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This paper attampts to analyze the functions of the capacities of language from the perspective of verbal irony in the representation of historical events in the two plays "Jangnameh Golaman" and "Fathnameh Kallat" based on the idea of Meta historiography. Accordingly, we first attempt to provide a definition of Meta historiography and the importance of irony as an important component in Meta historiography, and then elaborate on the types of verbal irony and its function in the dramatic text and analyze the components in the study samples. Therefore, the framework of the discussion is a combination of the linguistic and stylistic studies of Deirdre Wilson and Hayden White. The method of this research is descriptive and analytical and it is possible to analyze the components with sample mining. The findings of this study show that in two plays by Bahram Beizaie, a verbal irony is a linguistic device for employ the potential capacities of language and a tool for historical implications. This linguistic capacity manifests itself sometimes in parodic and significant statements and sometimes in the interpretive and analytical context of the text, given that the mechanism of creating irony and sence in the play's text cannot be extrapolated without considering the meta text of history

1. Introduction
Dramatic literature is one of the most critical fields in dealing with historical and social themes. It has undergone extensive developments in line with new theories in other areas of science. One of the latest theories that have a linguistic approach is the idea of metahistory. This theory, described by the American philosopher and historian Hayden White, has received much attention from scholars and researchers in recent years. It has become the basis of literary studies from a linguistic perspective. This research, to explain the idea of metahistory from the standpoint of linguistic practices, tries to answer how verbal irony, as one of the main components in meta-history, leads to the representation and not the re-narration of history in Bahram Beyzai's plays. To this end, we first explain the idea of meta-history, verbal irony, and its types as basic features in meta-historiography. Within Wilson and Sperber's verbal ironic theory framework, we study the two plays Jangnameh Golaman and Fathnameh Kallat. 
Hayden White's idea of metahistoriography was a literary strategy for recreating history. Based on Nietzsche, White believed that there was a gap between facts and perceptions of truth, which was the source of human bitterness and frustration. This gap is an ironic and painful situation from which humanity is to find a way out, and he needs to find that way in himself. Meta-history is a way of extending and talking about this unbearable situation. In general, it has an expressive and rhetorical meaning, which is characterized by relying on the configuration of deep imaginative structures and the function of verbal terms. 
As a rhetorical figure, the irony is a conscious turn in this type of narrative history in such a way that no certainty can impose itself on history in the form of a definite interpretation. Hence, there are various reports and reflections about a weak narrative of an event. In this sense, the irony is a trick or rhetorical figure that can produce concepts and meanings in the deep layers of speech, and verbal irony, as the most common type of irony while using its imitative capacities and interpretive and analytical similarities, provides a basis for presenting various reports of past events; therefore history is freed from the shackles of imposing a particular narrative.
Wilson and Sperber consider the main feature of verbal irony to be its propositions, which are deliberately uttered by ironists, or they create semantic prominences as a linguistic technique. The first type is "parody," which is a paradox and is related to repetition in the form of language. In a way that there is often an element that has been exaggerated, and the second type is the echo of a word or action that the ironist interprets. Thus, there is always an intermediary between what is said or done and its representation.
In the metahistorical play, we are confronted with ironic expression, so the irony is expressed through two levels of verbal speech and linguistic style. In this sense, language has a vast capacity to deal with historical events. This research method is descriptive and analytical, and it has made it possible to analyze the components by sampling. In this research, based on two plays by Bahram Beyzai, a verbal irony has been studied from the two perspectives of speech and linguistic style. Findings in this study show that the meaning of the word is never limited to parts of speech, but along with body language, tone, and sounds, it forms a kind of expression that is related to the experiences of the audience and therefore, each audience will have their perception and interpretation of it. 
In the Jangnameh Golaman, although the excerpts are uttered for the purpose of laughter, they are placed in a verbal structure and in relation to the meta-text of history, reflecting a hidden meaning that is deeply connected to the historical and cultural mechanisms of a nation. From an interpretive point of view, we are faced with a kind of linguistic style in which the text is open to interpretation. Thus, understanding this type of irony is in the light of the understanding of the text in the context in which the text is read (or watched). From a metahistorical point of view, this type of irony creates constant references between the present and the past and considers history as the hypertext in which the original text is formed. In this sense, in Fathnameh Kallat, concepts are constructed concerning the presuppositions and context of the text, but it is not conveyed only through verbal propositions, but it ironically depicts and expresses an agonizing situation.
It seems necessary to mention two points. First, the study of metahistory, as well as verbal irony theories, shows that whether we encounter irony as a verbal proposition or as a linguistic prominence, we are, inevitably, beyond transcendence of grammar and syntax, and practical analysis of ironic discourses; because the ironic sense is not only constructed through the form of language but also in the intermediate relationship between the experiences of the audience and the text. Hence, there is no entirely rational applied model for ironic analysis. The second point is related to the development of this debate in dramatic literature, which can open new perspectives on the study of playwriting, especially the study of dramatic literature in Iran, which is very limited.

