One of the illustrious proses in eightieth decade is “A glass of hot Shat’h” belonging to Ahmad Azizi, which he writes to an ironic style and a blame and plain of idiotism of people of this period. Azizi’s art is in diction and apparition in the most wisdom circle for narrating altitude and bent of social life and encounter of multiple discourses. A blend of deep concepts, philosophy, mystic and wisdom, with words, structure and slangy comments show a kind of congruity with Hindi style in this book. Whilst dominant style of him is ironic that divides to two kinds: fine, wise and slangy. Contraptions and style illustrious because of language, literary and mental and contra, distinguish his style from other writers. And one of the contraptions style of him is inter stream circulation of mind of space of story to prose different with story the language of Azizi in the parts of this book is scare, glassy and biting and the other parts is benign, quieter and exciter interior literate. Apparently irony have been used equipollent with some words like quip, allegory, derision, jape, raillery, curvet, bamboozlement; while all of these are and none of them aren’t. The ironic style in this book of Azizi isn’t ever in concept that Greeks have used, rather base on the difintion of Romans, it is a kind of evasion with extra literary value. Mike divided irony two kinds: behavior and position. Irony that is cognizant ironist would be called generally as verbal irony but because ironist can use of other appliances other than language, it would be better that we name it behavior irony. And other position irony or ironic event that hasn’t ironist but always has a prey and an intendant. So if divide to three kind; language, behavior and position’s irony; absolutely is more advised. Verbal irony also can be defined to two forms: 1-dictions or sentences in which author or poet uses arts like metaphor, eulogy. On the basis of one generic definition proposed by Mike ‘irony would be any word that on basis forms of fiction like simulation, metaphor, allegory, opacity and etc., forward several meanings to mind, so inclusive of all literature. All of literary devices become under collection of irony. But if irony would be said only to words that create a combination of pain and laugh, it will be considered as an exclusive literary art. 2-stories that have been written in them allegory of adroit bedlams and in the current era, Seyyed Hasan Hosseyni and Ahmad Azizi are among followers of this style. We can to divide position irony to two original kinds: 1-The position’s irony with human origin; for example honor Josef in spite of knowing the faults of his brothers toward him in the childhood, entertained them with honor; so much that his brothers after recognition of him feel more ashamed. This kind also divides into two kinds: real and dramatic. This section of Josef story is real position irony that is near to position irony with divinity origin and counts as bring up. 2- position irony with divinity origin: like destiny and allotment, divinity contraption in affect with ethnics or heathens.” And they devised, and God devised, and God is the best of devisers” (3:54) or “they desire to extinguish by their mouths, the light of God; but God will perfect his light, though the unbelievers be averse” (61:8). Azizi on the one hand shows an illustrious model of verbal irony in his sentences and propositions and on the other hand, with critic and piercing look at events and personality and social evolutions, displays position irony in written form. However, author persists to select “shat’h as the title of his book, because of the mystic attitude dominant in this book, because of the sharp and biting language and critique of social events with evolutions in modern period, it is nearer to irony rather than shat’h. His irony style divides to two kinds: fine learned, slangy and sometimes faint. His impression of Quran, in many of sentences is absolutely modern and ingenious style. One of his contraptions in this book is stream of consciousness to non-fiction prose. His language in the section related to discourse analysis is very crenelated, acrid and sharp, detrimental and rapturous. And contrariwise in the writings related to dialogue with God, mystic ones or celebration of one character, he has a benign, calmative and excitant of inner sentiments language
