Mayakovsky created an innovative poetic system, which largely determined the development of both Soviet and world poetry; Nazim Hikmet, Louis Aragon, Pablo Neruda, I. Becher, E. Antokolsky, E. Yevtushenko, M. Shekhter and many, many others experienced its impact.
Mayakovsky significantly reformed Russian verse. A new type of lyrical hero with his revolutionary attitude to reality contributed to the formation of a new poetics of maximum expressiveness: the entire system of the poet's artistic means is aimed at the most dramatic verbal expression of the thoughts and feelings of the lyrical hero. This affects the system of graphic notation: increased expressiveness is transmitted both through changes within the traditional spelling and punctuation, and the introduction of new methods of graphic fixation of the text - " column", and from 1923 - "ladders", reflecting pausing. The desire for maximum expressiveness of the verse runs along different lines: vocabulary and phraseology, rhythm, intonation, rhyme.
M. Tsvetaeva notes that “ rhythm Mayakovsky - physical heartbeat - heartbeats - of a stagnant horse or a bound person ... "
B. Arvatov, analyzing syntactic structure of his poetry, concluded that his speech was a rally, a call to action, that Mayakovsky himself consciously strives all the time to influence the listener, stir him up, stir him up, agitate. Yu. Tynyanov correlated this rally setting of Mayakovsky's verse with the odic genre tradition of the 18th century, with Derzhavin's odic verse, first of all. At the same time, B. Pasternak was the first to talk about the fact that when perceiving Mayakovsky's poetry, one cannot get rid of liturgical parallels, that the construction of his poems was prompted by archaic verbal art, ancient creativity, closely connected with the rite. Here B. Pasternak very accurately caught Mayakovsky's orientation towards the reproduction of certain structures dating back to ancient verbal creativity. It seems that we can say that the odic tradition had its direct influence primarily on Mayakovsky's late poetry.
Indigenous change introduced by Mayakovsky in the technique of Russian verse. He installed new rhyming methods, which are close to the oratorical word. In his article "How to make poetry?" Mayakovsky wrote that he puts the most characteristic word at the end of the line and selects a rhyme for it. Mayakovsky violates the so-called syllabo-tonic verse, established by the reform of V. Trediakovsky at the beginning of the 18th century, and creates a tonic versification, in which the length of the verse is determined by the number of full-stressed words. L. Timofeev wrote very well about this phenomenon: “What was new in Mayakovsky’s verse was not the destruction of the syllabo-tonic structure ... what was new was the introduction of a pause line as an element of rhythm, firstly, and the transformation of the word into an independent unit, secondly, it ... allowed build a verse only on the alternation of stressed syllables supported by pauses. Mayakovsky uses the ladder structure of the verse, where each word - "step" - has a logical stress and contains a certain semantic load.
Mayakovsky's poetic work is an example of the most stubborn struggle for sharpness and expressiveness of the language conscious responsibility of the reader for the quality of his artistic work. He seeks to restore the freshness and concreteness of the language of life, colloquial speech to the poetic language. Initially, he focuses on the dialect of the streets, the slang of the outskirts. After the revolution, new requirements are added to these requirements - to be modern, politically sharp.
Mayakovsky was an active opponent of the thoughtless use of foreign words in the language, incomprehensible to ordinary people.
So that I don’t write, yelling in vain,
morals too:
what is suitable for a foreign dictionary,
the newspaper is no good.
"About Poets".
However, he is not afraid to introduce international political terminology, natural science concepts and, in general, new or updated words resulting from new concepts and ideas into the poetic dictionary. The poet also uses the dictionary of the centuries-old history of the Russian literary and speech language, widely uses Old Russian, Church Slavonic and even Biblical words, skillfully updating them with contemporary revolutionary comparisons:
in the crown of thorns revolutions
the sixteenth year is coming.
And I am your forerunner.
