Steppenwolf’s pragmatics is the one of salvation, and it implicitly includes the implementation of humanization of myth. This phenomenon is formed, in particular, by extensive use of such a constant as myth of laughter. Immortals laugh – and death is abolished. Hermine’s murder committed by Harry Haller by her categorical order and against his will, revealed to be an illusion; Harry is sentenced to be ridiculed by immortals and naturally is sentenced also to eternal life. He has what to do there: he must understand the “sense of game”, i.e. he has to get rid of his obedience to death-destruction and to learn to laugh in such a life-giving way as Goethe and Mozart-Pablo do. These immortal inhabitants of “shining sky” are implicit possessors of such a deity’s attribute as kindness. Steppenwolf is innovative not only because of its form, but also because of fact that laughter is identified there as highly spiritual salvatory philosophical act for the first time in Contemporary history.