Having decided to write about Mayakovsky and his lyrics, I will tell you what lyrics are. Lyrics are the content of inner life, the poet’s own “I,” and the speech form is an internal monologue, mainly in verse, which covers many poetic genres, for example: elegy, romance, sonnet, song, poem. Any phenomenon and event of life in the lyrics is reproduced in the form of subjective experience. However, the poet’s “self-expression” acquires universal human significance in the lyrics thanks to the scale and depth of the author’s personality; she has access to the fullness of expression of the most complex problems of existence. As you know, lyrics convey a person’s experiences, thoughts and feelings caused by various life phenomena. Mayakovsky's lyrics depict the structure of thoughts and feelings of a new man - the builder of a socialist society. The main themes of Mayakovsky's lyrics are Soviet patriotism, the heroism of socialist construction, the superiority of the socialist system over the capitalist one, the struggle for peace, strengthening the country's defense power, the place of the poet and poetry in the working class, the fight against the remnants of the past, etc.

Merged together, they recreate the majestic image of a Soviet man who passionately loves his homeland, devoted to the ideas of the revolution and the people. The openness and civic spirit of the poet, his desire to show the “nature and flesh” of communism, to ignite everyone with the desire to “think, dare, want, dare,” are very dear. In the name of the revolution, Mayakovsky creates an extraordinary oratorical structure of verse that raised, called, demanded to move forward.

Lyrical hero Mayakovsky is a fighter for universal happiness. And no matter what the most important event of our time the poet responded to, he always remained a deeply lyrical poet and affirmed a new understanding of lyricism, in which the moods of the Soviet people merge with the feelings of the entire Soviet people. Mayakovsky's heroes are ordinary, but at the same time amazing people(“The story about Kuznetskstroy”). During the construction of the city, courageous people live in the open air, they are cold, hungry, they have great difficulties ahead, but their lips stubbornly whisper in harmony:

Four years later

will be here

garden city!

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

It's him - I recognize him

In saucer glasses lifebuoys.

Hello Nette!

Then follows a memory of Netta, who was Mayakovsky's friend. These everyday memories are replaced in the central part of the poem by a description heroic act simple advice Russian man - “the trail of the hero is bright and bloody.” The scope of the poem expands: starting with a description of a friendly meeting, it rises to thoughts about the Motherland, about the struggle for communism. People like Nette do not die - people embody their memory...in ships, in lines, and in other long-lasting deeds. Another lyrical poem by Mayakovsky, “Poems about the Soviet Passport” (1929), also sounds like a hymn to the Soviet Motherland. The poem begins with an insignificant event - with a description of the check of passports in a railway carriage at the moment the train arrives at the border. And the poet notices a lot: the courtesy of the official, who “without ceasing to bow,” “with respect” takes the passports of an American and an Englishman; and his disdain at the sight of a Polish passport

So, Mayakovsky does not conceive of lyricism outside of poetry, outside of verse. There is no real verse, no real poetry outside of lyricism. In the lyrics, in the lyrical beginning, is the true essence of poetry. And the lyrical principle is an effective principle for Mayakovsky, the lyric is the most active type of artistic creativity in relation to the reader. Mayakovsky calls the utmost activity of Mayakovsky’s genuine lyrics “tendency” or “agitation.”

Poetry, which does not affirm anything, does not excite, but only states and registers impressions and emotions (remember: “All incoming people rhyme their impressions and publish them in the outgoing journal”), for Mayakovsky is not poetry, because it is not lyricism. This is the essence of the above polemical thesis. This thesis is a negation, but, on the contrary, an ultimate affirmation lyrical beginning, as the beginning that forms the verse. Demanding a “tendency” from poetry, Mayakovsky, in essence, demands from it the power of lyrical affirmation of his ideal, high poetic effectiveness, in other words, a high degree of normativity. Of course, normativity (correlations with the “norm”, with the proper, high, beautiful is inherent not only in lyric poetry, but in art in general. However, in lyric poetry, in poetry, in verse it is, as a rule, expressed more nakedly, more directly than in epic, in narration , in prose. With a half-joking reference to Lermontov, Mayakovsky emphasizes that his poems differ from the poems of the classics not in that they have a “tendency”, i.e., an active affirmation of the “ideal”, a certain high standard of human worldview and behavior (this is also true for them). poets of the past), but by what this “tendency” is, by the fact that the ideal, the norm, the idea of ​​beauty for him are inextricably linked with the idea of ​​communism, perceived not only in social and ethical terms, but also in aesthetic terms:

I measure the varieties of poetry by commune,

That’s why the soul is in love with the commune,

that the commune, in my opinion, is a huge height.

That commune, in my opinion, is the deepest depth.

Therefore, “tendency” in the understanding that Mayakovsky puts into this word is not something alien to the concept of “lyricism” and. therefore, requiring from the lyric poet some kind of violence against his “muse”, but, on the contrary, the most essential aesthetic feature of lyricism.

Mayakovsky has three types of lyrics: lyrics on the theme of revolution, patriotic lyrics and lyrics on the theme of labor. At the peak of the most acute socio-political changes associated with revolutionary events, the poet brings the theme of revolution to the fore. This is how Mayakovsky’s revolutionary lyrics were born. The poet strives to be needed by his people and the Bolshevik Party, which, in his understanding, embodies and defends the people's interests.

V. Mayakovsky was extremely sincere in his unconditional faith in the revolution. He was driven not by religious desires to quickly swear allegiance to the new government, but by a deep civic conviction in the sanctity of revolutionary ideas. The poem “Revolution” was written hot on the heels of the February revolutionary events and has the subtitle “Poetochronicle”. As we see, Mayakovsky strives to be original even in the genre definition of the work. Undoubtedly, there are numerous historical and documentary chronicles that meticulously describe the events of 1917, telling about them in the existing language of numbers and dates. Mayakovsky poses a different problem. Only an artistic (and especially poetic) chronicle can fill a narrative with vitality. Mayakovsky shows how the popular movement is growing and expanding (“Wider and wider are the wings of the weapon”). In the text of the work there are often slogans and appeals designed to enhance the dynamics of the development of the plot. Victory revolution is also associated in the author’s mind with the end of international wars:

And we never, never!

We won’t let anyone, anyone!

tear up our earth with cannonballs,

tear our air apart with sharpened spears

Numerous repetitions are designed to emphasize this most important idea in the poem. The last stanza of the work is polemically directed at those who considered socialist ideas to be heresy and refused to believe in their rapid implementation. Similar motifs can be heard in the poem “Our March,” the marching rhythm of which symbolizes the triumphal procession of the victors. Having made the propaganda of communist ideas one of the main tasks of his work, Mayakovsky could not, could not write about the leader of the Bolsheviks. The poems “Vladimir Ilyich!”, “Lenin is with us!”, “Conversation with Comrade Lenin” and a number of other works are dedicated to V.I. Lenin. The author tried to highlight not the biography of the leader, but Lenin’s cause. Central work, dedicated to the leader of the state of workers and peasants, is the poem “Vladimir Ilyich Lenin”. The idea that the birth of Lenin in Russia is a historical pattern runs through the entire work. At the conclusion of the poem, Mayakovsky describes the grief of loss that the Soviet people experienced in 1924, when Lenin died. In Mayakovsky's work, the revolution is identified with a beautiful and long-awaited spring, with a new era in the history of mankind. The right to take a worthy place among the classics is connected not with Mayakovsky’s political convictions, but with his artistic skill, capable of creating literary works of extraordinary aesthetic expressiveness.

Dedicating the best lines to the native land is a deep tradition of both Russian classical poetry and literature in general since its times ancient history. Particularly relevant are reflections on the fate of the homeland, the glorification of its greatness and turning points when the choice is determined further path development of the state for many years. Mayakovsky's patriotic lyrics are multifaceted. Most of the patriotic poems glorify the new Soviet country. There are also poems about the small homeland:

Just set foot in the Caucasus,

I remembered that I am Georgian.

Mayakovsky, as you know, was born in the Georgian village of Baghdadi and grew up in the Caucasus. In the poem “Vladikavkaz-Tiflis” the lyrical hero travels to his native places, freely moving in space and time. To create a national flavor, Mayakovsky uses interspersed Georgian phrases. He longs for progressive changes in the life of his native side; scope of construction; industrial development:

With all your labor speed, it’s not a pity for the construction to break!

Even if

Kazbek gets in the way - tear it down!

Still can't be seen in the fog.

Some studies about the poet note that Mayakovsky felt like a citizen of the Universe and was not as touchingly attached to his native Russian landscape as, for example, S. Yesenin. As proof of this, a poem about “Russia” is cited, which contains the line: “I’m not yours, snow freak.” Mayakovsky attached enormous importance to rhyme, and the very fact that in the title of the poem “Motherland” there is a rhyme “ugly - homeland” leads to certain conclusions. However, these such obvious conclusions will still turn out to be too hasty, because this poem is comic, fantastic, and it would be wrong to look for echoes of a patriotic line in it. The emphasis here is different. The lyrical hero is a heat-loving, southern bird:

Here I come

overseas ostrich,

In the feathers of stanzas, meters and rhymes.

Anti-war motives are another important facet in Mayakovsky’s patriotic lyrics, which arose in connection with the outbreak of the First World War. In the poem “War has been declared,” the very news of the beginning of the war is likened to a stream of blood. The first and last stanzas of the work form a ring composition due to repetitions. The back row of the poem is divided into two parts. The first includes images that responded energetically and positively to the beginning of the war. Mayakovsky emphasizes the bravura poster slogans, the hyperbolic rise of people when even bronze generals are ready to rush to the front. The second part includes phenomena of the opposite order: “the sky, torn by bayonet stings,” “red snow,” falling “in juicy shreds of human flesh.”

The poem “Magnificent Absurdities” debunks the beliefs of those who look at the war with bravura and ceremonial views. The bloody carnival of fighting is depicted in theatrical and mystical motifs, but this does not make the terrible similarities any more attractive. They are not veiled by metaphorical beauty (“measuring the sky by running out”). Actual events are shown in a terrifyingly naturalistic manner: death, blood. "yellow-leaved in flower beds from killed gangrene." The war seems like a terrible, childish fairy tale.

Mayakovsky's patriotic orientation is directed to the future. In the poem “Red Envy” the poet addresses children. For their sake, for the sake of future large-scale economic achievements, the older generation makes sacrifices and hardships.

