The east is burning like a new dawn. Suddenly with a weak wave of the hand. Thundering, burning here and there

The east burns a new dawn (Metaphor)

Do these words seem strange to you? Why does A. S. Pushkin portray the sunrise as a fire? Word lit draws bright colors of the sky illuminated by the rays of the rising sun. This image is based on the similarity of the color of dawn and fire; the sky is the color of a flame. Such a transfer of a name from one object to another based on their similarity is called a metaphor (from the Greek word metaphor- "transfer"). In A. S. Pushkin's poem "Poltava", this metaphor acquires a special symbolic meaning: the red dawn is perceived as an omen of a bloody battle.

Word artists like to use metaphors, their use gives speech a special expressiveness, emotionality.

Metaphorization can be based on the similarity of the most diverse features of objects: their color, shape, volume, purpose, etc. Metaphors built on the basis of the similarity of objects in color are especially often used when describing Nature: forests clad in crimson and gold(A. S. Pushkin); In smoky clouds the purple of a rose, a reflection of amber(A. A. Fet). The similarity of the shape of objects served as the basis for such metaphors: S. Yesenin called birch branches silk braids, and admiring the winter attire of the tree, he wrote: Tassels of white fringe blossomed on the fluffy branches with a snowy border.

Often in a metaphor, proximity in color and shape of the compared objects is combined. So, A. S. Pushkin sang poetic tears and silver dust fountain of the Bakhchisaray Palace, F. I. Tyutchev - ^ rain pearls after a spring storm. The similarity in the purpose of the compared objects is reflected in the following image from The Bronze Horseman: Nature here we are destined to cut a window to Europe(A.S. Pushkin).

Common features in the nature of action, states create great opportunities for metaphorization of verbs. For example: A storm covers the sky with darkness, twisting snow whirlwinds; like a beastshe will howl thencry like a child (A. S. Pushkin).

The similarity in the temporal sequence of phenomena opens the way to such a metaphorization: I have now become more stingy in desires, my life, or did I dream about you? Like I'm a spring echoing earlyrode a pink horse. Or also from S. Yesenin: A candle burns out with a golden flame of body wax, and a wooden clock of the mooncroak my twelfth hour.

It is not always possible to clearly define what is the similarity underlying the metaphor. This is explained by the fact that objects, phenomena, actions can approach each other not only on the basis of external similarity, but also on the basis of the common impression they produce. Such, for example, is the metaphorical use of the verb in an excerpt from The Golden Rose by K. Paustovsky: The writer is often surprised when some long and completely forgotten incident or some detail suddenlybloom in his memory just when they are needed for work. Flowers bloom, delighting a person with their beauty; the same joy to the artist brings the detail that came to mind in time, necessary for creativity.

Even Aristotle noted that "to compose good metaphors means to notice similarities." The observant eye of the artist of the word finds common features in the most diverse subjects. The unexpectedness of such comparisons gives the metaphor a special expressiveness. So the artistic power of metaphors, one might say, is directly dependent on their freshness, novelty.

Some metaphors are often repeated in speech: Night quietly descended on the earth; Winter wrapped everything in a white veil and so on. Being widely used, such metaphors fade, their figurative meaning is erased. Not all metaphors are stylistically equivalent, not every metaphor plays an artistic role in speech.

When a man came up with a name for a curved pipe - knee, he too used a metaphor. But the new meaning of the word that arose in this case did not receive an aesthetic function, the purpose of transferring the name here is purely practical: to name the object. For this, metaphors are used in which there is no artistic image. There are a lot of such (“dry”) metaphors in the language: parsley tail, grape mustache, ship's prow, eyeball, pine needles, table legs. New meanings of words that have developed as a result of such metaphorization are fixed in the language and are given in explanatory dictionaries. However, "dry" metaphors do not attract the attention of the artists of the word, acting as the usual names of objects, signs, phenomena.

Of particular interest are detailed metaphors. They arise when one metaphor entails new ones related to it in meaning. For example: The golden grove dissuaded me with a cheerful birch tongue. Metaphor dissuaded"pulls" metaphors golden and birch tongue; leaves turn yellow at first golden, and then they fall, they die; and since the bearer of action is a grove, then language her birch, cheerful.

Expanded metaphors are a particularly vivid means of figurative speech. They were loved by S. Yesenin, V. Mayakovsky, A. Blok and other poets. Here are some examples of such metaphorization: A bonfire of red mountain ash burns in the garden, but it cannot warm anyone.(S. Yesenin); Having unfolded my troops in a parade, I pass along the line front; Poems are lead-heavy, ready for death and immortal glory; The poems froze, pressing the mouth of aimed gaping titles to the vent(V. Mayakovsky). Sometimes poets unfold metaphors into a whole poem. Such, for example, are the poems “Three Keys” by A. S. Pushkin, “The Cup of Life” by M. Yu. Lermontov and others.

