The expression Hamburg score appeared. "Hamburg Account" in literature

"The Hamburg Account" is the name of a collection of literary critical articles by Viktor Shklovsky published in 1928. In short program article, which opens the collection, the author himself explains the meaning of the book’s title: “ The Hamburg count is an extremely important concept. All wrestlers, when they fight, cheat and lie down on their shoulder blades on the orders of the entrepreneur. Once a year, wrestlers gather in a Hamburg tavern. They fight behind closed doors and curtained windows. Long, ugly and hard. Here the true classes of fighters are established - so as not to be wasted". According to A.P. Chudakov, a commentator on the modern edition of the book, the real basis for this plot was for Shklovsky the oral story of the circus wrestler Ivan Poddubny. However, it is much more likely that the authorship of the expression "Hamburg score" belongs to Shklovsky himself. catchphrase, especially fashionable in literary environment, expression " Hamburg account " serves as the equivalent of an impartial assessment of something without discounts or concessions, with extreme demands. It is possible that the no less popular phraseological unit " by and large", which has the same meaning, is nothing more than a transformation of Shklovsky's idea. For the first time in literature, the phrase "by and large" is found in the novel "Fulfillment of Desires" (1935), created by Veniamin Kaverin, a writer close to Shklovsky's circle. And Today, more and more often in our speech we hear the expression " according to Hamburg account" is a contamination of two phraseological units invented by writers.

Critic Irina Rodnyanskaya in the article “Hamburg hedgehog in the fog” ( New world.- 2001.- No. 3), dedicated to the problems of literary strategies today, notes: “Shklovsky could have been pleased - almost like Dostoevsky, who was proud of enriching the Russian language with the verb “to shy away.” The expression “Hamburg account” separated from the parable he told in the 20s and went around the world in an undoubted and generally understood meaning. so long ago, even the most colorful Duma deputy publicly threatened to judge someone “on the big Hamburg score." They laughed at the deputy in unison. But in vain. It is useful to listen to people's understandings. Our character innocently contaminated the "Hamburg score" and the "big score", believing that It’s lying somewhere nearby, and he’s not the only one who’s imagined it for a long time.

"Hamburg account"(has become commonly understood) is a large aesthetic account in literature and art. Identification of the first, second, and last places on the scale of the genuine, the present. "Big" - because it opposes the "small" accounts conducted by officialdom, groups, parties in the interests of their situational needs. "Big" - because it appeals to the "big time", in whose epochal contours the fog will dissipate, burst bubble and everything will fall into place. A connoisseur who attracts the “Hamburg score” acts as a guesser, an oracle, listening to the noise of great time, comparing signals from there with his aesthetic instrument.”

The legend told by the writer was not confirmed. Historians of Hamburg and modern restaurant owners know nothing about the wrestling competitions that allegedly took place in the old days in a Hamburg tavern. K.V. Dushenko believes that the “Hamburg account” is Shklovsky’s own expression. Doubts are added by the fact that I. M. Poddubny, whose age was significant for the plot of his story, was only 53 years old in 1924, and he actually fought until he was 70.

Viktor Shklovsky’s definition of a place “near the carpet” for Mikhail Bulgakov was perceived by the latter as offensive, hinting at the clown who entertained the audience at the circus at the carpet. This complicated the relationship between the two writers. However, not everyone saw the hint of a clown. Thus, in a letter to literary critic Stanislav Rassadin, Viktor Konetsky expressed a different understanding of Shklovsky’s ranking of writers:

Once again I came across V.B. Shklovsky’s reproach to Bulgakov: “at the carpet” (that is, he is taken out of the game!). This is a kind of mass psychosis, because the expression means a high compliment and a prediction of the “Hamburg struggle” and victory in it. This was written “near the carpet” in 1924. The book was published in 1928. It seems to me that the expression should be understood:
1. Bulgakov has already arrived in Hamburg. But Serafimovich or Veresaev can’t even get close to there.
2. Bulgakov is already STANDING at the mat, because he has been admitted to the competition aerobatics(this is in 1924!).
3. Khlebnikov has already left the carpet, because he has already won.

