The concept of “comic” comes from the Greek “koikуs” - “cheerful”, “funny” and from “komos” - a cheerful group of mummers at the rural festival of Dionysus in Ancient Greece and passed into the Russian language with the meaning “funny”.

We can give the following generalized scheme for creating the comic in fiction: objective laughter (funny) - means of the comic ( language means- phonetic, lexical, phraseological, grammatical means and non-linguistic means) - forms of the comic (humor, satire) - the result is laughter (comic) (Borev 1957:74).

All means of creating a comic can be divided into several groups: phonetic means; lexical means (tropes and the use of vernaculars, borrowings, etc.); morphological means (incorrect use of case forms, gender, etc.); syntactic means (use of stylistic figures: parallelism, ellipsis, repetition, gradation, etc.)

Phonetic means include, for example, the use of spelling irregularities, which helps authors give a capacious portrait of the narrator or hero.

Stylistic figures include anaphora, epiphora, parallelism, antithesis, gradation, inversion, rhetorical questions and appeals, polyunion and non-union, silence, etc.

Syntactic means - default, rhetorical questions, gradation, parallelism and antithesis.

Lexical means include all tropes as figurative and expressive means, as well as puns, paradoxes, irony, alogisms and malapropisms.

These are epithets - “words that define an object or action and emphasize some characteristic property, quality".

Comparisons are the comparison of two phenomena in order to explain one of them with the help of the other.

Metaphors are words or expressions that are used in figurative meaning based on the similarity in some respect of two objects or phenomena.

For creating comic effect hyperboles and litotes are often used - figurative expressions containing an exorbitant exaggeration (or understatement) of size, strength, meaning, etc.

Irony also refers to lexical means. Irony is “the use of a word or expression in the opposite sense to its literal meaning for the purpose of ridicule.”

Malapropisms - replacement of syllables and sounds that are similar in pronunciation

In addition, lexical means also include allegory, personification, periphrasis, etc. All of these means are paths.

However, only tropes do not completely determine the lexical means of creating comedy. This should also include the use of colloquial, special (professional), borrowed or dialect vocabulary.

We classified as morphological means cases when the author purposefully misuses grammatical categories for the purpose of creating comedy.

Pun [fr. calembour] - a play on words based on deliberate or involuntary ambiguity generated by homonymy or similarity of sound and causing a comic effect.

Alogism (from a - negative prefix and Greek logismos - mind) -

1) denial logical thinking as a means of achieving truth; irrationalism, mysticism, fideism oppose logic to intuition, faith or revelation, 2) in stylistics, a deliberate violation of logical connections in speech for the purpose of stylistic (including comic) effect.

Paradox - 1. A strange statement that diverges from generally accepted opinion, as well as an opinion that contradicts (sometimes only at first glance) common sense. Speak in paradoxes. 2. A phenomenon that seems incredible and unexpected, adj. paradoxical. ( Modern dictionary foreign words 1993)

The first attempts to classify wit go back to ancient times: they were made by Cicero and Quintilian. Cicero gave the first formal classification and divided all wit into two main types (Luke 1968:192).

1. The funny comes from the very content of the subject.

2. Verbal form wit, which includes:

ambiguity, unexpected conclusions, puns, unusual interpretations of proper names, proverbs, allegory, metaphors, irony.

In connection with the study of the theory of the comic in general aesthetically We should mention A. Makaryan’s book “On Satire”, in which the author, contrary to its title, talks more about the “comic”. The author talks about two types of comic words: witty and comic words. It seems, however, that wit is an object of a completely different field of study. As for comic words, they, according to Makaryan, are associated with ignorance, cultural backwardness, nervousness, etc. Trying to define groups of comic words, he writes: “Departures from the generally accepted use of the word: dialectisms, professionalisms, archaisms, neologisms, barbarisms, violation of semantic and grammatical connections - all this often gives the word a comic meaning” (Makaryan 1967:200).

However, in specific cases, the author experiences difficulties in distinguishing between the means and methods of the comic. Thus, the author considers the main sources of verbal comedy to be the disorder of thoughts and their logical design, poverty of thought, ornateness, pretentiousness of speech, disruption of the connection between remarks, a comic increase or decrease in intonation, loss of the thread of thought during a conversation, words expressing contradictory concepts, repetitions, comedy sounds and puns.

Comic effect of ordinary common words connected primarily with the possibilities of their metaphorization and polysemy. The comedy is enhanced by individual words when they are linked in different ways, acquiring an additional comic coloring in a comic environment, and with misunderstandings arising during dialogues and mutual remarks of the characters. Of course, the comic potential of words also manifests itself in the author’s language during the narrative, but the characters’ language has more wide possibilities to achieve artistic goals (Luk 1968:200).

Comic art is capable of revealing the comic potential of not only commonly used, emotional words, but also terms, terminological words and combinations. An important condition for the acquisition of comic coloring by lexical units is the comic environment, the unexpected connection of a word in the text with other words and expressions (Alexander, Richard 1997).

From the pages of Gogol's story stepped real people, not popular prints, not fakes, but living people with their sorrows and joys, anxieties and hopes. And, of course, the writer’s humor. It literally permeates the fabric of the story. The writer's skill is immense, inexhaustible: the ability to connect the incompatible, painting with words. V. G. Belinsky said: “We have a writer whose humorous talent had such a strong influence on all literature that he gave it a completely new direction.”

This research topic is very relevant and interesting. This year became an anniversary for the writer (1809). New and new readers, getting acquainted with Gogol’s works, never cease to admire the artist’s skill. His humor literally permeates the fabric of the stories.

“Evenings on a Farm Near Dikanka” is N.V. Gogol’s first book, which immediately won success and recognition. The author painted kind and attractive images of people from the people, at the same time, the writer’s terrible indignation was caused by spiritual emptiness and petty interests. In this work there is a manner inherent only to Gogol - to notice the sad behind the funny, “through the laughter visible to the world, the tears invisible to him." Therefore, scenes filled with lively humor, sunny laughter. With the help of humor, the author criticizes not everything in the person or phenomenon depicted, but only individual aspects .

While researching this topic, I asked people a question of different ages: “What emotions do N.V. Gogol’s works “May Night, or the Drowned Woman” and “The Night Before Christmas” evoke in you?” The answer was almost the same - this is humor, laughter caused by different scenes, funny words, actions of heroes.

