Satirical works of Mayakovsky. Early poetry

SATIRICAL WORKS BY V.V. MAYAKOVSKY.

V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines “Satyricon” and “New Satyricon”, and in his autobiography “I Myself” under the date “1928”, that is, two years before his death, he wrote: “I am writing the poem “Bad” in a counterbalance to the 1927 poem “Good.” True, the poet never wrote “Bad,” but he paid tribute to satire both in poems and in plays. Its themes, images, orientation, and initial pathos changed. Mayakovsky's satire is dictated primarily by the pathos of anti-bourgeoisism, and it is of a romantic nature.

In the poetry of V. Mayakovsky, a traditional conflict for romantic poetry arises of the creative personality, the author's “I” - rebellion, loneliness (it is not without reason that early V. Mayakovsky’s poems are often compared with Lermontov’s), the desire to tease, irritate the rich and well-fed, in other words, to shock them. For the then poetry of the direction to which the young author belonged - futurism - this was typical. The alien philistine environment was depicted satirically. The poet portrays her as soulless, immersed in the world of base interests, in the world of things:

"Here you are, man, you have cabbage in your mustache
Somewhere, half-eaten, half-eaten cabbage soup;
Here you are, woman, you have thick white on you,
You look like an oyster from the shell of things."

Already in his early satirical poetry, V. Mayakovsky uses the entire arsenal of traditional poetry, satirical literature, which Russian culture is so rich in, artistic means. Thus, he uses irony in the very titles of a number of works, which the poet designated as “hymns”: “Hymn to the Judge,” “Hymn to the Scientist,” “Hymn to the Critic,” “Hymn to the Dinner.” As you know, the anthem is a solemn song. Mayakovsky's hymns are an evil satire. His heroes are judges, sad people who themselves do not know how to enjoy life and bequeath this to others, who strive to regulate everything, to make it colorless and dull. The poet names Peru as the setting for his anthem, but the real address is quite transparent. Particularly vivid satirical pathos is heard in “Hymn to Lunch.” The heroes of the poem are those well-fed ones who acquire the meaning of a symbol of bourgeoisity. A technique appears in the poem, which in literary science is called synecdoche: instead of the whole, a part is called. In "Hymn to Lunch" the stomach acts instead of a person:

"Stomach in a Panama hat! Will you get infected?
the greatness of death for a new era?!
You can’t hurt your stomach with anything except appendicitis and cholera!”

A peculiar turning point in V. Mayakovsky’s satirical work was the ditty he composed in October 1917:

"Eat pineapples, chew hazel grouse,
Your last day is coming, bourgeois."

There is also an early romantic poet here, and V. Mayakovsky, who put his work at the service of the new government. These relationships - the poet and the new government - were far from simple, this is a separate topic, but one thing is certain - the rebel and futurist V. Mayakovsky sincerely believed in the revolution. In his autobiography, he wrote: “To accept or not to accept? For me (and for other Muscovite futurists) there was no such question. My revolution.” The satirical orientation of V. Mayakovsky's poetry is changing. Firstly, the enemies of the revolution become its heroes. This topic is on for many years became important for the poet, she gave abundant food to his creativity. In the first years after the revolution, these were the poems that made up the “windows of ROSTA,” that is, the Rosoi Telegraph Agency, which issued propaganda posters on the topic of the day. V. Mayakovsky took part in their creation both as a poet and as an artist - many poems were accompanied by drawings, or rather, both were created as a single whole in the tradition of folk pictures - popular prints, which also consisted of pictures and captions for them. In “Windows of GROWTH” V. Mayakovsky uses such satirical techniques as grotesque, hyperbole, parody - for example, some inscriptions are created based on famous songs, for example, “Two Grenadiers to France” or “The Flea”, famous from Chaliapin’s performance. Their characters are white generals, irresponsible workers and peasants, bourgeoisie - always wearing a top hat and a fat belly.