4. Babel has already taken part in the fight, but, according to V.B.Sh., he is a lightweight. Gorky is often out of shape, that is, they can simply strangle him on the carpet - he is already old.

Shklovsky later admitted his prologue was incorrect.

Spreading

Thanks to the book of the same name by Viktor Shklovsky, the expression "Hamburg account", which became widespread in the Russian language, became winged and popular not only among the writers, but also much wider. In particular, psychologists use it to identify the real, and not official place individual in the status hierarchy.

…First of all, the “Hamburg account” is relevant when a social psychologist-practitioner works with small groups, determining their current state and development trajectory, identifying the causes of low functionality, both obvious and potential conflicts…

Harry Walter, Doctor of Philology, professor at the Ernst Moritz Arndt University in Greifswald also speaks about this.

Outside the Russian language, this expression causes difficulties with translation due to the lack of a concept in other languages ​​and the ambiguity of the Russian word " check" Douglas Robinson (English) Russian offers three options: The Hamburg Score, The Hamburg Rankings, The Hamburg Account for the title of Shklovsky's work, noting that the English. score, rankings better describe the allusion to wrestling competitions, but Richard Sheldon used English when translating. account.

There is an assumption that, by association with " Hamburg account"Victor Shklovsky, the expression "by and large" became winged, which appeared later in the novel by Veniamin Kaverin "Fulfillment of desires".

Notes

1. Hamburg account (undefined) (National Psychological Encyclopedia). vocabulary.ru. Retrieved September 12, 2017.
2. Shklovsky V. Hamburg account and by and large // Vopr. culture of speech / Academician. sciences of the USSR. Institute of Rus. language Ch. ed. S. I. Ozhegov. - M.: Nauka, 1965. - Issue. 6. - pp. 129-131. - 241 p. - 8500 copies.
3. Shklovsky V. Hamburg account. - L .: Publishing house of writers in Leningrad, 1928. - S. 5. - 247 p. - 4000 copies.
4. Myagkov B. S. Bulgakovskaya Moscow. - M.: Mosk. worker, 1993. - pp. 120-126. - 222 s. - ISBN 5-239-01439-6.
5. House of Griboyedov // Bulgakov Encyclopedia / B. V. Sokolov. - M.: Lokid: Myth, 1996. - P. 191-198. - 592 s. - ISBN 5-320-00143-6. - ISBN 5-87214-028-3.
6. According to the Hamburg account // encyclopedic Dictionary winged words and expressions / [author-comp. Vadim Serov]. - M.: Lockid Press, 2004. - 877, p. - 2000 copies. - ISBN 5-320-00323-4.
7. Dushenko K. V. Dictionary of modern quotes: 4300 current quotes and expressions of the 20th century, their sources, authors, dating. - M.: Agraf, 1997. - P. 406. - 628, p. - ISBN 5-7784-0031-4.
8. Poddubny Ivan Maksimovich / V. I. Linder // Peru - Semi-trailer. - M.: Great Russian Encyclopedia, 2014. - P. 541-542. - (Big Russian Encyclopedia: [in 35 volumes] / chief ed. Yu. S. Osipov; 2004-2017, vol. 26). - ISBN 978-5-85270-363-7.
9. Belozerskaya-Bulgakova L. E. Oh, the honey of memories. - Ann Arbor, Michigan: Ardis, 1979. - P. 45. - 134 p. - ISBN 0-88233-318-6.
10. Konetsky V.V. Echo: (Around and around letters from readers). - 2nd ed., rev. and additional - St. Petersburg. : Blitz, 2001. - pp. 324-325. - 453, p. - 3000 copies. - ISBN 5-86789-142-9.
11. Putin hat da noch eine Hamburger Rechnung offen(German). Die Welt (24.10.2014). Retrieved September 15, 2017.
12. Walter Harry. About two “German” eponyms in the Russian language (Hamburg account; Whoever is late is punished by history) (undefined) . Problems of history, philology, culture (2011). Retrieved September 12, 2017.

