THE USE OF IRONY IN MODERN SATIRICAL WORKS
THE USE OF IRONY IN MODERN SATIRICAL WORKS
Adilet Kabylov
Candidate of Philology, Associate Professor of the Kazakh Language Department of the Caspian University of Technology and Engineering named after Sh. Yessenov,
Kazakhstan, Aktau
Feruza Dalmukhanova
Master of Philology, Department of World Languages, Caspian University of Technology and Engineering named after Sh. Yessenov,
Kazakhstan, Aktau
ABSTRACT
According to the prevailing anthropocentric trends in modern science, the main focus on all complex phenomena in human psychology, the worldview of the author, his aesthetics and philosophy, is becoming the essence of the author's individual style, its important style-forming components, one of them is irony. At present, researchers clearly show the concepts of irony as a stylistic approach and its result – ironic meaning, and pay attention to the fact that their interrelationship, manifested at different levels of the language, ensures the content unity of the text. The nature of irony in a work of art is directly related to the personality of the author - his social status, political views, aesthetic taste, ethical concepts. Conceptual irony, rather than the stylistic form of irony, is not sufficiently studied in Kazakh literary studies, so it is necessary to study and deeply analyze it from the point of view of the writer's artistic thinking. The article is intended to consider the use of irony in modern satirical works. The use of irony is considered on the example of stories of satirists. The function of irony in satirical works, such as authorial assessment, negation of improprieties, orientation to correction by revealing contradictions, is analyzed using specific examples. Through the use of irony in the author's narrative and characters' words, the interplay and common function of the accelerated use of satire and irony is considered from a literary and theoretical point of view. In addition, the common features and differences of satire and irony are analyzed based on the works of well-known scientists. The article reviews the ideological and thematic characteristics of modern satirical works and analyzes the artistic influence of irony on artistic representation. The expression of ironic meaning in the work is also considered at the textual level, other than the form of language expression.
Keywords: modern satire, narrative genre, humor, irony, author's point of view, objective irony, conceptual irony.
Introduction
It is natural that the theoretical problems in the modern paradigm of art should be considered at each stage on the example of literary and artistic creativity. Irony is one of the artistic tools that is predominantly seen in modern literature and works of art. Social problems at the turn of the century, human personality crisis and spiritual impatience, ambivalent feelings such as doubting the existence of the time and looking with suspicion towards the future orientation show the phenomenon of irony as an emotional-spiritual, intellectual-ethical active tool. True, the history of irony goes back thousands of years. However, as the researchers say, socio-psychological and spiritual demands of each age present their demands to irony. The role of irony during the revision of humanistic and cultural values in society should be properly evaluated, because postmodernist culture often turns to the function of ironic approach.
Especially since the 80s of the 20th century, the fact that irony has often attracted the attention of world humanities researchers is undoubtedly a consequence of dynamic changes in human life and social consciousness at the turn of the century. According to the outstanding American writer and philosopher S. Sontag (S. Rosenblatt), this situation is proof that the new era is proof of "irony winning over tragedy" [1, p. 213].
A comprehensive consideration of irony from a literary point of view requires attention to its use in satirical and humorous works. Irony is mainly reflected in the subjective organization of the artistic content, such as the type of pathos in the work, the method of ideological and emotional evaluation, and the author's emotional attitude. He plays an active role in artistic purposes by mixing satirical and humorous works with other components of laughter.
Irony is a universal tool of critical attitude, revealing and evaluation in modern literature. A person's spiritual health and passion for life allow him to satirically expose any inappropriate situation in life, as well as overcome spiritual pressure with a sense of humor and an ironic approach. Here, the contradiction between the spoken word and the understood thought creates a "double meaning" relationship. That is, the ironic shows a contradiction in the matter being discussed, and is skeptical about it. In humor, in general, mockery and sympathetic laughter prevail, while in satire harsh criticism and outright laughter dominate, the purpose of irony is to evaluate through doubt, disbelief and negation.
Irony is usually considered as a form of subjective attitude of the author to the object of speech. An important feature of irony is the implicit sarcasm in it. In fiction, it is often mixed with humor and satire, sometimes sarcasm. Ironic laughter is based on the desire and effort to understand the contradictions of any phenomenon in existence.
Research methods
In the process of writing the article, literary analysis, compilation, systematization, comparative research, and historical comparative methods were used, which are a condition for achieving the goal.
