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A. Knyshev “O great and mighty Russian language!”: In this ironic publication, the journalist ridicules lovers of borrowings, showing how ridiculous our speech becomes, oversaturated with them.
M. Krongauz “The Russian language is on the verge of a nervous breakdown”: The author explores the state of the modern Russian language, oversaturated with new words dependent on the Internet, youth, and fashion. The title of the book is the author's point of view on this issue.
V. Stupishin “New sweet stil? What language do we speak and write?: The journalistic article is devoted to the problems of linguistic absurdities, which are full of the speeches of politicians and some journalists. The author gives examples of absurd accents in words, foreign borrowings, and the inability of speakers and writers to use the rich arsenal of the Russian language.
A. Shchuplov “From the Party Congress to the Congress of the Roof”: The journalistic article is devoted to reflections on how many abbreviations have appeared and continue to appear in our lives, which sometimes become, according to the author, an example of “official stupidity.”
Quotes
“In days of doubt, in days of painful thoughts about the fate of my homeland, you alone are my support and support, oh great, mighty, truthful and free Russian language!” (I.S. Turgenev)
“... Voluntarily or unwittingly, we have come today to the line when the word becomes not a part of life, one of many parts, but the last hope for our national existence in the world.” (V. Rasputin)
“To use a foreign word when there is an equivalent Russian word means to insult both common sense and common taste.” (V. Belinsky)
“A person’s morality is visible in his attitude to the word.” (L.N. Tolstoy)
N. Gal “The Living and the Dead Word”: A famous translator discusses the role of the spoken word, which can hurt a person’s soul with its thoughtlessness; about borrowings that distort our speech; about bureaucracy that kills living speech; about caring for our great heritage - the Russian language.
K.I. Chukovsky “Alive as Life”: The writer analyzes the state of the Russian language, our speech, and comes to disappointing conclusions: we ourselves are distorting and mutilating our great and powerful language.
Correlation between a person’s name and his inner essence
Development and preservation of the Russian language
A. Knyshev “O great and mighty Russian language!”
In this ironic publication, the journalist ridicules borrowers, showing how ridiculous our speech becomes when oversaturated with them.
M. Krongauz “The Russian language is on the verge of a nervous breakdown”
V. Stupishin sweet stil? What language do we speak and write?
The journalistic article is devoted to the problems of linguistic absurdities, which are full of speeches of politicians and some journalists. The author gives examples of absurd accents in words, foreign borrowings, and the inability of speakers and writers to use the rich arsenal of the Russian language.
A. Shchuplov “From the Party Congress to the Congress of the Roof”
The journalistic article is devoted to reflections on how many abbreviations have appeared and continue to appear in our lives, which sometimes become, according to the author, an example of “official stupidity.”
Quotes
“Speak Russian, for God’s sake! Bring this novelty into fashion.” (A.M. Zhemchuzhnikov.)
“In days of doubt, in days of painful thoughts about the fate of my homeland, you alone are my support and support, oh great, mighty, truthful and free Russian language!” (I.S. Turgenev)
“... Voluntarily or unwittingly, we have come today to the line when the word becomes not a part of life, one of many parts, but the last hope for our national existence in the world.”
(V. Rasputin)
“To use a foreign word when there is an equivalent Russian word means to insult both common sense and common taste.” (V. Belinsky)
“A person’s morality is visible in his attitude to the word.” (L.N. Tolstoy)
N. Gal “The Living and the Dead Word”
The famous translator discusses the role of the spoken word, which can hurt a person’s soul with its thoughtlessness; about borrowings that distort our speech;
about bureaucracy that kills living speech; about caring for our great heritage - the Russian language.
K.I. Chukovsky “Alive as Life”
The writer analyzes the state of the Russian language, our speech, and comes to disappointing conclusions: we ourselves are distorting and mutilating our great and powerful language.
Correlation between a person’s name and his inner essence
DI. Fonvizin "Nedorosl"
In the comedy, many characters have “telling” surnames: Vralman, a former coachman, lied that he was a foreign teacher; the name Mitrofan means “like his mother,” who is depicted in the comedy as a stupid and arrogant ignoramus. Skotinin Taras - Mitrofan's uncle; He loves pigs very much and in terms of the coarseness of his feelings he is similar to cattle, as his surname indicates.
