The special significance of poetry B. Artistic innovation In
The beginning of the 20th century is the heyday of Russian poetry. During this period, new poetic forms appear, traditional themes begin to sound differently; an unusual poetic language arises. V.V. Mayakovsky is considered an innovator in the field of versification. His special style, attention to the rhythm of the poem, unconventional rhymes, the use of new words - all this distinguishes the poetry of V.V. Mayakovsky from traditional lyrics. The poet’s work has caused and still causes debate.
In Mayakovsky’s poetic system, rhymes, truncated lines, and mixed poems are especially important. The poet uses his style of writing a poem, thus VV Mayakovsky pauses significant semantic lines with pauses. Here is how the escalation of a painful atmosphere of hopelessness occurs in the poem "Good attitude to horses":
Horse on the croup [pause]
Crashed [pause - the reader pays his attention],
And right away [pause]
Behind the onlooker the onlooker [pause],
Kuznetskiy’s pants flared [pause],
Crowded ...
Such an unconventional breakdown of the poem into lines helps the poet draw the reader’s attention to the most important thing, the feeling of hopelessness is conveyed not only lexically, but also syntactically, through a special breakdown of the line.
V. Mayakovsky paid great attention to the word, therefore, in his works we find a lot of author's neologisms - words invented by the poet himself, they most fully reveal the essence of the poetic concept, convey the shades of author’s speech. In the poem "An Unusual Adventure that happened with Vladimir Mayakovsky in the summer at the dacha" there are a lot of author's neologisms: "gold-headed", "yas", "ringing", "singing". The poet plays with words and rhymes, therefore, for example, in this poem there are homonyms: “I am driving the lights back for the first time since creation. Did you call me Chase the tea, chase, the poet, the jam! ”, Synonyms:“ sun ”,“ gold-headed ”,“ shone ”. Poetic vocabulary V.V. Mayakovsky is always unusual, and the reader discovers new meanings of traditional words and forms.
The poet in his lyrics uses such a poetic device as sound recording. Thus, the reader not only imagines the picture depicted by the poet (most of Mayakovsky’s poems are plot), but he also hears what is happening. In the poem "Good attitude to horses" the knocking of the hoofs of a dying horse is expressed as follows:
They hit the hooves
They sang as if:
- Rob.
What matters here is not the meaning of the words, but the combination of sounds. Sound in a new way in the poetry of V.V. Mayakovsky traditional theme. For example, in the poem “Sagging" the theme of bureaucracy is revealed by the poet through a mixture of fiction and reality, the creation of grotesque situations when people
“... at two meetings at once.
Meetings at twenty
We need to keep up with us.
Involuntarily have to tear.
To the waist here
But other
In the same poem, another innovative method of V. Mayakovsky is used: a mixture of lexical styles. Within the framework of one work there are words and expressions that are closely related to the realities of the contemporary poet of the world, and on the other hand, there are outdated forms and words. For example, in the neighborhood are such words and expressions: Theo, Gukon (abbreviations of the beginning of the twentieth century) and the ancient form of the verb yell - orya; the neologism of that time - audience and archaism - from the time of it.
Thus, V.V. Mayakovsky made poetry in the early twentieth century an innovator in the field of versification. His poetic style attracted the attention of the reader, and put talent on a par with outstanding poets of the early twentieth century.
Introduction About the poet V.V. Mayakovsky ………………………………………… 2
1. Innovation of the poetry of V. Mayakovsky. ………………………………… 5
2. The tragedy of Mayakovsky’s fate ……………………………………… .18
Conclusion Conclusions on the study. ………………… ..25
The used literature ……………………………………………………… 28
Introduction
Starting this study, I want to quote the lines from a poem of the last years of life of V.V. Mayakovsky:
I want to be understood by my country
but I will not understand -
By home country
i'll pass by
how is it going
slanting rain.
("Home", 1925)
Such pain is heard in these lines that I want to understand why such a kindly kindly poet could write it. Indeed, by the time these lines were written, Mayakovsky already had popular recognition, he was considered the "main mouthpiece of the era", and here ...
It seems to us that the main trouble of the poet was that after him there was no worthy change. Marina Tsvetaeva was right, who said so about him: “When I say“ herald of the masses ”, I see either a time when everything was of such growth, pace, strength, like Mayakovsky, or a time when everyone would be like that. In the meantime, in any case, in the field of feelings, of course, Gulliver among the Lilliputians is exactly the same, only very small. ”(1) A. Yu. Lermontov replaced A. Pushkin, taking his style of verse as a standard, and V.V. Mayakovsky, who is not inferior to A.S. Pushkin in the scale of his talent, was replaced by no one. They tried the “sixties” - E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky — they wrote poems with a ladder, but it didn’t work ... So far, the mighty figure of the mysterious poet and man, V.V. Mayakovsky, has been standing separately.
(1) M. Tsvetaeva Mayakovsky and Pasternak - M., 1932.
