Oh, Dostoevsky, over the running cloud! Oh, Pushkin notes of the fading afternoon! The night looks like Tyutchev, Immeasurable and peaceful.
1908 - 1909
Russian poets of the twentieth century.Author and presenter Vladimir Smirnov
Where the waxwings lived,
Where the ate swayed quietly,
Flew by, flew away
A flock of easy times.
Where they ate quietly,
Where the youths sang a cry,
Flew by, flew away
A flock of easy times.
In the chaos of wild shadows,
Where, like the darkness of old days,
Spun and rang
A flock of easy times.
A flock of easy times!
You are poyunna and vabna,
You intoxicate the soul like strings,
You enter the heart like a wave!
Come on, sonorous sons,
Glory to easy times!
Khlebnikov family
Viktor Khlebnikov was born on November 9, 1885 in the Kalmyk steppe: the village of Dundutovo, Maloderbatovsky ulus, Astrakhan province. His father, Vladimir Alekseevich, was a famous naturalist, ornithologist and forester; he founded the first Astrakhan Nature Reserve in the USSR.Victor often accompanied his father on official, scientific and hunting trips in the Volga steppes and forests. Vladimir Alekseevich instilled skills in his son scientific observations Viktor kept phenological ornithological records from childhood on animals, birds.
In 1903, Victor Khlebnikov, having graduated from high school, entered Kazan University in the mathematics department, then moved to the Faculty of Natural Sciences, and later transferred to St. Petersburg University. There Khlebnikov met Gorodetsky, Kuzmin, Gumilyov, became interested in Remizov, and visited the “towers” of Vyacheslav Ivanov. It was at this time that the poet took the pseudonym Velimir.
By 1910, Khlebnikov left the circle of symbolists, to which he initially belonged, and, in essence, made a turn in literature.Forming the principles of a new artistic method,he laid the foundation for a new aesthetics. New directionKhlebnikovcalled “budetlyanism” - the art of the future.
Rushing like a narrow snake,
That's how the stream would like it,
This is how the water lady would like it,
Run away and disperse
Khlebnikov was painted by many artists: Filonov, Tatlin, Miturich, Annenkov.
Portrait by Yuri Annenkov.
Sketch-self-portrait Khlebnikova. 1909
Volga is not silent for long.
She grumbles like a wolf.
The waves of the Volga are like wolves,
Windy weather.
A flap of silk curls.
And near the Volga, near the hungry
The tears of hunger are flowing.
Velimir Khlebnikov was looking for ways to transform sound into color. He saw sounds in color. There are people with such a structure of hearing and internal vision that every sound evokes a certain association in them. Nabokov colored the Russian alphabet in “Other Shores”. Scriabin introduced the light part into the score of Prometheus.
Arthur Rimbaud wrote about the different colors of vowels: A - black, E - white. For Khlebnikov the consonants had color, catch the colorvowelsto himinterfered with themKhlebnikovelusive femininity. Here's the scale(partially): B - red, red, P - black, with a red tint, T - yellow, L - ivory. If you read: “Bobeobi lips sang”, substituting these colors in place of the consonants, you can see the speaking painted lips of a woman: scarlet lipstick, whiteness with a slightly noticeable yellow - “ ivory", the darkness of the slightly opening mouth.
Mandelstam wrote: “Khlebnikov fiddles with words like a mole, he dug passages in the ground for the future for a whole century.”
Viktor Vladimirovich Khlebnikov played with words like a juggler. His author is “ Slovak", critic - " sudri-mudri", poet - " skydream" or " song", literature - " letters" Actor - " player», playgirl" and even "oblikmen". Theater - " playing", performance - " contemplation", troupe - " crowded", drama - " spoken", comedy - " joke", opera - " voice song", everyday play - " life" Sometimes his words create images that are irresistible in their illogicality.
Wings with gold letter
The finest veins
The grasshopper put it in the back of the belly
There are many coastal herbs and ver.
“Ping, ping, ping!” - Zinziver rattled.
Oh, swanlike!
Oh, light up!
Pushkin, Nekrasov, Blok, Bryusov have neologisms. But Russian poetry has never known such a bold approach to the sound structure of words. Let’s remember the Northerner: “grisers”, “surprisers”, “gracios”, “poets”, “mignonette”- here we have to say goodbye to the Russian language. Velimir Khlebnikov's sound paintings are meaningful and pleasing to the ear.The word "laughing thorn"for example, it seems originally Russian, it sounds affectionate and warm, like the “boyaryshnya” beloved by the people.
Chukovsky, admiring Khlebnikov’s word formation, emphasized that only by deeply feeling the whole element of the Russian language can one create words such as “ Sumnotichi" And " sad people», « two-ring dreams", who lived not in the palaces, but in " in the dreams" It seemed that only in " screaming dawn" and "with the versatility of the clouds"this can be born and rush into" youthful height", then descending into " lakes of sadness", on the banks of which " silent palaces», « Molchanov Streams", where at dawn " the funny child frolicked».
Yuri Annenkov recalled how he enthusiastically admired the new revolutionary abbreviations as a child: “Er Es Ef Es Er! Whoa! Nar-com! This is an abstruse language, this is my phonetics, my phonemes! This is a monument to Khlebnikov!” - he exclaimed. He liked that Petrograd in the October days - quite in the spirit of his poetics - was renamed Vetrograd, he was delighted with the most characteristic word, not even a word, but the all-encompassing cry of the era: “give!” - it was Khlebnikov who first introduced it into literature:
If a knife is hidden in your fingers,
And revenge opened wide the pupils -
This time howled: give it!
And fate answered obediently: “Yes!”
Soon after the February RevolutionVelimir Khlebnikov wrote the “Appeal of the Chairmen of the Globe.” He called for the creation of " independent state time", free from the vices inherent in the "states of space". A democrat at his core, he took the side of the revolution.
Freedom comes naked
Throwing flowers on your heart,
And we, walking in step with her,
We talk to the sky on first-name terms. -
In 1922, Khlebnikov wrote the story “Boards of Fate,” reporting that he had discovered “the pure laws of time.” He considered his studies on calculating the laws of time to be his main businesslife, and poetry and prose - the way of their living presentation. Reading them, it is difficult to determine whether it is poetry or prose, philosophy or art, mathematics or mythology. These “Boards of Fate” indicate the laws of the death of states, revolutions, and the laws of historical change. Khlebnikov did not just calculate, he thought in numbers and even, in some difficult to comprehend way, felt and sensed the world in numbers. Unfortunately, Khlebnikov did not have time to finish this work.
