Vladimir Vladimirovich (1893, Baghdadi village, Georgia - 1930, Moscow), Russian poet.
V. V. Mayakovsky
Born in the family of a forester; after the death of his father, the family moved to Moscow. In 1911 he entered the Moscow School of Painting, Sculpture and Architecture. In his poetic tastes, Mayakovsky is close to modernist trends, closest to futurism. In 1912, the poems Night and Morning were published in the Futurist almanac Slap in the Face of Public Taste, which expressed a penchant for radical views on the world and art and unbridled experimentation. The poems Cloud in Trousers, Flute-Spine (both - 1915), War and Peace and Man (both - 1917) became the central works. In them, the poet challenges society, overthrows its false conventions, behind which, like a mask, meanness and calculation are hidden. The poem "A Cloud in Pants" is the poet's manifesto. This is an emotionally rich work, Mayakovsky defined its ideological meaning as four cries “down with”: down with your love, art, system, religion. The lyrical hero overthrows love based on the search for profit and comfort. He opposes the cutesy poetry for aesthetes that floods the poetry salons. The bourgeois system is not historically progressive and will not bring happiness to mankind. In 1916 the poet met M. Gorky. Soon Mayakovsky was called up for military service and appointed as a draftsman at an automobile school. In the same year, the poetry collection "Simple as a lowing" was published.
Illustration for the poem "Bribery". Artist A. M. Kanevsky. 1960s
Mayakovsky enthusiastically accepted the revolution. He saw in it the road to everything new and progressive, to social justice and humanism. The poet decided to devote his poetic talent to the struggle for a new person, a new social morality. After the revolution, two main lines stand out in his work: one consists of works glorifying the builders of communism (the poem "150000000", 1921), in the other, opportunists are debunked, for whom behind revolutionary slogans and appeals there is a desire for power, an attempt to arrange their own career and build themselves a petty-bourgeois nest: "On Rubbish" (1920–21), "The Sitting Ones" (1922), where the poet draws grotesque paintings in the spirit of M. E. Saltykov-Shchedrin. In 1919–21 Mayakovsky works for the Russian Telegraph Agency as a poet and artist. In 1922–29 makes trips abroad: eight times to Western Europe and once to America (Cuba, Mexico, United States). The poems “I Love” (1922), “About This” (1923), “Vladimir Ilyich Lenin”, a collection of poems “Spain. Ocean. Havana. Mexico. America" (1926).
Among the major works of the mature Mayakovsky, the poem “Good!” (1927), which has not only artistic, but also historical value. This is a kind of poetic portrait of the era. Written for the tenth anniversary of the October Revolution, the work tells about the pre-revolutionary era, about the revolution itself, about the difficulties and victories of the Soviet state. The poem is distinguished by optimistic pathos - the glorification of the builder of a new society. Mayakovsky's sympathies are on the side of the Bolsheviks, but the poem reflects not only bravura slogans and appeals, but also the global difficulties experienced by the young republic, which faced the process of redistribution of property, primarily a bloody civil war. This lyrical poem with a clearly defined plot can be called a chronicle poem.
At various times, Mayakovsky was a member of literary groups LEF and RAPP, which testifies to the poet's careful and painful search for his creative "I", his own style, about the change in his requests and aesthetic views. The author's views on the tasks of poetic creativity, on the place of the poet in society are vividly reflected in the introduction to the unfinished poem "Out loud" (1930), which can be called a poetic testament. In it, Mayakovsky criticizes petty topics and sentimental one-day verses.
Mayakovsky's contribution to the development of Russian literature is not limited to poetry. His comedies Bedbug (1928) and Bathhouse (1929) were the pinnacles of Russian drama in the 1920s. The enchanting comedy "The Bedbug" contains a devastating critique of philistinism. The pretentious, unusual for the Russian language names of Pierre Skripkin, Elsevira Davidovna and Rozalia Pavlovna emphasize their inappropriateness in the new society. The central positive image in the play is the image of a simple hardworking girl Zoya Beryozkina, contrasted with the characters listed above. To emphasize the failure of Pierre Skripkin, Mayakovsky uses a fantastic plot: the hero finds himself in the future, where his essence is exposed, and he turns into a vile bug. The poet uses a similar technique with moving into the future in the play “Bath”, showing that society does not need duplicitous bureaucrats and opportunists. The philosophical views of the poet were utopian, as was the construction of an ideal social order. The past and the present were evaluated by Mayakovsky from the perspective of the future. Everything progressive from this point of view was welcomed, and the rest was ruthlessly rejected.
