the resurrection of the word by Victor Shklovsky

1914年复活的Word（）

(Selections) （选）

Victor Shklovsky 维克托什克洛夫斯基

The word — the image and its fossilisation. 这个词-的形象和其fossilisation。 The epithet as a means of renewal of the word. 这个词称号作为一个手段的更新。 The history of the epithet — the history of poetic style. The fate of works of old artists of the word is of the same nature as the fate of the word itself: they complete the journey from poetry to prose. The death of things. 该称号的历史-历史的诗意的风格。 一词命运的老艺术家的作品是一样的散文。性质，向命运这个词本身：他们完成的旅程从诗歌死亡的事情。 The aim of Futurism is the resurrection of things — the return to man of sensation of the world. 目的是在未来主义的东西复活-世界返回到人的感觉。 The connection of the devices of the Futurists' poetry with the devices of general linguistic thought-processes. 连接思想的过程，对设备的语言一般未来主义诗歌与设备。 The semi-comprehensible language of ancient poetry. 古代诗歌的语言半理解。 The language of the Futurists. 在未来主义的语言。

The most ancient poetic creation of man was the creation of words. Now words are dead, and language is like a graveyard, but an image was once alive in the newly-born word. 人类最古老的诗歌创作是词创作。 现在话已经死了，就像一个语言墓地，而是一个形象是一次在新字活着出生的。 Every word is basically — a trope. 基本上是每一个字-一个比喻。 And often enough, when you get through to the image which is now lost and effaced, but once embedded at the basis of the word, then you are struck by its beauty — by a beauty which existed once and is now gone. 而且往往是，当你通过向抹去的形象，现在失去了和，但在口碑一旦嵌入此基础上，那么你的美丽留下深刻印象的经历-一个美的存在一次就是现在。

When words are being used by our thought-processes in place of general concepts, and serve, so to speak, as algebraic symbols, and must needs be devoid of imagery, when they are used in everyday speech and are not completely enunciated or completely heard, then they have become familiar, and their internal (image) and external (sound) forms have ceased to be sensed. We do not sense the familiar, we do not see it, but recognise it. We do not see the walls of our rooms, it is so hard for us to spot a misprint in a proof — particularly if it is written in a language well known to us, because we cannot make ourselves see and read through, and not 'recognise' the familiar word. 当正在使用的话我们的思想，概念，过程一般在地点，及服务，可以这么说，作为代数符号，而且必须是缺乏需要的图像，当他们在日常生活中使用的讲话，并阐述了不完全或完全听，那么，他们很熟悉，他们的内部（图片）和外部（声音）的形式已不再被觉察。 我们不熟悉的感觉，我们看不到它，但承认它。我们没有看到我们的墙房间，就这样我们很难辨认一个证明印刷错误的-尤其是如果它是我们已知的书面的语言好，因为我们不能让自己看到和阅读，而不是'承认'熟悉的单词。

If we should wish to make a definition of 'poetic' and 'artistic' perception in general, then doubtless we would hit upon the definition: 'artistic' perception is perception in which form is sensed (perhaps not only form, but form as an essential part). 如果我们想作一个定义'诗意'和'艺术'的看法，一般来说，那么毫无疑问，我们会打击后的定义：'艺术'的看法是知觉以何种形式是感觉到 （也许不是唯一的形式，但形式作为的重要组成部分）。 It is easy to demonstrate the correctness of this 'working' definition in those instances when some expression or other, having been poetic, becomes prosaic. 这是很容易证明这种诗意的正确性的工作是'在这种情况下定义时，有一些表达或其他，变得平淡。

