Scenario of a poetic performance

Characters: Poet, She, presenters, readers, waiters and visitors to the cabaret "Pink Lantern", participants in the staging of Act II of Mayakovsky's play "Bath" (Optimistenko, Petitioner, Petitioner, Chudakov, Bicyclekin, Pobedonosikov, typist Underton, Nochkin, Belvedonsky).

Decoration: in the background of the stage there is a portrait of Mayakovsky, on the sides there are two screens, on one of which there are posters of "ROSTA Windows", advertising posters of Mayakovsky, on the other - against the background of the starry sky, lines from the poems "Listen!", "Unfinished", poems "I love".

The first screen will be the background for the presenters, readers, the Poet himself, who present to the audience Mayakovsky the rebel, "mobilized and called upon by the revolution." The second screen is the background against which She appears and against which the verses of the "other" Mayakovsky sound - tender, vulnerable, lonely. In the middle are cabaret tables, above them is a sign: the Pink Lantern cabaret.

For the musical design of the performance, you can use the vocal cycle of M. Tariverdiev to Mayakovsky’s verses, ballads from the vocal cycle “Left March” by N. Pirkovsky, as well as the modern song “Night” performed by N. Noskov (music by D. Tukhmanov, verses by V. Mayakovsky from manuscript "Unfinished").

Soundtrack sounds: violin, the sound of rain. A portrait of Mayakovsky is highlighted. Against the background of music, verses sound:

I want to be understood by my country. And I will not understand - well. On my native side I will pass by, As the slanting rain passes.

The gentle sound of the violin is replaced by an hysterical gypsy romance. The seats at the cabaret tables are occupied by a dressed-down audience. Waiters take orders, deliver wine, fruit, etc.

The Poet in a yellow blouse enters the cabaret stage. Gloomy, frowningly, he examines the audience, which does not notice him yet. He makes a sign with his hand to the invisible gypsies - they fall silent. After a pause, the Poet, addressing the audience, reads:

In an hour from here, your flabby fat will flow out into a clean lane over a person, and I have opened so many verses of caskets to you, I am a wast and a spender of priceless words. Here you are, a man, in your mustache you have cabbage somewhere half-eaten, half-eaten cabbage soup; here you are, a woman, whitewashed thickly on you, you look like an oyster from the shell of things. All of you will perch on the butterfly of a poetic heart, dirty, in galoshes and without galoshes. The crowd will go berserk, it will rub, the hundred-headed louse will bristle its legs. And if today I, a rude Hun, do not want to grimace in front of you - and now I will laugh and joyfully spit, I will spit in your face - I am a priceless spender and waste.

In the course of reading, hissing is heard at the tables, someone tries to whistle. But this does not stop the Poet, he makes you listen to yourself to the end. At the last words, the audience explodes with indignation, exclamations are heard: “Down with!”, “Police!”. Some of the ladies are doing bad things.

LEADING I. The poem "Nate!" was read on October 19, 1913 at the opening of the Pink Lantern cabaret, where a decent bourgeois audience gathered. The poem found its addressee and produced exactly the effect that the young author could count on. The author's name was Vladimir Mayakovsky.

The poet passes between the cabaret tables past the frozen audience (she remains behind him), takes a crumpled piece of paper from his pocket and, addressing the audience in the hall, reads:

Manifesto of Russian Futurism
Reading our New First Unexpected.

Only we are the face of our Time. The Horn of Time blows us in verbal art.
The Academy and Pushkin are more incomprehensible than hieroglyphs. Throw Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the Steamboat of our time…
We call to honor the rights of poets:
1) to increase the vocabulary in its volume with arbitrary and derivative words (a word is an innovation);
2) an irresistible hatred for the language that existed before them;
3) with horror to remove from your proud brow the Wreath of penny glory you made;
4) to stand on a block of the word "we" in the midst of a sea of ​​whistling and indignation.
And if the dirty stigmas of your “Common Sense” and “Good Taste” still remain in our lines, nevertheless, for the first time, the Lightning Lightnings of the New Coming Beauty of the Self-valuable (self-sufficient) Word are already trembling on them.

HOST I. The aggressive pressure of the signatories should not be exaggerated. It was a game. They were young, they had fun, they were bursting with talent and spurred on by time, which was rapidly gaining momentum after the slow 19th century. And at the same time…

LEADING II. Korney Chukovsky wrote about Mayakovsky as follows: “In the few poems that he had published by that time, he seemed to me completely different from the whole group of his associates: through the eccentricity of futuristic images, I seemed to see genuine human longing, incompatible with the noisy bravado of his pop statements".

HOST I. And this is from the memoirs of Boris Pasternak: “I really love the early lyrics of Mayakovsky. Against the backdrop of the clownery of that time, her seriousness, heavy, formidable, complaining, was so unusual. It was poetry, masterfully fashioned, proud, demonic and at the same time immensely doomed, perishing, almost calling for help.