Mayakovsky makes maximalist demands for his new life, so many of his poems satirically show its vices. Thus, V. Mayakovsky’s satirical poems “About Rubbish” and “The Satisfied Ones” became very famous. The latter creates a grotesque picture of how new officials sit endlessly, although against the background of what we know about the activities of the then authorities in Russia, this weakness of theirs looks quite harmless. In "The Sat" a grotesque picture emerges. The fact that “half of the people are sitting” is not only the implementation of the metaphor - people are torn in half to get everything done - but also the very price of such meetings. In the poem “About Rubbish”, V. Mayakovsky seems to return to his former anti-philistine pathos. Quite harmless details of everyday life, like a canary or a samovar, take on the sound of ominous symbols of the new philistinism. At the end of the poem, a grotesque picture appears - a traditional literary image of a portrait coming to life, this time a portrait of Marx, who makes a rather strange call to turn the heads of the canaries. This call is understandable only in the context of the entire poem, in which the canaries acquired such a generalized meaning. Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the position of militant revolutionism, but from the position of common sense. One of these poems is “A poem about Myasnitskaya, about a woman and about an all-Russian scale.” Here the revolutionary desire for a global remaking of the world comes into direct conflict with the everyday interests of the ordinary person. Baba, whose “snout was covered in mud” on the impassable Myasnitskaya Street, does not care about global all-Russian proportions. In this poem one can see a echo of the common sense speeches of Professor Preobrazhensky from M. Bulgakov’s story “The Heart of a Dog.” The same common sense permeates the satirical poems of V. Mayakovsky about the passion of the new authorities to give everyone and everything the names of heroes - for example, in the poem “Terrifying Familiarity”, the poet’s invented but quite reliable “Combs of Meyerhold” or “Dog named Polkan” appear. . In 1926, V. Mayakovsky wrote the poem “Strictly Forbidden”:

"The weather is like this
that it’s just right for me.
May is nonsense.
Real summer.
You rejoice at everything: the porter, the ticket inspector.
The pen itself raises the hand,
and the heart boils with the gift of song.
The platform is ready to be painted to heaven
Krasnodar.
There would be
sing to the nightingale-trailer.
The mood is a Chinese teapot!
And suddenly on the wall: - Asking questions to the controller is strictly prohibited! -
And right away
heart for the bit.
Soloviev stones from a branch.
And I want to ask: - Well, how are you?
How's your health? How are the kids? -
I walked, eyes down to the ground,
just chuckled, looking for protection,
And I want to ask a question, but I can’t - the government will be offended!”

In the poem there is a collision of natural human impulse, feeling, mood with officialdom, with the clerical system in which everything is regulated, strictly subject to rules that complicate people's lives. It is no coincidence that the poem begins with a spring picture, which should and does give rise to a joyful mood; the most ordinary phenomena, such as a station platform, evoke poetic inspiration, the gift of song. V. Mayakovsky finds an amazing comparison: “The mood is like a Chinese tea party!” Immediately a feeling of something joyful and festive is born. And all this is negated by strict bureaucracy.

The poet conveys with amazing psychological accuracy the feeling of a person who becomes an object strict ban- he becomes humiliated, no longer laughs, but “giggles, looking for protection.” The poem is written in tonic verse, characteristic of V. Mayakovsky’s work, and, which is typical of the artist’s poetic skill, rhymes “work” in it. Thus, the most cheerful word - "teapot" - rhymes with the verb "forbidden" from the wretched official vocabulary. Here the poet also uses his characteristic technique - neologisms: treleru, nizya - a gerund from the non-existent “lower”. They actively work to reveal artistic meaning. The lyrical hero of this work is not an orator, not a fighter, but, above all, a person with his natural mood, inappropriate where everything is subject to strict regulations. The satirical poems of V. Mayakovsky still sound modern today.

Tags: Satirical works of Mayakovsky Essay Literature

Could you?

I immediately blurred the map of everyday life,
splashing paint from a glass;
I pointed to a saucer of jelly
slanting cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
play nocturne
could
flute drainpipes?

Listen!

Listen!
After all, if the stars light up -

So, does anyone want them to exist?
So, someone calls these spittoons a pearl?

And, straining
in blizzards of midday dust,
rushes to God
I'm afraid I'm late
crying,
kisses His sinewy hand,
asks -
there must be a star! -
swears -
will not endure this starless torment!
And after
walks around anxiously
but calm on the outside.
Says to someone:
“Isn’t it okay for you now?
Aren't you scared?
Yes?!"
Listen!
After all, if the stars
light up -
Does that mean anyone needs this?
This means it is necessary
so that every evening
over the roofs
Did at least one star light up?!

I love
(Excerpt)

Came -
looking at
behind the roar,
for growth,
businesslike
I just saw a boy.
I took it
took my heart
and just
went to play -
like a girl with a ball.
And each -
it’s like seeing a miracle -
where the lady dug in,
where is the girl?
Yes, this one will rush!
Must be a tamer.
Must be from the menagerie!
And I rejoice.
He's not there -
yoke! -
I don’t remember myself from joy,
galloped
jumped like a wedding Indian,
it was so fun
it was easy for me.

Poems about differences in tastes

The horse said, looking at the camel:
"What a giant horse bastard."
The camel cried out: “Are you a horse?!” You
it’s simply an underdeveloped camel.”
And only the greybeard god knew
that these are animals of different breeds.

Farewell

In the car, having exchanged the last franc. -
What time is it in Marseille? -
Paris runs, seeing me off,
in all its impossible glory.
Come to your eyes, separation is slime,
Break my heart with sentimentality!
I would like to live and die in Paris,
if there were no such land - Moscow.

Questions and tasks

1. Read the works of V.V. Mayakovsky, written in the first years of the revolution, prepare one of them or an excerpt for reading. What does the poet draw your attention to?
2. Korney Chukovsky believed that the main nerve of Mayakovsky's early poetry was pain and protest against bourgeois reality. Where do we find confirmation of this?
3. Mayakovsky's early works are especially rich in hyperbole, extended metaphors, and neologisms. Give examples of the use of these artistic means and think about what the poet achieves with their help. Why did Mayakovsky need new rhymes and rhythms?
4. How do you understand Mayakovsky’s own words about the poet’s work: “In order to correctly understand the social order, the poet must be in the center of affairs and events...”?
5. What poems and plays by Mayakovsky that you know are directed against bureaucracy, bribery, and other evils of modern society?
6. Why did Mayakovsky perform so many readings of his poems?
7. What is the meaning of the poems “Listen!”, “Poems about differences in tastes” and “Farewell”?

Enrich your speech

1. How did Mayakovsky's innovation manifest itself? Prepare a detailed answer using the story about the poet and the sections “How V.V. Mayakovsky worked”, “In the creative laboratory of V.V. Mayakovsky”, “The work of the word”, “Word creation”.
2. Name the poet's neologisms from the poems you have read. Incorporate two or three of them into sentences of your own construction.

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V. Mayakovsky is one of the leading futurist poets.

He diverged from the social ideology and aesthetics of futurism. The pathos of artistic innovation, under the sign of which began creative activity Mayakovsky, was determined by the idea of ​​​​creating a new, revolutionary art that would meet the needs of revolutionary reality. The identity of the concepts of revolutionary cause and poetic creativity arose in Mayakovsky’s consciousness very early - back in 1905-1906, when he for the first time in his propaganda revolutionary activities became acquainted with socialist poetry. Mayakovsky wrote in his autobiography about the impression made on him by the revolutionary poems brought from Moscow by his sister: “It was a revolution. It was poetry. Poems and revolution somehow came together in my head.”

Mayakovsky became acquainted with modern symbolist poetry in solitary confinement in Butyrka prison. The poems of the Symbolist poets attracted Mayakovsky’s attention with their new sound, melodiousness, originality of images, heightened metaphorization, but abstraction, the distance of the theme from life, a mystical sense of the world and the attitude towards man as a toy of incomprehensible transcendental forces - all this was alien to him. The aesthetic concept of the Symbolists, in which art did not enter into real relations with reality, was also alien. During the months spent in prison (Mayakovsky said that it was for him " crucial time"), the poet decided that his calling was art. “I want to make socialist art” - this is how he described his moods in his autobiography. Thus, already in the early period of creativity in the minds of Mayakovsky, the concept of new art was associated with the concept of socialist art.

The desire to show new phenomena of life in a way that they were not presented in the art of the past took on a formalistic hue in Mayakovsky’s early works. His poems often bore the stamp of emphasized eccentricity. The essential in the phenomenon remained beyond his attention; the poet looked for the unusual in the phenomenon. This is why the poetic images of Mayakovsky’s early works are so complicated. The poet experiments with both words and rhythmic forms. Mayakovsky's poetic style of that time was characterized by complex rhymes and dissonances. The syllabic-tonic outline dominates in his poems, but in some the forms of a new tonic system (four- and three-stress system) are already taking shape, which will be decisive in the poetry of the mature Mayakovsky.

The poet's work increasingly diverges from the ideological and formal guidelines of futurist art, although in his aesthetic declarations he does not immediately free himself from futurist phraseology. However, the clearly futuristic ideas of Mayakovsky’s aesthetic statements had a subtext that reflected his rejection of the naked formalism of his literary companions. The “self-contained” word, breaking ties with reality, was alien to Mayakovsky. As a co-author of futurist manifestos, he argued that “the word gives birth to an idea,” but, in clear contradiction with this thesis, he declared the need to study “the relationship between art and life,” i.e. asserted the ideological and social function of artistic creativity.

In his own way, Mayakovsky also recognizes the problem of artistic innovation in an original way. In his mind, it is associated with a general “change of view on the relationships of all things,” in the name of which the entire culture of the past is being revised. Denial by Mayakovsky cultural heritage acquired a meaning different from that of Burliuk, Livshits, Kamensky. In the article “Two Chekhovs” (1914), he expresses the conviction that the artistic value of a word lies in the degree of correspondence to the subject, reality, and “the relationships of things.”

Already in the poet’s early poems, the word is ideologically rich, active, expressing the passionate lyrical feeling of a Protestant artist, a fighter, his rejection of the entire system of the old world and his aspiration for the ideals of a socially just future. The selection of words in Mayakovsky's poetry is determined by the theme, the word follows the phenomenon, and not the phenomenon follows the word. In contrast to Khlebnikov’s formalistic verbal constructions, Mayakovsky’s neologisms reveal shades of meaning that help to grasp new phenomena of life. Thus, already in the 1910s the general direction of Mayakovsky’s artistic quest was determined. The poet sought to show the unvarnished truth of life, to name the “rude names of rough things” of the surrounding reality with all its naked contradictions. In this regard, the poet’s struggle with the aesthetics of acmeistic poetry, which accepted the “harmony” of the world, is understandable.

First public speaking Mayakovsky took place in St. Petersburg in November 1912; in December of the same year, the collection “A Slap in the Face of Public Taste” was published in Moscow, in which his poems “Night” and “Morning” were published. During 1912-1913 Mayakovsky published about 30 poems. These were mainly experimental works, reflecting the search for his own poetic style.

Most Russian futurist poets came to poetry from painting. Mayakovsky also tested his strength in painting. In 1908 he studied at the Stroganov School of Art and Industry, and in 1910 - at the School of Painting, Sculpture and Architecture, where he met figures of “new” painting movements. In Mayakovsky’s first poems, published in “A Slap in the Face of Public Taste”, “The Judges’ Garden”, “Dead Moon” and other futurist publications, in the system of poetic images and characteristic urban landscapes, the influence of elements of pictorial cubism is noticeable:

Magician

pulls from the mouth of the tram, hidden by the tower dials.

("From street to street")

The signs screamed with fear.

They spat out either “O” or “S”.

(“In the car”)

In the poem “Night” the night city landscape is depicted in a change of color epithets and metaphors:

The crimson and white were discarded and crumpled, ducats were thrown into the green by the handful,

and burning yellow cards were distributed to the black palms of the crowds who had come together.

These images, based on visual ideas, subjective and pointed, directly go back to the techniques of cubist painting of that time.

Mayakovsky entered literature primarily as a poet of the city. His first works were sketches and descriptions of the city landscape; The main theme is social. For the poet, the city is hell, “hell,” a visual embodiment of striking social contradictions. Mayakovsky's cityscape is humanized by images of the immeasurable suffering of people - “captives” of the city (“Hell of the City”, “From Street to Street”, “Still Me”).

The theme of man and his suffering in the bourgeois world is the main one in Mayakovsky’s pre-revolutionary works. Developing it, he enters into a fundamental dispute with the poetry of modernism as an exponent of the moods, thoughts, and feelings of the democratic strata of society, whose fate becomes his fate.

The theme of art in Mayakovsky’s work acquired a different interpretation than in futurist poetry. The word in Mayakovsky’s poetry expressed the idea of ​​negating the existing world order and was not an abstract “source of an idea.” “This time,” Mayakovsky wrote in his autobiography, “ended with the tragedy of Vladimir Mayakovsky.”

As in the poems “But still”, “Hey!”, in the poems of the “I” cycle, in the tragedy “Vladimir Mayakovsky”, the opposition between the concepts of human and capitalist was outlined, which would become the main ideological and compositional principle of constructing many of the poet’s works before the revolution . In a possessive world, all human concepts and feelings turn out to be perverted, everything is turned into a “thing” that can be sold and bought, but in the tragedy “Vladimir Mayakovsky” this opposition of the human and the possessive is limited to the situation of the tragic confrontation of a lonely poet with a philistine crowd. However, the theme of art, the poet and the crowd is already combined in the tragedy with the theme of the artist’s responsibility to history and man for everything that happens on earth, with the theme of revolution. The poet, the hero of the tragedy, declares a direct connection between his fate and the fate of all people disfigured by grief:

I am a poet, I erased the difference

between the faces of one's own and those of others.

Mayakovsky's idea that art should be a defender of the disadvantaged, and a poet a mouthpiece for their suffering, is embodied in the plot of the tragedy, in its poetic images (a woman with a tear, a woman with a tear, a man without a head, etc.).

The poet takes upon himself the full weight of the sorrowful human burden. The tragedy of the hero is that he does not know the path to the future. The shape of the future in the poet’s imagination has not yet been determined, although he feels that the ghost of a “crooked rebellion” is hanging over the city.

The genre of “Vladimir Mayakovsky” is not a play, but a monologue lyric and philosophical poem. In the hero's monologues, the poet expressed his thoughts about man and the world, personifying them in conventional, fantastic images (grief is personified in the image of a tear, tear, tear, the crippling power of capital - in the image of a man without a leg, without an eye). Mayakovsky’s fantastic images reflected the social tendencies of his work - rejection of the world around him, protest against “material” relations that cripple people.

The tragedy “Vladimir Mayakovsky” was staged in December 1913 at the Luna Park Theater in St. Petersburg. The title role was played by Mayakovsky himself. Democratic circles of the Russian intelligentsia responded favorably to the play, and A. Blok became interested in it. Symbolist criticism reacted negatively to it; the futurists were dissatisfied with the play, noting that Mayakovsky moved away from the poetic principles of the “self-contained word” declared by futurism and subordinated it to the content; in short, they saw the lack of the play primarily in the social sound of the work. From this moment on, Mayakovsky's literary companions, the futurists, became increasingly critical of the increasing socio-political orientation of his work.

During the First World War, Mayakovsky’s rejection of the bourgeois world order, its social and moral institutions, acquired even greater political certainty. At the end of 1914, he wrote feuilletons, journalistic articles about the new tasks of art, had a sharply negative attitude towards the chauvinistic, militaristic motives of bourgeois poetry (“Not butterflies, but Alexander the Great”), demanded that the feelings and thoughts of the democratic masses be reflected in art, and called for “to say about the war" the truth. “To talk about war,” the poet decided then, “you need to see it. I went to sign up as a volunteer. They didn't allow it. There is no trustworthiness" ("Myself").

Mayakovsky’s irreconcilably negative attitude towards war as a national disaster was expressed in his poems “War has been declared”, “Mother and the evening killed by the Germans”. The theme of man, poet, and art now sounds in a new way in Mayakovsky’s poems (“Me and Napoleon,” “To you who are in the rear!”). The ultimate expression of the social and moral ugliness of the bourgeois world appears in the poet’s mind as war-slaughter. The changes taking place in the poet’s social and aesthetic views are evidenced by the angry poetic pamphlet “To you!” (1915). The theme of the relationship between the poet and bourgeois-philistine society is developed in it in the forms of sharply pointed social denunciation: The tragic pathos of the early poems is replaced in the pamphlet by the unheard-of harshness of denunciation. Mayakovsky’s challenge to the bourgeois world became an active anti-war, anti-bourgeois protest, a call to the democratic masses not to give their lives to please those who profit from the people’s grief. These changes in the poet's social and aesthetic views were associated with changes in the social psychology of the democratic masses of the country themselves - with the development of the revolutionary movement in the rear and at the front.

1. Innovation in Mayakovsky’s poetry.
2. The connection between the poet’s lyrics and painting.
3. A challenge to “public taste” and the internal experiences of the lyrical hero.

Already at the first acquaintance with the work of V.V. Mayakovsky, one is struck by the striking dissimilarity of his lyrics with classical examples poetic works. Not only the images - “tin fish”, “flute of drainpipes”, “smart face of a tram” - but the melody of the verse itself is unusual. There is no song-like musicality in Mayakovsky's lyrics. The verses are consonant with a measured, measured step:

Tendons and muscles - more than prayers.
Should we beg for the favors of time!
We -
every -
keep it in our hearts
worlds drive belts!

One of the innovations that Mayakovsky actively used in his poetic work was special shape recordings of poems - a ladder. Such a recording helps to convey on paper some of the features of the sound of his verse. Researchers believe that the connection between the poet’s poetic creativity and painting was also evident here. It is known that Mayakovsky studied in art studios, as well as at the School of Painting, Sculpture and Architecture, from where he was expelled for participating in the scandalous antics of futurist poets.

The connection with painting was also manifested in the characteristic imagery of Mayakovsky’s lyrics. The narrative always appears in the form of a visible sketch, or more precisely, a series of sketches that replace each other, like newsreel footage. By analogy with painting, Mayakovsky’s idea of ​​poetry as a visible, well-made, albeit roughly crafted object was formed:

I immediately blurred the map of everyday life,
splashing paint from a glass;
I showed the jelly on the dish
slanting cheekbones of the ocean.

The theme of Mayakovsky's lyrics, for all its shockingness, includes most of the motifs characteristic of poetry. This is love and loneliness, as well as the tragic contrasts of the world order, which are acutely experienced by the lyrical hero. The poet paid much attention to the topical problems of our time, which were reflected in a satirical form in the poems “Hymn to the Judge” and “Attentive attitude towards bribe-takers.”

In Mayakovsky's early lyrics, a deliberate, hooligan challenge to philistine existence was especially evident, which is typical of futurist poets. Coarse language (the poet does not shy away from indecent words), a pointedly familiar and contemptuous address to the audience - it is not surprising that such poems made a repulsive, shocking impression:

Do you know, many mediocre,
those who think it’s better to get drunk like, -
maybe now the leg bomb
tore Petrov's lieutenant away?..

However, it is easy to notice that behind the external rudeness, behind the hostility towards the “bourgeoisie” there are hidden deep feelings, acute sensation the catastrophic nature of existence. The contrast between a well-fed philistine existence and the internal drama of the lyrical hero, covered with external bravado, is a kind of refraction of the traditions of romanticism. Like the classic romantic hero, Mayakovsky’s lyrical hero is alone in the world around him, mired in everyday life. Like a true romantic, Mayakovsky is looking for a suitable background for his hero, unusual, clean from the filth of everyday troubles:

Listen!
After all, if the stars light up -
So does anyone need this?
So, does anyone want them to exist?
So, someone calls these spittoons a pearl?

The theme of loneliness is refracted in different ways in many of the poet’s poems. For example, the sad melody of the violin in the work “The Violin and a Little Nervously,” which does not find understanding among other instruments in the orchestra, evokes deep sympathy and a lively response in the soul of the lyrical hero:

The orchestra looked strangely
how the violin cried
without words,
without tact...
“You know what, violin?
We are awfully similar:
me too
yell-
but I can’t prove anything!”

Note: musical instruments in this poem they are presented as living beings, each with their own character. And in the poem “Tired” the poet exclaims: “There are no people.” The theme of loneliness in Mayakovsky’s work is closely related to the identification negative aspects urban civilization - the cult of consumption and loss of understanding true values, love and life itself.

It should be noted that in the works of Mayakovsky love experiences The characters are shown quite frankly and naturalistically:

The sonnet poet sings to Tiana,
and I'm all meat,
the whole person -
I just ask your body
as Christians ask
"our daily bread
give it to us today.”

However, the rough sensuality of Mayakovsky’s lyrical hero does not at all exclude serious, deep emotional experiences. “I gladden the way with the blood of my heart,” this line, which speaks of the suffering of unrequited love, echoes the love poetry of the medieval East. For the poet, the name of his beloved is a word “equal in greatness to God.”

Mayakovsky also demonstrates a special attitude towards God. Let us immediately note that the reality of the very existence of God is not questioned. But, like love, God in Mayakovsky’s lyrics has lost its original sublime attributes. “Bursts into God”, “kisses his sinewy hand” - as if we are not talking about God, but about a person who may have a certain power, but not at all about an incomprehensible and perfect Essence. The decline in the image of God is clearly manifested in the poem “Cloud in Pants”:

I thought you were an all-powerful god,
And you are a dropout, tiny god.

These blasphemous words sound the deep spiritual suffering of the lyrical hero, who experiences the lack of reciprocity in love as a global collapse, leading to disappointment in God. The theme of loneliness is repeated again - both the world and the beloved, and even God are far from the aspirations and aspirations of the lyrical hero, indifferent to his torment.