The writing

I am a poet.

This is what is interesting.

V. Mayakovsky

In 1912, V. Mayakovsky's poems "Night" and "Morning" were published in the Futurist almanac "Slap in the Face of Public Taste". So at the beginning of the century, a young and original poet declared himself - 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 impact on the development of Russian poetry. A poet whose posthumous fame is perhaps comparable only to that of Pushkin. A poet whose poems have been overestimated 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, Gumilyov, and Bryusov rightfully shone. His poems were strikingly different from what was considered to be good poetry, but he quickly entered into force and asserted his creative individuality, the right to be Mayakovsky. His heyday, according to Akhmatova, was stormy: denying 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 wider than futuristic understanding. The originality of Mayakovsky's early lyrics is primarily due to his personality, his bright talent, his views and convictions.

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

I'm lonely,

Like the last eye

Walking towards the blind man.

The reason for this is that there are no people around. There is a crowd, a mass, full, chewing, looking like 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 as Narzan.

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

I'm going - 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, there is a propensity for public outrageousness characteristic of Mayakovsky's poetry. For example, the well-known, scandalous:

I like to watch,

How children die

What is behind such actions? The author's categorical rejection of bourgeois culture, youthful nihilism and, perhaps, the emotional vulnerability of the poet himself. Behind his role as a bully, Mayakovsky hid a subtle, love-seeking soul, protecting it from those who are ruder, tougher, more impudent.

Already in the early verses, he appears doomed to burn on an unburnable fire of unimaginable love. The anticipation of love, its expectation - that's what the hero's monologues remind of. His soul seeks love, and therefore he writes:

Where can I find my love

One like me?

The poet is painfully experiencing his loneliness, for him the burden of "unspent springs" is simply "unbearable".

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

Give me at least

Lay out the last obscurity

Your outgoing step.

It is significant that landscapes are practically absent in Mayakovsky's early poetry. In his autobiography, the poet explains his attitude to nature in this way: “After electricity, he completely stopped being interested in nature.” Her place in her work is firmly occupied by the urban landscape, cars, streets. Often such descriptions are deliberately naturalistic. Mayakovsky shows the whole essence of things, their insides:

The street collapsed like a syphilitic's nose.

River - voluptuousness, spread

Throwing away the linen to the last leaf,

The gardens obscenely collapsed in June.

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

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

I immediately smeared the map of everyday life,

Splashing paint from a glass;

I am shown on a platter of jelly

Oblique cheekbones of the ocean.

On the scales of a tin fish

I read the calls of new lips.

Nocturne play

We could

On a drainpipe flute?

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

Features of the early lyrics of V. V. Mayakovsky. Already at the first acquaintance with the work of V. V. Mayakovsky, the striking dissimilarity of his lyrics with classical samples of poetic works is striking. Not only the images - "tin fish", "flute of drainpipes", "smart muzzle of a tram" - but the melody of the verse itself is unusual. There is no songlike musicality in Mayakovsky's lyrics.

The verses are in tune with a measured, chased step:

Veins and muscles - more prayers.

Should we beg for favors of time!

We are each

we keep drive belts in our five worlds!

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

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

I immediately smeared the map of everyday life,

splashing paint from a glass;

i showed on a platter of jelly

oblique cheekbones of the ocean.

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

In the early lyrics of Mayakovsky, a deliberate, hooligan challenge to philistine existence was especially pronounced, which is typical for futurist poets. Rough vocabulary (the poet does not shy away from indecent words), emphatically familiar and contemptuous appeal to the audience - it is not surprising that such poems made a repulsive, shocking impression:

Do you know, mediocre, many,

thinking, it's better to get drunk, -

maybe now the bomb feet

tore out the lieutenant of Petrov? ..

However, it is easy to see that behind the outward rudeness, behind the hostility towards the “bourgeois”, deep feelings are hidden, a keen sense of the catastrophic nature of life. The opposition of a well-fed philistine existence and the inner drama of the lyrical hero, covered with external bravado, is a kind of refraction of the traditions of romanticism. Like the classic romantic hero, Mayakovsky's lyrical hero is alone in the world around him, mired in everyday life. Like a true romantic, Mayakovsky is looking for a suitable background for his hero, unusual, clean from filth

daily hassles:

Listen!

After all, if the stars are lit -

So, does anyone need it?

So - someone wants them to be?

So - someone calls these spitting pearls?

