V.V. Mayakovsky immediately accepted the accomplished revolution, which at that time became the basis for writing many works. Vladimir Vladimirovich blurred the lines between poetry and politics, creating a unique and recognizable style. Mayakovsky's poem " An Extraordinary Adventure", the analysis of which is presented below, bright that confirmation.

Subject

In the analysis of Mayakovsky's poem "An Extraordinary Adventure" we should talk about main idea his creations. The action takes place between a working poet and the sun, which, according to the hero, does nothing special. The plot of the poem may be fabulous, but its main theme is rather prosaic.

Mayakovsky was always concerned about the position of the poet-social activist and what place poetry occupies in the life of society. Here the author finds the answer to his question. Poetry can light a fire in the hearts of people, motivate them to make this world a better place for society. Poems, like the sun, illuminate people's path and give them hope and light.

Lyrical images

In the analysis of Mayakovsky's poem "An Extraordinary Adventure" one of the points is to determine the main characters. This sun appears as a real worker who writes poetry day and night, hoping that it will change people's lives.

The sun irritates him, because he believes that it does nothing. And in order to illuminate the world, you don't need a lot of work. Therefore, the poet invites him to his place for tea in order to talk. The sun is shown here as living creature, for whom illuminating the world is his job.

At first, the reader may think that it is lazy (due to the poet’s angry statements). The Sun accepts the invitation and tells the owner of the house that illuminating the Earth is hard labour. But it does it and doesn’t complain, because it understands that this is its calling and it benefits people.

In the analysis of Mayakovsky's poem "An Extraordinary Adventure" it should be noted that the images of the heroes emphasize the main idea of the poem: it is important to do what will be useful for society. But it is also important to do what you love, because only then will a person be able to do it truly well.

Literary means of expression

In the analysis of Mayakovsky's poem "An Extraordinary Adventure" it is also necessary to note the means of expression used. The poet used hyperbole and exaggeration of the importance of the individual, characteristic of futurists. Hyperbole allows you to show how huge the sun is compared to ordinary people.

Large role in the creation fairy tale plot the metaphor played a role, thanks to it the sun became a living being. And the use of heroes during the dialogue made it possible to convey a relaxed atmosphere. In the analysis of V.V. Mayakovsky's poem "An Extraordinary Adventure" it should be noted that the use of homonyms was an original solution.

It should also be noted that the meager details, not distinguished by poetic sublimity, emphasize the simplicity of the situation in which the sun and the poet met, they make this meeting less fantastic. All listed artistic media represent this work even more expressively.

Features of the work

In the analysis of the poem “An Extraordinary Adventure”, it should be emphasized that this work of the poet is distinguished by the boldness of the plot and the original approach to covering a social topic. After all, Mayakovsky stood at the origins of political creativity. For him, any topic became the subject of lyrics, and thanks to this he gained fame as a social poet.

In the analysis of the poem “An Extraordinary Adventure” by V. Mayakovsky, it should be noted that in this work the frequent use of exclamatory sentences gives emotionality to the syllable. Neologisms emphasize the originality of the poet's style. This work is distinguished by the fact that the fabulousness of the plot is combined with everyday little things, which allows us to touch on topics important to Mayakovsky.

The main motto of the poem is to do what you like. And if you are confident that something is beneficial, then despite all the difficulties, you need to continue to do it. And poetry helps people see all the colors and touches on topics that are important to society, on which a person can reflect and make the lives of those around him better.

The poem “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha” is dedicated to the theme of difficult but noble poetic work. Like most of V.V.’s works. Mayakovsky, it is built on dialogue and carries a pronounced journalistic beginning. The main artistic technique in this work- parallelism: the life of the sun and creative path poet.

The rather long title of the poem, also equipped with a detailed subtitle that clearly specifies the location of the action, aims at a detailed story about the events that actually happened.

The poem opens with a dacha landscape, which is as unusual as the poet’s adventure stated in the title.

It opens with the expressive hyperbole “In a hundred and forty suns the sunset burned,” emphasizing the strength of the summer heat and at the same time setting the dynamics of the entire subsequent action of the work:

And tomorrow the sun rose again to fill the world with red.

And day after day this began to make me terribly angry.

This is how an imaginary conflict is outlined in the work. Next up is cocky lyrical hero poses a desperate challenge to the heavenly body:

I shouted point blank to the sun:

“Get off!

