The article examines the role of interjections in a humorous rhyme based on the material of three authoritative collections (about 15,000 texts) which haven`t been the subject of investigation by either folklorists as a means of speech expression or linguists as a source of spoken language. The study allowed us to establish that all types of interjections are used in a humorous rhyme, the specific set in each form is determined by the subject area of the genre. Interjections in the genre retain semantic features, syntactic and pragmatic functions, acquiring an aesthetic function, which is most developed in emotional interjections. They contribute to the "artistic consolidation" of the text in a humorous rhyme, it being like a miniature, to its expressive saturation, enhancing emotionality or complementing and expanding its coloring, and allow for saving space in miniature. Interjections are able to express a wide range of emotions in a humorous rhyme, as they retain their inherent ambiguity and diffuseness. However, interjections are not a frequent part of speech in humorous rhymes. The reason lies in the poetics of the humorous rhyme, the nature of the lyricism in it which the interjections do not always correspond to. The interjection declares a feeling vividly, expressively and openly. A feeling is expressed in a similar way in a number of humorous rhymes, especially in dance tune, but in most cases the feeling is hidden behind actions, it is not unambiguous, sometimes it contains a range of shades, allows for different understandings. In this case, the humorous rhyme refuses from interjections and prefers other means of expression. The study of a humorous rhyme specifics is induced by the study of the place of interjections in humorous rhymes. Etiquette and imperative interjections are part of the information content, and they take on expressiveness due to the use of additional techniques: forming derivatives in a deminutive form, repetition, juxtaposition of different forms and etc.
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