V.V. Mayakovsky began his creative work in a difficult historical era, the era of wars and revolutions, the era of the destruction of the old system and the creation of a new one. These stormy historical events could not but be reflected in the poet's work. The poet's work can be divided into two stages: pre-revolutionary (before 1917) and post-revolutionary (after 1917).

All pre-revolutionary creativity of the poet is associated with the aesthetics of futurism, which proclaimed new approach to art and poetry. The Futurists' Manifesto proclaimed the following principles of creativity: rejection of old rules, norms, dogmas; poetry, invention of “abstruse language”; experience in the field of language at all levels (sound, syllable, word) selection of special topics (urban, the theme of glorifying the achievements of civilization). V.V. Mayakovsky follows these principles at the beginning of his career.

The main themes of his poetry at this stage are: the theme of the city, the theme of the denial of the bourgeois way of life, the theme of love and loneliness.

Looking through the poems early Mayakovsky, it is easy to see that the image of the city figures prominently in his work. In general, the poet loves the town, recognizes its scientific and technological achievements, but sometimes the town scares the poet, conjuring up in his imagination scary images... Thus, the very title of the poem "Adische of the City" shocks the reader:

The city's hell broke the windows

on tiny, sucking adki.

Red-haired devils, cars were heaving

exploding beeps right above the ear.

But in another poem, "Night", we see a picture of the city at night: bright, colorful, festive from advertising lights. The poet describes the night town as an artist, choosing interesting metaphors, unusual comparisons, adding bright colors (crimson, white, green, black, yellow). Moreover, we do not immediately realize that we have in front of us an image of a house with lighted windows, street lamps illuminating the road, night neon advertisements:

Crimson and white thrown back and crumpled

Handfuls of ducats were thrown into the green one,

And to the black palms of the running windows

Burning yellow cards were dealt.

Mayakovsky's city is either hissing and ringing, as in the poem "Noises, noises, noises", then mysterious and romantic, as in the poem "Could you?":

On the scales of a tin fish

I read the calls of new lips,

And you could play a nocturne

on the downspout flute?

The theme of the city echoes and, moreover, the theme of loneliness follows from it. Lyrical hero early lyrics Mayakovsky is alone in this city, no one hears him, does not understand, they laugh at him, they condemn him (“Violin and a little nervous”, “I”). In the poem "Giveaway" the poet says that he is ready to give everything in the world for "a single word, affectionate, human." What caused such a tragic attitude? Unrequited love. In the poem "Lilichka (instead of a letter)" and the poem "A Cloud in Pants", the motive of unrequited love is the leading one. (“Tomorrow you will forget that I crowned you”, “Let the last tenderness cover your leaving step”). In these works, the lyrical hero appears as a gentle and very vulnerable person, not a man, but “a cloud in his pants”. But he is rejected, and he turns into an awakened volcano. The poem "A Cloud in Trousers" shows the transformation of a bulk-love into a bulk-hatred for everyone and everything. Disappointed in love, the hero lets out four shouts of "down with":

Down with your love!

Down with your art!

Down with your state!

Down with your religion!

Suffering from unrequited love turns into hatred for that world and that order where everything is bought and sold. That's why main theme such poems as "Nate!", "You!", is the theme of the denial of the bourgeois way of life. Mayakovsky scoffs at the well-fed public, who came for fun to listen to the poems of the fashionable poet:

An hour from here to a clean lane

your bloated fat will flow out on the person,

and I opened for you so many verses in boxes,

I am priceless words, a mot and a spender ...

The poet despises the crowd, which understands nothing about poetry, which “on a butterfly of a poetic heart” will perch in “galoshes and without galoshes”. But in response to this well-fed indifference, the hero is ready to spit into the crowd, insult it in order to lay out his contempt. (This poem is reminiscent of Lermontov's "How often, surrounded by a motley crowd":

Oh, how I want to embarrass their gaiety

And boldly throw an iron verse in their face,

Drenched in bitterness and anger.)

In the post-revolutionary period in creative

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This is how Vladimir Vladimirovich Mayakovsky began his autobiographical narration “ I myself":" I am a poet. This is what makes it 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 screaming at the top of his lungs; in this sense, the title of the unfinished poem " In a loud voice"Can characterize all the work of Mayakovsky.

