What is the innovative nature of Mayakovsky’s poetry? The special significance of V.V.’s poetry

Mayakovsky's work combines the best traditions of Russian classical literature and the innovation of poetry of the socialist era.

Mayakovsky's opponents tried to present him as a nihilist and accused him of disdain for cultural heritage. Mayakovsky sharply objected to these fabrications. In response to the accusation of “destroying the classics,” he said in 1930: “I have never been involved in this stupid business...”

Mayakovsky's attitude towards the greatest Russian poets of the 19th century testifies to how highly he valued the great classical masters.

When our country celebrated the one hundred and twenty-fifth anniversary of Pushkin’s birth, Mayakovsky wrote the famous poem “Anniversary” (1924) and in it expressed his deep love for the great poet. “I love you, but alive, not a mummy!” Mayakovsky passionately exclaims, protesting against the “textbook gloss” that pseudoscientific pedants brought to the poet.

Mayakovsky highly valued Lermontov. He defended the poet from vulgar critics, ridiculed their attempts to declare him an “individualist, because in his poetry there are “whole choirs of heavenly bodies and not a word about electrification.” In the poem “Tamara and the Demon,” Mayakovsky used images from Lermontov’s poetry.

Inheriting the best traditions of the classics, Mayakovsky at the same time acted as an innovative poet. For new content, he found new means of artistic expression. Artistic innovation was born of a new era in the development of mankind - the era of the proletarian revolution. In the struggle of the peoples of Russia for the victory of socialism, the personality of the poet was formed. The revolutionary era determined the content and character of his lyrics, the originality of his poetic style, which so organically fused realistic accuracy and concreteness of the image with the scale of the poetic vision of the world.

By bringing poetry closer to politics, Mayakovsky put art at the service of the revolution. A master of political posters and newspaper verse, he used unusually wide and original means and techniques of artistic convention in his work. His metaphor not only obeys a specific ideological concept, but also absorbs the most important social associations of the era. Thus, for example, images of a revolution-flood are born, as well as a detailed image of an “army of poems.” The hyperbolism characteristic of Mayakovsky's style becomes a political reflection of the intensity of social clashes characteristic of the revolutionary era and the gigantic scope of the country's socialist transformations. With a previously unprecedented breadth, Mayakovsky introduces living modern speech and the socio-political phraseology of the era into the poetic language. His poetry is based on spoken language. “Most of the tone of things is built on conversational intonation,” Mayakovsky wrote. It is no coincidence that he gave the title to many of his poems: “conversation”, “story”, “message”, etc. Most often in the works of Vladimir Mayakovsky one hears the oratorical intonations of a poet-tribune, “agitator, leader.”

Mayakovsky constantly fought against the false idea that there is a special “poetic language” with which only poetry can be written. He sharply criticized poets who wrote in conventional poetic jargon.

With the same energy he fought against literary cliches, hackneyed, deadened, meaningless expressions. Mayakovsky made extensive use of all the riches of the Russian language. When it was necessary, the poet did not neglect the old words: archaisms and Slavicisms. Mayakovsky often used neologisms - words created by himself. Their peculiarity is that they were created on the basis of commonly used Russian words and were always clear in their meaning: “Hammer-faced, sickle-faced Soviet passport”, “I love the vastness of our plans”, etc. Both these and other neologisms of Mayakovsky have the goal of most expressively revealing the content of the poem, its meaning.

Rhyme is very important in Mayakovsky's works. But the poet was not satisfied with the old method of rhyming. He often rhymes words, taking into account not only their endings, but also the preceding sounds, not only the literal coincidence of syllables, but also the consonances of words. Mayakovsky's rhymes are extremely diverse and expressive.

It must be said that in the post-October years, Soviet poetry put forward many names that took their place on a par with the greatest poets of the past. And we can safely say that in the entire history of Russian literature there has never been a period when such an abundance and variety of poetic talents appeared in a relatively short historical period. Plekhanov and Selvinsky, Pasternak and Yesenin, Lugovskoy and Zabolotsky, Bagritsky and Prokofiev, Tvardovsky and Leonid Martynov, Svetlov and Aseev, Marshak and Antokolsky - this is not an exhaustive list of names of Mayakovsky’s contemporaries that we can be proud of. And this is undoubtedly a huge wealth! Each of the named writers is a bright, original poetic figure, each of them can deservedly be called a great poet.

And among these poets we single out Mayakovsky, calling him not only “great”, but also great. This man has won a special place even among the best of our best poets.

MAYAKOVSKY'S POETIC INNOVATION
(Early lyrics)

At the beginning of the twentieth century, during the period of the formation of imperialism in Russia, there was an unprecedented rise in Russian culture. The end of the 19th – beginning of the 20th century is increasingly being called the “Silver Age” of Russian art. The artistic achievements of this period are undoubtedly significant and varied. However, for a long time, the true treasures of Russian literature from the beginning of the century were clearly underestimated. Hence the abundance of “blank spots” in the literary process of this era. And this applies not only to the poetry of N. Gumilev, M. Voloshin and O. Mandelstam. It seems to me that the early work of V.V. Mayakovsky is still underestimated and generally perceived one-sidedly. But such an attitude towards the great poet is completely unacceptable. It is impossible to understand a person as a whole if you do not analyze all his aspects. Such a “historical” consideration gives each individual manifestation of the phenomenon under study shades and nuances that inform it of adjacent manifestations.

Perhaps Mayakovsky himself gave some impetus to the underestimation of his early lyrics, speaking somewhat disparagingly of them later as something preparatory to his later work, as raw materials devoid of independent value. But here we must not allow ourselves to be deceived by relying on the “authority of the author.” In this regard, I would like to quote here an aphorism by F. Nietzsche: “I did it,” says my memory. “I couldn’t do it,” says my pride and remains adamant. Eventually, memory gives way.” The author cannot be trusted in such things, because he is too interested, too biased - this is understandable. It is necessary, regardless of anyone’s opinion, to seriously study the early lyrics of V.V. Mayakovsky.

The first thing that catches your eye in Mayakovsky’s early poems is their tragic hopelessness. The very first poems, dating from 1912-1915, are mainly industrial sketches of a “piling city.” The rains, the streets, the “snares of wires” crush the reader with a living weight... A gloomy, isolated melancholy fills the soul. And here, it seems to me, the general mood of early Mayakovsky’s work resembles the world in which Dostoevsky’s heroes live. For example, this is what Raskolnikov says: “I love how they sing to the accompaniment of a barrel organ, on a cold, dark and damp autumn evening, certainly on a damp one, when all passers-by have pale green and sick faces; or, even better, when wet snow falls, completely straight, without wind, you know? And through it the gas lamps shine…” How can one not remember “The Violin and a Little Nervously”! And the image of “gas lanterns” that is constantly repeated in early Mayakovsky! Yes, undoubtedly, here we have a clear point of intersection between the two artists. Another similarity: the constant motif of “humiliated and insulted” in Mayakovsky’s early lyrics:

Me alone through the burning buildings
Prostitutes will carry it in their arms like a shrine
And they will show it to God in their justification.

