The chieftain’s fake bravery
The narrator looks at a painting that has a disheveled chieftain dragging a little naked boy. He remarks that the chieftain is one of those who are the first to yell victory in war but when there is danger, they hurry to the rear. This is ironical because the chieftain is expected to lead his troops to war rather than hide when there is danger and leave the soldiers that are under his command to go to battle alone.
The narrator’s sexual relations with a nun
The narrator had sexual relations with a Catholic nun of the Order of Saint Vincent de Paul. This is situational irony because nuns take a vow of celibacy. The narrator and the nun are expected to know and uphold the vow of celibacy that the nun had taken.
Gabriele’s Extravagance
Gabriele D’Annunzio spends money extravagantly yet he does not have it. He ordered twelve fashionable waistcoats from the tailor with no intention of paying. His concierges had been taught to keep his creditors away as he entertained extravagantly in his house. This is situational irony because Gabriele is spending money that he does not have.
The narrator’s responsibility
The narrator is the head of state of an unnamed Caribbean country, yet he lives in Paris, France. This is a situational irony because, as the head of state, he is expected to live in his country so that he is able to attend to matters that arise competently; instead, he lives extravagantly in Paris.
Ofelia’s behavior
Ofelia lives with the narrator and he is her guardian. While the narrator is entertaining, Ofelia humbly asks for permission to attend a party which she is given. This is dramatic irony because the narrator knows that when there are no guests in the house, Ofelia is very demanding and insulting. Her polite demeanor in front of the guest is a façade.