Mayakovsky entered the history of Russian literature of the 20th century. like an experimenter. He introduced samples of tonic (accent) verse into Russian lyrics, thereby giving rise to a powerful poetic tradition. One of the followers of Mayakovsky was N. N. Aseev. Mayakovsky's work had a huge impact on the poets of the sixties, who inherited the journalistic intensity, the commitment to reflecting socially significant issues in poetry, as well as many of Mayakovsky's poetic techniques.
Vladimirovich M. (July 7, 1893 - April 14, 1930) - Russian. and Soviet futurist poet, playwright, editor of the magazines LEF (Left Front), Novy LEF and REF.
Biography (starting from the 20s). In 1922 organized the MAF publishing house (Moscow Association of Futurists), in the cat. came out several his books. In 23, he organized the LEF group (Left Front of Arts), the thick magazine LEF (in 23-25, 7 issues were published). Pasternak, Brik, Shklovsky and others were actively published. He propagandized Lef's theories of production art, social order, factual literature. At this time, the poems "About This" (1923), "Vladimir Ilyich Lenin" (1924) were published. Years Gr. War M. considers the best time in life, in the poem "Good!" prosperous 1927. nostalgic chapters. In 1927 he restored the LEF magazine under the name "New LEF". 24 issues have been released. In the summer of 28, M. became disillusioned with the LEF and left the organization and the magazine. In the same year, he began writing his personal biography, "I myself."
The satirical plays The Bedbug (1928) and The Bathhouse (1929) were staged by Meyerhold. The poet's satire, especially "Bath", caused persecution from Rapp's criticism. In 1929, the poet organized the REF group, but already in February 1930 he left it, joining the RAPP. In his works, M. was uncompromising, and therefore uncomfortable. Tragic motifs began to appear in the works of the late 1920s. Critics called him only a “fellow traveler”, and not a “proletarian writer”, as he wanted to see himself. In 1929, he tried to hold an exhibition dedicated to the 20th anniversary of his TV, but he was interfered in every possible way. The poet's personal life also deteriorated. It was these reasons that could lead to the fact that on April 14, 1930 at 10:15 am, Mayakovsky committed suicide by shooting himself in the heart with a revolver.
TV. M.'s TV was expressive and metaphorical. M. did not recognize poetic meters, he invented a rhythm for his poems; compositions are united by style and a single intonation, the cat is given a graphic. the presentation of the verse: first, by dividing the verse into several lines written in a column, and since 1923 the famous "ladder", the cat became M.'s "calling card". commas were sometimes not enough. After 1917, M. worked in a lively and energetic rhythm of victorious socialism (the play "V.I. Lenin" 1924, "Good!" 1927). However, subsequently, in the works of M., disturbing and restless thoughts began to appear, and fear for the Council was felt. Republic, the author exposes the vices of the new. society, the shortcomings of the new. building (for example, in the play "Bath" in 1929). In the mid-1920s, he began to become disillusioned with the social system, although he continued to create poems imbued with official vigor, including those dedicated to collectivization, until his last days. Another feature of the poet is the combination of pathos and lyricism with the most poisonous Shchedrin satire. There is an opinion that in the panegyric poem "Good" M. mocks the ceremonial officialdom. In the poetry of M. of the 20s, a lyricist appeared. hero is new. type: he does not separate his intimate world from the big world of social storms, he does not think the intimate outside the social - "I love" (1922), "About this" (1923), "Letter to Tatyana Yakovleva" (1928) and other.
In a poem "Vladimir Ilyich Lenin"(1924) the activity of the leader of the proletarian revolution is artistically recreated against a broad historical background. M. realized the great importance of the personality of Lenin - "the most humane person", "the organizer of the victory" of the proletariat. The poem was a hymn to the "attacking class" - the proletariat and its party. The poem "Good!"(1927) Lunacharsky called the "October Revolution cast in bronze"; M. sang here the "spring of mankind" - his socialist fatherland. Along with Gorky, M. becomes the founder of socialist realism in Soviet literature.
