The Plan (Dramatic Irony)
Lysistrata's whole plan, which she lays out to the women she's assembled, marks an instance of dramatic irony, in which the audience is privy to a plot detail that the men are not. The audience knows the women's plan before any of their husbands do.
The Women Battle with Kitchen Items (Situational Irony)
When the magistrate comes to try and intimidate the women into giving up the Acropolis, the women rush out of the building and fight using "loaves of bread, strings of garlic, eggs, and kitchen utensils." In spite of their primitive and simple instruments, they manage to overcome the men, in an ironic twist.
The Plan (Situational Irony)
Lysistrata's plan is ironic in itself because it hinges on women using passive and feminine tools in order to stop a war. The very premise is a kind of punchline or understatement. When Calonice suggests that the women of Greece have no influence over politics or military policy, because "all we can do is lie around in slinky gowns, all made up and perfumed, wearing pretty little shoes," Lysistrata suggests that this will be precisely the key to their victory.
Myrrinha's Seduction (Situational Irony)
In Scene 4, Myrrinha—on Lysistrata's instruction—toys with the lustful Cinesias. She dresses in seductive clothing, sets up a bed for them, and even puts on perfume. Then, in the moment when they are about to have sex, she abandons the entire project, an ironic twist that leaves him even more desperate.