I don't need enough!
A piece of bread
And a drop of milk.
Yes this is heaven
Yes, those clouds!
Deprivation, danger and hard work undermined the poet’s health. In December 1921Khlebnikovreturned to Moscow, being seriously ill, knowing that his days were numbered. Spring 1922Hetogether with his friendartist Miturich- husbandhis younger sister Vera, who became an artist, - went to the Novgorod province. There, in the village of Santalovo, he died on June 28, 1922. The poet was buried in a village churchyard, the inscription on the coffin read: “Chairman of the Globe.”
When horses die, they breathe,
When the grasses die, they dry up,
When the suns die, they go out,
When people die, they sing songs.
Mayakovsky called Khlebnikov a poet “not for consumers, but for producers.” Mayakovsky, Aseev, Martynov, Selvinsky, Tikhonov, Pasternak, Tsvetaeva experienced his powerful influenceAnd. Theyconsidered him their teacher. Andrey Platonov,studied with Khlebnikovskillidentifying primordialwords.
Mayakovsky said: « Khlebnikov wrote not poems and poems, but a huge breviary-textbook, from which all and sundry will draw for centuries and centuries.”.
Viktor Vladimirovich Khlebnikovdefinition by Vladimir Mayakovsky - "most honorable knight" poetry.
http://www.site/users/4514961/post192130140/
"At home beautiful death- Mashuke,
Where was the military smoke blowing?
I wrapped canvas around the prophetic eyes,
Big and beautiful eyes..."
Velimir Khlebnikov wrote these lines about the death of Lermontov in 1921.
Asia
Always a slave, but with the homeland of kings on
Dark breasts
And with state seal in return
Earrings by the ear.
That girl with a sword, who did not know conception,
That midwife is an old woman who rebels.
You turn the pages of the book
Where the handwriting was pressed by the hands of the seas.
People sparkled with ink at night,
The execution of the kings was an angry sign
exclamations,
The victory of the troops served as a comma,
And the field is ellipses, whose fury is not timid,
People's anger in person
And the cracks of centuries are a bracket.
1921
12. Velimir Khlebnikov
“And so on”
Today we will talk about Velimir Khlebnikov, one of the most interesting poets XX century. The remarkable researcher Mikhail Leonovich Gasparov even believed that this was the most interesting Russian poet of his era. And in one of the most – I almost said “complicated”, but precisely the task and purpose of today’s lecture will be, among other things, to try to show that if you read Khlebnikov’s works from a certain angle, they are not at all as complex as they usually are. believe. A certain myth has developed about Khlebnikov, which today we will try, if not to dispel, then at least to shake a little.
It would probably be worth starting this conversation with the fact that Khlebnikov was the main figure of Russian Cubo-Futurism, which we have already talked about, but at the same time he was not its leader. The leader was David Burliuk, an extremely energetic person, an artist with excellent organizational skills.
Khlebnikov was not a leader for one simple reason: his personality, his character was completely different. All memories of Khlebnikov, especially about how he reads poetry, come down to a description of how quiet man goes on stage, whispers something, and people shout from the audience, “Louder!” Louder!”, he turns it up a little, then starts speaking quietly again, and then interrupts the reading and, with the words “Well, and so on,” leaves the stage.
And indeed, many readers, many listeners had the impression that Khlebnikov is a modest, inconspicuous, quiet person, who is inflated by the Burlyuk company, whose work is promoted by the Burlyuk brothers, calling Khlebnikov a greater poet than Pushkin, devoting enthusiastic panegyric notes to him, giving him places most of all in futuristic collections. Now, this is a wrong impression. Despite the fact that Khlebnikov actually read poetry quietly, his ambitions were extremely high. Perhaps they were even the greatest of all Russian poets of this era. And as, I think, we have already seen, even listening to these lectures, the ambitions of the poets of this era were very great for almost all authors.
Out of space and out of time
We have already talked about the fact that futurism, especially cubo-futurism, could be called such extremist symbolism, because, like the symbolists of the second wave, the younger symbolists, the cubo-futurists sought nothing less than to transform the life of humanity with their poems. Let me remind you that the Young Symbolists tried to do this primarily in religious sphere. The cubo-futurists tried to do this with the help of language, and to do this is very important difference! - not gradually, not slowly, but do it immediately, now!
And if we talk about Khlebnikov’s work, about what he tried to do with the Russian language, about how he himself looked at the tasks of his poetry, then here - we all the time offer such formulas-keys for the work of this or that author - for Klebnikov , it seems to me that the formula proposed, but not very developed in his works by the great philologist Grigory Osipovich Vinokur, is wonderfully suitable. This is the formula “Outside of space and out of time.” He proposed this formula, but did not develop it. Now we are going to try, through the analysis of Khlebnikov’s texts, to understand a little what it is. For now, I’ll try to describe it in words.
Khlebnikov wanted no more, no less, for boundaries to be erased, firstly, spatial ones. Those. he dreamed that all of humanity would unite into such a single huge collective. And secondly, and in time too. He tried to erase the difference between the past, future, and present in time. No wonder Khlebnikov suggested calling futurists not futurists; he was an opponent in general foreign language borrowings, he proposed calling them “budetlyans”, i.e. people who live in today, but in fact are representatives of the future.
Khlebnikov, like many futurists, loved fantasy novels, the novels of Wells, and in his poetry and prose imagery often appears, as if taken from fantasy novels. And Khlebnikov considered language to be the main means, the main way to unite all people outside of time and outside of space. Strictly speaking, what he did was that he tried to form, to select from an already existing words Russian language (because he believed that the Russian language should be the basis) and add his own words, tried to create a language that would unite all people. Agree that the task is extremely ambitious. Of course, it was utopian. But, by the way, any almost great poetic project turns out to be utopian.
And Khlebnikov tried to do this not in general, not abstractly, but with almost every text, every work he put one more grain of sand on these scales. Each of his works was an experience in creating such a universal, as Khlebnikov himself said, stellar language. Those. a language that would unite all humanity under the eyes, under the gaze of the stars.
Brief biography of V. Khlebnikov
We will now talk about Klebnikov’s autobiography, but perhaps it is worth first very briefly presenting the objective facts of his biography, especially since it was swift and short. Khlebnikov was born in 1885. Together with his family - his father was a fairly famous ornithologist and scientist - he lived in Kazan, entered Kazan University, but did not graduate.