Discussion
In the satirical works since the independence of Kazakhstan, irony is also seen in its own way and is an effective means of criticizing, evaluating and refuting negative phenomena. In addition to the artistic function of irony as one of the components of laughter in a work of art, it is satire, connected with humor, adding its own tone to it, as well as its own personal evaluative weight can be verified by analyzing modern satirical works.
An ironic breath is clearly visible in Kanagat Abulkhair's satirical short stories. In his stories "Language", "Bolar Bala" (a boy that with prospective), "Akim and Katyn"(Mayor and Lady), "You get rid of me", irony accelerates within the framework of a satirical narrative, revealing the author's mockery of the described phenomenon, "Shrek's father-in-law", "The Ox's Birthday", " "Kutipash and Sakish", "Poor Zerda" stories have entered a new channel and are distinguished by their conceptual character at the text level.
Satisfies often mock the alogisms in the content of those stories by revealing nuances that do not correspond to the author's bundle, while speaking the characters. Here, proverbs appear as a source of ironic assessment. In the story "Bolar Bala": "Andigul's son: "Keep it, baby!" came back as a winner from the competition, and several women shouted "Congratulations!" he said. At the table, "Let him sing on bigger stages!", "Let his star shine!" "What's better than our boy?" he was thinking. Then, without noticing each other, they ate and drank at the head and feet of the artistic work" [2, p. 7-8], - is the author's sneer based on the contradiction between words and actions. In the story "Akym and katyn" it is told that the akim, who went away from the eyes of the country and went to rest in a warm place with his girlfriend in the cold winter, came to repentance when he was left alone on a deserted island and was afraid of the force of nature. When their souls are depressed, they remember the acts of unbelief that they did in their life: "Healed the disease of many countries. Maybe this is the reason for that," thought the mayor. "It seems that the time has come to treat him so many times to leave him on the barren ground, and he has to answer it," a woman thought " [2, p. 9-10]. The fact that the motive for repentance grows stronger as the threat from others increases, is described with a satirical and ironic exclamation.
In the story "You get rid of me" tells about the fault of the hero who voluntarily quits his job, which he puts on his boss. In the work, when the character compares his boss to a dog, he compares them and shows the advantage of the dog ("But, that poor fellow is more honest than you. I mean the dog. No matter what he licks, he doesn't lick it because he's afraid - because he's petting. If he opens his mouth to someone else - because he's alienated, he's afraid"); comparing hypocrisy with a dagger ("In my childhood, I was very fond of double-edged daggers. It was different from other knives, it had its own style and beauty. Maybe that's why adults call someone a "hypocritical dog!" I used to think what's wrong with being a hypocrite. "I sincerely thank you for disproving my thoughts" At the end of the same conversation: "I was fed up with your "cute and sweet behavior, your worries about life". It was impossible to bear it any longer, to swallow the air that you breathed together. When I told you that I was leaving, the pleading look that appeared in your eyes later - surprise, fear - hope, confusion - gratitude, infinite gratitude to me took over" [3, p. 9-10] in the conclusion, there is a mocking laugh based on the contradictions in the reaction to the news.
In the story "Kutipash and Sakish", the hero, while telling the story of his marriage, tells the special "trait" of both his wives - the skill of naming, giving a new name to the dog and cow in the house according to his own name, with a mixture of humor and sarcasm. "Then what's the point, I said, 'Now we can't have a girl who just finished the eleventh grade,' and I brought Sakysh, who was in her forties, from the neighboring village. Sakish, like me, is not an experienced person who has seen one front, but he has all his skills. She didn't do things gradually like Kutipash, he didn't delay the changes, she started implementing them the day after he became a bride" [3, p. 21].
In Kanagat's stories "Shrek's Father-in-law", "Oxon's Birthday" and "Kairan Zerde" the social problems of modern times are presented in the form of examples and fairy tales. In the core of these works, the inappropriate scenes that took place in the society due to the kleptocracy in ruling the country were depicted with satirical and ironic means. In "Shrek's Father-in-law", the only friend of Shrek, who was not perfect by nature, and had a hard time in life, was an ordinary stupid donkey. One day, he heard that a king's daughter had fallen into the hands of a dragon at the top of the peak, and whoever saved her would become her husband and gain unlimited wealth and power. However, although he saved the girl himself, the donkey, realizing that it is difficult to be her mate, tries to give the jewel that he did not cut to his friend Shrek. If Shrek gets a lot of power after the game comes to fruition and approaches the king, Donkey does what he wants: "Now, if Shrek laughs, he laughs loudly, even though he's naked, and if he gets angry, he runs away with the can, unable to get into any hole. will be sent" [3, p. 10]. This is how they mock some people in our society, who have been spoiled by the ruler or become his close ones, and have unlimited power.
