What role does laughter play in works? Lesson topic: “Satire and humor in Russian literature, or Laughter is the best medicine.” “Laughter through tears” in the writer’s early stories

Charles Dickens and his literary characters

Laughter in Dickens's works expresses not only the author's position in relation to his characters (which is quite an ordinary thing), but also his understanding of a person's personal position in the world. Humor is present in Dickens's novels as an expression of the author's reaction to what is happening. Unsuspecting characters constantly find themselves the butt of laughter. Describing the small, touching lives of his characters, the author, on the one hand, anchors them in it, and on the other, takes them to some other reality. Something more is revealed to us than the pastime and feelings of certain characters. Consider, for example, a small fragment from Bose's Sketches: “Here the old people loved to launch into long stories about what the Thames was like in times gone by, when the arms factory had not yet been built, and no one thought about Waterloo Bridge; Having finished the story, they meaningfully shook their heads for the edification of those crowding around them. to the younger generation coal miners, and expressed doubt whether all this would end well; after which the tailor, taking the pipe out of his mouth, remarked that it is good if it is good, but only hardly, and if anything is wrong, then nothing can be done about it - which mysterious judgment, expressed in a prophetic tone, invariably met with the unanimous support of those present.”

In itself, this scene does not contain anything remarkable. It is illuminated and filled with meaning through the author’s gaze. By emphasizing the absolute lack of content of the conversation, he shows us how good these people are, living their simple, unpretentious lives. The mediocrity of these heroes is ridiculed, but in such a way that the author strives in every possible way to soften and elevate it. And if laughter, as a rule, reduces the object at which it is directed, then, having this gift, Dickens does not abuse it, as a result of which his characters become simultaneously defenseless - under the author’s revealing gaze, and protected - by his affection. But such a view carries a contradiction. If the understanding that a person should be loved with his weaknesses and shortcomings has Christian roots, then the constant identification and ridicule of these shortcomings is something completely different from Christianity and alien to it. The imperfection of the world, thus, ceases to be perceived as temporary, but, on the contrary, is legitimized. And in this sense, laughter conceals a feeling of hopelessness. The person who laughs organizes the space around him. He evaluates and measures the world. And, consequently, the center of the world is found in itself, and not outside it. But since, while fixing flaws, he cannot in any way influence their correction, the world under his gaze becomes non-existent, devoid of harmony and order. A similar picture is given to us by the choice of heroes who become objects of laughter. After all, if these are people who believe in the orderliness of the world and are looking for the lofty and beautiful, then it seems obvious to us that the author’s own worldview is something completely opposite. But if we say that Dickens’s view of the romantic aspirations and naivety of his heroes reveals skepticism, then we will not be entirely right, since in his novels we can find many examples of the trepidation and trust with which he himself tells us about some sentimental story.

All the hardships and experiences of the heroes resonate in his soul. But although misfortunes are present in abundance in the works of Dickens, they nevertheless remain at a certain distance in relation to the reality in which a person in his world must exist. It seems that this world does not accommodate misfortune and does not have the resources to comprehend it. Thus, Dickens's story about tragic destinies some characters can touch us, bring tears to our eyes, and yet remain completely groundless. Giving food to feelings, it will not contain those meanings without which our life would be undermined at its ultimate foundations. Troubles and misfortunes, in this case, no longer become some unresolved and painful moments of our reality. The world is established in some order, and we have no real cause for concern. And in this case, the description of cruelty towards goodies, as well as the sacrifice and nobility of the latter, is necessary in order for our sensitivity to emerge. Coming into contact with this kind of reality, Dickens is aware of its groundlessness and some imaginary nature. Which makes Dickens's gradual transition to ridiculing it quite understandable.