Metaphorization is often abused by novice writers, and then the heap of tropes becomes the cause of the stylistic imperfection of speech. Editing the manuscripts of young authors, M. Gorky very often drew attention to their unsuccessful artistic images: “A clot of stars, dazzling and burning, like hundreds of suns";“After the inferno of the day, the earth was as hot as pot, just now kilned skilled potter. But here in the heavenly furnace the last logs burned out. The sky was cold, and the burnt one rang clay pot– Earth". Gorky remarks: "This is bad panache of words." Among the editorial remarks of M. Gorky, made on the margins of the manuscripts of novice writers, the following are interesting: against the phrase: “Our commander often jumps forward, shoots eyes on the sides and peers at the crumpled map for a long time ”Aleksey Maksimovich wrote:“ This is done by young ladies, not commanders ”; emphasizing the image “The sky trembles with teary eyes”, he asks: “Can you imagine this? Wouldn't it be better to just say something about the stars?

The use of metaphors as a "decorative", "ornamental" means usually indicates the writer's inexperience and helplessness. Entering a period of creative maturity, writers very often critically evaluate their former hobbies for pretentious images. K. Paustovsky, for example, wrote about his early, gymnasium poems.

The verses were bad - magnificent, elegant and, as it seemed to me then, quite beautiful. Now I have forgotten these verses. I remember only a few stanzas. For example, these:

Oh, pick flowers on drooping stems!

The rain falls quietly on the fields.

And to the edge where the smoky scarlet autumn sunset burns,

And opals shine with sadness about a loved one

Saadi On the pages of slow days...

Why sadness “sparkles with opals” - I can’t explain this either then or now. I was just fascinated by the very sound of the words. I didn't think about the meaning.

The best Russian writers saw the highest dignity of artistic speech in the noble simplicity, sincerity and truthfulness of descriptions. A. S. Pushkin, M. Yu. Lermontov, N. V. Gogol, N. A. Nekrasov, V. G. Korolenko, A. P. Chekhov, and others considered it necessary to avoid false pathos and mannerisms. “Simplicity,” wrote V. G. Belinsky, “is a necessary condition for a work of art, which in its essence denies any external decoration, any sophistication.”

However, the vicious desire to “speak beautifully” sometimes and in our time prevents some authors from simply and clearly expressing their thoughts. It suffices to analyze the style of students' works on literature to be convinced of the validity of such a reproach. The young man writes: “There is no such corner of the earth where the name of Pushkin would not be known, which will be passed on from generation to generation. In another essay we read: “His works breathe reality, which is so fully disclosed that, while reading, plunge into that period. Trying to express himself figuratively, one author states: “Life continues run your own course, and another “even more expressively> remarks: “I got on the train and traveled the hard road of life.

The inept use of metaphors makes the statement ambiguous, gives the speech an inappropriate comedy. So, they write: “Although Kabanikh and did not digest Katerina, this fragile flower that has grown in the "dark realm" of evil, but eat it day and night"; "Turgenev kills his hero at the end of the novel giving him an infection on the finger"; "On the path of Maidannikov's entry into the collective farm the bulls were standing. Such “metaphorical” word usage causes irreparable damage to style, because the romantic image is debunked, the serious, and sometimes tragic sound of speech is replaced by a comic one. So let the metaphors in your speech be only a source of its vivid imagery, emotionality and never cause a decrease in the grade for the style of your writings!

All flags will visit us (Metonymy)

In one of the stories of A. N. Tolstoy you can read: The last visitors to the palace-museum walked in single file– short fur coats, chuyki, wadded jackets . Another reader will think: “What happens: short fur coats, wadded jackets have grown legs and they walk? What writers don’t invent!” And indeed, in fiction you can find something else: "It's true that it's expensive"– red pantaloons sigh (A.P. Chekhov); Mosta faded coat with a dog collar brawls: “She rubbed herself in, but she doesn’t let others in”(A. Gladilin).

If we understood such phrases literally, then we would have to imagine a strange picture: clothes come to life and not only walk, but also sigh, and even scandal... However, we are not talking about sheepskin coats and coats, but about their owners, and the use of clothing names to refer to people dressed appropriately - this is a special stylistic device that the authors use to enhance the expressiveness of speech. At the heart of such a transfer of names are associations by adjacency.

The transfer of a name from one object to another on the basis of contiguity is called metonymy (from the Greek word metonymy, meaning "rename").

Metonymy allows, for example, to construct a phrase like this: "What kind of stupid are you, brother?"– the handset said reproachfully (V. Kozlov). We understand that the remark belongs to the person talking on the phone, although the feuilletonist the handset said.

Metonymic substitutions make it possible to formulate an idea more briefly. For example, omitting the verb get sick, often asked: What went through your throat?(A.P. Chekhov); Head gone?(M, Gorky). Or they say this: Raisa's heart is gone(A. N. Tolstoy). Etc.

When designating time, metonymic substitutions also make it possible to express an idea as briefly as possible: They have not seenMoscow (I. S. Turgenev); Motherafter tea continued to knit(I. Bunin). If in such cases the author did not use metonymy, he would have to write: after meeting in Moscow, after drinking tea.