POET (reappears on the cabaret stage):

I see Christ fled from the icon, kissing the windy edge of the tunic, crying, slush. I shout to the brick, I plunge the dagger into the sky of swollen flesh with frenzied words: “Sun! My father! Have pity though you do not torment! It is my blood shed by you that flows down the road. This is my soul in pieces of a torn cloud in the scorched sky on the rusty cross of the bell tower!

The audience sitting at the cabaret tables still expresses dissatisfaction and misunderstanding. And already addressing not to the visitors of the cabaret, but to the audience in the hall, the Poet ends:

Time! Though you, lame bogomaz, paint my face in the goddess of the freak of the century! I am lonely, like the last eye of a man going to the blind!”

HOST I. Mayakovsky burst into Russian literature at the beginning of the 20th century as a rebel, as a fighter against the vulgar, philistine world.

POET (again addressing the audience in the cabaret):

To you, who live for an orgy orgy, having a bathroom and a warm closet! Aren't you ashamed of those presented to George to read from the columns of newspapers?! Do you know, mediocre, many who think it’s better to get drunk - maybe now Petrov’s lieutenant’s leg was torn out by a bomb? .. If he, brought to the slaughter, suddenly saw, wounded, how you lustfully sing Severyanin with your lip smeared in a cutlet ! Do you, who love women and dishes, give your life to please?! I'd rather be serving pineapple water at the fucking bar!

The audience jumps up and runs. The tables are removed, leaving only two screens.

Listen! After all, if the stars are lit, it means that someone needs it? So - someone wants them to be? So - someone calls these spitting pearls? And, tearing himself in the midday dust blizzards, bursts into God, afraid that he was late, cries, kisses his sinewy hand, asks - that there must be a star! - swears - he will not endure this starless torment! And then he walks anxious, but outwardly calm. He says to someone: “After all, now you have nothing? Not scary? Yes?!" Listen! After all, if the stars are lit, it means that someone needs it? So - it is necessary that at least one star lights up over the roofs every evening?!

LEADING II. Boris Pasternak wrote: "On the stage before the revolution, his rival was Igor Severyanin, on the arena of the people's revolution and in the hearts of people - Sergei Yesenin ...
Compared to Yesenin, Mayakovsky's gift is heavier and cruder, but perhaps deeper and more extensive. The place of Yesenin's nature is occupied by the labyrinth of the present big city, where the lonely modern soul got lost and morally confused, the dramatic positions of which, passionate and inhuman, he draws.

Great names are not forgotten, just as the love stories of talented people are not forgotten. Mayakovsky's fatal love was Lilia Brik. Their love story is a struggle between two powerful people. She did not want to get divorced, started endless romances, tried to keep the poet on a short leash. But he was devoted to her until the last minute.
In the earliest years, poems appear addressed to the one that will become the poet's Muse for life - Lilya Brik.
The poet’s heart, which since childhood has been able to accommodate the entire universe, is tested for strength in his youth by imprisonment (“I was taught to love in Butyrki”), lack of money and loneliness are opposed to the well-fed security of those in power (“I used to hate fat since childhood, always for myself selling lunch"). But the poet cannot trade in the feeling of love, unlike the "fat" ones. His feelings are boundless - "A lot of love, a lot of hatred." Love overwhelms the poet, he is ready to give it to people, but no one needs it - it is too huge. And then, finally, a woman appears, "seeing just a boy" in this strong giant, who "took and simply took away her heart."

Lily met Mayakovsky in 1915. He was brought to her by his younger sister Elsa. She graduated from the 8th grade of the gymnasium, and was courted by the young poet Vladimir Mayakovsky. Their romance began in 1913. Mayakovsky was a dandy then - he rented a business card, a top hat, a cane from a cheap store on Sretenka. He was fond of cards and, having agreed with Elsa to take her to Sokolniki in a cab, having lost the day before, he rolled her on a tram past the square, which later bore his name. He came to visit her or stayed up late, seeing her off, but he never saw Lily there. He went to her dacha in Malakhovka, which was rented by the family. Elsa's parents did not favor him, and he tried not to catch their eye. And one day, walking with him through the forest, she heard for the first time "If the stars light up" and fell in love with his poetry forever. Their romance was sincere, tender, at times stormy - with quarrels and reconciliations, as expected.

Elsa

"July 1915. A most joyful date. I am getting acquainted with L.Yu. and O.M. Briks," Mayakovsky wrote many years later in his autobiography.
Elsa brought the poet to the Briks, whose house soon became his home, their family - his family. According to Lily Yuryevna Brik herself, before meeting Mayakovsky, she and her husband "had a passive interest in literature" and was expressed mainly in the fact that they loved to read aloud to each other. She also writes about the signs of patronage that were in them ("they brought one poet to Turkestan because he loved the East"). The word "philanthropy" can be used when speaking about the beginning of O.M. Brik to Mayakovsky. The poet told about himself, about the ordeals with the publication of the poem, and the enterprising Brik decided to organize the reading of it at his place.