The tragedy of Mayakovsky’s early poetry is a rebellious tragedy bordering on “metaphysical rebellion” (again, like Dostoevsky!):

In a second
I'll meet you
The sky of the autocrat, -
I'll take it and kill the sun!

Here the poet rebels against the sun, and the latter means a generalized image of everything that is dominant, powerful, and shining. But Mayakovsky cannot come to terms with the possibility of joy while there is a “hell of a city” where “children are dying”, where “a downed old man fumbles for glasses.” He, like Dostoevsky’s Ivan Karamazov, wants to “get his ticket back” if the harmony of the world is built on a child’s tear:

You
To the screamer:
“I will destroy,
I’ll destroy it!”
who carved the night from bloody cornices,
I,
keeping a fearless soul,
I challenge you!

However, Mayakovsky, in comparison with Dostoevsky, partly due to the difference in general between poetry and prose, but mainly between two different (particularly in time) worldviews, is eccentric in his grotesque display of human loneliness in the dank chaos of the city. Mayakovsky achieves extraordinary expressiveness in his early works:

People are scared - out of my mouth
An unchewed scream moves its legs.

Mayakovsky animates the outside world, first of all, pictures of the city, so that “the city is praying”, “the evening is screaming”, “Kovka is breaking the fingers of the streets”, “the stars are screaming”...
For him, everything around is “visual and expressive means” - signs, roofs, intersections, streets, wires. And together with Mayakovsky, sometimes you even begin to love this melancholy with some special, painful love:

And you
Nocturne play
Could
On the drainpipe flute?

In all of Mayakovsky's early poems and larger works there is a motif of melancholy, a motif of decrepit time, even in the earliest poems taken from the poet upon leaving prison:

I waited: but the days were lost in the months,
Hundreds of tedious days.

Sometimes a premonition of an impending fire breaks through the melancholy:

... now the old woman-time has given birth
huge
crooked rebellion!

Another feature of early Mayakovsky is deliberate egocentrism. The image of the poet is deeply tragic; it points to the impossibility for him to find a place for himself in a decaying world, where “the sour air blows like mold”:

And to such
Like me
Poke where?
Where is the lair prepared for me?

Here the image of the poet is the image of an inwardly rich man perishing alive in a stuffy world. This reveals Mayakovsky’s humanism.

... And I opened so many box poems for you,
I am a spendthrift and spender of priceless words.

Creativity V.V. Mayakovsky had a significant influence on all world poetry. His innovation in the field of poetic form now lives an independent life, already familiar, as it should be.
Mayakovsky, like no one else, was alien to the understanding of artistic creativity as “art for art’s sake.” In his poetry, in his earliest poems, art speaks of the most real, concrete, everyday things, but it reveals in this “map of everyday life”, in this seemingly unpoetic city landscape, the enchanting expressiveness of paint. This is Mayakovsky’s humanism: his poetry does not have its head in the clouds, but always remains faithful to the earth, to the present, to people:

Didn't stay at home.
Annensky, Tyutchev, Fet.
Again,
Driven by longing for people,
I'm coming
To cinemas, to taverns, to cafes.

In later poems (post-October period), this humanism is expressed in the pathos of utilitarian poetry, which is understood as work - one among many others.

Innovation

V.V. Mayakovsky in literature

Introduction…………………………………………………………………………………2

1. Definition of innovation in the literature. V.V. Mayakovsky is one of

the brightest poets-innovators ………………………………………………….6

2. The main features of Mayakovsky’s poetic innovation

2.1. Innovation of the “poetic” dictionary ……………………………..9

2.2. Enriching the rhythm of verse……………………………………..16

2.3. The originality of rhyming methods……………………………22.

2.4. Expressiveness of the figurative system……………………………25

Conclusion…………………………………………………………………………………..28

Brief bibliography………………………………………………………31

I don't believe poetry that flows.

They are torn - yes! M. Tsvetaeva

In 1928, V.V. Mayakovsky in his autobiography “ I myself” writes about his first poetic experiences: “ I re-read everything new... I was taken apart by the formal novelty. But it was alien. Themes and images are not my life. I tried to write just as well myself, but about something else. It turned out that the same cannot be said about anything else" It is from this youthful conviction of the author that one should proceed when speaking about the new things that the poet brought to literature in the substantive and formal aspects.

We must not forget that in Mayakovsky’s work the best traditions of the literature of the past were embodied: passionate patriotism, ardent faith in Russia and its people, a truthful depiction of the life of the people in all its diversity, humanism, preaching the deep ideological nature of literature designed to serve the interests of the working masses.

With all this, Mayakovsky appears to us as an innovative poet, for he was a singer of the revolutionary era and “strove to merge not only the content, but also the form of his works with the revolutionary people” (M.I. Kalinin).

It seems to me that we should start talking about Mayakovsky’s innovation with the fact that its roots are not only in folklore and classical Russian poetry, but also a very significant part of the innovation of painters of the early twentieth century. It is known that the poet himself was a talented artist and painter. Such advanced artists as Malevich, Kandinsky, Picasso in their search for a new form on canvas are close to the creative search for the verbal form of V. Mayakovsky. But for V.V. Mayakovsky, the search for form was not an end in itself. The roots of the poet's innovation can 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.

His innovative search for a new form was largely determined by the revolution. This was new in Russia. Mayakovsky was convinced that poetry should also correspond to this new reality. Naturally, new intonations appeared in his poems, aggressive notes that evoked poses.

His past entourage could not understand why Mayakovsky “sold out to the Bolsheviks.” They did not understand the main thing: the poet himself was essentially a Bolshevik. In the end, everyone agreed on the label “fellow traveler,” which Mayakovsky never parted with until the end of his days.

Having enriched Soviet poetry with deeply ideological, party-in-spirit works that met the interests of the people who won the revolution, Mayakovsky was an “outstanding innovator of poetic form.”

In my opinion, in connection with the theme of innovation in Mayakovsky’s work, the early period of creativity, which passed under the sign of futurism, deserves special attention. It was futurism that predetermined such features of the author’s aesthetics and poetics as a demonstrative rejection of the achievements of the previous culture, a kind of “shock therapy” through shocking and satirical ridicule, a passion for industrial-urban themes, revolutionary pathos, a passion for experimentation, the creation of new artistic forms, the use of new artistic means. Mayakovsky himself, assessing the role of futurism in his creative biography, writes: “For me, these years are the formal work of mastering the word.”

