The special significance of V. Mayakovsky's poetry

The beginning of the 20th century is the heyday of Russian poetry. During this period, new poetic forms appear and begin to sound differently. traditional themes; an unusual poetic language emerges. V.V. Mayakovsky is considered an innovator in the field of versification.

His special style, attention to the rhythm of the poem, unconventional rhymes, the use of new words - all this distinguishes the poetry of V.V. Mayakovsky from traditional lyrics. The poet's work has caused and still causes debate.

In Mayakovsky’s poetic system, rhymes, truncated lines,

Various verses. The poet uses his own style of writing a poem, thus V.V. Mayakovsky highlights significant semantic lines with pauses. This is how the oppressive atmosphere of hopelessness is created in the poem “A Good Treatment for Horses”:

Horse on croup [pause]

crashed [pause - the reader focuses his attention],

and immediately [pause]

behind the onlooker there is an onlooker [pause],

pants that Kuznetsky came to flare [pause],

huddled...

Such an unconventional breakdown of the poem into lines helps the poet to attract the reader’s attention to the most important thing; the feeling of hopelessness is conveyed not only

Lexically, but also syntactically, through a special line breakdown.

V. Mayakovsky paid great attention to the word, therefore in his works we encounter many author’s neologisms - words invented by the poet himself, they most fully reveal the essence of the poetic intent and convey the shades of the author’s speech. In the poem “An unusual adventure that happened to Vladimir Mayakovsky in the summer at the dacha” there are many author’s neologisms: “golden-faced”, “yasya”, “ringing”, “let’s sing”. The poet plays with words and rhymes, therefore, for example, in this poem there are homonyms: “I am driving back the lights for the first time since creation. Did you call me? Drive the tea, drive it, poet, jam!”, synonyms: “sun”, “golden forehead”, “luminary”. Poetic vocabulary of V.V. Mayakovsky is always unusual, and the reader discovers new meanings of traditional words and forms.

The poet in his lyrics uses such a poetic device as sound writing. Thus, the reader not only imagines the picture depicted by the poet (most of Mayakovsky’s poems are plot-driven), but also hears what is happening. In the poem “Being Good to Horses,” the sound of a dying horse’s hooves is expressed as follows:

The hooves beat

It was as if they sang:

What is important here is not the meaning of the words, but the combination of sounds. Sounds new in the poetry of V.V. Mayakovsky traditional themes. For example, in the poem “The Sat,” the theme of bureaucracy is revealed by the poet through mixing fantasy and reality, creating grotesque situations where people

“...at two meetings at once.

Twenty meetings

We need to keep up.

Inevitably you have to break up.

Up to the waist here

But other

The same poem also uses another innovative technique of V. Mayakovsky: mixing lexical styles. Within one work there are words and expressions that are closely related to the realities of the poet’s contemporary world, and on the other hand, there are outdated forms and words. For example, in the neighborhood there are the following words and expressions: Teo, Gukon (abbreviations of the early twentieth century) and the ancient form of the verb to yell - orya; neologism of that time - audience and archaism - from the time it.

Thus, V.V. Mayakovsky was an innovator in the field of versification in the poetry of the early twentieth century. His poetic style attracted the attention of the reader, and his talent put him on a par with the outstanding poets of the early twentieth century.

Option 2.

In a difficult, turning-point period for Russia, Mayakovsky entered the poetic arena. The first Russian revolution is drowned in blood, the atmosphere is tense to the limit, the whirlwind of world war makes people doubt all their previous values.

They look to the future with great hope and long for future changes. These complex social processes are reflected in art, as if in a mirror. The outright denial of traditional culture, the shocking philistine way of life, the almost religious cult of technology and modern industry with its superhuman power - all this served as an impetus for the popularity of futurism.

Mayakovsky anticipates the “inevitability of the collapse of old things” and, through art, anticipates the coming “world revolution” and the birth of a “new humanity.” “Rush into tomorrow, forward!” - that's his motto.

riding into the unfamiliar.

And this unfamiliar, unknown turns into the subject of his creativity. He widely uses the technique of contrasts: dead objects come to life in his poetry and become more animated than living ones. Mayakovsky's poetry, with its urban-industrial pathos, contrasts the image of a modern city of many thousands with its busy streets, squares, honking cars - with pictures of nature, which seems to him something inert and hopelessly dead. The poet is ready to kiss the “smart face of the tram,” he sings of the city lamp, which “takes off the blue stocking from the street,” while his moon is “flabby,” “useless to anyone,” and the girl’s heart is lifeless, as if “boiled in iodine.” " The poet is convinced that a new word can only be said in a new way. Mayakovsky is a pioneer who masters words and vocabulary, like a brave master working with his material according to his own laws. It has its own structure, its own image, its own rhythm and rhyme. The poet fearlessly breaks the usual poetic form, creates new words, and introduces low and vulgar vocabulary into poetry. In relation to the greatest phenomena of history, he adopts a familiar tone, and speaks with disdain about the classics of art:

Take the classics

rolled into a tube

and passed through a meat grinder.

He loves everything contrasting. For him, the beautiful coexists with the ugly, the high with the low:

Prostitutes are like a shrine

they will carry me and show me

God in his justification.

All his poems are deeply personal, he is present in each of them. And this specific presence becomes a starting point, a coordinate system in the unbridled flow of his imagination, where time and space are displaced, where the great seems insignificant, and the innermost, intimate grows to the size of the Universe. He stands with one foot on Mont Blanc, the other on Elbrus, he is on first name terms with Napoleon, and his voice (“screaming”) drowns out the thunder.

He is the Lord God, who created his poetic world regardless of whether anyone likes his creation. He doesn't care that his deliberate rudeness might shock anyone. He is convinced that the poet is allowed everything. The lines from the poem “Nate!” sound like a daring challenge and a “slap in the face of public taste”:

And if today I, a rude Hun,

I don’t want to grimace in front of you - so

I will laugh and spit joyfully,

I'll spit in your face

I am a spender and spendthrift of priceless words.