“Sweet Style” was published in 1996. This is already the late Aksenov, a master who travels freely across countries and eras. A novel in which a drunken Russian “independent” director, having moved to America, suddenly becomes at the center of historical events.
*** In the image of the main character, Alexander Korbach, one can find traits of Andrei Tarkovsky, Vladimir Vysotsky, and the author of the novel himself. He, like Vysotsky, is a famous bard and his songs are sung throughout the USSR. Like Tarkovsky, he is a director, albeit of the Jesters Theater, but already in America he is realizing his long-time dream and directing a film. From Aksenov, Korbach borrowed exile and a not always easy life in a foreign land. But these are all elements of adult life, and there was also childhood, in which Alexander, until the tenth grade, bore the surname Izhmailov - his stepfather, whom he considered his father. Only as a teenager did he learn that he was in fact the son of Yakov Ruvimovich Korbakh, who perished in prison following Izhmailov’s denunciation. Then there was a break with the family and moving to my grandmother. Attempts to study at the philological department of Moscow State University, at the theater school, the directing department of VGIK and, finally, at the Higher Screenwriting Courses. He was soon kicked out from everywhere under plausible pretexts, but his singing earnings and, finally, the created and officially recognized theater “Jesters” helped him from sliding to the bottom. In the intervals of this hectic life there was also a significant meeting with the great old men Mikhail Bakhtin and Leonid Pinsky, conversations with whom significantly expanded the horizons of cuturology; meeting dissidents and understanding that this is not his path; marriage to Anise and the birth of twins and quiet alcoholism from creative and life despair. So the offer not to be an eyesore with my productions and at the same time to go on a creative business trip arrived just in time. Korbach first found himself in France, and when his free speeches provoked an appropriate reaction from party bodies, he moved to the USA. *** The novel begins with the main character landing at JFK Airport, where, it turns out, no one meets him. It’s not met for the simple reason that the telegram from France stupidly mixed up the dates, and a crowd of journalists crowded the exit from the terminal only the next day. The decline in vitality was expressed in complete humility and acceptance of the surrounding reality, where a legendary figure for emigrants could easily sit next to him at the table and drink vodka with everyone else. Living in a crowded apartment of a former compatriot, and today - a New York taxi driver. Random earnings and inexplicable accidents. It all started with a conflict in a supermarket. The detained Korbach's documents were checked, and luckily for him, the manager was able to match the name of the strange balding man with the owner of the network. Chief Korbach was a very rich man, but he had one passion that is difficult to explain - to restore his family tree as widely as possible. Alexander turned out to be his distant relative, which significantly influenced his subsequent life. *** Then there were new interesting acquaintances, teaching at the university, returning to the USSR, but as the director of a charitable foundation, filming a film about Dante, and much more. Events are developing at breakneck speed, spreading from continent to continent, from one country to another, increasingly raising the level of the narrative. The result was a kind of utopia, but unlike “Island of Crimea”, not on a national scale, but at the level of one person. The entire 550-page novel is read in one breath and even before each chapter contains poetic introductions - a tribute to the two Guidos - Guinizelli and Cavalcanti, who gave birth to the “new sweet style” with their creativity.Vasily Aksenov
New sweet style
In our leisure time we once read
There is a sweet story about Launcelot.
Dante. "The Divine Comedy"
1. Three stages
On August 10, 1982, Alexander Yakovlevich Korbakh first set foot on American soil. While he was standing in a huge line at passport control at the PanAm terminal, this date kept spinning in his head: there was some additional meaning to it. And just after control, already near the baggage carousel it dawned on me: it’s a birthday! Every year on this day something “fulfilled” something for him, and now something has come true: forty-two, or something, no, forty-three. Did I think a year ago in Crimea that a year later I would be celebrating my birthday at the New York airport! 10.8.82, forty-three years old, headache from yesterday, N-1 visa, one and a half thousand dollars in my pocket, three thousand francs, I don’t feel anything except the “sum of feelings.”