Volumes of various studies are written about the work of V. Mayakovsky. Having rethought everything that was read, in our study we relied on the article by Nadezhda Mironova “Is Mayakovsky alive today?”, Where the author scrupulously exploring the poet’s work, analyzes it in relation to the needs of the modern reader. It would seem, why was this required? 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 with a “monument of the Russian revolution”. But in fact, the poet was many-sided, like all truly talented people. It was diverse, but official literature did not want to admit it, considering it fit only to proclaim the advantages of the socialist system and to urge to step “Left!” In particular, the article says that the famous statement about him by Stalin was truly fatal for Mayakovsky’s poetic fate. In a letter to Lily Brik (she complained that Mayakovsky was not being published, they were 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, ranked untouchable. “Mayakovsky was introduced like potatoes under Catherine. This was his second death. He is not guilty of it, ”Pasternak wrote in 1956
Mayakovsky’s myth 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, futurism. The real, correct Mayakovsky begins only after 1917, when he is freed from all these vices and becomes a clear, sprightly, life-affirming singer of socialist novi. “Any direct or indirect attempts to identify Mayakovsky with the futurists, contrasting his classical poetry, have nothing to do with historical truth,” the Communist magazine (1953, No. 10) menacingly warned the central party organ. In school and university textbooks and programs, in pseudoscientific “studies,” in popular critical essays, Mayakovsky was turned into a loud singer and thoughtless propagandist of the Soviet regime. “Born by the Great October Revolution, Mayakovsky was and remains a great herald of the socialist era ... along with Gorky, he is a new, epoch-making type of writer,” says the afterword to the Complete Works of the poet in 1973. Mayakovsky, raised by Stalin to the highest state pedestal, is illegitimate overshadowed other remarkable poets - their contemporaries. For several decades, it was printed in millions of copies, constantly quoted and misplaced, studied as an unrivaled classic, and they were hushed up, not printed, banned, physically destroyed. Gumilyova and Klyueva 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. Mayakovsky’s transformation into an official, state poet, into a “drummer of the proletarian revolution”, as Bukharin called him, repelled, pushed many readers away. But without studying the work of the poet, the author of the article is sure, and together with her, it is impossible to study Russian literature of the twentieth century. Mayakovsky is the pride of our literature with his innovative verses, an unconventional approach to versification, the dynamism and effectiveness of verses.
(1) N. Mironova Is Mayakovsky alive today? - M., 2003. - p.5.
2. Innovation of the poetry of V. Mayakovsky ..
B. Eichenbaum wrote: “History has set Mayakovsky a task of great importance and difficulty. He had to change not only poetry, but also the very idea of \u200b\u200bit and the poet, which was perhaps even more difficult. "The struggle for a change in the traditional views on the poet, poetry and its role, its tasks Mayakovsky begins at the very beginning of his work ." (1)
In the poem Cloud in Pants (1914-1915), Mayakovsky exclaimed:
Listen up!
Preaching
tossing and moaning
today is the crybug Zarathustra! "
As Eichenbaum writes: “It was already a challenge to tradition. ... the crybug Zarathustra” is a “prophet”, but not a priest ... Indeed, the poet at Mayakovsky is a prophet, but the prophet is not of a higher power, like Pushkin, but a prophet of a new time:
Where people’s eyes cut 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 rained down on poets who "... boil away, nagging rhymes, some kind of brew from love and nightingales." Mayakovsky dislikes the isolation of poets in his little world, when he was "entrusted with the beauty of the magnificent century ...", the sweetness of their poetry is disgusting.
Gentlemen poets, haven’t you really got bored
pages, palaces, love, lilac bush to you?
If people like you, creators,
I don’t give a damn about any art. "
Such poets were "not large-scale," shallow for Mayakovsky, and he fought with such lyrics all his life:
We have repeatedly attacked the lyrics with hostility ...
We do not think, however, that he was completely against the lyrics. Just in this area of \u200b\u200bpoetry, the poet introduced his enormous scale, strength and energy of the verse. ("Listen!")
And straining
In midday dust storms
Bursts into god
Afraid of being late
Kisses his sinewy hand
Asks -
So there must be a star! -
Swears -
Will not bear this starless torment! ...
The stronger a person is spiritually, the stronger is the sudden eruption of pain, but the stronger is his struggle. Mayakovsky’s poetry is always a struggle, a struggle “for” and “against”: against “junk”, the old poetic system, the old understanding of poetry, for a new, new in everything, for a renewed world. In the article "How to do poetry?" Mayakovsky wrote: "The weak are stomping on the spot and waiting for the event to pass, to reflect it, the powerful run ahead as much to drag the clear time." This statement would not have been possible without that belief in the power of the word with which Mayakovsky came to poetry. He was the first to introduce the concept of poetry as a weapon:
I want the feather to be equated with a bayonet ...
Without faith in the power of the word, Mayakovsky’s poetry would not have existed, and Mayakovsky himself would not have existed. There would be no such concepts as “social order” and “target setting”. In the article "How to do poetry?" the poet notes: "I am writing about my work ...". The understanding of poetry as work was fundamentally new. The purpose of this work was determined by the "class and demands of the struggle." In the same article, Mayakovsky writes: “For example, the revolution threw a clumsy clang of millions onto the street, 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 languageless").
We needed a new style and a new genre. The poet turns to the windows of GROWTH. "This is not just poetry ... This is a protocol record of the most difficult three-year period of the revolutionary struggle, conveyed by spots of color and the sound of slogans. This is my part of the huge agitation work of the windows of the satire GROWTH. Let the poems remember the poems they fell in love with. We are pleased to recall the lines under which Denikin fled from Orel, "- wrote Mayakovsky.