On the same evening, Mayakovsky asked permission to dedicate a poem to her and inscribed "Lily Yuryevna Brik" over the title. Mayakovsky immediately fell in love with Lilya Brik, but how did her sister react to this? Lilya Yuryevna from childhood knew how to influence her sister and subordinate her to her will. And Elsa did not break with either Lilya or Vladimir Vladimirovich, but, suffering and annoyed, she submitted to "circumstances" and maintained excellent relations with Mayakovsky until the end of his days. And until the end of her days - the delight in front of his poetry, which she experienced in her early youth.

Mayakovsky courted Lily violently, recklessly. He also liked the fact that there was a lady in front of him, a woman of a different circle - elegant, intelligent, educated, completely unknowable, with excellent manners, interesting acquaintances and devoid of any prejudices. When she wanted, she muffled "secularism" with ironic bohemianism: eccentric plaid stockings, a painted shawl with a fox tail, and barbaric jewelry - depending on her mood. She was well-read no less than Burliuk, who was an authority for him, and in the future Lilya will become the same authority for him. They met every day and became inseparable, but his feelings dominated. Lilya, on the other hand, was calmer and knew how to keep him at a distance, from which he went crazy. She loved him, but not without memory.


He soon began to call her Lily and "you", and she addressed him for a long time as "you" and called him by name and patronymic, observing the "pathos of the distance." She was either gentle with him, or aloof and cold, and it seemed to Mayakovsky that Lilya had bewitched him, instilled madness in him. He responded to all her differences with desperation and verses that delighted her. The year was 1915 outside. Mayakovsky moved to Nadezhdinskaya Street to be closer to Lilya. Of course, Brik could not guess about their relationship, although at first the meetings were secret: Vladimir Vladimirovich invited her to the house of rendezvous, he liked this unusual setting, red damask, gilding and mirrors ... Perhaps Lily still hoped to establish a life with Osya, which " dis-sex-angry" not at her will. And I had to hide the meetings, I had to teach Mayakovsky to keep secrets that he did not know how to keep. But none of the three spoke on this topic, because Lilya imposed a ban on the showdown. And her decision was indisputable for both Brik and Mayakovsky. Is always.


Mayakovsky and the Brik family

“He chose a family for himself, into which, like a cuckoo, he flew himself, but without displacing or depriving its inhabitants. was the Brik family, with whom he became friends and lived his entire creative biography. So recalls Nikolai Aseev. Was Mayakovsky really affectionately and sincerely friends with Osip Brik, or was it a different relationship, more complex and intricate, perhaps more businesslike?
Briks were the only family of Mayakovsky, with everything that happens in family life: caresses and quarrels, friendship and enmity, love and hatred.
As for the intimate side of the question, who, except for one of the three, could bring the necessary clarity? All the other people surrounding Mayakovsky, even the closest, were lost in conjecture. For example, Veronika Polonskaya writes: “I could not understand the family situation of Brikov and Mayakovsky. They lived together with such a close-knit family, and it was not clear to me which of them was Lily Yuryevna’s husband. At first, visiting Brikov, I because of this I felt very uncomfortable."


Lilya Yurievna herself wrote on the margins of one of the manuscripts: "Physically, O.M. has not been my husband since 1916, and V.V. - since 1925." Osip Brik was with Lila Yuryevna something like an older friend, a comrade, always touched and condescending. Apparently, he was such a person that this role tripled him. Apparently, after several years of love, Mayakovsky was assigned a similar role, and he also resigned himself to this role, but, unlike Brik, without any readiness, far from immediately and not peacefully. But, despite all of the above, L.Yu. loved O.M. “The tragedy of two people from the“ triangle ”, whom Mayakovsky called his family, was that Lilya Yurievna loved Brik, but he did not love her. And Vladimir Vladimirovich loved Lilya, who could not love anyone but Osip Maksimovich. All her life she loved a man who was physically indifferent to her,” wrote one woman who had known them for a long time and watched them closely.
The three of them lived in all apartments in Moscow, in a dacha in Pushkin. At one time they rented a house in Sokolniki and lived there in the winter, because Moscow was cramped. The poet had a small room in a communal apartment on Lubyanka Square, where he could retire to work. The three of them from the 26th to the 30th - the last four years - Mayakovsky and Briki lived in a tiny apartment in Gendrikov Lane on Taganka.

In those years, wedding rings for Lily were a sign of the bourgeoisie with which Mayakovsky fought. So they exchanged signet rings. On her ring, he engraved the initials LU B. In a circle, they were read as LOVE - LOVE. The poet will put these three letters as dedications, the artists will write them into the ornaments on his books. On a huge Mayakovsky ring, she ordered to make his initials in Latin: W M.

Remembering Mayakovsky in those distant Petrograd years, L.Yu. wrote: “He was still a puppy at that time, and he looked terribly like a puppy: huge paws and a head - and rushed through the streets with his tail up, and barked in vain, at random, and terribly wagged his tail when he was guilty. and nicknamed - Puppy. He both in letters to her and in telegrams signed Shchen and named the puppy he picked up Shchen.
In 1918, they parted for almost five months - he left for Moscow on business, and his letters are full of a desire to see each other as soon as possible and complaints of loneliness.