The lyricism of M. is comprehensive - it expressed the unprecedented spiritual growth of the people of the new society. M. - lyricist, tribune, satirist - a poet of a huge, "solid heart." Faith in the triumph of communist ideals is combined in his poems with intransigence towards everything that prevents "rushing into tomorrow, forward." In poems of the late 20s, in plays "Bug"(1928, delivered in 1929) and "Bath"(1929, staged in 1930) a whole gallery of types appeared, dangerous with their social mimicry and empty demagogy. M.'s satirical plays, innovative both in content and form, played an important role in the development of Soviet drama.
Klop (Fantastic comedy, 1929) -
Prisypkin Ivan (Pierre Skripkin) - Ch. comedy hero; in the list of actors is listed as "a former worker, a former party member, now a fiancé." The character illustrates the thesis about the corrupting influence of petty-bourgeois ideology and petty-bourgeois way of life on the irresponsible and ideologically unstable part of the proletariat. The action of the first half of the play takes place in Tambov. P., cat. during the years of war communism he was an activist and a member of the party, during the NEP period he felt the need for rest “by a quiet river”. He intends to marry the NEPman's daughter Elsevira Renaissance, the surname is a cat. contains a clear political allegory (“revival” of the bourgeois way of life); at the same time, P. rejects her former lover, the “worker” Zoya Berezkina, not only acting dishonestly, but also committing class betrayal. Zoya attempts suicide, but remains alive. Before the wedding, P. (the cat replaced his last name with the “graceful” name “Pierre Skripkin”) takes a lesson in “good manners” from his new friend and mentor Oleg Bayan (“nugget, from homeowners”). During the "red" wedding of P. and Elsevira, drunken guests begin to fight. A fire breaks out; too late, the firefighters called in try to put out the flames, but the house collapses and everyone dies, except for P., the cat turns out to be frozen in ice in the basement, and so on. remains for several decades as if in a layer of "permafrost".
The action of the second half of the comedy takes place 15 years later, in 1979. - in a utopian communist society. The builders accidentally discover a block of ice with the body of P. He is taken to the Institute of Human Resurrection, and after an all-Union radio vote, a decision is made: "Resurrect." Zoya Berezkina, who survived half a century, is also present at the experiment. The resurrected P. understands that he has fallen into another world alien to him; the only "blood" native creature is the bug, who survived and was resurrected with him. Naturally, the hero himself is identified with the bug. As the greatest scientific value, the bug is carefully placed in the zoo. However, it needs a "donor" to feed it; having learned about this, the yearning P. himself goes to the zoo and settles in a cage. The director of the zoo explains to visitors: “There are two of them - different sizes, but the same in essence: these are the famous “clopus normalis” and ... and “philistine vulgaris”. Both are found in the musty mattresses of time. "Clopus normalis", having grown fat and drunk on the body of one person, falls under the bed. "Civilian vulgaris", having grown fat and drunk on the body of the whole human being, falls on the bed. All the difference! Seeing the sightseers, P. addresses them with a pathetic monologue, cat. in fact addressed to the audience: “Citizens! Brothers! Their! Native! Where? How many of you? When were you all thawed out? Why am I alone in a cage? Relatives, brothers, pity me! Why am I suffering?!”
Creativity of Vladimir Vladimirovich Mayakovsky
MAYAKOVSKY Vladimir Vladimirovich (born July 7 (19), 1893, the village of Baghdadi, Kutaisi province - died tragically on April 14, 1930, Moscow), Russian poet, one of the brightest representatives of avant-garde art of the 1910s - 1920s. In pre-revolutionary creativity, the confession of a poet forced to a cry, perceiving reality as an apocalypse (the tragedy "Vladimir Mayakovsky", 1914; the poems "A Cloud in Pants", 1915; "Flute-Spine", 1916; "Man" 1916-1917).
After 1917 - the creation of a socialist myth about the world order (the play "Mystery Buff", 1918; the poems "150000000", 1921; "Vladimir Ilyich Lenin", 1924, "Good!", 1927) and the tragically growing sense of its viciousness poems "Seated", 1922, to the play "Bath", 1929).
Family. Studies. revolutionary activity
Born into a noble family. Mayakovsky's father served as a forester in the Caucasus. After his death (1906), the family lived in Moscow. Mayakovsky studied at the classical gymnasium in Kutaisi (1901-1906), then at the 5th Moscow gymnasium (1906-1908), from where he was expelled for non-payment. Further education - art: he studied at the preparatory class of the Stroganov School (1908), in the studios of artists S. Yu. Zhukovsky and P. I. Kelin, in the figure class of the School of Painting, Sculpture and Architecture (1911-1914, expelled for participating in scandalous speeches of the futurists).