We are not considering here something new that went into poetry with the windows of GROWTH, because the “honor” of opening this form does not belong to Mayakovsky. The form itself: a caricatured, caricature drawing with an explanatory signature - was not new. They were fundamentally new - orientation to the masses and their agitation character, which was the reason for the style of windows. GROWTH. But Mayakovsky began to work in GROWTH after he saw a similar poster on the street. Mayakovsky, like none of the poets expressed his time, full of pathos of the creation of a new world and faith in the future. That time was in him. He lived and breathed them, the fate of the country, the fate of time became his fate:
It was with fighters or a country
Or it was in my heart.
And that is precisely why Mayakovsky, perhaps without suspecting it, completed another very important historical mission assigned to him. “He had to,” Eichenbaum wrote, “to rid Russian poetry from the contradiction of“ civil ”and“ pure ”poetry, the contradiction of a citizen poet and a priest poet ... 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 self, leading to Pushkin and Nekrasov and removing their historical antithesis, which was the basis of the division into "civic" and "pure" poetry. Mayakovsky removed this antagonism itself, because, in his poetic self, the public and personal became inseparable m. "Hence the originality of the genre of such poems as" Vladimir Ilyich Lenin "and" Good! ": lyrical-epic. 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 mankind was not just accessible to the poet, she became familiar to him, he could not and did not want to leave her. By his work Mayakovsky most fully embodied Leo Tolstoy’s thought that "a person living in this world must ... recognize himself as a member of all mankind "; "so that he’s new<писатель> sees, it was important for people, he should not live a selfish life, but take part in the general life of mankind. "Mayakovsky wrote:
I erased the difference
Between their faces and strangers.
Mayakovsky’s poetic genre arose as a kind of monologue of the poet, addressing the audience. And this is no coincidence. Mayakovsky began precisely with monologues, because often there were no listeners. In pre-October work one feels the terrible loneliness of the poet. Dialogue with the reader arises only after October. Mayakovsky has three kinds of monologues. Firstly, there are poems (for example, “Orders for the Army of the Arts”), where the poet stands face to face with those whom he addresses: “It’s enough to walk, futurists, a leap into the future!”, Or:
Stand up, comrades,
Please get up.
This is just an imitation of a conversation with the audience. In the first case, it is, rather, an appeal, and in the second - a speech at the microphone, without waiting for a reaction from the audience. Although, it is quite possible that this is a biased approach.
Secondly, the poet is sometimes turned to the reader only half-turn, because formally his speech is addressed to the interlocutor, who is "in verse". (“Yubileinoe”, “Sergey Yesenin”, “Conversation with the financial inspector about poetry”) Monologue-conversation, unlike monologue-speech, is much easier and freer; approaching colloquial speech. (A dialogue already arises, but not with the reader yet):
Citizen financial inspector!
I'm sorry to trouble you.
Thanks…
Don’t worry ...
I will stand ...
And, thirdly, it is a monologue-reflection, an almost internal monologue, but nevertheless spoken aloud (etc., "Fine philosophy in deep places", "Home"). It is characterized by freedom and ease of development of thought. Undoubtedly, the form is a lyrical genre. But Mayakovsky’s lyrics are special, they are not self-enclosed, they don’t hide from the world, and, on the contrary, they crave reaction, response. For example, in a conversation with the financial inspector Mayakovsky suddenly turns to the reader:
And if it seems to you that the whole business is
This is to use other people's words,
So here you are, comrades, my style,
And you can write yourself.
This is lyrics, in the field of attention of which a person (lyrical hero) is in a relationship with the outside world.
"This is not a lyre to you!" - said Mayakovsky about his poems. Eichenbaum wrote in his trumpet voice article: “Mayakovsky never touched the lyre — where it is to him! His hands are not made like that. She would break at his first touch. He is loud by nature. And this is the most important ... time has come, when a poet thinks himself loudly shouting them (verses) into a thousand-headed crowd.Where can one think about the subtleties of rhythm, sound combinations, the completeness of phrases and the accuracy of rhymes! It is necessary that it reaches the very end of this huge hall in which the poet thinks himself.
It is very important. This is a coup. Another verse, another poetics, another dictionary - all over again.
And here is a new record of verses: not by line, but by breath, because each word must be shouted with full breasts ... the lines are arranged not according to the pattern, but according to pronunciation (musical score for reading).
Such is the rhythm - such is the rhyme. Mayakovsky appears only where it is needed, where it should be, and her nature is new. She is all in stressed syllable, because only this syllable reaches the last ear of the last listener, and Mayakovsky is always in front of the crowd, never in the office. He rhymes "dirty you" and "unless", "in vain to you" and "celebrate." Since "the rhyme is all in stressed syllable", the sound recording is of great importance (especially alliteration):
The city robbed, rowed, robbed,
Got a belly of box office
And the machine is thin and hunchy
I got up the working class ...
Futurists were not the first to actively apply alliteration. But they have no harmony in them.
Pile behind the sound sound you
And forward singing and fistula.
There are still good letters:
Er, Sha, Shcha.
Mayakovsky even has a poem with an alliteration in the title "Shumiki, noises, noises" ("... on the whisper of the soles" - a good example of alliteration). Or:
... and in your souls a worn out sigh ...
(tragedy "Vl. Mayakovsky")
... Made-up cereals, steaks, broths
And thousands of dishes of all food.
("Anthem for lunch")
... puddles a compressed rogue ...
