The 17th century was characterized by the ubiquitous spread of podyak culture not only in a narrowly utilitarian (business) sense, but also more broadly - it went far beyond the specifics of the "scribal" business. So, Novgorodian Ivan Timofeev compiled an original "chronograph" - "Vremennik", which told about the siege of the ancient city by the Swedes; clerk Grigory Kotoshikhin wrote a political treatise "On Russia in the reign of Alexey Mikhailovich". Clerks of orders had the skill to see the text both as a business document and as part of a cultural space. Therefore, written traditions were also an opportunity for them to express themselves, often in poetry. "The position of these people," wrote A. M. Panchenko, " in Moscow society is typical for the overwhelming majority of poets of the 30s and 40s. Many poetwriters are clerical officials, ungenerous and even more so, "without a fatherland", who only recently (in the first or second generation) won a step on the bureaucratic ladder. Therefore, I propose to call this literary group the prikaznaya shkola [our italics - O. N.] " (Panchenko A.M. Russkaya stikhotornaya kul'tura XVII veka, Leningrad, 1973).

This school consisted mainly of reference workers of the Moscow Printing Yard, the service class and the lower clergy. Their works were twofold: some created theological and polemical treatises in the form of epistles, others addressed everyday topics, approaching the problems of business writing. From this arose poetic petitions, rebukes, edifying messages, requests, etc. compositions made in the form of an acrostic, which "is clearly perceived by ordered poets as a sign of elegance and refinement of taste" (Kortava T. V. Elements of the command language in verse texts of the XVII century / / Raznorevnevye kharakteristiki leksicheskikh yuniteley. Materials of the interuniversity scientific conference-

page 81

scientific and practical conference 3-4 June 1997. Part 1. - Smolensk, 1997). This form assumed a characteristic conciseness and interpreted similar fragments of the command language, reinterpreting them and likening them to a poetic epistle. Most often in such texts, the formula of commanding speech was used to beat the brow, accompanied by a stylized verbal ornament of the business language with its typical morphological characteristics, in particular, the use of the diminutive affectionate suffix-k-and pejorative forms such as zvaneytse.

Another feature of such messages was their similarity to the very genre of order documents: podyak poetry was created on the basis of a revised form of traditional writing. From this came letters, petitions and other poetic miniatures. A petition made in the genre of a message is indicative in this respect. For her, business turns are typical, for example, for the sake of that, ponezhe, which were fixed elements of the real command context, and the suffix-k-that we have already noted:

Ponezhe from grief and sorrow dissipates,
And quickly razumevati will not sharpen.
It is written that the mind is confused and weak from forgetfulness,
We don
't even have a strong royal contempt for ourselves...
and on razumishku
in its own way and in the sense of a
true champion.
For the sake
of falling to the knee of your mother earth...
(Sheptaev L. S. Verses of the reference worker Savvati // TODRL. M.-L., 1965. Italics in citations are ours. - O. N. ).
These business turns are also consistently noted in other epistles and, as it were, pass from the written ornament to the poetic one, naturally fitting into the poetic logic of the podyak school of the XVII century, for example: "And razumishko and myslishko our told"; " And for the sake of the same desire and malago razumeneytsa dati..."; " ...and for this reason we lament and despondent..."; " ... and rozhdynee our worm will be pardoned... "(Sheptaev L. S. Decree. op.); "And this is our messenger sent to you, your sovereign... "(Panchenko A.M. Edict. op.).

As can be clearly seen from the presented excerpts, two elements interact in the texts of "spiritual" works: the church (book), which has already undergone both literary and "philistine" processing, and the command, which also experienced the influence of various written traditions of that time.

The Podyak language, being normalized at the level of a text form, had the greatest influence on the style of verse art of the XVII century precisely by this property. By copying the external framework of the prototype source, the authors adapted it to the specific plot of the message, and only then "adjusted" the necessary ones.

page 82

grammatical and lexical forms under the patterns of utilitarian writing, embodied in a kind of model of command poetics:

Beats brow bogomolets your sovereign tsarev,
prezhe former you have a sovereign servant oltarev.
prostyi many-sinned monk,
not eromonk.
title poor namyarek,
who is always looking for your royal mercy.
(Sheptaev L. S. Edict. op.).

The command poem combines both the refined literary form as a tradition and the business syllable as a rule: "Deviations from the norm of the standard command language could be either in the direction of Church Slavonic or folk colloquial language, depending on the semantic and stylistic load of the text and the linguistic competence of the addressee "(Kortava T. V. Moscow command language of the XVII century as a a special type of written language, Moscow, 1999).