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

The orchestra was watching

the violin wept

without words,

no beat...

“You know what, violin?

We are terribly similar:

me here too

But I can't prove anything!

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

It should be noted that in the work of Mayakovsky, the love experiences of the hero are shown quite frankly and naturalistically:

Sonnet poet sings to Tiana

all meat,

the whole man,

your body just ask

how christians ask

"our daily bread

give us today."

However, the rough sensuality of Mayakovsky's lyrical hero by no means excludes serious, deep emotional experiences. “I gladden the road with the blood of my heart,” this line, which speaks of the suffering of unrequited love, echoes the love poetry of the medieval East. The name of the beloved for the poet is a word, "greatness equal to God."

Mayakovsky also demonstrates a special attitude towards God. We note right away that the reality of the very existence of God is not called into question. But, like love, God in Mayakovsky's lyrics has lost its original exalted attributes. “He bursts into God”, “kisses his sinewy hand” - as if it were not about God, but about a person, perhaps with a certain power, but by no means about an incomprehensible and perfect Essence. The decline in the image of God was clearly manifested in the poem "A Cloud in Pants":

I thought you were an almighty god

And you are a half-educated, tiny god.

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

Mayakovsky's early lyrics (poems "Port", "Night", "Nate!" and others) are considered a large-scale phenomenon in the art of the 20th century. Among his works are plays and poems, critical articles, essays, drawings, 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 owned the essayist's pen and the painter's brush. However, Mayakovsky entered the consciousness of people as an original poet of the era of the social revolution. In his works, he captured the key problems and events of his time.

The spirit of rebellion in the early lyrics of Mayakovsky

In his works, the author combined many means. The voice of that era sounded powerfully in them. This was the period of preparation and accomplishment of the workers' and peasants' revolution. The works show an epic scope of comparisons and metaphors. Weight and strength of rhythm are combined with journalistic passion. The lyrical hero of Mayakovsky's early lyrics appeals to a mass audience. The author is often referred to as a "tribune". There are many reasons for such a comparison in his works.

So, in the poem "Out loud", which is considered to be largely final, he calls himself "a bawling leader", "an agitator". Undoubtedly, there is some truth in this. However, it would be wrong to reduce the poems of Mayakovsky's early lyrics only to propaganda and oratorical appeals to the public. Love confessions, a good-natured smile, and caustic irony are quite clearly traced in the works. There is sadness, sadness, philosophical reflections in them. Mayakovsky's early lyrics are, in short, universal. It is diverse in terms of genre, multicolored in terms of intonation.

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

Lunacharsky spoke very precisely about the nature of the author's talent in his time. Hearing the poem "About this", he noted that he had known before, and after listening he was finally convinced that Mayakovsky was the finest lyricist, despite the fact that he himself did not always understand this. In the author, this property was combined with his agitator, oratorical abilities. Lyrics, as a rule, are considered as an artistic expression of the poet's inner world. It reflects his state at one time or another. 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 depiction in works. They are captured in the reaction, in the feeling that 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 feelings and thoughts of the author, the disclosure of his own "I". Reflections and experiences do not just give a specific emotional coloring to creativity. The artistic world of Mayakovsky's early lyrics is manifested in his depiction of life phenomena, political events. The emotional component is also present in the propaganda and production masterpieces. It can be noted without exaggeration that lyricism acts as a unifying and all-penetrating 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 poetry, Mayakovsky often opposes it in them. This, for example, can be seen in the work "Jubilee", where he speaks of the perception of this trend "with hostility." Polemically hostile reaction, meanwhile, runs through all the work of the author. In a particularly caustic way, he reacts to love topics. Dissatisfaction with traditional opportunities for self-disclosure can be traced in the author's works. The constant search, the desire to expand the boundaries of creativity are the key ideas that Mayakovsky's early lyrics proclaim. The composition of any work required space for thought.

Emotional component

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

Mayakovsky's early lyrics are a completely new direction for the 20th century. It, unlike its predecessors, widely embraced social and political reality.

Beginning of work

Early enough, Mayakovsky became interested in underground revolutionary activities. Like many other underground workers, he was caught and imprisoned for 11 months in the Butyrka prison, in solitary confinement. The fate of the future poet was decided by Stolypin. It was on his orders that the prisoner was released. During his time in prison, Mayakovsky read a lot. After his release, he was seized 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 the creators of the art of the future - futurists. All this in a special way influenced the early lyrics of Mayakovsky.