... in the choirs of the archangel choral ...
("Cloud in pants"), etc.
Mayakovsky revived the echo-rhyme, first applying it to the Rost windows:
If we finish Wrangel and Pan,
will the world be then?
In a complicated form, it appears in the second chapter of the poem "Good!":
to land
In Mayakovsky's early poems, torn rhymes of the same type are found as those of Edgar Allan Poe, Baudelaire, and Annensky:
Sullen rain squinted.
Grill
iron thought wires-
rising stars
easily rested the night ...
In his further poetic work M. applied 1
Now to me to the west!
I will go and go there
until your eyes pay
Typed by petite. ("V. and m.")
The second type is “spaced” rhyme: the beginning and end of one line rhymes with the end of the other:
The last one is set on a bayonet
Our go to Kovno,
On a fathom
shredded human meat. ("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:
Annoyed at first:
not a single corner
to tea newspapers.
Gradually, he lived in heaven.
I go out with others to stare.
("Human")
Cases of combining different rhymes are also possible. 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 to it at any cost. As a result. My rhyme is almost always unusual and in any case has not been used before , and it’s not in the rhyme 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"; widely used neologisms. He believed that "novelty in a poetic work is imperative." And indeed, he has a lot of neologisms: sickle, hammer, crykububy, etc. Often used metaphors:
... from my mouth
stirring the feet of an uninvited scream.
With unshaven cheek areas
I am flowing in an unnecessary tear ...
On the eyelashes of frosty icicles
Tears from the eyes
From the lowered eyes of the drainpipes.
Sometimes the poet uses the technique of a literalized metaphor: for example, in the poem Cloud in Pants, he strikingly outplayes the expression "nerves diverged":
Quiet as a patient from the bed
The nerve jumped ...
Now he and the new two
rushing about with a desperate tap dance. (1)
Innovation in Mayakovsky’s poetry is directly related to reading his poems aloud. A lot of scientific works are currently devoted to the problem of reading poetry by the poet, but I want to note the main thing, which also speaks of innovation in poetry. Mayakovsky’s requirements are known to the true poet - his attributes should be a strong voice, sound pressure on the audience, a certain "area". Mayakovsky himself met these criteria completely thanks to his strong voice, thanks to his love of public speaking. However, others are accused by him of unethicality precisely on these grounds. For Mayakovsky, poetic innovation is directly related to the voice, moreover, the inevitable problems associated with physicality and the voice apparatus are emphasized. Concurrency is indicative: clothing - names, body - thing, voice act - act of protest, innovation, something rebellious. Refusal from beaten, “worn out” names of things has deep futuristic roots - this is Khlebnikov’s creation, see also Kruchenykh’s phrase that the flower denoted by the word “lily” is much more suitable for the name “euy.” (2) But there is another feature of the cited fragment. In the poetic world of Mayakovsky, a futuristic wedging between the signified and the signifier, the exposure of the body of a thing, creates a collision in the body itself, accompanied by a crisis of voice. As an object carries the possibility of a name, so the body carries the possibility of clothing. See the opposite:
(1) Eichenbaum B.M. On poetry. M .: Sov. writer, 1987. - S. 297-300 .. For the first time: Eichenbaum B.M. Traditions of Civil Poetry [About Mayakovsky] // News. April 14, 1940 - p. 4.
(2) Cheremin G.S. Mayakovsky's Way to October M., 1975
I will sew black pants for myself
Refusing clothes is a rebellious act of voice innovation, the two-sided nature of which correlates with both the name and the cry, i.e. with calling yourself. In this study, we did not aim to understand these innovations thoroughly, but it is worth mentioning them, since the poet’s craving for public speaking is known. We also know that before his death Mayakovsky often lost his voice, which greatly depressed him.
3. The tragedy of the fate of the poet .
Speaking about innovation in poetry, one cannot fail to say about the poet’s fallacies, related primarily to 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 share the pre-revolutionary and post-revolutionary work of the poet. This is not always correct.
The real Mayakovsky in no way fits into the scheme, the essence of which was expressed in an article of 1936 by the authoritative literary critic I. Luppol at that time: “The October Socialist Revolution brought Mayakovsky to a new life, it seemed to put him on the rails from which he no longer went.” Mayakovsky’s passionate, relentless pursuit of the future is connected with the fact that he did not accept much in today's life. He is still “an all-out pariah” (“About This,” 1923). The motives of world grief still sound in his poems: “Our planet is poorly equipped for fun”, “This time is difficult for the pen” (“Sergei Yesenin”, 1925). Does not leave him feeling lonely:
The ironic lines in the elegiac poem of 1925 “Petty Philosophy in Deep Places” are piercingly sad:
Years are seagulls.
Fly in a row -
and into the water -
stuff the belly with a fish.
The seagulls hid.
Essentially saying
where are the birds
I was born,
fed with a pacifier, -
became a bit old ...
So life will pass
how were the Azores
Only thirty-two years was the poet when he wrote this poem. The thought of a passing life, a premonition of an approaching death do not let him go. They also appear in the 1926 poem “Conversation with the Finances Inspector of Poetry”:
wear out over the years.
- to the archive,
signed up
Loves less and less
less and less daring
and my forehead
with a run it destroys.
Is coming
the worst depreciation -
depreciation
hearts and souls.
