The article deals with the definitions of the term «absurd», the paradigm of commedia dell’arte from a psychological point of view. It was shown that the role of the absurd in Shakespeare’s plays was outlined. It was noted that the term «absurd» came from the Latin: «absurdus» is «nonsignificance», «nonsense». The absurdity, on the one hand, is connected with the «skepticism» of Socrates (I know that I do not know anything), and, on the other hand, with Socratic irony (do not isolate anything completed, finished, forever given and unchanged). It was noted that already in the ancient art the absurd was used to reach the understanding of unknown things and actions. In particular, in the anthology, pantomime, the clown appears as moros or stupidus; his absurd behavior is a result of his inability to understand the simplest logical connections of things. It was stressed that thanked to the absurdity, W. Shakespeare opened new faces, new depths and, at the same time, the tragedy in Renaissance dualism. It was noted that the official status of the Person W. Shakespeare considered unreal, temporary; the negative characters in his drama were people who seek to conquer or strengthen their official status. Such a life goal is false, perverse, leads eventually to a vital defeat. In order to achieve their deceptive purpose, such people often have drown in natural feelings or sacrifice natural links, that is, in such a way, they are killing their natural essence. Given the absurd frames, explicated in the plays of W. Shakespeare, the article highlights the psychological mechanisms of the expression of the absurd meaning by a writer. These are such mechanisms as: the explication of absurd frames existing in the consciousness of the individual; the images of absurd in terms of random details, archetypes, metaphorical contexts; the explication of the absurdly hidden nature of causal relationships that appear to be evident as a result of the usage of certain lexical units by the author, lexicalstylistic means, etc.; the presentation of a play of an absurd tie by the author; the presentation of the context of deciphering the play by the author with an absurdly displaced center. The article emphasized that it was necessary to pay attention, first of all, to the fact that the understanding of the absurdity was arising as a result of unexpected for the reader transforming the tense context of the play into quite obvious semantic frames. According to such conditions, the witty absurdity will include the fact that the reader first perceives a play for the truth that misleads him, and then turns into persistent absurd frames that are fixed, fixed in the consciousness of the individual. Such frames, in turn, can be understood by the reader as containing nonsense, senselessness, can lead to the creation of stable cliches (built on the principle of «game of ideas»), which, in turn, become structural components of human consciousness