Ways to create a hyperbolic effect in creativity. Mayakovsky

Mayakovsky's work causes a lot of controversy. The once immoderate enthusiasm for his poetry gave way to harsh criticism. There have been proposals to remove Mayakovsky from the ship of modernity, as he once proposed to do with the classics. Nevertheless, the assertion remains undeniable that V. Mayakovsky is a bright, talented poet, without whose work the poetry of the twentieth century would undoubtedly have become impoverished and futurism would not have received such wide popularity.

Mayakovsky's lyrical hero was created on the basis of the poet's life experience, his feelings, experiences, and aspirations. The following words play an important role in understanding Mayakovsky’s lyrical hero:

I want

to be understood by my country, and not

I will understand—

well, by

home country

I'll pass by

How's it going?

slanting rain!

After Mayakovsky’s first speech on the Socialist Trad, he acquired the role of a loudmouth poet, a rebel, a kind of iron hulk, rude and unyielding. However, behind Mayakovsky’s shocking appearance, for several aggressive behavior There was always a sensitive and vulnerable soul hidden.

The leading theme of V. Mayakovsky's pre-revolutionary lyrics is the theme of tragic loneliness. The poet conveys deep suffering from the fact that he is not understood by the world. He complains about heartache, searches and does not find a way out of it. The poem “The Violin and a Little Nervously” speaks eloquently about this: You know what, violin? We are terribly similar: I scream too, but I can’t say anything! The poet experiences a conflict between dream and reality and strives to find harmony. But the world around him is hostile to him. In Mayakovsky's early lyrics, the opposition between the poet and the crowd is clearly visible. It is no coincidence that he talks about the “butterfly of a poet’s heart.” The image of the lyrical hero bears the stamp of a certain tragedy.

Not finding understanding, the poet expresses a sharp rejection of the surrounding reality. His poems “Here!” sound like a slap in the face. and “You!” The poet uses coarse vocabulary and a provocative tone. He makes sharp attacks against those who are far from understanding his poetry. He hates the philistine type of thinking. The poet is embittered and irritated. His rejection of the “masters of life” often turns into outright rudeness and cynicism:

Here you are, a man, you have cabbage somewhere in your mustache, half-eaten cabbage soup; Here you are, woman, you are covered in thick white, you look like an oyster from the shells of things. However, rudeness and cynicism are just a mask under which the poet hides his true face, it is just a way to somehow attract attention to himself. The most important feeling of the lyrical hero of the early Mayakovsky is pain and suffering. He is in despair, his inner world is in constant disharmony. The poet shocks the world around him with intentionally rude attacks, challenges society, its morality and way of life. He expresses pain for those who do not want to notice the beauty of the world and live a limited, gray life.

The feeling of endless, tragic loneliness also extends to poems about love. The poet does not depict mutual, mutual, quiet love. His poems are illuminated by tragic feelings, pain, jealousy, and rejection. The poet contrasts a bright feeling with self-interest, vulgarity, and lack of spirituality.

Thinking about his place in the world, about his need on earth, the poet asks a rhetorical question: “After all, if the stars light up, that means someone needs it?”

He repeatedly repeats in this poem a desperate call: “Listen!” The poet wants to be heard, seeks understanding. For Mayakovsky, the appealing power inherent in his poetry is inseparable from sincerity, from humanity. In the poem “Listen!” the poet calls to rise above the prose of life. Mayakovsky's lyrical hero reaches out to human warmth, participation, and understanding.

V. Mayakovsky “colored” an entire era. He was not understood during his lifetime, and he was hardly appreciated after his death. After Mayakovsky’s funeral, M. Tsvetaeva wrote: “Russia still does not understand who was given to it in the person of Mayakovsky.”