Metonymy serves as a source of imagery. Let's remember Pushkin's lines: All flags will visit us. Through the mouth of Peter I, the poet predicted that the port city, built on the shores of the Gulf of Finland, would receive ships with flags of all countries of the world. And here is another well-known example of metonymy by A. S. Pushkin: Amber on the pipes of Tsaregrad,porcelain and bronze on the table, and, feelings of pampered joy, perfumein cut crystal... Here the poet uses the name of the materials to refer to the objects made from them when describing the luxury that surrounded Onegin.

Of course, these textbook lines far from exhaust the cases of metonymy in A. S. Pushkin. This trope underlies many of his remarkable images. For example, A. S. Pushkin resorted to metonymy, drawing the “magic land” of theatrical life: The theater is already full;lodges shine; stalls and armchairs – everything boils; creating pictures of Russian life: ... And it's a pity for the old woman's winter, and,after seeing her off with pancakes and wine, we make a wake of her with ice cream and ice . There are many similar examples of the truly artistic use of the trope by Pushkin.

As a stylistic device, metonymy should be distinguished from metaphor. To transfer a name in a metaphor, the compared objects must necessarily be similar, but with metonymy there is no such similarity, the artist of the word relies only on the adjacency of objects. Another difference: a metaphor can easily be converted into a comparison using words. like, like, like. For example, frost fringe– hoarfrost, like a fringe, pines whisper– the pines rustle as if whispering. Metonymy does not allow such a transformation.

With metonymy, objects, phenomena that receive the same name are connected by a variety of associations by contiguity. The name of the place is used to refer to the people who are there: exuberant exuberantRome (M. Yu. Lermontov). The vessel name is used in the content value: Iate three bowls (I. A. Krylov). The author's name replaces the title of his work: MourningChopin thundered at sunset(M. Svetlov). Names of distinguishing features of people or objects are used instead of their usual names: Black tailcoats rushed apart and in heaps here and there(N.V. Gogol).

Of particular interest is the metonymy of adjectives. For example, A. S. Pushkin called one of the secular dandies: overstarched bastard. Of course, in terms of meaning, the definition can only be attributed to nouns that name some details of the fashionable dandy's toilet, but in figurative speech such a transfer of the name is possible. In fiction, there are many examples of such metonymy of adjectives: The white scent of daffodilshappy, white, spring smell (L. N. Tolstoy); Then a short old man camein astonished glasses (I. Bunin).

Metonymy can be found not only in works of art, but also in our everyday speech. We are speaking: the class is listening, there is no copper, I love Yesenin, I listened to Onegin. Isn't it sometimes necessary to answer "truncated" questions: Have you been to Yermolova?(meaning the Yermolova Theater); Does he study in Frunze?(that is, at the Frunze School); Does the cashier work? And here are the same "truncated" messages: We met on potatoes; The whole ship ran; Fantasy waltz is performed by the House of Culture. Such metonymic transfers are possible only in oral speech. However, in the compositions, unsuccessful metonymic transfers of names give rise to annoying speech errors: “At this time, the writer created his “Mother”; "The hero decided to fly on crutches." Such "laconism" in the expression of thought leads to inappropriate puns, and the reader cannot help smiling where the text requires a completely different reaction ...

Some other tropes are very close to metonymy. Its peculiar variety is the synecdoche, which consists in replacing the plural with the singular, in using the name of the part instead of the whole, the particular instead of the general, and vice versa. For example, the expressiveness of an excerpt from A. T. Tvardovsky's poem "Vasily Terkin" is based on the use of synecdoche:

To the east, through smoke and soot,

From one prison deaf

Goes home Europe.

Fluff of feather beds over her like a blizzard.

And on Russian soldier

French brother, British brother.

Brother Pole and everything

With friendship as if to blame,

But they look with their hearts...

Here is the generic name Europe used instead of the name of the peoples inhabiting European countries; singular nouns Russian soldier, French brother and others are replaced by their plural. Synecdoche enhances the expression of speech and gives it a deep generalizing meaning.

However, this trope can also cause speech errors. How to understand, for example, such a statement: “A serious search is underway in our circle: the guys create interesting models. But there are not enough workers: we have only seven of them so far”?

Star to star speaks (Personification)

Under the pen of writers, the objects around us come to life: the sea breathes deeply; waves run, caress to the shore; the forest is warily silent; grasses whisper with the wind; lakes look into the endless distances... And one song even sings about spiky firs eyelashes over the blue eyes of the lakes! In this magical world of poetic images, according to F. I. Tyutchev, “everyone has a smile, life is in everything”! And we are ready to believe the poet that at the hour when the earth sleeps in the radiance of blue(as M. Yu. Lermontov wrote), the stars acquire the power of speech ...

All these transformations in works of art are due to a remarkable stylistic device - personification. Personification is the endowment of inanimate objects with a variety of feelings, thoughts, actions, speech. Here is how, for example, A. Gaidar uses this trope in the story "The Blue Cup": fled clouds everywhere.Surrounded they,caught andclosed sun. Butit stubbornlybroke out first one hole, then the other. Finally,broke out and sparkled over the vast earth even hotter and brighter.