But what can be said about Mayakovsky’s labor lyrics? Let's start with the fact that in the controversial era of the 20th century, public views on social problems, on the structure of state life, on the style of relations between people. The style of ownership of the means of production has changed. The attitude of every person to his work and to the work of people had to change radically. Mayakovsky was a supporter of radical changes in public life. Considering himself “mobilized and called upon” to fight inertia, backwardness and everything that prevented the country from breaking through to the forefront of technological progress and radically raising the standard of living, the poet devoted a whole layer of his creativity to promoting a program of socio-economic reforms, the goal of which, ultimately Ultimately, it was supposed to be the creation of a communist state, where there would be no economic difficulties and problems at all, and the main principle for the distribution of material wealth would be the motto: “From each according to his ability, to each according to his needs.”

The theme of labor is one of the most important in Mayakovsky’s work. The poet is interested in the question of the relationship between the costs of honest labor and the amount of remuneration for it. In the poem “A Warm Word to Some Prophets,” the author writes that some earn money through hard work by the sweat of their brow, while others can, by playing gambling, get rich faster and easier.

Glory to the one who found it first

as without labor and cunning,

clean and good

empty your neighbor's pockets and shake them out,

the poet says ironically.

Mayakovsky often compares the socialist attitude to work. Where labor is equated to a military feat, and work in the world of capital. Work for a bright future is going on in the most difficult conditions, but despite the cold and hunger, people are winning the battle with the taiga. For the cause, the main thing is not technology and the latest materials, but people, their strong characters, their convinced determination to transform the face of the earth.

Mayakovsky was distinguished by his desire to be at the forefront of the most important historical events. The poem “March of Shock Brigades” has a strong journalistic beginning (many exclamatory sentences, slogans, appeals, agitation). The impact labor solution, according to the author, should expand, grow, and gain speed:

From shock brigades to shock shops,

from workshops to impact factories.

This refrain is important in the poem both in terms of content and composition. The poet calls on workers to rely on technical achievements, on electrification, but the main trump card is enthusiasm. Work without absenteeism and holidays. The poem constantly sounds the motif of a competition between two formations - revolutionaries and bourgeoisie, communists and capitalists. The poet lives with the desire to catch up, surpass, show and prove the advantages of collective farming. The motive of struggle is emphasized by the rebellious vocabulary of military operations: barricades, worker platoons. The dialectic of darkness and light is important in the poem (darkness symbolizes the gloomy past, light - the joyful future; it is associated with images of the industrial world (lamp, factory rainbow glow). But the main motive is the motive of movement: there are many imperative verbs in the poem. The poem is more addressed to the working class, which, according to Marxist-Leninist teaching, is the driving force of historical progress, but Mayakovsky does not forget about the peasantry:

Tractor to where the plow and bread were poring

storm with a collective farm campaign.

The poet strives for maximum clarity and conciseness. Mayakovsky taught how to treat his native land as a master. However, to work does not mean to curry favor or advance career ladder. Mayakovsky emphatically separates these two points. The heroes of the poem “Which One!” - two comrades who served together shared all the hardships of life in half. One did not follow an easy career path, without meeting any special awards or recognition. Another made his way to the top, not without effort taking a warm place. After some time, fate brought the first to the second’s office asking for help. The poet vividly describes this meeting:

The second glance -

at least glide on skis.

A yard dog sits.

Enraged by his own “successes” in terms of being kind and being able to climb into the right chair, the “brother” asks ex-friend do not enter him without a report. They have long forgotten the ideals of youth and the bonds of friendship. Feeling like the master of the situation, he enjoys the opportunity to paint in his own eyes. Mayakovsky calls for clearing government institutions of such people, otherwise the people may lose faith in their leaders. It is not easy to increase labor productivity, having a well-established life “with a sea of ​​technology on hand.” In the same difficult conditions in which the heroic construction projects of the century were erected, the formation of a new economy and industry was even more difficult and required incredible efforts and complete dedication from people. In the poem “To the workers of Kursk who mined the first ore, a temporary monument to the work of Vladimir Mayakovsky,” the poet calls labor an indispensable front on which days are won in the struggle for a better life. He compares the “flow of words of the stream” and this everyday work, and the reader understands that not even the most brilliant verse can express the full depth of the selfless feat that our people accomplished in the difficult post-revolutionary years. The chopped rhythmic verse successfully conveys the intensity of the percussion work.

A true hymn to the human greatness of the feat is “Khrenov’s Story about Kuznetskstroy and the People of Kuznetsk.” This is a work about courageous and proud builders of a new life, altruists, similar to Gorky’s Danko from the story “Old Woman Izergil.”

Mayakovsky managed to convey through the change in the landscape of birth new era, bright and joyful, like a spring picture of a blooming orchard. At the beginning of the poem, hopeless rain and darkness are depicted, embodied in the vivid definition-neologism “lead feet”. The poet does not romanticize the path to labor achievements. Rather, on the contrary, he emphasizes the painful life of construction workers, every moment of which is filled with the need to overcome certain adversities. People are starving, sitting in dirt and cold for years. They only live with the dream that “in four years there will be a garden city here.” And for the sake of this “garden city,” the winged dream of millions, for the sake of a better life for their children, workers are ready to devote all these four years of their unique, priceless and inimitable life to the construction of a metallurgical giant. In the name of poeticizing this dream, Mayakovsky does not spare any depiction - expressive means language, primarily hyperboles and metaphors (“In a hundred suns, we will ignite Siberia with open-hearth furnaces,” “...The taiga, thrown back behind Baikal,” will retreat).

At the end of the poem, in order to once again emphasize his confidence that the bright dream of the workers will definitely come true, Mayakovsky once again exclaims:

I know - the city will be,

I know that the garden will bloom,

when there are such people in the country

in the Soviet one there is!

The poet directly states that his confidence is based primarily on the so-called human factor. It is the high moral qualities of the builders of a new life that will make it possible, despite the most difficult conditions, to bring large-scale plans to life. Khrenov, mentioned in the title of the poem, is a real person, Mayakovsky’s acquaintance I.P. Khrenov, a participant in the construction of the Kuznetsk Metallurgical Plant. He told the poet about this historically important event.

Reading Mayakovsky’s lines, one cannot help but admire the courage and valor of the builders of communism, however, this very reliance on the human factor without taking into account real economic conditions, so passionately praised by the poet, played a largely negative role. The same generation, in whose name our fathers and grandfathers spent their lives in long hours, sometimes backbreaking and selfless work, proclaimed different values ​​and approaches. If in the reader of the mid-20th century such poems only gave rise to pride in their great homeland and its hardworking citizens, then modern residents of the country are more skeptical about such stories. They do not understand the boundless fanaticism of hungry workers who gave their strength in the name of an idea that, although realized, did not triumph for long.

Mayakovsky’s traditions in embodying the theme of labor were picked up by the sixties poets in the years when, following the bloody victory in the Great Patriotic War, in the conditions of unprecedented social upsurge, the Soviet Union brought to life gigantic economic projects, the so-called “construction projects of the century.” Yevtushenko, Voznesensky, Rozhdestvensky sought to capture this labor feat. Which they succeeded in many ways. I would like to believe that, contrary to the current trend in the modern world, people leave their country in the name of a well-fed and comfortable life in a foreign land. The modern generation will accept Mayakovsky’s behests and devote their work to their native land.

In conclusion, I can say that for Mayakovsky it was important to separate the main from the secondary. When correlating Mayakovsky's lyrics with the work of his predecessors, one should keep in mind the poetic roll call and polemics, the deliberate appeal to traditional images and the emergence of a community objectively determined by proximity creative tasks, solved, however, in different historical eras. The significance of a lyric poem is determined not by the topic, but by the human and social quality of the emotion expressed in it. It is no coincidence that in the poem “Reflections on Ivan Molchanov and Poetry,” written in 1927, Mayakovsky equally negatively evaluates Molchanov’s poems on both love and political themes. He ridicules Molchanov’s poem “At the Cliff” not at all because it is love lyrics, but because these lyrics are petty, not affirming (as a matter of course, beautiful, i.e., as an “ideal”, “norm”) the complete, great feeling, and registering feelings, regardless of their ethical and social quality:

...Your novel is bad,

And the verse is unsightly,

That's how I would love it

any high school student.

A poet has no right to be indifferent and impersonal. A poet is a person invested with high public trust and obliged to justify this trust.

Used Books:

Mayakovsky lyrical creativity

(V.O.Pertsova, V.F.Zemskova)

2. Creativity V.V. Mayakovsky

(K.G. Petrosov)

3. V. V. Mayakovsky. Literary criticism.

In lire M. depicts the structure of thoughts and feelings of the new man - the builder of a socialist society. Basic themes of lyre. – Soviet patriotism, the heroism of socialist construction, the superiority of the socialist system over capital, the struggle for peace, strengthening the country’s defense power, the place of the poet and poetry in the working class, the fight against the remnants of the past, etc.

Merged together, they recreate the majestic image of a Soviet man who passionately loves his homeland, devoted to the ideas of the revolution and the people. The openness and civic spirit of the poet, his desire to show the “nature and flesh” of communism, to ignite everyone with the desire to “think, dare, want, dare,” are very dear. In the name of the revolution, Mayakovsky creates an extraordinary oratorical structure of verse that raised, called, demanded to move forward. Lear. M.'s hero is a fighter for universal happiness. And no matter what the most important event of our time the poet responded to, he always remained a deeply lyrical poet and affirmed a new understanding of lyricism, in which the moods of the Soviet people merge with the feelings of the entire Soviet people. M.'s heroes are ordinary, but at the same time amazing people (“The Story of Kuznetskstroy”). During the construction of the city, courageous people live in the open air, are cold, hungry, they have great difficulties ahead, but their lips stubbornly whisper in harmony: ... in four years there will be a garden city here! Mayakovsky's lyrics are rich and varied. The poet dedicated many of his poems. Soviet patriotism of people. The best of them are “To Comrade Nette - the Ship and the Man” / 1926 / and “Poems about the Soviet Passport”. The first article is a memory of the Soviet diplomatic courier Theodor Nette, who died heroically in the line of duty. The introduction to the topic is Mayakovsky’s meeting with the ship bearing the name of the famous hero. But gradually the steamer seems to become animated, and the image of a man appears before the poet: This is him - I recognize him in the saucer-glasses of the life preservers. Hello Nette! Then follows a memory of Netta, who was Mayakovsky's friend. These everyday memories are replaced in the central part of the article by a description of the heroic act of simple advice. man - “the hero’s trail is bright and bloody.” The scope of the article is expanding: starting with a description of a friendly meeting, it rises to thoughts about the Motherland, about the struggle for communism. People like Nette do not die - people embodied their memory in ships, in lines, and in other long-lasting deeds. The article “Poems about the Soviet Passport”/1929/ also sounds like a hymn to the Soviet Motherland.

