3 Answers

  1. “But the construction has not ceased to be artificial from this, and in our time the work of futurists is perceived as a kind of funny, but at the same time, rather curious than significant layer of Russian culture.”

    You're not quite right here. The practice of abstruse language is somewhat more common than you might think. This is a special line of modern poetry. And many bands, for example, sing in languages that they invent themselves. Moreover, the bands are good and quite well-known (on a whim – Sigur Ros, Cocteau twins, in Russia – “Polite refusal”, they have a lot of songs with abstruse lyrics, but in fact there are many more such groups). If the design was completely artificial, it would not be reproduced, not taken as a sample. It would probably be wrong to see this as a direct influence of the Twisted Ones (with the exception of” Polite Refusal”, these people know very well about the Twisted ones). But there is no doubt that there is an indirect impact in all cases. And here, of course, you need to take into account that at the beginning of the twentieth century it was a world plague, in those days there were many such experiments in general. Which, no doubt, had its reasons.

    And more. It is clear about the rudeness and clumsiness of Kruchenykh's experiments, it is pointless to argue with this. But there is nothing good in deifying and absolutizing the past either. Well, yes, Pushkin did, but what are you doing? Is everything really exhausted and only an endless reproduction of “I loved you…” is possible? Kruchenykh at least tried. There is one. Rude, impudent, clumsy, but there is. And people who run around with Pushkin, as it were, do not exist at all. Because of them, neither “I loved you…”, nor even “holes bul schyl” will remain. Empty space.

    Pushkin is not only the greatness of Russian poetry, it is also its curse, because there was no other person who would have slowed down the development of Russian poetry to the same extent. But this is the trouble of any great poet. The sun not only shines, but also burns. And resistance to this is sometimes appropriate.

  2. Because that's what the manifesto authors said.�

    It is unlikely that there is a special device that can measure the share of the Russian national in a particular text. Of course, we can now say what seems more “appropriate” to the folk spirit from our point of view, and what is less so, but this is our modern point of view; moreover, art does not have to be popular, it does not have to do anything at all.

    Russian Futurism is an avant-garde, a revolt, a broad step beyond the limits of the exhausted artistic language of the XIX century. Even if it is not accepted in its most radical forms or is perceived as something curious, futurism has given us Mayakovsky, Khlebnikov, imagists (including Yesenin) and constructivists. This is dialectic. In order for the language to be renewed and live a new life in the synthesis of the XX century, an antithesis in the form of shocking futurism was needed.

  3. In this poem — not only new principles of word-making, but also reliance on Russian folk poetry, traditional plots. It is noteworthy that long before Alexey Kruchenykh, Alexander Blok was also fond of such “abstruse spells”, as Vyach. Vs. Ivanov pointed out: “Ow, ow, shiharda kavda! Shivda, vnoza, mitta, minogam…”. But, in contrast to this experience, “Dyr, bul, shchyl…” is perhaps the most quoted of all Russian poetry of the late XIX-early XX centuries (according to N. A. Bogomolov).

    And here is how Kruchenykh himself reinterpreted it an era later, in the 60s of the last century (the very ” Holes, bul…”, I remind you, was written in 1912): “V. Dahl, in the preface to his explanatory dictionary, says that only Krylov and Griboyedov wrote in Russian, and P<to> < ushkin> – 1/2 French < Ushkin> < uzskaya > speech. So I tried to give a phonetic sound extract of the Russian language with all its dissonances, cutting and growling sounds (remember the good letters “r” “w” “sch”) and later-so that it was “weighty, rough, visible”: weighty = the heaviest low sound, this is the sound. By the way, an example from Nekrasov: “I beat stumbling nags with a short whip” is also a real Russian language. Of course, if Dahl had heard my opus, he would probably have cursed, but he could not have said that it was Italian or French phonetics” – (Memory now unfolds a lot: From the literary heritage of the Kruchenykh / Comp., afterword, publ. texts and comments to them by N. Guryanova. [Oakland], 1999).

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