this question was, of course, dictated by sincere concern for your comfort, but also by a conversation about pushkin and his language, because, if i understand correctly, the word comfort at the beginning of the 19th century, few would have understood, i understand correctly that this word was then foreign, rare and somehow incomprehensible, yes, because of course in french there is the word confort, but it is very rare in comparison with other french words for convenience, ease, therefore... however , roads happened: a pipe in every hut, the glass was replaced improvements, at least on larger scales a tight bubble, generally more clean, comfortable, what the british call comfort. this is pushkin, a journey from moscow to st. petersburg, when i re-read about this work, it seemed absolutely amazing to me how similar the language is to the one we... speak now, if you pull up

quotes, you can insert it into a blog and say that i wrote this in 2024, but i want to draw attention to this word comfort, that is, pushkin does not hesitate to introduce english, french into the russian language, well, i think with the latin source words of the word, to what extent in general, was it typical for pushkin to use borrowings from other languages? characteristic, moreover, in an era when many writers abandoned non-language vocabulary. when sumarokov wrote articles about the extermination of foreign words in the russian language, about the extermination of foreign words in the russian language, this is the name of his work and he writes that borrowing does not enrich the language, but spoils the national appearance of the language, pushkin allowed borrowings and used them quite often in all his works, but the truth here... there was an essential point only in that

case if it is impossible to find an adequate russian word, and if this borrowing, in terms of its semantic characteristics, stylistic, is necessary for special functions for the writer. pushkin has an article dedicated to otsford and coleridge, english poets, where he praises them for the fact that only in english literature they managed to adapt common speech and... inner speech, that is, how a common person thinks, and not just what as he says, to high poetry, that is, poetry got rid of grandiloquence and included our daily reflections, that is , approximately how we think, hence such a craving for pushkin-conglism, he saw in them precisely the resource of a new simple language, not at all sublime, the french language is too lush for him, a little needs to be said about this word comfort itself , here i can lean. to the work of the american

researcher of swiss-italian origin franco moretti, a bourgeois between history and literature. one of the chapters of this book is devoted precisely to the word comfort, and he proves that this word shaped capitalism as a kind of religion, because the word comfort means consolation in religious language, and the holy spirit is called the comforter of comfort in english, that is, the one who causes comfort, that is, initially comfort is grace. spirit, this is an exclusively religious-mystical concept that cannot be used in a non-religious context, but capitalism, says morette, acts as a religion, a religion of money, where the accumulation of money corresponds to the accumulation of the grace of eternal life, the word comfort becomes characteristic of the bourgeois way of life, therefore, of course, pushkin was very sensitive to modernity, very sensitive to the development of capitalism, to those conveniences that...

are exhibited, usually in museums they display goose feathers, which pushkin was supposed to write with, but pushkin, of course, also wrote with goose feathers, but if he had the opportunity to buy silver feathers, he bought silver feathers, that is, now he would be working on the most expensive laptop, because he was of course a dandy and a lover of comfortable, convenient things, and not goose bumps feathers well, listen, well, here’s the word comfort, why, really, no one blamed pushkin for how bad you are, spoiling the holy russian language. instead of the russian word convenience , are you taking the word comfort from these evil englishmen? well, they could hardly have told him this to the late pushkin, because he himself was already a legislator for the new generation. critics could be skeptical about his late work, but not about his role as a language legislator; no one reproached him for not having a rich enough stylistic palette or for not being justified certain borrowings. the early

pushkin had to pay a lot for his vernacular, just as ruslan and lyudmila scolded him for both colloquial words and for the combination of incompatible styles. the struggle of those who categorically denied them, it existed, and pushkin lived in it, and yet here he sets his own norm, as a reformer, of the possible use of borrowing, if this is a good word, it is necessary for the author, but let us note, by the way, that the word a snapshot, that is