When personified, the described object can outwardly resemble a person: Green hairstyle, girlish breasts, oh thin birch, what did you look into the pond?(S. Yesenin). Even more often, inanimate objects are attributed actions that are available only to people: erupted autumnnight icy tears(A. A. Fet); Homecloud stretches, so that onlycry above her(A. A. Fet); And blossoming brushes of bird cherry washed leavestransom frames (B. Pasternak).

Especially often, writers turn to personification when describing pictures of nature. S. Yesenin skillfully used this trope. The poet addressed the maple as an old good friend: Are you my fallen maple, icy maple, why are you standing, bending down, under a white blizzard? Or what did you see? Or what did you hear? As if you went out for a walk outside the village ... In his poetry Dawn calls out to another; Willows are crying, poplars are whispering; Sleeping bird cherry in a white cape; The wind groans, extended and deaf; Flowers say goodbye to me, heads bowing lower; Limes beckon us in vain, plunging our feet into the snowdrifts; The flood licked the silt with smoke. The moon dropped the yellow reins; Lace is knitted over the forest in yellow foam clouds. In a quiet slumber under a canopy I hear the whisper of a pine forest. In love with his native Russian nature, the poet wrote with special tenderness about birch trees:

green hair,

girl breast,

O thin birch,

What did you look into the pond?

What is the wind whispering to you?

What is the sound of the sand?

Or do you want to braid-branches

Are you a moon comb?

It is the personification that creates the charm of many poetic images of S. Yesenin, by which we unmistakably recognize his style.

V. Mayakovsky's personifications are very original. How not to remember his "meeting" and "conversation" with the sun: What have I done? I'm dead! To me, of its own free will, spreading its beam-steps, the sun is walking in the field! In the works of V. Mayakovsky, this stylistic device was a means of emotionally intense and often dramatic sounding of poetic speech: And on gray eyelashes– Yes!– on the eyelashes of frosty icicles tears from the eyes– Yes!– from the lowered eyes of the drainpipes; The telegraph was hoarse from mourning buzzing. Tears of snow from flag reddened eyelids. Personification also acts as a strong pictorial means in artistic prose. For example, K. Paustovsky:

I thought of it [of the old village garden] as a living being. He was silent and patiently waited for the time when I would go to the well late in the evening to fetch water for the kettle. Maybe it was easier for him to endure this endless night when he heard the strumming of a bucket and the steps of a man.

Personification is widely used not only in literary texts. It is enough to open any issue of the newspaper, and you will see funny headlines built on personification: “The sun lights the beacons”, “The ice track is waiting”, “The match brought records”, “Reinforced concrete fell into the mines” ... Publicists often turn to him to create emotionally expressive images. So, during the Great Patriotic War, A. N. Tolstoy wrote in the article “Moscow is threatened by the enemy”, referring to Russia: My Motherland, you have had a difficult test, but you will come out of it with victory, because you are strong, you are young, you are kind, you carry goodness and beauty in your heart. You are all in hopes for a bright future, you build it with your big hands, your best sons die for it. The method of personification helped the writer to create a majestic image of Russia, which bore all the hardships of the war on its shoulders and opened the way for peoples to peace and happiness.

In a hundred and forty suns the sunset was blazing (Hyperbole)

Of course, no one takes these words of V. Mayakovsky seriously, realizing that this is an exaggeration, but this image helps us to imagine an unusually bright sky illuminated by the setting sun.

A figurative expression that exaggerates the size, strength, beauty of what is being described is called hyperbole. Hyperbolization is V. Mayakovsky's favorite stylistic device. Consider, for example, these lines: Some houses are as long as a star, others– as long as the moon; up to the sky baobabs; Whiter than the clouds of the herd, the most majestic of the sugar kings; Willy got a lot in his life– a whole forest of dust particles... On the basis of hyperbole, Mayakovsky builds the imagery of the satirical works “Coward”, “Pillar”, “Sneaky”, “Bird of God”. In hyperbolization, the poet found a source of humor, for example, here is one of his jokes: A yawn tears his mouth wider than the Gulf of Mexico ...

The “king of hyperbole” in Russian prose was N.V. Gogol. Remember his description of the Dnieper? A rare bird will fly to the middle of the Dnieper; Wonderful air .., moves the ocean of fragrances. And how much comedy in Gogol's everyday hyperbole! At Ivan Nikiforovich ... trousers in such high folds that if they were inflated, then the whole yard with barns and buildings could be placed in them ...,

Russian writers liked to resort to hyperbole as a means of ridicule. For example, F. M. Dostoevsky, parodying agitated speech, lines up hyperbolas: Under one assumption of such a case, you would have touproot your hair from your head and let out streams ... what am I saying!rivers, lakes, seas, oceans of tears !

It is impossible not to say about the stylistic device, the opposite of hyperbole.