The subject of research in the work is the cycle “Evenings on a farm near Dikanka” by N. V. Gogol, namely “May Night, or the Drowned Woman” and “The Night Before Christmas”

The object of study in the work were proverbs and sayings, words and phrases of different styles of vocabulary, elements artistic storytelling helping to create a comic effect.

Hypothesis: surprise, hyperbole, inconsistency and mixing of words and phrases of different styles entail the creation of a comic effect.

To create scientifically - research work The descriptive method was used - one of the most relevant in linguistics: language is constantly changing, and these changes need to be recorded. The linguistic method allows us to identify and trace the use of words, phrases, proverbs and sayings in different styles.

The purpose of the work is to identify and trace patterns in the use of words, phrases, proverbs and sayings, as well as elements of artistic storytelling that help create a comic effect in the works of N.V. Gogol.

Main objectives of the study:

1. Observe how words and phrases of different stylistic layers are combined.

2. Explore the combination of high, poetic vocabulary with common language.

3. Analyze the use of literary narrative elements: surprise, hyperbole.

4. Find out which words and phrases help create a comic effect.

5. Pay attention to how proverbs and sayings are used in a conversational style.

While working on this topic, I turned to G. P. Sokolova’s article “To a Lesson with N. V. Gogol”, analyzed N. V. Gogol’s collection “Evenings on a Farm near Dikanka”, namely the works “May Night, or the Drowned Woman” " and "The Night Before Christmas"

"Evenings on a Farm Near Dikanka"

“Evenings on a Farm near Dikanka” - the first book by N.V. Gogol, immediately won success and recognition. A. S. Pushkin wrote: “Everyone was delighted with this living description of the singing and dancing tribe, this fresh paintings Little Russian nature, this gaiety, simple-minded and at the same time crafty.” The author painted kind and attractive images of people from the people, at the same time, the writer’s terrible indignation was caused by spiritual emptiness.

This work contains a manner inherent only to Gogol - to notice the sad behind the funny, “through the laughter visible to the world, tears invisible to him.” Therefore, disturbing notes are woven into scenes filled with lively humor and sunny laughter. The author is trying to turn the unjust world upside down with the help of devastating satire. The author’s name was not on the book; instead, the title read: “Stories published by the asichnik Rudy Panko.” He looks like a simpleton, but in fact a wise and crafty farmer laughs at the authorities. For example, in “The Night Before Christmas,” the author, with the help of skillful satire, depicts a world dominated by callousness, self-interest, mental limitations, anger, and ill will.

Thus, drawing the image of Solokha, the author ridicules cunning, hypocrisy, and the desire to do mean things to people in order to satisfy their interests. She “bowed to everyone,” she was friendly with everyone, but she was most friendly with the Cossack Chub, who had a lot of linen in his chests, “eight stacks of bread always stood in front of his hut,” there were a lot of different animals in the yard, and the garden was densely sown vegetables, poppy seeds, sunflowers and tobacco. “Solokha thought it wouldn’t be superfluous to add all this to her household, thinking in advance about what order it would take when it passed into her hands.” And so that her plans would not be ruined in any way, she plotted all sorts of intrigues for the blacksmith Vakula, tried to quarrel him with Chub, so that “Vakula doesn’t drive up to his daughter and have time to take everything for himself.”

At the same time, the story also contains good-natured laughter, which we instantly distinguish from caustic, castigating laughter. With the help of humor, the author does not criticize everything in the person or phenomenon depicted, but only certain aspects. Therefore, humor contains not only ridicule, but also the author’s sympathy and sympathy.

This is that laughter where there is as much innocence as there is natural wisdom.

In the work, the pathos of folk and national feeling, expressed with exceptional insight, becomes close and publicly accessible to any reader at any historical time.

Features of spoken language

Colloquial speech is widely represented in fiction, while the author only creates a semblance of natural conversational speech. The writer carefully selects stylistic means characteristic of the conversational style. Conversational style speech allows for words and expressions that give communication a relaxed tone.

N.V. Gogol widely uses words with diminutive suffixes.

The word vernacular has several meanings. It is used both to name a variety of the Russian language, and for the stylistic qualification of one word in explanatory dictionaries with the mark “simple.”

As the name of a variety of the Russian language, the word VERSATILE means unstandardized speech, SIMPLE SPEECH, family-colloquial speech, free from any restrictions of prohibitions.

If earlier (before the 1997 revolution) the word VERSATILE denoted the speech of the illiterate (and illiterate) urban population, now vernacular has gone beyond the city limits and is observed in the communication of literate people in an informal situation.

What is so attractive about vernacular? Freedom in the choice of words and expressions, the ability to introduce into speech expressive words and phrases, nicknames, such as about which N.V. Gogol said: “And how accurate is everything that came out of the depths of Rus', where there are neither Germans nor Chukhon, nor any other tribes, but all a nugget, a lively and lively Russian mind that does not reach into its pocket for a word, does not hatch it like a hen chicks, but sticks it right away, like a passport to an eternal sock."

And one more statement by the writer about the accuracy of Russian folk words: “The word of a Briton will respond with heartfelt knowledge and wise knowledge of life; the short-lived word of a Frenchman will flash with a light dandy and scatter; the German will intricately come up with his own, not accessible to everyone, cleverly thin word; but there is no word that would be so sweepingly, briskly, so aptly spoken Russian word would burst from the very heart, so aptly spoken Russian word would boil and vibrate.”

The colloquial vocabulary denoting a negative or ironic assessment of any qualities of a person is especially diverse. Colloquial words often complement synonymous rows, including stylistically neutral, bookish and colloquial words. Some forms are found in fiction as a means of characterizing characters.

In addition to its direct function as a means of communication, colloquial speech also performs other functions: in fiction it is used to create a verbal portrait, to realistically depict the life of a particular person. social environment, in the author's narration serves as a means of stylization; when colliding with elements of book speech, it can create a comic effect. Let's take a closer look at individual parties colloquial speech.

Techniques of humorous storytelling to achieve a comic effect

In my work I tried to consider the following elements that create the comic effect:

1. Proverbs and sayings are the “boiling source of folk poetry.”

2. Reception of incompatibility. A combination of lofty, poetic vocabulary and common folk vocabulary.

3. The technique of hyperbole.

4. The technique of surprise. The thoughts and actions of the characters and the development of the plot may be unexpected.

5. The technique of inconsistency, which is created through contrast, contradiction: ugly - beautiful, insignificant - sublime.