Moved to St. Petersburg. In St. Petersburg, at first he was a student, like almost all the poets of his generation, of the main teacher, whose name we have already heard with you, the symbolist Vyacheslav Ivanov, went to his Tower and was treated kindly by him, and by the student of the poet Mikhail Kuzmin. Then he met those who became his like-minded people - the Burliuk brothers, Benedikt Livshits, Alexei Kruchenykh, Vladimir Mayakovsky. Was proclaimed by them the best poet modernity, he called himself the chairman of the globe, accepted, unlike many of his contemporaries, not only the February, but also the October revolution. He wandered, wandered around different parts, reached Persia, and returned to Moscow.
In Moscow, Mandelstam tried to help him get settled, fit into literary life. But Mandelstam himself was a rather helpless person in the everyday sense. And Khlebnikov left, literally went to the steppe, where he died in 1922 in front of his student, the artist Pyotr Miturich, who left a wonderful portrait of Khlebnikov. This portrait is called “The last word is “Yes”. Indeed, Khlebnikov’s last word was “yes.”
Analysis of “Autobiographical Note” by V. Khlebnikov
And the first text that I would like you and I to briefly try to parse, a fragment of this text, is Khlebnikov’s autobiographical note, which he wrote in 1914. At the same time, we’ll talk a little about Khlebnikov’s biography. Moreover, it was such a completely official autobiography. He was not required literary text, and we ourselves, apparently, have compiled such autobiographies a million times: born, studied, married... We have this experience, which does not require any creative approach. Khlebnikov, I repeat once again, approached every smallest of his texts with very great standards. Among other things, this text also solved the problem of creating a stellar language and overcoming - I emphasize that the main thing that was in this text was Khlebnikov’s own overcoming, victory over space and time. Now let's try to see that this is so.
Khlebnikov begins like this: “Born on October 28, 1885...”. This is the traditional beginning of any autobiography. But we will not encounter anything more traditional in this text. So, “Born on October 28, 1885 in the camp of Mongolian Buddha-professing nomads - the name “Khan’s Headquarters”, in the steppe - the dry bottom of the disappearing Caspian Sea (the sea of forty names).” So we immediately see a very dense accumulation of images that unite various languages, which unite different spaces in a single circle, and at the same time, the theme of history immediately arises. And all this is just the birth of Khlebnikov. It is clear that the Mongols immediately make you remember, say, Tatar-Mongol invasion to Rus', Buddha, nomads - the theme of the movement arises absolutely immediately.
Then a theme arises that is very significant for Khlebnikov, which almost always marks his theme of time and space at the same time - the theme of the sea, the theme of water. We remember all the wonderful Derzhavin lines with which the 19th century began, this is one of the first great poems XIX century: “The river of times in its rush // Carries away all the affairs of people...”. This image, of course, was not invented by Derzhavin, but Derzhavin perhaps most vividly embodied it in Russian poetry: the image of the river of times, current time, which, on the one hand, turns out to be a symbol of the main time, on the other hand, connects different spaces.
We will now see that for Khlebnikov this is an extremely important image. And here too we're talking about about the steppe and the dry bottom of the disappearing Caspian Sea. And then the key: “a sea of forty names.” What, exactly, does Khlebnikov mean here? He means it very much simple thing: that this is a sea on the shores of which forty peoples settled and lived, and each of these peoples gave the Caspian Sea its own name in its own language. Thus, the reader of this autobiography is immediately immersed in a point of confusion, a combination of languages, a connection of various historical associations, different spaces. So far, as we see, there is no overcoming space and overcoming time. But it will start soon.
Let's read on. “When Peter the Great was traveling along the Volga...” (here Peter appears, another important figure, and the most important Russian river - again the theme of time and space, this trip fits into the historical scenery) “... my ancestor...” (here Khlebnikov includes himself , he does not forget that he is at the center of this whole process) “... treated him with a cup of ducats of robber origin.”
And then Khlebnikov makes a very characteristic move, so metaphorical. Then he says: “There is something in my veins”... Yes? Just now we were talking about the river, just now water was flowing down the river, now we are looking at the river that flows through the veins of Khlebnikov himself. “In my veins there is Armenian blood (Alabovs) and the blood of Cossacks (Verbitskys) ...” He connects such great blood: the blood of the first Christians, Armenians, with the blood of the Cossacks - behind this there is also a wide cultural and historical layer. And further (he does not stop there): “...the special breed of which...” (these Cossacks) “... was reflected in the fact that Przhevalsky, Miklouho-Maclay and other land seekers were descendants of the chicks of the Sich.”
Those. he ends this paragraph by mentioning the great travelers, i.e. The theme of overcoming, the theme of victory over time and space through travel, is already beginning to emerge, not yet directly. Here, immediately, distracting for a second from the analysis of this biography, we can say that Khlebnikov was such a classic tramp. He traveled on foot throughout Russia, he walked as far as Persia, he died on the journey. In this, it seems to me, not only in his poetic creativity, but this too must be seen as a real attempt to overcome space and time.
Further, see: “I belong to the meeting place of the Volga and the Caspian Sea (Sigai). More than once over the centuries it has held in its hand the scales of Russian affairs and shaken the scales.” Again the river, the sea, history, “I belong” - I am at the intersection of all these lines. Further: “He lived on the Volga, Dnieper, Neva, Moscow, Goryn.” Here, too, it is necessary, of course, to pay attention to this. As we usually say: “I lived in Moscow, St. Petersburg, Saratov,” we name the cities. Khlebnikov deliberately names the rivers near which he lived, because it is the river that turns out to be the main symbol for him. Let us remember that in Gumilyov’s late poem, which we analyzed, “The Lost Tram,” the journey also takes place along rivers, such an unexpected combination of the acmeistic and the futuristic here.
And at the end of the fragment that we are analyzing, he directly tells us how he conquers time and space. “Crossing the isthmus connecting the reservoirs of the Volga and Lena, he forced several handfuls of water to float instead of the Caspian Sea to the Arctic Sea.” Those. what he did: he stood, on one side he had the Volga, on the other side he had the Lena, and he drew water from the Volga and poured it into the Lena, i.e. the river that flows north. Well, it’s clear how many handfuls he could have scooped up there - well, five, well, six - it doesn’t matter at all! At this moment he feels himself to be a man, commanding time and space. He himself draws this water instead of God, who directs these rivers here or there, he himself turns out to be the master of time and space, but this is not enough for him, because further he says: “I swam across the Gulf of Sudak (3 miles) and the Volga at Enotaevsk.” This crossing of the river turns out to be another victory over time and space. And one way or another, these motives arise in Khlebnikov all the time.