The gap between the poet and reality - most important feature early lyrics of V. Mayakovsky. The poet strives to give himself to people, feels that “I” is not enough for him, he comes forward with new truths, but turns out to be unnecessary, lonely, since the world around him is inhuman, cruel and spiritually poor. Every collision of the poet with reality ends tragically, but this tragedy does not lead to pessimism; on the contrary, it gives rise to the thought of action, struggle, revolution. The poet denounces, curses, protests; he waits, hurries, calls for the revolution, anticipating its arrival, and with it the renewal of life.

In one of Mayakovsky’s early poems, “Could You?” The main theme of his work is outlined - “Me and the World”. The poetic “I” is contrasted with those who never understand the poet, who forever remain captive to the vulgarity of life, who will never see “on a platter of jelly” the “slanting cheekbones of the ocean”, for whom the eastern trumpets will not sing like a flute.

The contrast between poetic sensitivity and aesthetic deafness was manifested with particular force in the final lines of the poem, dynamic, sounding sharp, like a challenge:

Nocturne play

On the drainpipe flute?

This poem will allow us to say that already in his first experiments Mayakovsky acts as a unique and original poet.

In his early lyrics, Mayakovsky also declares himself as the poet of the city. His lyrical hero is depicted as a man lost in a labyrinth modern city. The conflict between him and the environment becomes more and more dramatic, acute and intense. In the poem “Here!” The motive of separation of the lyrical “I” of the poet and the crowd finds its development. The extreme harshness of the vocabulary expresses the poet’s indignation, indignation, conveys his hatred, contempt and spiritually devastated people who do not understand art, who have made it an object of idle curiosity. His harshness is forced, not spiritual rudeness. He wants to shake these people up, awaken them from their slumber with his daring challenge:

And if today I, a rude Hun,

I don’t want to make faces in front of you - and so

I will laugh and spit joyfully,

I'll spit in your face

I am a spender and spendthrift of priceless words.

In many early poems Mayakovsky again returns to the story of the poet’s unsuccessful desire to come to people, tell them about his suffering, and share his grief with them. But every time this turns out to be impossible. The poet remains misunderstood and lonely. More and more new aspects of reality cause the poet’s rejection, and the gap between him and the crowd widens.

Mayakovsky's lyrical hero is a man of great soul, shocked by the contradictions of reality.

In the poem “Could You?” the main place is occupied by the poet’s suffering, the world hostile to him is only just outlined. The crowd, suppressed by the poet’s denunciations, remains humiliatedly silent. And the very demarcation between the poet and those around him is so far determined only by the degree of pictorial vigilance and emotional fullness when looking at everyday things. In the poem “Here!” The most important thing is to expose the philistines, their vulgarity, their dead ossification. The insignificant people are triumphant and laughing; “dirty, in galoshes and without galoshes,” they are ready to perch “on the butterfly of a poet’s heart.” The protest is already taking on a sharp social meaning.

In the poem “The Violin and a Little Nervous,” the poet is perceived by others as an eccentric and a loser; his noble deeds cause laughter. In the complaints of the violin, the poet heard the person, but his impulse was met with the laughter of those around him, perceived by them as ordinary, vulgar.

Poured like that!

Came to the wooden bride!

In all these poems the horror of loneliness clearly sounds.

This motive is also heard in such poems as “Tired”, “Man”, “To my beloved, the author dedicates these lines”, where the curse of loneliness also sounds:

There are no people

You see

The cry of a thousand days of torment?

The soul does not want to go dumb

And tell whom?

He is ready to give everything he owns “for just one kind word, a human one.”

But wherever you look, there are only fat, shapeless creatures around, not people, but “two arshins of faceless pinkish dough.” In anguish the poet exclaims:

Yearning for the caress of lips

A thousand kisses

I'll cover the smart face of the tram.

The poet loves people and strives for them. But he is alone, and this is painful and scary for him. The young poet felt with bitterness how beauty was leaving the world, and its place was smugly filled by “flabby fat”, beautiful people were disappearing, and poetry was becoming unnecessary. Melancholy and torment are heard in the lines of the poem “A few words about myself.”

I'm as lonely as the last eye

A man going to the blind!