Once another great poet, B. Pasternak said:

I would bring the breath of roses into poetry,

breath of mint...

Mayakovsky’s creative credo sounds completely different. For him, the main thing is “the heart and the truth together,” a fusion of the personal, lyrical and social, historical. Everything that happens in the world happens in the heart of the poet. Politics for him becomes the same object of poetry as love. The author feels involved in history, and this involvement united the “personal” and “general” in his poems, directly incorporating the first into the second.

Experiments with words did not become an end in themselves for him, but were regarded as a means of increasing the expressiveness of poetry. Mayakovsky's creativity, even during the period of closeness to futurism, its main focus denied the principles proclaimed by this movement. Thus, the principle of the “autonomous” word, the word outside of “everyday life and the benefits of life,” was clearly contradicted by the poet’s thesis: “We need the word for life. We do not accept useless art." Despite some obscurity of poetic thought, already the tragedy “Vladimir Mayakovsky”, and especially the poems that followed it “Cloud in Pants”, “Spine Flute”, “War and Peace”, “Man” opened a completely new page in the history of Russian literature.

The poet enters socialist literature as a revolutionary romantic who decisively rejected the world of capitalism, which has flooded the planet with blood; enters, deeply confident that this crazy, inhuman world is already being replaced by the world of the true masters of the planet and the universe.

This sincere desire to directly participate in the revolutionary renewal of life and art in the name of the happiness of millions is the source of Mayakovsky’s innovation.

Considering the increased interest in the problem of Mayakovsky’s method, as well as the fact that in Russian literary criticism over the past 20-30 years not a single conceptual work has appeared that comprehensively examines the poet’s artistic creativity, I consider the chosen topic to be relevant. It is not easy to determine the nature of Mayakovsky’s verse, and not only because Mayakovsky’s verse is a multifaceted and complex phenomenon, but also because the question of the originality of Mayakovsky’s rhythm, rhyme, and imagery has not yet been indisputably and finally resolved in literary criticism. The systematization of available materials is all the more relevant the deeper it allows one to penetrate into the essence of the poet’s unique style and discover previously unnoticed analogies and connections. Purpose work, thereby identifying innovative means and techniques in the work of V. Mayakovsky. To achieve this goal, it is necessary to solve the following tasks, in accordance with which the logic of presentation of the material is built:

Define innovation in literature; identify the origins of innovation in the work of V.V. Mayakovsky.

Determine the features of innovation in the poetry of V.V. Mayakovsky:

innovation of the “poetic” word;

explain the rhythmic richness of Mayakovsky’s works;

identify the uniqueness of rhyming methods;

show that “one of the great means of expression is the image.”

The work consists of an introduction, the main part (two chapters), a conclusion and a short bibliography.

Chapter 1. Definition of innovation in literature.

Mayakovsky is one of the brightest innovative poets.

The name of Mayakovsky is firmly associated with the idea of ​​an innovative poet. No other poet of the 20th century has made such bold, radical changes in poetry. But this century is raving about innovation. Never has so much been said about him, never have there been so many contenders for the fame of a pioneer in art. But it turned out that innovation is subject to the general laws of development of literature and art.

Innovation (from the Latin Novator - renewer) - in fiction, that new thing, valuable for the people in the content and form of the work, that an advanced writer brings to fiction, capturing the new needs of the people, observing newly emerging phenomena in life, changing relationships between people, new features of a person and finding for them a vitally truthful image of appropriate artistic means.

Soviet literature is distinguished by such innovation, for the first time it created a gallery of images of people of a socialist society, sensitively and truthfully reflecting in its works everything new in the life of the Soviet country.

A deliberate desire for innovation in form, when it is not caused by the need to express new content, leads to harmful, meaningless and unidealized art, to formalism.

For almost a century, the “epic of discovery” has convinced us that the emergence of new artistic forms is a complex process in which the social atmosphere, the power and character of talent, literary interactions, traditions, etc. intersect in a whimsical manner. However, a comparison of the experience of Mayakovsky and his contemporaries leads to the idea that, first of all, those discoveries that meet the needs of the time and contribute to the establishment of its progressive tendencies take root and influence the further development of art.

This is why the work of Mayakovsky, Blok, Yesenin is dear to us, because these poets undertake a search for the healing of poetry and strive to merge their fate with the fate of the people. Mayakovsky took the most courageous and decisive step, turning poetry into an active participant in rallies, demonstrations, and debates. Poetry came out into the square and addressed the columns of demonstrators. “The streets are our brushes. Squares are our palettes.” These metaphors also apply to the poet’s words. Not a single apologist of formal experimentation dared to undertake such experiments of turning poetry into a weapon of the masses. But it is precisely this search for the means of reliable influence of the poetic word on the consciousness, feelings, and actions of the masses that constitutes an important feature of Mayakovsky’s “creative laboratory.” The poet recalled the traditions of troubadours and minstrels. But the character, purpose, and scale of what he accomplished are unprecedented. His word is truly the commander of human strength. His voice is the voice of the era.

What is this? Lyrics? Journalism? Mayakovsky has both, so to speak in “pure form”. But the historical merit of the poet is the creation of a new type of lyrics, in which journalism becomes lyrics, and lyrics sound journalistic. He, of course, did not carry out his daring experiment out of nowhere. The poet himself named several poets and prose writers close to him: Nekrasov, Pushkin, Lermontov, Derzhavin, Gogol, Shchedrin, Dostoevsky... Thus, Mayakovsky’s innovation and his creative relationship with the experience of Russian classics (perceived very differently by the poet at different stages of his development) is The phenomena are fundamentally interconnected. However, Mayakovsky's civic poetry is a phenomenon of the 20th century. This is the poetry of a person who rejected “alienation” and plunged into the big world of social, national and universal interests and connections, worries and joys.

Mayakovsky's lyrics include a lot - history, politics, love, and everyday life; and all this is included in his poetry not as a distant background, but is the main object of artistic depiction.

Mayakovsky's talent is characterized by ethical breadth, if we want, monumentality. That's why his lyrics are epic in their own way.

The great poet Mayakovsky enters world literature not as the creator of a poetic school, but as the founder of poetry, which has become an integral part of the new, socialist civilization. The canons of any poetic school are quickly exhausted and become dead, but the influence of a living example of serving the poetic words of a great goal recruits many followers. To the well-known names - Nazim Hikmet, Geo Milev, Pablo Neruda, Paul Eluard, Nicolas Guillen and others - more and more new heirs of Mayakovsky are being added. Likening Mayakovsky’s poetry to the dynamism of grandiose interplanetary rockets, Pablo Neruda noted that under its influence, all world poetry “was transformed, as if it had survived a real storm.”

