Pushkin is an unsurpassed master of literary jokes, practical jokes, puns, epigrams, and parodies. Wordplay, all kinds of hoaxes were the environment in which the literary tastes of the Pushkin era were formed. "And now a whole system of parody is being formed, from which the friendly literary society (Arzamas. - V. D.), which played quite a significant role in the formation of Russian literature " (Marchenko N. Signs of the sweet Old Times. Morals and life of the Pushkin era, Moscow, 2000, p. 248).

Pushkin's literary workshop offers a wide variety of techniques and means for creating the comic: from subtle irony, parody and auto-parody to sword-slashing political satire (see: Gasparov Jr., Smirin V. M. "Eugene Onegin" and "The House in Kolomna": parody and auto-parody in Pushkin // Tynyanov collection: The Second Tynyanov Readings. Riga, 1986, pp. 254-264).

Pushkin's talent as a satirist was especially clearly manifested in numerous epigrams and parodies, in fairy tales, in the "History of the village of Goryukhin".

Important style-forming means are humor, satire, and irony in the novel "Eugene Onegin". The dominant place of irony in the stylistic unity of "Eugene Onegin" has already attracted the attention of researchers (see: Lotman Yu. M. In the School of the Poetic word. Pushkin. Lermontov. Gogol, Moscow, 1988, p. 64).

To create the effect of irony, the poet uses all sorts of inconsistencies, inconsistencies. So, describing Lensky, Pushkin emphasizes the discrepancy between the poet's young age and his feigned disappointment: "He sang the faded color of life at almost the age of eighteen."

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In the characterization of the "shrewd" plagiarist Monsieur Triquet ("The poet is modest, though great") the concessional conjunction "at least" speaks of the vain pretensions of this dilettante, of his pomposity.

Martin Zadeki's fortune-telling book, the interpreter of dreams, which is popular among county young ladies, is grandiosely named: "this is a deep creation."

Sometimes the poet, describing his characters, uses historical or mythological names in order to create a comic effect. The reveller and dissolute drunkard Zaretsky, who managed to fall off his horse, "like zyuzya drunk", which is why he was captured by the French, Pushkin calls: "The newest Regulus, a god of honor", ironically likening the commander of Ancient Rome, famous for his steadfast behavior in captivity with enemies.

The conventionally poetic name Phyllida does not correspond in any way to the character of a lively and direct Olga: "Ah, listen. Lensky; but can't I see this Phyllida? The subject of thoughts, pen, tears, and rhymes et cetera?..."

Pushkin also makes extensive use of this method of creating irony, such as the clash in one context of stylistically heterogeneous vocabulary: "piit army"; "I sing a young friend And many of his quirks". This" mechanism of irony", which is" one of the main keys of the novel's style", was considered in sufficient detail by Yu. M. Lotman in this work. We will give an example of a parody of the language of romantic poetry with a contrasting laconic "translation" of Lensky's loquacious outpourings into ordinary colloquial language: "He thinks:" I will be her savior. I will not suffer the corrupter to tempt a young heart with Fire and sighs and praises; To sharpen the lily stalk with a despicable, poisonous worm; To make the two-morning flower wither even half-opened." All this meant, friends: I shoot with a friend."

Often Pushkin's irony is based on alogism - an unexpected turn in the course of reasoning, thoughts of a character or author, an unexpected combination of words. Thus, Lensky, describing Olga, already produces a comic effect by one sequence of enumerations: "Oh, dear, how much prettier Olga's shoulders are, what a chest! What a soul!.."

How much bitter irony there is in the unexpected conclusion of the lyrical digression: "Dear people are like this: We are obliged to caress them, love them, respect them sincerely And, according to the custom of the people, visit them on Christmas Or congratulate them by mail, So that they don't think about us the rest of the year..."

The author's irony is directed not only at the characters of the novel, but also at himself, and at the readers, and at their reaction: "God grant that in this book you are For entertainment, for a dream. For the heart, for magazine covers

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sshibok Though a grain could find"; " Go to the Neva banks. A newborn creation, And earn me a tribute of glory: Crooked talk, noise and abuse!".

In the XL stanza of chapter II, when talking about himself, the poet uses the technique of replacing the logically expected phrase "lover of poetry" with the antonymous "ignoramus": "Perhaps (flattering hope!). The future ignoramus will point out my famous portrait And say: that was a poet! " Another example of the author's brilliant self-irony is the XXXV stanza of chapter IV: "Yes, after a boring dinner, a neighbor wandered to me, Catching me unexpectedly by the floor. With a tragedy in the corner."

Pushkin turns to various methods of satire, creating images of county landowners-guests of the Larins. And first of all - the tradition of "talking" surnames coming from the XVIII century (here Skotinina, Petushkov, Brawlers, and Trifles). In this scene, the name day is a play on the ambiguity of the epithet ("Snores heavy Trifles With his heavy half": heavy "intoxicated" and heavy "obese"); the use of the word in a figurative sense ("And Flyanov, not quite healthy", i.e. under the influence of alcohol); alogism in characterization ("Gvozdin, the owner excellent. Owner of beggars men").

From ironic banter with oneself and the reader to social satire-this is the range of the comic in Eugene Onegin.

The means of creating it play an important functional role in the novel. Combinations of stylistically heterogeneous layers of vocabulary, the use of words in an unusual context, in an ironic sense create, as Yu. M. Lotman rightly noted, a "multiple point of view", which becomes the center of a kind of super-system (Lotman Yu. M.Edict, op. p. 67). Hence the ambiguity of the perception of Pushkin's text, the inexhaustibility of the novel, in which each new generation discovers a new content. The reason for this perception of "Eugene Onegin" largely lies in its style, in the originality of the comic.

Kirov

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