There is no reconciliation between the anti-humanity of the surrounding world and the high spirit of Mayakovsky’s lyrical hero.

His desire to make the world a better, more humane place; it is simpler and more natural to meet only indifference and rejection.

But even without people, without the world, the poet cannot:

I'm a prisoner

No ransom for me!

The cursed earth is bound.

I would redeem everyone with my love,

Yes, the houses are surrounded by an ocean of it!

Composition

I am a poet.

This is what makes it interesting.

V. Mayakovsky

In 1912, V. Mayakovsky’s poems “Night” and “Morning” were published in the futurists’ almanac “A Slap in the Face of Public Taste.” This is how a young and original poet declared himself at the beginning of the century - a poet who was destined to become one of the most famous in the world. A poet whose fate will be closely intertwined with the history of the young Soviet state. A poet whose work had a huge influence on the development of Russian poetry. A poet whose posthumous fame is comparable, perhaps, only to the glory of Pushkin. A poet whose poems have been overrated by critics and readers more than once or twice. A poet whose work still causes a wide variety of controversies.

The early period of the poet’s work is represented by many discoveries in the field of versification. Almost immediately abandoning attempts at literary imitation, Mayakovsky literally burst into Russian poetry of the early 20th century - poetry where such luminaries as Blok, Akhmatova, Gumilev, Bryusov rightfully shone. His poems were strikingly different from what was generally considered good poetry, but he quickly came into his own and asserted his creative individuality, the right to be Mayakovsky. His heyday, according to Akhmatova, was stormy: rejecting the classical form, the poet proposed a new, revolutionary art. Much of his early work is associated with such a concept as futurism. But at the same time, poetic means and ideas were much broader than the futuristic understanding. The originality of Mayakovsky's early lyrics is determined primarily by his personality, his brilliant talent, his views and beliefs.

Perhaps the main theme of this period is the theme of the poet’s tragic loneliness:

I'm lonely

Like the last eye

A man going to the blind.

The reason for this is that there are no people around. There is a crowd, a mass, well-fed, chewing, looking “as an oyster from the shell of things.” People have disappeared, and therefore the hero is ready to kiss the “smart face of the tram” - in order to forget those around him:

Unnecessary, like a runny nose,

And sober, like Narzan.

The hero is lonely, he may be alone in this world. This is probably where the egocentric pathos of many of his poems comes from: “The author dedicates these lines to himself to his beloved,” “I,” “Vladimir Mayakovsky.” The poet comes into this world to glorify himself:

I'm coming - beautiful

Twenty-two years old.

He addresses the people of the future:

"Praise me!" —

I bequeath to you an orchard

Your great soul.

In this emphasized egocentrism is the tendency toward social shocking characteristic of Mayakovsky’s poetry. For example, the well-known, scandalous:

I love to watch

How children die.

What is behind this kind of action? The author’s categorical rejection of bourgeois culture, youthful nihilism and, perhaps, the spiritual vulnerability of the poet himself. Behind his role as a hooligan, Mayakovsky hid a subtle soul seeking love, protecting it from those who were ruder, tougher, and more impudent.

Already in the early poems he appears doomed to burn on the fireproof fire of unthinkable love. The premonition of love, its anticipation—that’s what the hero’s Monologues remind us of. His soul is looking for love, and therefore he writes:

Where can I find my beloved?

The same as me?

The poet painfully experiences his loneliness; for him the burden of “unspent springs” is simply “unbearable.”

The beloved woman, having appeared once, forever fills the hero’s existence with meaning. But his happiness is painful and short-lived: separations and betrayals are constant companions of love; however, despite this, the hero finds the strength to say:

Give me at least

To cover with the last ambiguity

Your leaving step.

It is significant that in early poetry Mayakovsky has virtually no landscapes. In his autobiography, the poet explains his attitude towards nature: “After electricity, I completely gave up being interested in nature.” Her place in her work is firmly occupied by the city landscape, cars, and streets. Often these kinds of descriptions are deliberately naturalistic. Mayakovsky shows the whole essence of things, their interiority:

The street has sunk in like the nose of a syphilitic patient.

