In the 70s and the 80s of the 20th century, a new view of Záborsky's literary work began to occur. A. Bagin formed the key hypothesis about Záborsky as a modern author. The problem of comical in his works was opened by S. Rakus and A. Kruláková. A. Kruláková was also the first who depicted an irony line in the Slovak literature from Bajza, Chalupka to Záborsky. Then J. Stevcek, V. Mikula and P. Darovec adopted it into their interpretations. In his interpretation of the prose by P. Vilikovského 'Vecne je zeleny ...' (Ever Green Is...) P. Darovec worked it up until the present time. In the 70s and 80s O. Cepan dealt with the poetics of Záborsky's prose most intensively. In Záborsky's prose he identified paradox and irony as its primary features. Both O. Cepan and A. Kruláková revealed the domination of low (Bachtin) carnality. In his 'Summary to Faustiáda' (1984) and mainly in his introductory study 'Staromilsky novátor' Jonás Záborsky? in 'Dielo' I (1989) Oskár Cepan changed his former thesis about Záborsky as a late Classicist and he described his work as a part of Romanticism, its 'reverse', negative and natural negation. All main features of Záborsky's prose texts as its intentional anti-myth character, heteronymous character, monsterlikeness, paradox, irony as a reflexive duplication of the text, metalepsis as a basic rhetoric figure, grotesque as a genre of 'flying arabesques' prove that Záborsky's late proses mainly 'Faustiáda' belong among the works that use the Romantic irony. The latest Slavic research has identified the Romantic irony as a discourse of the late Romanticism in Pushkin's 'Eugen Onegin' (H. Meyer), in Slowacki's 'Balladyne' (M. Zmigrodska, G. Ritz) or in early works of Hálek (Z. Hrbata, M. Procházka). Also the study 'Kocurkovo' as a Slovak Anti-Myth belongs to this line of research.