Milne maintains a light and carefree tone throughout his stories,
even when the characters are in dire circumstances. Remember how it was funny
when Piglet met a Heffalump, even though our dear friend was terrified? That's
because Milne creates dry humor through irony—particularly dramatic irony.
Even though the narrator is "omniscient" (take a look at
the "Narrator Point of View" section for more detail) in that he can see
the perspective of all the characters, he is also limited in that he assumes the
perspective of the characters. In this way, Milne's tone is also very youthful,
For instance, Milne describes how Pooh falls into the deep pit. "Pooh
was so busy not looking where he was going that he stepped on a piece of the
Forest which had been left out by mistake" (House.3.31). Milne assumes
that Pooh's "not looking where he was going" is intentional, as Pooh
is "busy" with it. And the "piece of the Forest" is clearly
in the wrong place, left by some mysteriously thoughtless third party.
You see, being childlike, Milne's characters tend to be a little
bit egocentric. So when Milne adopts their perspectives, he ends up narrating
the world from their point of view too. Even though we, the audience, see
through Owl's feigned intelligence, our narrator accepts the characters' belief
that Owl is wise, taking his word for the idea that "Contradiction"
in the opposite of "Introduction" (House.Contradiction.1)
This allows Milne to write dryly, in spite of all the absurdity
that occurs. For example, only through Christopher Robin's perspective does he
ever state that Pooh is silly or ignorant. For the rest, he accepts Pooh's
twisted logic as completely reasonable. This dry tone is what probably makes
adults appreciate these stories as much as kids.