Artistic features of Mayakovsky's poetry. Mayakovsky's satire - features, description and interesting facts

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 whole system artistic means the poet is aimed at an extremely dramatized speech expression of the thoughts and feelings of the lyrical hero. This affects the system of graphic notation: increased expressiveness is transmitted both through changes in the framework of 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 his poetry, he 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 system ... what was new was the introduction of a pause line as an element of rhythm, firstly, and the transformation of a 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 strives to restore the freshness and concreteness of the language of life to the poetic language, colloquial speech. 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 rash use of the language foreign words incomprehensible to the common people.

So that I don’t write, yelling in vain,

Moral 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 Russian literary and spoken language, widely uses Old Russian, Church Slavonic and even Biblical words, talentedly 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: rykhl, 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 model 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 verbal innovations, the poet 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.

Negative relationship to language norms“Pure aesthetes” and “servants of the muses” determined 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 was-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 grand orchestra of his poetic arsenal musical instruments become almost the most important actors. Here is the howl of the port chimney: “... 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 and different instruments, and low signs of a modern city:

And you

nocturne play

we could

flute downpipes?

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" one more 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 the clear knowledge of the purpose of the work, in the ability to find topical topics, in the invention and selection of such poetic means that actively convince people of the correctness of the transformations of public life.

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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. on the famous Futurist tour of southern cities 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 Mayakovsky's lyrics 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 " scary 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 sprouting through stone slabs, through the cracks in the asphalt, everywhere, where possible, beautiful flowers. That is the essence of poetry. The soul of a poet, his imagination are like the most fertile soil, on which, with difficulty, with flour, with effort, but still stubbornly, thoughts-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 characteristic of the main attributes of the poet - the sheet blank paper and ink. On the other hand, a space painted in such tones reminds of death, of the pallor of the dead, of the dampness and blackness of the earth in which they are buried, of loneliness and darkness, human environment after death ("EmptinessE Fly, crashing into the stars").

The poem is filled with mass various sounds, mostly sharp, similar to 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 turns to Yesenin, as if he is 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, an ability (“EVs, you knew how to bend such a thing that no other person in the world could do it.”). 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 "If you were to assign one of the posts 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? Better 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 own will I stopped writing my own poetry. 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 initiations 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 devotes 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 cultivate in their souls the most beautiful flower- the flower of poetry.

Features of creativity
“One of the comrades at the school L.F. Zhegin recalls: “Having climbed into some remote corner of the workshop, Mayakovsky, sitting on a stool and hugging his head with both hands, swayed back and forth, muttering something under his breath. In the same way (at least at that time), through endless repetitions and changes, Mayakovsky created his own graphic images ... "The Cloud" was so stunning with its anti-bourgeoisness, rebellious spirit and poetic power that it was impossible to deal with it with the usual critical methods. Then an attempt was made to declare the author of the poem crazy. lured into one a private house, where a council of psychiatrists was assembled in advance, but they did not confirm the behind-the-scenes diagnosis ... And then, in 1916, Mayakovsky played Russian roulette for the first time. (Mikhailov, 1993, pp. 63, 148, 74.)

“Sometimes some stanza took him all day, and in the evening he rejected it in order to “nurture” a new one tomorrow, but on the other hand, having written down the composition, he no longer changed a single line. He wrote down for the most part on cigarette boxes; at that time, it seems, he did not have notebooks and notepads yet. However, his memory was such that he didn’t need any notebooks: he could recite by heart not only his own, but also other people’s poems, in any quantity, and once during a walk he surprised me by reciting all Al’s poems by heart. Block from his third book, page by page, in the same order in which they were printed there. (Chukovsky, 1963, p. 498.)
“Suicidal motives in his work and behavior manifested themselves from an early age. Many poems literally ooze with aggression, directed either outward or, in depressive periods, at oneself (“And the heart is eager for a shot, and the throat is raving with a razor ...”)”. (Chkhartishvili, 1999, p. 305.)

“... The aggressive atheistic tendency that was present in almost all of Mayakovsky’s creations of this period undoubtedly reflected an almost undisguised complex of a loser: with the only weapon available to him - in a word - he took revenge on God for depriving him of his beloved love ... » (Vaksberg, 1998, p. 80.)

“Mayakovsky’s creative work in an artistically reworked form reflects this inherent tendency to exaggeration and hyperbolism in the form of powerful flights of his creative imagination, gigantic metaphors taken to the limit and paradoxical, grotesque images. Used superlatives in words. (Spivak, 2001, p. 419.)