Enough of hanging around in hell!”

The hero's remarks contain many colloquial and colloquial phrases. This gives his speech a familiar character. Having initially dared to communicate with the sun, a person seems to boast of his fearlessness. Then the sun finally responded to the challenge, the hero’s mood changes:

The devil pulled my audacity to yell at him - I was embarrassed, I sat down on the corner of the bench, I’m afraid it wouldn’t have turned out worse!

The poem (as well as the lyrics of V.V. Mayakovsky in general) has an extremely strong dramatic element. The fantastic action unfolds like an ordinary table scene: before us are two close comrades conducting an everyday conversation over a samovar. They (the poet and the sun) complain to each other about everyday problems and eventually agree to join forces in a common cause:

You and me

There are two of us, comrade!

Let's go, poet,

we look,

let's sing

the world is in gray trash.

I will pour my sunshine, and you will pour yours, in poetry.

At the same time, the “golden-faced sun” finally acquires human image: Not only does it carry on a leisurely conversation, but you can even pat it on the shoulder.

At the end of the poem, the abstract image of a common enemy is destroyed:

Wall of shadows, nights prison

under the sun with a double-barreled shotgun.

The work ends with an optimistic picture of the triumph of poetry and light, all that is most beautiful on earth.

Poetic metaphors help V.V. Mayakovsky combined fantastic and realistic plans for the artistic reflection of reality:

To me,

By goodwill, itself,

spreading out his ray-steps, the sun walks into the field.

The lyrical hero perceives the heavenly body as some kind of real being - the poet’s assistant. Both of them do one common thing - they bring light to the world.

V.V. Mayakovsky strove to be consistent in his views on art. This poem by the poet echoes the issues with a number of his other works devoted to the topic of the poet and poetry.

V. V. Mayakovsky. “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha”

The language of V.V. Mayakovsky's poetry still serves as a subject of admiration and blasphemy: to some, his language seemed like a bold revolutionary breakdown of the very foundations of Russian speech, to others - the damage and death of the Russian tradition that was created by classical literature at the beginning of the century. What exactly is Mayakovsky's language? Is it a language innovator or a language destroyer? Answer to this question lies in a careful, scrupulous analysis of the poet’s specific texts, which will allow us to establish to what extent V. Mayakovsky’s innovation is motivated by the artistic, communicative task of each specific text.

The poem “An extraordinary adventure that happened to Vladimir Mayakovsky in the summer at the dacha” occupies a special place in the poet’s work. Mayakovsky himself considered it a “programmatic thing.”

A fantastic meeting with the sun results in a real, “earthly” conversation about the high purpose of the poet and the transformative role of poetry, about the joy of creative work and the greatness of simple, everyday affairs.

This poem is structured as a dialogue between two characters - the poet and the sun, and V. Mayakovsky did not just transfer the real colloquial speech, he made her the subject of the image. Several dialogues are merged here: 1) explicit dialogue, implemented in the text through the direct speech of the lyrical hero-poet, talking in the first person / “I” /, and the sun; 2) a dialogue between the named persons and the Author, who plays a special role here: as an interested witness, listener, interlocutor, who at the end of the poem calls: “There’s a mess of poetry and light, shine on anything!”;

3) implicit, internal dialogue, which refers to contact with the reader. From the point of view of M. Bakhtin, every text (including poetic) is dialogical, because it is focused on the activity of the reader, who strives to more accurately perceive the author’s thought in order to respond to it with an action, a remark, or a thought. Such dialogism increases the level of understanding of the text and helps to have a more effective impact on the reader.

An explicit dialogue in the poem begins as a substantive one (according to the classification of N. D. Arutyunova), in which the exchange of information predominates: “Damot! you're covered in the clouds, and here - don’t know either winter or summer, sit and draw posters/» - “Get some tea, get some, poet, some jam!” At the end of the poem, the dialogue becomes modal, dominated by an exchange of opinions: “Okay, don’t worry, look at things simply! Do you think it’s easy for me to shine?” etc.

Compositionally, the poem is divided into two parts: 1) real, everyday (description of the place and time of action - from the beginning of the poem to the words: “At a moment’s notice I shouted to the sun “Get off!..”); the reality is reinforced by the subtitle: “Pushkino, Akulova Gora, Rumyantsev’s dacha, 27 versts along the Yaroslavl railway. dor."; 2) fantastic, extraordinary, which is also reinforced by the title “ An extraordinary adventure..."