The first meeting on American soil turned out to be pleasant, if not exciting. Suddenly, among the first to arrive, a suitcase jumped out of the underworld, demonstrating strange mobility, not to say swagger. Prone to inappropriate thoughts on irrelevant topics, Alexander thought, looking at the suitcase: after all, a suitcase worn out on tour, but somehow mentally dear. So, in essence, what happens is: they killed a large animal somewhere, made a suitcase out of the skin in Latvia, and now everything brutal has already evaporated, the suitcase has turned into an object of nostalgia.
The suitcase drove past, collided with an Indian bale, and fell flat. On the next turn, Korbach grabbed his own from someone else’s and began to join the line for customs inspection.
The individual thrusts a piece of paper: “Declaration! Declaration!
Eh, he doesn’t understand English! Jim Corbett demonstrates: a sharp turn of the hands and then an elegant, moderate lift of the palms: “If you don’t mind, sir.”
There was nothing attractive, but nothing particularly repulsive in the suitcase. Among the sweaty shirts is a book in an antique binding, a large “D” with a golden seal on the volume. There is clearly no double bottom. Jim Corbett looks at his passport. Gosh, this rare bird is Soviet!
- Is there vodka? - the officer jokes.
“Only here,” the visitor jokes in response, patting himself on the forehead.
Great guy, Corbett laughs, it would be nice to sit with him at Tony’s.
How many interesting things every Russian carries within himself, Corbett thought for a few more minutes, letting potential violators through without checking. A country of exceptional order, everything is under control, no homosexuality, how is it all organized there?
Alexander Korbach, meanwhile, walked in the crowd towards the entrance to the gaping tunnel, behind which, in fact, the free land began. A body that has just flown across the ocean may not yet be in full composition. Perhaps the astral threads, all these chakras, idas, pingalas, kundalinis have not yet completely combined due to the aircraft speed that is not typical for humans. He thought so, not without sad humor. The shuffling of soles does not mean anything, just the movements of household machines wanting to come to America. It will take some time for everyone to become passionate again.
In front of the crowd stood three steps, which seemed to Alexander Yakovlevich to be three ledges of different colors: one white, marble, the second rough, as if made of charred stone and purple to black, the third - fiery scarlet porphyry. The crowd was silently drawn into the tunnel.
Ahead, at the end of the tunnel, another standing crowd appeared, welcoming. Television camera lamps were already sticking out above her. Keep a low profile, Korbach told himself. Speak only Russian. No demeaning attempts at gibberish. Sorry, gentlemen, the situation is uncertain. The theater still exists. The question of my artistic direction is up in the air. The purpose of the visit is contacts with creative forces of the United States that are kindred in spirit and style.
Well, while this not repulsive appearance, like Lermontov, albeit with Andrei Bely’s receding hairline, 175 centimeters tall, approaches the television cameras, we, taking advantage of the novel’s space, can slightly swing around his curriculum vitae.
2. Curriculum vitae
In 1982, Soviet people still had no idea what these two poorly pronounced words were used with. He, of course, did not know the abbreviation CV, which is pronounced “see-vee” and every time resembles a certain sibyl, that is, a predictor of the future. There is some reason for this, since CV, this mixture of questionnaire and biographical information, referring to the past, always contains hope for good changes in the future. In essence, this is nothing more than an advertisement for an individual, made in the hope of getting people to buy.
Advertising, after all, should not deceive, and therefore the author, in the role of a personnel officer, must immediately reveal that the hero in his video had some ambiguities, if not ambiguities. Here, for example, is the ever-troubling “fifth point” of Soviet jargon. In all documents, Alexander Yakovlevich Korbakh was listed as a Jew, but he was not always such, we must admit. His last name didn’t always “aah” so much in Hebrew. And the middle name once sounded more pleasant to the red ear.
In childhood and early adolescence, our friend played the role of Sasha Izhmailov, a Russian boy. He also had a corresponding father, Nikolai Ivanovich Izhmailov, a WWII hero limping and leaning on a massive stick, of whom Sasha, as expected, was proud. For his part, Nikolai Ivanovich treated Sasha with restrained severity, which could be mistaken for restrained love, and only when he was very drunk called him an incomprehensible word “bastard,” after which his mother screamed shrilly: “I’ll die! I’ll die!”
Working in the nomenklatura, Nikolai Ivanovich increased his standard of living, and his family, as people say, did not know grief. In the post-war years, Sasha became rich with a brother, and then with a sister. Nikolai Ivanovich often fussed around on the carpets in the office with all three of them, and only sometimes, hugging Valerka and Katyushka, he warmly whispered: “You are my dear ones,” emphasizing each word.