, a copy, is a very technical word, it is an engineering word of that time, and it is also looked like barbarism, no less than any anglicisms or golicisms in the russian text, that is, here... for us, the word sniving is familiar to mean photograph, then, of course, it meant, for example, an engineering copy, that is , what is called tracing paper, and of course, pushkin was brave, including using, for example, technical terminology, well, it seems to me, to defend himself from critics, pushkin was also helped by irony and self-irony, so let’s take the classics from eugene onegin, of course, it was bold, to describe my own business, but trousers, frag, vest, all these words are not in... russian, but i see, i apologize to you, that my poor syllable could already be much less full of foreign words, even though i looked in the old books, in the academic dictionary, to me it seems that pushkin here is

mocking those who reproach him for using foreign words, well, pushkin has slyness, and this slyness, he believes that... an indicator of the nationality of his language, he has a work on mr. lemonte’s preface to krylov’s translation of basin , and in france a translation of basin krylov into french was published, into in french and italian, an academician of the french academy, mr. lemonte wrote a preface, such an extensive philological preface, and pushkin responds to this preface, finding it quite wonderful, but not entirely satisfactory, also like that.

of his works, and here we can recall another work of pushkinov of classical romantic poetry and he called romantic poetry not what we now call romantic poetry, that is, the poetry of the 19th century, but the poetry of old europe, the poetry of the middle ages, the poetry of the troubadours, novels medieval poetry and says that romantic poetry, the only thing that was missing were dictionaries and grammars, that is, some ordering that was needed...

now we are sitting with you, of course, i think that he was a hooligan would have used all these words, here pushkin has a very interesting paradox that for him turning to foreign language contexts is not borrowing words, but to some extent borrowing a language. i will remember one note, short, but very key for

our topic, this is pushkin’s note about translation, which was carried out by prince vyazimsky, his friend, he translated from french the novel by benjamin castan, adolphe. in fact, one of these first novels about a demonic person is to some extent a prototype of onegin, pechorin of all the demonic personalities that we know, and of course, how to look at the scoundrel with a distance, not to get emotionally involved, oh he’s like this, oh he’s

like that , but to describe as they are described from what, as if from another planet, to describe in a seemingly neutral language, but behind which there is truly merciless analytics, pushkin said that prince vyazimsky coped with this task, with this main task, to create a language that is not too emotional, because the russian language is very emotional, if you praise it, then without measure, if you scold it...

i’ll press this, turmoil will begin , everyone will start running back and forth, we will have a few seconds to pick up our son, she stole him, it’s the russian who takes everything she wants, oleg, why are you standing, he runs away, he recognized us, their current location unknown, we don’t need your help, we can handle it ourselves, i’ll save my mother myself, a citizen of finland, you see, her son, a citizen of finland, he was actually born here, and now you... an international terrorist. one chance for three. premiere. tomorrow after

the program time. get out of the car. mom, get off your feet. i'll shoot. come on, shoot. this is the schrödinger's cat podcast. i am its presenter, editor-in-chief of the magazine schrödinger cat grigory tarasevich. and we are talking about pushkin from the point of view of language. how will alexander sergeevich influence the russian language? pushkin was reproached for mixing different styles, well, lumanosov taught that there is a high, medium, low calm, between they have reinforced concrete boundaries, god forbid anyone violates them, well, not so reinforced concrete, and the most important thing is that lomanosov’s concept, which he outlined in the preface to the usefulness of church books of 1758, is still the concept of the era of classicism. and pushkin is a realist, this is already a different era, and he, i must

tell you, treated lomanosov with deep respect, and we find this in many of his works, he says that fortunately lomanosov came and saved the language, and so on, and he very often resorts to lomanosov in his articles, but i must tell you that indeed, lomanosov wrote about the benefits of traditions. centuries tried to create this new russian language, abandoning, first of all, pushing away, abandoning the church slavic heritage, lumanosov...

actually church slavonicisms, but not too outdated, the third low style, but the literary form of the use of language, this is actually russian vocabulary, that is, which has already arisen in the russian language itself, and then he distributes these lexical layers into genres, it must be said that among the genres

that lomanosov indicates there is no, say, well neither a novel, nor a story; in principle , prose genres are not provided there. there are only friendly letters in prose describing ordinary affairs, but of course pushkin is the creator of russian realistic prose, fantastic, brilliant, these are pushkin’s masterpieces, what pushkin did with these styles, for the fact that these three styles, they really are, this is a rhetorical concept , it is connected not so much with the norms of classicism, but with the ideals of classicism, for example, one of the first theories of the tri-style.

