The “Shakosh” cipher baffles Egyptians and makes them cry over the state of the language

The “Shakosh” cipher baffles Egyptians and makes them cry over the state of the language
The “Shakosh” cipher baffles Egyptians and makes them cry over the state of the language

The founding fathers of the corruption of the letters exits are many, and dating the beginnings and documenting the contributions is very difficult, especially since the stakeholders are immersed far and preoccupied with other matters, turning away from research and excavation in the origins and roots for the benefit of the present drowned in the exits of letters of what God has sent down with authority.

The child Sultan in the movie “They Made Me a Criminal” is a model for the dominant group in Egyptian society at all times and places. He is the poor child who lived a psychologically tortured childhood and grew up to become a “military reporter” for the family of a high-ranking officer. After several events and being accused of theft, he leaves the house and engages in worlds Criminality includes murder, drugs, prostitution, etc., and becomes a gang leader. Despite this, Sultan, who played the role of the late artist Farid Shawqi, nicknamed “The Monster of the Screen,” did not utter a colloquial expression or turn the letter D, H, or H into an eye or other.

Predominance of the eye

The predominance of the eye, its dominance, and its control over the rest of the letters in street speech is not a new phenomenon or a surprising feature. What is new is that the Egyptians woke up one morning to find that the star of festival songs was “Einstein folk singing,” “Newton weddings,” “Archimedes male circumcision,” and “Nightingale Christmas.” Hassan Shakoush sent an impressive message to his bride, who had not been married for two weeks, saying her inquiring and perhaps disapproving words, “How did you frown when you are not a gardener?”

Millions of Egyptians, and with them millions of Arabs from the east and west of the Arab world, struck five-fifths in Asdas about what was meant, but the message that flooded the “Social Media” platforms and flooded the ether of audio, print and visual media and dominated the street’s discourse and its questions, opened the doors of speculation on its shutters, funny and perhaps crying, and that the doors of Speculation stopped, faltered, and stalled at a stage before analyzing the content, so how do followers and interested people analyze content steeped in ambiguity?

code extraction

After hard effort, terrible thinking, and deep research, the “experts” managed to translate the text of the unencrypted message, which is, “How can I make you happy when you don’t flatter me?” What is meant by simplicity is happiness. This is about decoding the code. As for the experts and specialists who deciphered it, they are from the broad base of fans, followers and lovers of the artist Shakoush, who has a rich record of songs that are considered by not a few Egyptians, especially children, adolescents and youth, as distinguishing signs and influencing signs. The march of art and its message, which is the talk of the street now.

Street talk was forced to search for a hammer, which the rest of the society groups do not know about, who failed, failed, and failed to understand the message, except for “The Girl of the Neighbors,” which has achieved and continues to record records in listening and downloading, not to mention its adoption of a semi-official song in many weddings and birthdays, equal in That is the joys of the five stars and those without stars

Shakoush is the author of songs such as “Bit Enti Kalak Gharam” written by Islam Al-Masry, “Dol is not human” written by Muhammad Nokia and composed by Madou Al-Fadee’, “Ya Bint Al-Qalbi” written by Mostafa Al-Jin and composed by Islam Sasso, “Chocolate Going Inside Cake” and “Bonboni Fallen in “Nutla”, the words of Mustafa Hadouta and other songs that are most listened to on the ether and beyond. He got married a few days ago in a joy some of them described as “legendary”.

The legend of joy, as it became clear later, was not only due to the exorbitant cost of the ceremony, but also to the events, incidents and words that took place in it. Between the bride’s prostration in the dress of joy, thanks and praise be to God for her marriage to the artist, to the artist’s threat to those who did not attend his party despite his invitation to them and his comment on not meeting One of the famous media professionals invited him, then asked him to host a hammer on his program, saying: “You are an idiot? What are you idiots, idiots?”

Lifestyle Hammer

“Lifestyle” The artist Shakush or his lifestyle is not exclusive to him, and the words he uses, the words he writes and the letters he utters can be reduced to a “way of life” that touched a wide base of Egyptians without anyone knowing other than Shakush with his bride, accusing him of failing to “You made it simple” (simplifying it or making it happy) and his denunciation response, “How did I make you frown when you are not a gardener?” It seems like an exciting trend or a bomb of popular interest that explodes from time to time around an ordinary and perhaps trivial issue, then subsides, but the exciting trend and the trivial bomb this time reflects a dilemma and expresses a problem that befell With the exits of letters, for a not small group of Egyptians, it was about to be a dialect.