Eternal, unrelated to the anger of the day, not dictated by agitprop and social order topics arose in Mayakovsky’s verses not “by the mandate of duty”. They sounded a discord in the Soviet era of state-affirming life affirmation. Then a completely different thing was required. Here is how Nikolai Tikhonov formulated these requirements in his speech at the First Congress of Writers: “The new humanity rejected the theme of world grief as unnecessary. We strive to become masters of not global tribulation, but global joy. ”
Mayakovsky was by nature a tragic poet. He wrote about death, about suicide, starting in his youth. “The motive for suicide, completely alien to the futuristic and Lefish themes, is constantly returning to Mayakovsky’s work,” R. Jacobson noted in the article “On the generation that squandered its poets”. “He is trying on all the suicide options ... The unprecedented pain of the present time has been cultivated in the poet’s soul.” Mayakovsky’s motive for death and suicide is eternal, universal. Here he is a free poet, he has no agitation, didactic, pragmatic goal, he is not bound by group commitments or polemics. His poems are deeply lyrical, truly relaxed, in them he really tells “about time and about himself”.
Mayakovsky’s verses on love (they certainly belong to the summit achievements of 20th century love lyrics) inspire inner freedom and true inspiration, about revolution and poetry. In these verses he is a great poet, a “magnificent lighthouse”, as E. Zamyatin said about him, in his work one can hear the “formidable and deafening” hum of a mighty historical stream. Mayakovsky has such a powerful voice that, without straining it, he turns to the universe, to the universe:
You look what is quiet in the world
Night overlaid the sky with a stellar tribute.
You get up at these hours and say
centuries, history and universe ...
The most penetrating lines of Mayakovsky, the tragic nerve of his poetry - in the great, intoxicating dream of a future happy humanity, which will atone for all today's sins and crimes, about a future where there will be no troubles and sufferings. In the poem “About This”, he turns to a scientist who in the distant future will be able to resurrect people, give them a new life full of happiness:
thirtieth century
outrun the flocks
hearts tearing apart trifles.
Now disliked
make up
the stardom of countless nights.
Resurrect
although for
waiting for you, throwing away everyday nonsense!
Raise me up
although b for it!
Resurrect -
i want to live my life!
The energy and strength of Mayakovsky’s elastic, powerful line feeds on this faith. The last lines he wrote are about the power of a free word that will reach descendants through the heads of governments:
I know the power of words, I know the words,
They are not the ones applauded by lodges
From the words of such a tomb
to step four of your oak legs.
It happens that they will be thrown out without printing, without publishing.
But the word rushes, pulling up the cinch
centuries ring and trains creep
lick poetry corpus callosum.
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 were given to us “not yesterday, not tomorrow, but forever” (Lunge, 1924). Tsvetaeva also believed that Mayakovsky was not only a poet of his own age, she wrote: “With his quick feet, Mayakovsky walked far beyond our modernity and will be waiting for us for some long time somewhere” (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:
Though you lame bohomaz
face my face
to the goddess of the freak of the century!
I'm alone like the last eye
a person going to the blind! -
remarked: “Time obeyed and did what he asked. His face is inscribed "in the goddess of the age." Half a century since Pasternak said this, confirmed the truth of his words: Mayakovsky went down in the history of the century, took a prominent place on the Russian poetic Olympus. (1)
V. Kornilov in his article “Not Peace, but Myth”, written by Mayakovsky’s centenary, recognizing that the poet is “great and unique”, nevertheless believes that “anniversary is useless, and it’s also not worth studying in high school what, in any case, the next half century. ” In an article by G. Mironov, he 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, omitting Mayakovsky. Now there is no doubt that Mayakovsky will “stand up”, despite all the accusations and revelations. ” (2)
(1) B. Pasternak People and situations. - M., 1956.
(2) N. Mironova Is Mayakovsky alive today? - M., 2003.- p. 7.
But you need to study it without obscuring its flashy contradictions, without closing your eyes to failures in moral guidelines, to “voids”, separating genuine poetry from poems that were no longer viable at their birth. ”
Mayakovsky’s work, many of his motives and images, his strengths and weaknesses can be understood only if we consider him in the context of history, in the broad channel of contemporary literature.
Conclusion Conclusions from the study.
Mayakovsky’s poetry is in many ways similar to the paintings of the beginning of the 20th century, although the instrument of the artist of the word and the brush master 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 the 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.
Mayakovsky's roots of innovation can be found in related areas of art, for example, in cinema. He loved to make his poems by editing, working with the word, like with a film. The pioneering search for a new form was also largely determined by the revolution. According to Mayakovsky, poetry should have corresponded to this new reality. Naturally, in his verses new intonations appeared, aggressive notes provoking poses.
Summing up the research, we can distinguish the following features of innovation in the poetry of V.V. Mayakovsky:
1. New types of rhymed strings, divided into the following:
1. Cross-over compound rhyme - the end of the line rhymes with the end of the other and with the beginning of the third.
2. Spaced rhyme - the beginning and end of one line rhymes with the end of the other.
3. Hidden rhyme - the beginning or middle word of one line rhymes with the end of the other.
2. the expansion of the vocabulary of the poetic language, the introduction of political and revolutionary vocabulary into it, the widespread use of neologisms: sickly, hammer, crykububy, etc.
