in literature, a plot device in which the audience's or reader's knowledge of events or individuals surpasses that of the characters. The words and actions of the characters therefore take on a different meaning for the audience or reader than they have for the play's characters. This may happen when, for example, a character reacts in an inappropriate or foolish way or when a character lacks self-awareness and thus acts under false assumptions.

The device abounds in works of tragedy. In the Oedipus cycle, for example, the audience knows that Oedipus's acts are tragic mistakes long before he recognizes his own errors. Later writers who mastered dramatic irony include William Shakespeare (Shakespeare, William) (as in Othello's trust of the treacherous Iago), Voltaire, Jonathan Swift (Swift, Jonathan), Henry Fielding (Fielding, Henry), Thomas Hardy (Hardy, Thomas), and Henry James (James, Henry). Dramatic irony can also be seen in such works as O. Henry (Henry, O.)'s short story “The Gift of the Magi.” In Anton Chekhov (Chekhov, Anton)'s story “Lady with the Dog,” an accomplished Don Juan engages in a routine flirtation only to find himself seduced into a passionate lifelong commitment to a woman who is no different from all the other number of women with whom he has flirted.