The book “On Arabic Dialects” by its author Ibrahim Anis defines “dialect” as the linguistic characteristics that belong to a special environment, and the characteristics are shared by the members of this environment. Language that facilitates the communication of the members of this geographical environment with each other.

What is meant by linguistic phenomena is the qualities related to checking the exits of letters and how to pronounce them, and the connection of pronunciation to specific sounds, the measure of soft sounds and their tilt, and how to interact between adjacent sounds when they are affected by each other. From the dialects of neighboring environments, and these features may expand a little to include some vocabulary and structures, but if the area of ​​differentiation widens to the point of difference between them in terms of vocabulary, semantics, forms of verbs, types of plurals, defining tools, and grammatical rules, they will turn into two languages.

A segment of Egyptians thank God very much that Shakoush’s “dialect” has not yet developed and advanced, or has completely become independent with its grammar, vocabulary and semantics to become a stand-alone language, but it has certainly become a “dialect”.

The founding fathers are many

However, the aforementioned dialect did not establish its rules with a hammer or discover its origins in his letter to his wife, who failed in his “absat”. The founding fathers were many, and trying to attribute the origins of the dialect to someone without anyone else is a very difficult process, although the new “dialect” appeared about two decades ago and perhaps more. One of the most profound and influential works of art in society, especially the young and young generations, is the “Lambi” series of films, which are those films that were starred by the Egyptian actor Mohamed Saad. It is usual, but unusual, for an artistic personality to adopt a modern style that is based on “distorting” or changing the spoken letters in a comical way, and it succeeds to the point that it turns into a dialect adopted by groups that are less educated and cultured. And broadcast.

Who is the reason?

And far from those who caused distortion or change of the exits of the letters among the simple social groups economically, socially and educationally, whether it was the art that spread them in the community or the society that prompted the art to display them, the result remains the same, the exits of the letters have changed and a number of profanities, words and phrases known in Egypt are pronounced in a manner different, and became as close as possible to the new dialect.

The new dialect created or established by the character “Al-Lumby” sounded a bell announcing its arrival and stability a few years ago, when followers of “Netflix” were surprised by the “Al-Lumby” films available on its platform, accompanied by copies of the script, the Arabic-speaking script, specifically in the Egyptian dialect, as usual for any movie, and he faced some difficulty. The transcribers, for example, but not limited to, when Al-Limby said to one of them threateningly, “And I will make you three nostrils for you,” meaning, “By God, I will make three nostrils for you.” The scribe wrote, “I swear by God that I will make you three holes in your nostrils.”

Copies of the new “dialect” turned into a source of ridicule among some Egyptians who are amateurs of making jokes and making satirical “comics” based on the harshness and bitterness of situations. Only in a vulgar way or ugly words or abnormal phrases, but rather in a way of pronouncing that mixes letters with each other, and in which the letter “eye” dominates to give speech an extremely coarse, excessively thin and immersed in linguistic inferiority, for reasons related to obliterating the features of the letters more than destroying the rules of behavior, summarizing them. One of them said, “Exaltation and consolidation of the rules of bullying, if not in deed, then in word.”

Bullying is maximized

Enlarging, consolidating and spreading the rules of bullying does not only happen through the publication of specific behaviors, especially through works of art or on the tongues of a class of new artists and their great influence on millions, but these behaviors often come accompanied by a certain way of speaking and pronouncing letters that made it a solid system.

A study entitled “The Impact of Festival Songs and Music on Children and Youth in Egyptian Society,” issued by the Faculty of Musical Education, Helwan University in 2021, indicates that many songs and artworks contain clear references to bullying as a value, whether in behavior or speech, and in festival songs, for example, and are filmed. And the performers carry white weapons and wave them while singing and dancing, and the matter is not limited to actions, but the system is complete with words and expressions and the way they are pronounced, and they are thus, knowingly or without, spreading the values ​​of bullying and the imposition of their opinions and convictions in society by force, even if it is by force of art.

