Miroslav Nemirov. All about Poetry 9

Alliteration

B. Goncharov: “(from Latin al - to, with, litera - letter) - repetition in poetic speech (less often in prose) of the same consonant sounds, one of the types of sound writing (see - M.N. ) .

A. highlights individual words and lines, which therefore become especially expressive:

The city was robbed, rowed, plundered...
(V. Mayakovsky. Vladimir Ilyich Lenin)

(In the latest terminology, there is no longer alliteration, but paronomasia - see - M.N. )

or:

The echo roars across the mountains,
Like thunder rolling over thunder.
(G. Derzhavin. Waterfall)

In these examples, A. is built on the repetition of the sounds "gr " ( Turaev 1988).

I disagree about “stands out.” In my opinion, it’s just the opposite: the main purpose of alliteration is not to highlight individual words, but, on the contrary, to fuse them in a line or stanza into some kind of closer unity.

* * *

In the twentieth century, around the Futurists, and maybe even earlier (research further), alliteration as such was replaced by a stronger form of sound pressure - paronymic attraction (see); the term was introduced by V. Grigoriev (see), he also studied this issue in detail.

Also see sound repetitions , paronomasia .

Allusion

K. Vishnevsky: “(from Latin allusio - hint) - one of the forms of allegory, the use of a word, phrase, quote as an allusion to a well-known fact - literary, everyday or socio-political:

Such a fatherland such smoke
Is it really that pleasant?
(V. Mayakovsky. Good)

The line echoes Chatsky’s remark

And the smoke of the fatherland is sweet and pleasant to us
(A. Griboyedov. Woe from Wit),

in turn, going back to G. Derzhavin’s line from the poem “Harp”:

Good news about our side is good for us;
The smoke of the Fatherland is sweet and pleasant...

as well as to the Latin proverb “And the smoke of the fatherland is sweet” ( Turaev 1988).

Allusions in postmodernism

Initially, in the late 1980s, when the term “postmodernism” was just coming into force and fashion, it was believed that its entire essence was in quotes. The more you quote and hint at, the better. Right up to the spread of centons (see).

It soon became clear that this was not the case.

That quotes and allusions are nothing more than just one of P.M.’s artistic means. and that, secondly, the abundance of quotations in PM works is a consequence of such a structure of the modern world, when “simulacra”, objects of art, television images, novels, advertisements, photographs, videos and other “images” make up such a thick fabric of existence, which for a person even obscures ordinary existence. As a result, Cindy Crawford is much more real - and more understandable, and more accessible, and closer - to the girls from the next yard. Rodion Raskolnikov is much more real, understandable, familiar, etc. face than the neighbor in line. The God from Derzhavin’s poem is much - - - than the real God, who - - -

The total filling of life with objects of art (considering as art and products of pop culture, advertising, mass media - this is the reason for the abundance of reflections of this art in P.M. works - because, like (almost) any art, P.M. reflects life as it is.

But, however, this is not the only issue.

And the quotation of P.M. - because of this, but not only, and the essence of P.M. not in quotes at all.

So one magazine only stupidly writes “Om”!
So only Gladilshchikov, who Yu., believes,
Because he is a asshole!

But how in reality - about this, see the message. Postmodernism .

Alphabet

There is such a version that I went crazy with alphabetical order, publishing all my works in alphabetical order.

I'll explain.

In fact, alphabetical order is, of course, a parody of order. Because, on the one hand, the order is simply iron and, moreover, spontaneous, automatically acting, automatically putting all phenomena in place with its invisible hand without any intervention from the author, without any subjective, you know, arbitrariness - a spell of chaos, a Christmas tree -sticks, operating with a one hundred percent guarantee, - and on the other hand, the alphabet is, as is known, a thing so random, external, conventional and “conventional” that it is, of course, not a “chaos spell”, but a pseudo-spell; such a pseudo-spell, which thereby, under the guise of ordering, demonstrates precisely the complete rejection of the search for any order of things, because it, of course, is impossible in principle.

That's why I love him - for these two properties - and I love him.

Amelin, Maxim

A fire-breathing beast with a lush mane,
sickle-clawed, your temper is playful
familiar firsthand
to everyone who, inhaling the smell of decay,
once a brute with scaly paws,
licked by a steel tongue, twice forked, by everyone who hoofed
bit in the teeth with a poisonous feather
pricked and ironed more than once
painful and tender, who felt close
sizzling Basilisk
a look of unblinking eyes, a look at oneself. - No prefaces,
just want meat and blood,
your jaw opens
and the womb is filled with flesh
tightly with a smack - both stick out,
just not full of the eye's grub. It happens: neither snout nor ear
will not lead, spreads like fluff,
meekly wags its tail. -
O State! isn't it you? Habits
whether the stirrup soars or is in decline,
the same as in that monster - there is no difference. Involuntarily
thousands of mucus filled: “How long!” -
out loud
sacrifices would be proclaimed in your belly.
(- If you don't have enough sadness,
I'm ready to share.)