Some are inclined to see the greatness of the poet in his sophisticated depiction. Indeed, Mayakovsky was an outstanding master of artistic expression and a reformer of verse. He enriched the poetic vocabulary, introduced new principles of rhyming into poetry, modified poetic meters, enhanced the expressiveness and semantic capacity of each phrase, and began to print poems in stepped lines. But these innovations are only an integral part of Mayakovsky’s innovation. The main thing is different. The perception of the ideas of the socialist revolution, comprehension of the meaning of transformations became the main shaping factor of his work. The true significance of Mayakovsky thus lies in the fact that he was one of the first in world literature to combine poetry with the ideas of the socialist revolution.

Chapter 2. The main features of Mayakovsky’s poetic innovation.

Innovation of the “poetic” dictionary.

Having enriched Soviet poetry with deeply ideological, party-in-spirit works that met the interests of the people who won the revolution, Mayakovsky was also an outstanding innovator of poetic form.

His innovation in form follows from his innovation in ideas. This idea was repeatedly emphasized by the poet himself. Thus, in a speech at the debate “The Artist in the Theater,” he said: “The whole volcano and explosion that the October Revolution brought with it requires new forms in art.” These words were said about the theater, but, according to Mayakovsky, they were also true in relation to literature.

The difficult and courageous search for a new language of poetry, inseparable from the language of revolution, is one of the most important, integral features of Mayakovsky’s innovative activity.

Mayakovsky's innovation in poetry was manifested in the expansion of the so-called “poetic” vocabulary, and in the enrichment of the rhythm of verse, and in the originality of rhyming methods, and in the expressiveness of his figurative system.

This innovation in form was determined by the poet’s desire to convey, through verse, the complex, diverse world of Soviet man, his revolutionary enthusiasm, and hatred of the exploitative world of violence and robbery. Continuing tradition of Pushkin and Nekrasov, expressed in democracytization of language, Mayakovsky sought to expand the boundariespoetic vocabulary, to introduce into it the talk of the crowd, the masses, undercommitted to active revolutionary activity. That's whyin Mayakovsky's poems we hear the voice of the class that wonin the revolution of the people.

Mayakovsky repeatedly expressed thoughts about the need to expand his poetic vocabulary even before the revolution. “We need the word for life,” he wrote in the article “Without White Flags.” “We do not recognize useless art. Each period of life has its own verbal formula. Our struggle for new words for Russia is caused by life. The nervous life of cities has developed in Russia, requiring quick, economical, abrupt words, and in the arsenal of Russian literature there is only one kind of lordly Turgenev village” (vol. 1 p. 370).

There is no doubt that Mayakovsky spoke here not against the language of Turgenev’s prose, but against the artificial limitation of the poetic vocabulary by supporters of “pure art.” For example, he noted with irony that the poet Fet used the word “horse” 46 times in his poems and never noticed that horses were running around him.

“A horse is elegant, a horse is everyday. The number of “poetic” words is negligible. “Nightingale” is possible, “nozzle” is impossible” (vol. II, p. 468).

Mayakovsky, learning from the “linguist-creator people,” boldly introduced “street conversation” into poetry, making “everyday” words, considered “ungraceful” by decadents, the property of poetry.

“The relaxed intellectual tongue” (vol. X, p. 214) could not convey the full scale of revolutionary events, and the poet argued that “we must speak about the new in new words” (vol. II, p. 518).

That is why in Mayakovsky's works we find "non-poetic" words: political, scientific, everyday, colloquial and even vulgarisms. In each specific case, the use of certain words is determined by the ideological orientation of the work.

His post-October works included many words born of the revolution, characteristic of mass political speech: revolution, commune, communism, socialism, proletariat, slogan, decree, strike, party etc.

Without these words it was impossible to write about the new Soviet reality.

The use of colloquial expressions and vulgarisms found in his poems (“the snout of a mandrill, brainless and two legs for kicking” - “Hooligan”, “she was lying down, lapping up coffee, cocoa” - “Good!”, etc.) is explained by the poet’s desire to express intransigence towards enemies of the revolution and socialism, find “words-scourges” such that “they kill at once while aiming.”

In the poem “On Rubbish,” addressed to “philistines without distinction of classes and estates,” Mayakovsky, depicting the “purple of a tradesman,” does not mince words, deliberately using coarse language: “the butts, hard as washbasins, are calloused from sitting for five years,” “ getting tired from the samovar”, “to appear at a ball in the Revolutionary Military Council”, etc.

In order to make poetic speech more expressive, the poet sometimes resorted to creating and using new words - neologisms; in the pre-October period, more of them were created, in the post-October period – fewer.

Mayakovsky the poet is extremely active and decisive in relation to the word. If it seems insufficiently expressive, he boldly changes it and gives it a distinctly updated look. The best of the neologisms he created are intelligible, generally understandable, and do not require any special explanation. Anyone who knows the Russian language will immediately understand what “ hammered, sickled Soviet passport" "hulk" our plans, "the scope of the step fathoms", "communist far", which means "bronze many volumes"What is "capital - its obscenity" and who are " prosesettled." These words were created by the poet based on other words. But they are not constructed by mechanically connecting the root words of suffixes, as Khlebnikov, Mayakovsky’s immediate predecessor and teacher, often did in “word innovation.” Mayakovsky strives to ensure that the newborn word immediately enters the verse freely and naturally, so that it does not seem far-fetched, but is perceived as irreplaceable.

The word “reverence,” addressed to capital, is modeled after “reverence,” but its semantic content explodes the outwardly respectful form in which it is sarcastically contained, and the word is given a revealing, openly mocking character. A neologism, like a pun, is metaphorical and is associated with the combination of different meanings in a word, sometimes close to each other, sometimes contrasting.

But, expanding his vocabulary and creating neologisms, the poet skillfully used all the achievements of the Russian literary language.

He understood well that empty word-creation and abstruse poetry were not needed, and therefore he said:

« I will be the last idiot if I say: “comrades, rewrite Alexei Kruchenykh. his “holes, bul, schyl.”

No, we say: “When you give a revolutionary fighting song, then remember that in this song it is not enough to give a random expression that comes to your hand, but select words that were developed by generations of previous literature before you. so as not to do the same work twice"(Vol. II, p. 526).

Fighting for bright and poetic speech, Mayakovsky sharply opposed the unnecessary use foreign words(the poem “On fiascoes,” “climaxes,” and other unknown things” and numerous statements in articles), as well as against hackneyed, expressionless phrases like “runs like a red thread,” “has reached its apogee,” “has reached its climax” , “failed as a fiasco.”

Mayakovsky likes to “shift” foreign words that are not declined in Russian, and decline them contrary to grammatical rules. The following words are perceived in a satirical and derogatory manner: “Poincaroi”, “cherzonite”, “mussolinize”, “tseretelit”, “clumps and turns away”.