The main content of the text is in the clash of the real and the unreal - the attitude towards fulfilling one’s duty, towards work, towards each other.

At the beginning of the poem, the poet is shown at work, and his attitude towards the sun is his attitude towards an idle luminary: “Damot!”, “Get off!”

During the conversation between the poet and the sun, it turns out that he, too, is a worker: “And Do you think it’s easy for me to shine?” A similar attitude to business, to work was the basis for the friendship of the poet and the sun: “And soon, without concealing friendship, I hit him on the shoulder.” Friendship is strengthened by an understanding of the similarity of their activities and common goals: “I will pour my sunshine, and you - your own, in poetry."

In an effort to enhance expressiveness and thereby the impact on the reader, V. Mayakovsky turns to units of various linguistic levels, skillfully transforming and unexpectedly combining them.

The poet finds many expressive possibilities in word-formation units, including word-formation models. Moreover, Mayakovsky does not invent unprecedented sound combinations, he works with what is in the language as a hint and a hidden, potential possibility; he seems to deliberately demonstrate the word-forming capabilities of the language. Thus, the poet often uses truncation of stems (yasya - formed from the adjective clear), ordinary affixes, but he adds them to those words with which these affixes are not normally combined ( dream book = sleep + prostrate (a), sober up= ring + sya, we look- from the dawn), collocation (beam steps).

V. Mayakovsky boldly uses the capabilities of the morphological system of language, transferring, for example, words from one morphological class to another (from unchangeable to changeable), changing its characteristics within one class (for example, gender; number in the class of changeable words): drive the teas- the poet uses the noun “tea” in plural; know neither winter nor summer: the sun rose brightly- the short adjective is used not in a predicative function, as required by the norm of the Russian language, but in an attributive one (in the meaning of “scarlet”).

The most in an unusual way V. Mayakovsky confronts ordinary words, giving birth to new expressive meanings: in July was rolling into summer; the hillock of Pushkin humped Shark Mountain; the roof was crooked with bark; you are covered in the clouds; spreading out his ray-steps, the sun walks into the field; his eyes are already in the garden; Let's look, let's sing to the world in gray trash.

In the field of using lexical means, V. Mayakovsky’s innovation is not only in a fairly large number of author’s occasionalisms, but also in the free use of reduced and colloquial words, which, it would seem, have no place in high poetry: parasite(colloquial), drive the jam(simple) get off(colloquial), hang around(simple) etc.

As a brave innovator, V. Mayakovsky uses phraseological units. In this poem one can note a peculiar struggle with the death of a single word, which turns a free phrase into a phraseological unit. The author transforms phraseological units by introducing free words and expressions into their structure: for example, into phraseological units look both ways Mayakovsky introduces two free verbs and a transformation occurs “ you go and look at both”; phraseological unit scream at the top of your lungs turns into a poem “Suddenly I can see all the light”; phraseological unit how many winters, how many years transforms so that it becomes difficult to recognize - “know neither winter nor summer.”

As for syntax, Mayakovsky sought to highlight the word, to free it from syntactic dependencies, i.e. “to a kind of overcoming of syntax,” according to G. O. Vinokur. There is an inextricable connection between the features of the syntactic structure of Mayakovsky’s poetic speech and its rhythm, so that, in essence, Mayakovsky’s rhythm and syntax seem to explain each other:

A mass of sun burst into the windows, through the doors, through the crack; taking a breath...

The specificity of V. Mayakovsky’s syntax is not at all that he has many unusual constructions, but that they are all generated by a certain stylistic task, a certain communicative attitude of the author.

In addition to those mentioned linguistic means different levels, V. Mayakovsky uses various techniques. The most common in this poem is repetition, which performs various functions. Firstly, repetition contributes to the dynamism and expressiveness of the image: “His eyes are already in the garden, he is already walking through the garden.” Secondly, a pun is based on it: “I am driving back the lights for the first time since creation. You called me? Drive the tea, drive it, poet, jam!”

Thirdly, thanks to repetition, for example, the entire gamut of meanings of one of the central verbs of the poem is consistently revealed - shine(from physical to socio-political):

And you think I should shine

easily?