“Where the waxwings lived...”
But now, perhaps, we will move on to what is probably the most interesting area - we will try to see how in the texts, as in the poems, Khlebnikov tries to conquer time and space. How he is trying to create a stellar language, a language that would be understandable to absolutely everyone. This is a poem from 1908, Khlebnikov’s program poem.
Where the waxwings lived, Where the fir trees swayed quietly, A flock of light-hearted birds flew by, flew away. Where the fir trees quietly rustled, Where the young ones sang a cry, They flew by, flew away A flock of light times. In the chaos of wild shadows, Where, like the darkness of old days, A flock of light times swirled and rang. A flock of easy times! You are sweet and wabna, You intoxicate the soul like strings, You enter the heart like a wave! Come on, sonorous youths, Glory to the easy times!
What do we pay attention to here, briefly analyzing the poem? Firstly, we will draw attention to the fact that the theme of time arises here simply directly - the key, often repeated word is the word “time”. And then I just want to draw your attention to the fact that Khlebnikov’s neologisms, in general Khlebnikov’s complexities, are in fact extremely... I would like to say – heady. Those. They are never arbitrary with him. It's the same here. As a matter of fact, we must ask ourselves the question, Khlebnikov expects this from us - what kind of bird is this, time? Why does Khlebnikov call her that?
It seems the answer is quite simple. Khlebnikov takes two words, “time” and “bullfinch,” and combines them into one word “time,” which seems to him more important, more precise. Because snow is less... Snow actually means what? The arrival of winter. Khlebnikov instead puts more important word“time”, and now this flock of time-birds arrives, which signifies the arrival of winter, and the flight of these bullfinches from our region marks, on the contrary, the onset of spring, and to these times Khlebnikov contrasts other birds, which he here calls “poyuns”. It seems that it is also clear why this opposition arises: the bullfinch is not a songbird. And almost all songbirds, on the contrary, fly away for the winter from middle zone Russia, from Russia. As a matter of fact, this is what Khlebnikov writes about. A flock of Vremiri flew in, the youths sang a cry, and Vremiri appeared in their place.
Next line. I think you have already noticed that we are analyzing this text, paying attention primarily to neologisms, i.e. to those words that Khlebnikov himself composed and constructed. Here's the time, here's the time. And one more line: “You are poyunna and vabna, // You captivate the soul like strings.” Well, what “poyunna” is seems to be more or less clear, i.e. these are birds that sing. But the meaning of the word “vabna” is quite difficult to explain. So, it is not a neologism! This is a regional word, it was used by those who lived in Ancient Rus'. It means “seductive, beautiful.” And this line, it seems to me, is that wonderful example how Khlebnikov constructs his star language. He takes one word-neologism, a word from the future, “poyun”, another word from the deep past - “vabna” - and connects them in one line. And a language arises that combines the past and the future.
But perhaps even more interesting is how Khlebnikov works extremely economically and, in my opinion, extremely wittily, not only with vocabulary, not only with words, but also with syntax, how he structures his text. You have probably already noticed that here, of course, important role plays such a spell-like beginning. Remember, you and I once analyzed Bryusov’s poem “Creativity,” and there we talked about how repetitions hypnotized listeners.
Here, too, the hypnotic role of the word, it seems to me, is very easily revealed. It’s this constantly repeating “fly by, fly away” throughout the entire text, hypnotizing the listener. But the ending of this poem seems even more interesting to me. “You intoxicate the soul like strings, // you enter the heart like a wave! // Come on, sonorous singers, // Glory to easy times!” It is quite easy to see that in the final two lines of this poem Khlebnikov is missing a verb. There is no verb, it sounds a little unusual, but it’s quite easy to answer the question why he skips this verb. “Come on, sonorous sons...”, sing it - this verb is missing, right? "Glory<для>Have an easy time!” Why is the verb missing? Because Khlebnikov condenses it into a noun. Songbirds that are supposed to sing - Khlebnikov replaces this entire clumsy construction with one word “poyuns”.
Is this language becoming stellar? Will it become clear to absolutely everyone? Of course it doesn't. But it was important for Khlebnikov to create attempts at such texts. He, apparently, really quite sincerely hoped... There are his texts written to representatives of different nations. He has a letter to young Japanese, for example, where he calls on these Japanese to learn to speak this new star language. Moreover, he is not such an egoist, he says - let's take something from your language, let's meet, explain and then together we will create this universal language.
“The elephants fought with their tusks like this...”
The next poem that I would like you and me to read is a poem, the analysis of which, it seems, will show what a big role composition plays in Khlebnikov, what a big role the construction of the text, the structure of the text plays in Khlebnikov. Because when it is created new language, not only words, not only vocabulary, but also how the text is structured are important. Now we are going to read one poem, which, at first glance, is perceived as such a chain of vague comparisons, but we will see that this is a mathematically structured text. Let me remind you, by the way, that Khlebnikov studied for some time at the Faculty of Mathematics of Kazan University, that he tried to build all sorts of mathematical patterns, and in particular, for example, even before the revolution with the help mathematical calculations he predicted that 1917 would be an important, pivotal year in world history.
In general, I, probably like you, am quite cautious about such things, but you can’t argue against this, there really is a book in which it is written in black and white, and this book was published before 1917.
So, here is that poem, that free verse (a poem written in free verse, that is, it could be considered prose if it were not written in a column), which we will now analyze, written in 1910-1911.
The elephants fought with their tusks so that they seemed like white stone under the artist’s hand. The deer intertwined their antlers in such a way that it seemed that they were united by an ancient marriage with mutual hobbies and mutual infidelity. The rivers flowed into the sea in such a way that it seemed that the hand of one was strangling the neck of the other.
We have already talked about the fact that the text most often tells you how to parse it. We pay attention to something special, something unusual in this text, and then, like a knitting needle, we hook onto this hole, this loop and begin to unwind the text like a ball. It is very clear here that in this text main feature like this: there are repeating segments. There is a repeated fragment of text: “so it seemed.” “So that they seemed” - once; “so it seemed” - again; and “so it seemed” - the third time, i.e. three comparisons. “So it seemed” is a fragment of text that separates other fragments of text, turning the entire text into a detailed comparison.
