness to the writing.
DOCUMENTATION
The last element of the essay is a works cited which gives complete bibliographic information for the two sources used following the guidelines of the Modern Languages association. The items are arranged in alphabetical order. Information about the story by Frank O' Conner comes first. The model follows the format for a work from an anthology. The second item is for the literary handbook. The information here is presented according to the model for a work by three authors.GENERAL PRINCIPLES
What are the general principles illustrated in this model?1. Begin by orienting the reader.
2. State your main idea at the beginning.
3. Use topic sentences to tell the reader what the paragraphs will be about.
4. Carefully select your evidence and introduce it within your own sentences.
5. Don't just give the evidence, but comment on it; explain to the reader what it means in relation to the point you are making.
6. Have a definite ending to your writing. Often this can be achieved by referring back to your main idea sentence at the beginning.
In both life and literature, irony exists when there is a contrast between expectation and reality. Verbal irony is defined as "a figure of speech in which the actual intent is expressed in words which carry the opposite meaning" (Thrall 248).In dramatic irony there is a contrast between a character's perception of a situation and the actual facts. Often "some of the actors on the stage or some of the characters in a story are ‘blind' to facts known to the spectator or reader" (155) . The short story "Guests of the Nation" by Frank O'Connor illustrates both types of irony.
The title of the story, "Guests of the Nation," is an example of verbal irony. In the story, the two Englishmen, Belcher and Hawkens, are not "guests," but rather prisoners of the Irish soldiers, Jeremiah Donovan, Noble, and the narrator, Bonaparte.
The contrast between their "real" status as prisoners and their "apparent" role as guests is developed throughout the story. The prisoners are treated more like guests in that they are not closely garded. The narrator says that "I couldn't at the time see the point of me and Noble guarding Belcher and Hawkins at all, for it was my belief that you could have planted that pair down anywhere from this to Claregalway and they'd have taken root there like a native weed" (591). Thus it was obvious that the men had no intention of trying to escape; they were behaving like guests. Because of the contented, nonthreatening demeanor of the two men, Bonaparte says that "after the first day or two we gave up all pretense of keeping a close eye on them" (591).
The English prisoners even began to be integrated into the community. Because they were "decent chaps," they were allowed to attend social affairs and were taught some Irish dances. At the home where they stayed, "Belcher got off with the old woman of the house" even though she was "a great warrant to scold, and cranky" too. However, before she could show her hostility, Belcher, had made her" his friend for life" by cutting kindling for her (591). Thus, he ingratiated himself with the old woman and was welcomed as a guest.
The relations between the English prisoners and the Irish soldiers was not just relaxed but actually friendly. In the evening, Belcher "would shift his long legs out of the ashes and say ‘Well, chums, what about it?' signaling the time had come to play cards (590). And one of the Irish soldiers would respond "All right chum" and they would set up to play. Thus, the English prisoners were treated in a cordial manner by their captors.
The depiction of the friendly relationship between the English prisoners and the Irish soldiers creates the background against which the sudden and brutal executions stand in sharp contrast, emphasizing the bitter irony of the title. But within the broad context of the irony signaled by the title, there is a specific instance of dramatic irony as well. This occurs when Jeremiah Donovan tells Bonaparte that Belcher and Hawkins will be shot if Irish prisoners held by the English are executed. This revelation is made one night when Donovan says to Bonaparte, "‘I thought you knew we were keeping them as hostages'" adding that "‘now they've talking of shooting them. If they shoot our prisoners, we'll shoot theirs'" (593).
The dramatic irony is twofold here. Bonaparte and Noble did not know that the prisoners were likely to be shot, thus they are made victims of the friendly feeling they have developed toward the Englishmen. Bonaparte protests to Donovan: "‘ Wasn't it very unforseen of you not to warn Noble and myself of that in the beginning'" (593). But Donovan's revelation also creates the dramatic irony that Noble and Bonaparte now know what is likely to happen, while Belcher and Hawkins remain at ease, thinking themselves safe. In the end both Hawkins' futile appeal to the friendship of his "chums" and Belcher's resignation serve to emphasize the horror of the executions.
Thus, in "Guests of the Nation," Frank O'Connor uses irony to illustrate the conflict that soldiers feel when they recognize the humanity of their enemies and yet they are compelled to kill them. O'Connor suggests the soul destroying impact of the conflict in his final words: "And anything that happened to me afterwards, I never felt the same about again" (598).
O'Connor, Frank. "Guests of the Nation." Literature for Composition. 4th ed. Sylvan Barnet, et. al. New York: Harper Collins, 1996. 590-598.
Thrall, William flint, Addison Hibbard, and Hugh Holman. A Handbook to Literature. New York: Odyssey, 1960.