3. The use of a metaphor, sometimes literalized.
4. The change in the rhythmic pattern of the verse associated with reading poetry aloud.
5. The special syntax of verses, where the main role is given to the noun.
Of course, the poet had his failures and mistakes and misconceptions, but he himself understood that not everything that he writes would remain in history. For example, he wrote such tragic lines:
agitation prop in the teeth,
scribble
romances on you -
it is more profitable
and prettier.
becoming
own song.
Marina Tsvetaeva wrote about this: “No sovereign censor dealt with Pushkin as much as Vladimir Mayakovsky with himself ... Mayakovsky ... ended up stronger than a lyric poem - with a shot. For twelve years in a row, the Mayakovsky man killed Mayakovsky the poet in himself, stood up on the thirteenth poet and killed the man ... ”(1)
It seems to us that we should join these words and, paying tribute to the talent of Vladimir Vladimirovich Mayakovsky, we should not consider his work outside the context of that difficult and tragic era, the product of which was the poet ...
(1) M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932. - p.23.
References.
1. V. Kornilov - Not the world, but a myth - M.1986.
2. O. Mandelstam. Lunge - M., 1924.
3. N. Mironova - Is Mayakovsky alive today? - M., 2003.
4. B. Pasternak. - People and positions - M., 1956.
5. M. Tsvetaeva Epic and lyrics of modern Russia - M., 1932.
6. G.S. Cheremin Mayakovsky's Way to October. - M., 1975.
7. B.M. Eichenbaum. On the poetry of Mayakovsky. - M., 1987.
V. Mayakovsky entered the history of Russian literature of the twentieth century as a poet and innovator. He brought a lot of new things both to the content and the form of the verse.
If you consider contentthen Mayakovsky mastered new topics of the revolution, civil war, socialist construction, and in this aspect. Which was characteristic only of him. This was expressed in the combination of a lyrical and satirical view of reality.
Mayakovsky’s innovation was especially vivid in form. The poet created new words, boldly introduced them into his poems. Neologisms strengthened the expressiveness of poetry: “a two-meter-sized snake”, “huge plans”, “red-skinned passport”, etc., therefore they are called expressive-evaluative author's neologisms.
Mayakovsky used speaking and speaking techniques: “Listen! If the stars light up, then does someone need this? ”,“ Read, envy - I am a citizen of the Soviet Union! ”
Of particular importance in Mayakovsky’s poetry are rhythm and intonationthat formed the basis of the system of his verse. The poet himself in the article "How to Make Poems" explained the features of his system. Important for him in the verse are rhythm, intonation, pauses. Mayakovsky’s verse is called intonational tonic. The poet put the most important word in the sense of the word at the end of the line and always picked up a rhyme for it. This word, thus, was distinguished twice - by intonation, logically and in harmony with another important word, i.e. semantic stress. To enable the reader to feel his own intonation, Mayakovsky graphically began to separate the lines with pauses. And so the famous "ladder" was formed
Mayakovsky’s innovation is not only connected with the verse system. Of particular importance is the character of the imagery of Mayakovsky's poetry.
I immediately smeared the weekday card,
splashing paint from a glass;
I'm featured on a jelly dish
slanting cheekbones of the ocean.
On the scales of tin fish
i read the call of new lips.
And you
nocturne play
we could
on a drainpipe flute?
An essential feature is a sharp social coloring. Most often, the social acuteness of the poetic image is manifested in a separate path - metaphor, personification, comparison.
Take a look at Russia from above -
angry with rivers
as if a thousand rods were taking a walk
as if laced with a whip.
But bluer than water in spring,
bruises of Russ serf.
With figuratively social perception of the landscape, natural phenomena are endowed with signs of social relations. A very common technique in Mayakovsky’s poetry is hyperbola. A sharp look at reality led Mayakovsky to hyperbolism. The image of the proletariat-community, plans of the community, etc. goes through a series of works.
Metaphor Mayakovsky is always noticeable. The poet refers to the phenomena surrounding a person in everyday life, widely introduces associations with household items: “The sea is brilliant. Than a door handle. ” Mayakovsky's poetry became the basis for the tradition of accent or intonational-tonic verse, which was continued by N. Aseev, S. Kirsanov, A. Voznesensky, Y. Smelyakov.
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Mayakovsky’s work combines the best traditions of Russian classical literature and the innovation of poetry from the socialist era.
Opponents of Mayakovsky tried to represent him as a nihilist, accused of neglect of cultural heritage. Mayakovsky sharply objected to these fabrications. In response to the accusation of "destroying the classics," in 1930 he said: "I have never dealt with this stupid business ..."
Mayakovsky’s attitude to the greatest Russian poets of the 19th century testifies to how highly he appreciated the great masters of the classics.
When our country celebrated the hundred and twenty-fifth anniversary of the birth of Pushkin, Mayakovsky wrote the famous poem - "Jubilee" (1924) and expressed his deep love for the great poet. “I love you, but alive, not a mummy!” Mayakovsky exclaims passionately, protesting against the “textbook gloss” that pseudo-educated pedants were pointing at the poet.
Mayakovsky Lermontov highly appreciated. 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 of Lermontov's poetry.
Inheriting the best traditions of the classics, Mayakovsky at the same time acted as a poet and innovator. 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 nature of his lyrics, the uniqueness of his poetic style, so organically fusing the realistic accuracy and concreteness of the image with the scale of the poetic vision of the world.