“Shall we talk about the complaints and lamentations that were heard after Miss Wardle saw that she was abandoned by the unfaithful Jingle? Should Mr. Pickwick's masterful depiction of this soul-rending scene be brought to light? Before us is his notebook, which is watered with tears caused by philanthropy and sympathy; one word - and it is in the hands of a typesetter. But no! Let's arm ourselves with resilience! Let us not torment the reader’s heart with images of such suffering!” There is irony in all these solemn expressions. The “unmarried aunt” herself, who has already reached fifty years of age and is trying in vain to get married, is a caricature character and can hardly cause us heartache, as the author fears. But still, openly ridiculing her turns out to be impossible. By showing us the imperfection of his heroes, Dickens always reveals his closeness to them and his desire to immediately justify them. It’s as if he can’t deny himself the pleasure of somehow joking with them, but at the same time he doesn’t stop stroking their heads.

But, despite the abundance of love and warmth that Dickens pours out on his heroes, his attitude towards them contains not only Christian motives. With all his attention to their destinies, he is always in a state of deep peace of mind, which, perhaps, humor serves to maintain. Laughter does not require any supernatural effort from a person. The person who laughs does not lose his temper towards another, but, on the contrary, becomes entrenched in something of his own. After all, if the ambiguity that can be traced in the hero’s worldview somehow related to issues that were unresolved for the author himself, then the story about this character could not be completely calm and dispassionate. This is, for example, Russian literature. Turning to Dostoevsky's work, we will see that the problems that concern his heroes are a direct expression of what the author himself is trying to explain to himself. He doesn't shy away from the despair his characters feel. This shows his trust in the fact that the center that orders the world is located outside of him. This is what allows him to descend into the abyss of despair without fear of consequences. The possibility of acquiring complete knowledge is not, in this case, some distant and sweet dream, as we find it in Dickens, as a result of which there is no need to artificially secure oneself in an unclear and disorderly world.

So, if Dostoevsky selflessly follows in the footsteps of his heroes, then Dickens, giving them complete freedom, does not allow anyone into his own world. Laughter somehow allows him not to reveal himself to the reader. Precisely due to the fact that the difficulties that Dickens's heroes encounter on their way are not the difficulties of the author himself, there is no single center to which they could be directed together. Both the author himself and his heroes feel the right to adhere to those views that, for whatever reason, they choose for themselves. Thus, the main thing here is the very fact of human existence, which is so ontologically fixed that it does not require any additional justification. Indeed, people living ordinary human life people who say the most banal things become no less attractive to us than those who are distinguished by their intelligence, nobility and heroic deeds. “Here a tight circle surrounded two respectable persons who, having consumed a fair amount of bitter beer and gin during the morning, did not see eye to eye on certain issues privacy and just now they are preparing to resolve their dispute by assault, to the great encouragement of the other inhabitants of this and neighboring houses, divided into two camps on the basis of sympathy for one side or the other.

Give it to her, Sarah, give it to her properly! - exclaims in encouragement the elderly lady, who apparently did not have enough time to complete her toilet. - Why are you standing on ceremony? If my husband had decided to treat her behind my back, I would have clawed her eyes out, the scoundrel!”

These heroes cannot cause contempt for themselves, although they are licentious beyond all measure, since the very space of humanity in all its manifestations in the world of Dickens is fundamental and deserves all respect. It is precisely this that is the basis on which the meeting of the author and his heroes, as well as the latter with each other, takes place. In the case when belief in the existence of true holiness and apophatic knowledge about God and man become impossible, the world seems to become denser and concentrated in itself. As a result of the fact that the basis of everything is found in the human world with all its imperfections and vices, something common and unshakable for everyone is revealed. But what appeared to us here as a single thing actually becomes a condition for the existence of the particular. After all, if the human is valuable in itself, then any owner of this nature turns out to be rooted in something genuine. And thus the author, who tells about people, encounters in them the same self-sufficiency that he himself possesses. They can no longer be helpless and demand constant participation.

