Sam Shepard's use of irony in selected plays

Irony is a staple of most drama, and the plays of Sam Shepard discussed in this dissertation contain irony of several types: dramatic irony, irony of character, irony of situation, and verbal irony. The audience's understanding of Shepard's themes is increased through their recognition of his use of this technique because it helps them to recognize multiple levels of meaning. Furthermore, the irony helps readers to appreciate Shepard's characters and adds complexity to the plot. Shepard sometimes relies on the audience's awareness of both traditional myths and myths of American culture to develop irony in the plays. Among the important myths he explores are the incest taboo, the regeneration myth, the romanticized life of the cowboy, the glamour of the entertainment industry, the nurturing American family, and the value of scientific progress. As he developed as a playwright, his use of certain types of irony progressed from the more common forms, such as the irony of situation and verbal irony found in early plays including The Rock Garden, Cowboys #2, and Icarus's Mother, to the more complicated irony of character and dramatic irony of The Tooth of Crime, Angel City, Curse of the Starving Class, and Buried Child. In his most recent plays--Fool for Love, True West, and A Lie of the Mind--the ironic treatment of the myths believed by many members of American society reaches its fullest development. An understanding of how myth and irony work together in these selected plays enriches readers' awareness of Shepard's talents as a playwright and their knowledge of his themes.