Proverbs and sayings

Gogol widely used proverbs and sayings; he saw in them “the extraordinary completeness of the people’s mind, which knew how to make everything its weapon: irony, mockery, clarity, accuracy of pictorial consideration.” Gogol called proverbs and sayings “the boiling source of folk poetry.” This is due not only to the worldly wisdom reflected in them, but also to their aesthetic qualities, but also the merits of their language.

“What a beauty you are! Old as a bis. Kharya is all wrinkled, like an empty wallet.” And the distiller’s low structure was shaken again from loud laughter.” ("May Night, or the Drowned Woman")

“Hey! A pig got into the hut and put its paws on the table.” (“May Night, or the Drowned Woman”)

"God save you, matchmaker!" ("May Night, or the Drowned Woman")

“For a month, for no apparent reason, he danced in the sky, and assured the whole village with God.”

“It was necessary,” Chub continued, wiping his mustache with his sleeve, “some devil, so that he, the dog, wouldn’t have a chance to drink a glass of vodka in the morning, should have intervened!” Really, as if for a laugh, sitting in the hut on purpose, he looked out the window: "The night is a miracle! It's light, the snow is shining in the moonlight. Everything was visible as if it were day. I didn't have time to go out the door - and now, at least put out my eye!" (Christmas Eve")

“What else do you want? When he has honey, he needs a spoon! Go away, your hands are harder than iron. And you yourself smell of smoke. I think you’ve stained me all over with soot.” (Christmas Eve")

“However, a discerning eye would immediately see that it was not amazement that kept his head in one place for a long time. So only an old, experienced cat sometimes allows an inexperienced mouse to run around his tail; and meanwhile he quickly creates a plan on how to cut off its path into his hole. the lonely eye of the head was fixed on the window, and already the hand, having given a sign to the foreman, was holding onto the wooden handle of the door, and suddenly a cry arose in the street" ("May Night, or the Drowned Woman")

Reception of incompatibility

In the dictionary of the modern Russian language in the article, 16 meanings are given for the word exit, but the first one is: “walking, walking, leaving the room, leaving it.” Do they walk on all fours? This passage uses the technique of incompatibility.

“True, the volost clerk, leaving the tavern on all fours, saw that he had been dancing in the sky for no reason at all for a month, and assured the whole village of God of this; but the laymen shook their heads and even laughed at him.” (Christmas Eve")

“At this word, the hearts of our heroes seemed to merge into one, and this huge heart beat so hard that its uneven beating was not muffled even by the rattling lock. The doors opened, and the Head became pale as a sheet; the distiller felt the cold, and his hair , it seemed, they wanted to fly away to heaven; horror was depicted in the clerk’s face; the tens were rooted to the ground and were not able to close their open mouths: the sister-in-law stood in front of them.” ("May Night, or the Drowned Woman")

The epithets “Eagle, falcon” are usually used in oral folk art to characterize a hero and describe his appearance, while Gogol uses these words to create a comic effect, comparing incomparable things. These epithets do not in any way correlate with the hero himself and the words “his head is crooked, his lonely eye is a villain”

“And from that very time on, the head learned to lower his head wisely and importantly, stroke his long, curled mustache and cast a hawk-like glance from under his brows.” ("May Night, or the Drowned Woman")

“The head is crooked; but then his lonely eye is a villain and can see a pretty village woman far away. Not before, however, he points it at the pretty face until he takes a good look around to see if his sister-in-law is looking from where.” ("May Night, or the Drowned Woman")

“The head, like a master, sat in only a shirt and linen trousers. His eagle eye, like the evening sun, began to squint and fade little by little.” ("May Night, or the Drowned Woman")

Combination of lofty, poetic vocabulary with common folk

Gogol's ability to combine lofty, poetic vocabulary with common folk vocabulary, which is necessary to create memorable scenes and humorous paintings. A striking example is the following phrases.

“She’s all toys; but I stand in front of her like a fool and don’t take my eyes off her. And I would still stand in front of her, and I wouldn’t take my eyes off her! Wonderful girl! What wouldn’t I give to find out what she has on the heart of whom she loves! (Christmas Eve")

We see a mixture of different styles of vocabulary in other examples: lips, eyes, cheeks and here lips, eyes, cheeks

“Then she sat down on the bench and again looked in the mirror and began to straighten her braids on her head. She looked at her neck, at her new shirt, embroidered with silk, and a subtle feeling of self-satisfaction was expressed on her lips, on her fresh cheeks and shone in her eyes.” (Christmas Eve")

“Wonderful, beloved Oksana, let me kiss you!” said the encouraged blacksmith and pressed her to himself, intending to grab a kiss; but Oksana turned her cheeks, which were already at an inconspicuous distance from the blacksmith’s lips, and pushed him away.” (Christmas Eve")

The words “courageous” and “triumphant” do not really correspond to the appearance of the heroes and make us smile when we read:

But the weaver and godfather bravely defended the bag and forced her to retreat back. Before they had time to recover, the wife ran out into the hallway with a poker in her hands. She quickly grabbed her husband's hands with the poker and the weaver's back and was already standing near the sack. (Christmas Eve")

Meanwhile, the triumphant wife, having placed the kagan on the floor, untied the bag and looked into it. But, it’s true, her old eyes, which saw the bag so well, were deceived this time. (Christmas Eve")

Go, go, damn woman! This is not your property! - said the godfather, approaching. The wife began to work on the poker again, but at that time Chub crawled out of the bag and stood in the middle of the hallway, stretching like a man who had just awakened from long sleep. (Christmas Eve")

Synonyms for the word face: the first word is physiognomy, then mug, muzzle, mug, pug, mine, mug, snout, ruffle (rude simple), face (obsolete), etc. Gogol has the words face and face or face and mug are placed side by side, which achieves a comic effect.