The author uses both irony and satirical tools to depict the unlimited power of Shrek, who was the son-in-law of the king, and the bravery of the donkey who trusted him: "Once again, the gray donkey said to him, ``My brother has been unemployed for a long time.'' "Esekzhan,(my darling Donkey) don't bother me for such a trifle, just sit where you want," says Shrek, who is melting with the black mud on his green body. "I managed the field of education until my death. What do you think is left to manage there?" the donkey keeps coming. If not, "my nephew has already graduated," says a common donkey. Shrek didn't say, "Dude, you too..." but, "I understand what you're saying." "I will freeze myself," he says, and the donkey walks away. "I made the head of the government, the place where no one sat" the donkey will soon return" [3, p. 11]. Although these lines seem like a simple satirical narration, there is a bitter grudge - irony - about the characters who see the evils of society as trivial. And in the following lines, the satirical narrative picks up pace: "... nowadays the donkey has become too guilty. If he does, he wants to say, "This is what I'm going to shoot." In short, "How come I often visit my son-in-law?" Donkey doesn't think so. "Stop now!" Shrek doesn't say. Neither Shrek's wife nor father-in-law said, "Do whatever you want, don't interfere with the government" [3, p. 11].
In this way, summarizing, illustrating the horrors of the "figures" in the power clan that passed from one to the other, the writer created a political satire. There is also a venomous sneer that turns into sarcasm in the following lines: "...donkeys don't touch their ears these days. He bites wherever he wants, and if he doesn't want to, he slaps you from the head down. If he gets mad because he sees you around, he will increase without looking at your gender. Whom and what are they afraid of?" [3, p. 12].
In the story "Birthday of an Ox", based on the tale of an ox that unknowingly wanted to become a horse, but could not blend in among the stilts, it tells the story of the current generation of that ox. Even after the shepherds forced him to develop a character that would impress everyone when he grew up, "I still have a little bit of masculinity and the power to give that feeling" of the white bull "I will be the first bull and the last bull from this breed. History begins with me, it is on the surface of history with me." "There should be no one else" and the bad behavior and antics of the bull are criticized.
The writer's story "Poor Zerda" also depicts the actions of the married couple Mahmud Karajakhan and Zerda, who compete with each other, in order to gather the electorate. The strength of the satirical-ironic sauce of the work is that it alludes to the behavior of animals in modern society. The author does not hide their background - who is who, and says: "And about the five dogs, it is a completely different story. They have shown that they are very loyal to their owner. [3, 24-б.]; "Slaughter these animals now," the owner asked, "Why?" "You can't help but compare these dogs, who don't ask, to ordinary guards when they bare their teeth, and to flat-faced mayors with no fur on their paws when they look at their master and wagging their tails." 3, p. 24]; horses "when it comes to fodder, our poet, writer, reporter, who just nods and hides all the truth beautifully, does not care, does not care, does not care" [3, p. 25]; "It's enough to depict the cows that scream and cry as if they were active members of the society who can't stand even a small flaw!" Cows ready to go to any lengths for the sake of their bully and tied calves can be likened to people's representatives - deputies, who keep shaking their heads and say, "Whatever they say first will happen" [3, p. 25].
Although we understand the satirical nature of such works, which look at society and make them laugh with angry and bitter laughter, it is not easy to distinguish between satire and irony in the texts. That's why some researchers classify irony in works where irony is combined with satire and humor as satirical irony and humorous irony. In this regard, it is necessary to distinguish the specific features of satire and irony and pay attention to their points of contact.
According to the well-known satirist Yu.B. Boryev, satire is the highest and sharpest form of criticism and refutation. Satire is characterized by sharpening the phenomenon to be laughed at, describing it in a crude way, as well as changing and erasing the image. L.I. Timofeev says that satire often goes to conventional elements such as grotesque, fantasy, thereby describing characters and events in some extreme, unexpected situations, tends to reveal alogism in them, to show inconsistencies [4, p. 388].
It is not so easy to distinguish irony from satire and humor in satirical works than in general serious prose. Irony may seem more ambiguous than satire, as they all focus on the object of ridicule and use various means of criticizing it. "There are many reasons for it: the very nature of irony (obvious - hidden, very soft) and the general cultural comfort of the speaker, general knowledge base and sense of humor of communicators (yes - no), compatibility (incompatibility) of psychological types of communication partners. Even in simple situations, irony is not so obvious and requires special means of identification in both oral and written speech [5, p. 34].