Mayakovsky has a completely new vision of the world; he seems to turn it inside out. The familiar appears strange and bizarre in his poetry, the abstract becomes tangible, the dead becomes alive, and vice versa: “Tears of snow from reddened eyelids”; “The boats in the cradles of the entrances pressed against the nipples of the iron mothers.”

Mayakovsky's poetry speaks not only in the language of images and metaphors, but also widely uses the sound and rhythmic possibilities of the word. A striking example is the poem “Our March,” in which one can literally hear the beat of drums and the measured step of marching columns:

Days bull peg.

The arba is slow.

Our God is running.

Our heart is our drum.

The previous idea of poetry, and poetry itself, was changed by Vladimir Vladimirovich Mayakovsky. He is called the mouthpiece of the ideas and moods of the era, and his poems are “the weapon of the masses.” Mayakovsky brought poetry out of the salons onto the square and forced poetry to march with the demonstrators.

Mayakovsky’s great and controversial poetic heritage includes such masterpieces as “Listen!”, “The author dedicates these lines to himself, his beloved,” “Cloud in pants,” as well as many topical poems. Much in Mayakovsky’s work is complex, and it is not always possible to understand and accept it. But when assessing his work, one should remember that poetry is a fact of biography, depending on the surrounding reality. The turbulent time of many cataclysms occurring in the fate of the country, the time of searching for new ways of development of Russia, left its mark on the poet’s work.

Mayakovsky, in an attempt to achieve the maximum level of expression that corresponds (no matter whether it is love, art, politics) to the new life content, creates his own, original creative method. The goal that the author has set for himself is to write “just as well, but about something else - with an emphasis on “good”, in this case.” The poet achieved the fulfillment of his plans, since he left behind something new, undoubtedly talented, something that will be remembered for centuries.

crashes with a running start.

Comes

the most terrible of depreciation -

depreciation

hearts and souls.

Eternal themes, not related to the topic of the day, not dictated by agitprop and social orders, did not arise in Mayakovsky’s poems “by mandate of duty.” They sounded dissonant in the Soviet era of official life affirmation. Then something completely different was required. This is how Nikolai Tikhonov formulated these demands in his speech at the First Congress of Writers: “The new humanity rejected the theme of world sorrow as unnecessary. We strive to become masters not of world sorrow, but of world joy.”

Mayakovsky was by nature a tragic poet. He wrote about death and suicide starting from his youth. “The motive of suicide, completely alien to the futuristic and Lefovian themes, constantly returns in Mayakovsky’s work,” noted R. Yakobson in the article “On a generation that wasted its poets.” “He tries on all the options for suicide... The unprecedented pain of the present time is nurtured in the poet’s soul.” The motive of death and suicide sounds in Mayakovsky as eternal, universal. Here he is a free poet, he has no propaganda, didactic, pragmatic goals, he is not bound by group obligations or polemics. His poems are deeply lyrical, truly uninhibited, in them he really talks “about time and about himself.”

Inner freedom and true inspiration animate Mayakovsky's poems about love (they, of course, belong to the pinnacle achievements of love lyrics of the 20th century), about revolution, about poetry. In these poems he is a great poet, a “magnificent beacon,” as E. Zamyatin said about him; in his work one can hear the “formidable and deafening” roar of a mighty historical stream. Mayakovsky’s voice is so powerful that, without straining it, he addresses the universe, the universe:

Look how quiet the world is

The night covered the sky with a tribute of stars.

At hours like these you get up and talk

centuries, history and the universe...

The most heartfelt lines of Mayakovsky, the tragic nerve of his poetry are in the great, intoxicating dream of a future happy humanity that will atone for all today's sins and crimes, of a future where there will be no troubles and suffering. In the poem “About This,” he addresses a scientist who, in the distant future, will be able to resurrect people and give them a new life filled with happiness:

thirtieth century

will overtake the flocks

hearts torn apart by little things.

Nowadays unloved

let's catch up

starry countless nights.

Resurrect

at least for that

I was waiting for you, throwing away everyday nonsense!

Resurrect me

at least for this!

Resurrect -

I want to live out my life!

The energy and strength of Mayakovsky’s elastic, powerful line is fueled by this faith. The last lines he wrote are about the power of free speech, which will reach posterity through the heads of governments:

I know the power of words, I know the alarm of words,

They are not the ones that the lodges applaud

From words such as these, graves are torn off

walk with four oak legs.

Sometimes they throw it away without printing or publishing it.

But the word rushes, tightening its girths,

centuries are ringing and trains are crawling

lick poetry's calloused hands.

Truly this is “a verse flying on strong wings to a providential interlocutor” (O. Mandelstam).

No matter how controversial and contradictory Mayakovsky’s work may seem today, he was and remains one of the greatest Russian poets. Mandelstam included Mayakovsky among those Russian poets who are given to us “not for yesterday, not for tomorrow, but forever” (“Lunge”, 1924). Tsvetaeva also believed that Mayakovsky was a poet not only of his century, she wrote: “With his fast feet, Mayakovsky walked far beyond our modern times and somewhere around some corner will be waiting for us for a long time” (1)

(1) M. Tsvetaeva Epic and lyrics modern Russia- M., 1932.

(2) O. Mandelstam. Lunge - M., 1924.

Pasternak, quoting the lines of twenty-year-old Mayakovsky:

Even though you, lame god,

paint my face

to the goddess of the freak of the century!

I'm as lonely as the last eye

from a man going to the blind! -

remarked: “Time listened and did what he asked. His face is inscribed “in the goddess of the century.” The half-century that has passed since Pasternak said this has confirmed the truth of his words: Mayakovsky entered the history of the century and took a prominent place on the Russian poetic Olympus. (1)

V. Kornilov, in his article “Not the world, but a myth,” written for the centenary of Mayakovsky, while recognizing that the poet is “great and unique,” still believes that “there is no need for an anniversary, and there is no point in studying it in high school either.” which, at least for the next half century.” In the article, G. Mironova argues with him: “This is hardly true. Yes, it is still difficult to study Mayakovsky, but it is already clear that it is impossible to study the history of Russian poetry bypassing or omitting Mayakovsky. Now there is no longer any doubt that Mayakovsky will “stand”, despite all the accusations and revelations.” (2)

(1) B. Pasternak People and Positions. - M., 1956.