Lots of art. dedicated M. and poetry / “Anniversary”, “To Sergei Yesenin”, “At the top of my voice”, etc./ He writes “about the place of the poet in the working class”, about the importance of poetry for the people, for their struggle for communism. The poet emphasizes the poet's responsibility to the council. society, therefore his lyrics are highly ideological and national.

Vladimir Vladimirovich Mayakovsky (1893-1930). Life, creativity, personality. The main themes of the poet's lyrics. Expressive reading and analysis of the poems: “Here!”, “Listen!”, “Anniversary”, “Sitting Over”, the poem “Cloud in Pants”, “Flute-Spine”, “Lilichka!”, “Love”, “Letter to Tatyana Yakovleva”.

Goals:

educational:

formation of moral foundations of students’ worldview;

creating conditions for involving students in active practical activities;

educational:

introduce the main stages of the life and work of V. Mayakovsky;

form an idea of ​​the main themes in the works of V. Mayakovsky;

developing:

develop skills in note-taking and analysis of a lyrical work;

development of mental and speech activity, the ability to analyze, compare, and logically correctly express thoughts.

Lesson type: combined lesson.

Lesson type: lesson - workshop, practical work.

Methodical techniques: drawing up lecture notes, discussing issues, analyzing a lyrical work.

Predicted result:

knowthe main stages of the writer’s life, the main themes of the poet’s lyrics, theoretical concepts related to the topic;

be able tohighlight the main points in the text, analyze works of art poet, using information on literary theory.

Equipment : notebooks, collection of poems, computer, multimedia, presentation.

I want

To be understood by my country,

but I won’t be understood, -

Well,

By home country

I'll pass by

How's it going?

slanting rain!

V.V. Mayakovsky

During the classes:

I . Organizing time.

II .Motivation for learning activities. Goal setting.

The teacher's word.

You already know a lot about the life and work of poets of the twentieth century. Unfortunately, during the harsh times of the First World War and the Russian revolutions, many of them suffered a difficult fate.

Gumilyov was shot, his poems were banned, Mandelstam died in the camp, his poems were not published, Pasternak was persecuted after winning the Nobel Prize for the novel “Doctor Zhivago”, Yesenin and Tsvetaeva committed suicide, Akhmatova suffered the bitter fate.

Mayakovsky was artificially pushed forward. For several decades, it was published in millions of copies, quoted appropriately and inappropriately.

Now that the true history of Russian literature of the twentieth century is finally being recreated, maybe Mayakovsky has no place in it at all, since, on Stalin’s orders, he was declared “the best and most talented”?

No, that's not true. Mayakovsky, cleared of the official “textbook gloss,” remained a true poet, not an exaggerated figure, and rightfully takes his place in the first rank of Russian poetry.

Discussion of the topic and objectives of the lesson.

III . Improving knowledge, skills and abilities.

1. Teacher's word:

What passion drove young Mayakovsky into poetry, what contradictions tore his soul apart, why did he so impatiently rush into the future, into the “communist far away” and what did he finally come to, why does it still cause controversy and disagreement today? What content was contained in the less than 37 years of his life, what unrest overwhelmed this powerful, but at the same time somewhat weak nature?

The student who prepared the message for the lesson will tell us about this

"The life and work of V. Mayakovsky."

1. Personal message « Life and work of V. Mayakovsky ».

Stages of biography.

Mayakovsky was born on July 19 in the village of Baghdad in Georgia into the family of Vladimir Konstantinovich Mayakovsky (1857-1906), who served as a forester in the Erivan province, from 1889 in the Baghdad forestry. The poet's mother, Alexandra Alekseevna (1867-1954), from a family of Kuban Cossacks, was born in Kuban.

In 1902, Mayakovsky entered the gymnasium in Kutaisi. After the death of his father in 1906, Mayakovsky, his mother and sisters moved to Moscow. In 1906 in Moscow, he entered the fifth gymnasium (now Moscow school No. 91), where he studied in the same class with Pasternak’s brother Shura. He interrupted his studies in 1908 and took up revolutionary activities.

In 1908 he joined the RSDLP and was arrested three times. He began writing poetry in 1909 in solitary confinement in Butyrka prison. In 1911 he entered the Moscow School of Painting, Sculpture and Architecture. Having met David Burliuk, he entered the poetic circle and joined the Cubo-Futurists.

The first published poem was called “Night” (1912), it was included in the futuristic collection “A Slap in the Face of Public Taste.” In 1913, he turned to dramaturgy, the tragedy “Vladimir Mayakovsky”, the author staged the play and played the title role.

In 1914-1915 working on the poem “Cloud in Pants”. In the summer of 1915, the Brikov family met. Poem "Spine Flute". Anti-war lyrics: “Mom and the evening killed by the Germans”, “Me and Napoleon”, poem “War and Peace” (1915). Appeal to satire. The cycle “Hymns” for the magazine “New Satyricon” (1915). 1917 “Revolution. Poetochronika".

He starred in films based on his own scripts. 1918 “Mystery Bouffe” was staged for the anniversary of the revolution.

Leader of the associations of left-wing artists - Comfut, MAF, Lef, Ref.

1918-19 gas. "The Art of the Commune". Propaganda of world revolution and revolution of spirit. Moving from Petrograd to Moscow. The poem “150,000,000” is the theme of the world revolution.

In 1919-21 organized the release of "Windows of GROWTH". Years civil war will count best time in life, in the poem “Good!” prosperous 1927 nostalgic chapters. In 1922-23 in a number of works he continues to insist on the need for a world revolution and a revolution of the spirit - “The Fourth International”, “The Fifth International”, “My Speech at the Genoa Conference”, etc.

In 1925 he went on his longest trip - overseas: he visited Havana, Mexico City and for three months performed in various cities in the USA, reading poetry and reports. Later, poems were written (the collection “Spain. - Ocean. - Havana. - Mexico. - America.”) and the essay “My Discovery of America.”

In 1922-26. actively collaborated with Izvestia in 1926-29. - in Komsomolskaya Pravda. Published in magazines: “ New world", "Young Guard", "Ogonyok", "Crocodile", "Red Niva", etc. He worked in agitation and advertising, for which he was criticized by B. Pasternak, V. Kataev, M. Svetlov. In 1923 he organized the Lef (Left Front) group and the thick magazine Lef (seven issues were published in 1923-25).

In the summer of 1928 - disappointment in Lefe and leaving the organization and the magazine.

Life and art

Satirical plays“The Bedbug” (1928) and “Bathhouse” (1929) were directed by Meyerhold.

It was in 1929 that the poet was overtaken by the same disappointment that every poet experiences, the collapse of the values ​​that he idolized, but not for all poets it ends this way...

On April 14, 1930, at 10:15 am, Mayakovsky shot himself in the heart with a revolver. This happened in Moscow, in house No. 3 on Lubyansky Proezd, apt. No. 12. Obviously it was suicide. However, contrary to the posthumous request of the poet himself, “Don’t blame anyone for the fact that I’m dying, and please don’t gossip. The deceased did not like this terribly,” speculation continues around his death. A version of murder is often expressed, but additional examinations and investigations did not find any indisputable evidence of this version.

Creation.

Already the first poem “Crimson and white is discarded and crumpled...” could become a manifesto of the avant-garde in poetry. Never before has poetry been so freely expressive and metaphorical. “I’ll go cry that the policemen were crucified at the crossroads” or “And you could play a nocturne on the flute of drainpipes.” The combination of the energy of the rally and demonstration with the most lyrical intimacy was amazing.

In pre-revolutionary works, the confession of a poet, forced to the point of screaming, perceives reality as an apocalypse (the tragedy “Vladimir Mayakovsky”, 1914, the poem “Cloud in Pants”, 1915; “Spine Flute”, 1916; “Man” 1916-1917). Following "Flute" a poem was written, first published in the first volume of the complete works, "To Lilichka!" (M., "Fiction", 1953).

Original creativity began after becoming acquainted with the poetry of the symbolist Andrei Bely. According to the poet, it all started with Andrei Bely’s line “I launched a pineapple into the sky.” David Burliuk introduced the young poet to the poetry of Rimbaud, Baudelaire, Verlaine, Verhaeren, but Whitman's free verse had a decisive influence; You can often come across the statement that Mayakovsky’s versification is unique, and he had no predecessors, but this is not entirely true.

Mayakovsky did not recognize poetic meters; he invented rhythm for his poems; polymetric compositions are united by style and a single syntactic intonation, which is set by the graphic presentation of the verse: first by dividing the verse into several lines written in a column, and since 1923 by the famous “ladder”, which became “ business card» Mayakovsky. The ladder helped Mayakovsky to force him to read his poems with the correct intonation, because... commas were sometimes not enough. However, there were more mundane rumors about Mayakovsky’s “ladder”. Some were convinced that the poet “broke” the lines only in order to increase his fee for publishing poems, since each line of the work was charged.

Can you imagine

Parisian women

with a pearled neck,

with a diamond hand.

Stop imagining!

Life -

harder -

at my Parisian girlfriend's

different view .

After 1917, the creation of the socialist myth of the world order (the play “Mystery-bouffe”, 1918, the poems “150000000”, 1921, “Vladimir Ilyich Lenin”, 1924, “Good!”, 1927) and the tragically growing sense of its depravity (from the poem “The Satisfied ", 1922, before the play "Bathhouse", 1929)

“The time of rallies and meetings” is the most conducive to the victorious march from the stage to the people. At this time, the country is still united in anticipation of a world revolution, the fall of all states and an era of universal justice. Many Mayakovsky researchers argue that in the mid-1920s he began to become disillusioned with the realities of the socialist system, although he continued to create poems imbued with official cheerfulness, including those dedicated to collectivization. last days

The poet is too broad, “it should be narrowed down.” They tried in vain to narrow down Mayakovsky. For some, he is a great lyricist. For other tribunes, poet of the revolution. For Lenin, first of all good satirist. For Stalin, a huge poet...

Cinema

In 1918, Mayakovsky wrote the script for the film “Not Born for Money,” based on Jack London’s novel “Martin Eden.” The poet himself played the main role - Ivan Nova. Unfortunately, not a single copy of this film has survived.

Also in 1918, Mayakovsky starred in leading role in the experimental film “The Young Lady and the Hooligan,” based on a script written by Mayakovsky himself. After 50 years, the script did not remain forgotten - in 1970, the television film-ballet “The Young Lady and the Hooligan” was released based on the 1918 script.

Critics about Mayakovsky.