Returning to Petrograd in the spring of 1918 after filming, they rented three rooms outside the city, in Levashov. Arriving there, Elena Yulyevna, Lily's mother, understood everything. She realized that her daughter's respectable marriage had broken up, that she had connected her life with Mayakovsky, who had recently looked after her youngest daughter and whom she drove away from her as a person of a circle alien to them.
When Lilya Yuryevna met with Mayakovsky under Brik, Vladimir Vladimirovich's relatives were very upset by the situation, which they were unable to understand or accept. But time did its job - family relations improved and, in general, continued for another ten years after the death of the poet. Then his mother and sister rejected Lily Yuryevna from themselves. And her elder sister Lyudmila Vladimirovna was her worst enemy until the end of her days.


Ludmila Mayakovskaya

In the autumn of 1918, all three moved to Moscow and at first lived in a communal apartment in Poluektov Lane. Because of the cold, all warm clothes were taken to one room: it was easier to heat it - one. Lilya Yurievna and Vladimir Vladimirovich no longer concealed their relationship, and it was clear to everyone how he idolized her and how she ruled. She did not want to have children either before with Brick, or now with him. Later, she said: "Doom a person to those torments that we constantly experience? After all, if I had a son, he would certainly have thundered in the 37th, and if he had survived, he would have been killed in the war." But in general she loved other people's children, was affectionate and generous with them. Life was hard, and although Mayakovsky and Brik worked intensively and Lilya served in the "Windows of Growth", painting propaganda posters on a stencil, there was not enough money because of the high cost. Lilya fell ill with beriberi and began to swell. Mayakovsky was exhausted and suffered.

In 1921, they managed to get two rooms in a shared apartment in Vodopyanov Lane, near the post office. In one, the dining room, Lily's bed stood behind a screen and the sign read: "No one is allowed to sit on the bed." In the second room, in the study, lived Osip Maksimovich. Mayakovsky also had a room in a communal apartment nearby, on the Lubyanka. There he worked. Relations with Mayakovsky were even, he was not jealous and categorical, and their life in the dacha in Pushkin in 1920 - 1921 L.Yu. remembered as the most calm and peaceful. Many guests came on Sundays. Mayakovsky and Lilya walked a lot, picked mushrooms - they were a great help in food. During walks, the poet was taciturn, thinking about his own things or writing. At first Lily was offended, then she understood him. He often traveled to Moscow on business, and there was no case that he returned without flowers for her.

The love of Mayakovsky and Lily Yuryevna was not easy, she more than once reached crisis levels. In the years when the revolution broke and revised everything in the world, it seemed that human relations should also find a new form, new interconnections. And that love, fidelity, jealousy will also undergo changes to a certain extent, and people's relations will become different in some way. The avant-garde carried a new ideology and unequivocally declared its intentions to reorganize not only the life of the new society, but also each person in particular. And Lilya Yurievna and Vladimir Vladimirovich professed precisely this ideology. In the autumn of 1922, relations between Mayakovsky and L.Yu. withstood the crisis, the first serious test after the "legalization" of their novel in 1918. The crisis ripened during a trip to Berlin in October - November and broke out at the end of December: on the initiative of L.Yu., she and Mayakovsky decided to live two months apart - he is in his working room in Lubyansky passage, she is in an apartment in Vodopyanov lane.

The separation was supposed to last exactly two months, until February 28, 1923. During this time, Mayakovsky never visited L.Yu. He approached her house, hid on the stairs, sneaked up to her doors, wrote letters and notes that were passed on through servants or through mutual acquaintances; he sent her flowers, books, and other gifts, such as caged birds, a reminder of the situation he was in. L.Yu. answered with short notes, they met several times by chance. L.Yu. and Mayakovsky had to reconsider their attitude to everyday life, to love and jealousy, to the inertia of everyday life, to "tea drinking", etc. Mayakovsky tried to do this; nevertheless, months of self-testing did not lead to big changes in their lives, and it didn’t matter to Mayakovsky - if only they were together in the future. On February 28, at three o'clock in the afternoon, Mayakovsky's "term of imprisonment" expired. At eight o'clock in the evening they met with L.Yu. at the station to go for a few days together to Petrograd. Entering the compartment, Mayakovsky read to her the recently completed poem "About This" and began to cry ...

1924 was a turning point in the development of relations between L.Yu. and Mayakovsky. Her note to Mayakovsky has been preserved, in which she declares that she no longer has the same feelings for him, adding: "It seems to me that you love me much less and will not suffer very much."