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“Lumby” and “Number One”

“Al-Limbi” and after him “Number One” or the artist Mohamed Ramadan are among the most prominent models that some accuse of promoting the model of the “serious” thug or the attractive thug or the thug who expresses his opinion by shedding blood and beating with hooks and knives, until they have become role models for generations of simple people.

Generations of simple delivery workers, tuk-tuk drivers, construction workers and others, especially in marginal labor markets, consider artists such as Mohamed Saad and Mohamed Ramadan, who calls himself “Number One”, and after them the stars of mahraganat songs, as role models. It was not in talent and art, in behavior, the way of wearing clothes, and uttering words and words.

The expressions and words that Shakoush wrote to his wife, “How did you get angry when you are not a gardener?” shocked many, but it is the shock resulting from documenting the disaster and not the disaster itself. About a year ago, actor Alaa Morsi was subjected to an offensive campaign by some of his fellow artists when he attacked, in a television interview, new artists without naming them. This is because the exits of their words are “waste” or incorrect, in addition to the style of speech, which he described as “closest to unacceptable language prevalent among some of them in the streets.”

Morsi said that he does not like listening to mahraganat songs because he does not understand what their singers say.

Graves words

Some words were graves because they spread corruption, encourage injustice, spread ignorance, or promote misguidance, but there are words in the modern era that become graves because they blur the letters and erase the features of the word to become an incomprehensible monstrosity. The former captain of the musical professions, artist Hani Shaker, has connections and tours with well-known mahraganat singers. In 2021, Shaker said, commenting on one of his battles that he fought in an attempt to “protect art from festivals,” that some of them are asking him to contain these singers after he decided to ban 19 of them. Either because they have “precedents” (committed crimes), forged their educational certificates, evaded military service, or forged their voices to escape performance exams, as the utterances of most of them are completely ambiguous. Becca entered the exam for sounds twice and fell after his fall the first time, and they brought him a teacher to correct the exits of letters for him, and he attended the lesson once, then he did not come, and when we asked him about the reason for not attending the lesson of modifying the exits of letters, he said: I do not understand what the teacher says.

Didn’t understand the lesson

Hamo Beka says that he did not understand what the teacher was saying, but another category of Egyptians does not understand what Hamo Beka, Shakoush and other mahraganat singers and artists say.

A series of tweets circulated in the wake of Shakoush’s question, “How did you abstain?” Some of them reflected the discovery of the dilemma of utterances that have become a dialect that separates Egyptians. She did not receive an ample amount of education, upbringing, or culture that usually enables young children to pronounce words with correct letter exits.

Although this opinion found great agreement, accusations of racism and bullying were leveled at him, but it is noted that most of these accusations are not based on refuting the analysis with another more convincing analysis or interpretation, but rather consider those who link the exits of the “disgraceful” letters to a specific social group as being arrogant or arrogant. Racist or does not feel the problems of the simple, and the reason for the defect in the exits of letters remains absent from the discussion.

The discussion flares up with an old video of Shakoush saying: “We don’t want anything other than tasarih tasarih (singing permits), or even kharnihat (karnihat), we want to eat a living.”

The tweeters’ sarcastic comments are frequent, as some of them described him as a “fallen preparatory school”, and others that he should resort to “kanon” (the law), but other tweets reflect thinking about the dilemma of the new “dialect”, as some of them note that Egyptian programs were filmed in the street during the eighties. And the nineties of the last century and confirm that the exits of words were sound among simple Egyptians, which confirms that a “virus” was planted through neglecting education or letting a quality of art and artists spread like an epidemic, transmitting words like graves.

Expanding the base of the defect

Others expanded the base of the defect, as there were tragic experiences with customer service employees, and a large percentage of them suffer from problems in the exit of words, which makes the telephone conversation consist of sentences that the employee repeats due to the overlapping of the exits of their words that are not understood at all.

The quiet discussion about the exits of letters continues on the impact of the message of the hammer, a discussion that will soon subside, leaving a not few group prey to defective exits that began to be inherited from generation to generation, and are being rooted and transferred from the stage of Mohamed Saad’s comedy in “The Limby” and a model to be followed by the drivers of the “ Tok-tuk and the microbus refer to a way of life and a way of speaking in “Abastak” and “Bustani”, which the founding fathers may be confused about because of the corruption of the exits of letters in deciphering its semantics.