Striving for figurative speech, the poet uses folk proverbs, sayings, stable phraseological combinations, in some cases slightly modifying them.

Proverb: “A claw gets stuck - the whole bird is lost” in the poem “Good!” sounds like Mayakov:

... If

In Russia

the claw gets stuck,

all

bourgeois bird -

abyss.

The popular expression “to grind into powder” also finds application in the poem:

Are they climbing?

Fine.

Let's grind it into powder.

Mayakovsky persistently selects from the “artesian human depths” words that contribute to the best expression of the poetic idea; he exhausts “a single word for the sake of a thousand tons of verbal ore.”

Decisively introducing new expressions, connecting them with old, familiar expressions, proverbs, sayings, Mayakovsky himself precisely said about this: “It is especially difficult to translate my poems also because I introduce ordinary colloquialism into the verse (for example, “shine - and no nails.” "- try to translate this!), sometimes the whole verse sounds like this kind of conversation. Such poems are understandable and witty only if you feel the system of language as a whole...”

The article “How to Make Poems” gives one example of a poet’s work on the word. For example, he rejected 11 line options in order to finally choose the twelfth, which begins the final stanza of the poem “To Sergei Yesenin.” The result is a mobilizing stanza:

For fun

our planet

poorly equipped.

Necessary

snatch

joy

in the days to come.

In this life

It's not hard to die.

Make a life

much more difficult.

(T. VIII, page 21)

Careful work on the word allows the poet to achieve laconic and vivid speech characteristics of the characters. All you have to do is remember comrade from the military bureau and Putilov worker, the heroes of the poem “Good!” to make sure of this.

The syntax of Mayakovsky's poetry is also unique. Its features will be quite understandable if we take into account the poet’s focus on the oratorical, conversational intonations of the verse.

“Most of my works are built on conversational intonation,” the poet declared.

Mayakovsky created an “audible word”: it should be heard at a rally, in the audience, on the radio. This focus on “conversation” is emphasized even by the title of a number of the poet’s works: “Conversation with the financial inspector about poetry,” “Conversation on the Odessa roadstead of two landing ships...”, “Conversation with Comrade Lenin.” The poems “Left March”, “To Sergei Yesenin”, “Messages to Proletarian Poets” and a number of others are built on colloquial intonations, rally and friendly-heartfelt.

“Poems addressed to the people,” the poet declared, “must be read aloud. I can’t imagine a person capable of mentally or whisperingly pronouncing such, for example, Pushkin’s lines:

While we are burning with freedom,

While hearts are alive for honor,

My friend, let's dedicate it to the fatherland

Souls have wonderful impulses.”

(From the memoirs of A. Zharov).

Naturally, in works intended for conversation there are often exclamations and questions, appeals and imperative phrases, interjections and pauses; Words are often missed, but the meaning of the phrase in context is always clear.

“Left March,” for example, is entirely constructed as an appealing oratorical speech containing appeals, questions, appeals, and incentives to action.

Hey blueblouses!

Rate!

For the oceans!

Or

at the battleships in the roadstead

sharp keels stepped on?!

Mayakovsky's syntax conveys all the intonations of colloquial speech: a gentle whisper, a passionate appeal, a calm narrative, and a sharp order.

Enriching the rhythm of verse

Mayakovsky thought about “how to introduce spoken language into poetry and how to derive poetry from these conversations” (vol. X, p. 214). And he solved this dual problem successfully.

The craving for conversational intonations determined originality of rhythm Mayakovsky. Poetic speech, unlike prosaic speech, is rhythmic.

“...rhythm is the basis of every poetic thing...” the poet wrote. “Rhythm is the main force, the main energy of verse” (vol. X, p. 231).

Rhythmically, Mayakovsky’s poems are extremely diverse and cannot be entirely attributed to any one system of versification, as some researchers have done.

Researchers of Mayakovsky's work are unanimous in the statement that his rhythmic system represents a new stage in the development of Russian verse, but what this novelty is, different scientists interpret differently, but agree that his verse is very diverse.

In a number of works on Mayakovsky, there have been attempts to contrast the rhythmic structure of his verse with classical traditions.

The poet himself objected to this. “There is no need to argue with the poetry of the past - this is educational material for us,” he wrote in the article “How to make poetry” (vol. X, p. 211)

In this regard, he said: “Iambic, free verse, alliteration, assonance are not created every day. We can work on their continuation, implementation, dissemination” (vol. X, p. 216).

Mayakovsky has many works written in classical meters, that is, in syllabic-tonic verse. Thus, “An Extraordinary Adventure...” is written in iambic tetrameter alternating lines with trimeters, “Crimea” (“I walk, I look...”) is written in iambic trimeter, and “Leo Tolstoy and Vanya Dyldin” is written in trochee tetrameter.

This can be easily verified if in any of these poems we identify stressed and unstressed syllables:

The sunset glowed with a hundred and forty suns,

Summer was rolling into July

it was hot

the heat floated -

it was at the dacha.

In classical verse, lines usually consist of the same number of feet. Mayakovsky often writes in multi-foot verse, when short lines with a small number of feet alternate with long lines consisting of a large number of feet. Mayakovsky often moves from one poetic meter to another within the same poem.

Here are a few lines from the poem “About Pedestrians and Openings”:

Along Petrovka

walk furiously

couples

squeezed like a sardine...

With might and main

buses

roar.

The howl is in vain,

labor is in vain.

If in the first two lines we find trochee, then in the next two we find iambic. Such a verse is called multi-accented.

However, attempts by some researchers to fit all of Mayakovsky’s poems under the syllabic-tonic system are unsuccessful: most of his works are written in tonic verse, which is based “on a more or less equal number of rhythmic stresses in poetic lines, regardless of the number of syllables in a line and the number of unstressed syllables between stresses.” (L. Timofeev and N. Vengrov. “A brief dictionary of literary terms” Uchpedgiz, 1952 p. 7)

The tonic principle of verse forms the basis of Mayakovsky's poetic creativity. As a matter of fact, tonic verses are what they mean when they talk about Mayakovsky’s innovation in the field of poetic lyricism.

Let’s take a quatrain from “Poems about the Soviet Passport”:

Along the long front

compartments and cabins

official

courteous

moves.

Handing over passports

and I'm renting

mine

purple book.

Having placed the stress, one can notice that in this work the four-stressed verse alternates with the three-stressed one, while the number of unstressed syllables in each line is different (7-6-5-6), and it is impossible to establish patterns in the arrangement of stressed and unstressed syllables.

The rhythmic richness of V.V. Mayakovsky’s works is explained by his desire to convey the whole variety of conversational intonations, for he was guided by the “audible word” and strove each time, “depending on the audience, to take an intonation - convincing or pleading, ordering or questioning” (vol. X, p. 243).