Now you and I, reader, can guess, but the boy did not understand then why, over the years, his admiration for his father was replaced by some kind of vague wariness.
On the periphery of this difficult family, meanwhile, Grandma Irina was always present, who was so called seemingly simply because of her age, but at the same time, not entirely just because of her age. She tried to appear on those days when Izhmailov went on important business trips. First she brought Sasha toys, then skates and clubs, looked at him lovingly, and spent hours tirelessly talking about the Indians of America, then about frigate drivers, then about the world political arena.
Grandma was atypical. A military doctor, she spent the entire war in field hospitals. She walked with a firm officer’s step, the constant “Kazbek” in her teeth, large glasses brought her whole figure to the common denominator of a leading woman. In addition to all this appearance, throughout Sasha’s childhood, her grandmother drove her own little car, a captured Opel Cadet.
The boy did not understand how this remarkable person was his grandmother; he felt some kind of family distortion, but did not want to go into details. Sometimes he heard Grandma Irina and Mom begin to speak in what is called a raised voice. The grandmother seemed to lay some kind of claim on him, and the mother, with her characteristic exaltation, rejected these rights. Only in fifty-three, that is, in the fourteenth year of Sasha’s life, did everything become clear.
NEW SWEET STYLE
The art of the Middle Ages was no less diverse and abundant than theology, philosophy, and science. Almost all the major thinkers of the era paid tribute to aesthetics: in terms of the degree of spiritualization of beauty, Ducento is perhaps unique and unsurpassed. Dante was lucky twice: he was born not only in the age of Thomas Aquinas, but also in the era of troubadours and trouvères.
In Popular Eloquence, he lists the troubadours of Provençal poetry who served as role models for the Florentine poets of his time: Arnaut Daniel (songs of love), Guiraut de Borneil (songs of justice) and Bertrand de Born (songs of valor). In the Comedy, the inventor of the sextine, Arnaut Daniel, is called “the best blacksmith of the native word.” It was from him that Dante borrowed the complex forms of poems about the Stone Lady (canzones and sextinas), surpassing his teachers in skill. Following in his footsteps, Dante created the Italian sextine and also invented the complex-shaped “double sextine.” Dante was close not only to poetry, but also to the mysticism of Arnaut Daniel, which he learned to masterfully weave into the framework of knowledge. The Supreme Poet, to a much greater extent than Guinizelli, is subject to Bonagiunta's accusation that “he extracts canzones with the help of various works,” in other words, of being over-learned.
The ideals of the Middle Ages are associated not only with divine beauty, not only with knightly loyalty and honor, not only with service to the king and God, not only with the unity of subject and overlord, not only with monastic purity, but also with the cult of service to the Lady. The courtly tradition of Provence, in turn arising from Arab and Sufi influences, created a high mystical cult of human love, quickly spread by the Trouvères and Vagantes throughout Europe. For the Stilnovists led by Cavalcanti, a woman embodied the ideal of beauty and was a model of moral perfection. Guido Cavalcanti saw an angelic being in the Lady and appealed to the ideal of love worthy of beauty. Lanfranco Segal's beloved became luminous and turned into a heavenly vision. "The idealized beautiful ladies of Montagnagol and Lanfranco Sigala were the literary forerunners of Beatrice from Dante's La Vita Nuova."
Naturally, Dante could not be outside the sphere of influence of the Stilnovists and his Beatrice - the highest example of courtliness, combining sensual and prayerful love for a woman. In his work, Dante demonstrates a brilliant acquaintance with poets of the Sicilian, Tuscan and Provençal schools. It bears a clear imprint of the images and motifs of Jacopone da Todi, Cino da Pistoia, Giacomo da Lentini, but above all two Guidos - Guinizelli and Cavalcanti.