“At times, on his face, whose beard and mustache the blizzard lathered with snow more quickly than any barber, tyrannically grabbing his victim by the nose, a semi-sweet mine appeared.” (Christmas Eve")

“Hello, Solokha!” said Chub, entering the hut. “Perhaps you weren’t expecting me, huh? Really, you weren’t? Maybe I got in the way?” continued Chub, showing a cheerful and significant look on his face. a face that made it known in advance that his clumsy head was working and getting ready to let out some caustic and intricate joke.” (Christmas Eve")

“Vinokur, taking advantage of the time, ran up to look this troublemaker in the face, but timidly backed away when he saw long beard and a terribly painted face." ("May Night, or the Drowned Woman")

“Have mercy, sir!” some shouted, bowing at their feet. “You should have seen what hari: God kill us, and were born and baptized - we have never seen such vile faces. How long before sin, sir, will they frighten a good man like that, that after that not a single woman will undertake to cause a commotion.” ("May Night, or the Drowned Woman")

Technique of hyperbolization

“Look, what a miracle!” - thought the blacksmith, his mouth open in surprise, and at the same time he noticed that the dumpling was creeping into his mouth, and he had already smeared his lips with sour cream. Having pushed away the dumpling and wiped his lips, the blacksmith began to think about what miracles there are in the world and what wisdom evil spirits bring a person to, noting that only Patsyuk could help him. (Christmas Eve")

Patsyuk “lived like a real Cossack: he worked nothing, slept three-quarters of the day, ate for six mowers and drank almost a whole bucket at a time” (The Night Before Christmas)

“This one is even lazier than Chub: he at least eats with a spoon, but this one doesn’t even want to raise his hands!” (Christmas Eve")

“After her father left, she spent a long time getting dressed up and pretentious in front of a small mirror in tin frames and could not stop admiring herself. “Why do people want to proclaim that I’m good?” she said, as if absentmindedly, just to talk about something chat with yourself. “People are lying, I’m not good at all.” But the fresh face that flashed in the mirror, alive in a child’s youth, with shiny black eyes and an inexpressibly pleasant smile that burned through the soul, suddenly proved the opposite. “Are my eyebrows and eyes black,” continued the beauty, without letting go of the mirror, “so good that they have no equal in the world? What’s good about this upturned nose? And in the cheeks? And in the lips? As if my black braids are good? Wow! You can be scared of them in the evening: they, like long snakes, twisted and twined around my head. I see now that I am not good at all! - and, moving the mirror a little further away from me, she cried out: “No, I’m good! Oh, how good! A miracle! What joy.” I will bring it to the one I will marry! How my husband will admire me! He won't remember himself. He will kiss me to death." (Christmas Eve")

The technique of surprise

The technique of surprise is characteristic of plot development.

“So, the devil wanted to take possession of Vakula’s soul, but he himself found himself under his power” (“The Night Before Christmas”)

Here, grabbing a twig, he gave him three blows, and the poor devil began to run, like a man who had just been steamed by an assessor. So, instead of deceiving, seducing and fooling others, the enemy human race I was fooled myself. ("Christmas Eve")

Acceptance of non-conformity

Most often, humor is built on the discrepancy between the external and the internal, for example, when the master, the rich Cossack Chub and the clerk want to be important persons, but find themselves in a comical situation. Reading the story, we laugh heartily at these “important” visitors to Solokha, who were caught in one bag, over their heads, could not control their hiccups and coughs, and found themselves exposed.

In the story we also see arrogant generals who obligingly fuss and bow to Potemkin; they “seemed to catch his every word and even the slightest movement so that they could now fly to fulfill it.”

Conclusion

Thus, having analyzed the works “The Night Before Christmas” and “May Night, or the Drowned Woman,” we came to the conclusion that with the help individual elements artistic narration N.V. Gogol achieves a comic effect.

We can conclude and confirm the hypothesis that:

1. There are many techniques for humorous storytelling, for example, surprise. The thoughts and actions of the characters and the development of the plot may be unexpected.

2. The device of inconsistency is created through contrast, contradiction: ugly - beautiful, insignificant - sublime, internal emptiness - appearance with a claim to significance

3. The technique of hyperbole

4. Gogol used proverbs and sayings widely; he saw in them “the extraordinary completeness of the people’s mind, which knew how to make everything its weapon: irony, mockery, clarity, accuracy of pictorial consideration.”

5. The technique of incompatibility is clearly used. Gogol managed to combine lofty, poetic vocabulary with popular vocabulary, which is necessary to create memorable scenes and humorous paintings.

Practical significance

This work can be used in literature lessons when studying the works of N.V. Gogol, namely, his works “The Night Before Christmas” and “May Night, or the Drowned Woman”. Also, the research material can be used when studying the topic “Proverbs and sayings”. In Russian language lessons, examples from the work can be used when studying the topic “Vocabulary”.

The comic effect of ordinary common words is associated primarily with the possibilities of their metaphorization and polysemy. The comedy is enhanced by individual words when they are linked in different ways, acquiring an additional comic coloring in a comic environment, and with misunderstandings arising during dialogues and mutual remarks of the characters. Of course, the comic possibilities of words also appear in the author’s language during the narrative, but the language of the characters has greater potential for achieving artistic goals.

The comic embraces satire and humor, which are equal forms of the comic.

In philological and aesthetic literature The techniques and means of the comic are often mixed and identified.

Comic means, along with linguistic ones, also include other means that cause laughter. The linguistic means of the comic are phonetic, lexical, phraseological and grammatical (morphological and syntactic) means.

Comic techniques are generated in different ways and are formed, first of all, by linguistic means.

Comic art is capable of revealing the comic potential of not only commonly used, emotional words, but also terms, terminological words and combinations. An important condition for the acquisition of comic coloring by lexical units is the comic environment, the unexpected connection of a word in the text with other words and expressions.
In prose, the possibilities of words in creating a comic effect, not counting ironic intonation, are as follows:

a) historical formation of the meaning of a certain part of lexical units in a comic quality;

b) unexpected polysemy, homonymy and synonymy of lexical units;

c) changing the stylistic conditions for the use of words belonging to different spheres.

Phraseological units serve to express the comic in three cases:

a) accompanied by ironic intonation;

b) historically formed in the language in a comic quality;

c) at successful combination with other words and expressions.

A significant role in the art of comedy is played by witticisms that are expressive and cause laughter.

The comic effect also plays an important role in relation to culture as a whole. Modern sociological research show that, on the one hand, it is capable of acting as an instrument for the destruction of traditions, on the other, preserving and supporting the existing system, which can be considered as the destructive and constructive functions of the comic.

1.2 Stylistic ways of expressing comic effect

There are such types of comic effect as humor, satire, grotesque, irony, caricature, parody, etc. This distinction of species comes from a mixture of forms and techniques of the comic. Grotesque, caricature, parody are included in the technique of hyperbole and together constitute a technique for deforming phenomena and characters, and also equally serve satire and humor.