A figurative expression that underestimates the size, strength and significance of what is being described is called litta. For example: Tom Thumb. Litota is also called inverse hyperbole.

Hyperbole and litotes have a common basis - a deviation in one direction or another from an objective quantitative assessment of an object, phenomenon, quality. Therefore, these two paths can be combined in speech, intertwined. For example, on these paths the content of the comic Russian song “Dunya the Thin Spinner” is built, in which it is sung that Dunya spun a kudelyushka for three hours, spun three threads, and these threads are thinner than a log, thicker than a knee ...

Like other tropes, hyperbole and litotes can be general language and individual author's. There are many general language hyperbolas that we use in everyday speech: wait for an eternity, on the edge of the earth, dream all your life, high to the sky, be scared to death, strangle in your arms, love to the point of madness. Common language litotes are also known: not a drop, the sea is knee-deep, a drop in the ocean, at hand, a sip of water, the cat cried etc. These hyperbolas and litotes belong to the emotionally expressive means of the language and are used in artistic speech. travel: Travel in country Logic. Traveler's Memo: 1. Studying the map...

Maxim KALASHNIKOV

THE EAST IS BURNING THE DAWN OF THE NEW
New perspectives of the global crisis. Does the revolution in the Russian Federation and the war with Iran benefit the West?

Against the background of the political crisis in the Russian Federation, we somehow forgot that the crisis of capitalism is developing in the world. Global turmoil. And it is impossible to consider the political crisis in our country without taking into account the prospects of a global turmoil crisis, it is unreasonable. It's time to remember the glorious Stalinist tradition, when a report at a party congress began with an analysis of the international situation. For it is foolish to think that we live on an isolated island.
Brief conclusion: the West will have to go to the destruction of the Western state of universal welfare - through the mechanism of accelerated inflation of the dollar and the euro. But it is most convenient to do this against the backdrop of global chaos and under its pretext. In addition to blood and strife in the Arab East, it could be a protracted war with Iran and the collapse of the Russian Federation. The best way to do this is to create a new "democratic revolution" in the Russian Federation.

NO OTHER EXIT
Both Americans and Europeans now have no choice but to destroy the welfare state. We need to relieve the huge social burden on our economies - reduce labor costs. That is, to reduce the incomes of ordinary Westerners, ideally putting an end to expensive pension and social insurance systems. So that industry would begin to return from China to the West, so that "America becomes the new India." Figuratively speaking, the Western populace must be brought back to the nineteenth century. This will reduce taxes on businesses and stop the growth of public debt.
How to achieve this? It is impossible to directly take away the social achievements of the 20th century from the Western peoples: they will give a ride in elections to any politician or party that promises this. Or they will rebel and take to the streets. That is, you will not go straight to the dismantling of the welfare state. Attempts to do the same in Italy, Greece and Spain (mark our words!) will run into the threat of civil war.
So, there is another way: devaluation. Severe inflation, which will devalue public debt, reduce the real wages of employees, turn into nothing their social guarantees and pension payments. It is impossible to devalue the euro (or dollar) separately: EU and US trade is 80% mutually oriented. Therefore, both world currencies will have to depreciate, at the same time causing a revaluation of the yuan and an increase in production costs in China. (This is what my friend, economist Alexander Velichenkov, says). For the sake of this, it is possible to cause a sharp increase in world prices for hydrocarbons, and on the sly - to start up a printing press, flooding their economies with emitted money. At the same time, it is possible to give printed euros (dollars) to European and American banks, so that they buy up government debt securities of Western countries. And they would put them on the shelf, then not demanding interest and repayment of debts in general.
But how to disrupt the devaluation? How to inflate oil prices - and at the same time run the printing press (in America and the EU at once) at full capacity?
Again, you need cover, justification and a smokescreen rolled into one. Iran and the Russian Federation are nominated for such a role. And at the same time.