One of the reasons for this change in their relationship is obvious. In a letter dated February 23, 1924, L.Yu. asks: "What about A.M.?" Alexander Mikhailovich Krasnoshchekov, former chairman and minister of foreign affairs of the government of the Far Eastern Republic, returned to Moscow in 1921 and in 1922 became chairman of Prombank and deputy of Narkomfin. L.Yu. I met him in the summer of that year. An affair began between her and Krasnoshchekov, which Mayakovsky knew about. In September 1923, Krasnoshchekov was arrested on unfounded charges and sentenced to prison.

A.M. Krasnoshchekov

In the autumn of 1924 Mayakovsky left for Paris. After one week in the French capital, Mayakovsky writes to L.Yu.: “... I can’t write, but who are you and what are you, I still don’t know at all. There’s nothing to console yourself with, you are dear and beloved, but still you in Moscow and you are either a stranger or not mine. L.Yu. answered: “What should I do. I can’t leave A.M. while he is in prison. It’s a shame! I’m ashamed like never before in my life.” Mayakovsky: “You write about being ashamed. Is this really all that connects you with him and the only thing that prevents you from being with me. I don’t believe it! Do as you like, nothing will ever change my love for you.” L.Yu. was wrong in thinking in her note that he loved her "much less" - nothing could undermine his love for her, and he "was tormented."

In the autumn of 1928, Mayakovsky again went to Paris. In addition to purely literary matters, the trip had another purpose. On October 20, he went to Nice, where his American girlfriend Ellie Jones was vacationing with her daughter, whom he recognized as his. The meeting was unsuccessful; already on October 25 he returned to Paris. In the evening of the same day, Mayakovsky met Tatyana Alekseevna Yakovleva, a young Russian who arrived in Paris in 1925. Mayakovsky and T. Yakovleva immediately fell in love with each other.

Tatyana Yakovleva

Mayakovsky left Paris in early December, but returned there as early as February 1929; on this visit he stayed there for more than two months. He offered T. Yakovleva to become his wife and go with him to Russia - an idea that she "received evasively." But their romance continued, and Mayakovsky was going to return to Paris in October of that year. However, the trip was not successful due to visa problems.
On October 11, 1929, Mayakovsky learned that T. Yakovleva was marrying a French viscount. He took this news very hard. The end of the affair with her was at the same time the beginning of the last period of his life. The search continued for love that could "save" him. Even in the summer of 1929, long before the news from Paris, Mayakovsky began to court the actress Veronika Polonskaya, and this relationship was now deepening.

Veronika Polonskaya

Mayakovsky saw the Briks for the last time on February 18, 1930, when they were going abroad. The last postcard to Mayakovsky was sent from Amsterdam on April 14, the day of the suicide...
The love of V. Mayakovsky and L. Brik was very difficult. Much in the relationship between these two people remains incomprehensible, but the key to understanding this love can be found in the memoirs of Faina Ranevskaya. She writes: “Yesterday, Lilya Brik was there, she brought Mayakovsky’s “Favorites” and his amateur photograph. She spoke about her love for the deceased ... Brik. And she said that she would give up everything that was in her life, if only not to lose Osya. she asked: "Would you refuse Mayakovsky too?" She answered without hesitation: "Yes, I would refuse Mayakovsky, I had only to be with Osya." Poor, she did not really love him. I wanted to cry from pity for Mayakovsky and even had a physical pain in his heart.

Love lyrics by V. V. Mayakovsky.

Love - an eternal theme - runs through all the work of Vladimir Mayakovsky, starting with early poems and ending with the last unfinished poem "Unfinished". Referring to love as the greatest good that can inspire deeds, work, Mayakovsky wrote: “Love is life, this is the main thing. Poems, deeds, and everything else unfold from it. Love is the heart of everything. If it stops working, everything else dies, becomes superfluous, unnecessary. But if the heart works, it cannot fail to manifest itself in everything. It is characterized by the breadth of the lyrical perception of the world. The personal and the public merged in his poetry. And love - the most intimate human feeling - in Mayakovsky's poems is always associated with the social feelings of the poet-citizen.

The whole life of V. V. Mayakovsky, with all its joys and sorrows, despair, pain, is in his poems. The works of the poet tell us about his love, about when and what it was. In the early poems, the mention of love occurs twice: in the 1913 cycle of lyrical poems "I" and the lyric poem "Love". They talk about love out of touch with the personal experiences of the poet.

Many addressees of the lyrics of Vladimir Mayakovsky are known - Lilia Brik, Maria Denisova, Tatyana Yakovleva and Veronika Polonskaya.

In the poem "A Cloud in Pants" the poet talks about his unrequited love at first sight for the young Maria Denisova, whom he fell in love with in 1914 in Odessa. He described his feelings as follows:

Mother!

Your son is very sick!

Mother!

He has a heart of fire.

This tragic love is not fictional. The poet himself points to the veracity of those experiences that are described in the poem:

Do you think it's malaria?

It was,

was in Odessa.

"I'll be there at four," Maria said.

But a feeling of exceptional strength brings not joy, but suffering. The paths of M. Denisova and V. Mayakovsky diverged. Then he exclaimed: "Love is impossible!"