River - voluptuousness, spread

Throwing away the laundry to the last leaf,

The gardens fell into disrepair in June.

The world around him causes sharp rejection and protest. The poem “Cloud in Pants” can be considered its apotheosis. It consists of four parts, each of which exposes an object of reality. In terms of scale, in terms of the depth of artistic generalization, in terms of the range of poetic means, this poem is, in my opinion, one of best works Mayakovsky.

Mayakovsky's early poetry is devoted to the search for new forms, metaphors, and images. For example, a poem:

I immediately blurred the map of everyday life,

Splashing paint from a glass;

I'm shown on a platter of jelly

The slanting cheekbones of the ocean.

On the scales of a tin fish

I read the calls of new lips.

Nocturne play

Could

On the drainpipe flute?

Mayakovsky doomed himself to difficult fate an experimenter, a person who cannot be understood by everyone. But his poetry occupies and will occupy one of the first places among Russian literature of the 20th century.

Early lyrics Mayakovsky (poems “Port”, “Night”, “Here!” and others) is considered a large-scale phenomenon in the art of the 20th century. Among his works are poems, critical articles, essays, drawings, and satirical works. The greatness of Mayakovsky lies in his creative individuality, with the help of which he comprehended the secrets of poetic mastery and the laws of the stage. He skillfully wielded the pen of an essayist and the brush of a painter. However, Mayakovsky entered the consciousness of people as an original poet of the era. In his works he captured key issues and events of his time.

The spirit of rebellion in Mayakovsky's early lyrics

The author combined many means in his works. The voice of that era sounded powerfully in them. This was the period of preparation and accomplishment of the workers' and peasants' revolution. The epic scope of comparisons and metaphors is visible in the works. The weight and power of rhythm are combined with journalistic passion. The lyrical hero of Mayakovsky's early lyrics addresses a mass audience. The author is often called a "tribune". There are many reasons for such a comparison in his works.

Thus, in the poem “At the Top of His Voice,” which is considered to be largely the final poem, he calls himself a “bawler-leader,” an “agitator.” There is undoubtedly some truth to this. However, it would be wrong to reduce Mayakovsky’s early lyric poems only to propaganda and oratorical appeals to the public. Love confessions, a good-natured smile, and caustic irony are quite clearly visible in the works. There is also sadness, sadness, and philosophical reflections in them. Mayakovsky's early lyrics, in short, are universal. It is diverse in genre, multicolored in intonation.

Mayakovsky: the artistic world of the poet’s early lyrics

Lunacharsky spoke very accurately about the nature of the author’s talent in his time. Having heard the poem “About This,” he noted that he knew it before, and after listening, he was finally convinced that Mayakovsky is a subtle lyricist, despite the fact that he himself does not always understand this. The author combined this quality with his agitator and oratorical abilities. Lyrics are generally seen as artistic expression inner world poet. It reflects his state at one time or another. Real reality, the world of objective things, are revealed in lyrical poems through the experiences of their author. Events and phenomena usually do not receive a direct, direct image in works. They are captured in the reaction, in the feeling they evoke in the author. This is exactly what Mayakovsky’s early lyrics are like.

Poems could be devoted to a variety of phenomena - love or battles between classes, disputes about the purpose of art or travel abroad. The narration of events is inextricably linked with the expression of the author’s feelings and thoughts, the disclosure of his own “I”. Reflections and experiences do not just give a specific emotional coloring to creativity. Art world Mayakovsky's early lyrics are manifested in his depiction of life phenomena, political events. The emotional component is also present in propaganda and production masterpieces. It can be noted without exaggeration that lyricism acts as a unifying and all-pervasive force in the poet’s work; it can be seen even in those works that are not lyrical in structure.