(2)N. Mironova Is Mayakovsky alive today? - M., 2003.- p.7.

But it needs to be studied without glossing over its glaring contradictions, without turning a blind eye to failures in moral guidelines, into “emptiness,” separating genuine poetry from poetry, which at its birth was no longer viable.”

Understand Mayakovsky's work, many of his motives and images, his strong and weak sides is possible only if we consider it in the context of history, in the broad mainstream of contemporary literature.

Conclusion. Conclusions from the study.

Mayakovsky's poetry is in many ways similar to the painting of the early 20th century, although the tools of the artist of words and the master of the brush are different. It is known that Vladimir Mayakovsky himself was talented artist and a painter.

Malevich, Kandinsky, Picasso are close in their search for a new form on canvas creative searches verbal form of Mayakovsky. However, for Mayakovsky, the search for form was not an end in itself.

The roots of Mayakovsky's innovation can also be found in related fields of art, for example, in cinema. He loved to make his poems using the montage method, working with the word as with a film. Also, the innovative search for a new form was largely determined by the revolution. Mayakovsky was convinced that poetry should also correspond to this new reality. Naturally, new intonations appeared in his poems, aggressive notes that evoked poses.

Summing up the results of the study, we can highlight the following features of innovation in the poetry of V.V. Mayakovsky:

1. New types of rhyming line, divided into the following:

1. Flip compound rhyme - the end of a line rhymes with the end of another and with the beginning of a third.

2. Spaced rhyme - the beginning and end of one line rhymes with the end of another.

3. Hidden rhyme - the beginning or middle word of one line rhymes with the end of another.

2. expansion of the vocabulary of the poetic language, the introduction of political and revolutionary vocabulary into it, the widespread use of neologisms: sickle, hammer-handed, scream-lipped, etc.

3. Use of metaphor, sometimes literalized.

4. Change in the rhythmic pattern of the verse associated with reading poetry out loud.

5. Special syntax of verses, where the main role assigned to a noun.

Of course, the poet had his own failures, mistakes and delusions, but he himself understood that not everything he wrote would remain in history. For example, he wrote the following tragic lines:

agitprop stuck in my teeth,

scribble

romances for you, -

it's more profitable

and prettier.

becoming

own song.

Marina Tsvetaeva wrote about this: “No sovereign censor dealt with Pushkin as much as Vladimir Mayakovsky dealt with himself... Mayakovsky... ended with more force than a lyric poem - with a shot. For twelve years in a row the man Mayakovsky killed the Mayakovsky poet within himself, on the thirteenth the poet stood up and killed the man...” (1)

It seems to us that we should join these words and, while paying tribute to the talent of Vladimir Vladimirovich Mayakovsky, we should not consider his work outside the context of that complex and tragic era of which the poet was a product...

(1) M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932. - p.23.

References.

1. V. Kornilov - Not the world, but a myth - M. 1986.

2. O. Mandelstam. Lunge - M., 1924.

3. N. Mironova - Is Mayakovsky alive today? - M., 2003.

4. B. Pasternak. - People and situations - M., 1956.

5. M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932.

6. G.S. Cheremin Mayakovsky's Path to October. - M., 1975.

7. B.M. Eikhenbaum. About Mayakovsky's poetry. - M., 1987.

Silyavo Danil

The issues of V. Mayakovsky's poetic innovation in the field of versification are considered. Attention is paid to its special style, rhyming, and use of neologisms.

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Municipal budgetary educational institution

Bokhan Secondary School No. 2

ESSE

“Poetic innovation of V.V. Mayakovsky"

Completed by: Silyavo Danil

9th grade student

MBOU Bohanskaya secondary school No. 2

Head: Malkova N.A.

Russian language teacher and

Literature MBOU Bokhanskaya

Secondary school No. 2

Bokhan village, 2016

V.V. Mayakovsky enters the poetic arena at a difficult turning point for Russia. He sincerely believes in the ideals of the revolution and therefore his poems are always politicized. I. Luppol: “The October Socialist Revolution called Mayakovsky to a new life, it seemed to put him on a rail from which he never left.” During this period, new poetic forms appear, traditional themes begin to sound differently; an unusual poetic language emerges.

V.V. Mayakovsky is considered an innovator in the field of versification. His special style, attention to the rhythm of the poem, unconventional rhymes, use of new words - all this distinguishes Mayakovsky's poetry from traditional lyrics.

In Mayakovsky's poetic system, rhymes, truncated lines, and multi-accent verses are very important. The poet uses his own style of writing a poem, thus the poet highlights significant semantic lines with pauses. This is how the oppressive atmosphere of hopelessness is created in the poem “A Good Treatment for Horses”:

Horse in a circle (pause)

Behind the onlooker there is an onlooker (pause)

The Kunetskys came to flare their pants (pause

Huddled together..."

Such an unconventional breakdown of the poem into lines helps the poet draw the reader’s attention to the most important thing; the feeling of hopelessness is conveyed not only lexically, but also syntactically, through a special line breakdown.

V. Mayakovsky paid special attention to the word, therefore in his works we encounter many author’s neologisms - words invented by the same poet, they most fully reveal the essence of the poetic intent and convey the shades of the author’s speech. In the poem “An unusual adventure that happened with Vladimir Mayakovsky in the summer at the dacha” there are many author’s neologisms: “grudging”, “yasya”, “ringing ringing”. "Let's sing." The poet plays with words and rhymes, therefore, for example, in this poem there are homonyms: “I am driving back the lights for the first time since creation. Did you call me? Drive tea, poet, jam; synonyms: “sun”, “golden lover”, “luminary”. V. Mayakovsky's poetic vocabulary is always unusual and the reader discovers new meanings of traditional words and forms. Traditional themes sound new in Mayakovsky's poetry. For example, in the poem “The Satisfied,” the theme of bureaucracy is revealed by the poet through a mixture of fantasy and reality, the creation of grotex situations when people

...at two meetings at once

In a day

Twenty meetings

We need to keep up.