- Go ahead and try it! -

And here you go -

started to go.

you're coming - and shine on both sides!

Always shine. Shine everywhere, until the last days of the bottom, shine - and no nails!

This is my slogan - and sun!

Here two series of repetitions interact - verbs go And shine, which reinforce each other, making them more meaningful and important in expressing the author's idea.

The main idea of the poem is repeatedly emphasized stylistic device parallelism in the image of the poet and the sun: “ I will pour my sunshine, and you - your own, in poetry", "here you go - you started to go, you go - and shine brightly!” and etc.

There are other techniques in the poem: a) hyperbole - “the sunset burned with a hundred and forty suns”; b) metaphors - “ summer was rolling”, “the heat was floating”, "the sun walks" “let’s sing to the world in gray trash” and etc.; c) personifications - "his eyes are already in the garden"(sun) "spirit" Having translated, he spoke in a deep voice.” In addition, various techniques, combining in a poem, reinforce each other, increasing the impact of the text, its expressiveness, for example: “I hit him on the shoulder” - hyperbole and personification at the same time.

(Pushkino. Shark Mountain, Rumyantsev’s dacha,

27 versts along the Yaroslavl railway. dor.)

The sunset glowed with a hundred and forty suns,

Summer was rolling into July,

it was hot

the heat was floating -

it was at the dacha.

The hillock of Pushkino humped

Shark Mountain,

and the bottom of the mountain -

was a village

the roof was crooked with bark.

And beyond the village -

and probably into that hole

the sun went down every time

slow and steady.

flood the world

The sun rose brightly.

And day after day

make me terribly angry

And so one day I got angry,

that everything faded in fear,

I shouted point blank to the sun:

Enough of hanging around in hell!"

I shouted to the sun:

"Damot!

you are covered in the clouds,

and here - you don’t know either winters or years,

sit down and draw posters!"

I shouted to the sun:

listen, golden forehead,

go in idle

It would be great for tea!"

What have I done!

of my own free will,

spreading out his ray-steps,

The sun walks in the field.

I don’t want to show my fear -

and retreat backwards.

His eyes are already in the garden.

It's already passing through the garden.

In the windows,

entering the gap,

a mass of sun fell,

fell in;

taking a breath,

spoke in a deep voice:

"I'm driving back the lights

for the first time since creation.

Did you call me?

Drive the teas,

drive away, poet, jam!"

A tear from my own eye -

the heat was driving me crazy

but I told him

for the samovar:

"Well,

sit down, luminary!

The devil pulled my insolence

yell at him -

confused,

I sat down on the corner of the bench,

I'm afraid it couldn't have turned out worse!

But the strange one from the sun is emerging

flowed -

and sedateness

I'm sitting talking

with the luminary

gradually.

I'm talking about this

something got stuck with Rosta,

and the sun:

do not be sad,

look at things simply!

And to me, do you think

Go ahead and try it! -

And here you go -

started to go

you walk and keep your lights on!"

They chatted like that until dark -

before former night that is.

How dark is it here?

We are completely at home with him.

no friendship,

I hit him on the shoulder.

And the sun too:

There are two of us, comrade!

Let's go, poet,

the world is in gray trash.

I will pour my sunshine,

and you are yours,

poems."

Wall of shadows

nights in prison

fell under the sun with a double-barreled shotgun.

A mess of poetry and light

shine on anything!

It will get tired

and wants the night

stupid dreamer.

with all the light I can -

and again the day rings.

Always shine

shine everywhere

until the last days of the Donetsk,

shine -

and no nails!

This is my slogan

and sun!

“An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha”

In the summer of 1920, Mayakovsky wrote one of his bright poems(actually

It's small lyric poem) about poetry - “An extraordinary adventure that happened to Vladimir Mayakovsky in the summer at the dacha.”

This poem is rightly compared with Derzhavin’s (“Hymn to the Sun”) and Pushkin’s (“Bacchic Song”) tradition. Pushkin sang a hymn to the bright sun of the creative human mind; Mayakovsky likened poetry to the sun, the source of light and life.