“There is hardly another example in history of a person who had gone so far in a new experience, at the hour predicted by himself, when this experience, even at the cost of inconvenience, would become so urgently needed, would so completely abandon it. His place in the revolution, outwardly so logical, internally so forced and empty, will forever remain a mystery to me...”Boris Pasternak from the story “Safety Certificate”

“...When talking about this poet, Mayakovsky, we will have to remember not only the century, we will constantly have to remember the century ahead. This vacancy: the world's first poet of the masses will not be filled so soon. And we, and perhaps our grandchildren, will have to look forward, not back, to Mayakovsky.”M. Tsvetaeva (From the article “Poet and Time”)

“...With his quick feet, Mayakovsky walked far beyond our modern times and somewhere, around some corner, he will be waiting for us for a long time.”M. Tsvetaeva (From the article “Epic and Lyrics of Modern Russia”)

“I tried to write music based on Mayakovsky’s poems, but it turned out to be very difficult, somehow it didn’t work out. I must say that it is very difficult to set Mayakovsky’s poems to music; it is especially difficult for me to do this, since Mayakovsky’s reading still sounds in my ears and I would like the intonation of Mayakovsky reading his poems to find a place in music.”D. Shostakovich (From the book “Mayakovsky in the memoirs of his contemporaries”)

1. Lecture. Main themes of V. Mayakovsky's lyrics.

V.V. Mayakovsky began his creative activity into a complex historical era, the era of wars and revolutions, the era of the destruction of the old system and the creation of a new one. These turbulent historical events could not help but be reflected in the poet’s work.

The poet's work can be divided into two stages: pre-revolutionary (before 1917) and post-revolutionary (after 1917).
Allpre-revolutionary creativity the poet is associated with the aesthetics of futurism, which proclaimed a new approach to art and poetry. The Futurists’ “Manifesto” proclaimed the following principles of creativity: rejection of old rules, norms, dogmas; poetry, the invention of “abstruse language”; experiment in the field of language at all levels (sound, syllable, word); choice special topics(urban, theme of glorifying the achievements of civilization). V.V. Mayakovsky follows these principles at the beginning of his creative career.
Main topics His poetry at this stage are: the theme of the city, the theme of denial of the bourgeois way of life, the theme of love and loneliness.

Personality and Crowd –individualistic motive early creativity. Before us is the image of a single lyrical hero - he is always in the dynamics of psychological states, always different. But being completely alone in this city, he is still part of it.

The main feelings of the lyrical hero are suffering and pain.

City theme

( “Hell of the City”, “Night”, “Noises, noises, noises”, “Could you?”)

The theme of the city occupies a prominent place in his work. In general, the poet loves the city, recognizes its scientific and technical achievements, but sometimes the city frightens the poet, evoking terrible images in his imagination. Thus, the title of the poem “Hell of the City” alone shocks the reader:

Hell of a city, the windows were broken
on tiny, sucking hells.

But in another poem, “Night,” we see a picture of a city at night: bright, colorful, festive with advertising lights. The poet describes night city like an artist, choosing interesting metaphors, unusual comparisons, adding bright colors (crimson, white, green, black, yellow). We don’t even immediately realize that in front of us is an image of a house with lit windows, street lamps lighting the road, night neon advertising:
The crimson and white are discarded and crumpled,
They threw handfuls of ducats into the green,
And the black palms of the running windows
Burning yellow cards were handed out.
Mayakovsky’s city is either hissing and ringing, as in the poem “Noises, noises, noises,” or mysterious and romantic, as in the poem “Could You?”:
On the scales of a tin fish
I read the calls of new lips,
Could you play a nocturne?
on the drainpipe flute?

“Hell of the city”

Hell of a city, the windows were broken

to tiny, light-sucking adk_i_.

Red devils, cars heaving,

beeps exploding right next to your ear.

And there, under the sign, where the herring from Kerch -

knocked down old man fumbled for glasses

and cried when in the evening tornado

The tram shot up its pupils with a running start.

In the holes of skyscrapers where ore burned

and the iron of the trains piled up the manhole -

the airplane screamed and fell there,

where the wounded sun's eye was leaking.

And then - having crumpled up the lanterns of the blanket -

the night is in love, obscene and drunk,

and behind the suns of the streets she hobbled somewhere

useless, flabby moon.

What is the theme of the poem, where is it stated?

Does the title of the poem reflect only the theme?

Which artistic medium used in the title? What word-formation device?

Find metaphors in the text that reveal the essence of the title metaphor.

What are they conveying?

(Advance of the city, man-made aggression.)

What is the role of the image of the “old man”? What is the meaning of the suffix in this word?

(Subject little man reveals itself in a new way. He evokes both pity and contempt.)

What natural phenomenon is depicted in the last lines of the poem? What stylistic vocabulary is used to create this image?

(Sunset. Coarse vernacular vocabulary is used.)

What traditional poetic symbol does the poet use?(Moon.) What epithets define it?

Why, in your opinion, does the poet completely reject the classical tradition of depicting nature?

How do futurists see the world?

Conclusion: the world of the city suppresses a person, it is vulgar, anti-aesthetic and scary. What kind of man is this new world? Who are his “Adam and Eve”?

An approximate analysis of the poem “Hell of the City”

In this city, everything is in constant motion, creating confusion, scaring people with movements and sharp sounds. Even things come to life, or rather, become humanized, as they acquire human features in appearance. It's hard to callpersonification - a technique that also traditionally endows inanimate objects with the features of animate ones. Mayakovsky, like other futurists, was not satisfied with the existing language. But if A. Kruchenykh and V. Khlebnikov came up with an “abstruse” language, experimented with the form and sound of words, then Mayakovsky found the source of word creation in derivative words, that is, formed from those already existing in the language.

It is noteworthy that the phantasmagoria created in this poem arises, in fact, through the use of onlymetaphors . Expanded metaphor"hell of the city" generates derivatives: one big city"hell" the windows are broken into“tiny, light-sucking hells” (indeed, he is hiding outside the window separate family, whose life sometimes resembles hell), cars become devils, and the horizon is similar to the entrance to hell, because there“The wounded sun’s eye was leaking” . Thus, metaphor allows the poet to associatively bring together the most unexpected things and concepts, restoring the lost integrity of the universe.

The city with its technical progress becomes dangerous for humans, because it constantly“Beeping beeps are blaring right above your ear” , “ore is burning in the holes of the skyscraper” , A“the iron of trains piles up the manhole” . Used herealliteration , that is, the repetition of explosive sounds, conveys the real cacophony of the city, which does not allow a person to feel safe.

Even traditional romantic onessymbols the night and the moon do not carry the same aura of mystery. After all, it was under the cover of darkness and with the evidence of the moon that lovers always met. In Mayakovsky, the night is more reminiscent of a street girl - she“loved, obscene and drunk” , yes and"flabby moon" no one needs it because it was replaced"sun of the streets" - lanterns.

It turns out that the poet emphasizes the triumph of civilization over nature. Obviously, he himself was far from unambiguous about this, because the visual arts very difficult to call artistic.

Theme of loneliness

(“Violin and a little nervously”, “Me”, “Giveaway”, “Listen! ”)

The theme of the city echoes and even follows from it the theme of loneliness. The lyrical hero of Mayakovsky’s early lyrics is alone in this city, no one hears him, no one understands him, they laugh at him, they condemn him (“The Violin and a Little Nervously,” “I”). In the poem “Sale,” the poet says that he is ready to give everything in the world for “a single word, affectionate, human.” What caused such a tragic attitude?

Reading and analysis of the poem “Listen!”

Listen!
After all, if the stars light up -

So, does anyone want them to exist?

So, someone calls these spittoons
a pearl?
And, straining
in blizzards of midday dust,
rushes to God
I'm afraid I'm late
crying,
kisses his sinewy hand,
asks -
there must be a star! -
swears -
will not endure this starless torment!
And then
walks around anxiously
but calm on the outside.
Says to someone:
“Isn’t it okay for you now?
Not scary?
Yes?!"
Listen!
After all, if the stars
light up -
Does that mean anyone needs this?
This means it is necessary
so that every evening
over the roofs

What is the meaning of the name? How many times is the word “Listen!” repeated?

The poem begins with a request addressed to people: “Listen!” With such an exclamation, each of us very often interrupts his speech, hoping to be heard and understood.
The lyrical hero of the poem not only pronounces, but “exhales” this word, desperately trying to draw the attention of people living on Earth to the problem that worries him.

Some people think that the poems of V.M. you have to scream, tearing your vocal cords. He has poems for "squares". But in the early poems the intonations of trust and intimacy predominate. One feels that the poet only wants to seem formidable, daring, and self-confident. But in reality he is not like that. On the contrary, Mayakovsky is lonely and restless, and his soul longs for friendship, love, and understanding. The poem "Listen!" - the cry of the poet’s soul.

- What is the main tone of the poem?

The intonation of the poem is not angry, accusatory, but confessional, confidential, timid and uncertain. The whole structure of speech in the poem “Listen!” exactly the kind that happens when there is a heated discussion, polemic, when you are not understood, and you are feverishly looking for arguments, convincing arguments and hoping: they will understand, they will understand. You just need to explain it properly, find the most important and precise expressions. And the lyrical hero finds them.
The intensity of passions and emotions experienced by our hero becomes so strong that they cannot be expressed otherwise except with this ambiguous, capacious word - “Yes?!”, addressed to someone who will understand and support. It contains concern, care, empathy, and hope.....
If the lyrical hero had no hope of understanding at all, he would not have convinced, would not have exhorted, would not have worried... The last stanza of the poem begins in the same way as the first, with the same word. But the author’s thought in it develops in a completely different way, more optimistically, life-affirmingly compared to how it is expressed in the first stanza. The last sentence is interrogative. But, in essence, it is affirmative. After all, this is a rhetorical question, no answer is required.

We can say that the voices of the author and his hero often merge completely and it is impossible to separate them. The expressed thoughts and the splashed out, bursting out feelings of the hero undoubtedly excite the poet himself. It is easy to detect notes of anxiety (“walking anxiously”) and confusion in them.

- What is the composition of the poem? How many parts can be distinguished in a poem?

Compositionally the poemconsists of three parts , different in form, rhythm, and emotional impact.In the first part the poet addresses the readers, identifies the problem: “So, does anyone need this?” From the first line one can feel the presence of higher powers that “light up” the stars. Mayakovsky raises the problem of God, predestination, because “pearls” do not appear on their own over the roofs of houses, but by the will of someone who is higher than all people.
In the second part shown emotional picture after the lyrical hero “bursts into God”, in despair he asks him:
there must be a star! -
swears -
will not endure this starless torment!
Having received a “star” from God, that is, a dream, the hero finds peace and tranquility. He is no longer afraid of anything, and his life is no longer empty and meaningless. This part is a kind of prayer addressed to God. Moreover, God here is not a spiritualized supreme essence, but a completely real personality with sinewy hands and, it seemed to me, kind eyes. However, this is where the description of God ends; we learn nothing more about him. Just one detail that Mayakovsky singled out - hands - and how much they can tell! God is always ready to give a saving helping hand, you just need to really want it.
The third part The poem sounds like a conclusion, like a statement, despite two question marks, to which an exclamation mark is added, which was not there at the beginning of the work. The lyrical hero, who has found his star, no longer asks, but states:
This means it is necessary
so that every evening
over the roofs
Did at least one star light up?!