The Hamburg Account is the name of a collection of literary critical articles by Viktor Shklovsky published in 1928. In the brief programmatic article that opens the collection, the author himself explains the meaning of the book's title: The Hamburg account is an extremely important concept. All wrestlers, when wrestling, cheat and lie down on the shoulder blades at the order of the entrepreneur. Once a year, wrestlers gather in a Hamburg tavern. They fight behind closed doors and curtained windows. Long, ugly and hard. Here the true classes of fighters are established, so as not to get shortchanged. According to A.P. Chudakov, a commentator on the modern edition of the book, the real basis for this plot was for Shklovsky the oral story of the circus wrestler Ivan Poddubny. However, it is much more likely that the authorship of the expression Hamburg account belongs to Shklovsky himself. Immediately becoming a catchphrase, especially fashionable in the literary community, the expression Hamburg score serves as the equivalent of an impartial assessment of something without discounts or concessions, with the utmost demands. It is possible that an equally popular phraseological unit - by and large - that has the same meaning is nothing more than a transformation of Shklovsky’s idea. For the first time in literature, the phrase - by and large - appears in the novel Fulfillment of Desires (1935), created by Veniamin Kaverin, a writer close to Shklovsky’s circle.

The expression “Hamburg score” meant the intention of Russian circus wrestlers late XIX- the beginning of the 20th century to identify the truly powerful among oneself. Usually in the circus arena the winner of the fight was determined in advance - by agreement. But once a year, wrestlers, supposedly meeting far from the public and employers in a Hamburg tavern, found out in a fair fight which of them was actually stronger than the others.

The Hamburg count is an extremely important concept.
All wrestlers, when they fight, cheat and lie down on their shoulder blades on the orders of the entrepreneur.
Once a year, wrestlers gather in a Hamburg tavern.
They fight behind closed doors and curtained windows.
Long, ugly and hard.
Here the true classes of fighters are established, so as not to get shortchanged.
The Hamburg count is essential in literature.
According to the Hamburg account, there are no Serafimovich and Veresaev.
They don't make it to the city.
In Hamburg - Bulgakov at the carpet.
Babel is a lightweight.
Gorky is doubtful (often out of shape).

Khlebnikov was a champion.

Victor Shklovsky. Hamburg account. L. 1928

Viktor Shklovsky’s definition of a place “near the carpet” for Mikhail Bulgakov was offensive because of the allusion to the clown who entertained the audience at the circus at the carpet. This caused complications in the relationship between the two writers. It is known that Shklovsky later changed his mind.

There is an assumption that, due to association with the “Hamburg account”, Viktor Shklovsky became catchphrase“by and large”, which appeared later in Veniamin Kaverin’s novel “The Fulfillment of Desires”.

Spreading

The legend of Ivan Poddubny has not found documentary evidence; historians of Hamburg and modern restaurant owners know nothing about the wrestling competitions that took place in the Hamburg tavern on turn of the 19th century and XX centuries. Nevertheless, thanks to the book of the same name by Viktor Shklovsky, the expression “Hamburg account”, which became widespread in the Russian language, became popular and popular not only among writers, but also much wider.

Psychologists use it, in particular, to identify the real, and not the official, place of an individual in the status hierarchy.

…First of all, the “Hamburg account” is relevant when a social psychologist-practitioner works with small groups, determining their current state and development trajectory, identifying the causes of low functionality, both obvious and potential conflicts…

Outside the Russian language, this expression causes difficulties with translation due to the lack of a concept in other languages ​​and the ambiguity of the Russian word " check" Douglas Robinson (English)Russian offers three options: The Hamburg Score/Rankings/Account for the title of Shklovsky's work, noting that English. score, rankings better describe the allusion to wrestling competitions, but Richard Sheldon used English when translating. account .