But Mayakovsky could not help but love. Less than a year has passed and the poet falls in love with Lilya Brik. Their relationship began with the fact that Mayakovsky dedicated a poem to her (“A cloud in pants”), which he was inspired by another (Maria Denisova), and ended with the fact that he named her name in a posthumous note. Relations between Vladimir Mayakovsky and Lily Brik were very difficult, many stages of their development were reflected in the works of the poet. His feelings are reflected in the poem "Flute-Spine", written in the autumn of 1915. And again, not the joy of love, but despair sounds from the pages of the poem:

Mile of streets with a wave of steps I mnu,

Where will I go, this hell is melting!

To what heavenly Hoffmann

Did you make up your mind, damn it?!

The poem "Lilichka! Instead of a letter" can be indicative of these relations. It was written in 1916, but the light was first seen only in 1934. How much love and tenderness for this woman are hidden in the lines:

Except the sea of ​​your love,

to me

there is no sea

and from your love and crying you will not beg for rest.

A tired elephant wants rest -

regal will lie down in the scorched sand.

Except your love

to me

no sun,

and I don't know where you are and with whom.

In 1922, the poet wrote the poem "I Love" - ​​his brightest work about love. Mayakovsky was then experiencing the peak of his feelings for L. Brik, and therefore he was sure:

Don't wash away love

no quarrel

not a mile.

Thought out

verified,

verified.

Raise solemnly a line-fingered verse,

I swear -

I love

unchanging and true!

Here the poet reflects on the essence of love and its place in human life. Mayakovsky contrasted venal love with true, passionate, faithful love.

In February 1923, the poem "About This" was written. Here the lyrical hero appears again suffering, tormented by unsatisfied love. But the chivalrous character of the poet does not allow casting even the slightest shadow on the image of his beloved:

- Look,

even here, dear,

verses smashing everyday horror,

protecting the beloved name,

you

in my curses

go around.

1924 was a turning point in the relationship between Mayakovsky and Lilya Brik. A hint of this can be found in the poem "Jubilee", which was written on the 125th anniversary of Pushkin's birth, June 6, 1924:

I

now

free

from love

and from posters.

hide

jealousy

bear

lies

claw.

At the beginning of 1929, a “Letter to Comrade Kostrov from Paris on the Essence of Love” appeared in the Young Guard magazine. It can be seen from this poem that a new love has appeared in the life of the poet, that “the tired motor of the heart has been put into work again.” It was Tatyana Yakovleva whom Mayakovsky met in Paris in 1928. The poems dedicated to her "Letter to Comrade Kostrov ..." and "Letter to Tatyana Yakovleva" are imbued with a happy feeling of great, true love.

The poem "Letter to Tatyana Yakovleva" was written in November 1928. Mayakovsky's love has never been only a personal experience. She inspired him to struggle and creativity and was embodied in poetic masterpieces imbued with the pathos of the revolution. Here the poet wrote about it like this:

In the kiss of hands

lips,

In body trembling

close to me

red

color

my republics

too

must

blaze.

The poet had to endure many grievances. He did not want Tatyana Yakovleva's refusal to come to him in Moscow "to string on a common account." The certainty that love will win in the end is expressed in the words:

I don't care

you

someday I'll take

one

or together with Paris.

Mayakovsky was very upset by the separation, sent letters and telegrams to her every day, and was looking forward to a trip to Paris. But they were no longer destined to meet: Mayakovsky was denied permission to travel to Paris in January 1930.

In May 1929, Mayakovsky was introduced to Veronika Vitoldovna Polonskaya. Mayakovsky loved beautiful women. And although his heart was not free at that time, Tatyana Yakovleva firmly took possession of him, but he was drawn to Polonskaya, and he began to meet with her often. Shortly before his death, Mayakovsky wrote the poem "Unfinished" with the following lines:

Already the second

you must have gone to bed

Maybe

and you have this

I'm not hurrying,

And lightning telegrams

I don't need

you

wake up and disturb...

Veronika Polonskaya was the last person to see Mayakovsky alive. It was to her that the poet proposed a minute before the fatal shot. In his suicide letter, Mayakovsky wrote:

As they say -

"incident over"

love boat

crashed into life.

I'm in with life

and no list

mutual pain,

troubles and insults.

Happy to stay.

Vladimir Mayakovsky.

1. Love in early work.
2. Mayakovsky's muse.
3. Publicity of feelings.

To love is from the sheets
insomniac torn, break loose,
jealous of Copernicus, him,
and not the husband of Marya Ivanna,
considering him a rival.
V. V. Mayakovsky

Love lyrics occupy not the last place in the work of V. V. Mayakovsky, whom we are accustomed to perceive as a poet of the revolution and a master of propaganda slogans. The poem "A Cloud in Pants" (1915) is a love poem and is dedicated to an unrequited feeling for the heroine M. A. Denisova, who did not come on a date, with whom he was in love in Odessa. The title contains a metaphor for a gentle male soul. Surprisingly, for many years this poem was considered revolutionary, anti-bourgeois. But it is not at all dissatisfaction with social order that makes the hero curse the world, but the simplest jealousy. The tense hero waits for his beloved from four to ten o'clock, she eventually comes and says that she is getting married. "Fire of the Heart" turns into revenge for taking away love

Gentle!
You put love on violins.
Love on the timpani lays rough.
And you can't twist yourself like me,
to have one solid lips!
...Want to -
I will be mad from meat
— and like the sky, changing tones —
want to -
I will be impeccably gentle,
not a man, but a cloud in his pants!