Developing classical traditions, Mayakovsky in this poem appears as a poet of the new historical era, which determined a new, special system of feelings and thoughts, new figurative associations. The image of the sun is also filled with new content. In Mayakovsky’s post-October works, this image usually personifies a bright (communist) future. In “Left March” it is “the sunny land without end.” In the “Windows of GROWTH”, a bright future is graphically depicted in the form of the sun rising from the horizon. In the revolutionary poetry of those years (for example, among the Proletkult poets), the sun motif usually serves as a means of transferring the action to the “cosmic”, “universal” plane. In “An Extraordinary Adventure...” all these allegories do not have such a clear, definite expression. They appear only as a literary and historical context, the general cultural “background” of the work. The theme of the poem develops in a deeply lyrical way. Although the event itself is truly “extraordinary”, fantastic, its authenticity is confirmed by many real details reported, starting from the title, from the subtitle. Dan the exact address events (“Pushkino, Shark Mountain, Rumyantsev’s dacha”...), the situation at the dacha (field, garden, “jam”, “samovar”, “teas”...), many psychological details (“angry”, “frightened” ", "retreating backwards", "confused"...). The July heat was also described, which “floated” - “the sunset glowed with one hundred and forty suns” (a surprisingly “accurate” calculation of the brightness of the sunset - a hyperbole in the style of Gogol).

As the lyrical plot develops, there is a gradual personification of the sun from an inanimate celestial body into a guest hero, speaking in a “bass voice,” drinking “tea” with the lyrical hero, switching to “you” with him, calling him “comrade.” True, the lyrical hero himself, already at the beginning of the poem, “getting angry,” addresses the sun as “you.” But this is rudeness. By the end of the poem, this is already a mutual, friendly “you”. As a result of the “extraordinary adventure” and friendly conversation, the deep commonality of the roles of “the poet Vladimir Mayakovsky” and the “sun” becomes clear:

I will pour my sunshine, and you will pour yours, in poetry.

Both comrades, the sun and the poet, fire a “double-barreled gun” of rays and poetry at the hostile forces of darkness - “the wall of shadows, the prison of the nights” - and win. Thus, by action, by joint participation in the struggle, the unity and coincidence of their tasks is confirmed:

Always shine, shine everywhere.

This is my slogan - and the sun!

The final slogan “shine” always and everywhere, illustrated so brightly and wittily, with such an “extraordinary” story, is no longer an abstract allegory. This is the everyday work of a poet, an artist who conquers darkness, bringing beauty, joy, and light to the world.

Updated: 2011-05-09

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Many of Vladimir Mayakovsky’s poems are famous for their amazing metaphorical nature. It was thanks to this simple technique that the author managed to create very figurative works, which can be compared with Russians folk tales. For example, at folk epic There is a lot in common with the work “An Extraordinary Adventure that Vladimir Mayakovsky had in the Summer at the Dacha,” which was written by the poet in the summer of 1920. The main character of this work is the sun, which the poet made into an animate being. This is exactly how the heavenly body is depicted in fairy tales and legends, which gives life and warmth to the inhabitants of the earth. However, the author considered that the sun, which travels the same route across the sky every day, is a slacker and a parasite who simply has nothing to occupy itself with.

One day, watching how it “slowly and surely” descended beyond the village, Mayakovsky turned to the heavenly body with an angry speech, declaring that “it would have come to me for tea instead of coming in like this, doing nothing.” And - he himself turned out to be not happy with such an offer, since the sun really came to visit Mayakovsky, scorching him with its heat: “Did you call me? Drive the tea, drive it, poet, jam!” As a result, the heavenly and poetic luminaries spent the whole night at the same table, complaining to each other about how difficult their lives were. And Mayakovsky realized that he could at any moment abandon his poems and change his pen, for example, to an ordinary plane. However, the sun is deprived of this opportunity, and every day it needs to rise and illuminate the earth. Against the backdrop of the revelations of the heavenly guest, the author felt very uncomfortable and realized that only such selfless work could truly change this world, make it brighter and cleaner.

In the final part of the poem “An Extraordinary Adventure,” Mayakovsky calls on every person not only to follow his calling, but also to carry out any task with maximum dedication. Otherwise, the meaning of existence is simply lost. After all, people come into this world with a specific mission, which is to “always shine, shine everywhere until the last days.” Therefore, there is no point in complaining about fatigue and complaining that someone is destined to have an easier time. life path. Taking an example from his guest, Mayakovsky declares: “Shine - and no nails!” This is my slogan – and the sun!” And this simple phrase emphasizes how important Each of us has a job, be it a poet or an ordinary village worker.

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