If the center is in a person, then he, in a sense, is divine, and therefore, chaos cannot be detected in him - something unexpected, incomprehensible. Everything that Dickens finds in his heroes is already familiar to him and to us, and this is what causes laughter. Humanity seems to enjoy itself. Being turned to oneself, it does not become scarce. The laugher always rises above the objects of laughter, but still is not far from them. By pushing them away from himself, he, in a sense, needs them. But this reveals his desire not for another, but for himself. When the meaning of someone's words and actions becomes transparent to the observer, then the latter's talents are revealed. He just recognizes himself, but does not receive anything new from the person.

Let us turn to the work of the writer whom we already mentioned in the first chapter, namely Jane Austen’s novel “Pride and Prejudice”. Her heroes are distinguished by the same calm and even gaiety that we are already familiar with from Dickens’s novels: “Mr. Bennet’s expectations were completely confirmed. His cousin's stupidity fully justified his hopes. And, listening to the guest with a serious expression on his face, he had a lot of fun. At the same time, if you don’t count rare cases When he glanced at Elizabeth, he did not at all need a partner with whom he could share the pleasure.

By the time of evening tea, the dose he had taken turned out to be so significant that Mr. Bennet was glad to send his cousin into the living room, asking him to read something to the ladies.”

The laugher exhausts for himself, in relation to which he shows his irony. He can't look at each of them endlessly. And, at the same time, it is as if he really becomes the only one, but this happens in such a way that he provides everyone with the opportunity to be so. By keeping his guesses about another person to himself, in reality he does not interfere in his life. This is impossible precisely due to the fact that the world, closed to the human, as mentioned above, should not contain arbitrariness, because carries within itself the attributes of the divine. And in the case of intentional interference in the life of another, arbitrariness arises because you cannot calculate your strengths and abilities in such a way as to know for sure that all your actions will benefit the person. This is possible only if the world is opened from the human to the divine. And the responsibility that the one who helps another then takes upon himself is correlated with a world full of harmony. The feeling of the latter is inaccessible to those who legitimize human nature in its untransformed state. If the world in which people participate in each other's lives is not limited to the human, the need for the distance that we see between them in Dickens's novels is removed. If it is present in their relationship, it is not ontologically fixed.

But, returning to Dickens, we can say that laughter in his novels carries an ontology. It helps the author build the world in such a way that in it both the detachment of the other and his presence become important for a person at the same time. Independence from others is maintained by continuous contact with them. Loneliness within this reality turns out to be impossible. By pushing away from himself everything that, it would seem, should not exist, the man of Dickens's world simultaneously consolidates it. Revealing, as already mentioned, his abilities through contact with the world, he begins to feel an internal necessity in the latter, which, however, is not dictated solely by the desire to connect with himself. This allows him to look into the world of another without ceasing to feel his own stability. But even this degree of openness allows us to see some kind of spaciousness in Dickens’s reality. People of the most diverse destinies and characters paint this world with unique shades, which, nevertheless, being locked in the author’s soul, continues to be imbued with the feeling of the impossibility of finally overcoming its fragmentation. An attempt to resolve the latter by turning to God encounters a constant feeling of unpreparedness for this step, which is reinforced by the fact that the human itself creates support in itself. And speaking about humor as one of the components of this support, we can turn to to the German writer XX century - Hermann Hesse. In his novel Steppenwolf, the theme of laughter is repeatedly heard, which is directly related to immortality. Let's take, for example, an excerpt from a poem composed by the main character of the novel at the moment of some special insight. “Well, we live in the ether, / We live in the ice of the astral heights / We don’t know youth and old age, / We are deprived of age and gender. / We look at your fears, squabbles, talk, / At your earthly turmoil / As we look at the gyrations of the stars, / Our days are immeasurably long. / Only quietly shaking our heads / Let the lights look out over the roads, / In the cold of the cosmic winter / In the skies we breathe endlessly. / We are enveloped in complete cold, / Our eternal laughter is cold and the bell.”