Back in 1905, in Kutaisi, Mayakovsky took part in gymnasium and student demonstrations, in 1908, having joined the RSDLP, he conducted propaganda among Moscow workers. He was arrested several times, in 1909 he spent 11 months in the Butyrka prison.
He called the time of imprisonment the beginning of his poetic activity; written poems were taken away from him before his release.
Mayakovsky and futurism
In 1911, Mayakovsky struck up a friendship with the artist and poet D. D. Burliuk, who in 1912 organized the literary and artistic group of futurists "Gileya" (see Futurism). Since 1912, Mayakovsky has been constantly taking part in debates about new art, exhibitions and evenings held by the radical associations of avant-garde artists "Jack of Diamonds" and "Union of Youth".
Mayakovsky's poetry has always maintained a connection with the visual arts, primarily in the very form of writing poetry (in a column, later a "ladder"), which assumed an additional, purely visual, impression made by a poetic page.
Mayakovsky's poems were first published in 1912 in the almanac of the Gilea group, A Slap in the Face of Public Taste, which also included a manifesto signed by Mayakovsky, V.V. Khlebnikov, A.E. traditions of Russian classics, the need to create a new language of literature, corresponding to the era.
The embodiment of the ideas of Mayakovsky and his like-minded futurists about the purpose and forms of the new art was the staging of his poetic tragedy Vladimir Mayakovsky (published in 1914) at the Luna Park Theater in St. Petersburg in 1913. The scenery for it was made by the artists from the "Union of Youth" P. N. Filonov and I. S. Shkolnik, and the author himself acted as a director and performer of the main role - a poet suffering in a disgusting modern city that disfigured, corrupted its inhabitants, who, although they elect the poet by their prince, but they do not know how to recognize and appreciate the sacrifice he makes.
"The Creator in a burning hymn." Poetry of the 1910s
In 1913, Mayakovsky published a book of four poems called "I", his poems appear on the pages of futurist almanacs (1913-1915 "Mare's Milk", "Dead Moon", "Roaring Parnassus", begin to be printed in periodicals, poems are published Cloud in Trousers (1915), Spinal Flute (1916), War and Peace (1917), Simple as a Low (1916).
Mayakovsky's poetry is filled with rebellion against the entire world order - the social contrasts of modern urban civilization, traditional views on beauty and poetry, ideas about the universe, paradise and God. Mayakovsky uses a militantly broken, rude, stylistically reduced language, contrastingly shading traditional poetic images - “put love on the violins”, “nocturne ... on the drainpipe flute”. The lyrical hero, shocking the layman with harshness, brittle language and blasphemy (“God was caught in the sky with a lasso”), remains a romantic, lonely, tender, suffering, feeling the value of “the smallest speck of the living.”
Mayakovsky's poems of the 1910s were aimed at oral reproduction - from the stage, at evening parties, debates (the collection "For the Voice", 1923; in magazines, newspapers and book publications, poems often appeared in a form distorted by censorship). For listening perception, their short chopped lines, “torn” syntax, “colloquialism” and deliberately familiar (“familiar”) intonation were the best suited: “... Do you, who love women and dishes, give your life to please?”.
In combination with high growth (“hefty, with a sazhen step”) and Mayakovsky’s stentorian voice, all this created a unique individual image of a poet-fighter, a public rally speaker, a defender of the “languageless street” in the “hell of the city”, whose words cannot be beautiful, they are "convulsions stuck together in a lump."
"Love is the heart of everything"
Already in the early rebellious poems and poems of Mayakovsky, a love lyrical theme occupies a significant place: "My love, like an apostle in time, I will smash the roads a thousand thousand." Love "extorts the soul" of a suffering, lonely poet.
In 1915 Mayakovsky met Lilya Brik, who took center stage in his life. From their relationship, the futurist poet and his beloved sought to build a model of a new family, free from jealousy, prejudice, the traditional principles of relations between a woman and a man in a "bourgeois" society. Many of the poet's works are associated with the name Brik; intimate intonation colors Mayakovsky's letters addressed to her. Declaring in the 1920s that “now is not the time for love dances,” the poet nevertheless remains faithful to the theme of love (lyric poems, the poem “About This”, 1923), which reaches a tragically hysterical sound in the last lines of Mayakovsky - in the unfinished introduction to the poem "Out loud" (1930).