Describe the lyrical hero of the poem.How do you see the lyrical hero of the work?

The lyrical hero of the poem "Listen!" and there is that “someone” for whom life on Earth is unthinkable without the starry sky. He rushes about, suffers from loneliness and misunderstanding, but does not resign himself to it. His despair is so great that he simply cannot bear “this starless torment.” In the poem one can highlightthree "acting" persons : lyrical hero, God and “someone”. These “someones” are people, all of humanity, to whom the poet is addressing. Everyone has a different attitude towards “stars”: for some they are “spits”, for others they are “pearls”, but there is no doubt that their light is necessary.
The lyrical hero of the poem not only pronounces, but, I would say, “exhales” this word, desperately trying to draw the attention of people living on Earth to the problem that worries him. This is not a complaint about “indifferent nature,” this is a complaint about human indifference. The poet seems to be arguing with an imaginary opponent, a narrow-minded and down-to-earth person, a layman, a tradesman, convincing him that one cannot put up with indifference, loneliness, and grief. After all, people are born for happiness.

- Look at what the lyrical hero does to see God.

Lyrical heropoems "Listen!" and there is that “someone” for whom life on Earth is unthinkable without the starry sky. He rushes about, suffers from loneliness and misunderstanding, but does not resign himself to it.

And, straining

In the blizzards of midday dust,

Rushing to God

Afraid he's late

Crying...

The despair is so great that he simply cannot bear “this starless torment.”

- Why does God have a sinewy hand and why is nothing visible other than this detail?

The face is not visible, because God cannot be seen by a mere mortal. A sinewy hand is the hand of a worker. The Lord created everything in 6 days.V.M. is of great importance in the system of visual and expressive means. has detail. Portrait characteristics God consists of only one single detail - he has a “wiry hand”. The epithet “veiny” is so alive, emotional, visible, sensual that you seem to see this hand, feel the pulsating blood in its veins.

What are the linguistic features of the work?

Every word in the poem is expressive, emotional, expressive. All the pictures described literally appear before our eyes: a “visit” to God, stars in the sky, roofs of houses... The poem seems to be spiritualized, it is airy and sincere, close to the reader. Perhaps due to the fact that Mayakovsky does not use any pronouns other than “someone,” you seem to feel like you are in the place of the lyrical hero, you feel the wind of “midday dust,” tears in your eyes and inner anxiety. The poem is very rhythmic, which is characteristic of Mayakovsky. A play on words, a transition from one to another, accents achieved through the use of punctuation marks - all this creates a unique emotional mood, an internal tear.The entire structure of speech in the poem “Listen!” exactly the kind that happens when there is a heated discussion, polemic, when you are not understood, and you are feverishly looking for arguments, convincing arguments and hoping: they will understand, they will understand. You just need to explain it properly, find the most important and precise expressions. And the lyrical hero finds them.

- What features of Mayakovsky’s rhyme can be seen in this poem?

By arranging the poems in a “ladder” manner, he ensured that every word became meaningful and weighty. Rhyme V.M. - extraordinary, it is, as it were, “internal”, the alternation of syllables is not obvious, not obvious - it is blank verse. And how expressive is the rhythm of his poems! It seems to me that rhythm in Mayakovsky’s poetry is the most important thing; first it is born, and then a thought, an idea, an image. And the use of his famous ladder helps the reader to correctly place all the accents that seem most important to the poet. And then... Further, it seems to me, in a very unusual antithesis, in words of antonyms (they are antonyms only in V.M., in our familiar, commonly used vocabulary they are far from antonyms) very important things are contrasted. We are talking about the sky, about the stars, about the Universe. But for one, stars are “spittle,” and for another, they are “pearls.”

- What visual and expressive means can be distinguished in this work?

The first two sentences are interrogative, then the third is interrogative and exclamatory at the same time. The intensity of passions and emotions experienced by our hero is so strong that they cannot be expressed otherwise except with this ambiguous, capacious word - “Yes?!”, addressed to someone who will understand and support. It contains concern, and care, and empathy, and participation, and love... I’m not alone, someone else thinks the same way as me, feels the same way, is rooting for this world, the sky, the Universe with all my soul, with everything heart. If the lyrical hero had no hope of understanding at all, he would not convince, would not exhort, would not worry. The last stanza of the poem (there are three in total) begins in the same way as the first, with the same word. But the author’s thought in it develops in a completely different way, more optimistically, life-affirmingly compared to how it is expressed in the first stanza. The last sentence is interrogative. But, in essence, it is affirmative. After all, this is a rhetorical question, no answer is required.

Gradation - a number of verbs: “bursts in”, “cries”, “asks”, “swears”

Epithet - sinewy hand

Antithesis . It seems to me that in a very unusual antithesis, in antonymous words (they are antonyms only in V.M., in our usual, commonly used vocabulary they are far from antonyms) very important things are contrasted. We are talking about the sky, about the stars, about the Universe. But for one, stars are “spit”, and for another, “pearls”.

Anaphora - repetition of the word “means” Rhetorical question

Conclusion: Mayakovsky's poem "Listen!" dedicated to the topic of the meaning of human life. But the poet does not talk about what we need to dream about and what to strive for, but about the fact that each of us should have a dream for which it is worth living. Mayakovsky calls this goal, the meaning of life, faith in the future a “star”, lit by “someone” and needed by “someone”.“Listen!” - a unique appeal to people, but not loud and pathetic, as is usually the case with Mayakovsky. This is a request to stop for a moment, rise briefly above the world of “midday dust” and look at the sky, at the stars, think about how our every step on earth is justified and who came up with all this.The main idea of ​​the poem is that a star should light up in every person's life. Without an idea, without a goal, it is impossible to exist in this world, “starless torment” begins, when everything you do is meaningless, empty. It is not enough for a person to simply live. Greeting every morning with a smile, moving towards something bigger and better, giving love and joy to others - this is a life marked by the “stars”.

Love theme

(“Lily (instead of a letter)”, poem “Cloud in Pants”,“ Letter to Tatyana Yakovleva”)

Love lyrics runs like a red thread through all of Mayakovsky’s poetry, touching on the most important theme of his work: the collision of the giant’s feelings with worldly life, which turns out to be mortally dangerous for them. Lilya Brik remained the poet's main muse and irritant until the end of his life - his love was focused on her. He dedicated the pre-revolutionary poem “A Cloud in Pants” to her, written about his early feelings for a completely different woman; his poem “I Love” to Lila; the poem “About This” is another, gloomy milestone in their relationship.

In the poem “Lily (instead of a letter)” and the poem “Cloud in Pants”, the motive of unrequited love is the leading one.

Tomorrow you will forget that I crowned you,

Let the last tenderness line your departing step .

In these works the lyrical hero appears gentle and very vulnerable person, not a man, but a “cloud in his pants.” But he is rejected, and he turns into an awakened volcano. The poem “Cloud in Pants” shows the transformation of a community of love into a community of hatred for everyone and everything. Disappointed in love, the hero emits four cries of “down with”:
Down with your love!
Down with your art!
Down with your state!
Down with your religion!

Reading and analysis of the poem “Letter to Tatyana Yakovleva.”

In a kiss hands,

lips,

in body trembling

those close to me

red

color

of my republics

Same

must

blaze.

I do not like

Parisian love:

any female

decorate with silks,

stretching, I doze off,

having said -

tubo -

dogs

brutal passion.

You are the only one for me

height level,

stand next to me

with an eyebrow eyebrow,

give

about this

Important evening

tell

humanly.

Five hours,

and from now on

poem

of people

dense forest,

extinct

populated city

I only hear

Whistle dispute

trains to Barcelona.

In the black sky

Lightning step,

thunder

swear

in the heavenly drama, -

not a thunderstorm

and this

Just

Jealousy moves mountains.

Stupid words

don't trust raw materials

don't get confused

this shaking -

I will bridle

I will humble you

feelings

offspring of the nobility.

Passion measles

will come off as a scab,

but joy

inexhaustible,

I'll be there for a long time

I'll just

I speak in poetry.

Jealousy,

wives,

tears...

well them! -

eyelids will swell,

fits Viu.

I'm not myself

and I

I'm jealous

behind Soviet Russia.

Saw

patches on the shoulders,

their

consumption

licks with a sigh.

What,

we are not to blame -

hundred million

was bad.

We

Now

so gentle towards those -

sports

You won’t straighten out many, -

you and us

needed in Moscow

lacks

long-legged.

Not for you,

in the snow

and typhus

walking

with these legs

Here

for caresses

hand them over

at dinners

with oil workers.

Don't think

just squinting

from under straightened arcs.

Come here,

go to the crossroads

my big ones

and clumsy hands.

Do not want?

Stay and winter

and this

insult

We'll reduce it to the general account.

I don't care

you

someday I'll take it -

one

or together with Paris.

The revolution and social order determined the nature of Mayakovsky's poetry.

Mayakovsky's lyrics: personal - public - topical. Let us identify these features in the poem “Letter to Tatyana Yakovleva.”

1. Describe the two types of love in the poem.

(l The love of the lyrical hero is love combined with personal feeling and devotion to the USSR. The second type of love is philistine, carnal love, which does not carry any value)

2. How is the value of love transformed in Mayakovsky?

(ts The value of love is measured, first of all, by the attitude towards the USSR. Love for the “red flag of my republics” is always higher than all other feelings of the lyrical hero)

3. Fill out the diagram, identify three features of Mayakovsky’s lyrics using the example of this poem.

“Letter to Tatyana Yakovleva”:

Personal – social – topical

(love) - (political situation) - (emigration)

Conclusion: In the poem, the theme of love also cannot receive a happy resolution. The lyrical hero again pins his hopes on the future. Personal and social are intertwined:Not myself, but I am jealous of Soviet Russia . An intimate conversation about the feeling that binds only lovers turns into a conversation about the happiness of “a hundred million”: preference for lyrical self-expression, assertion of one’s own position, one’s idea of ​​the world, man’s place in it, and human happiness.

The theme of denial of the bourgeois way of life .

(“Here!”, “You!”)

