Verbal Irony: “Hand-that-rocks-the-cradle” (22)
Benare’s nickname for Mrs. Kashikar is ironic since she is notably childless. At the same time, however, she is presented as a maternal figure, which adds a double layer of irony in that she wants children while her husband—the dominant marital partner—fulfills his paternalistic instincts through “uplifting the masses.”
Dramatic Irony: The Fictional Trial
The entire structure of the play is one steeped in irony. What is taking place is supposed to be a mock trial involving fictional charges of an uncommitted crime against an accused woman, portrayed by Leela Benare, but fiction blurs with reality as Benare finds her character and actions actually being put on trial. The audience comes to see, through the guise of a faux trial, the conditions of Benare's actual life.
Verbal Irony: Sukhatme
Benare that Sukhatme is "such an authority on the subject, even a desperate client won't go anywhere near him!" (22). Benare's snarky assessment (echoed by Ponkshe later) paints Sukhatme as a lawyer immensely proud of himself for no real reason—he does not actually secure many, if any, clients, and sits alone in his office. This explains why Sukhatme is such a voracious, indefatigable lawyer during the mock trial, as it is apparently the only time he'd be able to really do his job to the utmost.
Dramatic Irony: Samant
When Samant takes the stand, he is originally hesitant and confines himself only to facts; he has no interest in trying to hurt Benare or committing a sin by lying. Yet he is encouraged by the others to add more to his story, saying he saw Benare and Damle together. As he spins his fabrications, Mrs. Kashikar gushes, "oh, he's giving his evidence so well!" (58.) This is supremely ironic given the fact that this is not evidence: this is all a lie, all make-believe.