"A cloud in pants"
Taking into account the peculiarities of Russian words to acquire different semantic shades from changing suffixes and prefixes, he widely uses it to create verbal neoplasms: noises, hell, hulk, caressed, mocked, gilded, peregryanulo, spread out. Sometimes, on the contrary, the poet updates the words by discarding the prefix, thereby highlighting the root: rychl, loyal.
One of Mayakovsky's characteristic word formations is the transformation of indeclinable nouns into declinable ones: poincare, as well as declensions of adverbs following the pattern of nouns: down with.
The category of compound words is widely represented by the poet's dictionary: word and lightning, Komsomolchik, multipath. Sometimes some compound words are formed by rearranging concepts, for example, narrow-minded from ordinary narrow-minded. Some compound words replace whole expressions: pressed - pressed like a toad, color sea - a sea of \u200b\u200bflowers. Many neologisms were created on the basis of ideas about future technology: airships, radio alarm clocks, electric lecturer. In his word innovations, the paoet often violates the usual forms of the singular and plural: sky, oh, gold, love. Some take on the form of a neologism due to the creation of an unusual degree of comparison: foreigner, orline, tea, or due to unusual adjective suffixes: popya stick, volumes of Shakespeare, poetic ballads.
The negative attitude towards the linguistic norms of "pure aesthetes" and "servants of the muses" led to the presence of a number of vulgarisms, swear words, colloquial contemptuous phrases in Mayakovsky's vocabulary: rushing, wandering, mug ...
Interesting , that many of Mayakovsky's contemporaries noted an important feature of his poetry - it is all translatable into prose, "tellable", as Tsvetaeva put it, in her own words: "And there is no need to change the dictionary, because Mayakovsky's dictionary is completely everyday, colloquial, prosaic."
The determining factor in Mayakovsky's work on the language was the desire not to describe dispassionately, but to find words that would captivate the reader and influence him. Not cold academic narrative, but controversy and appeal define Mayakovsky's language and syntax.
In this regard, he makes extensive use of various figurative and expressive means language. For example, epithets which play a great semantic role in the poet. Being a poetic definition, they at the same time clearly concretize the attitude of the poet to the described subject and have a sharply defined ideological and semantic character: in stupid police elephantine, azure-blue body, sleepy sheet and others. Very diverse and comparisons by analogy: slip the pen boats into your pocket. Sometimes in this artistic device only extreme concepts are fixed, connected by a dash: mustache - brooms.
Comparisons differ in their content. The poet strives by expanding associations to include as much content as possible in the line. Therefore, there are many complicated comparisons based on large semantic situations: the spine twisted, as if struck with a shaft.
Using, at first glance, ordinary lexical units, sometimes with new forms of education, Mayakovsky managed to create stunning metaphors: "the chest is-pedestrian", that is, they went back and forth, along and across. The often stunning metaphor runs through the entire stanza:
Here I am, all pain and bruise.
I bequeath to you an orchard
my great soul.
Attentive attitude to metaphor testifies to the poet's deep understanding of the complexity of poetic work. Defining a metaphor as a “transfer of a definition”, Mayakovsky in practice far surpassed this line, using any part of speech as metaphors, putting them in a figurative meaning:
On the pavement
my soul is shattered
the steps of the lunatics
twist hard heel phrases…
Y. Olesha called Mayakovsky “the king of metaphors”: “Among the thousands of metaphors he created, he created one that shocks me. Speaking about the power of words, he said that he prefers the power of words that "applause the lodges" to the power that "breaks the coffin to walk with four of its oak legs."
hyperbole in Mayakovsky's verses was caused by a special sensually elevated way of his worldview, which is based on the pictorial principles of oral-poetic folk art. Mayakovsky uses hyperbole mainly in satirical verses - hymns, "About rubbish", "Protsessed", plays.