Striving for the future was expressed at the very beginning of the path: in 1912, together with the poets D. Burliuk, V. Khlebnikov and A. Kruchenykh, he signed the manifesto "A Slap in the Face to Public Opinion." The futuristic outlook remained with him for the rest of his life: it is the deification of the future, his immeasurable idealization and the idea that it is much more valuable than the present and the past; it is also "striving for the extreme, the ultimate," as N. Berdyaev characterized such a world outlook; this is a radical denial of modern life foundations, which are thought of as bourgeois, shocking 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 the poem" A cloud in pants"(1915). Its leitmotif is the word “down”, which expresses a feature that is organic to the poet's personality: extreme revolutionism and the need for a radical reorganization of the world order as a whole - a feature that led Mayakovsky to futurism in poetry and to the Bolsheviks in politics. In the same year, the poem “ Spine flute". Its plot was the beginning of a dramatic and even tragic relationship with a woman who went through Mayakovsky's whole life and played a very controversial 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 practicalism and even utilitarianism of the poetic word is one of the fundamental axioms of futurism, and then of LEF, a literary group that accepted all the fundamental futuristic ideas for practical development. It is with the utilitarian attitude to poetry that Mayakovsky's propaganda work at ROSTA is connected, which published "Windows of Satire" - topical leaflets-posters with rhymed lines to them. The basic principles of futuristic aesthetics were reflected in the poet's post-revolutionary program poems: “ Our march"(1917)," Left march" and " Order for the Army of the Arts"(1918). The theme of love - the poem “ I love"(1922); " About it”(1923), although here, too, gigantism and excessive hyperbolization, characteristic of the outlook of the lyrical hero, are manifested, the desire to present to himself and the object of his love exceptional and impracticable demands.

In the second half of the 1920s, Mayakovsky increasingly feels himself to be an official poet, a 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 Soviets / have their own pride: / on the bourgeoisie / look down on them."

At the same time, in the second half of the 1920s, a note of disillusionment with revolutionary ideals, or rather, with what real embodiment they found in Soviet reality, began to sound in Mayakovsky's work. This somewhat changes the problematics of his lyrics. The volume of satire is increasing, its object is changing: it is no longer counter-revolution, but its own, home-grown, party bureaucracy, a "mule bourgeoisie" crawling out from behind the back of the RSFSR. The ranks of this bureaucracy are joined by people who have passed civil war, tested in battles, reliable party members who did not find the strength to resist the temptations of nomenklatura life, the delights of the NEP, who survived the so-called rebirth. Similar motives are heard not only in the lyrics, but also in the drama (comedy " Bug", 1928, and" Bath", 1929). The ideal is no longer a wonderful socialist future, 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 reviewed 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.

The pre-revolutionary works of the poet are lyrical and satirical poems, the poems "A Cloud in Trousers", "Spine Flute", "War and Peace", "Man", the tragedy "Vladimir Mayakovsky". The main themes of this period are peace big city("Night", "Morning", "Adische of the City"); war and peace ("War is declared", "Mom and the evening killed by the Germans", "I and Napoleon"); poet and crowd ("Violin and a little nervous", " Good relationship to the horses "," Listen! "); love ("Lilichka"), Some modern literary critics call the early Mayakovsky "the poet of resentment and complaint" (K). Karabchievsky), others see him as a suffering poet (A. Mikhailov), most note the melancholy of unclaimed love (the poem "The Spine Flute"). The lyrical hero of Mayakovsky is a rebel who constantly conflicts with the world around him.

In the poem "Violin and a little nervous" (<1914>) reveals the theme of the poet and the crowd, which is important for the entire work of Mayakovsky. There is a quarrel in the orchestra: “The orchestra was watching someone else's / the violin was crying ...” “The alien looked” at the violin, the whole orchestra and only the poet, who felt spiritual closeness, similarity, “staggered through the notes, / music stands bending under horror, / for some reason shouted: / "God!", / rushed to wooden neck: / “You know what, violin? / We are terribly alike: / Here I am, too / yelling - / but I can’t prove anything! ”” The poet is not offended by the mockery of the orchestra members, he finds a soul mate and makes a “proposal” to the violin: “You know what, violin? / Let's - / Let's live together! / A?" This poem is a dialogue with the "crowd", in which Mayakovsky all the time talks about the existence of two different systems of values: material and spiritual. The adherents of the material side of life, "mediocrity", cause angry reproaches from the poet. The assertion of the exclusivity of one's self, suffering in the world of vulgarity, is a challenge to the world of rude and narrow-minded people.

In the early poems of Mayakovsky, there is a lot of declarative, exaggerated display of his significance. And at the same time, in his poetry, there is an acute sense of loneliness, of his uselessness in the modern world:

I will pass
dragging my love.
What night
delusional,
ill,
what Goliaths I conceived -
so big
and so unnecessary?
The author devotes these lines to himself, beloved,<1916>

Mayakovsky's lyrics are urban lyrics of the 20th century. Nature as a world of harmony and beauty, a refuge for a tortured soul, just a source of aesthetic pleasure, is practically absent in his poems. "Adische of the City" is the only environment in which his lyrical hero can exist. He is looking for beauty and harmony, but around him, in the bustle of the city. These searches have something in common with the theme of the poet's tragic loneliness in the city of the "bourgeois". The poet talks with what surrounds him: houses, streets, trams, violin. All things in his poetry move, speak, breathe, suffer, sympathize: "the tongueless street is writhing," "Kuznetsky laughed." The poet, rejected by the world of those who cannot see the beauty in what cannot be "eaten, drunk or sold," finds other interlocutors.

The city of Mayakovsky is inhabited not only by hostile people, it is inhabited by unfortunate and disadvantaged people, whose defenders he feels himself to be. Moreover, Mayakovsky writes about the social "day" of life, in his poems appear "tabloid prostitutes", "syphilitics", "downed old man". The poet “shouts” about them, considering his poetry to be their voice, and sees his highest destiny in serving the “humiliated and insulted”:

And God will cry over my book!
Not words - convulsions, clumped together;
and will run across the sky with my poems under his arm
and will breathlessly read them to his friends.
Still,<1914>

The lyrical hero of Mayakovsky's poetry is the protector of the whole world from the "hundred-headed louse", and therefore he is raised to incredible heights, equal to God, the Moon - "the red-haired mistress." But this also dooms him to constant, fatal loneliness. He experiences pain and suffering, the source of which is also love ("Listen!", "Flute-spine", "Love"),

Listen!
After all, if the stars are lit, it means that someone needs it?
So - someone wants them to be?
So someone calls these spit a pearl?
Listen!<1914>

In questions - philosophical reflections about the meaning of life, about love. Why did they arise from the poet? Perhaps because for the layman, the stars are just "spit". But there are people for whom they are “pearls”. It is for these few that the lyrical hero "bursts into God". After all, the stars are needed so that someone is “not afraid”: “So it is necessary / so that at least one star would light up every evening / over the roofs / ?!” Pay attention to the punctuation marks at the end of the poem, expressing a rhetorical question, the poet's confidence in correctly unraveling the meaning of existence.

Mayakovsky's love lyrics reveal to us the vulnerable, tender soul of the poet. Lilya Brik, his poetical muse, he dedicated most poems about love. This love is tragic. "Lilichka!" (1916): “... my love - / a heavy weight - / hangs on you, / wherever she ran”. But "Besides your love, / I / there is no sea", "Besides your love, / I / there is no sun ...".

B. Pasternak was very sensitive about Mayakovsky's lyrics: “I really love Mayakovsky's early lyrics. Against the background of the clowning of that time, her seriousness, heavy, menacing, complaining, was so unusual. It was poetry masterfully sculpted, proud, demonic and at the same time immensely doomed, perishing, almost calling for help. "

As you know, the lyrics convey the experiences of a person, his thoughts and feelings caused by various phenomena of life. Mayakovsky's lyrics depict the structure of thoughts and feelings of a new man - the builder of a socialist society. The main themes of Mayakovsky's lyrics are Soviet patriotism, the heroism of socialist construction, the superiority of the socialist system over the capitalist, the struggle for peace, strengthening the country's defensive power, the place of the poet and poetry in the working class, the struggle against the remnants of the past, etc.

Fused together, they recreate a majestic appearance Soviet man, passionately loving his homeland, devoted to the ideas of the revolution and the people. The poet's openness, civic spirit, his desire to show the "nature and flesh" of communism is very dear, everyone is kindled with the desire to "think, dare, want, dare." In the name of the revolution, Mayakovsky creates an extraordinary oratorical system of verse, which raised, called, demanded to go forward.

The lyrical hero of Mayakovsky is a fighter for universal happiness. And no matter what major event the poet did not respond to modern times, he always remained a deeply lyrical poet and affirmed a new understanding of lyrics, in which the moods of a Soviet person merge with the feelings of the entire Soviet people. Mayakovsky's heroes are ordinary, but at the same time amazing people("Story about Kuznetskstroy"). During the construction of the city, courageous people live under open air, are freezing, starving, they have great difficulties ahead, but their lips stubbornly whisper in tune:

... in four years

there will be a garden city !.

Mayakovsky's lyrics are rich and varied. The poet devoted many of his poems to patriotism Soviet people... The best of them are "To Comrade Nette - a Steamer and a Man" (1926) and "Poems about a Soviet Passport". The first poem is a memory of the Soviet diplomatic courier Theodore Nette, who died heroically in the line of duty. The introduction to the topic is Mayakovsky's meeting with a steamer bearing the name of the famous hero. But gradually the steamer, as it were, animates, and the image of a man appears before the poet.

This is him - I recognize him

In glasses-glasses

lifebuoys.

Hello Nette!

This is followed by the memory of Netta, who was a friend of Mayakovsky. These everyday memories are replaced in the central part of the poem with a description of the heroic deed of an ordinary Soviet man - "the hero's trail is bright and bloody." The scope of the poem expands: started with a description of a friendly meeting, it rises to thoughts about the Motherland, about the struggle for communism. People like Nette don't die - people embody their memory

... on the steamers,

in lines,

and other long

Affairs.

The anthem of the Soviet Motherland sounds different lyric poem Mayakovsky - "Poems about the Soviet passport" / 1929 /. The poem begins with an insignificant event - with a description of the check of passports in a railway carriage at the moment the train arrives at the border. And the poet notices a lot: and the courtesy of an official who "without ceasing to bow", "with respect" takes the passports of an American and an Englishman; and his disdain at the sight of a Polish passport.

And suddenly,

as if

burn

twisted

lord.

This is mister official

beret

my red-skinned passport.

The peaceful current has been disrupted. The "gendarme caste" is ready to attack the poet, but in his hands -

"hammered, sickle, Soviet passport",

behind him is the country of socialism. Mayakovsky is proud of his mighty homeland:

"Read,

envy, i am a citizen

Soviet Union!"

Mayakovsky also devoted many poems to poetry / "Jubilee", "Sergei Yesenin", "With all his voice", etc. / He writes "about the place of the poet in the working class", about the importance of poetry for the people, for their struggle for communism. The poet emphasizes the responsibility of the poet to Soviet society, therefore, his lyrics are distinguished by high ideology and nationality ..