Inevitably you have to break up.

Up to the waist here

But other

There"

The same poem also uses another innovative technique of Mayakovsky: mixing lexical styles. Within one work there are words and expressions that are closely related to the realities of the poet’s contemporary time, and on the other hand, there are also outdated words and forms.

Thus, V.V. Mayakovsky became an innovator in the field of versification in the poetry of the early 20th century.

Mayakovsky's passionate, relentless desire for the future is connected with the fact that he did not accept much in today's life. He is still “an outcast today” (“About This,” 1923). Motifs of world sorrow continue to be heard in his poems: “Our planet is poorly equipped for joy”, “This time is a bit difficult for the pen” (“To Sergei Yesenin”, 1925). The feeling of loneliness does not leave him:

I'm bored

Here

Alone

Ahead -

to the poet

You don't need much -

let

Only

Time

Will give birth soon

someone like me

Fleet-footed.

(“City”, 1925)

The ironic lines in the 1925 elegiac poem “Petty Philosophy in Deep Places” are piercingly sad:

Years are seagulls.

They'll fly out in a row -

and into the water -

Stuff the belly with fish.

The seagulls disappeared.

Essentially speaking,

where are the birds?

I was born,

Ros,

They fed me a pacifier -

lived,

Have worked,

I'm getting old...

So life will pass,

How did the Azores go?

islands.

The poet was only thirty-two years old when he wrote this poem. The thought of his passing life and the premonition of approaching death do not let him go. They also appear in the 1926 poem “Conversation with the Financial Inspector about Poetry”:

car

Souls

Over the years you wear it out.

They say:

- to the archive,

I wrote myself off,

It's time! –

Loved less and less

Daring less and less

and my forehead

Time

It crashes from a running start.

Comes

The worst of depreciation -

depreciation

Hearts and souls.

Mayakovsky was by nature a tragic poet. He wrote about death and suicide starting from his youth. “The motive of suicide constantly returns in Mayakovsky’s work,” noted R. Yakobson in the article “On a generation that wasted its poets.” “He tries on all the options for suicide... The unprecedented pain of the present time is nurtured in the poet’s soul.” The motive of death and suicide sounds in Mayakovsky as eternal, universal. Here he is a free poet, he has no propaganda, didactic, pragmatic goals, he is not bound by group obligations or polemics. His poems are deeply lyrical, truly uninhibited, in them he really talks “about time and about himself.”

The most heartfelt lines of Mayakovsky, the tragic nerve of his poetry are in the great, intoxicating dream of a future happy humanity that will atone for all today’s sins and crimes, of a future where there will be no troubles and suffering. In the poem “About This,” he addresses a scientist who, in the distant future, will be able to resurrect people and give them a new life filled with happiness:

Your

Thirtieth century

Will outrun the flocks

hearts torn apart by little things.

Nowadays unloved

Let's catch up

starry countless nights.

Resurrect

At least for that

what am I

Poet

I was waiting for you, throwing away everyday nonsense!

Resurrect me

At least for this!

Resurrect -

I want to live out my life!

I know the power of words, I know the alarm of words,

They are not the ones that the lodges applaud

From words such as these, graves are torn off

walk with four oak legs.

Sometimes they throw it away without printing or publishing it.

But the word rushes, tightening its girths,

centuries are ringing and trains are crawling

lick poetry's calloused hands.

Pasternak, quoting the lines of twenty-year-old Mayakovsky:

Time!

Even though you, lame god,

paint my face

to the goddess of the freak of the century!

I'm as lonely as the last eye

from a man going to the blind! –

Mayakovsky's poetry is in many ways similar to the painting of the early 20th century, although the tool of the artist of words and the master of the brush are different. It is known that Vladimir Mayakovsky himself was a talented artist and painter.

Malevich, Kandinsky, Picasso in their search for a new form on canvas are close to the creative search for the verbal form of Mayakovsky. However, for Mayakovsky, the search for form was not an end in itself.

We can highlight the following features of innovation in the poetry of V.V. Mayakovsky:

1. New types of rhyming line, divided into the following:

1. Flip compound rhyme - the end of a line rhymes with the end of another and with the beginning of a third.

2. Spaced rhyme - the beginning and end of one line rhymes with the end of another.

3. Hidden rhyme - the beginning or middle word of one line rhymes with the end of another.

2. expansion of the vocabulary of the poetic language, the introduction of political and revolutionary vocabulary into it, the widespread use of neologisms: sickle, hammer-handed, scream-lipped, etc.

3. Use of metaphor, sometimes literalized.

4. Change in the rhythmic pattern of the verse associated with reading poetry out loud.

5. Special syntax of poetry, where the main role is given to the noun.

References.

1. V. Kornilov - Not the world, but a myth - M. 1986.

2. O. Mandelstam. Lunge - M., 1924.

3. N. Mironova - Is Mayakovsky alive today? - M., 2003.

4. B. Pasternak. - People and situations - M., 1956.

5. M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932.

6. G.S. Cheremin Mayakovsky's Path to October. – M., 1975.

7. B.M. Eikhenbaum. About Mayakovsky's poetry. – M., 1987.

The beginning of the 20th century is the heyday of Russian poetry. During this period, new poetic forms appear, traditional themes begin to sound differently; an unusual poetic language emerges. V.V. Mayakovsky is considered an innovator in the field of versification. His special style, attention to the rhythm of the poem, unconventional rhymes, the use of new words - all this distinguishes the poetry of V.V. Mayakovsky from traditional lyrics. The poet's work has caused and still causes debate.

In Mayakovsky's poetic system, rhymes, truncated lines, and multi-accent verses are especially important. The poet uses his own style of writing a poem, thus V.V. Mayakovsky highlights significant semantic lines with pauses. This is how the oppressive atmosphere of hopelessness is created in the poem “A Good Treatment for Horses”:

Horse on croup [pause]

It crashed [pause – the reader focuses his attention],

And immediately [pause]

Behind the onlooker is an onlooker [pause],

The pants that Kuznetsky came to flare [pause],

Huddled...