Results
According to satire researchers, the satirist connects laughter and exposure, that is, by making fun, he exposes. That is why the laughter in satire will be special, it is strong with its anger, anger, hostility, humiliation. Such a smile appears with a clear negative character, based on the inconsistency between the moral image of the artist and the exposed phenomenon. Researchers look for the difference of satire from other elements of humor not in the object of criticism and the form of making fun, but in the characteristics of the writer's thinking.
The satirist writer does not forgive the imperfect moral image of the society and the moral image of the person, so he is ready to bury it using all the weapons of laughter. In such a combative activity, the role of irony will be optimal and effective for the satirist. In this regard, the following opinion of the scientist I.N. Ivanova seems appropriate: "Irony is manifested by its characteristics that provide a higher status than satire and humor: we can call it the pathos of showing distance, looking from above and feeling pain. Irony differs from satire in terms of the relation of the object of negation to the object of negation: the satirist fights with his "enemy" on his own turf, confronting himself. Its negation is carried out in space. A satirist takes his opponent seriously as a dangerous enemy, an ironist - only in some cases. The satirist goes directly to war (perhaps using irony as a lower weapon), the ironic only occasionally. The satirist hates, and the ironist wants to change it. The first seeks to win from his point A to his opponent's point B from all sides. The second is any A, B, C, etc. sees the relativity of the correctness of the points, because it is in the space connecting them (at least, it seems so) [6, p. 144].
Young writer Kanat Eskendirov effectively uses the evaluative power of irony in his satirical works. This can be clearly seen from the stories included in his first book called "My Tale". In the story "Made in China", he criticizes the low-quality Chinese goods that have flooded our country ("In general, I dressed myself as a new "Chinese". Except for the woolen socks knitted by my wife, all clothes are Chinese. Only my language and appearance are Kazakh, otherwise, I am a citizen of Peking. ") [7, p. 4], In the story "Prize rules us", he laments the influence of lust that leads people down ("Yes, our reins are in his hands. To be honest, each one of us is Prize's donkey. We walk along the coast like a blue tiger, ignoring the complaints of the country... ") [p. 7, 19], and in the story "I'm Looking for a Donkey" he advertises an "instrumental artist" who is looking for fame ("Not so-and-so, rare, unwashed, fame-hungry, unshaven I'm looking for a real donkey. After all, it's even better if he has a lot of money" [7, p. 22].
In the story "The Sinner's Journey to Hell", the narrator first introduces himself and tells how he ended up in Hell. I came up with various forms of embezzlement and embezzlement under the pretext of "making a living". "Grandma, I have a mother just like you. Shall I deceive you again?!" "We will be the authors of "breaking" the pensioners by kicking them in their ears", - there is a belief in the correctness of one's work behind the pride. The great hero "throws away the ignorant Kazakhs of the village without correcting them, gets into a car accident on the way back from the next campaign" and leaves the world once. He talks about the sympathetic image of the hero, who has gathered at the threshold of hell, looking for a comfortable place there: "How much do you ask for a place in your paradise for a dollar?" [pp. 7, 8]. In describing the satirical character, the author uses ironic expressions: "When I heard the name of Palenshiev and said that you will be my neighbor, I was strangely happy. It is an honor to say so. By the way, Munkir-Nangkur himself:
- What does it mean to say that Palenshiev, who is crying out in pain, Tugenshiev, and Kopzhegishov in the middle?! [pp. 7, 8]. Magnificence and arrogance, seeking fame from hell itself, reveal the character's character.
"Yippee!, Africa is on the move!" - a small ironic story. Here, the narrator's "joy" over the news that "the sun will soon rise to 80 degrees" is described. Based on the Kazakh hospitality, it is shown that everything comes from other places: fever - from Thailand, cough - from Japan, frost - from the Arctic, fog - from the Tundra. He welcomes such a change in nature, and at the basis of his motivations there are reasons to criticize society's shortcomings: "We are now indulging in such "imports" that do not interest our nature and our health. But we don't see the harm if this heat is not beneficial. Especially, Kazekem(dear Kazakh) was going to make one. Our relatives, who have got a lot of children and are hiring an apartment, are reaching the bottom of any willow tree to live! He bought land from some swindler, built a house at a huge cost, took it away from the administration, sued him, lost, and in the end he "slammed" into the kindergarten, and again he did not drive out from there with a dog" [7, pp. 44-45. ].