Bringing poetry and politics closer, Mayakovsky placed art at the service of the revolution. The master of the political poster, newspaper verse, he unusually widely and originally used in his work the means and techniques of artistic conventions. His metaphor is not only subject to a specific ideological concept, but also incorporates the most important social associations of the era. So, for example, the images of the revolution-flood are born, as well as the expanded image of the “army of poems”. Hyperbolism inherent in 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 an unprecedented breadth, Mayakovsky introduces lively modern speech, the socio-political phraseology of the era, into the poetic language. The basis of his poetry is colloquial speech. "Most of the tone of things is built on conversational intonation," wrote Mayakovsky. He accidentally gave many of his poems the name: "conversation", "story", "message", etc. Most often in the works of Vladimir Mayakovsky heard oratory intonations of the poet-tribune, "agitator, leader."
Mayakovsky constantly fought against the false idea that there was a special “poetic language” with which poetry could only be written. He sharply criticized poets who wrote in conditionally poetic jargon.
He struggled with the same energy against literary cliches, beaten, dead, unspoken expressions. Mayakovsky widely used all the riches of the Russian language. When it was needed, the poet did not neglect the old words: archaisms and Slavisms. 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: “Hammered, sickly Soviet passport”, “I love our plans”, etc. Both these and other neologisms of Mayakovsky have the goal of most expressively revealing the content of the poem, its meaning.
Very important in Mayakovsky’s works is rhyme. Ho the poet was not satisfied with the old rhyming method. He often rhymes words, taking into account not only their endings, but also previous sounds, not only the literal coincidences of syllables, but also the harmony of words. Mayakovsky’s rhymes are extremely diverse and expressive.
I must say that in the post-October years, Soviet poetry put forward many names that took a place along with the greatest poets of the past. And we can safely say that in the entire history of Russian literature there has not yet been a period when such an abundance and variety of poetic talents would have appeared in a relatively short historical period. Plekhanov and Selvinsky, Pasternak and Yesenin, Lugovsky and Zabolotsky, Bagritsky and Prokofiev, Twardovsky 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 great wealth! Each of the aforementioned writers is a striking distinctive poetic dimension; each of them can be deservedly called a great poet.
And among these poets we distinguish Mayakovsky, calling him not only “big”, but also great. This man has won a special place even among the best of our best poets.
V.V. Mayakovsky entered the history of Russian literature of the twentieth century as a poet and innovator. He brought a lot of new things both to the content and the form of the verse.
If we consider the content, Mayakovsky mastered the new topics of the revolution, civil war, socialist construction, and in this aspect. Which was characteristic only of him. This was expressed in the combination of a lyrical and satirical view of reality.
“Mayakovsky’s innovation was particularly pronounced in form. The poet created new words, boldly introduced them into his poems. Neologisms strengthened the expressiveness of poetry: “a two-meter-sized snake”, “huge plans”, “red-skinned passport”, etc., therefore they are called expressive-evaluative author's neologisms.
Mayakovsky used the methods of oratory and colloquial speech: “Listen! If the stars light up, then does someone need this? ”,“ Read, envy - I am a citizen of the Soviet Union! ””
“Of particular importance in Mayakovsky’s poetry is rhythm and intonation, which formed the basis of his verse system. The poet himself in the article "How to Make Poems" explained the features of his system. Important for him in the verse are rhythm, intonation, pauses. Mayakovsky’s poem is called intonational-tonic. The poet put the most important word in the sense of the word at the end of the line and always picked up a rhyme for it. This word, thus, was distinguished twice - by intonation, logically and in harmony with another important word, i.e. semantic stress. To enable the reader to feel their own intonation, Mayakovsky graphically began to separate the lines with pauses. ” And so the famous "ladder" was formed
Mayakovsky’s innovation is not only connected with the verse system. Of particular importance is the character of the imagery of Mayakovsky's poetry.
“I immediately smeared the map of everyday life,
splashing paint from a glass;
I'm featured on a jelly dish
slanting cheekbones of the ocean.
On the scales of tin fish
i read the call of new lips.
And you could play a nocturne
on a drainpipe flute? ”
An essential feature is a sharp social coloring. Most often, the social acuteness of the poetic image is manifested in a separate path - metaphor, personification, comparison.
“From above, take a look at Russia -
angry with rivers
as if a thousand rods were taking a walk
as if laced with a whip.
But bluer than water in spring,
bruises of Rus serfdom. "
With figuratively social perception of the landscape, natural phenomena are endowed with signs of social relations. A very common technique in Mayakovsky’s poetry is hyperbole. A sharp look at reality led Mayakovsky to hyperbolism. The image of the proletariat-community, plans of the community, etc. goes through a series of works.
Mayakovsky's metaphor is always noticeable. The poet refers to the phenomena surrounding a person in everyday life, widely introduces associations with household items: “The sea is brilliant. Than a door handle. ” Mayakovsky's poetry became the basis for the tradition of accent or intonational-tonic verse, which was continued by N. Aseev, S. Kirsanov, A. Voznesensky, Y. Smelyakov.
The main innovation of V. Mayakovsky’s lyrics is that, using traditional word-formation methods, he created his own new words: “Kruchenykhovsky hell”, “I will be mad”, “fried”, “swept up” ...
Mayakovsky also used the staircase structure of the verse, where the most important words or phrases are located on separate "steps". This allowed him to draw the attention of the reader to the most important thing in the poem.