Now let’s try to mentally write down this text in the form of a table. And first, let's see what we get to the left of this “so it seemed.” It turns out like this: “elephants fought with their tusks,” “deer braided their antlers,” “rivers flowed into the sea.” It's on the left. Now let's see what we have on the right. “A white stone under the artist’s hand”; the rest will be long: “...They entwined their horns in such a way // That it seemed that they were united by an ancient marriage // With mutual hobbies and mutual infidelity.” And finally, the last thing: “the hand of one strangles the neck of the other.”
Now let's try to answer a simple question: is it possible to choose some word for the left side of the poem that would unite all these images? “Elephants fought with their tusks”, “deer braided their antlers”, “rivers flowed into the sea” - it seems obvious that such a word can be found, and this word is “nature”.
On the left, in this mental resulting table, nature is described. Moreover, Khlebnikov works extremely subtly. One could say " Live nature", i.e. fauna. Elephants, deer... Rivers appear in last line, i.e. he expands: not only animals, but nature in general. So, on the left we have nature.
What do we have on the right? “A white stone under the artist’s hand,” “they were united by an ancient marriage // With mutual passions and mutual infidelity,” “the hand of one strangles the neck of the other.” It seems obvious that here too we can find a word that will unite all these images. This word is “man”. One way or another, all the images on the right side are united by this word. And now we already see, we already have the conclusion of the first level ready: in this poem Khlebnikov, apparently, compares the natural world with the human world.
Now let's ask ourselves next question: is there any logic in the way the images from the left side of the table replace each other? “Elephants fought with their tusks,” “deer braided their antlers,” “rivers flowed into the sea.” It seems clear that this logic can also be identified. It all begins with a warlike clash: elephants fight with their tusks in battle, in a fight, maybe for a female, maybe not. Further, a dual connection arises: “the deer were intertwined with their antlers.” Perhaps they are also fighting for the female, or perhaps this is a love game. It is known that both female and male reindeer have long antlers, and perhaps they... Maybe some of you remember the picture in the program “In the Animal World”, which begins this program, there is such an image - deer are braided with antlers . Those. through belligerent confrontation to dualistic coupling, and to what? "The rivers flowed into the sea." Everything ends, let's say, with a positive merger. Rivers flow into the sea. Let me remind you that the image of the river, the image of the sea is extremely important for Khlebnikov.
Certain logic on the left side of the table is viewed. Now let's see if there is logic on the right side of the table? It begins: “with a white stone under the artist’s hand.” Where does it all begin? With positive creativity. Further: “they were united by an old marriage // With mutual hobbies and mutual infidelity.” Then there is duality, because this marriage, on the one hand, the word “infatuation”, on the other hand – mutual infidelity, such an image arises.
And how does it all end? And it all ends in war: the hand of one strangles the neck of the other. Moreover, here Khlebnikov again works very subtly: everything begins with a creative hand, the hand of an artist, and it all ends with the hand of one, which strangles the neck of another. What do we see? We see - if we really looked at this table, we would see it even more clearly, but it seems that this is how it is seen - how, according to Khlebnikov, the world of nature and the world of man are related.
The human world overturns the natural world. If in the natural world everything begins with war, with battle, then through duality everything moves towards a positive merger, in the human world everything is arranged absolutely, exactly the opposite. It starts with creativity, with positivity, then dualistic coupling, and then war. This, it turns out, is what this poem is written about, and Khlebnikov makes it extremely clear, if only we look at this text from a certain angle.
I would like to draw your attention to some more, in my opinion, remarkable details of this poem. For example, this is free verse; there is no rhyme in it, except for one case.
The deer intertwined their antlers SO that it seemed like they were united by an ancient MARRIAGE.
This rhyme, “so” - “marriage”, and it also arises in a completely non-random way, because when we are talking about marriage, i.e., strictly speaking, about human rhyme, the rhyme is husband and wife, then here is Khlebnikov , exactly in the middle of the poem, and resorts to this rhyme. This time. Besides, of course, there is quite a playful joke going on here. “The deer intertwined their antlers in such a way // That it seemed that they were united by an ancient marriage // With mutual hobbies and mutual infidelity.” We know that one of the symbols, one of the embodiments of infidelity is precisely antlers, which is why deer entwined with antlers evoke this image.
And finally, the last thing I would like to draw your attention to when analyzing this text. This is the very “white stone at the hand of the artist.” You and I have already talked quite a bit, even today, about how Khlebnikov is overcoming the past. I think that in almost every attentive reader, almost inevitably, one of the most famous myths a stone coming to life under the artist's hand. This, of course, is the myth of Pygmalion and Galatea, which Khlebnikov here also includes literally in one line in his poem.
“When horses die, they breathe...”
And finally last text, which I would like you and me to examine again in order to see how Khlebnikov wonderfully and economically structures his texts - this time; and how intelligible he really is, how clear he is, if you read him carefully, if you read his texts from a certain angle. This is perhaps Khlebnikov's most famous free verse, a short four-line poem from 1912.
When horses die, they breathe, When grasses die, they dry, When suns die, they go out, When people die, they sing songs.
Let's try to look at this poem. And the first thing we see, already with the experience of reading the poem “The elephants fought with their tusks like that...” is that it again talks about correlation. Which one we don’t know yet, we don’t understand. About the relationship between nature and people. Horses, grass, suns, people - these are the participants in the process that Khlebnikov describes, the process of dying.
And now I propose to look again at the syntax, at how this text is structured. And it is structured in the same way: first comes the adverb “when”, then the verb “die” all four times, then nouns are substituted - horses, grass, suns, people. Then there is a dash, and then there are verbs: they breathe, they dry, they go out, they sing. But now I want you to pay attention to one oddity in the third line of this poem: “When the suns die, they go out”... Here it is, this oddity, because, strictly speaking, this personal pronoun “they” is not necessary from a semantic point of view vision. Why say "they"? One could well say:
When horses die, they breathe, When grasses die, they dry, When suns die, they go out, When people die, they sing songs.
All! For some reason, Khlebnikov inserts “they” into the third line. And first, I invite you to mentally take a look at this poem and make sure that due to this “they”, the third line of the poem turns out to be the longest, it seems to draw the line between the natural world and the world of people.