The rhythmic structure of verse often changes in Mayakovsky, even in the same work. In the poem “150,000,000,” the transition from the story about Ivan to the description of America begins with the words:

Now

Let's turn the wheel of inspiration.

Measure the rhythm again.

This change in rhythm is always determined by the content of the verse, the nature of the images and pictures drawn by the poet.

A clear example confirming this idea is the poem “Good!”, where in each chapter there is a new “measure of rhythm”.

In Mayakovsky's verse, the rhythm-forming role is played by pauses. However, they not only “fill in” the missing syllable, but also highlight the word following the pause, to which the poet draws the reader’s special attention. Such a pause appears before the fourth line in the poem “To Sergei Yesenin” (first stanza); it is often found in the poem “Good!” Here is one of the most striking examples:

Petersburg windows,

Blue and dark.

City

sleep

and restrained by peace.

But...

doesn't sleep

Madame Kuskova.

The third stanza, rhyming with the first, four-beat, consists of only one word. In order not to “break” the rhythm, after the “but” there should be a long pause, which highlights the following words and emphasizes the author’s ironic attitude towards “Madame Kuskova”.

The desire to strengthen the semantic significance of the word explains the construction of Mayakovsky’s verse "ladder"; it also affects the rhythm of the verse.

The poet himself wrote about the semantic role of the “ladder”: “Our usual punctuation with periods, commas, question marks and exclamation marks is too poor and inexpressive compared to the shades of emotion that a sophisticated person now puts into a poetic work.

The meter and rhythm of a thing are more significant than punctuation, and they subordinate punctuation when it is taken according to the old pattern.

After all, everyone reads the poem by Alexei Tolstoy:

Shibanov was silent. From a pierced leg

The scarlet blood flowed like a current...

How -

Shibanov was silent from his pierced leg...

Enough, shame on me

To humiliate myself before a proud Pole...

reads like a provincial conversation:

I'm quite ashamed...

To read it the way Pushkin thought, you need to divide the line the way I divide it:

Enough,

I'm ashamed...

With such a division into half-lines there will be no semantic or rhythmic confusion. The division of lines is often dictated by the need to hammer in the rhythm unmistakably, since our condensed economic structure of verse often forces us to throw out intermediate words and syllables, and if after these syllables we do not make a stop, often longer than between the lines, then the rhythm will break off” (vol. X, p. 244).

It is not the number and arrangement of syllables that holds a line together, but intonation and semantic emphasis. That is why Mayakovsky resorts to the original graphic design of the verse: he breaks the line, prints it with a “ladder”. Each highlighted segment becomes, as it were, a step, prompting the reader to pause, change in intonation - the poet did not have enough usual punctuation marks, stop signs before an “obstacle”, an obstacle. This innovation - the ladder - remains unusual to this day, but for Mayakovsky it could not be more appropriate, since his poems (the agitator's poems) are intended to be read aloud.

From the poem “Minority Report”:

quagmire

junk

not suitable for us -

her

by car

let's squeeze it to the bottom.

Don't stick it

to work

wedges, -

and with us

and among the masses

and one thought

and one

general line.

The originality of rhyming methods

In Mayakovsky's tonic verse, rhyme plays an important rhythmic and semantic role. “...without rhyme (understanding rhyme broadly) the verse will fall apart,” the poet asserted. “Rhyme brings you back to the previous line, makes you remember it, makes all the lines that form one thought stick together.”

Mayakovsky always tried to put the most characteristic word at the end of the line, “getting” a rhyme to it at all costs.

In other words, Mayakovsky rhymed words that carried the main semantic ideological charge in the poem. In this regard, it is not without interest to look at the ending of the sixth chapter, “Okay!” At the beginning it talks about the events that took place under capitalism. But then the October Revolution took place, which opened a new era in the history of mankind - the era socialism. And Mayakovsky emphasized this fact by rhyming the most semantically important word:

Dul,

As always,

October

winds.

Rails

snaked across the bridge,

race

my

trams continued

already -

under socialism.

Mayakovsky's rhymes are always unexpected; his methods of rhyming are diverse.

Mayakovsky does not reject the old methods of rhyming, when stressed vowels and consonants following them coincide in rhyming words.

But the sounds preceding the final stressed vowel often coincide (most often the supporting consonants coincide).

It is characteristic that the poet takes into account the nature of the pronunciation of words and rhymes the lines not for the eye, but for the ear: the prince - to shave, the calendar - to take off.

Let us note that in this respect, Mayakovsky seems to be following Pushkin, who in one of his articles asked: “How can one forever rhyme for the eyes, and not for the ear?” Enriching the methods of rhyming, Mayakovsky uses compound rhymes: bombs - forehead, little grief for them - categories, to grow to a hundred - without old age, hammer and verse - youth.

He has rhymes - homonyms, striking in their unexpectedness and completeness of consonance: behind the waters - factories, baronie - ram, world howl - world, put on - in fact, etc.

And the poet was right in asserting that his rhyming is “almost always extraordinary” and, in any case, before him “... it was not used and it is not in the dictionary of rhymes” (vol. X, p. 236).

Mayakovsky connects the entire sound design of the verse with rhyme. Thus, he often resorts to alliteration, repetition of identical consonant consonants “for framing, for even greater emphasis on a word that is important to me” (vol. X, p. 242). From these words it is clear that rhyme and alliteration serve one purpose for Mayakovsky - to emphasize, highlight an important word in the verse (crown - conquered, yours - march, Mauser - slander). In general, when the words are written, it seems. that the rhyme is unsuccessful, and when you pronounce them, the endings coincide.

However, not only rhyme and alliteration, but even lack of rhyme. Let us recall the verses from the third part of the poem “Vladimir Ilyich Lenin”:

Five pointed stars

burned on our backs

Pan's governors.

Alive,

up to your head in the ground,

gangs buried us

Mamontova.

In locomotive furnaces

The Japanese burned us

the mouth was filled with lead and tin.

Four lines - and not a single one rhymes, and yet all the preceding and subsequent lines rhyme. The absence of rhyme in this case is a kind of italicizing of lines. The reader involuntarily pays special attention to these lines, and this is what the poet needs, who wants to say: no torture could make people cry, show their weakness, but death makes them squeeze “a groan out of iron”, causes sobs.

Expressiveness of the figurative system

By making his verse more expressive, Mayakovsky strove to figurative expression of thoughts. He believed that “one of the great means of expression is the image”; Moreover, the image, in his opinion, should always be biased, that is, have a political orientation.

The poet’s selection of images is such that we always see how the poet relates to the person depicted, whether he is worth for or against.

In the poem “Vladimir Ilyich Lenin,” the leader of the revolution appears to be a great navigator, guiding the Soviet hulk ship“smoothly into the world, construction and docks.” And in this comparison of Lenin with a navigator, we feel the deepest respect for a wise, courageous, decisive man, confidently leading the ship-country across the ocean of revolution to a new, joyful life.