Under the influence of Provençal lyrics, in the 60s of the 13th century, poetry of the “new sweet style” arose in Bologna, which was started by Guido Guinizelli. Like Dante, Guido Guinizelli di Magnano was also expelled from his hometown at one time and also died in exile. Starting from the idea of Thomas Aquinas about man’s love for God as a rational striving for the highest good, Guinizelli began to imagine love for a woman as the Virgin Mary, man’s intercessor in heaven. My beloved, the poet wrote, is so good and virtuous, so like an angel, that one can love her as much as the Queen of Heaven. Are these words the origins of Dante’s beatification of earthly love? Is this not the origin of the softness and melodiousness (sweetness) of his youthful poetics?
A wondrous light pours from the eyes of the Madonna, And where the ray penetrates, A life will be born, such as our mind does not know, Because there is no likeness to it in the world. But for me, there is an excess of troubles in it, It saturates my heart with confusion; I think: “Stop! Here everything is spreading doom!” But I myself break my ban. I rush to where the heart has no hope, I inspire courage in timid eyes, To behold the great light again; But, as I approach, alas, I close my lids and run out of courage with my valiant impulse... Apparently, Love still preserves my life!
What is Love? One draws Her features with an abundance of words, but in vain: It is still unclear to the Thinker, What is its essence and what is its meaning. Others see in it the high call of the Mind, burning with a beautiful dream, For others, in it there is a passionate voice of desire, the desire for pleasure without shackles. I think like this: there is no substance in it, She is not a tangible object, But an attraction devoid of form To the all-perfect form of nature; The heart has supreme rights here, And pleasure is fused with beauty here.
Dante considered Guinicelli - "the greatest Guido" - the father of poets, who taught them to compose songs of love. From him he borrowed not so much the ability to compose these songs, but the idea of high feelings and dignity of the Personality, the idea of human nobility as such. Guinicelli anticipated Dante in replacing Latin with volgare, light metaphors, comparison of life phenomena with the rays of the sun, heavenly bodies, and fire.
Italian verse in Guinizelli's poetry for the first time acquired the flexibility and sonority for which Petrarch became famous a century later.
The beautiful lady of Guinizelli's sonnets humbles the pride of those who welcome her appearance, inspires them with lofty thoughts, and bestows inspiration. Dante in “New Life” completed what the Bolognese poet started.
In Florence, the first stylistic poet was Dante's elder friend Guido Cavalcanti, who substantiated the concept of a single spiritual substance: love arises not in the heart of a person, but in the memory of humanity, accumulating memories of the beauty seen. From the collective archetype of "heavenly love" the mind extracts the idea of ideal beauty. A woman is a symbol of this idea, which subjugates the intellect and will of a man.
While Guinizelli moved from the celebration of female beauty, characteristic of Provençal and Sicilian poetry, to the spiritualizing influence that an angel has on a woman, Cavalcanti developed another motive - the suffering of a rejected lover.
Dante learned both. In the New Life and the Divine Comedy, the moral beauty of man was finally clothed in a religious shell, and human feelings were given the color and sound of the heavenly spheres.
For Guido, the new Guido achieved the highest honor. word, perhaps, the one who frightens them out of the nest together is born.
In the last line Dante was referring to himself...
The symbolic visions and dreams that abound in his books are borrowed from the French allegorical novel. In the chivalric novels about Tristan and Isolde, about Lancelot and Guenievre, we also find the beginnings of psychological insight into the inner life of a person, which became decisive precisely in the work of the Tuscan Homer.
One of the prototypes of the Comedy is the medieval legend of the Holy Grail, finally poeticized by Wolfram von Eschenbach. Perhaps this is the first work of world literature where the plot is inseparable from the psychology of the heroes. The parallels are not limited to Eschenbach’s psychological and philosophical nature: the Grail cycle is a wide-format, multifaceted and internally stratified canvas, second only to Dante’s scope.
Although for several centuries the Divine Comedy was considered as a paraphrase of the Romance of the Rose, Dante and Jean de Meun are incommensurable values. The Romance of the Rose is a significant monument of medieval literature; the Comedy falls out of time. With all the significance of Walter von Vogelweide, Hartmann von der Aue, Payen de Maizières, Ruetboeuf, Werner Sadovnik, Marcabrun, Rudel, Bertrand de Born, they all go into the shadow of the creator of the Divine Comedy. Dante assimilated and digested the ideas of the greatest artists and theologians of his time, refracting their views into the uniqueness of his own vision of the world, into a picture of the frailty of existence, the fall and corruption of a person subject to salvation.