The specifics of the works

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

"There were sheets of water under the belly.
They were torn into waves by a white tooth.
There was a howl of a pipe - as if poured
love and lust with copper pipes."

The work strikes with a combination of figurative rows that are incompatible in the traditional plan. This makes the strongest impression. Mayakovsky's early lyrics may or may not be liked, but it leaves no one indifferent.

entertainment

In his works, the author creates vivid, memorable images. This is especially clearly seen in such verses as "Port", "Morning", "Could you?". The author boldly combines absolutely diverse concepts in one row. Thanks to the amazingly accurate reproduction, the use of strokes of reality, seen by Mayakovsky from an unexpected angle, the lines are remembered, cut 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 realm of bazaars". "Tired trams" go along the roads, the sun at sunset seems to the author to be a "bleeding eye", the wind appears deplorable and gloomy. The city strangles and fetters the poet, causing disgust in him.

Tragedy

Mayakovsky's early lyrics are filled with sadness, suffering, experiences. This is clearly seen in the work "I". The theme of loneliness manifests itself with different strengths in his various poems: “Tired”, “Listen!”, “Giveaway”, etc. In the work “To Myself Beloved”, the author addresses the environment, his words are filled with pain, mental anguish:

"And such
like me,
poke where?
Where is my lair prepared for?"

Love

Even in it, the hero of Mayakovsky does not find salvation. He strives for a comprehensive, huge feeling - he will not agree to anything less. Having found such love, the hero does not cease to be unhappy and lonely. His feelings become defiled and belittled under the influence of possessive relationships. So, in the poem "A Cloud in Trousers", the beloved rejects the hero, preferring bourgeois prosperity. 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 seeks to overcome loneliness. He goes to people, reaches out to them, hoping to find support and sympathy from them. For a human, affectionate word, he is ready to give all his spiritual riches. But he will be deeply disappointed: no one understands him, no one needs him. A faceless crowd surrounds him. The lyrical hero also has rude features, in some cases he is even cynical. So, in the work "A warm word to some vices" he "glorifies" the power of money, "mocks" the working people, "welcomes" cheaters and extortionists. This is how his ostentatious cynicism is expressed, hiding true pain, tragic irony. The author puts on this mask because of the greatest despair, fatigue from restlessness, single combat with the philistine, the "hulk" of evil.

objectivity

Mayakovsky's early lyrics are full of social problems. His works laid the foundation for art designed for the masses. The author's speech is "roughened", simplified. The works include real and everyday images. This indicates the absence of a connection between the poet and the futurists. In the works of the young author, the principle of thingness, objectivity is implemented. Abstract feelings and concepts are transformed into tangible, visible, real. Reification has a militant humanistic character in creativity. What the futurists lacked is visible in the works - social content.

cultural connection

Mayakovsky passionately preached the new art. He even proposed throwing Pushkin and other classics off the "steamer of modernity." However, analyzing the essence of Mayakovsky's works, one can easily trace the connection with Russian culture, namely with the satire of Nekrasov, Saltykov-Shchedrin. The author followed classical literary traditions. In particular, the connection with the works of Nekrasov, in which the illustration of the capitalist city occupied a key place, is especially clearly traced. The humanistic pathos of Mayakovsky's work makes him related to Gorky's literature. So, indicative in this regard is the title of the poem "Man". However, the main thing that brings the author closer to the classics is the citizenship of poetry, its lively response to modern phenomena.

critical pathos

The pre-revolutionary lyrics of the poet are closely connected with the poems and act as an introduction to them. There is a motive of protest in the works. The theme "the people and the poet" occupies a central position in the lyrics. The First World War became the most important test for many literary and artistic trends. She revealed their true essence, showed their true attitude to the interests of the nation, the needs of the people. Responding with his poem "War and Peace" to the beginning of the war, Mayakovsky politically sharply assesses its imperialist essence. Critical pathos began to intensify in the author's work. His voice called for revolution, spoke out against the imperialist slaughter. 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 in the conditions of capitalism, acts as 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 feature of bourgeois society. The author exposes the falsity of the acmeists, illustrates the ostentatious, decorative nature of their optimism. Poems were directed against the bourgeois world about "well-fed Sytins", "poets chirping with quails", servant scientists, about a "leper colony" - a capitalist city.