But perhaps the most important thing is not even this. We will understand the most important thing when we try, on the contrary, to insert the word “they” into each line. Let's try to do this. “When horses die, they breathe.” Indeed, this line in meaning turns out to be equal or almost equal to the line “When horses die, they breathe.” “When grasses die, they dry up” – well, that’s also quite appropriate. “When the suns die, they go out” - well, that’s what Khlebnikov says. And now the fourth line. "When people die, they sing songs." But we see, it seems obvious, that the line “When people die, they sing songs” and “When people die, they sing songs” are different lines. And it seems that this is the main thing that Khlebnikov wants to tell us.
What does he want to tell us? And he wants to tell us the following: if in that poem it was that the natural world is better structured than the human world, then here it is exactly the opposite. He tells us that the human world works - I don’t know if the word “better” is appropriate here, how to say... More comforting, in any case, for a person than in the natural world. Because horses, dying, breathe heavily - we can see this picture, horses breathing heavily - and they die, die without a trace. Herbs, when they die, wither and die without a trace. Suns, when they die, explode and go out without a trace. But when people die...
And here you need to think, what to substitute? Probably the smartest thing to do would be to substitute “about them.” When people die, songs are sung about them. And thus, these people do not die without a trace. Songs are sung about them, they remain in songs, and when those people who are now singing songs die, the next generation will sing songs about them. Etc., etc. Those. We are actually talking about memory, which apparently distinguishes people from the rest of nature.
And let me note, quite in conclusion, that Khlebnikov makes this rather cunning move: if we read this text inattentively, it lulls us to sleep, we look at the repeated, close words, and it seems to us that everything is actually arranged very similar in the natural world and the human world. If we read this text carefully, we see that in fact everything is arranged differently, that people have memory and that this memory of the past and the memory of the future allows us to connect space and time together, which is what the wonderful Russian poet Velimir Khlebnikov strived for .
Velimir (born Victor) Vladimirovich Khlebnikov (1885-1922) - Soviet and Russian poet, public figure, the founder of futurism. His work influenced many famous personalities, including Vladimir Mayakovsky. Like-minded people considered the poet a genius and innovator, but he had very few readers. Due to a total misunderstanding, Khlebnikov faced various difficulties, his biography is filled with pain and difficult experiences. Only long after his death were people able to appreciate the talent of Viktor Vladimirovich.
Childhood and education
The future poet was born on November 9 (October 28, old style) 1885 in the village of Malye Derbety in Kalmykia. At that time, his native village was part of the Astrakhan province of Russia. The Khlebnikovs were descendants of an old merchant family. Victor had two brothers and two sisters, one of whom later became an artist. Vera Khlebnikova was the closest person to the writer; until the end of his days he never managed to start a family.
From childhood, parents taught their offspring to art and science. Mother, Ekaterina Nikolaevna Verbitskaya, was from rich family, among the women's ancestors were Zaporozhye Cossacks. Ekaterina graduated from the Smolny Institute, she helped her five children get an excellent education, and instilled a love of literature and history. Already at the age of four, Velimir brilliantly read French and Russian and was engaged in drawing.
The father was an ornithologist, and the children often went to the steppe with him. There they admired the sky and clouds, listened to birdsong for hours, and took notes. Subsequently, Vladimir Alekseevich founded the first reserve on the territory of the USSR. The family moved often; in 1898 they went to Kazan with their children. There, Velimir studies at the gymnasium, experiencing special awe while studying mathematics and biology. Already in the last grades he begins to compose poems.
In 1903, Victor became a student of physics Faculty of Mathematics Kazan University. A year later, he decided to transfer to the natural sciences department, so he submitted his resignation. In 1908, the young man entered the Faculty of Science St. Petersburg University. Shortly after this, it was translated into historical and philological. In 1911, Khlebnikov was expelled due to the fact that he could not pay for his studies.
In 1903, the futurist went on an expedition to Dagestan; two years later he repeated this experience in the Northern Urals. In 1906, the student was accepted into the Society of Naturalists, but shortly after that he finally stopped paying attention to ornithology.
First poems
Since childhood, the poet began to keep fenitological and ornithological records during hikes with his father. In his notebooks, biology and psychology were intricately combined with reflections on philosophy and ethics, and even sketches of an autobiography. At student age, a young man publishes several articles scientific nature. Since the age of 11 he has been writing short poems.
Several times in 1904, Victor sent his poems and stories to A.M. Gorky in the hope of being published in his publishing house. However, the writer never received an answer. WITH youth before 1906 he writes autobiographical story“Enya Voeikov”, which remained unfinished.
In 1908, the young man met Vyacheslav Ivanov, a Crimean poet. For some time they communicate, the futurist even enters the circle of the Academy of Poetry, but then the paths of the writers diverge. At this time, he also crossed paths with Gumilev and Kuzmin, the latter the poet calls his teacher.
It was after meeting Ivanov that the poet first published his poem in the magazine “Spring”, signing Velimir. The debut was a work called “The Temptation of a Sinner.” Readers were not too enthusiastic about his work; fame came to Victor a little later. In 1909, he published the poems "Bobeobi", "The Spell of Laughter" and "The Menagerie", which were highly appreciated by the magazine's subscribers.
Adjacent to the “Budetlyans”
In 1910, the poet became a member of the Gileya group together with Vasily Kamensky and David Burliuk. Later, Vladimir Mayakovsky and Benedikt Livshits joined this association. Despite close communication with symbolists, acmeists and artists, Velimir even then began to adhere to own style.
In 1910, the futuristic collection “The Fishing Tank of Judges” was published, which included some of Khlebnikov’s works. At the same time, his books “Roar!”, “Creations 1906-1908” and others were published. In 1912, the collection “Slap in the Face” was released public taste», most of the poems in it were written by a poet. On last pages the poet inserted a table with the dates of the falls of great states. He added the phrase “Someone 1917” to the calculations. Later, similar information was published in the book “Teacher and Student.”
Since 1915, the poet has been developing the theory of the Government of the Globe, consisting of 317 chairmen. He dreamed of peace on the planet, an equal and healthy society where everyone respects each other. At this time, all organizations to which Velimir was related collapsed. Mayakovsky claims that futurism is “dead as a special group.”
Modern scientists attribute his work to cubo-futurism, while Khlebnikov called himself a “Budetlyanin”. The writer took language extremely seriously, protecting it from foreign borrowings. Instead, he came up with many new words, but they did not take root.