Suffering from unrequited love turns into hatred of that world and that system where everything is bought and sold. That's why main theme such poems as “Here!”, “To you!”, is the theme of the denial of the bourgeois way of life. Mayakovsky mocks the well-fed audience who came for fun to listen to the poems of a fashionable poet:




The poet despises the crowd, which understands nothing about poetry, which “perches on the butterfly of the poetic heart” in “galoshes and without galoshes.” But in response to this well-fed indifference, the hero is ready to spit into the crowd, insult them, in order to express his contempt.

Oh, how I want to confuse their gaiety
And boldly throw an iron verse in their faces,
Doused with bitterness and anger.

Reading and analysis of the poem “Here!”

An hour from here to a clean alley

your flabby fat will flow out over the person,

and I opened so many verse boxes for you,

I am a spendthrift and spender of priceless words.

Here you are, man, you have cabbage in your mustache

somewhere half-eaten, half-eaten cabbage soup;

Here you are, woman, you have thick white paint on you,

you are looking at things as an oyster.

All of you on the butterfly of the poet's heart

perch up, dirty, in galoshes and without galoshes.

The crowd will go wild, they will rub,

the hundred-headed louse will bristle its legs.

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.

1. “Here!” - poetic challenge or manifesto?

(With on the one hand, a challenge, because the poet opposes himself to vulgar society, on the other hand, a manifesto, because the poet declares his concept of poetry and peace)

2. Highlight the opposition. On what basis are they opposed?

(P poet and the crowd, the vulgarity of the crowd and the “heartiness” of the poet)

3. Remember the tradition of contrasting the poet and the crowd in Russian literature. (A.S. Pushkin “Prophet”, “Echo”, “Conversation of a bookseller with a poet”, Yu.M. Lermontov, A.A. Blok)

4. How does the poet feel in the existing world?

(With The poet’s state is proud loneliness, consciously protecting himself from the vulgar world of ordinary people).

Conclusion: Mayakovsky hates the bourgeois-philistine crowd that came to the poets' evening in search of spicy entertainment, denouncing its ugliness, vulgarity, and stupidity. This is a multi-headed crowd, merging in the poet’s mind into a solid faceless mass of fat, hostile to his democratic worldview. Mayakovsky realizes that by addressing this crowd with poetry, he is uselessly wasting what is most precious to him - the poetic word. A man with the remnants of dinner in his mustache, a heavily whitewashed woman peeking out of her outfit like a shapeless oyster from its shell - all these overweight, soulless inhabitants are ready, out of idle curiosity, to trample on the poet’s tender heart, like a butterfly ("...on the butterfly of the poetic heart perch up, dirty, in galoshes and without galoshes..."). And they, these ordinary people, consider themselves culturally sophisticated, and declare Mayakovsky’s poetry to be rude and barbaric! All the better! He does not intend to please their vulgar taste: he openly, right in their faces, throws his verse, full of anger and contempt.

INpost-revolutionary period New themes appear in Mayakovsky’s work: revolutionary, civil-patriotic, anti-philistine.

Revolution theme .

(“Ode to the Revolution”,"Left March""Our march")

The poet accepted the revolution with all his heart, he hoped to change this world for the better, so he worked a lot in the windows of ROSTA, campaigning for the revolution. He creates many propaganda posters, simply put, advertisements:
Proletarian, proletarian,
Enter the planetarium.

Mayakovsky hates and despises inaction and passivity. “Rush into tomorrow, forward!” - that's his slogan. For the poet, the revolution personifies movement, activity: Our god is running, Our heart is our drum. He thought that the revolution could be carried out purely mechanically, the main thing was to launch its monstrous Machine to its fullest. The task seemed simple to him: there is an enemy, the bearer of evil - the bourgeois, there is a goal - to destroy the enemy, there are means - bullets and bayonets.

But the revolution died down, the old world was destroyed, and the same corruption, bribery, and bureaucracy reigned in society again. It turned out that the revolution, no matter how destructive it may be, is not capable of killing the evil that lives not in external reality, but inside, in the heart of a person.

In "Ode to the Revolution" Mayakovsky understands destructive force revolution for the common people, he is disappointed, but he cannot help but admire it as a poet: “Your philistine - oh, be you thrice damned! - and mine, poetic - oh, glory four times, blessed one!”

Reading and analysis of the poem “Left March”.

What does Mayakovsky reject and what does he affirm in the poem, and how does he achieve his poetic task?

What technique underlies the composition of the poem? (Antithesis: the old world, which is protected by the Entente and counter-revolution, and revolutionary Russia).

Who is the main character of the poem? (Sailors are a collective hero. They are distinguished by their fighting spirit, inner strength, discipline and organization).

How is the main image created? (Using the refrain of "Left", the marching rhythm of the poem, rhetorical questions and exclamations).

What place does the traditional image - the lyrical hero - occupy in the composition of the poem? (After student responses, teacher comments are required.

New poetry is of a special kind. Its essence is the quality of experience. The author does not express individual feelings, but thoughts and feelings that belong to many. The fate of one person correlates with the fate of the people).

The main idea of ​​the poem “Left March” was clearly felt by A. Deineka, creating a painting with the same name. What is this idea?

(The painting “Left March” fully reflects the idea of ​​Mayakovsky’s poem. In the foreground we see clearly drawn figures of sailors, illuminated by the sun. They are made in light colors, which emphasizes their aspiration to a wonderful future. The sailors simultaneously take a step forward as one whole, like “we” in Mayakovsky instead of a separate “I”. The background, where they come from is depicted a little blurry. The figures of sailors and soldiers in the foreground, thanks to the brightly painted red flags, are clearly contrasted with the background of the picture, which is in tune with the composition of Mayakovsky’s poem. We clearly understand that these people are beginning a new stage in the life of the country).

Conclusion: poetry is socially useful work. V. Mayakovsky subordinates his creativity to the cause of reorganizing society.

Themes anti-bourgeois and anti-bureaucratic.

(“Sitting Over”, “About Rubbish”)

Many poems of this period are devoted to anti-bourgeois and anti-bureaucratic themes. In the poem “The Seated Ones,” Mayakovsky ridicules all sorts of bureaucratic institutions (“a-b-c-d-e-z-z-coms”) that appeared like mushrooms after rain in the first years Soviet power. And in the poem “On Rubbish,” a small canary becomes a symbol of the new Soviet philistinism, and a call is born: “Turn the heads of the canaries - so that communism is not beaten by the canaries!”

Reading and analysis of the poem “The Sitting Ones.”

The night will soon turn into dawn,

I write below every day:

who is in charge,

who is in whom,

who is watered,

Who's in the clear

people disperse into institutions.

It rains on paperwork,

as soon as you enter the building:

10 selected from fifty -

Most important! -

employees leave for meetings.

Show up:

"Can't they give you an audience?

I've been going since _o_na." -

"Comrade Ivan Vanych went to the meeting -

the unification of Theo and Hukon."

You'll climb a hundred stairs.

The world is not nice.

20 Again:

“An hour later they told you to come.

Meeting:

buying a bottle of ink

"Gubcooperative".

In one hour:

no secretary

there is no secretary -

naked!

All under 22 years old

30 at a Komsomol meeting.

I climb again, looking at the night,

on the top floor of a seven-story building.

“Has Comrade Ivan Vanych come?” -

"At the meeting

A-be-ve-ge-de-e-zhe-ze-koma."

Enraged

to the meeting

I burst into an avalanche,

wild curses on the road dug up.

40 And I see:

Half the people are sitting.

Oh devilishness!

Where is the other half?

"Killed!

Killed!"

I'm rushing around, yelling.

The terrible picture made my mind go crazy.

And I hear

the calmest voice of the secretary:

50 “She’s at two meetings at once.

In a day

twenty meetings

We need to keep up.

Involuntarily you have to split into two.

Up to the waist here

but other

there".

You won't fall asleep with excitement.

Early morning

60 I meet the early dawn with a dream:

"Oh, at least

more

one meeting

regarding the eradication of all meetings!"

Vocabulary work:

Absurd hyperbolism - merciless irony, turning into outright exaggeration. (This expression was introduced into literature by Mayakovsky).

-What became the target for V.V. Mayakovsky’s satire in this poem?

- Prove that this poem is a satirical work.

(exposes social and human vices)

- On whose behalf is the story being told?

(a person who has personally experienced bureaucratic red tape, he looks like the author, but this is not the poet himself, but a lyrical hero)

- What means of creating satirical images does the author use?

(irony, hyperbole, grotesque)

- Describe Mayakovsky’s laughter in this poem.

(angry, merciless, negative)

-Analyze the structure of the title.

(prefix PRO + suffix SY = ironic shade, emphasizes the prevalence and complete meaninglessness of bureaucratic red tape and fuss; cf. those who stole, those who lived through their lives).

- What did Mayakovsky see as the danger of bureaucracy?

(it turns into soullessness, a desire to depersonalize everyone - the elusive Ivan Vanych, the faceless secretary)

Conclusion: The poem “The Seated Ones” is a satire on the bureaucracy that has “multiplied” in the country. The satirical effect of the work increases gradually. At the beginning of the poem, there is little foreshadowing of a satirical sound: we learn that every morning the poet sees how “the people disperse into institutions.”

The poem is written from the perspective of a petitioner who, as if under a spell, goes to all authorities, but cannot achieve anything. Finally, he bursts into the meeting room and sees a terrible picture: “half of the people” are working there. With the help of fantasy and the grotesque, V.V. Mayakovsky shows that officials have long turned into dead men, machines mechanically performing their duties. For the poet, bureaucracy means the power of instructions, a simple piece of paper that is used to the detriment of living business.

Thus, in the satire of V.V. Mayakovsky, the social ideal for which the poet is fighting is always felt, and the evil against which it is directed is clearly defined.

An approximate analysis of the poem “The Sedentaries.”

Bygenre This is a feuilleton in poetic form, because it depicts a general phenomenon - the habit of sitting a lot and for a long time. Hence the name – “The Satisfied Ones”. Thisauthor's neologism , after all, there is no verb “to procrastinate” in the Russian language, but the reader will easily find an analogy with the words “to lose”, “to squander”, meaning highest degree actions that do not lead to anything good. Thus, the title of the poem determines not only the topic, but also the author’s attitude towards it.

The poem hasplot : the hero is trying to get an appointment with Ivan Vanych (the general name of the unknown boss), but he and his employees are continuously meeting. The hero’s ordeal lasts a whole day: from the moment when “the night turns into dawn” until the time when the hero meets the “early dawn.” Certainly,The main satirical means is hyperbole - exaggeration. So, there are so many “paperwork” that they “rain”, and even the most important ones - “about fifty”.