The hooves beat

It was as if they sang:

- Rob.

“...at two meetings at once.

Twenty meetings

We need to keep up.

Inevitably you have to break up.

Up to the waist here

But other

Introduction. About the poet V.V. Mayakovsky……………………………………………………2

1. Innovation of V. Mayakovsky’s poetry.…………………………………5

2. The tragedy of Mayakovsky’s fate…………………………………….18

Conclusion. Conclusions from the study…………………..25

Used literature……………………………………………………………28

Introduction.

Starting this study, I would like to quote lines from the poem recent years life of V.V. Mayakovsky:

I want to be understood by my country,

but I won’t be understood -

By home country

I'll pass by

How's it going?

slanting rain.

("Home", 1925)

You can hear such pain in these lines that you want to understand why such a poet, favored by the state, could write this. After all, by the time these lines were written, Mayakovsky already had national recognition, he was considered “the main mouthpiece of the era,” but here...

It seems to us that the poet’s main problem was that after him there was no worthy replacement. Marina Tsvetaeva was right, who said this about him: “When I say “herald of the masses,” I see either a time when everyone was as tall, stride, and strong as Mayakovsky, or a time when everyone will be like that. For now, at least in the area of feelings, of course, Gulliver is among the Lilliputians, exactly the same, only very small.”(1) A.S. Pushkin was replaced by M.Yu. Lermontov, who took his style of verse as a standard, and no one came to replace V.V. Mayakovsky, who in terms of the scale of his talent is in no way inferior to A.S. Pushkin. The “sixties” tried - E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky - they wrote poems like a ladder, but it didn’t work... So the mighty figure of the mysterious poet and man - V.V. Mayakovsky - still stands apart.

(1) M. Tsvetaeva Mayakovsky and Pasternak - M., 1932.

Volumes of various studies have been written about the work of V. Mayakovsky. Having rethought everything we had read, in our research we relied on Nadezhda Mironova’s article “Is Mayakovsky Alive Today?”, where the author meticulously examines the poet’s work and analyzes it in relation to the needs of the modern reader. It would seem, why was this needed? The fact is that the attitude towards Mayakovsky throughout his life and later was very different, since in the thirties Mayakovsky the man completely disappeared from the field of view of readers, he was replaced by a “monument to the Russian revolution.” But in fact, the poet had many faces, like everything for real talented people. He was versatile, but official literature did not want to admit this, considering him only suitable for proclaiming the advantages of the socialist system and calls to walk “Left!” In particular, the article says that Stalin’s famous statement about him was truly fatal for Mayakovsky’s poetic fate. In a letter to Lily Brik (she complained that Mayakovsky was not published and was being kept silent in every possible way), Stalin wrote: “...Mayakovsky was and remains the best, most talented poet of our Soviet era. Indifference to his memory and his works is a crime.” These words of Stalin determined the tragic posthumous fate of Mayakovsky's poetry. The poet was canonized and ranked among the untouchables. “They began to introduce Mayakovsky like potatoes under Catherine. This was his second death. “He is not to blame for it,” Pasternak wrote in 1956

The myth of Mayakovsky was created, the official concept of his work was established, deviations from which threatened researchers with the most serious troubles. According to this concept, the poet’s early, pre-revolutionary work was flawed: he paid tribute to pessimism, individualism, and futurism. The real, correct Mayakovsky begins only after 1917, when he frees himself from all these vices and becomes a clear, cheerful, life-affirming singer of the socialist new. “Any direct or indirect attempts to identify Mayakovsky with the futurists, contrasting his poetry with classical poetry, have nothing to do with historical truth,” the central organ of the party threateningly warned the magazine “Communist” (1953, No. 10). In school and university textbooks and programs, in pseudoscientific “research,” and in popular critical essays, Mayakovsky was turned into a loud singer and a thoughtless propagandist of the Soviet regime. “Born Great October Revolution“Mayakovsky was and remains the great herald of the socialist era... along with Gorky, he is a new, epochal type of writer,” says the afterword to the Complete Works of the poet in 1973. Elevated by Stalin to the highest state pedestal, Mayakovsky wrongfully overshadowed other remarkable poets - of their contemporaries. For several decades, he was published in millions of copies, constantly quoted inappropriately and inappropriately, studied as an unsurpassed classic, but they were kept silent, not published, banned, and physically destroyed. Gumilyov and Klyuev were shot, Mandelstam died in the camp, Yesenin and Tsvetaeva committed suicide, Akhmatova’s fate was difficult, they were hunted down after Nobel Prize for the novel “Doctor Zhivago” by Pasternak. The transformation of Mayakovsky into an official, state poet, into a “drummer of the proletarian revolution,” as Bukharin called him, repelled and alienated many readers. But without studying the poet’s work, the author of the article and we are sure, it is impossible to study Russian literature of the twentieth century. Mayakovsky, with his innovative poems, unconventional approach to versification, dynamism and effectiveness of his poems, is the pride of our literature.

(1)N. Mironova Is Mayakovsky alive today? - M., 2003. – p.5.

2. Innovation of V. Mayakovsky’s poetry..

B. Eikhenbaum wrote: “History has presented Mayakovsky with a task of enormous importance and difficulty. He had to change not only poetry, but also the very idea of it and of the poet, which was, perhaps, even more difficult." Mayakovsky begins the struggle to change traditional views of the poet, poetry and its role, its tasks at the very beginning of his work ." (1)

In the poem "Cloud in Pants" (1914-1915), Mayakovsky exclaimed:

Listen!

Preaches

rushing and groaning

today screaming-lipped Zarathustra!

As Eikhenbaum writes: “This was already a challenge to tradition... the scream-lipped Zarathustra” is a “prophet”, but not a priest... Indeed, Mayakovsky’s poet is a prophet, but a prophet not of a higher power, like Pushkin, but a prophet of new times:

Where people's eyes break short,

The head of the hungry hordes,

In the crown of thorns of revolutions

The sixteenth year is coming.