WAR AND REVOLUTION
To achieve an effect, it is not enough to peddle Egypt, destroy Syria and cause a disintegrating civil war in Libya. There is not enough chaos in the place of the former Iraq and the Arab-Israeli conflict. No, more is needed.
I say it again: in this situation, it is extremely beneficial for the US and EU ruling circles to present Iran as an aggressor and start a war against Iran as long as possible. In the form of an air campaign to destroy Iran's infrastructure and long operations to capture the oil-bearing province of Khuzestan (or to defeat the Iranian oil and gas complex in it). So that, under the cover of a long campaign, the price of oil would go beyond the clouds, and military hysteria would allow the West to pull off Operation Devaluation at home. Therefore, it is not in vain that the situation around Iran is heating up just at the moment when it is clear that the EU has reached a complete economic-debt impasse, and the United States has fallen into a dangerous economic decline. When the complete inability of the Western elites to solve the problem of getting out of the Great Depression-2 is clear. The war with Iran becomes a huge red herring here.
But I think there is a backup (or complementary) option. This is a new "democratic revolution" in the Russian Federation with its subsequent collapse. This, too, will occupy the Western public for a long time, at the same time inflating oil prices and requiring large-scale NATO military operations. Of course, a soft option is also possible: the confederalization of the Russian Federation - turning it into a cluster of practically independent regions (the ideal of some "Russian" national democrats and pro-Western liberals). Further, each region receives the right to dispose of its subsoil, they directly (without Moscow) invite Western mining companies to their place on the terms of the PSA. The West secures its energy base against the backdrop of nominally rising world prices for hydrocarbons.
In the place of Western strategists, I would also develop a version of the neoliberal revolution in the Russian Federation (new 1917/1991), moreover, with the planning of a quick landing of NATO troops in Siberia. So, in order to give China only Primorye and part of Transbaikalia, but not let the Chinese into the oil and gas of Eastern Siberia (scenario from "The Bear and the Dragon" by Tom Clancy). To develop such an operation is no fantasy.
Apparently, this is why the Americans are now carefully warming up the revolution in the Russian Federation, supporting precisely the liberals and helping them saddle up the mass protest. And the reason here is simple: it is better to have a revolution and chaos among the Russians than civil wars with the United States and Europe. And if combined with the Iranian war, it’s generally great. Under the guise of such a global supercrisis, such shock changes can be carried out in the West that we can’t even dream of today. Only one collapse of the Russian Federation will lead to a global crisis. At the same time, the Russian Federation is extremely vulnerable: Putin's power, which is up to his ears, causes mass demonstrations of the dissatisfied. Why not turn the current Russian Federation into a kind of tsarist Russia at the beginning of 1917, and Putin into a neo-Nicholas II? Moreover, this is not about fair elections (this is just an excuse), but about an unfolding coup d'état of a "bloodless" type, when power should go to liberals, hated by 95% of the population of the Russian Federation. What kind of liberals will create a complete analogue of the Provisional Government and in a matter of months will bring the country to a complete out.
Is there no new Hitler to help the West cover up the bankruptcy of its "elites" and help it get out of the crisis through another "battle of democracy with Satan"? No problem. A new world war may well be hidden in two planetary emergencies - Iranian and Russian.
It seems to me that the logic of what is happening today is exactly that.

In chapter Schools the question needs an excerpt from Pushkin's poem "Poltava", the moment the battle of Poltava began, given by the author Yorega Kireev the best answer is and; Cold bayonets hung. Sons of beloved victory, Through the fire of the trenches, the Swedes are torn; Agitated, the cavalry flies; The infantry moves after it And with its heavy firmness its striving strengthens. And the fatal battlefield thunders, blazes here and there; But obviously the happiness of the fighting To serve is already beginning to us. Firing repulsed squads, Interfering, fall into the dust. Rosen leaves through the gorges; Passionate Schlipenbach surrenders. We are pushing the Swedes army after army; The glory of their banners darkens, And God's warfare grace Our every step is sealed. Then, inspired from above, the sonorous voice of Peter was heard: “For the cause, with God! » From the tent, Surrounded by a crowd of favorites, Peter comes out. His eyes Shine. His face is terrible. The movements are fast. He is beautiful, He is all, like God's thunderstorm. Goes. They bring him a horse. Zealous and humble faithful horse. Sensing the fatal fire, Trembling. He leads with his eyes askance And rushes in the dust of battle, Proud of his mighty rider. It's close to noon. The fire is burning. Like a plowman, the battle rests. In some places the Cossacks are prancing. Equalizing, shelves are being built. Fighting music is silent. On the hills, the guns, subdued, Stopped their hungry roar. And now, announcing the plain, A cheer broke out in the distance: The regiments saw Peter. And he rushed in front of the regiments, Powerful and joyful, like a battle. He devoured the field with his eyes. Behind him, these chicks of Petrov's nest rushed in a crowd - In the changes of the lot of the earth, In the labors of statehood and war, His comrades, sons: And the noble Sheremetev, And Bruce, and Bour, and Repnin, And, happiness, the rootless darling, Semi-powerful ruler. And in front of the blue ranks of His militant squads, Carried by faithful servants, In a rocking chair, pale, motionless, Suffering from a wound, Karl appeared. The leaders of the hero followed him. He quietly sank into thought. The embarrassed look depicted an unusual excitement. It seemed that Carla was bewildered by the Desired fight ... Suddenly, with a weak wave of his hand, he moved regiments against the Russians. And with them the royal squads Came together in the smoke among the plains: And the battle broke out, the battle of Poltava! In the fire, under the red-hot hail, Reflected by the living wall, Over the fallen formation, the fresh formation of the bayonets closes. A heavy cloud Squads of flying cavalry, With reins, sounding sabers, Colliding, cut across the shoulder. Throwing piles of bodies on top of piles, Cast-iron balls jump everywhere between them, smash, They dig the ashes and hiss in the blood. Swede, Russian - stabs, cuts, cuts. Drum beat, clicks, rattle, The thunder of cannons, trampling, neighing, groaning, And death and hell from all sides. But the moment of victory is near, near. Hooray! we break; bend the Swedes. O glorious hour! oh glorious sight! Another pressure - and the enemy runs: And then the cavalry set off, Swords become dull with murder, And the whole steppe is covered with the fallen, Like a swarm of black locusts. Peter is feasting. And proud, and clear, And his eyes are full of glory. And his royal feast is beautiful. At the cries of his troops, In his tent he treats His leaders, the leaders of strangers, And caresses glorious captives, And raises a healthy cup for his teachers.