This loss of the form of the word represents a great easement for the thought-processes and may be a necessary condition for the existence of science, but art could never be satisfied with this eroded word. 这个词的损失的形式代表，伟大的缓和进程的思想和科学可能是存在的必要条件，但艺术是永远不会满足于这个词的侵蚀。 It could hardly be said that poetry has made up the damage it has suffered through the loss of the figurativeness of words by replacing this figurativeness with a higher type of creation — for example by the creation of character-types, because in such a case poetry would not have held on so avidly to the figurative word even at such high stages of its evolution as in the era of epic chronicles. 这很难说，诗，正好弥补了损失的一个形象性与形象性取代这个词的更高类型的创建创造例子-对于类型字符的损害它已经历了如此，因为在这样的诗不会举行的时代史诗等形象化的编年史上的字，甚至贪婪地在如此高的发展阶段，其性质。 In art, material must be alive and precious. And this is where there appeared the epithet, which does not introduce anything new into the word, but simply renews its dead figurativeness. 在艺术，材料必须是活着的和珍贵的。 这是那里出现了绰号，不引入任何新词进入，而只是重申其死亡形象性。 The word, revitalised by the epithet, became poetic once more. Time passed — and the epithet ceased to be sensed — again because of its familiarity. 这个词，形容词的振兴，成为诗意的一次。时间过去了-和称号不再是感应-熟悉又因为它的。 And the epithet began to be handled through habit, by virtue of scholastic traditions and not through living poetic feeling. 而绰号开始被习惯通过不处理，通过对学校的传统美德，并通过生活诗意的感觉。 Moreover, the epithet is by now sensed so little that quite often its application cuts right across the general situation and colouring of the picture; for example: 此外，由现在的称号感到太少，往往总的形势及其应用削减对面，图片色彩的，例如：

Burn, burn, you tallow candle, 烧伤，烫伤，你牛脂蜡烛，

Tallow candle of ardent wax..... 塔劳烛蜡的殷切.....

(Folksong) （民歌）

or the 'my true love' of the Old English ballads, a term applied in them indiscriminately — whether it is a case of either true or untrue love, and so on..... 或'我真正爱的古英语歌谣，他们应用了一个任期内随意-无论它是一个爱情案件或真或假，等.....

Constant epithets have worn smooth, no longer evoke a figurative impression and do not satisfy its demands. 常称呼穿光滑，不再唤起形象的印象，也不能满足其要求。 Within their limits new epithets are created, they accumulate, and definitions become diversified through descriptive terms borrowed from the material of the saga or legend. 在他们的限制的新绰号创建，他们积累，多元化和定义成为传奇英雄传奇或通过描述性术语的借用的材料。

'The history of the epithet — is the history of poetic style in an abridged edition.' '的称号历史的-是历史的诗意风格版在一节。 (A. Veselovsky). （答维谢洛夫斯基）。 This history shows us how all forms of art always recede from life, forms which, just like the epithet, live, fossilise and finally die. 这个历史告诉我们，所有的艺术形式永远退出生活，模具形式的，就像绰号，生活，封存，最后。

People pay too little attention to the death of forms in art, they all too flippantly contrast the old with the new without thinking whether the old is alive or has already vanished, as the sound of the sea vanishes for those who live by its shores, as the thousand-voiced roar of the town has vanished for us, as everything familiar, too well known, disappears from our consciousness. 人民付出太少注意艺术形式的死亡，他们都太轻率地对比新思维没有老的旧的是活的或已经消失，因为大海的声音消失的海岸为那些活着的谁，作为这个镇1000轰鸣声消失了我们，因为一切都熟悉，也众所周知，从我们的意识中消失。

Not only words and epithets fossilise, whole situations can fossilise too. 不仅词和形容词封存，整个情况可以封存了。

The fate of the works of old artists of the word is exactly the same as the fate of the word itself. 这个词命运老艺术家的作品本身是完全一样的命运的话。 They are completing the journey from poetry to prose. They cease to be seen and begin to be recognised. 他们完成旅程从诗歌到散文。他们不再被视为并开始得到承认。 Classical works have for us become covered with the glassy armour of familiarity — we remember them too well, we have heard them from childhood, we have read them in books, thrown out quotations from them in the course of conversation, and now we have calluses on our souls — we no longer sense them. 经典作品已成为我们熟悉的盔甲覆盖着玻璃-我们记住他们非常清楚，我们听到了他们的童年，我们读过的书他们，抛出报价从他们的谈话的过程中，现在我们有老茧在我们的灵魂-我们不再感觉他们。