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Notes

Literature

• Walter Harry.// Problems of history, philology, culture. - 2011. - No. 3. - pp. 199-204.
• Jutta Limbach. Ausgewanderte Wörter. Eine Auswahl der interessantesten Beiträge zur internationalen Ausschreibung “Ausgewanderte Wörter”. In: Deutscher Sprachrat, Goethe-Institut (Hrsg.): Wörter wandern um die Welt. Hueber, Ismaning 2006 (3. Auflage 2008), ISBN 978-3-19-107891-1

Links

• Victor Shklovsky. Hamburg account. - Leningrad: Publishing House of Writers in Leningrad, 1928. - 247 p. - 4000 copies.
• Victor Shklovsky. Hamburg Account: Articles, Memoirs, Essays (1914 - 1933). - Moscow: Soviet writer, 1990. - 129 p.
• Social Psychology. Dictionary / Under. ed. M. Yu. Kondratieva // Psychological Lexicon. Encyclopedic Dictionary in six volumes / Ed.-comp. L. A. Karpenko. Under general ed. A. V. Petrovsky. - M.: PER SE, 2006. - 176 p.

An excerpt characterizing the Hamburg account

The first shots had not yet sounded when others were heard, again and again, merging and interrupting one another.
Napoleon rode up with his retinue to the Shevardinsky redoubt and dismounted from his horse. The game has begun.

Returning from Prince Andrei to Gorki, Pierre, having ordered the horseman to prepare the horses and wake him up early in the morning, immediately fell asleep behind the partition, in the corner that Boris had given him.
When Pierre fully woke up the next morning, there was no one in the hut. Glass rattled in the small windows. The bereitor stood pushing him aside.
“Your Excellency, your Excellency, your Excellency...” the bereitor said stubbornly, without looking at Pierre and, apparently, having lost hope of waking him up, swinging him by the shoulder.
- What? Began? Is it time? - Pierre spoke, waking up.
“If you please hear the firing,” said the bereitor, a retired soldier, “all the gentlemen have already left, the most illustrious ones themselves have passed a long time ago.”
Pierre quickly got dressed and ran out onto the porch. Outside it was clear, fresh, dewy and cheerful. The sun, having just broken out from behind the cloud that was obscuring it, splashed half-broken rays through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of the houses, onto the windows of the fence and onto Pierre’s horses standing at the hut. The roar of the guns could be heard more clearly in the yard. An adjutant with a Cossack trotted down the street.
- It's time, Count, it's time! - shouted the adjutant.
Having ordered his horse to be led, Pierre walked down the street to the mound from which he had looked at the battlefield yesterday. On this mound there was a crowd of military men, and the French conversation of the staff could be heard, and the gray head of Kutuzov could be seen with his white cap with a red band and the gray back of his head, sunk into his shoulders. Kutuzov looked through the pipe ahead along the main road.
Entering the entrance steps to the mound, Pierre looked ahead of him and froze in admiration at the beauty of the spectacle. It was the same panorama that he had admired yesterday from this mound; but now this whole area was covered with troops and the smoke of shots, and slanting rays bright sun, rising from behind, to the left of Pierre, threw at her in the clear morning air a piercing light with a golden and pink tint and dark, long shadows. The distant forests that completed the panorama, as if carved from some precious yellow-green stone, were visible with their curved line of peaks on the horizon, and between them, behind Valuev, cut through the great Smolensk road, all covered with troops. Closer, golden fields and copses gleamed. Troops were visible everywhere - in front, right and left. It was all lively, majestic and unexpected; but what struck Pierre most of all was the view of the battlefield itself, Borodino and the ravine above Kolocheya on both sides of it.
Above Kolocha, in Borodino and on both sides of it, especially to the left, where in the marshy banks Voina flows into Kolocha, there was that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything visible through it. This fog was joined by the smoke of shots, and through this fog and smoke the lightning of the morning light flashed everywhere - now on the water, now on the dew, now on the bayonets of the troops crowded along the banks and in Borodino. Through this fog one could see a white church, here and there the roofs of Borodin's huts, here and there solid masses of soldiers, here and there green boxes and cannons. And it all moved, or seemed to move, because fog and smoke stretched throughout this entire space. Both in this area of ​​the lowlands near Borodino, covered with fog, and outside it, above and especially to the left along the entire line, through forests, across fields, in the lowlands, on the tops of elevations, cannons, sometimes solitary, constantly appeared by themselves, out of nothing, sometimes in droves, sometimes sparse, sometimes frequent clubs smoke, which, swelling, growing, swirling, merging, could be seen throughout this space.
These smokes of shots and, strange to say, their sounds produced the main beauty of the spectacle.
Puff! - suddenly a round, dense smoke was visible, playing with purple, gray and milky white colors, and boom! – the sound of this smoke was heard a second later.
“Poof poof” - two smokes rose, pushing and merging; and “boom boom” - the sounds confirmed what the eye saw.
Pierre looked back at the first smoke, which he left as a round dense ball, and already in its place there were balls of smoke stretching to the side, and poof... (with a stop) poof poof - three more, four more were born, and for each, with the same arrangements, boom... boom boom boom - beautiful, firm, true sounds answered. It seemed that these smokes were running, that they were standing, and forests, fields and shiny bayonets were running past them. On the left side, across the fields and bushes, these large smokes were constantly appearing with their solemn echoes, and closer still, in the valleys and forests, small gun smokes flared up, not having time to round off, and in the same way gave their little echoes. Tah ta ta tah - the guns crackled, although often, but incorrectly and poorly in comparison with gun shots.
Pierre wanted to be where these smokes were, these shiny bayonets and cannons, this movement, these sounds. He looked back at Kutuzov and his retinue to compare his impressions with others. Everyone was exactly like him, and, as it seemed to him, they were looking forward to the battlefield with the same feeling. All faces now shone with that hidden warmth (chaleur latente) of feeling that Pierre noticed yesterday and which he fully understood after his conversation with Prince Andrei.
“Go, my dear, go, Christ is with you,” said Kutuzov, without taking his eyes off the battlefield, to the general standing next to him.
Having heard the order, this general walked past Pierre, towards the exit from the mound.
- To the crossing! - the general said coldly and sternly in response to the question of one of the staff, where he was going. “And I, and I,” thought Pierre and followed the general in the direction.
The general mounted the horse that the Cossack handed to him. Pierre approached his rider, who was holding the horses. Asking which one was quieter, Pierre mounted the horse, grabbed the mane, pressed the heels of his twisted legs against the horse’s stomach, and, feeling that his glasses were falling off and that he was unable to take his hands off the mane and reins, he galloped after the general, arousing the smiles of the staff, from the mound looking at him.