"I want to be understood by my country"
The revolution was accepted by Mayakovsky as the implementation of retribution for all those offended in the former world, as the path to earthly paradise.
Mayakovsky claims the position of the Futurists in art as a direct analogy of the theory and practice of the Bolsheviks and the proletariat in history and politics. Mayakovsky organizes in 1918 the Komfut group (communist futurism), actively participates in the newspaper
"The Art of the Commune", in 1923 creates the "Left Front of the Arts" (LEF), which included his like-minded writers and artists, publishes the magazines "LEF" (1923-1925) and "New LEF" (1927-1928). In an effort to use all artistic means to support the new state, promote new values, Mayakovsky writes topical satire, poems and ditties for propaganda posters (“ROSTA Windows”, 1918-1921).
The rudeness, clarity, straightforwardness of his poetic style, the ability to turn the design elements of a book and magazine page into effective expressive means of poetry - all this ensured the success of the "sonorous power of the poet", wholly devoted to the service of the interests of the "attacking class". Mayakovsky's position of those years was embodied in his poems "150,000,000" (1921), "Vladimir Ilyich Lenin" (1924), "Good!" (1927).
"ROSTA Windows"
By the end of the 1920s, Mayakovsky had a growing sense of the inconsistency of political and social reality with the lofty ideals of the revolution that inspired him from adolescence, according to which he built his whole life - from clothes and gait to love and creativity. The comedies The Bedbug (1928) and The Bathhouse (1929) are a satire (with elements of dystopia) on a bourgeois society that has forgotten about the revolutionary values for which it was created.
The internal conflict with the surrounding reality of the advancing "bronze" Soviet age undoubtedly turned out to be among the most important incentives that pushed the poet to the last rebellion against the laws of the world order - suicide.
In preparing this work, materials from the site http://www.studentu.ru were used.
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Vladimir Vladimirovich Mayakovsky is a truly outstanding personality. A talented poet, playwright, screenwriter and actor. One of the brightest and most odious figures of his time.
He was born on July 19, 1893 in the Georgian village of Baghdati. The family had five children: two daughters and three sons, but of all the boys, only Vladimir survived. The boy studied at a local gymnasium, and then at a school in Moscow, where he moved with his mother and sister. By that time, his father was no longer there: he died of blood poisoning.
During the revolution, hard times came for the family, there was not enough money, and there was nothing to pay for Volodya's education. He did not finish his studies, and later joined the Social Democratic Party. For political beliefs and participation in riots, Mayakovsky was arrested more than once. It was in prison that the first lines of the great poet were born.
In 1911, the young man decided to continue his studies at the school of painting, however, his teachers did not appreciate his work: they were too peculiar. During his studies, Mayakovsky became close to the Futurists, whose work turned out to be close to him, and in 1912 he published the first poem "Night".
In 1915, one of the most famous poems "A Cloud in Trousers" was written, which he first read at a reception at Lily Brik's house. This woman became his main love and his curse. All his life he loved and hated her, they broke up and rekindled countless times. The poem dedicated to her, Lilichka, is one of the most powerful and touching declarations of love in modern literature. In addition to Lilia, there were many other women in the life of the poet, but not one of them was able to touch those strings of the soul with which Lilichka played so skillfully.
In general, Mayakovsky's love lyrics did not attract; his main attention was occupied by politics and satire on topical topics. The poem "Seated" is perhaps one of the most striking demonstrations of Mayakovsky's satirical talent. What is important, the plot of the poem is relevant to this day. In addition, he writes many scripts for films and starred in them himself. The most famous film that has survived to this day is The Young Lady and the Hooligan.
The theme of revolution occupies a huge place in the creative heritage of the poet. The poet enthusiastically perceived what was happening, although at that time he had a very difficult time financially. At this time, he wrote "Mystery-buff". Almost until his death, Mayakovsky glorifies Soviet power, and for its 10th anniversary, he writes the poem "Good."