“Humor (English humor - moral mood, from Latin humour - liquid: according to the ancient teaching about the relationship between the four bodily fluids, which determines the four temperaments, or characters), special kind comic effect ; the attitude of consciousness to an object, to individual phenomena and to the world as a whole, combining an externally comic interpretation with internal seriousness.” According to the etymology of the word, humor is deliberately “wilful”, “subjective”, personally determined, marked by the imprint of the “strange” state of mind of the “humorist” himself. In contrast to the actual comic interpretation, humor, reflecting, sets up a more thoughtful, serious attitude towards the subject of laughter, to comprehend its truth, despite funny oddities - in this humor is the opposite of ridiculing, destructive types of laughter.

In general, humor strives for a complex assessment, like life itself, free from the one-sidedness of generally accepted stereotypes. “On a deeper (serious) level, humor reveals the sublime behind the insignificant, wisdom behind the insane, the true nature of things behind the capricious, and the sad behind the funny.” Jean Paul, the first theorist of humor, likens it to a bird that flies to the sky with its tail up, never losing sight of the ground - an image that materializes both aspects of humor.

"Depending on the emotional tone and cultural level humor can be good-natured, cruel, friendly, rude, sad, touching, and the like.” The “fluid” nature of humor reveals a “protean” (Jean Paul) ability to take any form that corresponds to the mentality of any era, its historical “temper”, and is also expressed in the ability to be combined with any other types of laughter: transitional types of humor: ironic, witty, satirical, funny

1.2.2 Irony

Irony is translated from the Greek “eironeia”, literally “pretense”.

IN various areas knowledge, the comic effect is defined in different ways.

In stylistics - “an allegory expressing ridicule or slyness, when a word or statement acquires in the context of speech a meaning that is opposite to the literal meaning or denies it, casting doubt.”

Irony is reproach and contradiction under the guise of approval and agreement; a phenomenon is deliberately attributed a property that does not exist in it, but which should have been expected. Irony is usually referred to as tropes, less often as stylistic figures. A hint of pretense, the “key” to irony, is usually contained not in the expression itself, but in the context or intonation, and sometimes only in the situation of the utterance. Irony is one of the most important stylistic means of humor, satire, and grotesque. When ironic ridicule becomes angry, caustic mockery, it is called sarcasm.

Due to its intellectual conditioning and critical orientation, irony is close to satire; at the same time, a line is drawn between them, and irony is considered as a transitional form between satire and humor. According to this position, the object of irony is predominantly ignorance, while satire has a destructive character and creates intolerance towards the object of laughter and social injustice. “Irony is a means of unperturbed cold criticism.”

1.2.3 Satire

Satire (lat. satira, from the earlier satura - satura , literally - “a mixture, all sorts of things”), a type of comic; a merciless, destructive rethinking of the object of depiction (and criticism), resolved by laughter, overt or hidden, “reduced”; specific method artistic reproduction of reality, revealing it as something perverse, incongruous, internally inconsistent (substantive aspect) through funny, accusatory and ridiculing images (formal aspect).

In contrast to direct exposure, artistic satire seems to have a two-plot: the comic development of events in the foreground is predetermined by certain dramatic or tragic collisions in the “subtext”, in the sphere of the implied. Satire itself is characterized by a negative connotation of both plots - visible and hidden, while humor perceives them in positive tones, irony is a combination of an external positive plot and an internal negative one.

“Satire is an essential means of social struggle; the actual perception of satire in this capacity is a variable value, depending on historical, national and social circumstances.” But the more popular and universal the ideal in the name of which the satirist creates denying laughter, the “tenacious” the satire is, the higher its ability to be revived. The aesthetic “super task” of satire is to excite and revive the memory of the beautiful (good, truth, beauty), insulted by baseness, stupidity, and vice.

Satire retained the features of lyricism, but lost its genre definition and turned into a similarity literary kind, which determines the specifics of many genres: fables, epigrams, burlesque, pamphlets, feuilletons , satirical novel. Over the past half century, satire has invaded science fiction(O. Huxley, A. Asimov, K. Vonnegut, etc.).

2 Analysis of stories and highlighting levels of comic effect

Using examples of stories studied in the course work, it is clear that the comic effect was widely used by authors of the twentieth century at various levels. Therefore, the functioning of methods and techniques for expressing the comic effect at various text levels will be considered:

Plot level

Character level,

Supply level

Level of collocation.

Authors often use various means and techniques to create a comic effect at the plot level. The predominant means are irony and satire, and the techniques are metaphors, repetition, introductory constructions and new formations.

Using the example of OwenJohnson's story “The Great Pancake Record”, it is clear that even the title speaks of the frivolity of this “sports” record. It talks about how college boys were celebrated. Each of them had some kind of hobby in sports, but one day a new guy came to them who did not play any kind of sport. Johnny Smead only liked to eat and sleep. When the students ran out of money for food, they agreed with the shop owner that if Johnny ate more than 39 pancakes, he would feed them for free. The record was to eat more than anyone else in the entire existence of college.

“Forty-nine pancakes! Then, and only then, did they realize what had happened. They cheered Smeed, they sang his praises, they cheered again.

"Hungry Smeed's broken the record!"

Use of irony in in this case emphasizes the “significance” of this record for the college.

The work of Mikhail Zoshchenko is a unique phenomenon in Russian Soviet literature. The writer, in his own way, saw some of the characteristic processes of his contemporary reality, brought out under the blinding light of satire a gallery of characters who gave rise to the common concept of “Zoshchenov’s hero.” Being at the origins of Soviet satirical and humorous prose, he was the creator of an original comic novella, which continued in new historical conditions traditions of Gogol, Leskov, early Chekhov.

M. Zoshchenko's stories of the 20s are strikingly different from the works of others famous authors both his contemporaries and predecessors, and later ones. And the main difference lies in that inimitable, one might say, unique language, which the writer uses not on a whim and not because this is how the works acquire the most absurd coloring characteristic of satire. Most critics spoke negatively about Zoshchenko’s work, and the broken language was largely the reason for this.

“They usually think,” he wrote in 1929, “that I distort the “beautiful Russian language”, that for the sake of laughter I take words in a meaning that is not given to them in life, that I deliberately write in broken language in order to make the most respectable audience laugh .

This is not true. I distort almost nothing. I write in the language that the street now speaks and thinks. I say temporary, because I really write in such a temporary and parodic way.”

The writer tries to create the most comical character possible with the help of absurd, in our opinion, turns of phrase, words incorrectly pronounced and used in a completely inappropriate context, because the main figure of Zoshchenko’s work is a tradesman, poorly educated, dark, with petty, vulgar desires and a primitive philosophy of life .