That is why so many meetings have to be held, and their reasons are either trivial (for example, “purchase of a bottle of ink by the Gubkooperative”), or ridiculous, absurd - “the union of Theo with Gukon,” that is, the Theater Department of the Main Political Education with the Main Directorate of Horse Breeding. If these organizations actually existed, then to convey the variety of obscure names of institutions, the author usesironic designations :

Who's in charge

who is in whom,

who is watered,

whoever is in the clearing, people disperse into institutions.

And it sounds really sarcasticobscure abbreviation , which includes almost the entire alphabet: “A-be-ve-ge-de-e-zhe-ze-kom.” Thus, ridiculing meaningless abbreviations, Mayakovsky usespun , that is, a play on words.

The last scene looks likegrotesque : here the exaggeration reaches fantastic proportions: the hero sees how “half of the people are sitting,” because

Inevitably you have to split up!

Up to the waist here

But other

There.

Of course, this image arose from the well-known colloquial expression: “Should I tear myself in two?” In fact, Mayakovsky uses this expression in the literal sense, achieving a satirical effect. Thisrethinking famous proverbs and sayings characteristic of Mayakovsky's work.

Changes in the mood of the lyrical hero are very important for assessing events. If at first he says restrainedly, with a certain amount of irony: “Can’t they give you an audience?”, since she has been going “since the time”, then his nerves give out and he, “enraged, bursts into the meeting like an avalanche, wild curses on the way spewing out." And from the sight of those who had broken up, his mind “went crazy”, and now he dreams of the seemingly impossible:

Oh, at least

more

one meeting

regarding the eradication of all meetings!

Here Mayakovsky parodiesclerical style . The hero’s dream, therefore, is also hyperbolic, but it becomes clear to the reader that this parliamentary red tape must be stopped forever.

The theme of patriotism.

(“Poems about the Soviet passport”, “To Comrade Netta, a man and a steamship”, “The story of Comrade Khrenov.”)

Mayakovsky's lyrics depict the structure of thoughts and feelings of a new man - the builder of a socialist society. The theme of patriotism, the heroism of socialist construction, the superiority of the socialist system over the capitalist one, the struggle for peace, strengthening the country's defense power, the place of the poet and poetry in the working class, the fight against the remnants of the past, etc. Merged together, they recreate the majestic image of a Soviet man who passionately loves his homeland, devoted to the ideas of the revolution and the people. The openness and civic spirit of the poet, his desire to show the “nature and flesh” of communism, to ignite everyone with the desire to “think, dare, want, dare,” are very dear. In the name of the revolution, Mayakovsky creates an extraordinary oratorical structure of verse that raised, called, demanded to move forward.

Mayakovsky's lyrical hero is a fighter for universal happiness. And no matter what the most important event of our time the poet responded to, he always remained a deeply lyrical poet and affirmed a new understanding of lyricism, in which the moods of the Soviet people merge with the feelings of the entire Soviet people. Mayakovsky's heroes are ordinary, but at the same time amazing people ("The Story of Kuznetskstroy").

In “Poems about the Soviet Passport,” the author touches on two topics at once: anti-bureaucracy and patriotism. But the main theme of this poem, undoubtedly, is the theme of patriotism. The lyrical hero is proud of his country, which is conducting an unprecedented experiment, building a new society:
Read, envy!
I am a citizen of the Soviet Union!
Patriotic lyrics can also include such poems as “To Comrade Nette, the Man and the Steamship,” “The Story of Comrade Khrenov.” The last poem is a hymn to the working man:
I know there will be a city
I believe that the garden will bloom,
When such people
There is one in the Soviet Country.

Reading and analysis of the poem

No wonder I shuddered.
Not nonsense.
To the port,
burning,
like molten summer,
unfolded
and entered
comrade "Theodore"
Nette."
It is he.
I recognize him.
In saucers - lifebuoy glasses.
- Hello, Nette!
I'm so glad you're alive
the smoky life of pipes,
ropes
and hooks.
Come here!
Isn't it small for you?
From Batum,
tea boiled in cauldrons...
Do you remember, Nette, -
when I was human
you drank tea
with me in the deep compartment?
You hesitated.
The sleepyheads snored.
Eye
mowing
in sealing wax seal,
all day long
chatted about Romka Yakobson
and sweated funny
teaching poetry
I fell asleep in the morning.
Trigger
I cringed my finger...
Poke around -
who cares!
Did you think
that in just a year
I'll meet you
with you -
with a steamer.
There is a moonlight behind the stern.
Well, that's great!
Lay down,
tearing open spaces in two.
As if forever
behind you
from the battle of the corridor
you are following the hero's trail,
bright and bloody.
To communism from a book
They believe averagely.
"You never know,
what is possible
grind it out in the book!”
And this -
will suddenly revive "nonsense"
and will show
communism
nature and flesh.
We are living,
squeezed
an iron oath.
For her -
to the cross,
and scratch with a bullet:
This -
so that in peace
without Russia,
without Latvia,
live united
human hostel.
In our veins -
blood, not water.
We are going
through the revolver bark,
to,
dying
come true
on ships,
in lines
and other long matters.

I would like to live and live,
rushing through the years.
But in the end I want -
there are no other desires -
I want to meet
my hour of death
So,
how I met death
Comrade Nette.

- What is the genre uniqueness of the poem?

- How are two plans connected here: concrete, everyday and general, high? Give examples.

- What means does the poet use to create the image of Nette?

- Stylistic features and specifics of the rhythmic organization of the poem?

Conclusion: The poem “To Comrade Nette, the Ship and the Man” is permeated with the thought of revolution. The present is illuminated in it by the dream of a communist future, when the whole world will become a “single human community” - that dream that originated as a deep national aspiration in the past and found its expression in the classics, for example, in Pushkin and the Polish poet Mickiewicz (“When the Nations , having forgotten the feuds, they will unite into a single family").

Approximate analysis poems “To Comrade Nette, man and ship.”

A chance meeting with a steamship named after a man whom Mayakovsky knew personally evokes in the poet thoughts not only about the feat of this man, but also about heroism in general, about responsibility for the fate of revolutionary conquests.

The details of the meeting are captured very specifically, which is typical of Mayakovsky’s poetic style. Here the steamer slowly “turned around and entered” the port after “the tea boiled in cauldrons from Batum”, now its pipes smoke and a foaming trail remains on the surface of the sea.

The name itself, which became the reason for further numerous imitations, immediately sets two levels of poetic image.The first is everyday, ordinary, it is connected with the memory of the diplomatic courier Theodor Nett, with whom Mayakovsky was familiar and even traveled with him:

Do you remember, Nette, -

when I was human

you drank tea

with me in the deep compartment?

The image of “Comrade Nette” himself seems to appear “in the saucer glasses of the life preservers.” And it is not entirely clear to whom the hero is addressing – the ship or the person: “I’m so glad you’re alive!” In February 1926, while defending diplomatic mail in Latvia, the diplomatic courier of the People's Commissariat of Foreign Affairs of the USSR, Theodor Nette, died, and in the summer Mayakovsky saw a ship named after the diplomat in Crimea, and almost immediately wrote his famous poem.

It is noteworthy that evenvocabulary in this first part of the work deliberatelycolloquial, reduced , after all, the conversation goes on easily, so Nette “drank tea” at the poet’s, “squinted at the sealing wax seal, chatted all day long,” “sweated funny, learning poetry.” However, for a modern reader, a detail that may have been common for a Soviet diplomatic courier may come as a real shock: “The trigger was as tight as my finger.” Such seemingly simple memories of the poet allow us to vividly imagine not only a person, but also a hero of the revolution.

Thus, the first, householdplan outgrowsin the second – high , somewhere even pathetic: after all, we are talking about sacred concepts both for the poet himself and for the hero - “communism’s nature and flesh” appears before the reader. It was important for Mayakovsky not only to create the image of a staunch fighter for the ideals of a bright future, but also to tell the reader important poetic words about the revolution itself. This desire to connect isolated case– a meeting with the “man-steamer” - with the people’s struggle for the victory of communism, showing it in the light of a broad revolutionary perspective is characteristic of all Mayakovsky’s poetry of the 20s.

Mayakovsky's favorite technique -appeal - in the poem not just for the sake of a catchphrase: the poet conducts a dialogue with those whom he really knows. Here is Nette as he was “when he was a man” and as the poet knew and remembered him. And here is the steamship "Theodor Nette", which turns around and enters "the port, burning like molten summer." For Mayakovsky, every detail is important - it becomes tangible, recognizable and vivid. The idea of ​​immortality, so important for the proletarian poet, seems to materialize, largely thanks to two plans that are fused together - they cannot be separated. The future for a poet is not an empty dream: it begins today, now. Abstract concepts about heroism, honesty and honor in the poem are literally “embodied,” that is, put on flesh: “In our veins there is blood, not water.” This idea of ​​​​translating high ideals into the reality of our days:

We are going... to come true

On ships, on lines and other long-term tasks.

Of course, this poem sounds too pretentious for modern man ideas, but the hero’s desire to “meet his death the way Comrade Nette met his death” is perceived in a completely modern way, since heroism sometimes manifests itself in peacetime.

Theme of the poet and the purpose of poetry

(“Poet-worker”, “Conversation with the financial inspector about poetry”, “To Sergei Yesenin”, “Yubileinoe”, introduction to the poem “At the top of my voice”)

Important place In the post-revolutionary work of the poet, the theme of the poet and the purpose of poetry is occupied, touched upon in such works as “The Worker Poet”, “Conversation with the Financial Inspector about Poetry”, “To Sergei Yesenin”, “Anniversary”, the introduction to the poem “At the top of my voice”. Mayakovsky evaluates his work, calling himself a loudmouth poet (“At the top of his voice”), writes that the work of a poet is difficult, that “poetry is the same mining of radium,” and the work of a poet is akin to any other work. Poetry is a “sharp and formidable weapon.” She is able to agitate, rouse people to fight, and force them to work. But this position of the poet-leader often interfered with the lyric poet. Mayakovsky often had to “step on the throat own song”, and the gift of a subtle poet-lyricist sounded less and less often in his work (“Unfinished”, “Letter to Tatyana Yakovleva”).

Reading and analysis of the poem “Anniversary”.

Alexander Sergeevich,

Let me introduce myself.

Give me your hand!

Here's the chest.

Listen,

no longer a knock, but a groan;

I'm worried about him

in a puppy, a humble lion cub.

I never knew

that so much

thousand tons

in my

shameful for the frivolous little head.

I'm dragging you.

Are you surprised, of course?

Squeezed?

Hurt?

Sorry, dear.

I have,

yes and you too

in stock for eternity.

20 What do we need

lose

an hour or two?!

It's like water -

Let's

rush away chatting,

like spring -

free

and relaxed?

Up in the sky

30 moon

so young

what's her

no satellites

and releasing it is risky.