With this motivation, he conveys the benefit of heat from all sides through an ironic approach that shows negativity as correctness, thus justifying his optimistic predictions: "Our judges only hunt animals like lions and tigers, and only shoot at predators. We send ivory and crocodile skin to foreign countries, and aluminum and copper remain in our country" [7, p. 45]; "If you're strong enough, try to encourage a lazy Kazakh to climb a willow tree in 80-degree heat. Do not agree! There is no way, we pay the money and hire one or two aborigines. We will also get rid of unemployment" [7, p. 45]; "Obviously, if our governors don't inadvertently sign the feudalism and become members of violent societies like the Ku Klux Klan, the welfare of the people will still improve" [7, p. 46].
In the story "If you don't believe, ask Setik" it is told that two independent journalists, invited by an international charity fund, went to visit the site of an ancient city found on the outskirts of the city, while drinking cognac, they fall into a deep well-dungeon, where they meet a diu named Zhamkuryn. The work is told in a satirical and ironic language. Playful and humorous sentences are often encountered: "...it is a city at the time of ancient civilization, when books from the sky did not reach our fields, our ancestors used to gild the tusks of their horses and silver their spade teeth" [7, p. 54]; "Aren't we Kazakhs, he didn't just fall, he took me with him, who had been waiting for me to enter his mouth for a long time" [7, p. 54]; "Where's the net, when I was falling to the bottom of the abyss, I already thought that "many people who have given me money will be old" [p. 7,54]; "Would a person who begs for cigarettes from the country have a match?" [7, p. 46]; "If there were no Chinese around us, we would be lost" [7, p. 55].
Some researchers, such as B. Dzemidok, say that irony is less active than satire [8, p. 56]. Compared to satire, irony may be less active than satire in terms of its ability to target its object and influence - but it is not passive, it may not be as direct and harsh as satire - but it is not powerless. It can be argued that irony is less aggressive than satire due to its more intellectual nature. However, the power and strength of criticism in it is not weaker than any of the tools of laughter. Only pronunciation and reception are different. No matter how truthfully the satire is told and exposed to the point of criticism, its reception will surely cause a serious and well-deserved backlash. And since irony is not directly expressed, but the inner (underlying) meaning reveals the true meaning of the statement, it is easier to be accepted, even at first, it is used to be accepted with joy, just as it is said with praise.
The fact that both satire and irony are an artistic form of criticism, a means of learning truth with appreciation, determines their social significance. Some researchers say that satire always shows the way to change the world, and irony does not set such a goal. It is difficult to agree with this conclusion. The problem is probably in the strength of their impact on the object of criticism according to the goal they set. S. I. Pokhodnya defines the difference between satire and irony based on the way of expressing their critical-evaluative attitude to the world. The author says that irony is not direct, but rather flexible and soft, it can give the most shades of feelings and emotions, it can be more effective as a tool of influence than satire [9, p. 4].
It is known that the language and style of satirical works have their own characteristics. In particular, their use of words (characters of word play and various comparisons), conventional elements in the depiction of events and characters, and the author's ingenuity are distinguished by their own artistic expressions compared to serious prose. Even in modern satirical prose, satirists in their search for the topic find innovations in the modern artistic paradigm. In particular, we must say that the form-genre characteristics in them are the result of the purposeful research of the author. In any of them, social problems that are common in our modern society are discussed. For example, Abdiganys Kosher's story "Pyryk, tyryk, let's learn Kazakh already" ridicules one of the actual problems in Kazakh society - the efforts of team members to learn the Kazakh language. In this work, which the author describes as a "satirical tale", the "difficulties" of teaching the Kazakh language are expressed in the language. The requirement to learn Kazakh sounds by learning the sounds of other languages (French, Arabic, English, etc.) among our relatives who find it difficult to learn the Kazakh language is increasing.
The story "Escapers" by Zhunys Kokishuly: "Why do we run away from each other? Even when we ran away, we ran away from the horses that hit us and the bullets that shot us. What did we do when we ran away without fear, without being frightened, without being cheated by anyone, and tied our account to our account?" [2, p. 35], - it begins, the mothers who run away from their newborn babies, the heads of the construction companies who collect the money of the shareholders and put them on the barren land, the party people who run away from their own language and the art of their people and sing Russian wishes and songs in other languages and singers, He criticizes the "people's favorites" who make a lot of promises during the election and run away from their voters after becoming a deputy, and worst of all, the bosses who steal people's money and flee abroad. At the end of the story, he threatens the last group of escapers: "one death for the soul", if you become so-and-so tomorrow, we will not be able to stand for your funeral prayer, and we will not be able to put a handful of dirt in your grave. The satirist's "What's Your Face?" In his story, he satirically analyzes the nature of corruption by analyzing the function of body parts such as the human face and the mouth, two eyes, ears, and nose located there. The author finishes his satirical description with sarcastic strokes.