The appeal of a serf to the sovereign in a poetic text is a traditional formula of business writing, reinterpreted and introduced into the structure of a literary work. At the same time, as in the documents of the XVII century, combinations with verbs of the imperative mood are often used: "Great gospodar pious tsar, spare your serf Mikhalka Tatishchev, veli, gospodar, be with your royal bright eyes "(pit. ed.: Panchenko A.M. Decree. op.).

A. M. Panchenko, who for the first time highly appreciated this school from a literary point of view, placed special emphasis on the specifics of its activities, which prompted such original "piitical" experiments: "The book Library is also an institution that was part of the system of orders of the Grand Palace, and reference workers are the same clerical officials. However, there was a significant peculiarity in their position: if deacons and subdeacons are professional bureaucrats, and therefore they are freely moved from one clerical office to another, then the reference workers are a special corporation, the intellectual elite of the white and black clergy...> If we perceive the Book Press as a kind of cultural center, as the center of attraction of the Russian intelligentsia, which was primarily literary in that era (and it was in fact), then we can see in it a combination of secular and ecclesiastical elements characteristic of the prikazny school as a whole" (Ibid.).

Secular in the aesthetic consciousness of the poets, perhaps, was associated with business, because they worked as professionals.-

page 83

but in the command school, they also learned its textual rules well, which were already put on the pages of messages in a different manner.

Grammatical forms of the command language could be used in a poetic context to create rhymes. At the same time , the traditional inflection of the local case singular-y, which is characteristic of business documents, was combined with a "neutral" noun ending in-y, which is not a sign of a business text:"<...> who now remains in your royal rank, and brings his slave guilt to you" (Sheptaev L. S. Edict. op.). The use of verb forms in the grammatical tradition of the command language is also significant for this school:

I'm not hiding anything from you,
And in all things I extend my heart to you.

Mixing of book speech and command vocabulary is typical for poetic texts. It was to some extent an echo of the changes in the elements of the Church Slavonic language that took place in the XVI-XVII centuries. His "gentrification" and the increasing role of business literature in literature, the expansion of his rights and certain artistic and pictorial advantages of the podyak style - all these features, of course, influenced both the poetic worldview of poets and the ways of written expression. Because of this, their texts often have bizarre interactions, for example, Slavonic verb forms with diminutive forms of nouns that are clearly borrowed from a different cultural circle - business writing:

<...> where would I poor head of its own feed
and zhenishko and children glad not pomoriti...

If you have a great payer,
The
bride is always at the very royal face <...>

And lo we have the birth of a worm
from us
,
And we don't have any extra money left.
(Panchenko A.M. Edict. op.).

The linguopoetic tradition of the poetry school has also adopted constructions with the union asche, which are typical for the command language since ancient times. His book flavor sometimes changed in the direction of stylistically reduced forms, but in general remained in the church element, which at this syntactic level turned out to be close to business writing: "If there are many people in the Russian kingdom..."; "If you put us in contempt... "(Sheptaev L. S. Decree. op.).

page 84

The presented poetic texts should be perceived both as the author's works and as a tradition, which expressed the general trend of language development in the XVII century, directed towards the merging of heterogeneous layers of the text, combining their forms and ways of expression. It is important to emphasize that the apparent" split " of the text into command and literary components is only a combination of different ways of presenting the text and its reflection in the language consciousness of the author.

During this period, as G. A. Khaburgaev noted, the prikazny language actively interacted with the late ("hybrid") Church Slavonic, forming a special book-literary language (Khaburgaev G. A. The problem of diglossia and South Slavic influences in the history of the Russian literary language // Questions of linguistics. 1991. N 2). These changes affected both church-book styles and the emerging business style: "the former boundaries of church-book and literary styles of speech"... neotchetlivymi" (Vinokur G. O. Izbrannye raboty po russkomu yazyku [Selected works on the Russian language], Moscow, 1959). At the same time, the search for more productive and new models of language design of the text was largely based on the linguistic and cultural tradition of the past. Business speech also underwent significant changes and by the end of the 17th century had become "much more literary (emphasis added - O. N.), it absorbed certain elements of bookishness" (Ibid.).