Laughter in this case, being the focus of everything, holds and pushes away all things at the same time. The eternity that Hermann Hesse presents to us contains nothing of what we encounter in the world. She continuously denies everything that fills our lives. But the detachment itself cannot arise in isolation from the object to which it relates, as a result of which, in some way, it is closed on this object. All things are grasped in the state in which they are at a particular moment, deprived of the possibility of further development. But this fixation itself carries with it a feeling of triumph and completeness.

What is important for us in such sensations is that their occurrence is possible only as a result of a person losing his temper. Indeed, the expectation and achievement of completeness implies the existence of disparate units that it could include. Triumph is also characterized by overcoming some obstacle, and, therefore, must necessarily contain subjective and objective realities. Thus, we see that the point that acts in this case as a limit has its origins in the personal, human. Through an effort of will, the human recognizes the human, but since there is no appeal to revelation here, this outbreak itself carries within itself limitations. The event develops horizontally. A person learns something about himself and another, but this knowledge is of such a kind that, despite the fact that something actually existing in at the moment, the direction in which it can change remains closed. And if we can attribute such a movement from oneself to another with an inevitable return to oneself to both German and English culture, then here we will have to separate them. The very first thing that catches your eye is the absence in the Englishman’s worldview of the coldness that permeates his creations German authors. This can be explained by the fact that the German’s losing his temper turns out to be more strong-willed and uncompromising than that committed by the Englishman. The latter’s love for comfort and peace does not allow him to concentrate with his whole being on the object. Although representatives of both cultures convey ontology through laughter, as a kind of relationship between subject and object, the Englishman, nevertheless, does not bring this move to its semantic end. His path, touching the ultimate foundations, always runs into something purely human, which has no depth in itself. He inevitably discovers some kind of weakness in himself that prevents further searches. He is looking for support in what was already created before his intervention.

Charles Dickens and his literary characters

An illustration of this is the abundance of banal sayings in the works of the same Dickens, the meaninglessness of which the author, of course, is aware of. Smirking at them, he is not looking for something deeper and more convincing. And thus, his irony is on the verge of ultimate meaning and some simple human pleasure. The presence of the former prevents the latter from becoming completely empty and vulgar. The latter brings some kind of warmth as opposed to the German cold. This is perhaps explained by the fact that, allowing himself to be weak, the Englishman reveals the reality of love, thereby relying on Christian foundations. Confidence in one's own resources, which gives rise to irony, is coupled here with humility, which reveals itself in the fact that he can trust those truths that exist for him, regardless of his level of understanding.

Magazine "Nachalo" No. 15, 2006

Dickens Ch. Essays by Boz. Collected works in 30 volumes. M., 1957. T. 1. P. 120.

Posthumous notes Pickwick Club. Decree. ed. T. 2. P. 173.

Right there. T. 1. Essays by Bose, Madfog Notes. P. 126.

Osten D. Pride and Prejudice. Collected works in 3 volumes. M., 1988. T. 1. P. 432–433.

Back to folklore

IN social networks Both humor and poetry are popular separately. Having united, these two phenomena reveal a craving for anonymity and post-folklore. Author's funny poems are significantly inferior in popularity to "pies", "powders", "depressives" and other manifestations of collective creativity.

Of course, for everyone

hanging on stage in the first act

chainsaw bucket and hedgehog

Stanislavsky is intrigued

afraid to go to the toilet

a very specific creator is hiding, but the mass audience is completely uninterested in his name. Network forms of humorous poetry are rooted in more ancient types of rhymed folklore - for example, ditties and sadushka poems, which became widespread in the 70s. Rigid genre boundaries (partly in the spirit of "hard" literary forms) do not clip the wings of fantasy, but give the text an openly playful character and deprive it of any depth.

