In the short story, "Guests of the Nation," Frank O'Connor uses irony to illustrate the conflict which men face when their roles as combatants force them to disregard the humanity of their enemies. 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 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).

Thrall, William flint, Addison Hibbard, and Hugh Holman. A Handbook to Literature. New York: Odyssey, 1960.

O'Connor, Frank. "Guests of the Nation." Literature for Composition. 4th ed. Sylvan Barnet, et. al. New York: Harper Collins, 1996. 590-598.