One of characteristic features in Zoshchenko’s satire his heroes used foreign words, the meaning of which, of course, they, the heroes, only guessed due to their narrow outlook. So, for example, in the story “Victim of the Revolution,” the former countess was hysterical because of the loss of her gold watch, and often used the French expression comme ci comme ca, which translated means “so-so,” and it was completely inappropriate, which gave the dialogue a comical quality. and a ridiculous meaning:

• “Oh,” he says, “Efim, komsi-komsa, weren’t you the ones who stole my ladies’ watch, sprinkled with diamonds?”
• “What are you,” I say, “what are you, a former countess!” What, I say, do I need a lady’s watch if I’m a man! It's funny, I say. - Sorry for the expression.

And she's crying.

No,” he says, “no other way than you stole it, komsi-komsa.”

Moreover, it is also important to note that the heroes of the works, even despite their more or less noble origin, combine jargon with affected manners. Zoshchenko thereby points to ignorance, which there is no hope of eradicating in this generation.

In Zoshchenko's verbal comic system, the narrator's language is superimposed on the system of someone else's language. The hero’s desire to become close to the era is to introduce into his speech new, often incomprehensible and even foreign words that are used incorrectly and inappropriately, as if introducing life unknown to the narrator into the story. Often, comparing Soviet with foreign leads to the inclusion of foreign words and even entire sentences in foreign languages. Particularly impressive in this regard is the alternation of Russian and foreign words and phrases with the same meaning, for example: “The German kicked his head, they say, bite-dritte, please take it away, what are we talking about, it’s a pity or something” (“Product Quality” , 1927). “Put on a new blues tunic” (“Victoria Kazimirovna”) Or the use of foreign words in the Russian context: “It’s either lorigan or rose” (“Product Quality”, 1927). The use of words in an unusual meaning makes the reader laugh; the creation of a synonymous series that is unusual for the reader serves as a means of creating a comic effect. For example, reading the stories of M. Zoshchenko, we can analyze the following borrowing options:

The main reason is that there are too many foreign words in it [the Russian language]. Well, take French speech. Everything is good and clear. Keskese, mersi, comsi - all, please note, are purely French, natural, understandable words (M. Zoshchenko, “Monkey Language”).

Barbarisms denoting “who is this, thank you, so-so” are conveyed using the Russian alphabet. They differ in that they have a “foreign” appearance, which stands out sharply against the background of Russian vocabulary. These words are used in the text to give a comic effect to the story.

It was a very smart and intelligent conversation, but I, a person without higher education, understood their conversation with difficulty and flapped his ears (M. Zoshchenko, “Monkey Language”).

“Intelligent” barbarism, meaning “belonging to the intelligentsia, and also generally possessing great internal culture; characteristic of an intellectual” (Explanatory Dictionary of the Russian Language, ed. Ozhegov).

• - What, comrade, will this be a plenary meeting or what?
• “Plenary,” the neighbor answered casually.
• “Look,” the first one was surprised, “that’s why I’m looking, what is it?” As if it were plenary.
• “Yes, be calm,” the second one answered sternly. - Today it’s very plenary and the quorum has reached such a level - just hold on (M. Zoshchenko, “Monkey Language”).

The borrowed word “plenary”, which means “occurring with the participation of all members of a given organization, an elected body” (Explanatory Dictionary of the Russian Language, ed. Ozhegov). In this context, the phrase “ plenary session"conveys the comedy of the situation, as it makes it clear that the speakers have little idea of ​​the meaning of this word.

Exoticism “quorum”, meaning “official.” The number of participants in a meeting, meeting, sufficient to recognize its competence” (Explanatory Dictionary of the Russian Language, ed. Ozhegov), is conveyed using the Russian alphabet. Used in the text to express a comic effect. The main characters use the word “quorum” without thinking about its meaning and without observing lexical norms (such a quorum has been reached - just hold on)

• - ... But it’s somehow closer to me. Everything somehow, you know, comes out in them minimally on the essence of the day... Although I will say frankly that lately I have been quite permanent about these meetings. So, you know, the industry is going from empty to empty.
• “That’s not always the case,” the first objected. - If, of course, you look at it from the point of view. To enter, so to speak, into the point of view and from the point of view, then yes - the industry specifically.
• “Specifically, in fact,” the second one sternly corrected (M. Zoshchenko, “Monkey Language”).

Barbarism “permanently”, meaning “continuous, constantly ongoing” (Ushakov’s Explanatory Dictionary of the Russian Language), is conveyed by means of the Russian alphabet. In the text it is used in a meaning that is unusual for it, as a result of which the meaning of the sentence is misinterpreted. In this context, the word “permanently” introduces a satirical tone to the narrative; the author demonstrates the degree of illiteracy of people who consider themselves “intelligentsia”.

Exoticism “industry”, meaning “the same as industry. Heavy industry. Light industry" (Explanatory Dictionary of the Russian Language, ed. Ozhegov), gives the text a satirical flavor. The heroes of M. Zoshchenko's story use words of foreign origin that have entered the Russian language, without understanding their actual meaning. The inconsistency between the real meaning of the word and the meaning to which it is used in the text creates a comic effect in the narrative.

In the phrase “specifically actually” there is a stringing of meanings, since “actually” (from the English fact - reality, reality, essence) cannot be combined with the word “specifically”, which has a similar interpretation.

- ...Always, dear comrade. Especially if after the speeches the subsection is brewing minimally. Then there will be no discussion and shouting at a meeting (M. Zoshchenko, “Monkey Language”).

The borrowed word “discussion”, meaning “argument, discussion of something.” question at a meeting, in the press, in a conversation" (Explanatory Dictionary of the Russian Language, ed. Ozhegov), used in a sentence with lexical compatibility unusual for it, which characterizes interlocutors, heroes satirical story M. Zoshchenko, how few literate people are who do not think about the meaning and compatibility of borrowed words.

• - Who is this guy who came out there?
• -- This? Yes, this is the presidium. A very sharp man. And the speaker is the first. Always speaks sharply on the essence of the day (M. Zoshchenko “Monkey Language”).

Barbarism "presidium" has the meaning: 1. the governing body of an elected organization, public and scientific institution; 2. A group of people elected to conduct a meeting or conference (Explanatory Dictionary of the Russian Language, ed. Ozhegov). This word gives the story a comic tone by using it in a stylistic coloring that is unusual for it.

The word “orator”, which means “one who makes a speech, as well as a person who has the gift of eloquence”, cannot be combined with the word “first”, since this combinability does not correspond to the stylistic affiliation of the word “orator”.