Alliterations and assonances give an emotionally memorable sound to the poetic text: "And the horror of jokes pecking laughter"; "tears come down from..."; "hand of the river"; "in your mouth." An excited intonation is fixed in complex inversions: "lips hanging down into the sky"; "the heart is the noblest album with long-haired postcards" (I would even like to explain the last one: the heart is an album of postcards with long-haired ones). And the metaphors and metonymies are straight from the legend: "in the burrows the mystics told him to roam", "crumpling the lanterns of the blanket", "the hostile bouquet of boulevard prostitutes", "the tram shot up the pupils with a running start". And all this is "stacked" into a motley, confused conversation of the street or a monologue of its shocked observer. Hence the interruptions of the rhythm, the division into lines of words related in meaning, sometimes even syllables, an abundance of inaccurate, assonant and compound rhymes (close to the spoken language).
All of Mayakovsky's linguistic inventions are artistically motivated, subject to certain ideas, goals: they are inextricably linked with poetry, with which the poet strives to most economically, vividly and spontaneously express his political tendency, to reflect a new political being.
Definitely want to say about the instrumental sound of poetry Mayakovsky. Someone noticed that Mayakovsky's poetry is generally more sound than written, that it should be listened to rather than read. In the grandiose orchestra of his poetic arsenal, musical instruments become almost the most important actors. Here is the howl of the port pipe: “... as if love and lust were poured with copper pipes” (“Port”), the evening plays rusty oboes (“A few words about my mother”), hips sing with an amber violin (“A few words about my wife”) . it seems that this is not a god, but Mayakovsky himself puts human notes on the piano and, with the help of auditory images, twists himself so that “there are only solid lips!” Isn't that what the poem "The Violin and a Little Bit Nervously" is about, a poignant confession of a poetic heart, on whose bow tie the dirty ones in galoshes and without galoshes are piled up?
“You know what, violin?
We are terribly similar:
me here too
yell -
But I can't prove anything!
Other instruments come to life at Mayakovsky: “ tops bloom into harps”, “the balalaika, as if barking, cut off the violins of the ball ...”
But a special commitment - to the flute. Back in 1913, the poet defiantly addressed the bourgeois crowd, combining in a punning metaphor both various instruments and the base signs of a modern city:
And you
nocturne play
we could
on the drainpipe flute?
And having thought already in his youth about the farewell concert, he again remembered this instrument, giving in the title of the poem "Flute-Spine" another version of personal names - "I", "Vladimir Mayakovsky", "Man".
The poem "War and Peace" is also illuminated with sound flashes. For a Russian person, cars become the personification of America. Italy - warm nights, Africa - the scorching sun, France - the first woman in the world, Greece - slender young men, Germany - a faceted thought for centuries, India - golden gifts, And Russia - SONG. In a fiery hymn, the homeland reveals its heart. As the researcher N. Khardzhiev noted, “in the monumental poem “War and Peace”, the whole world becomes a theater, with a stage “shaken by the fire of the orchestra”.
Marching rhythms occupy an important place in Mayakovsky's poetry. It was in 1917 that the first of his many marches was born:
Days bull peg.
Slow years cart.
Our god is running.
Our heart is a drum.
In accordance with the accepted setting, all other instruments are expelled with the exception of the drum. With its help, the poet seeks to convey the music of the revolution: “On the chain”, “Drum song”, “Our New Year”, “Good!”, And in the poem “150000000” - a whole drum bacchanalia:
Past
Bars and baths.
Beat, drum!
Drum, drum!
There were slaves!
No slave!
Baarbey!
Baarban!
Drum!
………..
Let's beat!
We beat!
Beat!
To the drum!
To the drum! To the drum!
Thus was born the sound step of the new world.
Mayakovsky appears before us as such an innovator. He enriched Russian poetry with new forms of versification, found and applied his own ways of expressing himself actively and spontaneously. He was the first to introduce into Russian poetry the image of a new lyrical hero with new experiences and aspirations, a new worldview. In the field of poetic skill, Mayakovsky further developed the unlimited possibilities of Russian verse, created his own new verse constructions, which make it possible to most fully and realistically depict the diversity and complexity of life. Mayakovsky's verse is exceptionally capacious. The poet destroyed the old form of poetry, but highly appreciated, developed, improved and widely used various forms of classical poetry of oral-poetic folk art.