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Discourse space is a key element in conveying concepts in a play text. This article will look forward to answer this question how metaphors could be used in discourse about social and historical problems and their usage in play texts as a linguistic form. Hence we will use George Lakoff and Zoltan Kovecses views and then we will show how metaphors which are the building blocks of Language and Culture,  are used to help form the discourse space. Lakoff and Kovecses look to discourse space, as a result of interaction between mind, body and type of the culture that interactors live within. Hence in a play text, we will face a complex interaction between writer’s / audience mind in one hand, and experience and physical and mental abstraction on the other hand. Also the context where the play text is formed in, and the context where it is comprehend, are the key elements. This article will show how by using metaphors and cultural and historical contexts, Akbar Radi has managed to create a complex and deductive discourse space in Ofool text. So at first, we are facing linguistic metaphors which act in text structures (dialogues, atmospheres and characterizations), and in higher level, we are facing conceptual metaphors which act by making connection between play text origination and audience experiences that merge contextual discourse space into audience mind space which will result in a new discourse space.

Discourse space is one of the key elements in conveying concepts in any dramatic text. This article seeks to answer the question of how metaphors can be the subject of discourse on social and historical issues and what function they play in the play as a linguistic form.
Based on this statement, we have used the ideas of George Lakoff (1941) and Zoltan Kovecses (1946) and shown how metaphors, which are rooted in language and culture, help to shape the space of discourse. Lakoff and Kovecses see the space of discourse as the result of an interaction between the mind, body, and cultural context in which actors are present.
Thus, in a Dramatic text, we are faced a combination of the interaction between the writer's mind and the audience, as well as both physical and mental experiences and abstractions. Also, the context in which the play is formed and the context in which the play is understood are an essential element.
The results obtained in this article show that Akbar Raadi, using metaphors and cultural and historical contexts of the text, has created a multi-discourse and inferential atmosphere in the Ofool Play.
In this way, on one level we are confronted with linguistic metaphors that operate in the structure of the text (dialogues, atmosphere and characterization), and on a higher level we are dealing with conceptual metaphors that operate through the relationship between the objectivity of the play and the audience's experiences. It integrates the text into the audience's mind and creates a new discourse.
One of the contexts of discourse is culture. Culture is a set of our shared understanding of the world, and frameworks form a major part of that understanding.
Based on the results obtained in this study, frameworks have emerged from the interaction of metaphors and structure our perception of events. Metaphor in meta-historiography is not an array or literary industry, but a linguistic and discourse capacity.
In this respect, we are faced two spectrums of metaphor that represent one category of non-linguistic concepts (related to context and culture) and the other category of linguistic concepts (discourse space).
In the play entitled “ofool” by Akbar Radi , the native context and culture of Narestan are considered, by default. On the other hand, the discourse space in the play is the result of time, mental spaces, parts of culture and texture.
From a discursive point of view, parts of speech and actions play an essential role in the interpretation of events and the formation of concepts. Radi has made dramatic use of confrontations in the direction of discourse about the present and the past, and has tried to construct a form of discourse from different mental spaces, without seeking orientation toward a particular idea.
The basic atmosphere in the play of”ofool” is a broad historical and social context that is not even limited to Narestan or the climate of northern Iran.
The conceptual metaphors of "action is power" and "failure is ignorance", "understanding is freedom", "fighting against nature is oppression", "happiness is obedience" and similar metaphors are concepts that do not remain limited to the text of the play and they can be studied from a cognitive point of view and in the form of any other historical phenomenon in Iran.
As the conflict between Emad and Ascension is a metaphorical reference to the failure of the idea of ​​reform in the history of Iran. Meraj seems to have devoted all his efforts to building the school until the end of the play, but it is Emad who, by "transferring" the property to Kasmai, shows the main action (moving forward) and that he simply surrenders to the situation. Yes, Jahangir is Ascension.
Thus, the passive intellectual who until then had urged the people to wait, to come out of their "dark cocoons" and to use their "terrible power" is doomed to failure.
The evidence presented in this article shows that conceptual metaphors are more culturally and sociologically determined, and that the play, as a text that engages the audience's mental space more dynamically, is a mechanism between understanding abstract concepts and performing them