Most of the love poems are dedicated to L. Brik, whom Vladimir Vladimirovich met in 1915. She became a significant figure in his life. No one else - neither T. A. Yakovleva, nor V. Polonskaya - took such a place in the poet's heart as she did. For many years, the woman became Mayakovsky's muse. The poet dedicated the first volume of his collected works, published in 1928, to her. “Except for your love, there is no sun for me ... / Mayakovsky wrote to me in the poem “Lilichka! Instead of a letter.

“She knew how to be sad, feminine, capricious, proud, empty, fickle, in love, smart, and whatever,” said V. B. Shklovsky about Brik.

The meeting was fateful, Lily's marriage to O. Brik was more of a tender friendship than passionate love. Mayakovsky brought down on his beloved his boundless unbridled feeling, accompanied by jealousy, which is quite justified in the current love triangle.

Twelve
square arshins of housing.
Four
in room -
Lilya,
Osya,
I
and dog
Puppy...

It was in such conditions that love existed, and Mayakovsky's poems were created. He did not want to share the woman he loved with anyone, but he was doomed to do so. As aptly noted, his lyrics were fueled by unhappy love.

It is not always possible to talk about the absolute coincidence of the lyrical hero of poetry with the author, but in this case there is no substitution - we read about what Mayakovsky really felt, and not an abstract lyrical hero. His love is so great that he crowns his beloved with a crown for centuries.

My love
like an apostle during it,
a thousand thousand I will smash the roads.
A crown has been prepared for you for centuries,
and in the crown my words -
a rainbow of convulsions.

Mayakovsky's love is a feeling that knows no peace: "I hope, I believe, shameful prudence will never come to me." She screams all over, now from delight, now from pain, the poet splashes out emotions, not holding back or hiding them. He is a maximalist, so there are no semitones in feelings. Or love, or not, or now, or never. Mayakovsky's feeling of love takes on unusual forms: from the defenseless "meek little darling":

Will there be love or not?
Which -
big or tiny?
Where does the body have such a large:
must be small
humble darling -

to a love-hulk striking in its size, which is either love, or hatred, or despair, or tenderness:

More than possible
more than necessary -
as if
looming like poetic delirium in a dream -
the lump of the heart has grown in bulk:
bulk love,
mass of hatred.

Of course, such a romantic as Mayakovsky, who understands the “tram language” and knows how to play the nocturne “on the flute of drainpipes”, could not love otherwise. He boldly declared his love to the whole world. From his love, falling like a waterfall, from such a violent manifestation of feelings, Brik got tired, which made the poet rush about, get lost and worry. This feeling for her was very uneven, they never managed to create a model of a modern family without prejudices - without jealousy, without dependence on each other, free from the influence of everyday life. Relations with the Parisian Yakovleva, according to others, were calm, but short-lived. They say that he failed to go to Paris again, not without the help of Brikov (Lilya was furious when she discovered a poem for her rival), and Yakovleva soon got married. There are lines dedicated to her. They have notes of happiness.

You are the only one for me
straight growth,
get close
with an eyebrow,
give
about this
important evening
tell
more human...

Mayakovsky was such a person who could not keep feelings in himself, splashed them out in his poems and, due to his publicity, made them public. After all, it was not just an intimate feeling, but the feeling of a poet-citizen. Hyperbolization of feelings is characteristic of Mayakovsky's entire work, and the love drama acquires a public character in this perspective. Thus, according to the researcher S. L. Strashnov, the poet was attached “to the integral whole - the mass or national unity, no matter how abstract and illusory it may be. Hence .., Mayakovsky's desire to socialize it (love lyrics) in every possible way, turning love from a personal feeling into a public topic. The poem "I Love", written in 1921-1922, says that love occupies an important place in a person's life, it is given to everyone, but few people notice that over time the heart becomes stale and "love will bloom, bloom - and shrink." To save love, the poet hides it in his beloved.

Love
in you -
wealth into iron -
hid
I go
and rejoice in Croesus.

The poem ends with the conclusion that his love is timeless. These are Mayakovsky's most positive lines about love.

The poem “About This”, filled with lyricism, reveals to us the torments of jealousy, the suffering from unhappy love. Having outlined the main theme of the poem - “for personal reasons about the common life”, the poet talks about morality, life and love of a new person. His lyrical hero fights for ideal love. Critics called the poem a sensitive novel, over which schoolgirls cry, while the author spoke directly about his idea - this is a poem built on associations, about how everyday life vulgarizes the relationship between a man and a woman. The poet believed that in the life of a new person, love should be cleansed of philistinism.