The battle of humor and irony

Both the pie poems with their numerous variations and the humoresques from the public page “I See Rhymes” are undoubtedly fun and interesting, but still, calling them poetry can only be a stretch. In essence, they are just jokes, where the comic effect is enhanced by rhythm and rhyme. “High” literature approaches attempts to laugh with a fair amount of selectivity and skepticism. Among the classic poets there are not many names associated primarily with humor: Ivan Krylov, Sasha Cherny, Nikolai Oleinikov, Nikolai Glazkov... The rest were also no strangers to satire, parody or epigrams, but their funny heritage is inferior to more serious works. Osip Mandelstam, according to Irina Odoevtseva, generally wondered: why write funny poetry?

However, many modern poems do not experience such doubts. Igor Guberman, who celebrated his eightieth birthday two years ago, long before the advent of “pies” and even “sadushki”, created his own humorous genre - “gariki”. In these witty quatrains one can find political protest, deep philosophy, and ambiguous frivolity - everything is presented through the prism of Jewish humor, which simultaneously evokes a smile and anxiety:

I sinned so much in my prime,

I was walking like that then,

that even if there is no hell,

I'll get there.

Igor Guberman. Photo: ekburg.tv

Poet Sergei Satin, who heads the section of satire and humor in " Literary newspaper", does not confine himself to the dungeons of one genre. He writes rubai, haiku, one-liners, "bad advice" and much more, demonstrating a wide range of comic - from soft irony to harsh satire. He reveals even an ordinary ditty with unexpected side, turning it into poetic horror (“A passer-by walked through the cemetery, / He looked like a dead man, / And you won’t find anyone who doesn’t look like him / At night here.”), then to the chapter from “History of the Russian State” (“ From the Varangians to the Greeks / Our rivers allow. / Our land is abundant with water, / But roads are a whim").

Vladimir Vishnevsky was once considered a star of humorous poetry, but it is already clear that a significant part of his texts cannot stand the test of time. Although the author's bibliography includes dozens of weighty volumes, most of his impromptu words and puns sweep across the literary horizon like barely noticeable meteors. Only famous one-liners like “I was rejected, but what kind of ones!” showed relative vitality! or “Thank you for having me.” The main problem (if not the curse) of humorous poetry is its immediacy: what makes you smile today has every chance of being misunderstood tomorrow.

But Andrei Shcherbak-Zhukov is not afraid of the fleeting nature of the funny. He does not rely on specific temporal realities, giving preference to images of nature and internal states. There is a clear overlap with folklore - ditties and jokes, but it is carefully disguised by modern vocabulary, malicious wit and slight frivolity. The originality is added by a specific lyrical hero, whose worldview is clearly younger than his passport age, and the comic effect is caused by surprise, paradox, and unusual play on words:

What is the problem you and I have?

Someone misled us like children:

We were taught that life is a fight,

And she turned out to be... geel!

Andrey Shcherbak-Zhukov. Photo : np-nic.ru

Modern philologists draw a clear line between humorous and ironic poetry. The difference lies in the nuances: the first is based on harshness, hyperbolicity, burlesque, while the second is more prone to a bitter smile and laughter through tears. Humorous poems (and these include almost all of the above authors) are aimed at a mass audience and the stage. Ironists, on the other hand, are aimed at developing the genre possibilities of lyrics. The most successful poet in this field is Igor Irtenev. Despite their outward simplicity and entertainment, his poems, filled with bitter irony and florid quotation, create a special poetic cosmos, where many discoveries await the thoughtful reader: " Such times have come, / What my mind tells me: / “Comrade, believe the khan will come / And cover everyone with a copper basin".

Between fable and parody

According to philologists, the genre of literary parody is now experiencing better times. It would seem that when a poetic boom covers the country, and the number of poets numbers tens of thousands of people, the parodist has somewhere to roam. Everything turns out to be much more complicated. Modern poetry is devoid of grandiose figures - authors whose poems would be known by heart by the widest possible audience. Without such names, a parodist has a hard time: if he appeals to a narrow circle of readers or only clings to the pearls of outright graphomaniacs, he will not achieve much success.

The unpopularity of the genre and other difficulties do not stop enthusiasts of their craft. Parodies of Yevgeny Minin, an author with excellent literary erudition, an extraordinary sense of humor and amazing skill as an imitator, often appear on the pages of thick magazines. But many of his works smack of excessive straightforwardness and uniformity. Another modern parodist Alexey Berezin does not always strive to adapt to the original source - some of his imitations become quite independent works, independent from the original. Just one dubious line “northern sky” results in his grandiose “Albert Camusical”, the main “trick” of which is neologisms formed from the names of famous writers:

La Rochefu is over. On the standalone road

I'll go beyond the horizon along a roundabout path...

Let me be a little unfinished gigolo,

Thinking about the past is painful and painful for me.

Finally, it is worth saying a little about modern fables. In Russian literature, this genre is tightly fused with the name of Ivan Krylov. The bar set by "The Crow and the Fox", "Quartet" and other masterpieces is high, but this does not mean that you should give up trying to overcome it. It is unknown whether the fables of the modern poet and actor Vladislav Malenko will remain in history, but he definitely succeeded in bringing a new perspective and fresh ideas to the genre. Behind-the-scenes intrigue in an animal theatre, love in the world of electrical appliances, or a surge of nationalism in a single forest - each idea is realized with an extraordinary plot, lively characters and unbroken morality. Paying tribute to tradition (to the same Krylov), Malenko makes the fable genre move forward to current topics, modern vocabulary and infectious laughter. Laughter that brings pleasure and at the same time imperceptibly changes us for the better.

Vladislav Malenko. Photo: fadm.gov.ru

Sections: Literature

TOPIC: Satire and humor in Russian literature, or Laughter - best medicine.

to introduce students to the perception of satire and humor, to teach them to identify the genres of satirical and humorous works;
identify the means used by the author to create a satirical or humorous work;
aesthetic and moral education learning through highly artistic literary works;
psychologically adjust to the positive, i.e. creating a good mood.

EQUIPMENT: portraits of Pushkin, Gogol, Saltykov-Shchedrin, Chekhov, Zoshchenko; recording of J. S. Bach’s music “The Joke”; parody illustrations; epigraph posters; notes on the board.

Mens sana in corpore sano. (A healthy mind in a healthy body.)

Humor is a wonderful healthy quality.
M. Gorky

It's really not a sin to laugh
Above everything that seems funny.
N. Karamzin

All genres are good, except boring.
Voltaire

Time for business and fun.
Tsar Alexei Mikhailovich

Laughter is often a great mediator in distinguishing truth from lies.
V. Belinsky

Laughter is joy, and therefore in itself is good.
Spinoza

Lesson progress
:

It sounds like “Joke” I. S. Bach. Andrei Dmitriev’s poem “Spring has come” is performed against the background of music.

Spring has arrived! Spring has arrived!
And all nature blossomed!
Flowers bloomed everywhere
Trees, flower beds and bushes,
And also roofs and bridges,
And alleys, and cats...
(Although, to be honest,
The cats bloomed, of course, in vain).
The copper basin blooms under the elm,
A porcupine blooms in a hole,
And grandma's old chest,
And grandfather's old frock coat,
And an old chair and an old table,
And the old grandfather blossomed.
Spring has arrived! Spring has arrived!
And all nature blossomed!

Teacher's word: And it's spring outside our window. And your faces bloom with beautiful smiles.

Today we have a fun lesson - “Funny Panorama”, where we will talk about humor and satire as a separate area of literature. I invite you to make sure that LAUGHTER is the best medicine necessary for our spiritual health, and according to the ancient Greeks, “Mens sana in corpore sano”, which means: “A healthy mind in a healthy body.”

Our lesson motto:

Today we are in the country
Where is the joy and laughter,
Where are the good smiles
Enough for everyone!