There are a lot of metaphors and comparisons in Mayakovsky’s lyrics. In Lilichka, for example, he compares his lyrical self with a bull and an elephant, and love with labor, the sea and the sun.
“The traditions of the poet Khlebnikov, whom Mayakovsky himself called“ one of his poetic teachers, ”were reflected in Mayakovsky’s work.
“Critics invariably associate innovation in Mayakovsky’s work with the poet’s belonging to Russian futurism. In December 1912, the first manifesto of cubo-futurists “Slap in the face of public taste” was released in Russia. The authors of the declaration of Russian futurists were D. Burliuk, A. Kruchenykh, V. Mayakovsky and V. Khlebnikov. In it, young rebels called for “pushing Pushkin, Tolstoy and Dostoevsky off the steamship of our time”, proclaimed “insurmountable hatred of the language that existed before them,” demanded “an increase in the dictionary in its volume with arbitrary and involuntary words.” In their opinion, it is impossible to create "the art of the future", relying on the classics. Futurists dreamed of creating a new culture of "industry and the big city." They denied morality, art, culture - everything that is not futurism. ” Representatives of innovative poetry promoted a new way of life, ridiculed everything, in their opinion, the old. They mocked the patterns and ideals of the past, quite often going beyond the bounds of decency. The shock of the public, the scandals during the performances became a kind of feat among the Russian futurists. Futurism attracted the budding poet with an unprecedented freedom of expression, theatricality that was characteristic of all avant-garde art.
Having abandoned the “old” culture, the futurists needed to offer something new. So there was a tendency to invent new words, unusual combinations and sometimes shocking images. Mayakovsky’s first night poem, published in 1912, was striking in its novelty.
Often, the poet unexpectedly brings together heterogeneous concepts, animates them, draws a parallel with human reactions. This can be clearly seen in the poems “Morning”, “Sullen rain squinted”, “Port”:
"In the ears of deafened steamboats
The anchor earrings were burning. ”
“The ideas of futurism had a great influence on the early work of V. Mayakovsky. The poet, using traditional ways of forming words, creates his own, new forms: “mocking”, “December evening”, “darling”, “watery eyes”, “rain sobbed” and others. Mayakovsky, like all futurists, glorified scientific and technological progress, saw the future in the development of technology, sang the city and contrasted it with the village. He liked the streets with buzzing cars, bright lights, he was ready to kiss the "smart face of the tram." Pictures of nature, on the contrary, are deprived of life: "flabby moon", "useless to anyone."
Despite adherence to the ideas of futurism, Mayakovsky in his work did not depart from the truth of life, showed the environment realistically. So, he saw the ugliness of the city, the terrible crowding of people in it. He writes: “the coffin of houses”, “crooked square”, “bald lantern”, “a failed street, like a syphilitic’s nose”. Permanent fog of St. Petersburg appears as a cannibal, a bloodthirsty predator, chewing "tasteless people." In the poem "Adishche goroda" the old man is hit by a devil-car, the old woman is trampled by a wild crowd, a musician tormented by the city hangs himself on a chandelier. In the city “everyone cries,” “mother is sick,” “everyone is scared,” “the bodice of the soul was unfastened,” the defenseless heart of a person suffers. ”
Mayakovsky is primarily an innovator, a pioneer in poetry. He spoke with pathos about the old world with new words that he himself created. In poetry, he had his own laws, his own images, his own rhyme, rhythm and size, his poems are built on contrasts. Mayakovsky was not afraid to break the usual forms of verse, to introduce vulgar and low vocabulary into poetry.
Mayakovsky created new rhyming methods close to the oratory. He put the most characteristic word at the end of the line and picked up a rhyme for it. The poet fearlessly violated the syllabic-tonic principle of the 18th century and created tonic versification. Mayakovsky used the staircase of the verse, where each word is a “step”. Each of his words has a logical stress and semantic load. Mayakovsky’s works contain a large number of metaphors, various comparisons, neologisms, hyperbolas, and sometimes repetitions: “Glory, Glory, Glory to the heroes !!!” Using ordinary words at first glance, Mayakovsky managed to create stunning metaphors: “bosom pedestrians”, then have trampled, proceeded up and down. Often such a metaphor unfolds throughout the stanza.
When they talk about Mayakovsky’s innovation, they often call purely formal achievements. They really amaze with unusualness, ingenuity. “Alliterations and assonances give an emotionally memorable sound to the poetic text:“ And a terrible laugh is a joke; ” "tears come down with ..."; "river arm"; "in your mustache." Neologisms flow: "wild mad!" "I will not unload faces"; in the hole to "think"; "wringing little hands-flags"; "vile" (from freezing). The concrete becomes generalized, the abstract is spiritualized. Excited intonation is fixed in complex inversions: “drooping lips in the sky”; "a heart is a noblest album with long-haired postcards" (the last one is even worth explaining: a heart is a long-haired postcard album). And metaphors and metonyms are directly from the legend: “mystics led him to think in holes”, “crumpled up the lanterns of a blanket”, “a warring bunch of boulevard prostitutes”, “a tram shot up pupils from a run”. And all this is "laid out" in a colorful, confusing conversation of the street or a monologue of a shocked observer. Hence the interruptions of the rhythm, the division into lines of words related in meaning, sometimes even syllables, the abundance of inaccurate, assonance and compound rhymes (close to the spoken language). ”
