V. V. Mayakovsky began his creative work in difficult times historical era, the era of wars and revolutions, the era of the destruction of the old system and the creation of a new one. These stormy historical events could not 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).

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

The main themes of 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.

Looking through the poems of early Mayakovsky, it is easy to see that the image of the city occupies a prominent place in his work. In general, the poet loves the town and recognizes its scientific and technical achievements, but sometimes the town scares 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.

Red devils, cars heaving,

beeps exploding right next to your ear.

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 Ishko as an artist, choosing interesting metaphors, unusual comparisons, adding bright colors(purple, white, green, black, yellow). Moreover, we do not immediately realize that in front of us is an image of a house with lit windows, street lamps, illuminating 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?

The theme of the city echoes and, moreover, the theme of loneliness follows from it. Lyrical hero early lyrics Mayakovsky is alone in this city, no one hears him, 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? Unrequited love. 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!

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:

An hour from here to a clean alley

your flabby fat will flow out over the person,

and I opened so many boxes of poems for you,

I am a spendthrift and spender of priceless words...

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 show his contempt. (This poem is reminiscent of Lermontov’s “How often, surrounded by a motley crowd”:

Oh, how I want to confuse their gaiety

And boldly throw an iron verse in their faces,

Doused with bitterness and anger.)

In the post-revolutionary period in creative

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Motives of the lyrics of V. V. Mayakovsky

The “Manifesto” of Futurism 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) selection of special topics (urbanʜᴎϲtic, theme of glorifying the achievements of civilization). V.V. Mayakovsky follows these principles at the beginning of his creative career.
The main themes of 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.
Looking through the poems of early Mayakovsky, it is easy to see that the image of the city occupies a prominent place in his works

In general, the poet loves the city, recognizes its scientific and technical achievements, but sometimes the city is frightened by the lyrics, 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.
Red devils, cars heaving,
beeps exploding right next to your ear.

But in another poem, “Night,” we see a picture of a city at night: bright, colorful, festive with advertising lights. The poet describes the 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 illuminating the road, a night neon advertisement:

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?

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 willing to give everything in the world for “a single word, affectionate, human.” What caused such a tragic attitude? unrequited love

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 as a gentle and very vulnerable person, not a man, but a “cloud in his pants.” But he is rejected, and he turns into an awakened volcano

The poem “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!

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

An hour from here to a clean alley
your flabby fat will flow out over the person,
and I opened so many boxes of poems for you,
I am a spendthrift and spender of priceless words...

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 spits into the crowd, insults it, in order to express his contempt. (This poem is reminiscent of Lermont’s “How often, surrounded by a motley crowd”:

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

In the post-revolutionary period, new themes appeared in Mayakovsky’s work: revolutionary, civil-patriotic, anti-philistine. 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 a lot of propaganda posters, simply put, advertisements:

Proletarian, proletarian,
Enter the planetarium.

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 early 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!”
In “Poems about the Soviet Passport,” the author touches on two themes at once: anti-bureaucratic and patriotic. But the main theme of this poem, undoubtedly, is patriotic theme. 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 poems such as “To Comrade Nette, a Man and a Steamship”, “The Story of Arisha 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 Stᴘẚʜᴇ Soviet.

An important place in the post-revolutionary work of lyric poetry is occupied by the theme of lyricism and the purpose of poetry, touched upon in such works as “The Worker Poet”, “Conversation with the Financial Inspector about Poetry”, “To Sergei Yesenin”, “Yubileinoe”, the introduction to the poem “At the top of my voice” . Mayakovsky evaluates his work, calling himself a loud-mouthed poet (“At the top of his voice”), writes that the work of a lyricist is difficult, that “poetry is the same mining of radium,” and the work of a lyricist 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 lyric leader often interfered with the lyric poet. Mayakovsky often had to “step on the throat own song”, and the gift of a subtle lyricist sounded less and less often in his works (“Unfinished”, “Letter to Tatyana Yakovleva”).
All the work of the lyricist Mayakovsky was dedicated to one goal: serving people. It is love for people that the poet calls the driving force of his creativity (“Letter to Arisha Kostrov...”), so the poet is sure that “my poem, through the work of a vast number of years, will break through the vastness of years and appear weightily, roughly, visibly...”.

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Reflections on Mayakovsky's poetry

There is a generally accepted opinion that not everyone can truly understand poetry. That in order to understand poetry, you need to have a certain mind, character, way of thinking, be able to feel, see, guess the world in a special way, be able to catch shades, distinguish halftones, read between the lines. Poetry makes us real people, enriches our souls, makes our hearts beat excitedly. And we all work on ourselves, read, learn to understand and perceive the works of Pushkin, Lermontov, Nekrasov, the lyrics of Anna Akhmatova, Marina Tsvetaeva, Sergei Yesenin. And yet there are poems that are understandable and accessible to everyone, there are authors who speak to us in a simple, familiar language about important, close and understandable things and problems to everyone...