And I am your forerunner...

From the very beginning, Mayakovsky attacks the poets who “... boil, sawing in rhymes, some kind of brew from loves and nightingales.” Mayakovsky is disgusted by the isolation of poets in their little world, when they were “entrusted with the beauty of a magnificent century ...”, and the candy-like sweetness of their poetry is disgusted.

Gentlemen poets, aren't you bored?

pages, palaces, love, lilac bush for you?

If people like you are creators -

I don't care about any art."

Such poets were “not large-scale”, small for Mayakovsky, and he struggled with such lyrics all his life:

We have repeatedly attacked the lyrics with hostility...

We don’t think, however, that he was completely against lyrics. It’s just that the poet brought his enormous scale, strength and energy of verse into this area of poetry. ("Listen!")

And, straining

In blizzards of midday dust

Rushing to God

Afraid he's late

Kisses his sinewy hand,

Asks -

So that there must be a star! –

Swears -

Will not endure this starless torment!…

Than spiritual stronger man, the stronger the unexpectedly erupting pain is perceived, but the stronger his struggle. Mayakovsky’s poetry is always a struggle, a struggle “for” and “against”: against the “old”, the old poetic system, the old understanding of poetry, for the new, new in everything, for the renewal of the world. In the article "How to make poetry?" Mayakovsky wrote: “The weak are marking time and wait for the event to pass in order to reflect it, the powerful run just as far ahead in order to delay understandable time.” This statement would have been impossible without the faith in the power of words with which Mayakovsky came to poetry. He was the first to introduce into poetry the idea of the word as a weapon:

I want a feather to be compared to a bayonet...

Without faith in the power of words, there would be no Mayakovsky’s poetry, and there would be no Mayakovsky himself. There would be no such concepts as “social order” and “target setting”. In the article "How to make poetry?" the poet notes: “I write about my work...”. The understanding of poetry as work was fundamentally new. The purpose of this work was determined by “class and the demands of the struggle.” In the same article, Mayakovsky writes: “For example, the revolution threw the clumsy talk of millions onto the streets, the jargon of the outskirts poured through the central avenues. This is a new element of language. How to make it poetic?” (“The street is writhing, tongueless”).

needed a new style And new genre. The poet turns to the windows of ROSTA. “This is not only poetry... This is a protocol recording of the most difficult three years of revolutionary struggle, conveyed by spots of color and the ringing of slogans. This is my part of the enormous propaganda work of the ROSTA satire windows. Let the lyricists remember the poems with which they fell in love. We are glad to remember the lines with which Denikin fled from Orel," Mayakovsky wrote.

We are not considering here the new things that entered poetry with ROSTA windows, because the “honor” of discovering this form does not belong to Mayakovsky. The form itself: a caricatured drawing with an explanatory caption was not new. What was fundamentally new was the orientation towards the masses and their agitational character, which determined the style of the windows. GROWTH. But Mayakovsky began working in ROST after he saw a similar poster on the street. Mayakovsky, like no other poet, expressed his time, full of the pathos of the creation of a new world and faith in the future. This time was in him. He lived and breathed it, the fate of the country, the fate of time became his fate:

Was it with the fighters or the country,

Or it was in my heart.

And that is why Mayakovsky, perhaps without suspecting it himself, fulfilled another very important historical mission entrusted to him. “He had,” wrote Eikhenbaum, “to save Russian poetry from the contradiction of “civil” and “pure” poetry, the contradiction of the poet-citizen and the poet-priest... Mayakovsky is not at all a civil poet in the narrow sense of the word: he is the creator of a new poetic personality, a new poetic I, leading to Pushkin and Nekrasov and removing their historical opposition, which was the basis for the division into “civil” and “pure” poetry, Mayakovsky removed this opposition itself,” because in his poetic I the public and the personal became inseparable. Hence the originality of the genre of such poems as “Vladimir Ilyich Lenin” and “Good!”: Mayakovsky thought not only about the fate of his country, but also about the fate of the whole world. Moreover, the thought of the fate of all humanity was not simple. accessible to the poet, it became familiar to him, he could not and did not want to leave it. With his work, Mayakovsky most fully embodied the thought of L. N. Tolstoy that “a person, living in this world, must ... recognize himself as a member of all humanity. "; "so that what's new is that he<писатель>sees, it was important for people, he should not live a selfish life, but take part in common life humanity." Mayakovsky wrote:

I erased the difference

Between the faces of our own and those of others.

Mayakovsky's poetic genre arose as a kind of monologue of a poet addressing listeners. And this is no coincidence. Mayakovsky began with monologues, because often there were no listeners. In the pre-October work one can feel the terrible loneliness of the poet. Dialogue with the reader arises only after October. Mayakovsky has, as it were, three types of monologues. Firstly, there are poems (for example, “Orders for the Army of Arts”), where the poet stands face to face with those to whom he addresses: “Enough of the walking, futurists, take a leap into the future!”, or:

Stand up, comrades,

Please rise.

This is just an imitation of a conversation with an audience. In the first case, it is rather an appeal, and in the second, it is a speech at the microphone, without waiting for the reaction of the audience. Although, it is quite possible that this is a biased approach.

Secondly, the poet sometimes turns only half-turn towards the reader, because formally his speech is addressed to the interlocutor who is “in verse”. (“Anniversary”, “To Sergei Yesenin”, “Conversation with the financial inspector about poetry”) A monologue-conversation, in contrast to a monologue-speech, is much easier and freer; approaches colloquial speech. (A dialogue is already arising, but not yet with the reader):

Citizen financial inspector!

I'm sorry to trouble you.

Thank you…

Don't worry...

I'll stand...

And thirdly, this is a monologue-reflection, almost an internal monologue, but still spoken out loud (eg. “Petty Philosophy in Deep Places”, “Home”). It is characterized by freedom and ease of development of thought. There is no doubt that in form - lyrical genre. But Mayakovsky’s lyrics are special, they are not closed in on themselves, they do not hide from the world, and, on the contrary, they crave a reaction, a response. For example, in a conversation with a financial inspector, Mayakovsky suddenly turns to the reader:

And if it seems to you that everything is business -

This is using other people's words,

So here you are, comrades, my stylus,

And you can write it yourself.