The strength and skill of the poet lies in a clear knowledge of the purpose of the work, in the ability to find relevant topics, in the invention and selection of such poetic means that actively convince people of the correctness of the transformations of public life.
1. Innovation in Mayakovsky's poetry.
2. The connection of the poet's lyrics with painting.
3. The challenge to the "public taste" and the inner experiences of the lyrical hero.
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 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 the favors of time!
We -
each -
keep in your lap
worlds drive belts!
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 of 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 the filth of everyday troubles:
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 is not understood by other instruments in the orchestra, evokes deep sympathy and a lively response in the soul of the lyrical hero:
The orchestra was watching someone else
how the violin cried
without words,
no beat...
“You know what, violin?
We are terribly similar:
me here too
shout-
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 Mayakovsky's work 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
and I'm 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 closely listened to the pulse of his time and was constantly looking for new poetic solutions that would correspond to the spirit of the era of great changes.
His favorite move... metaphor , especially hyperbolic built on exaggeration. For example, in the poem "A Cloud in Pants" we read: " And here is a huge one, / I stoop in the window, / I melt the window glass with my forehead". The poet plays on his extraordinary growth, conveys the power of feelings with the help of hyperbole: the glass melts under the forehead of the hero, hot from the heat of love. Often Mayakovsky used the so-called futuristic metaphor , which establishes connections between the most distant things and objects. Remember the poem "Could you?" , in which readers are struck by the metaphorical image " downspout flutes».
Inherent in Mayakovsky and futuristic outrageousness - shocking the "respectable public" when the poet uses rude, defiant, emphatically unaesthetic images or statements, as, for example, in a poem "Nate!" : « I will laugh and spit joyfully, spit in your face...».
Frequent at Mayakovsky and ellipses- omissions of significant words, which is typical for colloquial, emotional speech (compare the title of the poem "Violin and a little nervous" , which, apparently, should look like "The violin [sounded sad] and a little nervous"). Such violations are explained by the negative program of the futurists: they are characterized by a declarative rejection of the norms of the existing language. But destruction for avant-garde artists has always been a creative act, for which grammatical irregularities are not an end in themselves, but a way of giving birth to new meanings.
The lexical composition of Mayakovsky's poetry is also peculiar. His works are saturated with colloquial vocabulary, irregular and colloquial forms (" here», « want"). A feature of the artistic world of the poet is the frequent use of neologisms (“ skyscrapers», « airplane», « cars"). He himself liked to invent new words ( bulk, copper-throated, endless hours, versification, piano, legendary, broadway and many others).
Mayakovsky is rightfully considered a master of rhyming. Overcoming the traditions that had developed in poetry, he sought to use various types of rhymes:
- truncated (" brain — flap», « tones - in pants»);
- inaccurate (" madness — Vesuvius», « jacket - scaffold»);
- compound (" there is no tenderness in her - twenty-two-year-old") and others.
Almost all of his rhymes are exotic, that is, they are not familiar to the reader, not always even recognizable as a rhyme. Yes, in a poem "Listen!" Sufficiently consistent cross-rhyming is not immediately visible, since this rather big poem consists of only four quatrains, each line is divided into segments by writing them " ladder».
It should be noted that " ladder' is Mayakovsky's innovation. It was expressed in the fact that the poet broke the poetic lines, each individual word became, as it were, a step (hence the name - ladder), prompting the reader to stop, as it were, a pause to highlight the meaning of the word. The usual punctuation marks seemed insufficient to the poet. This innovation has remained unusual to this day, but it is justified, since Mayakovsky believed that poetry was intended not only to be read with the eyes, but also to be spoken aloud. "Ladder" is a kind of hint to the performer about the pace of reading, the nature of intonation, the place of pauses. material from the site
The author's intention to pronounce poetry also explains the large number of appeals, exclamations and rhetorical questions in them ( "Could you?" , "Listen!" , "Nate!" ).