The general, behind whom Pierre rode, went downhill, turned sharply to the left, and Pierre, losing sight of him, jumped into the ranks of the infantry soldiers walking ahead of him. He tried to get out of them, now to the right, now to the left; but everywhere there were soldiers, with equally preoccupied faces, preoccupied with some invisible, but obviously important matter. Everyone was looking with the same dissatisfied questioning look at this fat man in a white hat, for some unknown reason, trampling them with his horse.
- Why does he ride in the middle of the battalion! – one shouted at him. Another pushed his horse with the butt, and Pierre, clinging to the pommel and barely holding the shy horse, jumped forward the soldier, where it was more spacious.
There was a bridge ahead of him, and other soldiers were standing by the bridge, firing. Pierre drove up to them. Without knowing it himself, Pierre drove to the bridge over the Kolocha, which was between Gorki and Borodino and which, in the first action of the battle (taking Borodino), was attacked by the French. Pierre saw that there was a bridge ahead of him, and that on both sides of the bridge and in the meadow, in those rows of hay that he noticed yesterday, soldiers were doing something in the smoke; but, despite the incessant shooting that took place in this place, he did not think that this was the battlefield. He did not hear the sounds of bullets screaming from all sides, and shells flying over him, he did not see the enemy who was on the other side of the river, and for a long time he did not see the dead and wounded, although many fell not far from him. With a smile that never left his face, he looked around him.