A poem by Amelin Maxim, one of the most successful of today's new poets.

Genus. 1970, Kursk. Graduated from the Literary Institute. Now lives in Moscow. Published in "New World" - 1997, # 11, 1998, # 6, 1998, # 11 (I read this); made new translations of almost all of Catullus, and the translation was published (St. Petersburg: Aletheia, 1997); prepared and ensured that it was published, a book of poems by the famous graphomaniac of the times of Pushkin, Count Khvostov; in 1998 (or 1999?) he received an “Anti-Booker”.

According to the explanations of Vl. Slavetsky ("New World", 1998, # 9), Amelin (and some other poets adjacent to him - O. Ivanova, Dm. Polishchuk, etc.) - are engaged in looking for inspiration in the most deaf plusquaperfect - in the pre-Dervavin eighteenth century. And this is their main charm and merit.

Well, it’s the eighteenth, it’s visible.

But somehow...

Somehow something...

In short, something somehow doesn’t amaze me.

America,

more precisely, her United States.

Thinking like this has been the main theme of thoughts and conversations of Soviet - and post-Soviet - intelligent people since the 1950s. That which constantly stands before his mind and in relation to which he is engaged in continuous self-identification.

In the 1950-1960s - America as an earthly paradise, in which Marilyn Monroe, Sun Valley Serenade, Hemingway, Ella Fitzgerald, “The Magnificent Seven”, “double bourbon”, bone rock, beatniks, dudes, Cocktail Hall on Gorky Street , - Aksenov, Brodsky, Dovlatov, Weil and Genis, others, others and others, which all this has been described so many times that - - -

1970s - a new question: “To go or not to go.”

1980s: how can we get the damned communists to agree to everything good - so that everything in our country becomes like in America?

1990s: and again America is the most important thing, to which all the thoughts and judgments of the Russian thinking reed are focused. Only now it’s like Big Satan, the Main Source of World Evil and so on. and so on. - The Communist Party of the Russian Federation, the newspaper "Zavtra", Limonov, Dugin, Verbitsky, others, others and others, and by the end of the 1990s all this became almost a popular opinion and official point of view.

These issues will be discussed little by little in the following.

For example, see the posts of American Love , Ameriphobia , To Go or Not , Dulles , Jackson , Chewing Gum , Kennedy , Monroe and others. and so on.

American cultural expansion

Well, it didn’t start now, and it didn’t even win now.

What happened here in this regard in the 1990s was only the legalization of the position that God knows when it took shape in people’s minds: “American means the only one that is - - -.” In the capital's upper classes - already in the 1950s-1960s. In the mass consciousness of the entire population of the USSR - during the 1970s. When - well, not yet America, but some generalized "West" and "firm" (emphasis on the last syllable) won in Soviet culture completely and finally, in all its manifestations - from everyday music to which life takes place ("Boni M" , "ABBA" and other disco), to... Yes, to the empty Coca-Cola can that was placed on the sideboard as a decoration for the home! (The “West” included everyone who writes in Latin, right down to Romania and the Baltic states.)

So - - -

* * *

Now the situation in this regard is perhaps even better.

At least that Coca-Cola or a lighter has ceased to be an object of dreams: coveted - because different words are written on it in foreign letters - but inaccessible, because - - -, and from this even more coveted. Now at least everyone understands - Coca-Cola is, indeed, just soda, and a lighter is just a lighter, and nothing more, and the presence of foreign inscriptions on it does not make it a luxury item and an object of admiration.

Although - horseradish is better there. For - what, are things now such that, overfed with foreign goods, Russian people have come to love everything native and domestic? Where there!

In words - yes. In words, all you can hear everywhere is: all this foreign stuff is cheap and crap, but what films we had, what cartoons, what candies and this and that.

But, firstly, films and cartoons, candy and this and that were, in general, still shit, although different from the American one, and secondly, all these arguments remain words: if there is an opportunity to choose between ours and the American - cigarettes, rags, movies, etc. and so on - the choice is almost always American, and still young football fans write on the fence the name of their team, not just something else, but CSKA: foreign letters still seem more chic to them.

(By the way, it’s strange - well, then they would have supported the truly foreign “Barcelona”, which, moreover, really plays much better than “CSKA”.)

Theoretically, this can, of course, be banned, but practically nothing will change: American things will become even more desirable, because they are inaccessible.

So what should we do?

So what should I do?

Don't know.

Don't know! It’s easy for us, the authors of poems: we are almost the only ones who are protected from American competition by the language barrier. But everything else, that's everything! - American is still really better than ours, what should we do about it? I don't know.