This is a lyric, in the field of attention of which is a person ( lyrical hero) in relationships with the outside world.

"This is not a lyre for you!" - Mayakovsky said about his poems. Eikhenbaum in the article “Trumpet Voice” wrote: “Mayakovsky never touched the lyre - where is it for him! His hands are not made that way. It would break at his first touch. He is loud by nature. And this is the most important thing... the time has come when the poet imagines himself shouting them (poems) loudly into a thousand-headed crowd. Where can one think about the subtleties of rhythm, sound combinations, the completeness of phrases and the accuracy of rhymes!

It is very important. This is a revolution. Another verse, another poetics, another vocabulary - all over again.

And now - a new recording of poetry: not by lines, but by breathing, because every word must be shouted with all your might... the lines are arranged not according to a pattern, but according to pronunciation (score for reading).

Such is the rhythm - such is the rhyme. In Mayakovsky it appears only where it is needed, where it should be, and its nature is new. It is all in the stressed syllable, because only this syllable reaches the last ear of the last listener, and Mayakovsky is always in front of a crowd, never in an office. He rhymes "dirt you" and "isn't", "in vain you" and "celebrate". Since “the rhyme is all in the stressed syllable,” then great importance has sound notation (especially alliteration):

The city was robbed, rowed, plundered,

Lumped the belly of the cash registers,

And at the machine he is thin and hunchbacked

The working class has risen...

Futurists were not the first to actively use alliteration. But for them it is devoid of euphony.

You pile up the sound behind the sound

And forward singing and fistula.

There are also good letters:

Er, Sha, Sha.

Mayakovsky even has a poem with alliteration in the title “Noises, noises, noises” (“...on the whisper of the soles” is a clear example of alliteration). Or:

...and in your little souls there is a worn-out breath...

(tragedy "Vl. Mayakovsky")

...Invented porridges, steaks, broths

And thousands of dishes of all kinds of food.

("Hymn to Lunch")

... a crook squeezed in puddles...

... in the choirs of the Archangel's Chorale...

(“Cloud in Pants”), etc.

Mayakovsky revived the echo rhyme, using it for the first time for Rost windows:

If we finish off Wrangel and the lord,

will there be peace then?

In a more complicated form it appears in the second chapter of the poem “Good!”:

to the ground

In Mayakovsky's early poems there are broken rhymes of the same type as in Edgar Allan Poe, Baudelaire and Annensky:

The gloomy rain squinted his eyes.

Lattice

iron thought wires-

rising stars

the nights leaned easily...

In his further poetic work M. applied 1

Now I'm heading west too!

I will go and go there,

until your eyes cry

Typed in petit. ("V. and m.")

The second type is “spaced” rhyme: the beginning and end of one line rhymes with the end of another:

The last one is planted on a bayonet

Ours are leaving for Kovno,

To the fathom

human meat shredded. (“V. and m.”)

And finally, the third type is “hidden” rhyme, when the beginning or middle word of one line rhymes with the end of another:

Annoying at first:

not a single corner,

no newspapers for tea.

Gradually he got used to the way of heaven.

I go out with others to stare.

("Human")

There are also cases of combining different rhymes. In the article “How to Make Poems” M. wrote: “I always put the most characteristic word at the end of the line and get a rhyme for it at all costs. As a result, my rhyme is almost always extraordinary and, in any case, has not been used before , and it’s not in the rhyming dictionary."

After the revolution, many new words entered the Russian language. Mayakovsky significantly expanded the vocabulary of the poetic language, introduced into it political and revolutionary vocabulary, “the talk of millions”; made extensive use of neologisms. He believed that “novelty in a poetic work is mandatory.” And indeed, he has a lot of neologisms: sickle, hammer-handed, scream-lipped, etc. He often used metaphors:

...from my mouth

an unchewed scream moves his legs.

From the unshaven cheeks of the squares

I'm shedding unnecessary tears...

On the eyelashes of frosty icicles

Tears from the eyes -

From the downcast eyes of the drainpipes.

Sometimes the poet uses the technique of literalized metaphor: for example, in the poem “Cloud in Pants” he strikingly plays on the expression “nerves diverged”:

Quietly, like a sick person from a bed,

The nerve jumped...

Now he and the new two

They rush about in desperate tap dancing.(1)

Innovation in Mayakovsky's poetry is directly related to the reading of his poems aloud. A lot of scientific works are currently devoted to the problem of reading the poet’s poems, but I would like to note the main thing, which also speaks of innovation in poetry. The requirements that Mayakovsky places on a true poet are known - his attributes must be a strong voice, sound pressure on the audience, a certain “area”. Mayakovsky himself fully met these criteria thanks to his strong voice and love of public speaking. However, he accuses others of being unpoetic precisely on these grounds. For Mayakovsky, poetic innovation directly correlates with the voice; moreover, the inevitable problems associated with physicality and the vocal apparatus are emphasized. The parallelism is indicative: clothes are names, the body is a thing, the vocal act is an act of protest, innovation, something rebellious. The rejection of hackneyed, “worn out” names of things has deep futuristic roots - this is the word creation of Khlebnikov, see also Kruchenykh’s phrase that the name “euy” is much more suitable for a flower denoted by the word “lily”. (2) But there is another feature of the quoted fragment. IN poetic world Mayakovsky's futuristic wedging between the signified and the signifier, the exposure of the body of the thing, gives rise to a collision in the body itself, accompanied by a crisis of voice. Just as an object carries within itself the possibility of a name, so the body carries within itself the possibility of clothing. See reverse:

(1) Eikhenbaum B. M. About poetry. M.: Sov. writer, 1987. – pp. 297-300.. For the first time: Eikhenbaum B.M. Traditions of civil poetry [About Mayakovsky] // Izvestia. April 14, 1940 - P.4.