head i heard the truth it happened, even though wide, but my brain is not enough, i’m driving, driving, i don’t light up, but when i get there, i won’t let go, it’s rude, it ’s colloquialism, it’s not even a low style, because lomonosov’s low style is just a literary low style, and this is just not fits into none of these three styles, it is simply an imitation of popular vernacular,

this is what the work itself was outraged by, that is, the critic simply considered it to go beyond the boundaries of literature, as... now, for example, many people ask what it is there, when, for example, publish online diaries, is this literature? critics also judged, is this literature? well, in your opinion, this fits into pushkin’s norm, because first of all, pushkin’s reform was connected with the fact that he turned to the living folk russian language, it was this living, rough and unusual language for literature that became the basis. pushkin norm, it is he who underlies our modern russian literary language, the language of realism, one might say, the first language of realism, he wanted to write russia, and first of all, in order to write it, it was necessary to turn to the russian living folk language, according to pushkin’s ideas, there was no need to turn to the speech of educated nobles or

nobles or courtiers, when... he carried out the reform of the russian literary language, he turned to the language of the russian people, then chernyshevsky will say that the discussion or war or dispute of shishkov and karamzin is a storm in a teacup, because one was for the old days, for church slavonic words, shishkov, yes, the second was for navezna, a new syllable, of course, the brilliant nikolai mikhailovich koramzin, he created a new syllable. he is very simplified the russian language, it greatly enriched the vocabulary, etc., etc., but they did not see the main national source, which was precisely pushkin, to whom the native turned.

welcomed all the works of pushkin, and ruslan and lyudmila, and evgeny anegin, in subsequent editions of his rhetoric, included these works in the canon of rhetoric, that is,

imagine, teaches classicist rhetoric, includes examples from evgeny negin, ruslan and lyudmila, prisoner of the caucasus and everything else , he loved his student so much, because that pushkin creates models, this is what a romantic poem should look like, this is what a novel about a modern man should look like, look, creating models. rather, even in some ways a classicist task, well, look, the expression is not enough for the brain, it’s still not a peasant expression, i’m not sure that the word brain even existed in the peasant’s vocabulary, this is from some educated person, you need to why, you need to figure it out, you need to turn to the dictionary and look it up, that is, it’s rude, yes it’s very rude, but i don’t know, it’s not too rude, but the brain is not enough, imagine that a schoolboy will write in an essay, but these people have little brain - well, it’s normal.

language, in pushkin's stylistics in the pushkin norm. pushkin created, unlike everyone else, who wanted to create a literary language and a norm of a literary language, because the literary language is precisely different in norm from all other variants of the use of language, creating a norm, he made it expanded, that is, if everything in his time and previously made norms prohibitive, trying to create literary language, you can’t have just one or...

i remember the phenomenon of streaming, when streamers show any speech, including profanity, to some extent pushkin was the predecessor of this art, i will here refer to the work of our famous bibliographer abram elich reid blat, like pushkin appeared in genii, where he explains what pushkin's main strategy was. this strategy can be designated as regular production, in contrast to the previous production, either courtly or commercial, but not called, that is. books for the people, or amateurs, what was practiced by aristocrats, who either write or don’t write for years. pushkin was the first to announce that , in fact, every year he would release a poem, each poem is quite exotic, it is obviously sensational, well , imagine, a stream from a gypsy camp, or a stream from how robbers lead, go under escort and avoid, or a stream from caucasian captivity, that is, this is what

will now collect millions of views. and pushkin essentially creates this new standard of the poem, that is, a poem that, according to essentially it turns out to be such a tv report or a window into the completely exotic life of the caucasus, a gypsy camp, as a result everyone reads it, everyone watches it, everyone, including, of course, gets acquainted with the most different norms of oral speech, then he makes a historical film poltava, makes it there series evgenia onegin. but in any case , it is regular production that is the key to pushkin’s success, and such live blogging using a variety of elements, irony, which is valued by bloggers, yes, that is, in our time pushkin could you could name it, and he wouldn’t be offended by it, a top blogger who collects likes well, yes, quite, quite, moreover, he was a master of co-branding, when he began publishing a magazine and became a historian, he was a master, of course, of gr and

pr communications and a regular school, there are two language worlds in it: there is the world of the teacher mariinaya, who probably faints at the word of hype , there are students who speak this hype-like language during breaks, in lessons on...