(Painting by Vladimir Mayakovsky "Roulette")
With his works glorifying the revolution and Comrade Lenin, Mayakovsky toured Europe and America a lot. He draws satirical and propaganda posters, works in several publishing houses, including ROSTA Windows of Satire. In 1923, together with several associates, he created the LEF creative studio. One after another, in 1928 and 1929, two famous plays by the author, Bedbug and Bathhouse, were published.
Mayakovsky's calling card was the unusual style he invented and the poetic meter in the form of a ladder, as well as many neologisms. He is also credited with the glory of the first advertiser of the USSR, because he stood at the origins of this direction, created masterpiece posters calling for the purchase of a particular product. Each drawing was accompanied by uncomplicated, but sonorous verses.
(G. Egoshin "V. Mayakovsky")
A large place in the poet's lyrics is occupied by children's poems. Big Uncle Mayakovsky, as he called himself, writes amazingly touching lines for the younger generation and personally speaks with them to young listeners. The poem “Whom to be” or “What is good and what is bad” was known by heart to every Soviet, and after that, Russian schoolchild. Many critics noted the amazing artistic style of the author and his ability to simply and clearly express far from childish thoughts in a language accessible to kids.
However, like many poets of the 20th century, Mayakovsky did not hide the fact that he was disappointed in the chosen direction. Towards the end of his life, he moved away from the circle of futurists. The new government headed by Stalin did not at all inspire his creative potential, and more and more severe censorship and criticism fell upon him over and over again. His exhibition "20 Years of Work" was ignored by politicians and even friends and colleagues. This markedly crippled Mayakovsky, and the subsequent failure of his plays only exacerbated the situation. Failures on the love front, in creative activity, refusal to travel abroad - all this affected the emotional state of the writer.
On April 14, 1930, the poet shot himself in his room, contrary to the lines he once wrote: “And I won’t go out into the flight, and I won’t drink poison, and I won’t be able to pull the trigger over my temple ...”
The writing
The work of Mayakovsky to this day remains an outstanding artistic achievement of Russian poetry at the beginning. XX century His works are not devoid of ideological distortions and propaganda rhetoric, but they cannot cross out the objective significance and scale of Mayakovsky's artistic talent, the reformist essence of his poetic experiments, which for his contemporaries, and for the poet's descendants, were associated with a revolution in art.
Mayakovsky was born in Georgia, where he spent his childhood. After the death of his father in 1906, the family moved to Moscow, where Mayakovsky entered the 4th grade of the Fifth Moscow Gymnasium. In 1908 he was expelled from there, and a month later Mayakovsky was arrested by the police in the underground printing house of the Moscow Committee of the RSDLP. Over the next year, he was arrested twice more. In 1910-1911, Mayakovsky studied in the studio of the artist P. Kelin, and then studied at the School of Painting, met the artist and poet D. Burliuk, under whose influence Mayakovsky's avant-garde aesthetic tastes were formed.
Mayakovsky wrote his first poems in 1909 in prison, to which he got through connections with underground revolutionary organizations. The poems of the debutant poet were written in a rather traditional manner, which imitated the poetry of the Russian Symbolists, and M. himself immediately abandoned them. A real poetic baptism for M. was his acquaintance in 1911 with futurist poets. In 1912, Mr.. M., together with other futurists, issued the almanac "Slap in the Face of Public Taste" ("Slap in the Face of Public Taste"), signed by D. Burliuk, O. Kruchenykh and V. Mayakovsky. With Mayakovsky’s poems “Night” (“Night”) and “Morning” (“Morning”), in which, in a shockingly daring manner, he proclaimed a break with the traditions of Russian classics, called for the creation of a new language and literature, one that would correspond to the spirit of modern " machines" of civilization and the tasks of the revolutionary transformation of the world. The practical embodiment of the futuristic theses declared by Mayakovsky in the almanac was the constant staging of his poetic tragedy Vladimir M. at the Luna Park Theater in St. Petersburg in 1913. ("Vladimir M."). Personally, the author acted as a director and performer of the main role - a poet who suffers in a modern city he hates, who cripple the souls of people who, although they elect the poet as their prince, are not able to appreciate the sacrifice he made. In 1913, Mayakovsky, together with other futurists, made a big tour of the cities of the USSR: Simferopol, Sevastopol, Kerch, Odessa, Kishinev, Nikolaev, Kyiv, Minsk, Kazan, Penza, Rostov, Saratov, Tiflis, Baku. The futurists did not limit themselves to the artistic interpretation of the program of the new art and tried to introduce their slogans into life practically, in particular, even clothing and behavior. Their poetry performances, visits to coffee shops, or even an ordinary walk around the city were often accompanied by scandals, brawls, and police intervention.