The illusion that old art is sensed is supported by the fact that elements alien to art are often present in it. 古老艺术的错觉，是艺术的支持是感觉到的是，往往是格格不入的元素它目前研究。 Such elements are in fact found above all in literature; therefore literature now has hegemony in art and the largest number of connoisseurs. What is typical for artistic 这些元素在文学中找到上述所有事实，因此现在有文学艺术霸权和人数最多的鉴赏家。 什么是艺术典型 perception is our material disinterestedness in it. 感觉是我们的物质无私也。 Exhilaration at the speech of one's defence counsel in the law court is not an artistic sensation, and, if we sense the nobility and humanity of the thoughts of the most humane poets in 法院在法律上的讲话振奋一个人的辩护律师在没有艺术感觉，而且，如果我们感受到贵族和诗人人类最人道的思想在 the world, then these sensations have nothing in common with art. They were never poetry and therefore have not completed the journey from poetry to prose either. 世界，那么这些有艺术的***同感觉什么也没有英寸他们从未诗歌，因此没有完成的旅程从诗歌到散文的。

The broad masses are satisfied with market-place art, but marketplace art shows the death of art. 广大人民群众是满意的艺术与市场的地方，但显示了艺术市场艺术死亡。

Nowadays the old art has already died, the new has not yet been born; and things have died — we have lost our awareness of the world; we are like a violinist who has ceased to feel the bow and the strings, we have ceased to be artists in everyday life, we do not love our houses and clothes, and easily part from a life of which we are not aware. Only the creation of new forms of art can restore to man sensation of the world, can resurrect things and kill pessimism. 如今，古老的艺术已经死了，新的尚未出生，死亡，事情- 我们已经失去了对世界的认识，我们就像是一个字符串小提琴手谁已不再感到弓，而且我们已停止艺术家将在每天的生活，我们不爱我们的房子和衣服，并轻松知道从生命的一部分，我们不是。 只有艺术创作形式的新的可以恢复到人类世界的感觉，可以复活的事情，杀死悲观。

And now, today, when the artist wishes to deal with living form and with the living, not the dead, word, and wishes to give the word features, he has broken it down and mangled it up. 现在，今天，当艺术家要处理的生活形式和生活，而不是死，文字，并希望给Word功能，他打破了下来错位它。 The 'arbitrary' and 'derived' words of the Futurists have been born. 在'任意'和'衍生'未来学家的话已经诞生了。 New, living words are created. 新的生活的话被创建。 The ancient diamonds of words recover their former brilliance. 钻石的词的古恢复其原来的辉煌。 This new language is incomprehensible, difficult, and cannot be read like the Stock Exchange Bulletin. It is not even like Russian, but we have become too used to setting up comprehensibility as a necessary requirement of poetic language. 这种新的语言是不可理解的，困难的，不能像读通报证券交易所。它甚至不是像俄罗斯，但我们已变得太用于设立诗意的语言理解性，作为一个必要条件。 The history of art shows us that (at least very often) the language of poetry is not a comprehensible language, but a semi-comprehensible one. 艺术的历史告诉我们，（至少很多时候）的诗歌语言是不是理解的语言，但一个半理解1。 Thus, savages often sing in an archaic or alien tongue, sometimes so incomprehensible that the singer (or, more correctly, the lead singer) must translate and explain to the choir and audience the meaning of the song he has just composed. 因此，野人经常唱的一陈旧或外来语，有时就这么难以理解的歌手（或者，更正确，主唱）必须翻译和解释，合唱团和观众组成的意思只是他的歌曲。

The religious poetry of almost all peoples is written in just such a semi-comprehensible language. 在各国人民的宗教诗几乎是写在这样一个半理解的语言。

The writers of past times wrote too smoothly, too sweetly. 过去时代的作家说太顺利，也甜蜜。 Their things were reminiscent of that polished surface of which Korolenko spoke: 'across it runs the plane of thought, touching nothing.' 谈到他们的事情让人想起那磨光面，其中科罗连科：'在它运行的思想平面，触摸什么。' The creation of a new, 'tight' language is necessary, directed at seeing, and not at recognition. 一个新的，'紧'语言是必要的，针对看到创造，而不是在承认。 And this necessity is unconsciously felt by many people. 这必然是不自觉地感受到了许多人。

The paths of the new art have only been indicated. 新艺术的路径的只有被显示。 It is not theoreticians, but artists who will travel those paths ahead of all others. 这不是理论家，但艺术家们将前往这些路径谁领先于所有其他人。