Polta, they say, take him away.

Loktev, of course, immediately threw off the polta with the lady. And I, of course, stand in thought (M. Zoshchenko, “The Delights of Culture”).

The word "coat" denoting an element outerwear, belongs to the category of unchangeable nouns. Thus, the form of the word “polta” used in the story “The Delights of Culture” is an incorrect grammatical form, while creating the effect of a comical situation, demonstrating the degree of illiteracy of the speaker and his social status.

“I’d better go home,” he says. “I,” he says, “can’t have gentlemen walking next to me in their shirts.”<…>(M. Zoshchenko, “The Delights of Culture”).

The word "cavalier", borrowed from Italian language, has one of the meanings of “a man who engages and entertains a lady in society.” The word “cavalier” is stylistically inconsistent with the context, which leads to a violation of lexical integrity. This technique helps the author to reveal the comical situation in which the main characters find themselves, and also helps to show the social situation in the country at the beginning of the 20th century.

Some foreigners wear a monocle in their eyes for full endurance. They say, we won’t drop this piece of glass and we won’t blink, no matter what happens (M. Zoshchenko, “Foreigners”).

The word "monocle", which came into Russian from French, has the meaning of “optical round glass for one eye, inserted into the eye socket and used (in the bourgeois-noble circle) instead of glasses or pince-nez.” The author uses the name of this subject, knowing in advance that many of his readers may have no idea about it. Due to this ignorance, the comic effect is created.

So, I say, it happened at a banquet. There may be millionaires all around. Ford is sitting on a chair. And various others (M. Zoshchenko, “Weak container”).

The word "banquet", borrowed from French, means "solemn dinner party or dinner in honor of some person, person or event" (Dictionary of Foreign Words"). The word in the text is used with an uncharacteristic compatibility (“banquet party”), emphasizing the speaker’s ignorance of the norms of the language, which introduces an element of comedy into the passage.

Koman? What's the matter? What are we talking about? “I’m sorry,” he says, “I don’t know how your throat is, but everything is fine in my throat.”

And he began to send airy smiles again. Then I leaned on blancmange. I ate a portion (M. Zoshchenko, “Weak container”).

The barbarism “koman”, meaning “what is it, what’s the matter,” is conveyed by means of the Russian alphabet. This word, used in the text, has a “foreign” appearance and stands out sharply against the background of Russian vocabulary. This word is used in the text to give a comic effect to the story.

Here we are standing at the station and see such a picture, in the spirit of Raphael (M. Zoshchenko, “Weak Container”)

The use of the artist's name in a setting that has nothing to do with the setting in which the action takes place and which does not relate to art gives the text a satirical sound.

But now it’s one citizen’s turn. He's so blond and wears glasses. He is not an intellectual, but shortsighted. Apparently he has trachoma in his eyes. So he put on glasses to make it easier to see him (M. Zoshchenko, “Weak Container”)

The word “trachoma” (med.) (from the Greek. Trachфma, lit. Coarsening) is a chronic disease of the conjunctiva (connective membrane of the eye), in which grayish grains and follicles appear on it. The use of this word introduces stylistic disagreement, since the hero hardly knows exactly what this word defines. Usage medical term in an everyday situation, with some violation of its semantics, it helps the author to introduce an element of comedy into the narrative.

That’s true, I would have done it for you for triple, but,” he says, “get into my peak position - I need to share with this crocodile.”

Here I begin to understand all the mechanics (M. Zoshchenko, “Weak container”)

The word "intimate" means "close, friendly, intimate" ( Big dictionary foreign words) is firmly entrenched in the Russian language, but still not all native speakers can correctly determine its meaning. This fact can be attributed to the readers of M. Zoshchenko, who wrote mainly for simple, illiterate people.

The word “mechanics”, according to the Explanatory Dictionary of the Russian Language, means “hidden, complex device, background, the essence of something. (colloquial)." The use of this word in the text makes it difficult to understand, but at the same time creates a comical effect, helping the reader to understand that the situation in society is not fair, but one must not lose the presence of mind and sense of humor.

Oh, sorry, sorry. I'm sorry. Now your container is strong, but it was weak. This always catches my eye. Sorry, sorry (M. Zoshchenko, “Weak container”).

He crosses out the inscription, and I go home, talking along the way about the complex mental organization of my fellow citizens, about the restructuring of characters, about cunning and about the reluctance with which my respected fellow citizens give up their established positions. Sorry, sorry (M. Zoshchenko, “Weak container”)

The barbarism "pardon" meaning "I'm sorry" is conveyed by means of the Russian alphabet. Borrowing is distinguished by the fact that it has a “foreign” appearance, which stands out sharply against the background of Russian vocabulary. This word, which characterizes a native speaker - an illiterate person who does not know the rules of using foreign words and their lexical and grammatical compatibility, is used in the text to give a comic effect to the narrative.

Introduction

The subject of study of this work is vocabulary that helps create a comic effect. The comic is a rather complex phenomenon, “one of the most complex aesthetic categories.” That is why the theory of comic text has attracted the attention of researchers since antiquity.

This problem was dealt with by such researchers as E.G. Kolesnikova, A. Shcherbina, R.A. Budagov, E.A. Zemskaya. Their works were used in writing this work.

The material for the study was the novel “The Twelve Chairs” by famous Soviet satirists I. Ilf and E. Petrov.

In 1927 collaboration The creative collaboration of I. Ilf and E. Petrov began on the novel “The Twelve Chairs”. Plot basis The novel was suggested by Kataev, to whom the authors dedicated this work. In his memoirs about I. Ilf, E. Petrov subsequently wrote: “We quickly agreed that the plot with chairs should not be the basis of the novel, but only the reason, the reason for showing life.” The co-authors fully succeeded in this: their works became the brightest “encyclopedia Soviet life» late 1920s - early 1930s.

The novel was written in less than six months; in 1928 it was published in the magazine “30 days” and in the publishing house “Land and Factory”. In the book edition, the co-authors restored the banknotes that they were forced to make at the request of the magazine editor.

Goal of the work: more detailed acquaintance with this topic during the training process.

Task- to identify the peculiarities of the functioning of linguistic means that create a comic effect in the novel by I. Ilf and E. Petrov “The Twelve Chairs”.