I

Now

free

from love

and from posters.

40 Skin

jealousy bear

lies the claw.

Can

make sure,

that the ground is sloping, -

sit down

on your own buttocks

and roll!

No,

50 I won’t force myself into a black melancholic mood,

and I don't want to talk

with no one.

Only

gills of rhymes

stomps rapidly

for people like us

on poetic sand.

Harm is a dream

and it's useless to dream,

60 needed

news

official tedium.

But it happens -

life

stands in a different section,

and big

understand

through nonsense.

Us

70 lyrics

with hostility

repeatedly attacked

looking for speeches

accurate

and naked.

But poetry -

most disgusting thing:

exists -

and not even a kick.

this -

is it spoken or bleated?

Sinemordoye,

in an orange mustache,

Nebuchadnezzar

biblical -

"Koopsah."

Give us glasses!

I know

90 way old

in grief

blow wine,

but look -

from

swim out

Red and White Stars (*)!

(* Red and white stars (English).)

with a heap

various visas.

I'm pleased to be with you, -

glad,

that you are at the table.

Muse is

deftly

it pulls on your tongue.

Like this

you

Olga used to say?..

Not Olga!

from a letter

110 Onegin to Tatiana.

- They say,

you have a husband

fool

and the old gelding,

I love you,

be sure to be mine,

I'm right now

in the morning I must be sure

that I will see you this afternoon. -

120 There were all sorts of things:

and standing under the window,

letters,

shaking nervous jelly.

Here

When

and unable to grieve -

This,

Alexander Sergeich,

much heavier

130 Come on, Mayakovsky!

Heart

force me to rhyme -

Here

and the boat of love came,

Dear Vladim Vladimych.

No,

old age is not its name!

T_u_shu

140 forward str_ya_,

I

with pleasure

I can handle two

and to make you angry -

and with three.

They say -

I am the subject of i-n-d-i-v-i-d-u-a-l-e-n!

Entre nous (*)...

(*Between us (French).)

so that the censor doesn’t nag.

150 I will tell you -

They say -

seen

even

two

loving members of the All-Russian Central Executive Committee.

Here -

started gossip

delight the soul with it.

Alexander Sergeich,

160 don’t listen to them!

Maybe

I

one

I really regret it

what today

you are no longer alive.

To me

in life

with you

170 it would be necessary to come to an agreement.

Coming soon

and I

I'll die

and I will be mute.

After death

us

standing almost next to each other:

you are on Pe,

and I

180 on EM.

Who is between us?

Who do you want to know?!

Too

my country

poor poets.

Between us

- that's the trouble -

N_a_dson got involved.

We will ask

190 to him

somewhere

on Shcha!

A Nekrasov

Kolya,

son of the late Alyosha, -

he also plays cards,

he is in verse,

So

not bad looking.

200 Do you know him?

here he is

good guy.

This

us company -

let it stand.

What about contemporaries?!

Wouldn't have miscalculated

for you

I gave fifty.

210 From yawning

cheekbones

unfolds all the way!

Dorogoichenko,

Gerasimov,

Kirillov,

Rodov -

Which

unique landscape!

Well Yesenin,

220 muzhik pack.

Laughter!

cow

wearing kid gloves.

Once you listen...

but that's just crazy!

Balalaika player!

Necessary,

so that the poet

and in life he was a master.

230 We are strong,

like alcohol in Poltava shtof.

Well, what about Bezymensky?!

So...

Nothing...

carrot coffee.

Is it true,

There is

we have

Aseev

240 Kolka.

This one can.

He has a grip

my.

But you have to

earn how much!

Small,

but family.

If only we were alive -

would

250 by Lef co-editor.

I would

and propaganda

I could trust you.

If only I could show you:

- that’s it, they say,

and so...

You could -

you

good style.

260 I would give you

fat content

and s_u_kna,

gave out

Gum ladies.

(I even

lisped in an iambic voice,

just so

be

270 is more pleasant for you.)

you now

would have to

throw an iambic burr.

Today

our feathers -

bayonet

yes fork teeth, -

battles of revolutions

more serious than "Poltava",

280 and love

more grandiose

Onegin's love.

Fear Pushkinists.

Old-brained Plyushkin,

holding a feather

will climb

with rusty.

- Also, they say,

at the Lefs

290 appeared

Pushkin.

Here's a blackamoor!

and competes -

with Derzhavin...

I love you,

but alive

not a mummy.

Directed

textbook gloss.

300 You

In my opinion_

in life

- Think -

also raged.

African!

Son of a bitch Dantes!

High society Skoda.

We would ask him:

- Who are your parents?

310 What did you do

_before_ 17th year? -

Only this Dantes would be seen.

However,

what chatter!

Like spiritualism.

So to speak,

slave of honor...

hit by a bullet...

Their

320 to today

walks a lot -

all sorts of

hunters

to our wives.

We're good

in the Land of Soviets.

You can live

you can work together.

But

330 poets,

unfortunately, no -

however, maybe

this is not necessary.

Well, it's time:

dawn

burned out the rays.

As if

policeman

I didn't bother looking for it.

340 On Tverskoy Boulevard

I'm very used to you.

Well, let's,

I'll give you a ride

on the pedestal.

I'd

monument during life

is due according to rank.

I would pawn

dynamite

- come on,

350 tease!

I hate it

all kinds of carrion!

Adore

all life!

- After the revolution of 1917, in his works Mayakovsky begins to create a communist utopia, a utopia of the future, denying the past, including all cultural traditions. We will identify these motives in the poem “Anniversary”.

1. Why does Mayakovsky turn to Pushkin? What is this connected with?

(these are echoes of futuristic demands early Mayakovsky, but here there is a clear transition to an awareness of the value of the cultural heritage of the past for a communist society. The poem was written in 1924 for the 125th anniversary of A.S. Pushkin)

2. Remember what is the tradition of the monument in Russian literature?

(from Derzhavin, Pushkin, Blok to Mayakovsky, after - Akhmatova)

3. What is Mayakovsky’s attitude towards modern poetry? Highlight the criteria of real poetry?

(There are very few real poets left. The main criterion is commitment to the party, “propaganda poetry,” the desire to subordinate one’s life and work to communist society)

4. For what reasons does Mayakovsky not want to accept monuments?

(a monument is an image of “carrion”; the poet is forgotten as soon as a monument is erected to him, that is, he is canonized, and this, according to Mayakovsky, is no longer a continuation of creativity after the death of the poet, but death itself)

Conclusion: The poet radically reconsiders his attitude towards the literary heritage of the past. Here one of the central themes of Mayakovsky's lyrics is raised - the theme of the poet and poetry.Mayakovsky is a poet and citizen. He wanted to understand the events taking place in Russia, he wanted to understand what place the poet and poetry have in modern life. V.V. Mayakovsky offers his vision of true poetry, defines the boundaries between true and “imaginary” poets.

IV .Homework information:

Prepare a report about Yesenin, learn a poem by Mayakovsky.

V . Summarizing.

The main theme of the early works is the theme of tragic loneliness, the problem of misunderstanding of the poet.In the post-revolutionary period, new themes appeared in Mayakovsky’s work: revolutionary, civil-patriotic, anti-philistine.

The most important emotional sensations of early Mayakovsky are pain, suffering; they arise from the poet’s collision with the world around him. The imperfection of life, the imperfection of man, leads Mayakovsky’s lyrical hero to despair.In the post-revolutionary period -Mayakovsky hates and despises inaction and passivity. “Rush into tomorrow, forward!” - that's his slogan.

Mayakovsky's early lyrics are characterized by a spirit of rebellion and shockingness.In the post-revolutionary period - movement, activity.

Mayakovsky is an innovative poet: innovation is manifested in the construction of the work, in the creation of rhyme, and in the use of means artistic expression and copyright neologisms.

VI .Reflection.

We got acquainted with the main motives of Mayakovsky's work. Now you can answer the question:

Is the lyrical hero in Mayakovsky's poems the author or the mask of the author?

All the work of the poet Mayakovsky was dedicated to one goal: serving people. It is love for people that the poet calls the driving force of his work, so the poet is confident that “my poem, through the work of many years, will break through and appear weightily, roughly, visibly.”

The most important directions in the development of pre-revolutionary creativity of V. Mayakovsky.

In the first stage of Mayakovsky’s creativity, two trends are clearly visible that determine the content and stylistic features his lyrics and poems.

First of all, Mayakovsky acts as an exposer of modern bourgeois society. “A slap in the face to public taste” was the title of the Futurists’ manifesto, where they defined the principles of their attitude to the world and poetry. The decisive nihilistic reprisal against cultural heritage is designed to create a scandal and throw the reader off balance. Mayakovsky seeks to contrast “old times” with his own poems. He became one of the first urban poets. The action of the poems takes place primarily in an urban setting. Even the names are indicative: “Port”, “Street”, “From street to street”, “Signs”. “The tongueless street is suffocating...”, no one needs salon lyrics, the world, according to the poet, should be given new poetry.

He hates the snickering philistines, denounces the mundaneness of their interests, lack of spirituality, and inability to see the sky. Trying to crush the blind complacency of the average person, the poet throws words of hatred and contempt into the faces of his listeners. In particular, the poem “Nate!” is dedicated to this. Another important theme of this poem is the position of the poet in a spiritless world, in the “hell of the city” of the well-fed. The poet is morally superior to the soulless crowd; he does not need their sympathy or even attention. But the feeling of loneliness cannot but worry. The antithesis “poet - crowd” determines the content of the poem. The lyrical hero is a proud loner. The fat, dirty, “hundred-headed louse” opposes the “rude Hun,” a spendthrift and waster of priceless words with a tender, butterfly-like heart.

One of the features characterizing Mayakovsky’s poetry as a whole appeared already in the given lines and images of this early poem. This is a vivid metaphor.

The lyrical hero of the poem “Listen!” appears differently to the reader. He is a romantic, a dreamer, a man with a subtle, vulnerable soul. The central image, metaphor of this poem is the stars. The traditional romantic image is developed by the futurist poet. Thus, Mayakovsky demonstrates a connection with the traditions of world poetry, which the futurists rejected in their manifestos. The lyrical hero “Listen!” Already in the title appeal, an appeal to kindred souls, he says that he is tired of loneliness, is looking for a person who can understand and help overcome “starless torment.” The poet’s experiences, tossing, and doubts are embodied in the rhythm and syntactic structure of the poem. Most sentences here are interrogative or exclamatory. The rhythm is uneven, torn, like the uneven breathing of a person tired of searching. The dramatic nature of this poem is also characteristic. It, like many of Mayakovsky’s poems, resembles a sketch, filled with movement, action, and expression.