in peace low ultra low, how to connect now? well, actually, if we talk about school, then i see one way out - this is to introduce discussions instead of essays, that is , make the essay a substantiation of your position, so you explain in your own words why raskolnikov is wrong, gradually you will learn the literary language, at first you will really have jargon, and then you will move on to some legal concepts and concepts of philosophical ethics. the teacher will tell you these concepts, by the fifth time your text will be constructed correctly, and indeed you will say something different from what raskolnikov said there so and so, but let’s say that from the very beginning, raskolnikov, so to speak, was based on contradictory premises, the problem of the essays is not that they are written in literary language, but that they are written in a specific slang language, which combines journalistic expressions, expressions from

the textbook. officialdom and so on, the literary language should still be more monolithic, for example, the language of a lawyer is an exemplary literary language, but if we talk about raskolnikov in the language of a lawyer or prosecutor, which porfiry petrovich speaks about raskolnikava, this is, in general , a literary language, well, look, pushkin quite calmly jumps from the language there , which refers to antiquity, to the language of a tipsy cab driver in a tavern, he does it organically, beautifully, and we say our...

the same one, let's say , the film producer makes a report about it to the sponsor, he , of course, speaks differently, not at all in a stylistic mixture, you know, even producers have problems with conversations, and especially when they switch to written speech, i’m about to jump out a little beyond literature and pushkin, during my long career i periodically have to deal with texts that are produced by corporations or scientific institutes; i really want this high style, calmness. to say raised to the level of bureaucracy is not readable, does not work, that is, the official written text, say, of a scientific institute, will not say, we have discovered a new very cool thing, and often this complex official style makes it difficult

to understand, and this, by the way, is a very good book afanasy selishchev 1928, the language of the revolutionary era, where he writes how the soviet bureaucracy arose, he connects this with the fact that a huge... number of people who had not previously created any texts entered the elite, that is, they became soviet managers, journalists, heads of collective farms, enterprises, trusts, and accordingly they needed to talk somehow about their business, and to speak this means to speak solidly, using all sorts of words, very pompous-sounding words, all sorts of foreign words that decorate, that seem beautiful, for example, selishche v.. .

forever, like the sun, air and water all together, the most russian hee i will wash my soul, and let my heart ache for those whom i do not ask to breathe and believe with my chosen heart, yes, this is my fight, until the last tos my fight, even if it’s bad my fight.

i am russian on russia day on the first day. vasily oschetkov is invited to replace him for the friendly match, but now there is a more interesting frag, who? do you want to learn this? there is no effective method against firearms yet, but comrade oshchepkov showed that the army has made its choice it will be a shame to coach the national team. you lost before you even started,

you can’t win a fight with that attitude. do you want to bury my students yourself? if i write about him, what will we do? where is he? took the tray? denunciation? yours? consider that we are the legend of samba, the premiere is on friday on the first, we wish all the athletes good luck, may the strongest win, you can find all episodes of the podcast kud schrödinger on the website of the first channel, it seems to me that there are two pushkins, one pushkin is the sun of russian poetry, a national treasure.

she really could afford a lot and make fun of her, make fun of her , and he was a big mocker, but he really was.

poets did not achieve such diversity and stylistics, such a switch between styles, that is, if you describe, for example, the style of, well, for example, mayakovsky, he has a high style, sometimes with church slavonicisms, and there is a low style, reaching the direct vulgarity, but when pushkin has this church slavonic word, which in some way breathes candles and incense, next to it is a french word, from which we hear a rustling...

in bushkin, on the contrary, there may be a poem about nothing, there may be a poem about nothing, like a house in kolomna, but it is important to look at how styles play, how, for example, a frivolous plot plays there together with a discussion about poetry together with the experiment, with rhymes, that is , how this magical mechanism of literature production itself plays, the theme is not so important, of course, for example, for lermantov the theme is important, my experience, what happened to me, why you? she stopped loving me, pushkin, even when she writes a love poem, it’s all the same

it is more important to him, sometimes igraph. thank you very much for watching and listening to us, may the power of the russian language be with you. for the poet's anniversary, i know that my life has already been measured, but that my life has extended, i must be sure in the morning that it is with you. tang's daughter. hello, today we