The power of Sosyura’s melodic words lies in simplicity and sincerity, spirituality and artistic perfection. Sosyura's poems continue to captivate the hearts of readers: both young and adults. Coming from a land where “the distant distance and the sky are blazing with blast furnaces,” Sosyura spoke enthusiastically about his Fatherland, about the land that “we will turn into Eden,” about the Dnieper singing waves. And very sincerely and sincerely about his intimate feelings. “I am so tender, so anxious,” the poet admits, and we already believe, can you really say the same thing without tenderness in your soul:...

Goal: to acquaint eleventh graders with avant-garde trends in Ukrainian poetry of the 20s of the twentieth century, to give the concept of “futurism”, to characterize the figure of M. Semenko in Ukrainian literature, to substantiate his importance for the development of Ukrainian poetry, to polish the ability of schoolchildren to read poetry expressively and consciously, highlight the main motives, main idea, characterize mood, rhythm, develop experimental, search abilities of students, cultivate high moral and ethical traits of a common person....

P. Tychyna’s creative path is marked by painful thoughts, anxious forebodings, artistic peaks and failures. However, in the history of Ukrainian literature, the figure of the singer of the “Sunny Clarinets” has no equal - in the depth of comprehension of the harmony of the world, in the emotionality, symbolic content of events and the originality of poetic intonations. P. Tychyna’s first collection was written as if in one breath, there is so much energy, vigor, life-giving inspiration and passion for the world and its harmony. First of all, this is typical for landscape miniatures, in which the motive of man’s admiration for nature with its diversity of sounds, colors, tones and shades sounds. The lyrical hero remains alone with her and the universe, with them he fulfills his subtlest and most tender impulses of the soul. His inner world wide open to the sun and joy. The poem “The Groves Are Noisy...” begins with two parallelisms:...

Essay Mayakovsky V.V. - Miscellaneous

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

V.V. Mayakovsky began his creative activity in a difficult historical era, the era of wars and revolutions, the era of the destruction of the old system and the creation of a new one. These turbulent historical events could not 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).
All of the poet's pre-revolutionary work 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); selection of special themes (urban, theme of glorifying the achievements of civilization). V.V. Mayakovsky follows these principles at the beginning of his creative career.
The main themes of 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.
Looking through the poems of early Mayakovsky, it is easy to see that the image of the city occupies a prominent place in his work. In general, the poet loves the city, recognizes its scientific and 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.
Red devils, cars heaving,
beeps exploding right next to your ear.
But in another poem, “Night,” we see a picture of a city at night: bright, colorful, festive with advertising lights. The poet describes the 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 illuminating the road, a night neon advertisement:
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?
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? Unrequited love. 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 as a gentle and very vulnerable person, not a man, but a “cloud in his pants.” But he is rejected, and he turns into an awakened volcano. The poem “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!
Suffering from unrequited love turns into hatred of that world and that system where everything is bought and sold. Therefore, the main theme of such poems as “Here!”, “To You!”, is the theme of 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:
An hour from here to a clean alley
your flabby fat will flow out over the person,
and I opened so many boxes of poems for you,
I am a spendthrift and spender of priceless words...
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. (This poem is reminiscent of Lermontov’s “How often, surrounded by a motley crowd”:
Oh, how I want to confuse their gaiety
And boldly throw an iron verse in their faces,
Doused with bitterness and anger.)
In the post-revolutionary period, new themes appeared in Mayakovsky’s work: revolutionary, civil-patriotic, anti-philistine. 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.
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 of 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!”
In “Poems about the Soviet Passport,” the author touches on two themes at once: anti-bureaucratic and patriotic. But the main theme of this poem is undoubtedly a patriotic theme. 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, a Man and a 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.
An important place in the poet’s post-revolutionary work is occupied by the theme of the poet and the purpose of poetry, touched upon in such works as “The Poet-Worker”, “Conversation with the Financial Inspector about Poetry”, “To Sergei Yesenin”, “Yubileinoe”, 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 of his own song,” and the gift of a subtle poet-lyricist sounded less and less often in his work (“Unfinished,” “Letter to Tatyana Yakovleva”).
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 creativity (“Letter to Comrade Kostrov...”), so the poet is confident that “my poem, through the work of many years, will break through and appear weightily, roughly, visibly...”.

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 a majestic appearance Soviet man, passionately loving 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 most important event the poet did not respond to modern times; he always remained a deeply lyrical poet and asserted a new understanding of lyricism, in which the moods of Soviet people merge with the feelings of everything 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 under open air, they 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 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 article by a description heroic act 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.

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. Decisive nihilistic reprisal against cultural heritage designed to scandalize, unbalance the reader. Mayakovsky seeks to contrast his own poems with “old times.” 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 in the face of his listeners. In particular, the poem “Nate!” is dedicated to this. Another one important topic This poem depicts the poet’s position 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 that characterize 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.