Author's inconsistency

Despite the presence of lyricism in his poems, Mayakovsky often speaks against him in them. This, for example, can be seen in the work “Jubilee,” where he talks about the perception of this trend “with hostility.” A polemically hostile reaction, meanwhile, runs through the author’s entire work. He reacts to love themes in a particularly caustic manner. The author's works reveal dissatisfaction with traditional opportunities for self-discovery. Constant search, the desire to expand the boundaries of creativity are the key ideas that Mayakovsky’s early lyrics proclaim. Composing any work required space for thought.

Emotional component

Everything that happened in life aroused the author's passionate interest. He had a special perception of events. Whatever happened in life, even at a considerable distance from him, he perceived as his own, intimate, deeply personal matter. The author's exceptional emotional reaction to the phenomena could not fit into traditional lyrical forms. She required space for expression. The themes of Mayakovsky's early lyrics are varied. He writes about everyday life, love, politics, history. All this does not appear in his works as a distant background. Each event in one or another area of ​​life is the key object of the work.

Mayakovsky's early lyrics are a completely new direction for the twentieth century. It, unlike its predecessors, widely embraced social and political reality.

Getting started

Quite early on, Mayakovsky became interested in the underground revolutionary activity. Like many other underground fighters, he was caught and imprisoned for 11 months in solitary confinement. The fate of the future poet was decided by Stolypin. It was on his orders that the prisoner was released. While in prison, Mayakovsky read a lot. After his release, he was overcome by a passionate desire to work in art. He wanted to create a socialist direction. As a result, Mayakovsky entered the Moscow School of Architecture, Sculpture and Painting. From that moment on, he cooled somewhat towards the revolutionary struggle. During his studies, he met a group of young poets and artists. They called themselves creators of the art of the future - futurists. All this had a special influence on Mayakovsky’s early lyrics.

Specifics of the works

The peculiarities of Mayakovsky's early lyrics lie in the mass of genre formations, intense rhythm, unexpected comparisons, and spectacular images. For the author, the surrounding reality appears as a living organism that hates, loves, and suffers. The poet humanizes the real world:

“There were sheets of water under my belly.
They were torn into the waves by a white tooth.
There was a howl of a trumpet - as if it was raining
love and lust are copper pipes."

The work amazes with its combination of traditionally incompatible figurative rows. This makes a strong impression. You may or may not like Mayakovsky's early lyrics, but they do not leave anyone indifferent.

Entertainment

In his works, the author creates vivid, memorable images. This is especially clearly seen in poems such as “Port”, “Morning”, “Could You?”. The author boldly combines completely diverse concepts in one row. Thanks to the amazingly accurate reproduction, the use of touches of reality, seen by Mayakovsky from an unexpected perspective, the lines are remembered and etched into memory. The author shows the “hell of the city”, where there is no happiness and joy. The landscape is gloomy and heavy: “a scorched quarter,” “crooked horses,” “the kingdom of bazaars.” “Tired trams” walk along the roads; the sun at sunset seems to the author; the wind appears deplorable and gloomy. The city strangles and fetters the poet, causing him disgust.

Tragedy

Mayakovsky's early lyrics are filled with sadness, suffering, and emotions. This is clearly visible in the work "I". The theme of loneliness appears with varying strength in his different poems: “Tired of it,” “Listen!”, “Sale,” etc. In the work “To My Beloved,” the author addresses those around him, his words are filled with pain and mental anguish:

"And to such
like me
poke where?
Where is the lair prepared for me?"

Love

Even in it, Mayakovsky’s hero does not find salvation. He strives for a comprehensive, enormous feeling - he will not settle for anything less. Having found such love, the hero never ceases to be unhappy and lonely. His feelings become desecrated and belittled under the influence of possessive relationships. Thus, in the poem “A Cloud in Pants,” the beloved rejects the hero, preferring bourgeois well-being. A similar motif can be seen in the poem "Man". In this work, the beloved sold herself to the Lord of Everything, and the Poet got nothing. The author comes to the conclusion that true love has no place in ugly reality.