I am a poet. This is what is interesting. About it
and write. For the rest - only if
it stood by the word.
V.V. Mayakovsky. I myself.
“There is an abyss of poetic electricity in his lines…” This is how the poet Vladimir Kornilov begins his article about Mayakovsky and, as if slightly thoughtful, adds: “... but another thing is what he connected this electricity to.” This question is far from being idle, but in order to answer it, one must first understand “how, when, where” Mayakovsky appears.
Creativity V.V. Mayakovsky can be divided into two periods: pre-revolutionary (1912-1917) and post-October (1917-1930). The beginning of his path in literature was associated with a group of cubo-futurists, who affirmed in their work the revolutionary nature of forms, the rejection of poetic traditions, the freedom of art from content and ideas. The call of the futurists - "throw Pushkin, Dostoevsky, Tolstoy and other classics from the ship of our time" - Mayakovsky fully shared. The meaning of this slogan was that, while remaining within the boundaries of the old artistic means developed and legalized by the classics, it is impossible to reflect, capture the rapidly changing new reality. It was a search for new art forms, new aesthetics. It was an aesthetic rebellion, and many of the poet's early poems bear its imprint. However, the genius of Mayakovsky does not fit entirely into the framework of futuristic theory and practice.
It can be argued that the poetry of early Mayakovsky is associated with the aesthetics of neorealism, generated not only by the rejection of reality, but also by the desire to transform it. The concept of a romantic personality is embodied in the fact that the image of a lyrical hero becomes central and determines the unity of the entire system of worldview.
Early Mayakovsky spirit of denial modern life hostile to the poet of the world. His denial acquires an absolute, cosmic character, it is a protest against the entire world order.
The mood of the early poems allows us to talk about the bold and original poetic palette of the author. These are verbal sketches from nature, defining the contours of the picture, the content of which must be completed by our imagination.
The search for means of artistic expression by the beginning poet was extremely effective. The poet's works are characterized by lyrical expression, richness of associative connections and visual-auditory sensations. The diversity of the lyrical "I" is manifested in figurative hoaxes and in the theatricalization of situations. The variegation and unexpected change of lyrical masks allow us to talk about the challenge of the lyrical hero, teasing irony, and sometimes even self-parody. Mayakovsky, presenting in a paradoxical light known things, relationships and details, almost in every poem he throws a polemical challenge to literary canons.
The culminating motive of the first poems by V. Mayakovsky is the uprising of man against the disharmony of being. Criticism of modernity is combined with moods of despair, a sense of inevitable death. The author metaphorically rethinks biblical images, his lyrical hero is compared with the crucified Christ. Hyperbolization of the figure of a lyrical hero is feature early creativity. The free and unregulated self-identification of the individual, which distinguishes many of Mayakovsky's works of art, is focused on new type consciousness emerging in the early 20th century. The behavior of Mayakovsky's lyrical character is provocative. His lyrical hero invades the world of sane people, following the logic of the obvious, defiantly not wanting to know the established norms and customs
In the post-October days, the nature of Mayakovsky's poetry noticeably changes, who perceived revolutionary changes as the embodiment of the aspirations and expectations of history. In this position, one should not reveal a desire to sing of reality striving for a catastrophe, to poeticize chaos. The moral and ideological creed of the poet was based, like that of many contemporaries, on a sincere belief in the triumph of the ideas of justice for the good, which were connected to bring social change. Many themes and motifs of poetry are given a new direction, the pathos of the works becomes more rigid and journalistic, life-affirming motifs are intensified. The story of the tragedy of the animal in the poem " Good relationship to the horses" ends with an optimistic ending, contrasting with the gloomy pathos of many pre-revolutionary poems.

Characteristics of Mayakovsky's work, features of Mayakovsky's work, Mayakovsky's work

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 a "flute of drainpipes".

Inherent in Mayakovsky and futuristic outrageous - 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…”

Frequently at Mayakovsky and ellipses - omissions meaningful 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 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 poet's artistic world is the frequent use of neologisms ("skyscrapers", "airplane", "cars"). He himself loved to invent new words (hugeness. copper-throated. endless hours. poetry. pianist. legendary. broadway and many others).

Mayakovsky is rightfully considered a master of rhyming. Overcoming the established traditions in poetry ... traditions, he sought to use different kinds rhyme:

truncated ("brain - flap", "tones - in pants"); inaccurate ("madness - Vesuvius", "jacket - scaffold"); composite (“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 poets of the 19th century did. 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: “I held on for a long time. curvy. 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.