Speech means of creating a comic effect in a novel

The comic is generated by human nature; it is inherent national spirit, it is in the blood of the people. Great masters learned it from the people, according to him oral creativity. Having polished its forms, they again returned it to the people. People have always highly valued witty people, masters of humor who skillfully use the weapon of satire. The comic art of true masters of laughter is a force that constantly calls for progress: “Comic art is truly revolutionary. Laughter has never served the forces of reaction and regression.”

“By “Comic” we mean both natural events, objects and the relationships that arise between them, and a certain type of creativity, the essence of which comes down to the conscious construction of a certain system of phenomena or concepts, as well as a system of words in order to evoke a comic effect.” There is a significant qualitative difference between ordinary laughter and comic laughter. Laughter expresses a person’s natural, physiological reaction, his subjective attitude to the impression received. Comics have a more general, objective content. It represents the highest level of laughter." In works devoid of genuine comedy, "the plot turns out to be simple, the images are insignificant, and truly satirical angry laughter is replaced by vulgar giggling."

The comic in speech is inextricably linked with its expressiveness, emotional and evaluative expressiveness, which allows the author to express his attitude towards the objects of reality and give them an appropriate assessment. “The essence of creating a comic effect is that words, in addition to the expressive shades inherent or potentially inherent in them, are given additional expression, comic, resulting from a contradiction caused by a purposeful deviation from the norm language.”

The realization of the comic in relation to any work is the meaning of the text. A comic text is based on a deviation from linguistic stereotypes; “the game when creating and interpreting a comic text is realized in unpredictability and conventionality of actions aimed at destroying stereotypes.”

The most typical for I. Ilf and E. Petrov are considered to be those based on the use of stylistic means. These are puns, figurative use of words, phraseological units, forcing synonyms and the formation of comic proper names, as well as the technique of mixing styles.

When creating puns, authors often use so-called open connecting structures. This method consists in the fact that words and phrases that are distant in meaning, expressing logically incompatible concepts, are combined as homogeneous, often they refer to one polysemantic word, but its different meanings:

“She brought with her the frosty breath of January and a French fashion magazine...”

The first part of the phrase implies a figurative, poetic meaning of the word, while the second refers to the direct one. The contrast between the meanings of the word causes a comic effect.

The main way to create a pun in the texts of Ilf and Petrov is the polysemy of the word, as, for example, in the following sentence, based on the collision of the literal and figurative meaning of the word: “ To tell the truth, White Russians are quite gray people».

The words “white” and “gray” belong to the same semantic series in their basic meanings as designations of color, but they diverge in figurative meanings (“white” - “counter-revolutionary, acting against Soviet power" and "gray" - "unremarkable, mediocre." Based on close basic meanings, the co-authors collide very distant additional, derivative meanings, resulting in a comic effect.

The technique of mixing styles (moving words and expressions from one style of speech to another) plays a very important role - i.e. placing elements of professional, scientific and technical, journalistic, official business, etc. speech in a stylistic environment alien to them. - a specific means of creating various shades of comic tone, emphasizing the individual comic picture of the world AND. Ilf and E. Petrov.

« The sun was blazing, and the blond seasons stood motionless in the shade of their umbrellas. At this time we clearly felt the presence on the airforeign body . This is true! Pavlidis ran up to us, waving his hat.».

IN in this example a person is spoken of as an inanimate object, thanks to which one feels a slight mockery of the co-authors at the person being described.

An ironic effect (more precisely, ridicule) can arise as a result of a “simple” replacement of a stylistically neutral word with an expressive colloquial, colloquial synonym or professional term, which in turn is an important component of the technique of mixing styles. For example:

« Ostap did not spoil his opponents with a variety of openings. On the remaining twenty-nine boards he performed the same operation: he moved the king's pawn from e2 to e4...».

The disdain felt in the actions of Ostap Bender opens up an ironic fragment of a comic picture in the novel by I. Ilf and E. Petrov.

The novel also uses vivid metaphors. They are created on the basis of well-known direct meanings of words, by comparing and contrasting concepts from distant semantic spheres. The comic effect arises from the surprise of comparable concepts:

“Spring was dying before everyone’s eyes.”

“She brought with her a herd of girls in sundresses”

“The sky was covered in small cloud dumplings...”

About the method of surprise

Ilf and Petrov are characterized by cases of metonymic transfer, the replacement of a person with the name of clothing, part of the body, or even occupation:

“...“Court and Life”, a hairy man, approached him. The secretary continued to read, deliberately not looking in the direction of “Court and Life” and making unnecessary notes in the editorial. “Court and Life” came from the other side of the table and said touchily...”

“In the check section a one-eyed man was sitting and reading a novel by Spielhagen... And the one-eyed man ran away. Ostap examined the premises of the chess section..."

This technique performs a revealing function in characterizing characters and describing individual negative phenomena.

Also, the authors deliberately expand the meaning of some nouns, comparing objects or phenomena according to a random similar feature, making it the main one. This serves for a comic rethinking of well-known names of objects, phenomena, and facts of life. For example, students who are the first to occupy a compartment on a train are called “firstborns.”

In addition to the generally accepted use of words in a figurative meaning, I. Ilf and E. Petrov encounter cases when, to name a character, they use words that were previously used in the characters’ speech as an “expressive characteristic.” A comic effect also occurs in cases where a figurative or very conventional expression of a character, used by him as an expressive characteristic, is included in the author’s narrative as a neutral name for a person:

« -Thieves live in your house No. 7! - the janitor yelled. - All sorts of bastards! Seven-father viper! Has a secondary education! I won't look at secondary education! Damn gangrene!!!

At this time, the seven-father viper with a secondary education was sitting on a can behind the trash can and was sad.”

The comic effect is created by the discrepancy between the objective nature of the author’s narrative and the hero’s words, which have a pronounced evaluative, expressive character or belong to a different style of speech. The discrepancy between the points of view on reality of the author and the hero, the difference in their manner of speech creates a clear contradiction between the context and the transferred words, contributing to their ironic perception:

« Ptiburdukov the second... reported that the patient does not need to follow a diet. You can eat everything. For example, soup, cutlets, compote... He does not recommend drinking, but for appetite it would be nice to introduce a glass of good port wine into the body... But the patient did not think of introducing into the body either compote, fish, cutlets, or other pickles».

Such linguistic means of creating a comic effect as the formation of proper names and the various use of phraseological units require special consideration. Based on them piece of art acquires not only a bright emotional coloring with memorable colorful characters, but also becomes popular thanks to “catch phrases” that have taken root in everyday speech.

phraseological unit comic novel speech