Jasmina Mojsieva-Guseva

The World of Chingo’s Humour

Humour expresses general physiognomy of peoples’ culture showing the weaknesses and strenghts of the society in a particular moment of its evolution. That is what Chingo does in his specific humour. In all its essence, Chingo’s humour can be summarized as critics on the revolt against evil, injustice, vice, and distortion of the society. By means of humour, Chingo points out to manipulations and lies used not only by public institutions but also by individuals belonging to the new socialist authority. Throughout his humour, he talks about the issue curbed, and stacked, buried and halted by the society lie. Trying to observe Chingo’s works as a whole, we can state that the tragi-comic element is essentially knitted in his prose. Besides the freeze we can feel in a tragic event, the experience teaches us that Chingo briefly establishes a balance by introducing humour, sometimes seen as a cinism in the story Smrtta na gradinarot (Gardener’s Death), grotesque Rable exaggeration in the novel Babaxan (Babadjan) and the dramma Surati (Faces), sometimes throughout irony in the novels Golemata voda (The Big Water), Srebrenite snegovi (Silver Snows), and Al (Al), society satire in the drammas Obrazov (Obrazov), Kengurski skok (Cangeroo’ Jump), Pod otvoreno nebo (Under Open Sky) and Rabotnici (Workers). Such complex composition enables him, in a real manner to express decay of values and to escape from the pathetic devaluating elevation of the moment introducing unusual comic and tragic digression.