Under the sign of passion for the futuristic slogans of the restructuring of the world and art is all the work of M. of the pre-revolutionary period, it is characterized by the pathos of the objection of bourgeois reality, which, according to the poet, morally cripples a person, awareness of the tragedy of human existence in the world of profit, calls for a revolutionary renewal of the world: poems " Inferno of the City” (“Hell of the City”, 1913), “Nate!” (“Nate!”, 1913), collection “I” (1913), poems “Cloud in Pants” (“Cloud in Pants”, 1915), “Flute-Spine” (“Flute-Spine”, 1915), “War and Peace” (“War and Peace”, 1916), “Man” (“Man”, 1916) and others. The poet sharply objected to the First World War, which he characterized as a senseless massacre: the article “Civilian Shrapnel” 1914), the verse "War is declared" ("War is declared", 1914), ("Mother and the evening killed by the Germans", 1914), etc. With sarcastic irony, the poet refers to the hypocritical world of bureaucrats, careerists who discredit honest work, a clear conscience and high art: (“Hymn to the judge”, 1915), “Hymn to the scientist”, (“Hymn to the scientist”, 1915), “Hymn to the swag” (“Hymn to the bribe”, 1915), etc.
The pinnacle of Mayakovsky's pre-revolutionary creativity is the poem "A Cloud in Pants", which became a kind of programmatic work of the poet, in which he most clearly and expressively outlined his worldview and aesthetic attitudes. In the poem, which the poet himself called "the catechism of modern art", four slogans are proclaimed and figuratively concretized: "Away with your love", "Away with your order", "Away with your art", "Away with your religion" - "four cries of four parts." The image of a person who suffers from the incompleteness and hypocrisy of being that surrounds him, who protests and strives for real human happiness, runs through the whole poem as a leitmotif. The initial title of the poem - "The Thirteenth Apostle" - was crossed out by censorship, but it is it that more deeply and accurately conveys the main pathos of this work and all of Mayakovsky's early work. The apostle is the teachings of Christ, called to introduce his teachings into life, but in M. this image is quickly approaching the one that later appears in O. Blok's famous poem "The Twelve". Twelve is the traditional number of the closest disciples of Christ and the appearance in this series of the thirteenth, "extra" apostle beyond the biblical canons, is perceived as a challenge to the traditional universe, as an alternative model of a new worldview. The thirteenth apostle of Mayakovsky is both a symbol of the revolutionary renewal of life that the poet aspired to, and at the same time a metaphor that can convey the true scale of the poetic phenomenon of the speaker of the new world - Mayakovsky.
The then poetry of Mayakovsky gives rise not just to individual troubles and shortcomings of modern society, it gives rise to the very possibility of its existence, the fundamental, fundamental principles of its being, acquires the scale of a cosmic rebellion in which the poet feels himself equal to God. Therefore, in their desires, the anti-traditional nature of Mayakovsky's lyrical hero was emphasized. It reached maximum outrageousness, so that, it would seem, they gave “slaps to public taste”, demanded that the hairdresser “comb his ear” (“I didn’t understand anything ...”), squats down and barks like a dog (“That’s how I became a dog ... ") and declares defiantly:" I love to watch children die ... "(" I "), throws at the audience during the performance:" I will laugh and spit joyfully, spit in your face .. ." ("Nate!"). Together with the high growth and loud voice of Mayakovsky, all this created a unique image of a poet-fighter, an apostle-harbinger of a new world. “The poetics of the early Mayakovsky,” writes O. Myasnikov, “is the poetics of the grandiose.
In his poetry of those years, everything is extremely tense. His lyrical hero feels himself capable and obliged to solve not only the tasks and reorganization of his own soul, but also of all mankind, a task not only earthly, but also cosmic. Hyperbolization and complex metaphorization are characteristic features of the early Mayakovsky style. The lyrical hero of the early Mayakovsky feels extremely uncomfortable in a bourgeois-petty-bourgeois environment. He hates and despises anyone who interferes with the Capital Man's life as a human being. The problem of humanism is one of the central problems of early Mayakovsky.
