Irony: Framing
There is irony embedded in every aspect of the framing of the story of Shamela. The "letters to the editor" are not real; they are written by Fielding in order to make fun of the also-fake letters Richardson affixed to his Pamela. The introduction by "Conny Keyber" is also fake, as Keyber is not a real person. Through all this ironic framing, the book suggests that Shamela is not real, and she is not really Pamela, and Pamela is not real.
Situational Irony: The Parson
Henrietta tells her daughter that the parson is one of the best men, owing to his profession and, concomitantly, his poverty. This is amusing and ironic, for the parson is decidedly not a good man. He fornicates with Shamela and sires a child out of wedlock, borrows money, whines and lies and manipulates, and generally acts in a very un-Christian manner.
Meta-irony
Earla A. Willpute writes of Fielding: "In Shamela, he implicates Richardson's moral taste in writing and the reading public's moral taste in consuming imprudent material such as Pamela. Art, as well as society, wants 'prudent and secure guides' which are not to be found in such moral examples as Pamela but, ironically enough, can be found in the burlesque Shamela." What she means by this is that the "moral" novel of Pamela is not really that moral at all, and it is the "immoral" Shamela that offers lessons in how not to behave.
Dramatic Irony: The Parson and the Squire
In the scene with the parson and the Squire on horseback/in the carriage, there is dramatic irony in the fact that we the reader know what Shamela feels about the parson and what she does with him once he is in the carriage, but the Squire does not, and gamely allows the parson to sit inside the carriage, inadvertently letting the man kiss his wife.