“Laughter is the best medicine.”
“The Mystery of Laughing Words”
“Hems, and that’s all!”
“Jogging” through “funny” literature .
"Epilogue"

1. “Laughter is the best medicine”

Some ancient thinkers believed that a person could be defined as “an animal that can laugh.” And, I think, to some extent they were right, because not only the ability to walk on two legs and work activity distinguished people from the animal world, helped them survive and go through all imaginable and unimaginable trials of thousands of years of history, but also the ability to laugh. That is why those who knew how to make people laugh were popular in all centuries and among all peoples.

Poem by V. Khlebnikov “Oh, laugh, you laughers”

– What word is taken as the basis for this poem?

– What is “laughter”?

They say that 1 minute of laughter in its “calorie content” replaces a glass of sour cream. Laugh - and be healthy!

The paradox has long been noticed that in crisis, difficult periods of history, when it would seem that hands are giving up, a humorous trend suddenly begins to loudly declare itself in literature. Perhaps this reflects the still unlost mental health of humanity or the Christian ancestral memory that despondency is one of the seven deadly sins.

2. “The Mystery of Laughing Words”

Humor is a life-affirming force. A real humorous gift is the rare ability to comically evaluate and thereby expose this or that phenomenon.

Very few people know the “secret of laughing words,” so humor should not be confused with vulgar mockery, mocking laughter at everything, reaching the point of blasphemy, which can be seen in abundance today on television screens and in the press.

Humor can be different: good-natured, sad (“laughter through tears”), funny (“laughter to tears”), intellectual, rude, cruel, black.

Once upon a time, when you were not yet in the world, in the popular play “Love for Three Oranges” by the Leningrad Theater of Miniatures the following definition of laughter was given: “There are laughter: ideological - unideological, optimistic - pessimistic, necessary - unnecessary, ours - not ours, ironic, sarcastic, spiteful, scolding, uterine, malicious and... ticklish.”

– What is HUMOR? (from English Humor - mood). This is a soft form of the comic, good-natured laughter, which does not aim to expose a person or phenomenon.

– What is SATIRE? (the type of comic that most mercilessly ridicules human imperfection, an angry, denouncing depiction of the vices of a person or society).

– Why are humorous and satirical works needed?

Poem-sketch by Pyotr Sinyavsky “Strange History”

Met a beetle in one forest
Cute wasp:
- Oh, what a fashionista!
Allow me to meet you.
- Dear passer-by,
Well, what is this for?!
You have no idea
How do you sound snotty?
And the beautiful wasp flew into the sky.
- Strange citizen...
Probably a foreigner.
Annoyance bug with pretzels
Rushing across the clearing:
- It had to be like that
Go crazy!
How not to end up again
In this situation?
Need to get married urgently
A foreign tongue!

Poem by Igor Shevchuk “In the Zoo”

There are two dogs under the bench - they are starving.
Two old women are sitting on a bench.
An old lady is gnawing on a pie - with meat and onions,
The second one has a cracker in his hands - for his little grandchildren.
If only, the dogs think, there’s a feast!”
We discussed the plan of attack: - Take it, period!
Two dogs ran away and grabbed with their teeth...
You can guess what happens next:
The first one actually ate too much,
And the second one – I stuttered for two weeks!

– Did we listen to humorous or satirical poems? Justify your answer.

– What is humoresque? (small comic piece)

A. S. Pushkin. "Humoresque".

V. Firsov. Humoresque “High”.

- Guys, when the teacher calls me in class, I drag myself...

-What are you worried about?

- From the desk to the blackboard I trudge, trudge, trudge... and then back - from the board to the desk I trudge, trudge, trudge...

– Are there satirical poems? What are they called? (An epigram is a short poem making fun of someone)

A.S. Pushkin. Epigrams.

– What is a parody? (ridicule in the style of some author)

Kozma Prutkov. “Shepherd, milk and reader”

Boris Zakhoder. “ Literary tropes”

– Now we will reveal to you the “secret of laughing words” of the writer M. Zoshchenko. M. Gorky once told him: “You have developed an excellent language, Mikhail Mikhailovich, and you speak it wonderfully. Your humor is very unique.”