In Zhandos Omarov's story "Sogymbasy" (domestic animal’s meat) he mocks some of the characteristics of our contemporaries, describing the Kazakhs who celebrate the Kazakh sogymbasy holiday in a restaurant by making it "modern". In the article: "Kazekeme (my darling Kazakh) is a feast in itself, the mood is just right. The long-haired boy, who considers himself a talented boy, took the microphone and made everyone sit in their seats" [2, p. 80], "Oh, brother! Our Prophet said that it is a great sin to indulge in extravagance. In our noble religion, today's sitting is an unacceptable life. After settling down in Sogimbasy for the winter, after cutting the cattle it was a tradition for Kazakhs to invite each other to visit, kiss each other, sing some songs and stories, and hold a maslikhat. May your intentions be accepted, amen,' and he was putting the things that were offered to him in their place with a smile" [2, p. 81], there were sarcastic descriptions.
Aitmukhambet Kasymuli's story " Hey! I miss the election!" is full of irony. The first part of the work, which consists of two parts, "Yesterday" and "Today", describes the earlier elections in the village. There are ironic features in the words of those discussing the election process. For example, about the fate of the state language: "You don't think deeply, you don't want to see beyond what is in front of your eyes. Isn't Kazakh already the state language? If it is not used, we are to blame. And now, when our country is not divided into individual nations, and when our country is going to become the "Kazakhstansky narod"(Kazakh people), when our state is stepping towards "globalization", it is necessary to stop talking about the "Kazakh language"..." [2, p. 72] , - the word hero has a parodic character that expresses the attitude of some authorities in society. And in the "Today" section, the narrator tells how his wife got involved in politics and ran for elections.
Eralkhan Zylkaidaruly's story "A Man Returning from the Other World" describes the situation of a man who, after going to the other world and being resurrected, feels "regretful" for being resurrected after seeing the respect shown to him and his family after his death. As his friend says: "the fact that he achieved the honor and fame that was not achieved in forty years after his death in one day", even naming the school after him and standing guard over his tombstone will be an unexpected news.
Bazarbai Aleukhanuly in his short story "Let me cut off my nose" criticizes the submissiveness of the chiefs and the villagers who fell on their shoulders without mentioning the consequences of the proton that fell on the village. The only person who opposes them and turns to the truth is only Elibay, who "frequently goes to the insane asylum" and says: "Fire! If you don't say that there is no hair, there is no harm, I will cut off my nose!" - he sneers. Deputy Akaubaylar apologized and said: "Our situation is not bad. We are healing from the moment the proton fell. As usual with vodka. Drop a teaspoon into the children's mouth. We are giving bread to a crippled old woman. Three or four times a day, before meals" [2, p. 54], he flatters.
Conclusion
The function of irony is not limited to creating a comic effect. Although the purpose of irony is to make someone or something laugh, it may not cause laughter. In many dictionaries, the main character of irony is defined as mocking or mocking under the guise of support or praise. "The purpose of irony is not to make fun, not to amuse, but on the contrary, to show the importance, sometimes even the tragedy, of the problem and situation. Teasing is done by revealing the inappropriateness of the situation. The irony in the work is related to individual characters; writers often use it to create character. Through irony, the author's opinion about reality as a whole can be given. In such a case, the principle of irony is the core that supports the work as a whole [10,16].
We believe that such conclusions allow us to explain the conceptual nature of irony in some moments in the accelerated use of satire and irony. First of all, since the author has a certain ideal to follow in satire, his laughter is revealing and hostile in nature. Thus, we can say the second quality of satire - its clearly recognizable negative character, that is, the quality of the artist's inability to compromise with the moral world. Therefore, the author's subjectivity cannot enter the situation, does not try to understand. And irony is different: its main function is not denial at all, but correction; the ironic does not deny that any point of view is relatively correct, one that is not properly specified; the author, describing the problematic situation, does not hide that he is also involved in it, so the assessment will also be related to him.
As we have seen in the analysis of the prose works of modern Kazakh satirists, we can emphasize the artistic function of irony, which is used along with the narrative and descriptive function of satire, and is used to assess the object of criticism and correct it by negating it.
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