have gathered our thoughts about the life of a wonderful person, about whom it is better not to talk, but let them read, although we will probably still talk. pushkin is our everything, and the topic of our special issue today. dmitry petrovich bak, director state museum of the history of russian literature. alexey nikolaevich varlamov, rector of the literary institute. our wonderful guests, vsilat evgenevich pogno, scientific director of the institute of russian literature and vadim vladimirovich polonsky, director of the institute of world literature, i said all this, but i’m still vladimir ligoida, pushkin is our everything, dear friends, i have a question, i returned from sirius yesterday, and where is our program with children, with schoolchildren, literary creativity, culture and society, it it’s called, well, within the framework of literary creativity, here are our wonderful teachers... now they are talking with children, naturally about pushkin, the task that

our teachers came up with is, if there is an opportunity to save pushkin, so that he survives and continues to live and create, so that you do, so the children think, i think that we can start with this, well, it’s impossible to do this, but what could contribute to this if pushkin’s letter to nikolai with a request to be released either to italy or to... it is necessary, then you everything is ours, we have to work, work, work, which means you’ll also spend money, unfortunately, it’s impossible in china, because it was necessary to change the composition of the embassy, ​​and for this it was necessary to coordinate with beijing, so if he went, it’s very possible that he stayed there, would have married a chinese woman, which means that russian literature, pushkin’s work would have been enriched

with amazing texts related to china, how long he lived, we don’t know, medicine, no, it began in him already then, it began then even earlier , the twenties, it basically began, and world culture, and world history, maybe there would be others, well, still, don’t shy away from the question, if you’re the one to judge, yes, of course, let him live, no, firstly, it would be extremely interesting, because what i’ve been writing in recent months pushkin, these are amazing powers, amazing powers, depth of texts, he is one of the greatest geniuses of humanity, and humanity does not understand this, in general, therefore...

as if prescribed by the life scenario, and that with liebe dantes in his heart, he simply would not do anything else created, now the circle of his fate has closed, what is closer to you? well, how would i, i i understand vladimir solovyov well, i still understand zhikovsky, anenkov and other people well, who saw how

evgenievich said what was left there, because the common place in the thirties was that pushkin fit in, switched to prose, well, not so rudely, but that’s all -yes...that’s what benediktov ’s number one poet also said in 1936, vladimir grigorievich benediktov, on nebezvestny, that is, the late pushkin is not understood, the kamenoostrovsky cycle, all philologists know what lies there, what peaks, and i, vadim vladimirovich, am inclined still think that here are such conjugated vessels, my beloved vladimir sergeevich solovyov still speaks more about a moral feat, and about the test of life.

prishen, so trembling, rises up to them, they don’t let him go further into the hallway again and hypius says to him: get out of here, learn to write

from pushkin, read the captain’s daughter, that’s what he said, 30 years later, in the thirties, he writes in his diary this entry that my homeland is not yelets, where i was born, my homeland is not st. petersburg, where i am, my homeland is the captain’s daughter, as you say, these confusions spouses, they are not confusions, everything is correct, maybe it’s the other way around, maybe even where merishkovsky is a confusion, he gives it away.

creating a culture from the inside, broadcasting it - these are different steps, that’s the whole point, because in europe, we know this, in the twenties there were

10 people who knew russian, there are fargagenfondze, it’s just that all the russian nobles coming to europe spoke all languages, but in the eighties they began to translate in exactly the same way, no, wait a second, but pushkin died in '37, what i'm saying is that at that time it was not impossible to broadcast what for europe no, russia is like that , the vetsky congress exists as a political force. but as a culture, as literature, it does not exist. pushkin, he took on another task. a, history, karamdin, yes, self-awareness, b. language, shishkovists, karamzinists, in - literature. he couldn't broadcast, he had to create it first. that is, relatively speaking, as one american professor said, dostoevsky is a very american writer. that is, this cannot be said about pushkin. well, pushkin is ours for internal use, and here it is impossible efforts, already now. it’s somehow more honest for me to say this, england suggested shakespeare, then germany of goethe, spain of cervantes and portugal of camoens, etc., etc., but it

seems that pushkin has his own role here, which distinguishes him in general from these other figures, and of the same type , and this is connected with the peculiarities of russian culture, after all , a very important dominant feature of russian culture is its deep split, this is the church schism of the 16th century, this is the peter the great schism. division, which was there above the schism, he brought the poles together, and the russian myth about pushkin, he...