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

In the course of strengthening socio-political motives 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 "Nate!". The first was written a year and a half after the second. The poem "Nate!" shows Mayakovsky's mocking attitude towards the crowd. It is characterized exclusively by external signs. Pamphlet "You!" has a strong political connotation. Here the author denounces not the layman as such, but those who seek to profit from the war.

It is important to remember that he was one of the founders of Russian futurism. Cubo-futurists strove for the unity of painting and poetry, and in Mayakovsky's poems there is a bright color scheme; he often reflects the world with the help of geometric figures. not only a poet, but also an artist. He sees the world in colors, in color. Hence the vivid metaphors, in which the sometimes incompatible is connected:

Crimson and white discarded and crumpled,

Handfuls of ducats were thrown into the green,

And the black palms of the runaway windows

Burning yellow cards were dealt.

Pay attention to the vocabulary, to the metaphorical complexity of the images in the poem “I immediately smeared the map of everyday life ...” - “smeared”, “moved”, “splashing paint from a glass”. What "shifted" and "lubricated"? Weekdays? Existing space? Ordinary city? Instead of a roof - "scales of tin fish", "flute of drainpipes".

When reading a poem, it is important to see and comprehend key words and concepts, as they contain an explicit or hidden antithesis or analogy. So, in the above poem, the main phrase is: “I immediately smeared the map of everyday life ...” For what? The answer is hidden in the antithesis "I showed on a dish of jelly / oblique cheekbones of the ocean."

Departure from everyday life presupposes a meeting with the sublime, the beautiful. For example, with a nocturne that can be played "on a drainpipe flute." This poem is an example of philosophical lyrics, it comprehends the questions of being.

According to K. D. Muratova, “early creativity testified to Mayakovsky’s strong passion for formal experimentation. Being not only a poet, but also an avant-garde artist, he strove to recreate unusual visual images, to complicate and deform them. Just as in Cubist painting the world of objective phenomena broke up into planes and volumes, Mayakovsky sometimes dissected individual words and created a peculiar play of dissected parts.

Faces.

faces

Great Danes

years

iron horses

From the windows of running houses

The first cubes jumped.

In addition, the concept of a “self-made” word was fundamentally important for the futurists, that is, a word cleared of later semantic layers, as the futurists said, a word in its original form, or a word invented by the creator himself, which is not obscured by anything. (By the way, the word "samovi-toe" is just such an artificially created word.) Therefore, already in Mayakovsky's early poems there are many neologisms invented by him. He could use a word with a suffix unusual for him (“hell”, “god”), he could simply come up with a new word (“poetic”). Word creation was the most important feature of Mayakovsky's poetry. Onomatopoeia often occurs in his early poems, he is not afraid to use the language of the street.

Mayakovsky's verse is oratory, aimed at speaking to a large audience. The most important thing for the poet was the conviction that literature should not only and not so much reflect life in its diversity, but first of all influence it, striving to change the world for the better. In order to “get through” to people, it is necessary, in his opinion, not only to publish poetry, but to agitate.

Mayakovsky actively used tonic verse: the line was divided not into stops, but into rhythmic and semantic parts, distinguished intonation and logically. (Next, we will talk in detail about tonic versification.) For example, in the poem "Gift Sale" (<1916>):

Listen well:

All that my soul owns

And her wealth, go kill her! - magnificence,

What will decorate my step for eternity,

And my very immortality,

Which, rumbling through all the ages,

The world assembly will gather the kneeling ones, -

Do you want all this? -

Now I will give

For just one word

affectionate,

Human.

Traditional rhymes (for example, "death - immortality", "I will give - to centuries", "veche - human") are most often present in Mayakovsky's poems, but they are difficult to notice: the quatrain is divided into segments in which the rhyme cannot be immediately distinguished. Mayakovsky introduced the breakdown of verse into intonation segments with internal rhyme (ladder) in 1923.

The poet attached great importance to rhyme. He put the stressed word at the end of the line, which gave this word a special weight. Mayakovsky's rhyme is often inaccurate: he rhymes not only the ends of lines, but also the middle, middle and end. It is important that the vowels match, but the consonants do not have to match. Often the poet uses a compound rhyme: "got stuck like a violin."

Mayakovsky’s poetic voice either sounded like a “copper-throated siren”, then gently and penetratingly, he knew how to “raise and lead and attract”, prove, convince ... Hence the special structure of poetry, when “every little thing” is taken into account - vocabulary, figurative structure, intonation , rhythm, rhyme - everything carries a semantic load.

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