Futurist worldview
Khlebnikov was always on the side of justice, so he often had conflicts with the authorities. While still studying at the university, the young man participated in a student demonstration, after which he spent a month in prison. According to some sources, this was precisely the reason for his expulsion from the Faculty of Mathematics in November 1903.
Unlike many futurists, Velimir was never arrogant and daring. On the contrary, he behaved extremely absentmindedly and did not take care of his writings. Sometimes he even used them for heating while spending the night in the steppe. The young man rebelled against bourgeois life, devoted all his time to science and creativity, because of this he lived extremely poorly. Most often, the poet wandered around the apartments of friends in different cities and countries, sometimes he rented small rooms.
Victor attracted the people around him due to his unusual personality. He remained true to his principles and views, despite pressure from outside. The poet had many different hobbies and interests. He studied Japanese, the philosophy of Plato and Spinoza, studied crystallography and painting. The poet also tried himself in music, and he devoted a lot of time to science.
Khlebnikov set ambitious goals for himself that no one else could achieve. Some of them were on the border between reality and fantasy, but the futurist believed in everything he did. He wanted to get to know his country by scientific analysis, studied the language for a long time and zealously, and was interested in history. The writer did all this for the sake of the future; he was confident that with a certain level of knowledge it was possible to predict many events.
After Battle of Tsushima that happened during Russo-Japanese War, Victor began to look for the “law of time”. He hoped that this would help justify everything historical deaths. Subsequently, Khlebnikov was able to accurately predict the date of the October Revolution, and he also foresaw the First world war.
War and disease
In April 1916, the poet was drafted into the army, until May 1917 he remained in the reserve regiment in Tsaritsyn. These years are becoming the most difficult for Klebnikov, he writes to friends great amount letters. According to him, during these months Velimir went through “the whole hell of transformation into a mindless animal.” He wrote many anti-war poems, later published in the collection War in the Mousetrap.
In 1917, psychiatrist N. Kulbin helps the poet return from mobilization. He appoints him a commission, first in Tsaritsyn, then in Kazan, subsequently the man hides in Ukraine, on the territory of Kharkov psychiatric hospital. Even before that, he tries to be in the thick of things October revolution, so he changes his place of residence several times. He supported the people, hoping that the revolution could change everything for the better.
In 1921, the poet went to Pyatigorsk, where he worked as a night watchman in Terskaya ROSTA. After this, he returns to Moscow for a short time, finishing unfinished poems there. In December 1921, the writer’s “super-story” entitled “Zangezi” was published. Also during this period, he released the works “Night Search”, “Hot Field”, “Slave Coast” and “Chairman of the Checks”.
In May 1922, Khlebnikov and the artist P. Miturich went to the village of Santalovo, Novgorod province, where he fell ill. Velimir died on June 28, 1922 in the remote village of Santalovo from malnutrition and paralysis of his legs. In 1960, the poet’s ashes were transported to Moscow. He is buried at the Novodevichy cemetery, the inscription on the tombstone reads “Chairman of the Globe.”
Velimir Khlebnikov is one of the most mysterious poets Silver Age. Disputes about his work do not subside in our time, but two facts remain an axiom: talent and love for Russia, which he called divine-sounding verse. The poet lived only thirty-seven years, but managed, as he dreamed, “to introduce the trembling of your heart to the Universe».
Leap into the future
In the fall of 1885, a third child, son Victor, appeared in the friendly Khlebnikov family. The boy's parents came from merchant families and were highly educated people: Father is an ornithologist, and mother is a historian. The family moved very often from place to place, and Victor began his studies in Kazan. There he entered the University at the Department of Physics and Mathematics.
When student political unrest began in 1903, the young man took an active part in demonstrations, was arrested and, together with his classmates, spent a whole month in prison. Upon his release, Victor was reinstated at Kazan University, but transferred to the natural sciences department, where he continued his studies. His first attempts at writing date back to this time, quite successful and quickly becoming popular among students. However, the play, which Khlebnikov tried to publish by sending it to Maxim Gorky, was criticized by the “petrel of the revolution” and did not see the light of day.
Victor continues his studies, does research, takes part in ornithological expeditions, and publishes his science articles, independently studies the Japanese language and is interested in the works of symbolists. The outbreak of war with Japan had a huge impact on the young poet. Exactly this hard times, he calls “a throw into the future.”
King of Time
It was an era of intense political passions and revolutionary events, and the very spirit of that time gave birth to a galaxy of such talents as Gumilev, Tsvetaeva, Mandelstam, Pasternak and Akhmatova. In the fall of 1908, Viktor Khlebnikov transferred to St. Petersburg University to be closer to the center of poetic innovation. He meets poets and writers, enters St. Petersburg literary societies and begins to study literature seriously.
Having met young progressive poets of the time and attending poetry evenings and literary skits, Victor fell under the influence of the Symbolists. He especially became close to the poets Remezov and Gorodetsky, whose home became the center of the emerging poetic movement.
At this time, Khlebnikov begins to create punning rhymes and synthesized words. At first, his “times” and “clouds” seem to confuse the reader, but it is this unusual technique that soon captivates, like exotic lace from which it is impossible to take your eyes off.
Spell of laughter
Oh, laugh, you laughers!
Oh, laugh, you laughers!
That they laugh with laughter, that they laugh with laughter,
Oh, laugh merrily!
Oh, the laughter of the laughing ones - the laughter of the clever laughing ones!
Oh, laugh with laughter, the laughter of the laughing ones!
Smeyevo, smeyevo!
Laugh, laugh, laugh, laugh!
Laughers, laughers.
Oh, laugh, you laughers!
Oh, laugh, you laughers!
His passion for Russian paganism and ancient mythology helped the poet create hundreds of mysterious poems that literally explode the imagination and push the boundaries of space. It was not for nothing that Khlebnikov took the pseudonym “Velimir” at this time, which translated from South Slavic means “ Big world" During this period of creativity, friends call Velimir Khlebnikov “the king of time.”
Chairman
Himself extraordinary person and the strange poet did not agree with the title assigned to him by his colleagues. He called himself “Chairman of the Globe.” It was not narcissism or a cult at all self. The poet wanted to create a society of similar “Budetlyans” who would combine history, philosophy, poetry and even mathematics in their work. And the “chairman” himself continued to create, juggling poetic meters. Velimir used free verse and palindrome styles. In 1920, Khlebnikov created a unique poem “Razin”, written in the style of “reversal”, as the author himself called a palindrome.