Vladimir Vladimirovich Mayakovsky began his autobiographical narrative in this way: I myself': 'I'm a poet. This is what is interesting. This is what I am writing about." His poetic word has always been focused on creative experiment, innovation, striving for the future world and future art. He always wanted to be heard, so he had to force his voice strongly, as if shouting at the top of his lungs; in this sense the title of the unfinished poem " In a loud voice"can characterize all of Mayakovsky's work.

The aspiration for the future was expressed at the very beginning of the journey: in 1912, together with the poets D. Burliuk, V. Khlebnikov and A. Kruchenykh, he signed the manifesto “Slapping Public Opinion”. The futuristic attitude remained with him for the rest of his life: this is the deification of the future, its boundless idealization and the idea that it is much more valuable than the present and the past; this is also “a striving for the extreme, the ultimate”, as N. Berdyaev characterized such a worldview; this is a radical denial of modern life principles, which are thought of as bourgeois, outrageous as the most important goal poetic word. The programmatic works of this period of Mayakovsky's work are the tragedy of the twenty-year-old poet " Vladimir Mayakovsky", staged in St. Petersburg and failed, the poem" Could you?"and a poem" A cloud in pants"(1915). Its leitmotif is the word "down", expressing an organic trait for the poet's personality: extreme revolutionaryism and the need for a radical reorganization of the world order as a whole - a trait that led Mayakovsky to futurism in poetry and to the Bolsheviks in politics. In the same year, the poem " flute spine". Her plot was the beginning of a dramatic and even tragic relationship with a woman who went through Mayakovsky's entire life and played a very ambiguous role in it - Lilia Brik.

After the revolution, Mayakovsky feels like its poet, accepts it completely and uncompromisingly. The task of art is to serve it, to bring practical benefits. The practicality and even utilitarianism of the poetic word is one of the fundamental axioms of futurism, and then of the LEF, a literary group that adopted all the fundamental futuristic ideas for practical development. It was with a utilitarian attitude to poetry that Mayakovsky's propaganda work in ROSTA, which produced "Windows of Satire" - topical leaflets-posters with rhymed lines to them, is connected. The basic principles of futuristic aesthetics were reflected in the poet's post-revolutionary program poems: Our march"(1917)," Left march" and " Art Army Order» (1918). The theme of love, the poem " I love"(1922); " About it(1923), although here too gigantism and excessive hyperbolization, characteristic of the worldview of the lyrical hero, are manifested, the desire to present exceptional and impossible demands to himself and the object of his love.

In the second half of the 1920s, Mayakovsky increasingly felt like an official poet, the plenipotentiary not only of Russian poetry, but also of the Soviet state, both at home and abroad. A peculiar lyrical plot of his poetry is the situation of going abroad and a collision with representatives of an alien, bourgeois world (“ Poems about the Soviet passport", 1929; cycle " Poems about America", 1925). A kind of motto of the "plenipotentiary of the verse" can be considered his lines: "The Soviet / have their own pride: / we look down on the bourgeoisie."

At the same time, in the second half of the 1920s, a note of disappointment in revolutionary ideals, or rather, in what real embodiment they found in Soviet reality, began to sound in Mayakovsky's work. This somewhat changes the problematic of his lyrics. The volume of satire is increasing, its object is changing: this is no longer a counter-revolution, but its own, home-grown, party bureaucracy, the “muzzle of a petty bourgeois”, crawling out from behind the back of the RSFSR. The ranks of this bureaucracy are replenished by people who have civil war, tested in battles, reliable party members who did not find the strength to resist the temptations of nomenklatura life, the charms of the NEP, who survived the so-called rebirth. Similar motifs are heard not only in lyrics, but also in dramaturgy (comedy " Bug", 1928, and" Bath", 1929). It is no longer a beautiful socialist future that is put forward as an ideal, but a revolutionary past, the goals and meaning of which are distorted by the present. It is this understanding of the past that characterizes the poem " Vladimir Ilyich Lenin" (1924) and the October poem " Good”(1927), written for the tenth anniversary of the revolution and addressed to the ideals of October.

So, we examined the work of Mayakovsky briefly. The poet died on April 14, 1930. The reason for his tragic death, suicide, was probably a whole complex of insoluble contradictions, both creative and deeply personal.