The east is burning like a new dawn. Already on the plain, over the hills Cannons rumble. Crimson smoke In circles rises to heaven Towards the morning rays. The regiments closed their ranks. Arrows scattered in the bushes. The balls are rolling, the pool is whistling

The international competition of ballet dancers and choreographers is held in Moscow every four years. Photo - Alexey Druzhinin

The international competition of ballet dancers and choreographers is held in Moscow every four years - and then, when it was first established, in 1969, the event became a competition for the entire ballet world.

It was a real Olympics, and they treated it like that: the Russian team was approved at the ministerial level, sent to training camps, and the best young artists came from all over the world.

At the first competition, ours and the French competed on equal terms (we had Baryshnikov!) - but from the next competition, politics began to put pressure on art, and the ministerial authorities explained to the jury that our people should win, and everyone else should take a step lower.

The ancient European schools took offense and stopped coming (with the exception of rare visits by lone adventurers). By the 21st century, the competition has approached as a competition between the countries of the former USSR (where Russian ballet is still taught), the Russian provinces (those dancers who rush to the capitals and hope to appear in Moscow) and Asian countries, where there are many of our teachers.

This year, the Ministry of Culture decided to return the world status to the competition and gave unprecedented amounts to the prize fund - two Grand Prix of 100 thousand dollars, first prizes of 30 thousand, then 25 thousand and 20 thousand. However, this did not affect the composition of the competitors.

It turned out that money is not as important for European ballet dancers as the possibility of being invited to theaters, and our theaters seem to them less and less as a tempting place to work. Asia is another matter: the Japanese, who grew up in a passionate love for our schools, are now working in our theaters from Petrozavodsk to Vladivostok, through Kazan, Yekaterinburg and Krasnoyarsk.

It was Okawa Koya, a Japanese working in Kazan, who received the first prize in duets at this competition, and his partner Midori Terada took bronze. Neat, competent, able to effectively use tricks, but never taking unnecessary risks (our people at the competition often tried to do something super complicated and fell on mistakes), the Japanese honestly earned their medals.

Evelina Godunova, who works in Seoul, and Bakhtiyar Adamzhan from Kazakhstan (there is a strong male school) received gold in solo. The best result among ours - "silver" in a duet - at the Mariinsky soloist Ernest Latypov (born in Bishkek).

And only in the junior group the main medals went to Muscovites: “gold” in a duet with Denis Zakharov and in solo with Mark Chino (the guy who was already taken to the Bolshoi is an artist by inheritance: his Japanese mother danced in the Russian ballet near Moscow).

A fight with a shadow

One of the main characters of the competition was Joy Womack - a girl who needed the award of the Moscow competition more than all the other artists. She is 23, she is the prima ballerina of the Kremlin Ballet. She dreamed of more - namely, the Big.

An American from Beverly Hills, from an early age she wanted to dance in Russian ballet. A ballerina as a symbol of the mysterious Russian soul, grand ceremonial style (where every gesture echoes throughout the multi-tiered theatre), embroidered tutus, and not tights familiar to American neoclassicism.

At the age of 15, Womack came to study at the Moscow Academy - not for an internship, but "on a general basis" - and at 15 she recited such texts that veterans of the Russian stage, who wanted to caulk all the doors to the theater from the corrupting influence of Western choreography, wept with emotion.

But she not only spoke, she worked. She plowed like a damned woman, taught all these details and details, which make up the style of the old classics. She believed that she would be rewarded at work. And she was taken to the Bolshoi Theater. Hooray? Hooray. A year and a half later, she left with a scandal.

In an interview with Izvestia, she accused the former ballet management of the theater of corruption and said the amount that they allegedly demanded from her for career advancement. She did not go to the police; did not go to court with a claim for possible libel and theater. The girl simply slammed the door and left for the much less prestigious Kremlin Ballet, where she was immediately given all the parts she wanted, and she performs them very well.

But this disappointment at the Bolshoi and the desire for revenge left such a clear imprint on the ballerina that her dance changed. "Big style" is beautiful when it is calm; Womack lost her composure. She came to the competition to prove to all her former colleagues at the Bolshoi that she is - wow! - and every dance she went out with such an expression on her face that one could be frightened of this grimace.

Gentle Princess Aurora? Odalisque in love? More like a Valkyrie warrior. Injecting all her disappointment and all her hopes into the dance, she shook the fouette with such energy that, poor fellow, she could not resist and fell on her buttocks; The audience, which until then had watched this triumph of the will with amazement, immediately, naturally, began to sympathize with her.