The overcoming of traditions is also manifested in Mayakovsky's rejection of the old laws of melody in poetic speech. He does not strive for sweetness, as the poets of the 19th century did, but on the contrary, he creates verses in such a way that they gnash, cut the ear. The poet, as if on purpose, selects discordant words: Fastened for a long time, short-haired, rough…» ( "Mom and the Evening Killed by the Germans" ). Such coarseness of the poetic material has increased expressiveness and contributes to the creation of a special image of the lyrical hero-poet, the leader of the street crowds, the singer of the urban lower classes.
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V.V. Mayakovsky (1893-1930). Early work - cubo-futurism. Manifesto "A slap in the face of public taste". M. takes part in 1913-1914. in the famous tour of the futurists in the southern cities of Russia: Kyiv, Kharkov, Odessa. His muse is Maria Denisova, the poem "A Cloud in Pants" is dedicated to her. M. shows himself as a master of rhyme: suede - married.
Neighborhood next to or within one work of images of great depth and power. He has a big ego.
M. contrasts the poet and the crowd. The poet is himself, the crowd is a mass of uneducated and rude people.
Contrasting pure nature and a dirty person (“Nate!” See pr.)
By the beginning of the 20s:
1) Expansion of the scope of the phenomena depicted
2) Gradual transition from emotional perception to analytical
3) The transition from a conventional image (allegory) to an image of real people with a tendency to typification.
In the lyrics of Mayakovsky of the pre-revolutionary period, two intonations are clearly felt: indignantly satirical, ridiculing ugly phenomena, social ulcers of Russian reality, and tragic, connected with the theme of the death of a person, the bearer of the bright ideals of humanism and democracy, in the conditions of a "terrible world". This makes Mayakovsky related to another outstanding poet of the beginning of the century - Alexander Blok.
A sense of personal responsibility of a person (poet) for everything that happens around.
"Caring for the cleanliness of pavements is also the task of poetry." Mayakovsky therefore goes into advertising. He sang the Mosselprom. Talented advertising came out from Mayakovsky's pen. "Nowhere but in Mosselprom!". The article "How to make poetry?", where he introduces the reader to his creative laboratory. He is a writer of social order, he writes what the country expects from him. M. speaks about the theme of the poet and poetry in the poems "Anniversary", "To Sergei Yesenin", "To Comrade Netta - the steamer and the man", in the poem "Out loud". For him, poetry is hard labor. "Poetry is the mining of radium." M. teaches a lot, especially in the poem "To Sergei Yesenin"
Analysis of the poem (useful thing):
Many have ever seen beautiful flowers growing through stone slabs, through cracks in asphalt, wherever possible. That is the essence of poetry. The poet's soul, his imagination are like the most fertile soil, on which, with difficulty, with flour, with effort, but still stubbornly, thought-verses sprout. From the dirt, from the dust, from the black soil, from the very depths, these fragile sprouts stretch upwards in order to then gain real strength, bloom, show everyone their beauty, their charm. And the more often the poet will court, loosen this soil of his mind, the more rains of inspiration shed on it, the better the flowers will grow, the fruits of these labors. Only such verses - nurtured with torment, those on which a lot of work is put, sincere, coming from the depths of the poet's soul - only such verses can be called real poems, real works of art. Such are the poems of many poets, and Mayakovsky is one of them. In his poem "To Sergei Yesenin" he talks about the problem of the poet and his poetry.