Motive

The hero of Mayakovsky's lyrics strives to overcome loneliness. He goes to people, reaches out to them, hopes to find support and sympathy from them. For a human, kind word, he is ready to give all his spiritual wealth. But deep disappointment will await him: no one understands him, no one needs him. A faceless crowd surrounds him. The lyrical hero also has rude traits, in some cases he is even cynical. Thus, in the work “A Warm Word to Some Vices,” he “glorifies” the power of money, “mocks” the working people, and “welcomes” cheaters and extortionists. This is how his ostentatious cynicism is expressed, hiding true pain and tragic irony. The author puts on this mask because of the greatest despair, fatigue from restlessness, combat with philistinism, the “hulk” of evil.

Objectivity

Mayakovsky's early lyrics are rich social problems. His works laid the foundation for art designed for the masses. The author's speech is “coarsened” and simplified. The works include material and everyday images. This indicates the lack of connection between the poet and the futurists. The works of the young author implement the principle of thingness, objectivity. Abstract feelings and concepts turn into tangible, visible, real. Reification has a militant humanistic character in creativity. The works reveal something that was missing from the futurists - social content.

Cultural connection

Mayakovsky passionately preached a new art. He even proposed throwing Pushkin and other classics off the “steamboat of modernity.” However, by analyzing the essence of Mayakovsky’s works, one can easily trace the connection with Russian culture, namely with the satire of Nekrasov and Saltykov-Shchedrin. The author followed classical literary traditions. In particular, the connection with the works of Nekrasov, in which illustrations of the capitalist city occupied a key place, is particularly clear. The humanistic pathos of Mayakovsky's creativity makes it similar to Gorky's literature. Thus, the title of the poem “Man” is indicative in this regard. However, the main thing that brings the author closer to the classics is poetry, his lively response to modern phenomena.

Critical pathos

The poet's pre-revolutionary lyrics are closely connected with the poems and act as an introduction to them. The works contain a motive of protest. The theme “people and poet” occupies a central position in the lyrics. The First World War became the most important test for many literary and artistic movements. It revealed their true essence and showed their genuine attitude towards the interests of the nation and the needs of the people. Responding with his poem "War and Peace" to the beginning of the war, Mayakovsky politically acutely assesses its imperialist essence. Critical pathos began to intensify in the author’s work. His voice called for revolution, spoke out against the imperialist carnage. This can be seen in such works as “Me and Napoleon”, “To You!” and others.

The tragedy of human existence

This theme is very vividly described in Mayakovsky’s lyrics. He talks about the existence of man under capitalism and is an ardent opponent of it. The poet in his works exposes the process of dehumanization of feelings and people themselves, which acts as a key property of bourgeois society. The author exposes the falsehood of the Acmeists and illustrates the ostentatious, decorative nature of their optimism. Poems about the “well-fed Sytins”, “quail-chirping” poets, scientific servants, and about the “leper colony” - a capitalist city - were directed against the bourgeois world.

The author says that class society cripples a naturally beautiful and strong person. In his works, he openly expresses hatred of the exploiters and love for the lower classes, enslaved, disadvantaged people crushed by this system. He advocates raising human self-awareness. The capitalist system dooms the people to physical and spiritual extinction. clearly understands and forms the image of a rebellious hero. The conflict with the environment, which initially existed as disunity with the crowd, subsequently begins to acquire an increasingly social orientation.

As socio-political motives intensify in his work, the author moves further and further away from the formalism of the futurists. In this regard, the differences between the pamphlet “You!” and the work "Here!" The first was written a year and a half after the second. The poem "Here!" shows Mayakovsky's mocking attitude towards the crowd. It is characterized exclusively by external signs. Pamphlet "To you!" has a pronounced political overtones. Here the author denounces not the average person as such, but those who seek to profit from the war.

SATIRICAL WORKS BY V.V. MAYAKOVSKY.

Satirical works V. Mayakovsky created at all stages of his creativity. 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, focus, 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 the 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 acts 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 I'm just right.
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 inspector 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 man 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