“Love is life, this is the main thing. Poems, deeds, and everything else unfold from it. Love is the heart of everything. If it stops working, everything else dies, becomes superfluous, unnecessary. But if the heart works, it cannot fail to manifest itself in everything, ”Mayakovsky said about love, the eternal theme of works of art.

V. Mayakovsky is considered to be a political poet. He set himself one goal of poetry: to promote the revolutionary reorganization of life with the poetic word. “I want a pen to be equated with a bayonet,” the poet wrote. But he never shied away from the lyrical theme of love.

For the works of the pre-revolutionary period of Mayakovsky, the tragic sound of this theme is characteristic. In the poem "Man" - the suffering of a person who has experienced unrequited love.

“And only my pain is sharper - I stand, entwined with fire, on the unburned fire of unimaginable love.”

In all the poems, Mayakovsky appears as a suffering creature, praying for love (“Lilichka!”, “I Love”), but already in the poem “A Cloud in Pants”, the eternal theme of love is expressed furiously, passionately. "Community-love", "community-hate". In "The Cloud" the cry "Down with your love!" merges with cries of "down with your art!", "down with your system!", "down with your religion!" The idea of ​​the poem, its pathos - in the unconditional denial of bourgeois relations, in whatever they manifest themselves, and in the affirmation of the greatness of man, the dream of universal happiness.

“Who cares that - “Oh, poor thing! How did he love and how unhappy was he?

He scoffed at those who "stick out, chirping with rhymes, some kind of brew out of love and Solovyov." However, with all this, he fought not against the very theme of love in poetry, but against the vulgarization of this topic, against turning it into a means of only personal experiences.

His lyrics, including love lyrics, do not represent something isolated from everything that the poet wrote. She, like his poetic journalism, satire, is saturated with social and political content. For Mayakovsky, the appearance of a particular topic has always been a reflection of a vital necessity, a social need. That is how the theme of the poem “I Love” arose for him. The revolution, which radically changed social relations between people, suggested the need for restructuring and personal relationships. The poet condemns the relationship of love that has been established in the philistine environment, where “between services, incomes and other things, the soil of the heart hardens from day to day” and where “love will bloom, bloom and shrivel.” He opposes it with the love of his heart. His love is different: it is huge, strong, indestructible. The end of the poem sounds a solemn hymn to sincerity, depth and constancy of love feeling.

“No quarrels, no versts will wash away love. Thought out, verified, tested. Raising solemnly a line-fingered verse, I swear - I love ... "

The content of the poem, based on the exaltation of love, was dictated not only by public motives, but also by personal motives. This combination of personal and public was also manifested in the poem "About It". The main conflict in the poem is between the lyrical hero, who is fighting for new relationships in public and private life, and the world of hypocrisy, entrenched in everyday life. There is a clash of the “love-hulk” of a new person with the “chicken love” of the tradesman:

“So what? Love is replaced by tea? Is love being replaced by darning socks?”

The tragedy is that the beloved woman found herself in the world of philistinism. Two worlds collide. The experiences of the poet are intimate: “She is in bed. She lies." The only connection is a telephone. The white-hot apparatus emphasizes the acuteness of the poet's feelings. The poem does not exclude the possibility of mutual love, you just need to shorten your "huge-love", become a tradesman "to crawl like a cockerel into their life, into their family happiness." But this would mean strangling the man in oneself, capitulating to the petty bourgeois dwarf. The words sound passionate and angry:

“... I don’t accept, I hate it all. Everything that was hammered into us by the departed slave, everything that settled and settled in a petty swarm of life even in our red-flag life.

A man who broke a rotten world, who believed in the realization of the goal: “So that the whole first cry: “Comrade!” - the earth turned around! - could not put up with anything that threatened to return to the past.

Two letters - "Tatyana Yakovleva" and "To Comrade Kostrov from Paris about the essence of love." In a personal conflict, the features of a citizen and a patriot are revealed. Love is a titanic tension of forces, in which Copernicus himself is a rival.

“Love is life,” Mayakovsky said. Love gives birth to a poetic word, it is active. To love means to be able to hate everything that prevents you from perceiving the world as happiness.

“For us, love is not heaven and dens, love is buzzing to us about the fact that the tired motor of the heart has been put into work again.”

• In pre-revolutionary creativity, Mayakovsky rejects the world of the bourgeoisie and the deceitful society created by it. He literally bursts into literature, abandoning imitations and hackneyed patterns. His early works are fundamentally different from the generally accepted idea of ​​​​poetry. Mayakovsky's first poems were published in the almanac Slap in the Face of Public Taste (1912). In the preface to the first edition of the poem "A Cloud in Pants", the poet, in his characteristic manner, defined the meaning of his work: "Down with your love!", "Down with your […]
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