The space of the poem is quite interesting - it is the world of people. In general, the color scheme is not rich at all, because the author may have wanted to draw the reader's attention more to the content. White and black colors stand out especially ("E so that deadly chalk fills the cheeks", ink). On the one hand, such colors are typical for the main attributes of the poet - a sheet of clean paper and ink. On the other hand, the space painted in such tones reminds of death, the pallor of the dead, the dampness and blackness of the earth in which they are buried, the loneliness and darkness surrounding a person after death ("Emptiness Fly, crashing into the stars" ).
The poem is filled with a mass of various sounds, mostly sharp, like shouts, and ringing. In some lines, sonorous sounds correspond more to life itself, belong to it, and quiet, hissing ("mortuary", "past", "remade") - dying, death:
In addition, there are in the poem both "bronze ringing", and "thundering brawler", and "three-fingered whistle". Mayakovsky screams, but not everyone can hear his words.
The poem is written in Mayakovsky's favorite manner - a ladder. It can be attributed to tonic verses, in which only the number of stressed syllables in a line is taken into account. Mayakovsky brings some words from the end of the line to a new one, thus highlighting them, stopping attention on them:
Thanks to all this, the impression of confused, abrupt, somewhat agitated speech is created. The use of cross rhyme (crumpled - wine - little - wine, class - before fights - kvass - fool) gives the author's thoughts clarity, completeness, but the rhyme is not always explicit (cutting - sobriety), which makes the poem even more like a real one, live conversation. And a number of neologisms used by the author (nonsense, snotty, crippled) also gives the sound of speech a truly colloquial character.
Here one can note its form as one of the features of the poem. Mayakovsky constantly refers to Yesenin, as if he were talking to him alive, able to hear him: "You left, as they say, in the other world." Moreover, this conversation takes place in the present tense, like any ordinary conversation. Such a construction of the author's thoughts gives them a special intimacy, when it becomes possible to express everything that is sore, to confess what is usually not said, what is hushed up. In this regard, the poem is perceived as a kind of confession of the author, where the appeal to Yesenin is just an excuse to formulate one’s still unspoken doubts into clear thoughts about the poet’s mission, about the place of poetry in the poet’s life. For Mayakovsky, the creation of poetry is a kind of skill, ability (“EVs knew how to bend so much that no one else in the world knew how.”). Moreover, such an ability is not just given, it must be used, used as useful, necessary, because the poet is the apprentice of the people. A poet must always create, and create freely, always talk about what is most important in his soul. Therefore, of course, Mayakovsky condemns those who believe that "Even if one of the posts were assigned to you, they would become a very gifted content," because it is impossible to create on someone's orders, under supervision, because then you begin to write "tiring and long ", and the main thing is the number of lines, not their content. The author understands that a poet without freedom is not a poet, that such a person has no choice: either become an imitator or die. Lack of freedom for a poet is like the absence of ink. Perhaps that is why Mayakovsky says: "Why increase the number of suicides? It is better to increase the production of ink!" Mayakovsky despises those paths that are "more trodden and easier." For him, the very idea that you can give up, stop, give up everything, leave is impossible. Therefore, he cannot understand Yesenin, who did this. Yesenin, whose talent Mayakovsky recognizes as one of the best, stops fighting, stops fighting, dies - and stops creating, and for Mayakovsky there is no such possibility that he would stop creating his poems of his own free will. In any situation, he seeks to sing of life, and for him the meaning of it is in the non-stop movement forward. Without doubts, without regrets, without looking back: "March! .." And let life be difficult, but he will snatch "joy from the coming days." And knowing what happens to a poet after death, when “the grates of memory have already been inflicted with dedications and memories of rubbish”, “your name is scattered in handkerchiefs”, and poems mumble and crumple, Mayakovsky, like a real speaker from the podium, calls on all readers : "it is not difficult to die in this life", and for real poets, according to Mayakovsky, the whole point of their work is to "make life", which is "much more difficult". But the work of the poet has always been, is and will be difficult. Just as peasants plow the land all their lives so that bread, food for the body, grows on it, so the poet dedicates his existence to the difficult plowing of the vast and undeveloped fields of his soul, so that poems, food for the soul, sprout on them, because "the word is the commander of human strength ".