This is true. Zoshchenko was endowed with absolute pitch and a brilliant memory. He managed to penetrate the secret of language ordinary people and speak in their everyday language that they understand. The author spoke in a Russian language unknown to literature, living, not invented, albeit incorrect by literary standards, but still - too! – Russian language. If he had not been able to speak this language of the masses, today we would not know such a writer, about whom readers said: “he writes competently, does not become clever,” “everyone is purely Russian,” “his words are natural, understandable.”

Shall we listen to Zoshchenko?

Prepared students perform the stories “Amateur”, “Hypnosis” by M. Zoshchenko.

3.”Hems, and that’s all!”

– Who can guess how to translate this incomprehensible word?

New time - new language, not at all similar to Zoshchenko’s language, it is much more incomprehensible and “cooler”. Let's listen to the modern interpretation of the text of the 2nd chapter of A. S. Pushkin’s novel “Dubrovsky” by the writer V. Trukhin, translation into the language of youth slang

Having arrived in the town, Andrei Gavrilovich hung out with his friend - the scoundrel, hung out with him and in the morning threw the bones at the mentura. Everything there was purely purple. Then Kirill Petrovich taxied up. All the sixes immediately jumped up and put their hands behind the locators. The hillocks hung out with him at the laurel, as the coolest authority, they swiped the chair, in short, a paragraph. And Andrei Gavrilovich sat quietly against the wall. Then the awesome kochum came, and the secretary unsheathed his noodle shooter and told the pontjar that both the bungalow and the entire estate should be unfastened to the bull Troekurov.

The secretary shut up and walked over to Troekurov, gave him a wave, and Troekurov waved him with a quickdraw. It’s time to give Dubrovsky a wave after him, but he wanders off.

Suddenly he picked up the dungeon, hatched the zenki, stomped on the blank and smote the secretary so much that he naturally made a layer, grabbed the inkwell and pushed it into the assessor. Everyone naturally changed their focus. And he imposed a multi-party rule on everyone, attacked Troekurov, in short, he screwed everyone up. The scammers came running, extinguished Dubrovsky, packed him up and threw him into the sleigh. Troekurov with his sixes also taxied out of the office. The fact that Dubrovsky's mind went crazy at once strained him. full program and the whole thrill was ruined.

4. And now The “jog” through literature is funny and interesting.

What is the name of the type of drama in which the characters are portrayed? life circumstances and the characters make you laugh?
What work are these quotes from:

“After all, we live to pick flowers of pleasure.”
“The non-commissioned officer’s widow flogged herself.”
“The soup in a saucepan arrived straight from Paris by boat.”
“On friendly terms with Pushkin”?

What funny moments of the comedy “The Inspector General” do you remember?
“They write from Vyatka: one of the local old-timers invented the following original way preparing fish soup: take a live burbot, carve it first; when will his liver enlarge from grief...” Where do these lines come from?
What newspaper did Mark Twain's character edit?
In which book was a face drawn with a long nose and horns, and below were the captions: “You are a painting, I am a portrait, you are a beast, and I am not. I am your face.” “I don’t know who wrote it, but I’m a fool at reading.” “Even though you are seventh, you are still a fool”?
Why did the sexton Vonmiglasov shout: “Lousy devil... The Herods planted you here to our destruction”?
How do the stories of A.P. Chekhov differ from the works of M.E. Saltykov-Shchedrin?

5. “Epilogue”

Only true humorous and satirical works live long, delight readers and are often perceived as if they were written about modern situations, that is, they make many generations of readers smile, although they were published in times long past.

The stories told by Fonvizin, Gogol, Saltykov-Shchedrin, Chekhov, Zoshchenko, Averchenko, Ilf and Petrov and other writers whose names are associated with the improvement of the nation are still interesting.