Abstract

In contemporary literary culture there is a widespread belief that ironies and paradoxes are closely akin. This is due to the importance that is given to the use of language in contemporary estimations of literature. Ironies and paradoxes seem to embody the sorts of a linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric, and that differed significantly from their use in figurative theory. I therefore examine irony and paradox as verbal figures, noting their characteristic features and criteria, and, in particular, how they differ from one another. I argue that irony and paradox — as understood by Brooks — have important affinities with irony and paradox as figures, but that they must be regarded as quite distinct, both in figurative theory and in Brooks’ extended sense.