The 17th century is characterized by the appearance of numerous collections with verse epistles and verse miniatures. A. S. Demin divides them into three types: works of "court origin", poetry related to folklore, and democratic satire and humor (Demin A. S. Democratic poetry of the 17th century in letters and collections of verse epistles / / TODRL. Newly found and unpublished works of Old Russian literature, Moscow-L., 1965, vol. XXI). The first category included the poetic epistles of the Moscow Printing Yard's reference workers that we reviewed. Works focused on folklore are not numerous and, apparently, their poetic forms could have been devoid of a" business " plot and used more traditional artistic and visual means for this genre.

As for the latter type, it proved to be the most productive in the seventeenth century, both in terms of quantity and variety of original forms of expression, linguistic features, and individual mannerisms. Especially interesting is the fact that these verses contained a wide set of text and lexical forms of the command writing of that era. As a rule, these were very small poetic messages of satirical and ironic nature. Moreover, not only everyday themes could be parodied, but also Church Slavonic texts (see: Demin A. S. Edict op.-

page 85

tagging). In the latter case, the ancient archaic was accompanied by interspersed conversational and business elements.

In such verses, emphasis was placed on syntactic features: the construction consisted of details of a written business text, and also contained typical beginnings: if you want to see it.., then..; if you want to see it.., then..; and if you want to see it.., then... Their content is close to the image of the everyday atmosphere, contrasting with the book background of the text. Here, surrounded by ecclesiastical subjects, the command element did not develop significantly, and these interspersions and the ironic tone of the message were only a natural desire of the author to provoke a response from the reader. There is no literal copying of the source language, as well as borrowing its linguistic and stylistic means.

In a different way, the tradition of command poetry was manifested in the works of the so-called democratic poetry of the XVII century. The authors used not only individual elements of the ancient business syllable, but also composed the entire text in the traditions of command writing, observing its formal and speech characteristics:

< ... > Your son beats his forehead with God's gift,
but the fool has been a long time.
Have mercy, Sire,
for the iconostasis of the Trinity
deity
, and for Christ's nativity from the Virgin
, and for your own righteous soul
, speak my words.
Where is my rudeness,
perhaps me, poor

and from the nakedness of the wrathful <...>
(Demin A. S. Edict. op.).

This passage, created, like the rest of the poem, on the model of petitions of the XVII century, uses characteristic language cliches and turns of the command "adverb": beats the forehead; please me; have mercy, sire. Literary satire here adapts to the command text, and that, in turn, becomes the language base for inventing original metaphorical ornaments, new forms of poetry expression.

The development of democratic sentiments in the field of artistic creativity, the opening up of new opportunities for creating works of various genres and types - both narrative and poetic - gave rise to numerous works, mainly of a satirical nature, which clearly retained the features of the business language in their structure. Their authors could also be clerks who were well aware of the professional sphere of their work.-

page 86

They were also self-taught people who knew the skills of bookish and commanding speech, and real poets-compilers of poetic "verses". Such examples of artistic creativity, not directly correlating with the podyak cultural environment (we often do not know their author), are adjacent in their textual merits to a broader social stratum of writers who had certain connections with podyakism, initiated the manifestation of individual thinking in the field of creating and artistic understanding of forms of business writing.

The analysis of poetic texts showed that the main linguistic traditions of the prikazny school of poetry of the XVII century and its successors - "satirists" - creators of vivid social parodies, should be recognized as the use of the text form of podyak literature as a model for composing a literary text; mixing of linguistic features of works of different genres with a common Slavicized manner of verse; use of lexical means of the language of business writing creation of an artistic image; metaphorization of the plot by means of command culture in general (not only the language, but also the atmosphere, everyday life, and reality).

Another feature that is indirectly related to the linguistics of the poetic text is the very nature of the command poem, which is somewhat identical to the functioning and purpose of a genuine business document: many poems-messages were written for a specific person and for transmission to a specific person, or their appearance was caused by a certain event. Therefore, the genre of a poetic message, that is, the transmission of information by means of an artistically processed language, partly reminded the authors of natural written correspondence. Some of these poems, as we have seen, are real messages-answers that involved at least two people in the language process: "The order poets did not need to hide the name of the addressee and the name of the author, because the messages were given to real and specific people. Consequently, acrostics in ordered epistolography are a sign of literary "elegance", marking a poem rhythmically (along with a paired rhyme)" (Panchenko A.M. Decree. op.). In turn, we can assume that "elegance "also consisted in the use of" business " aesthetics, which was raised from the everyday, official level to the artistic one.

Permanent link to this publication: