The special significance of the poetry of V.V. Mayakovsky

Composition

Mayakovsky's innovation was manifested primarily in the variety of styles, genres, and writing styles that he used. It is natural, therefore, that the poet’s early work developed in the framework of Russian futurism:

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

Imagery, the use of colors as symbols, the development of metaphors and at the same time the brevity of the presentation of ideas - these are the Qualities Mayakovsky gleaned from the futurists. But in the post-October period his poetry is completely different. Here appears that same clear, hard, measured rhythm that is so familiar to us:

* ...Breast forward, gallant!
* Cover the sky with flags!
* Who is walking right there?
* Left!
* Left!
* Left!

In this passage, every word sounds like a hammer blow, like a death sentence. Here Mayakovsky's mastery is fully demonstrated. Love lyrics the poet remains a mystery to us to this day. On the one hand, he praises love as a torch, as a star, as the sun. He writes about love as an indomitable force, to which “... hurricane, fire, water approach in murmur. Who will be able to cope? Can you? Try..." Love is like fire - that's his understanding. But on the other hand, he considers it unacceptable to “waste” his time on such a “useless” thing. Two people appear before us - a man-duty and a man-poet, who exist in eternal conflict.

Mayakovsky is known not only as a poet, he tries himself in prose and drama. His “Mystery-bouffe” is shown in one of the theaters in Petrograd. For a poet, nothing is permanent - he tries to cover the entire spectrum of literary creativity. “Sickle-hammer,” “eagle,” “naked” are words familiar to us from childhood. Neologisms invented by him live to this day. Work in ROSTA windows played a big role in Mayakovsky’s artistic development. According to him in my own words, he “... cleared the language of poetic husks on topics that do not allow verbosity.” Another facet of Mayakovsky’s talent is also revealed there - the talent of a painter. Entire generations of people know his propaganda posters and the signatures under them:

* Eat pineapples, chew hazel grouse,
* your last day is coming, bourgeois.

Causticity, topicality, brightness, accuracy - all these epithets suit them. The poet's talent for propaganda began to manifest itself in his public speaking. No one could speak at rallies like him. At a meeting of workers in New York, “thousands of sparkling eyes were fixed on the stage. They waited with bated breath for the “hero of modern Soviet poetry.” Mayakovsky led people behind him, even “...stepping on the throat of his own song.” In addition to all this, Mayakovsky also had amazing organizational skills. It was he who, together with David Burliuk, was the “founding father” of Russian futurism. On his shoulders was such a giant of the literary industry as Lef. And at the same time, he found time to organize creative evenings, trips around the country, abroad, and write, write, write...

Mayakovsky is a very extraordinary person, a multifaceted talent. He managed to reflect an entire era in his work - the time of selfless builders of their future, the time of the overthrow of the autocracy, the time of a turning point. You can have different attitudes towards his poetry, but one thing is indisputable: Mayakovsky is a real talent that cannot be drowned out, which lives forever!

*Listen!
* After all, if the stars
* light up -
* means – does anyone need this?
* So ~ it is necessary.
* so that every evening
* over the roofs
* did at least one star light up?!

Mayakovsky's work combines the best traditions of Russian classical literature and the innovation of poetry of the socialist era.

Mayakovsky's opponents tried to present him as a nihilist and accused him of neglecting cultural heritage. Mayakovsky sharply objected to these fabrications. In response to the accusation of “destroying the classics,” he said in 1930: “I have never been involved in this stupid business...”

Mayakovsky's attitude towards the greatest Russian poets of the 19th century testifies to how highly he valued the great classical masters.

When our country celebrated the one hundred and twenty-fifth anniversary of Pushkin’s birth, Mayakovsky wrote the famous poem “Anniversary” (1924) and in it expressed his deep love for the great poet. “I love you, but alive, not a mummy!” Mayakovsky passionately exclaims, protesting against the “textbook gloss” that pseudoscientific pedants brought to the poet.

Mayakovsky highly valued Lermontov. He defended the poet from vulgar critics, ridiculed their attempts to declare him an “individualist, because in his poetry there are “entire choirs of heavenly bodies and not a word about electrification.” In the poem “Tamara and the Demon,” Mayakovsky used images from Lermontov’s poetry.

Inheriting the best traditions of the classics, Mayakovsky at the same time acted as an innovative poet. He found new means for new content artistic expression. Artistic innovation was born of a new era in the development of mankind - the era of the proletarian revolution. In the struggle of the peoples of Russia for the victory of socialism, the personality of the poet was formed. The revolutionary era determined the content and character of his lyrics, the originality of his poetic style, which so organically fused realistic accuracy and concreteness of the image with the scale of the poetic vision of the world.

By bringing poetry closer to politics, Mayakovsky put art at the service of the revolution. A master of political posters and newspaper verse, he unusually widely and originally used the means and techniques of artistic convention in his work. His metaphor not only obeys a specific ideological concept, but also absorbs the most important social associations of the era. Thus, for example, images of a revolution-flood are born, as well as a detailed image of an “army of poems.” The hyperbolism characteristic of Mayakovsky's style becomes a political reflection of the intensity of social clashes characteristic of the revolutionary era and the gigantic scope of the country's socialist transformations. With an unprecedented breadth, Mayakovsky introduces living modern speech and the socio-political phraseology of the era into the poetic language. The basis of his poetry is Speaking. “Most of the tone of things is built on conversational intonation,” Mayakovsky wrote. It is no coincidence that he gave the title to many of his poems: “conversation”, “story”, “message”, etc. Most often in the works of Vladimir Mayakovsky one can hear the oratorical intonations of a poet-tribune, “agitator, leader.”

Mayakovsky constantly fought against the false idea that there is a special “poetic language” with which only poetry can be written. He sharply criticized poets who wrote in conventional poetic jargon.

With the same energy he fought against literary cliches, hackneyed, deadened, meaningless expressions. Mayakovsky made extensive use of all the riches of the Russian language. When it was necessary, the poet did not neglect the old words: archaisms and Slavicisms. Mayakovsky often used neologisms - words created by himself. Their peculiarity is that they were created on the basis of commonly used Russian words and were always clear in their meaning: “Hammer-faced, sickle-faced Soviet passport”, “I love the vastness of our plans”, etc. Both these and other neologisms of Mayakovsky have the goal of most expressively revealing the content of the poem, its meaning.

Very great importance Mayakovsky's works have rhyme. But the poet was not satisfied with the old method of rhyming. He often rhymes words, taking into account not only their endings, but also the preceding sounds, not only the literal coincidence of syllables, but also the consonances of words. Mayakovsky's rhymes are extremely diverse and expressive.

It must be said that in the post-October years, Soviet poetry put forward many names that took their place on a par with the greatest poets of the past. And we can safely say that in the entire history of Russian literature there has never been a period when such an abundance and variety of poetic talents appeared in a relatively short historical period. Plekhanov and Selvinsky, Pasternak and Yesenin, Lugovskoy and Zabolotsky, Bagritsky and Prokofiev, Tvardovsky and Leonid Martynov, Svetlov and Aseev, Marshak and Antokolsky - this is not an exhaustive list of names of Mayakovsky’s contemporaries that we can be proud of. And this is undoubtedly enormous wealth! Each of the named writers is a bright, original poetic figure, each of them can deservedly be called a great poet.

And among these poets we single out Mayakovsky, calling him not only “great”, but also great. This man has won a special place even among the best of our best poets.

In a difficult, turning-point period for Russia, Mayakovsky entered the poetic arena. The first Russian revolution is drowned in blood, the atmosphere is tense to the limit, the whirlwind of world war makes people doubt all their previous values. They look to the future with great hope and long for future changes. These are complex social processes reflected in art, as if in a mirror. Outright denial traditional culture, the shocking nature of bourgeois life, the almost religious cult of technology and modern industry with its superhuman power - all this served as an impetus for the popularity of futurism.

Mayakovsky anticipates the “inevitability of the collapse of old things” and, through art, anticipates the coming “world revolution” and the birth of a “new humanity.” “Rush into tomorrow, forward!” - that's his motto.

And this unfamiliar, unknown turns into the subject of his creativity. He widely uses the technique of contrasts: dead objects come to life in his poetry and become more animated than living ones. Mayakovsky's poetry, with its urban-industrial pathos, contrasts the image of thousands of people modern city with its busy streets, squares, honking cars - pictures of nature, which seems to him something inert and hopelessly dead. The poet is ready to kiss the “smart face of the tram,” he sings of the city lamp, which “takes off the blue stocking from the street,” while his moon is “flabby,” “useless to anyone,” and the girl’s heart is lifeless, as if “boiled in iodine.” " The poet is convinced that a new word can only be said in a new way.

Mayakovsky is a pioneer who masters words and vocabulary, like a brave master working with his material according to his own laws. It has its own structure, its own image, its own rhythm and rhyme. The poet fearlessly breaks the usual poetic form, creates new words, introduces low and vulgar vocabulary into poetry. In relation to the greatest phenomena of history, he adopts a familiar tone, and speaks with disdain about the classics of art:

rolled into a tube

and passed through a meat grinder.

He loves everything contrasting. For him, the beautiful coexists with the ugly, the high with the low:

Prostitutes are like a shrine

they will carry me and show me

God in his justification.

All his poems are deeply personal, he is present in each of them. And this specific presence becomes a starting point, a coordinate system in the unbridled flow of his imagination, where time and space are displaced, where the great seems insignificant, and the innermost, intimate grows to the size of the Universe. He stands with one foot on Mont Blanc, the other on Elbrus, he is on first terms with Napoleon, and his voice (“screaming”) drowns out the thunder.

He is the Lord God, who created his poetic world regardless of whether anyone likes his creation. He doesn't care that his deliberate rudeness might shock anyone. He is convinced that the poet is allowed everything. The lines from the poem “Nate!” sound like a daring challenge and a “slap in the face of public taste”:

And if today I, a rude Hun,

I don’t want to grimace in front of you - so

I will laugh and spit joyfully,

I'll spit in your face

I am a spender and spendthrift of priceless words.

Mayakovsky has a completely new vision of the world; he seems to turn it inside out. The familiar appears strange and bizarre in his poetry, the abstract becomes tangible, the dead becomes alive, and vice versa: “Tears of snow from reddened eyelids”; “The boats in the cradles of the entrances pressed against the nipples of the iron mothers.”

Mayakovsky's poetry speaks not only in the language of images and metaphors, but also widely uses the sound and rhythmic capabilities of the word. A striking example is the poem “Our March,” in which one can literally hear the beat of drums and the measured step of marching columns:

The arba is slow.

Our heart is our drum.

The previous idea of ​​poetry, and poetry itself, was changed by Vladimir Vladimirovich Mayakovsky. He is called the mouthpiece of the ideas and moods of the era, and his poems are “the weapon of the masses.” Mayakovsky brought poetry out of the salons onto the square and forced poetry to march with the demonstrators.

Mayakovsky’s great and controversial poetic heritage includes such masterpieces as “Listen!”, “The author dedicates these lines to himself, his beloved,” “Cloud in pants,” as well as many topical poems. Much in Mayakovsky’s work is complex, and it is not always possible to understand and accept it. But when assessing his work, it should be remembered that poetry is a fact of biography, depending on the surrounding reality. The turbulent time of many cataclysms occurring in the fate of the country, the time of searching for new ways of development of Russia, left its mark on the poet’s work. Mayakovsky, in an attempt to achieve the maximum level of expression that corresponds (no matter whether it is love, art, politics) to the new life content, creates his own, original creative method. The goal that the author has set for himself is to write “just as well, but about something else—with an emphasis on “good,” in this case.” The poet achieved the fulfillment of his plans, since he left behind something new, undoubtedly talented, something that will be remembered for centuries.

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The beginning of the 20th century is the heyday of Russian poetry. During this period, new poetic forms appear, traditional themes begin to sound differently; an unusual poetic language emerges. V.V. Mayakovsky is considered an innovator in the field of versification. His special style, attention to the rhythm of the poem, unconventional rhymes, the use of new words - all this distinguishes the poetry of V.V. Mayakovsky from traditional lyrics. The poet's work has caused and still causes debate.

In Mayakovsky's poetic system, rhymes, truncated lines, and multi-accent verses are especially important. The poet uses his own style of writing a poem, thus V.V. Mayakovsky highlights significant semantic lines with pauses. This is how the oppressive atmosphere of hopelessness is created in the poem “ Good attitude to the horses":

Horse on croup [pause]

It crashed [pause – the reader focuses his attention],

And immediately [pause]

Behind the onlooker is an onlooker [pause],

The pants that Kuznetsky came to flare [pause],

Huddled...

Such an unconventional breakdown of the poem into lines helps the poet draw the reader’s attention to the most important thing; the feeling of hopelessness is conveyed not only lexically, but also syntactically, through a special line breakdown.

V. Mayakovsky paid special attention to the word, therefore in his works we find many author’s neologisms - words invented by the poet himself, they most fully reveal the essence of the poetic intention, convey shades author's speech. In the poem “An unusual adventure that happened to Vladimir Mayakovsky in the summer at the dacha” there are many author’s neologisms: “golden-faced”, “yasya”, “ringing”, “let’s sing”. The poet plays with words and rhymes, therefore, for example, in this poem there are homonyms: “I am driving back the lights for the first time since creation. Did you call me? Drive the tea, drive it, poet, jam!”, synonyms: “sun”, “golden forehead”, “luminary”. Poetic vocabulary of V.V. Mayakovsky is always unusual, and the reader discovers new meanings of traditional words and forms.

The poet in his lyrics uses such a poetic device as sound writing. Thus, the reader not only imagines the picture depicted by the poet (most of Mayakovsky’s poems are plot-driven), but also hears what is happening. In the poem “Being Good to Horses,” the sound of a dying horse’s hooves is expressed as follows:

The hooves beat

It was as if they sang:

- Rob.

What is important here is not the meaning of the words, but the combination of sounds. Sounds new in the poetry of V.V. Mayakovsky traditional themes. For example, in the poem “The Sat,” the theme of bureaucracy is revealed by the poet through mixing fantasy and reality, creating grotesque situations where people

“...at two meetings at once.

Twenty meetings

We need to keep up.

Inevitably you have to break up.

Up to the waist here

But other

The same poem also uses another innovative technique of V. Mayakovsky: mixing lexical styles. Within one work there are words and expressions that are closely related to the realities of the poet’s contemporary world, and on the other hand, there are outdated forms and words. For example, in the neighborhood there are the following words and expressions: Teo, Gukon (abbreviations of the early twentieth century) and the ancient form of the verb to yell - orya; neologism of that time - audience and archaism - from the time it.

Thus, V.V. Mayakovsky was an innovator in the field of versification in the poetry of the early twentieth century. His poetic style attracted the attention of the reader, and his talent put him on a par with the outstanding poets of the early twentieth century.

Mayakovsky's innovation was manifested primarily in the variety of styles, genres, and writing styles that he used. It is natural, therefore, that the poet’s early work developed in the framework of Russian futurism:

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

Imagery, the use of colors as symbols, the development of metaphors and at the same time the brevity of the presentation of ideas - these are the Qualities Mayakovsky gleaned from the futurists. But in the post-October period his poetry is completely different. Here appears that same clear, hard, measured rhythm that is so familiar to us:

* ...Breast forward, gallant!
* Cover the sky with flags!
* Who is walking right there?
* Left!
* Left!
* Left!

In this passage, every word sounds like a hammer blow, like a death sentence. Here Mayakovsky's mastery is fully demonstrated. The poet's love lyrics remain a mystery to us to this day. On the one hand, he praises love as a torch, as a star, as the sun. He writes about love as an indomitable force, to which “... hurricane, fire, water approach in murmur. Who will be able to cope? Can you? Try..." Love is like fire - that's his understanding. But on the other hand, he considers it unacceptable to “waste” his time on such a “useless” thing. Two people appear before us - a man-duty and a man-poet, who exist in eternal conflict.

Mayakovsky is known not only as a poet, he tries himself in prose and drama. His “Mystery-bouffe” is shown in one of the theaters in Petrograd. For a poet, nothing is permanent - he tries to cover the entire spectrum of literary creativity. “Sickle-hammer,” “eagle,” “naked” are words familiar to us from childhood. Neologisms invented by him live to this day. Work in ROSTA windows played a big role in Mayakovsky’s artistic development. In his own words, he “... cleared the language of poetic husk on topics that do not allow verbosity.” Another facet of Mayakovsky’s talent is also revealed there - the talent of a painter. Entire generations of people know his propaganda posters and the signatures under them:

* Eat pineapples, chew hazel grouse,
* your last day is coming, bourgeois.

Causticity, topicality, brightness, accuracy - all these epithets suit them. The poet's talent for propaganda began to manifest itself in his public speeches. No one could speak at rallies like him. At a meeting of workers in New York, “thousands of sparkling eyes were fixed on the stage. They waited with bated breath for the “hero of modern Soviet poetry.” Mayakovsky led people behind him, even “...stepping on the throat of his own song.” In addition to all this, Mayakovsky also had amazing organizational skills. It was he who, together with David Burliuk, was the “founding father” of Russian futurism. On his shoulders was such a giant of the literary industry as Lef. And at the same time, he found time to organize creative evenings, trips around the country, abroad, and write, write, write...

Mayakovsky is a very extraordinary person, a multifaceted talent. He managed to reflect an entire era in his work - the time of selfless builders of their future, the time of the overthrow of the autocracy, the time of a turning point. You can have different attitudes towards his poetry, but one thing is indisputable: Mayakovsky is a real talent that cannot be drowned out, which lives forever!

*Listen!
* After all, if the stars
* light up -
* means – does anyone need this?
* So ~ it is necessary.
* so that every evening
* over the roofs
* did at least one star light up?!