Balthazar
In Act One, the viceroy of Portugal mourns his son, Balthazar, whom he believes to be dead. However, the audience knows that Balthazar is still alive. This is an example of dramatic irony, in which one or more characters are unaware of certain information over the course of the play and which frequently results in misunderstandings, disaster, and in the case of tragedies, death.
Bel-Imperia and Horatio
In Act Two, Bel-Imperia and Horatio come together and declare their love for one another. The audience, however, is well aware that there is already a plot to destroy their relationship and to murder Horatio – a scheme that Lorenzo and Balthazar reveal in the same seen as they secretly watch the two lovers from afar.
Pedrigano's Pardon
When Pedrigano is imprisoned for murdering Serberine, he is confident that Lorenzo is going to grant him a pardon. Lorenzo even sends a page with a box allegedly containing that pardon. Pedrigano's words and actions are all based on his assumption that he will be pardoned, but the audience knows that the pardon does not exist and that Pedrigano will be hanged.
Revenge and Andrea
Dramatic irony actually frames the entire play, as Revenge, serving as the Chorus, frequently informs Don Andrea of what is to come. The audience therefore has more information about the true events of the play than the characters themselves, which helps create a sense of anticipation and suspense as the plot develops.