The jury also sympathized, releasing it into the second round. There she already danced without such mistakes, but with the same intonation. In the third round, I calmed down a little, remembered elegance, about the cantilena (in Kitri's not the most suitable fighting role for this) - but that Womack that once on the stage of the Bolshoi shone with the ingenuous happiness of a dream come true, still did not exist.

Well. Just a diploma for participation in the competition. And you know what's the saddest thing? There were barely one and a half people from the Bolshoi in the hall - the theater is now in Japan, there is a large-scale tour (in fact, this is why no one from the theater takes part in the competition). Womack fought a ghost.

With a fish convoy from the Arkhangelsk forests

Well, in the 21st century it’s not quite like that anymore, on the train, but talents still appear in the country quite unexpectedly. One morning (and the competitions of the junior group - from 14 to 18 years old - go in the morning) a boy from Syktyvkar enters the stage of the Bolshoi Theater. My name is Ivan Sorokin.

He is 14, because of thinness it seems that he is less. In Syktyvkar there is no ancient ballet school, a venerable tradition, there is a gymnasium of arts, which is not even 10 years old. From the point of view of the metropolitan ballet veterans, the guy studied "in the middle of nowhere." But as soon as he began to dance - as if Mowgli spoke in classical Latin.

Precise work of feet, sense of style, musicality - these days in Moscow there was a birth of a new ballet name, which will thunder all over the world very soon. Ivan Sorokin went to the second round, danced there with the same breathtaking ease and clarity - and suddenly his name was not on the list of contestants in the third round.

The jury explained at a press conference: it turned out that the teenager and his teacher were so sure that he was unlikely to make it to the second round that they simply did not prepare the compulsory program for the third! And the possible winner flew out of the competition. I got on the train and went to Syktyvkar. But it is obvious that not for long: they are already ready to take him to finish his studies at the Moscow Academy of Choreography and the St. Petersburg Academy of Russian Ballet. According to rumors, he chose Petersburg.

Drunkenness - fight

Next to the competition of ballet dancers there was a competition of choreographers. It has only one round, on which each author must show two works. The first prize gives the laureate $30,000, the second prize $25,000, and the third prize $20,000. There are also three incentive diplomas of 5 thousand each. During the day, the jury reviewed more than 50 entries, and in the final, the ballet stars and choreographers sitting there looked like they were fed cardboard.

If people came to the competition of artists from many countries (albeit not the main ballet ones), then in the competition of choreographers, two-thirds of the participants were from Russia. Each participant was asked to present their choreography and was given a maximum of six minutes. Everyone at this time tried to tell some story without fail (one girl was strangled on stage, one was stabbed to death, another guy toiled in a room called “Guilty”: he also obviously did something bad).

Many denounced the vices - especially Nikita Ivanov, in one of his rooms (“Friday”), a disheveled office clerk was dancing with a large bottle, in another (“Power”) three guys fought for an office chair: the one who occupied it at a particular moment pushed around others.

The resurrected widow Clicquot caressed the glass and looked like a woman with reduced social responsibility. One of the choreographers propagated the fresh idea that a woman is also a person (in Anna Gerus' "The Thing", the dancer pulled the ballerina out of the plastic packaging and treated her really like a thing).

Someone imitated sketches: the Moth, created by Alexander Mogilev, curled around a large lamp placed on the stage, Jonathan the Seagull (choreographed by Nina Madan) flew, waving its arms. Everyone was amazed by the Belarusian Dmitry Zalessky with the miniature “Dancing with a Friend”: a lady and two gentlemen were present on the stage (as if an English tea party) and a large wooden dog.

The lady hugged the dog so passionately that it was clear she preferred him to the two gentlemen. The audience in the stalls began to remember what can and cannot be propagandized from the stage.

It is not surprising that foreigners took the main awards here too: the first prize was shared by the Chilean Eduardo Zuniga, who made an elegant number to the music of the cult song Amor De Hombre and danced it himself (without any competitive pressure, with that relaxation that gives rise to associations with palm trees and sandy shore), and the Chinese Xiaochao Wen, who staged for himself and his girlfriend a rather skillfully constructed poem about overcoming life's difficulties; the traditional neoclassical vocabulary was broken by him in sharp throws, and there was a feeling that the couple, despite the even scene, were traveling through gullies.

In general, the competition of choreographers showed that there are no young choreographers in the country. More precisely, there are no young choreographers interested in classical ballet. In modern dance, someone new is constantly born - but they are not expected at this competition.

The Grand Prix was not awarded to anyone among artists or choreographers, saving the state 200 thousand dollars. The rest of the prizes were awarded solemnly, in the presence of Vladimir Putin and Brazilian President Michel Temer (there is also a cult of Russian ballet in his country, the Bolshoi Theater school operates and a large Brazilian team came to the competition; they took with them the “silver” from the girls in the senior group, “bronze "for young men in the younger and two diplomas).

The next competition will be in 2021 - and if the Ministry of Culture has not yet lost its desire to return the status of the Olympics to it, it is necessary to start work on attracting future contestants now.