Many critics of that time called the work of the unique poet in bad taste, violence against the Russian language and confrontation with the poetic world. Most publications refused to print Khlebnikov's works. However, despite this, since 1912, collections of his poems began to be published, which were sold out with enormous speed. Soon the name of Velimir Khlebnikov, as a poet, begins to sound with deafening force, and many even consider him a literary genius of our time.
During these years, Khlebnikov created new genre. His work “Zangezi” (1922) changed the idea of literature as such. His “super-story” is an organic combination of various, seemingly incompatible sciences; this is a style that expands the scope of Russian literature. Although many considered Khlebnikov's super stories abstruse, they became, in a way, the first steps in research into patterns that could change the life of mankind for the better.
Afterword
The entire history of Russia at the beginning of the twentieth century was reflected in one way or another in the works of Velimir Khlebnikov. He, who traveled all over the country, visited Ukraine and Persia, always found himself at the epicenter of events.If I turn humanity into hours
And I’ll show you how the century hand moves,
Is it really from our time stripes
Won't the war disappear like an unnecessary hassle?
Where the human race made its fortune,
Sitting for thousands of years in armchairs of spring war,
I'll tell you what I smell from the future
My human dreams.
I know that you are true wolves,
I shake mine with five of your shots,
But don't you hear the rustle of the needle's fate,
This wonderful seamstress?
I will flood with my power, thoughts with a flood
Buildings of existing governments,
Fabulously grown Kitezh
I will reveal the stupidity of the old serfs.
And when the chairmen of the globe are a gang
Will be thrown to the terrible hunger with a green crust,
Every existing government nut
She will obey our screwdriver.
And when a girl with a beard
Throws the promised stone
You say, "This is what
What we have been waiting for for centuries."
The clock of humanity is ticking,
Move the arrow of my thought!
Let these grow up with the suicide of governments and the book - those.
There will be a great land!
Predzemshargreat!
Be a great song to her:
I'll tell you that the universe is a match with soot
On the face of the bill.
And my thought is like a master key
For the door, behind it someone shot himself...
In October 1917, the poet comes to Petrograd, and then observes revolutionary events in Moscow. Avoiding mobilization into Denikin's army, Velimir Khlebnikov left for the Volga region, where he took part in helping the starving. During the heyday of the NEP, he returns to Russia, where his life ends completely absurdly due to lack of medical care.
He never managed to become the “Chairman of the Globe,” but every line of his is worthy of being carved in stone, as Osip Mandelstam believed. The work of Velimir Khlebnikov is a monument to the man of the future.
Biography
Several decades have passed since the death of this poet, and debates about his work continue to this day. Some see in him only an abstruse poet, others call him Khlebnikov the greatest poet- an innovator. Khlebnikov's real name is Viktor Vladimirovich.
Victor graduated from high school in 1898 in Kazan and entered the university there. Already at this time he was seriously interested in literature, and began writing while still in high school.
In 1908, Khlebnikov continued his studies at St. Petersburg University in the natural sciences department of the Faculty of Physics and Mathematics. But after 3 years he was expelled because he did not pay the tuition fee.
In St. Petersburg, he became close to the Symbolists and often visited the famous “Tower,” as the poets called the apartment of the head of the Symbolists, Vechaslav Ivanov. Soon Khlebnikov became disillusioned with the style of symbolism. In 1910, Khlebnikov published his programmatic poem “The Spell of Laughter,” which was created based on one word “laughter.” In 1912, a new collection appeared with the futurists’ program “A Slap in the Face of Public Taste.” It caused a storm of indignation not only for its content. The collection was printed on wrapping paper, and everything in it was topsy-turvy. Khlebnikov spent the spring of 1912 near Kherson on the estate where D. Burliuk’s father served as manager. There in Kherson, he published his first brochure with numerical and language materials- "Teacher and pupil". Khlebnikov dreamed of creating a universal culture in which the culture and art of different peoples would be united on equal terms. Special attention in his work he pays attention to the culture and poetry of the East. In the poems “Medium and Leyli”, “Hadji-Tarkhan”, the prose story “Yesir”, and in many other works, Khlebnikov reflects the psychology, philosophy, history of the peoples of the East, and tries to find the common thing that unites people all over the world. In the spring of 1922, Khlebnikov arrived in Moscow from the south, already seriously ill.
In June of the same year. The poet died in the village of Santalovo, Novogorod province, where he went to visit his friend to rest for treatment. In 1960, the ashes of Viktor Khlebnikov were transported to Moscow and buried at the Novodevichy cemetery.
Velimir Khlebnikov was born on October 28, 1885 among the Kalmyk steppes. Mother is a historian, father is a learned archaeologist, Khlebnikov’s real name is Viktor Vladimirovich.
Perhaps none of the poets of the fertile Silver Age caused so much controversy in circles literary critics and poetry lovers. The rebel, the futurist, the great mystifier cherished the dream of remaking the stubborn word, freeing it from the narrow framework of grammar and phonetics.
The family moved a lot due to the needs of the service. First, Velemir went to study at the Simbirsk gymnasium in 1985, and upon arrival in Kazan he entered the 3rd Kazan gymnasium. There he began his studies at the university, transferred to St. Petersburg in 1908 to the physics and mathematics department, but three years later he was expelled for non-payment of studies.
Being a high school student, he is interested in literature and writing. In St. Petersburg he communicates closely with the Symbolists, writes a lot and enthusiastically more than a hundred works, without stopping the search for himself.
Happens in the “Tower” - the headquarters of the movement. He invents his pseudonym as a response to his fascination with ancient Slavic, pagan symbols, because Velemir means “big world.”
1912 - the release of the landmark collection of futurists “A Slap in the Face of Public Taste.” The writing world had never seen anything like this, and young talented rebels called for throwing the classics off the ship of modernity and moving on to freedom of word creation. Almost half of the collection consisted of Khlebnikov’s poems, which were untranslatable into understandable Russian. The public was indignant, but the collection was bought up, criticized, but the futurists, published on wrapping paper, were read, which is what Khlebnikov and his associates sought.
In the same year, Velemir moved to Kherson, where he published the brochure “Teacher and Student”, combining linguistic and numerical materials. Khlebnikov dreams of creating a multiculture for all humanity, a symbiosis of East and West.
In June 1922, Velemir Khlebnikov died from a serious illness in the village of Santalovo, leaving a non-trivial creative heritage, neologisms, true meaning which remains a mystery to this day.