Composition by V.V. Mayakovsky - Miscellaneous

Topic: - Motives of lyrics by V.V. Mayakovsky

V.V. Mayakovsky began his creative activity in a difficult historical era, the era of wars and revolutions, the era of the destruction of the old system and the creation of a new one. These turbulent historical events could not but be reflected in the poet's work. The poet's work can be divided into two stages: pre-revolutionary (before 1917) and post-revolutionary (after 1917).
All pre-revolutionary creativity of the poet is associated with the aesthetics of futurism, which proclaimed a new approach to art and poetry. The Futurists' Manifesto proclaimed the following principles of creativity: rejection of old rules, norms, dogmas; poetry, invention of “abstruse language”; experiment in the field of language at all levels (sound, syllable, word); selection of special topics (urban, the theme of glorifying the achievements of civilization). V.V. Mayakovsky follows these principles at the beginning of his career.
The main themes of his poetry at this stage are: the theme of the city, the theme of the denial of the bourgeois way of life, the theme of love and loneliness.
Looking through the poems of early Mayakovsky, it is easy to see that the image of the city occupies a prominent place in his work. In general, the poet loves the city, recognizes its scientific and technological achievements, but sometimes the city scares the poet, evoking terrible images in his imagination. Thus, the very title of the poem "Adische of the City" shocks the reader:
The city's adische broke the windows
on tiny, sucking adki.
Red-haired devils, cars were heaving
exploding beeps right above the ear.
But in another poem, "Night", we see a picture of the city at night: bright, colorful, festive from advertising lights. The poet describes the night city as an artist, choosing interesting metaphors, unusual comparisons, adding bright colors (crimson, white, green, black, yellow). We do not even immediately realize that we have in front of us an image of a house with lighted windows, street lamps illuminating the road, night neon advertisements:
Crimson and white thrown back and crumpled
Handfuls of ducats were thrown into the green one,
And to the black palms of the runaway windows
Burning yellow cards were dealt.
Mayakovsky's city is either hissing and ringing, as in the poem "Noises, noises, noises", then mysterious and romantic, as in the poem "Could you?":
On the scales of a tin fish
I read the calls of new lips,
And you could play a nocturne
on the downspout flute?
The theme of the city echoes and even follows from it the theme of loneliness. The lyrical hero of Mayakovsky's early lyrics is lonely in this city, no one hears him, does not understand, they laugh at him, they condemn him (“Violin and a little nervous”, “I”). In the poem "Giveaway" the poet says that he is ready to give everything in the world for "a single word, affectionate, human." What caused such a tragic attitude? Unrequited love. In the poem "Lilichka (instead of a letter)" and the poem "A Cloud in Pants", the motive of unrequited love is the leading one. (“Tomorrow you will forget that I crowned you”, “Let the last tenderness cover your leaving step”). In these works, the lyrical hero appears as a gentle and very vulnerable person, not a man, but “a cloud in his pants”. But he is rejected, and he turns into an awakened volcano. The poem "A Cloud in Trousers" shows the transformation of a bulk-love into a bulk-hatred for everyone and everything. Disappointed in love, the hero lets out four shouts of "down with":
Down with your love!
Down with your art!
Down with your state!
Down with your religion!
Suffering from unrequited love turns into hatred for that world and that order where everything is bought and sold. Therefore, the main theme of such poems as "Nate!", "You!" Is the theme of denial of the bourgeois way of life. Mayakovsky scoffs at the well-fed public, who came for fun to listen to the poems of the fashionable poet:
An hour from here to a clean lane
your bloated fat will flow out over the person,
and I opened for you so many verses in boxes,
I am priceless words a mot and a spender ...
The poet despises the crowd, which understands nothing about poetry, which “on a butterfly of a poetic heart” will perch in “galoshes and without galoshes”. But in response to this well-fed indifference, the hero is ready to spit into the crowd, insult it in order to express his contempt. (This poem is reminiscent of Lermontov's "How often, surrounded by a motley crowd":
Oh, how I want to embarrass their gaiety
And boldly throw an iron verse in their face,
Drenched in bitterness and anger.)
In the post-revolutionary period, new themes appear in Mayakovsky's work: revolutionary, civil-patriotic, anti-bourgeois. The poet accepted the revolution with all his heart, he hoped to change this world for the better, so he worked a lot in the windows of ROSTA, campaigning for the revolution. He creates many campaign posters, simply put, advertisements:
Proletarian, proletarian,
Come to the planetarium.
Many poems from this period are devoted to anti-bourgeois and anti-bureaucratic themes. In the poem "Prozdatavshie" Mayakovsky ridicules all kinds of bureaucratic institutions ("a-b-c-d-e-z-coma") that appeared like mushrooms after rain, in the early years of Soviet power. And in the poem "On Trash" the little canary becomes a symbol of the new Soviet philistinism, and the call is born: "Roll the heads of the canaries - so that communism is not beaten by canaries!"
In "Poems about a Soviet Passport" the author touches on two topics at once: anti-bureaucratic and patriotic. But the main theme of this poem is undoubtedly the patriotic theme. The lyrical hero is proud of his country, conducting an unprecedented experiment, building a new society:
Read, envy!
I am a citizen of the Soviet Union!
The patriotic lyrics can also include such verses as "Comrade Nette, man and ship", "Comrade Khrenov's story ...". The last poem is a hymn to the working man:
I know there will be a city
I believe - the garden will bloom,
When people like that
In the Soviet Country there is.
An important place in the post-revolutionary work of the poet is occupied by the theme of the poet and the purpose of poetry, touched upon in such works as "The Worker Poet", "A Conversation with the Financial Inspector about Poetry", "Sergei Yesenin", "Jubilee", the introduction to the poem "With the Whole Voice" ... Mayakovsky assesses his work, calling himself a poet-throat-throat ("With all his voice"), writes that the poet's work is difficult, that "poetry is the same extraction of radium," and the poet's work is akin to any other work. Poetry is a "sharp and formidable weapon." She is able to agitate, raise people to fight, make them work. But this position of the poet-leader often interfered with the poet-lyricist. Mayakovsky often had to “step on the throat of his own song”, and the gift of a subtle poet-lyric poet was heard less and less in his work (“Unfinished”, “Letter to Tatyana Yakovleva”).
All creativity of the poet Mayakovsky was dedicated to one goal: serving people. It is love for people that the poet calls driving force of his work (“Letter to Comrade Kostrov ...”), so the poet is sure that “my verse will break through the bulk of the years and will appear weighty, rough, visible ...”.