Understatement of Artwork (dramatic irony)
One humorous use of irony in What Maisie Knew is James' understated references to famous works of art. Since the narrator often describes things in the way Maisie, who is a child and lacks formal education, would see them, paintings usually regarded as worthy of awe and detailed discussion are fleetingly mentioned. For example, in Chapter 13 when Sir Claude has taken Maisie on an outing to the National Gallery, James writes, "Maisie sat beside him staring rather sightlessly at a roomful of pictures....with patches of gold and cataracts of purple, with stiff saints and angular angels, with ugly Madonnas and uglier babies..." (73). From the setting of the novel in the late 19th century and the description of these works of art, it is likely that Maisie is alluding to some of the best-respected works of the Italian Renaissance. Her ironic lack of appreciation of the works reminds the reader that they are being shown her childish perception of the world throughout the course of the novel.
Maisie's Perceptiveness (dramatic and situational irony)
Maisie's surprising perceptiveness is a constant and deep source of dramatic throughout the novel. While Maisie is only six years old at the beginning of the book and no older than ten or eleven by the end, she is often the most perceptive and wise character in a given scene. For example, before Maisie or Miss Overmore has met Sir Claude, who will play such a significant role in their lives, Maisie suggests that Sir Claude might become her tutor to make his relationship with Ida more proper. Maisie explains this to Miss Overmore by saying "Mightn't that make it right—as right as your being my governess makes it for you to be with papa?" (33). Miss Overmore blushes, showing her acknowledgment of the irony that Maisie understands so much about the nature of both her relationship with Beale and Sir Claude's with Ida. Indeed, when Miss Overmore protests, saying she is "a real governess" (33), it further underscores how Maisie understands the parallel between the relationships better than Miss Overmore herself.
Maisie as a "Duenna" (situational and dramatic irony)
In Chapter 8, James creates an ironic role reversal between Maisie and Miss Overmore. James writes that once Miss Overmore and Beale were married, they began to consider sending Maisie away to school since she "was no longer required at home as...a little duenna" (41). A duenna is a governess or chaperone, usually an older woman employed by Spanish families, who would accompany girls for propriety's sake. Therefore, James is implying that before Miss Overmore's marriage to Beale, Maisie was serving as Miss Overmore's governess rather than Miss Overmore serving as Maisie's. This shows how Maisie's social function in the situation is in fact the reverse of what we—and certainly, the other characters—would normally expect.
"Six Protections in All" (situational irony)
Perhaps the most tragic example of irony in Maisie's life is that she at once has so much and so little. Maisie thinks to herself in Chapter 12, "With two fathers, two mothers and two homes, six protections in all, she shouldn't know 'wherever' to go" (66). Even though she has more parental figures than most children, and even though many of these guardians have homes and money that could be used to raise her, because of perpetual squabbles over custody Maisie does not feel a sense of safety and stability. Indeed, Mrs. Wix even calls Maisie a "wretched homeless child" (68), showing that other characters recognize the irony of Maisie having many parents and homes but no sense of belonging to any of them.