Does Mayakovsky resort to comparisons, metaphors, metonymy, does he use epithets, he always strives to make the image “visible”, “weighty”.

When the poet in “Poems about the Soviet Passport” resorts to comparison, reporting that the official takes, “as if they were taking a tip, an American’s passport,” then we see his lackey servility and feel the contemptuous attitude towards him of the Soviet poet - a representative of the great Soviet power.

Hyperbolic comparisons when describing how an official takes a “red-skinned passport” emphasize the horror of a servant of the bourgeoisie when confronted with a representative of a country he hates.

Quite a few bright comparisons can be found in the poem “At the top of my voice”: “My poem will break through the vastness of years with labor and appear weightily, roughly, visibly, how the aqueduct built by the slaves of Rome came into use today"; the poet encourages readers of subsequent generations to feel the “pieces of string” “ like an old but formidable weapon", the formation of books is compared to a parade of troops: "I will rise as Bolshevik party card, all one hundred volumes of my party books.”

This work also contains expressive epithets (« aimed, gaping titles", "rough language of the poster”, “I am a sewer man and a water carrier, mobilized and called upon by the revolution") And metaphors(“Let the inconsolable widow follow the geniuses glory trudges along in the funeral march", "from leta remnants of words will float out such as “prostitution”, “tuberculosis”, “blockade”), and metonymy("I don't care about bronzes a lot of volume, I don't care about marble slime"," They told us to go under the red flag years of labor and days of malnutrition").

The specificity of imagery is also combination of credibility and fiction. This fusion creates a kind of surreal model of reality:

It's evening

into the horror of the night

left the windows

frowning,

December

They laugh and neigh at the decrepit back

candelabra.

(poem “Cloud in Pants”)

In the poem “The Seated Ones” the technique of fantastic grotesque is used: taking the common phrase of officials “there are so many things to do that you might burst,” the poet realizes this situation: “... I see:/ Half of the people are sitting./ Oh, devilry!/ Where is the other half?”

All these artistic means, all the images are subordinated to Mayakovsky’s main, fundamental task: to express one’s thoughts very clearly, clearly, so that the poetic word becomes a “commander of human strength”, calling the reader to fight for the triumph of the ideas of communism.

Mayakovsky’s desire for a clear, precise, figurative expression of thoughts affected the quality of the verse: many of the poet’s lines became aphoristic and entered colloquial speech.

“In terms of the wealth of sayings introduced into the language of his people, Mayakovsky can be placed next to Griboedov: like the verses of an immortal comedy, Mayakovsky’s catchphrases spread from mouth to mouth. We hear them from the stands and on the street, we read in the headlines of articles and notes: “both song and verse are a bomb and a banner”, “The word is the commander of human power”, “More good and different poets”, “Life is beautiful and amazing ", "The garden is in bloom!" and many others that clearly and deeply express our feelings and thoughts.

All these artistic features of Mayakovsky’s poetry characterize him as an outstanding poet who assimilated and developed the best traditions of the literature of the past and at the same time became an innovator, the “Columbus” of Soviet poetry.

Conclusion

Mayakovsky sees 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. Poetry

- all! --

riding into the unfamiliar.

This unfamiliar, unknown becomes the subject of his poetry. He's wide 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. He has its own construction, its own image, its own rhythm and rhyme. The poet fearlessly breaks the usual poetic form, creates new words, enters into poetry, low and vulgar language. 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.

All his poems are deeply personal., it 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 creates 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 with reddened eyelids”; “The boats nestled in cradles entrances / to the nipples of iron mothers”.

Mayakovsky's poetry speaks not only in the language of images and metaphors, but also widely uses the sound and rhythmic capabilities of the word. A striking example is the poem “Our March,” where you 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.

Mayakovsky changed not only poetry, but also the previous idea of ​​it. He became the mouthpiece of the ideas and moods of the era. His poems are “weapons of the masses,” he brought poetry out of the salons into the square and made it march along with the demonstrators

The poet did not have enough time to rethink his work. He wanted to annex poetry to the state, so that the need for poetry would be equated with the need for a bayonet. Mayakovsky dreamed that poetry would shout from the stage. Only the latter came true: in the 60s, poetry fulfilled Mayakovsky’s wishes, but could not last long on the stage.

But that's how it should be. Poetry is a solitary and highly traditional affair. Innovation in poetry can be realized rather in the freshness of feeling rather than in form.

Much in Mayakovsky’s work is difficult and sometimes impossible to accept. But, evaluating his works, one should remember that poetry is a fact of biography, and it is created according to the same laws as the surrounding reality. The time when Mayakovsky lived was a time of many cataclysms in the fate of the country, a time of searching for new ways of its development, and it left its mark on the poet’s work. In an attempt to achieve the maximum level of expression that would correspond to the new content of life - be it love, politics, art - Mayakovsky creates his own, original creative method. The author set his goal to write “just as good, but about something else” - with an emphasis on “good”, in this case. What he left behind - new, undoubtedly talented - proves that the poet achieved his plans.

Brief bibliography

Vladimirov S.V. On Mayakovsky’s aesthetic views, “Soviet Writer”, 1976

Stanchek N.A. Studying the lyrics and poems of V.V. Mayakovsky at school, A manual for teachers. L., “Enlightenment”, 1972

Mayakovsky V.V. Works in two volumes, M.: Pravda, 1987

Mayakovsky V.V. Selected works, "Children's Literature", Moscow, 1956

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 a poem from the last years of V.V. Mayakovsky’s life:

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 all truly 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 by the 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 is wrongfully overshadowed other wonderful poets - his 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 Klyuyev were shot, Mandelstam died in the camp, Yesenin and Tsvetaeva committed suicide, Akhmatova’s fate was difficult, they were persecuted after the 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!…

The stronger a person is spiritually, 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”).

A new style and a new genre were needed. The poet turns to the ROSTA windows. “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 an egoistic life, but take part in the common life of 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 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!

Sorry to bother 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 the form is a 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 long for 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 lyricism, 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 have broken 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!

This 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,” sound writing (especially alliteration) is of great importance:

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. used 1

Now I'm heading west too!

I will go and go there,

until your eyes cry

Typed in petite. (“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 was 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, thanks to his 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 the poetic world of Mayakovsky, the futuristic wedging between the signified and the signified, 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 the opposite:

(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. In this study, we did not set out to understand these innovations in detail, but they are worth mentioning, since the poet’s craving 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 the 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?

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”:

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.

Eternal themes, not related to the topic of the day, not dictated by agitprop and social order, 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 “About 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.”

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

the star quality of 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 he will be waiting for us for a long time” (1)

(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! –

noted: “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 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.

