The article substantiates the term «double defamiliarisation», meaning the strangeness not only of the situation, but also of any possible framework for its description. It is proved that this double defamiliarization arose in the genre of pastoral, in which mimesis is aimed at a deliberately artificial situation, and therefore any intention of discussing real problems can turn into such a complex defamiliarisation. Based on the conclusions of Karlo Ginzburg, Graham Harman, Mikhail Gasparov, and Olga Sedakova, it is proved that the moralistic understanding of the pastoral produced the very method of defamiliarisation, while the combination of the ballad semantics of amphibrachium tetrameter with a pastoral mood produced the effect of double defamiliarisation in a number of works of Russian literature. The theoretical substantiation of the term «double defamiliarisation» is combined with the interpretation of a number of poetic works, which made it possible to obtain a number of unexpected results and build a line of succession from Lermontov's ballad Angel to Sergey Mikhalkov's satirical poem Foma. It is shown that Mikhalkov's satire inherits irony in the spirit of Heine, as it was perceived by Russian poets such as Vladimir Soloviev, 62 Alexey Apukhtin, Ivan Bunin, and at the same time reproduces dispositions of beliefs and disbeliefs, speech from within the situation and metacritics, which were completely set by the First Eclogue of Virgil. The attempts to revive the pastoral ballad as a humorous genre in emigrant Russian poetry are also considered
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