Probably, it can be argued that Mayakovsky wanted to convey his attitude towards poetry and poets in this poem. Having designated for himself the goal - to live in order to "make life" and sing it, he always strived for this. And he, no doubt, can be attributed to those great poets who managed to grow in their souls the most beautiful flower - the flower of poetry.
The writing
Mayakovsky closely listened to the pulse of his time and was constantly looking for new poetic solutions that would correspond to the spirit of the era of great changes.
His favorite technique is metaphor, especially hyperbolic, built on exaggeration. For example, in the poem "A Cloud in Trousers" we read: "And here is a huge one, / I stoop in the window, / I melt the window glass with my forehead." The poet plays on his extraordinary growth, conveys the power of feelings with the help of hyperbole: the glass melts under the forehead of the hero, hot from the heat of love. Often Mayakovsky used the so-called futuristic metaphor, which establishes connections between the most distant things and objects. Remember the poem “Could You?”, in which readers are struck by the metaphorical image of the “flute of drainpipes”.
Mayakovsky also has a futuristic outrageousness - shocking the "respectable public" when the poet uses rude, defiant, emphatically unaesthetic images or statements, as, for example, in the poem "Nate!": "I will laugh and spit joyfully, spit in your face ...".
Mayakovsky also often has ellipses - omissions of significant words, which is typical for colloquial, emotional speech (compare the title of the poem "Violin and a little nervous", which, apparently, should look like "The violin [sounded sad] and a little nervous"). Such violations are explained by the negative program of the futurists: they are characterized by a declarative rejection of the norms of the existing language. But destruction for avant-garde artists has always been a creative act, for which grammatical irregularities are not an end in themselves, but a way of giving birth to new meanings.
The lexical composition of Mayakovsky's poetry is also peculiar. His works are saturated with colloquial vocabulary, irregular and colloquial forms (“here”, “you want”). A feature of the poet's artistic world is the frequent use of neologisms ("skyscrapers", "airplane", "cars"). He himself loved to invent new words (hulk, copper-throated, endless hours, verse, pianist, legend, broadway and many others). Mayakovsky is rightfully considered a master of rhyming. Overcoming the traditions that had developed in poetry, he sought to use various types of rhymes:
Truncated (“brain - flap”, “tones - in pants”);
inaccurate (“madness - Vesuvius”, “jacket - scaffold”);
compound (“tenderness is not in it” - twenty-two years old) and others.
Almost all of his rhymes are exotic, that is, they are not familiar to the reader, not always even recognizable as a rhyme. So, in the poem "Listen!" a sufficiently consistent cross-rhyme is not immediately visible, since this rather big poem consists of only four quatrains, each line is divided into segments by writing them in a "ladder".
It should be noted that the "ladder" is Mayakovsky's innovation. It was expressed in the fact that the poet broke the poetic lines, each individual word became, as it were, a step (hence the name - ladder), prompting the reader to stop, as if a pause to highlight the meaning of the word. The usual punctuation marks seemed insufficient to the poet. This innovation has remained unusual to this day, but it is justified, since Mayakovsky believed that poetry was intended not only to be read with the eyes, but also to be spoken aloud. "Ladder" is a kind of hint to the performer about the pace of reading, the nature of intonation, the place of pauses.
The overcoming of traditions is also manifested in Mayakovsky's rejection of the old laws of melody in poetic speech. He does not strive for sweetness, as the poets of the 19th century did, but on the contrary - he creates poems in such a way that they gnash, cut the ear. The poet, as if on purpose, selects dissonant words: “He was fastened for a long time, curly, rough ...” (“Mother and the Evening Killed by the Germans”). Such coarseness of the poetic material has increased expressiveness and contributes to the creation of a special image of the lyrical hero-poet, the leader of the street crowds, the singer of the urban lower classes.