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 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.

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 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 more powerfully than with 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.

Literature used.

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.

In the art of the 20th century, V. Mayakovsky is a phenomenon of enormous scale. In his creative heritage we find lyrics and satire, poems and plays, essays and critical articles, advertising poems and drawings. But the true greatness of V. Mayakovsky lies not only in the breadth of manifestation of his creative individuality, not only in the fact that the secrets of poetic mastery and knowledge of the laws of the stage, the ability to wield the pen of an essayist and the brush of an artist were equally accessible to him. First of all, he is a poet, and it was as a poet of the socialist revolution that he entered the consciousness of millions of people.

In the works of V. Mayakovsky, which captured the most important events and problems of his time, the voice of the era, the era of preparation and accomplishment of the proletarian revolution, sounds powerfully. The truly epic scope of poetic comparisons, the daring boldness of metaphors, the strength and weight of poetic rhythm are combined in his works with journalistic passion.

The poetry of V. Mayakovsky is poetry of open citizenship, addressed to a mass audience. V. Mayakovsky is often called a “tribune poet,” and there is enough reason for this in his work. He himself, in the poem “At the top of his voice,” a work that is largely concluding, calling himself “an agitator, a loudmouth leader,” asserted: “I’m not used to caressing my ears with words...” And although there is some truth in this, the artistic structure of V. Mayakovsky's poetry only to agitation-oratorical intonations would be incorrect, since in it it is not difficult to find intimate love confessions, a tragic cry, feelings of sadness, sadness, philosophical reflections, caustic irony, and a good-natured smile. The poetry of V. Mayakovsky is not only diverse in terms of genre, but also multicolored in its artistic and intonation structure.

Whatever form V. Mayakovsky’s poetic thought takes, the defining principle in his work is the lyrical element.

Lyrics are usually considered as an artistic reflection of the poet’s inner life, his state of mind at one time or another. The objective world, real reality are revealed in lyrical poetry through the author’s experiences. Life phenomena and events, as a rule, do not receive a direct and immediate image here. They turn out to be imprinted in the feeling, in the emotional reaction that they evoke in the writer. “The poetic word is vital. It satisfies the hunger of the heart and soul."

This fully applies to most of V. Mayakovsky’s works. Whatever they are dedicated to - class battles or love, trips to foreign countries or disputes about the tasks of art - the poet’s attitude to real events, the facts that prompted him to take up the pen, is expressed with such emotional passion that the poetic structure of the work takes on a special character . The story about certain life phenomena is inextricably linked in them with the expression of the poet’s thoughts and feelings, with the disclosure of his inner world, the author’s “I”.

The element of the author's thoughts and experiences in the works of V. Mayakovsky not only gives them a special emotional coloring, but often comes to the fore and becomes the basis of the artistic image. This strength and purposefulness of the author's feeling, acquiring a lyrical sound, is also manifested in his epic works, which depict life phenomena. It is also felt in the political poems of V. Mayakovsky and even in poems of a propaganda and industrial nature. Without exaggeration, we can say that lyricism is the all-pervading and all-unifying force of V. Mayakovsky’s creativity, the internal energy of even those of his works that are not lyrical in their artistic structure.

Paradoxically, in the poems and speeches of V. Mayakovsky one can often find attacks against lyric poetry. “We have repeatedly attacked the lyrics with hostility,” he wrote in the poem “Anniversary.” These words

Not a slip of the tongue or a poetic exaggeration. A line of polemical and hostile attitude towards “lyrical outpourings” runs through all of V. Mayakovsky’s work. He makes especially caustic remarks about love themes.

In these passionate words, of course, one cannot see a negative attitude towards lyrics as such. V. Mayakovsky’s critical attitude towards a number of forms of lyric poetry is caused by various reasons. And, above all, the feeling that the framework of the “old” lyrics with its traditional themes - love, nature, philosophical thoughts about life - has become too narrow. They do not accommodate the huge and complex world of feelings of a person of a new era, whose private life turned out to be connected with major historical events and processes. In addition, V. Mayakovsky’s attacks on lyrics express a protest against subjectivism and lack of spirituality in poetry, against decadent moods, against all kinds of, as he called, “melechlyundia” - salon sophistication of feelings, philistine beauty, aesthetic narcissism and other melodramatic “ delights,” the existence of which their adherents justified by the poets’ right to self-expression.

Not satisfied with the traditional possibilities of “self-disclosure” of the poet in lyric poetry, V. Mayakovsky feels the need to expand the boundaries of lyric poetry. This corresponded to both the objective needs of the time and his mental makeup. After all, poetry as the “sensuality of the era” could not help but catch new trends, not take into account the fact that in the 20th century the impact of great human history, the most important social processes on the fate of the individual, on the so-called private life of people, increased unusually.

As for the peculiarities of V. Mayakovsky’s poetic perception, everything that happened in the world aroused passionate interest in him. He had the rare ability to perceive everything that happens in life - and even those removed from him by time and distance - as his own, deeply personal, bloody business.

The breadth of perception of life, the exceptional strength of the poet’s emotional reaction to the world could not fit into traditional forms of lyrics and required space for their expression. That is why the poetry of V. Mayakovsky does not fit into the framework of the artistic experience that preceded him. He becomes the creator of a new type of poetry, which covers political and social reality as widely as never before.

Lyrics by V.V. Mayakovsky contains a lot - history, politics, love, and everyday life; and all this is included in his poetry not as a distant background, but is the main object of artistic depiction. “Even Mayakovsky’s opponents (there were many of them both during the poet’s life and after) could not say anything about the poet’s insincerity, deceit, falsehood, and the times were cool, they were not shy in definitions and expressions.”

V. 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 poetry of V. Mayakovsky speaks not only in the language of images and metaphors, but also widely uses the sound and rhythmic capabilities of the word. V. Mayakovsky created an innovative poetic system that largely determined the development of both Soviet and world poetry. A new type of lyrical hero with his revolutionary attitude to reality contributed to the formation of a new poetics of maximum expressiveness: the entire system of the poet’s artistic means is aimed at the extremely dramatized verbal expression of the thoughts and feelings of the lyrical hero.

Today V. Mayakovsky is not at all relevant politically, but is relevant humanly and aesthetically, “... love was “everything” for V. Mayakovsky. And this “everything” was in the full sense “everything”: the revolution, the country, the world, the people, friends, the women whom the poet loved. And what for many is purely personal, intimate, in V. Mayakovsky is filled with the dissonance of life and raised to cosmic proportions in affirmation and negation.”

“No matter how controversial and contradictory Mayakovsky’s work may seem today, from the height of the past time we see the rightness of those who predicted him a long life in art. These were the most insightful and sensitive of his contemporary readers and the most authoritative judges in poetry for us.”