(2) Cheremin G.S. Mayakovsky's path to October M., 1975

I'll make myself some black pants

Refusal of clothes is a rebellious act of innovation of the voice, the two-sided nature of which corresponds to both the name and the cry, i.e. with calling yourself. We are in this study We did not set out to understand these innovations thoroughly, but they are worth mentioning, since the poet’s desire for public speaking is well known. We also know that before his death Mayakovsky often lost his voice, which greatly depressed him.

3. The tragedy of the poet's fate .

Speaking about innovation in poetry, one cannot help but mention the poet’s misconceptions, associated primarily with the fact that V.V. Mayakovsky is a product of the era of the 1917 revolution. He sincerely believes in her ideals and therefore his poems are always politicized. Critics often divide the poet's pre-revolutionary and post-revolutionary work. This is not always correct.

The real Mayakovsky does not fit into the scheme, the essence of which was expressed in an article in 1936 by the then authoritative literary critic I. Luppol: “The October Socialist Revolution called Mayakovsky to a new life, it seemed to put him on rails from which he never left.” Mayakovsky's passionate, relentless desire for the future is connected with the fact that he did not accept much in today's life. He is still “an outcast today” (“About This,” 1923). Motifs of world sorrow continue to be heard in his poems: “Our planet is poorly equipped for joy”, “This time is a bit difficult for the pen” (“To Sergei Yesenin”, 1925). The feeling of loneliness does not leave him:

The ironic lines in the 1925 elegiac poem “Petty Philosophy in Deep Places” are piercingly sad:

Years are seagulls.

They'll fly out in a row -

and into the water -

Stuff your belly with fish.

The seagulls disappeared.

Essentially speaking,

where are the birds?

I was born,

fed with a pacifier -

got a bit old...

So life will pass,

How did the Azores go?

You wear it out over the years.

- to the archive,

wrote myself off

Loved less and less

dares less and less,

and my forehead

crashes with a running start.

Comes

the most terrible of depreciation -

depreciation

hearts and souls.

Mayakovsky was by nature a tragic poet. He wrote about death and suicide starting from his youth. “The motif of suicide, completely alien to the futuristic and Lefovian themes, constantly returns in Mayakovsky’s work,” noted R. Yakobson in the article “On the Generation that Wasted Its Poets.” “He tries on all the options for suicide... The unprecedented pain of the present time is nurtured in the poet’s soul.” The motive of death and suicide sounds in Mayakovsky as eternal, universal. Here he is a free poet, he has no propaganda, didactic, pragmatic goals, he is not bound by group obligations or polemics. His poems are deeply lyrical, truly uninhibited, in them he really talks “about time and about himself.”

Look how quiet the world is

The night covered the sky with a tribute of stars.

At hours like these you get up and talk

centuries, history and the universe...

thirtieth century

will overtake the flocks

hearts torn apart by little things.

Nowadays unloved

let's catch up

starry countless nights.

Resurrect

at least for that

I was waiting for you, throwing away everyday nonsense!

Resurrect me

at least for this!

Resurrect -

I want to live out my life!

I know the power of words, I know the alarm of words,

They are not the ones that the lodges applaud

From words such as these, graves are torn off

walk with four oak legs.

Sometimes they throw it away without printing or publishing it.

But the word rushes, tightening its girths,

centuries are ringing and trains are crawling

lick poetry's calloused hands.

Truly this is “a verse flying on strong wings to a providential interlocutor” (O. Mandelstam).

(1) M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932.

(2) O. Mandelstam. Lunge - M., 1924.

Pasternak, quoting the lines of twenty-year-old Mayakovsky:

Even though you, lame god,

paint my face

to the goddess of the freak of the century!

I'm as lonely as the last eye

from a man going to the blind! –

(1) B. Pasternak People and Positions. – M., 1956.

(2)N. Mironova Is Mayakovsky alive today? - M., 2003.- p.7.

But it must be studied without glossing over its glaring contradictions, without turning a blind eye to failures in moral guidelines, to “emptiness,” separating genuine poetry from poems that were no longer viable at their birth.”

It is possible to understand Mayakovsky’s work, many of his motives and images, his strengths and weaknesses only if we consider it in the context of history, in the broad mainstream of contemporary literature.

Conclusion. Conclusions from the study.

Summing up the results of the study, we can highlight the following features of innovation in the poetry of V.V. Mayakovsky:

1. New types of rhyming line, divided into the following:

1. Flip compound rhyme - the end of a line rhymes with the end of another and with the beginning of a third.

2. Spaced rhyme - the beginning and end of one line rhymes with the end of another.

3. Hidden rhyme - the beginning or middle word of one line rhymes with the end of another.

2. expansion of the vocabulary of the poetic language, the introduction of political and revolutionary vocabulary into it, the widespread use of neologisms: sickle, hammer-handed, scream-lipped, etc.

3. Use of metaphor, sometimes literalized.

4. Change in the rhythmic pattern of the verse associated with reading poetry out loud.

5. Special syntax of poetry, where the main role is given to the noun.

Of course, the poet had his own failures, mistakes and delusions, but he himself understood that not everything he wrote would remain in history. For example, he wrote the following tragic lines:

agitprop stuck in my teeth,

scribble

romances for you, -

it's more profitable

and prettier.

becoming

own song.

Marina Tsvetaeva wrote about this: “No sovereign censor dealt with Pushkin as much as Vladimir Mayakovsky dealt with himself... Mayakovsky... ended with more than a lyric poem - with a shot. For twelve years in a row the man Mayakovsky killed the Mayakovsky poet within himself, on the thirteenth the poet stood up and killed the man...” (1)

(1) M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932. - p.23.

References.

1. V. Kornilov - Not the world, but a myth - M. 1986.

2. O. Mandelstam. Lunge - M., 1924.

3. N. Mironova - Is Mayakovsky alive today? - M., 2003.

4. B. Pasternak. - People and situations - M., 1956.

5. M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932.

6. G.S. Cheremin Mayakovsky's Path to October. – M., 1975.

7. B.M. Eikhenbaum. About Mayakovsky's poetry. – M., 1987.

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