Communal state institution
"Secondary School-Complex of National Revival No. 17"
North Kazakhstan region
Literature lesson summary
in grade 11
V.V. Mayakovsky. Life and creation. Art world
early poetry
prepared
teacher of Russian language and literature
Adrakova Angela Gennadievna
Petropavlovsk
2014
Topic: V.V. Mayakovsky. Life and creation. Art world
early poetry
Target: to get acquainted with the personality of V. Mayakovsky, with the peculiarities of his early lyrics; see the spirit of rebellion and outrageousness in the early works of the poet.
During the classes
To be understood by my country
but I will not understand, -
in the home country
I will pass by
how is it going
slanting rain!
V.V. Mayakovsky
Writing the topic of the lesson, setting a goal.
Teacher's word
It is impossible to imagine the XX century without Mayakovsky. Mayakovsky "painted" a whole era with himself, he was the most famous and talented futurist poet (if it were not for Mayakovsky, futurism would not have received such fame). Several generations of Soviet readers knew Mayakovsky primarily as the author of Soviet slogans and posters, Poems about a Soviet Passport, a poem about Lenin, etc. In the 1930s, JV Stalin called Mayakovsky the best and most talented Soviet poet. But Mayakovsky does not fit into the definition that Stalin gave him, and as a poet, Mayakovsky was much more complicated and interesting than many imagined.
Born July 19 (7), 1893 in the village of Baghdadi, Kutaisi province, in the family of a forester. Both Mayakovsky's father and mother were hereditary nobles (My pillar father / nobleman // the skin on my hands is thin ... - About this).
In 1906, after the sudden death of his father, the Mayakovsky family moved to Moscow. In Moscow, Mayakovsky, carried away by the ideas of social democracy, joined the RSDLP in 1908 and took part in underground work. This circumstance is also associated with the termination of Mayakovsky, after the 5th grade of the gymnasium, of systematic general education. Mayakovsky was arrested three times, but in the end he was released on bail to his mother, after which he left the ranks of the Communist Party and, contrary to popular belief, subsequently did not join it.
It was in prison, under the impression of the first read modern poems, in particular - Balmont, that Mayakovsky took his first steps in poetry (the poems have not survived), which he subsequently wrote very critically.
In 1911, after several attempts to enter an art educational institution, Mayakovsky became a student at the School of Painting, Sculpture and Architecture in Moscow. Through David Burliuk, who studied there, one of the leaders of the group of futurists "Gileya", Mayakovsky gets acquainted with the world of the Moscow literary and artistic avant-garde. Burliuk, whom Mayakovsky introduced to his poems, highly appreciated them and recommended to continue his poetry studies.
From the end of 1912 - the beginning of 1923 Mayakovsky took part in art exhibitions of contemporary art, reads his poetry, participates in public performances together with Burliuk and other members of the Gilea group. The first publications of Mayakovsky (poems Night, Morning) appeared at the end of 1912 in the publication of Gilea: A Slap in the Face to Public Taste.
Mayakovsky also took part in the writing of the manifesto of the same name, from which the position, often quoted by the artistic opponents of the futurists, is taken - "to throw Tolstoy, Dostoevsky, Pushkin from the Steamer of our time." The authors of numerous memoirs emphasize Mayakovsky's love for the classics, a brilliant knowledge of Pushkin's poetry, etc., trying to balance such declarations. They were typical of many left-wing art movements of the early 20th century. (cf. Italian futurism, Dada, surrealism).
In the 1920s, a new aspect was added to it - a hopeless love for a woman endowed with the name and recognizable features of the appearance and biography of L. Brik, who prefers the lyric hero-poet of a person who can provide her with everyday well-being.
In the archive, during the years of perestroika, a long-time employee's certificate number 15 073, issued by L.Yu. Brik Lubyanka in the early 1920s, was found by Mayakovsky's love for Lilya pushed him to write new works, he wrote, received money, there was an opportunity to love and pamper his beloved with new things a woman, Lilya used it, she did not let go of Mayakovsky to the end.
So they lived until 1928, when Mayakovsky, being abroad, where he went to meet with his three-year-old daughter from the American Ellie Jones, met in Paris the beautiful Tatyana Alekseevna Yakovleva, who left Russia in 1925. But later. Ellie Jones fell in love with Mayakovsky in Moscow at one of the poetry evenings in 1923. True, then Ellie was called Elizaveta Petrovna Siebert. A year later, she married the Englishman John Jones, went with him to America and there in 1925 and met the poet.
As a result of that meeting, Patricia was born, who saw her father only once in her life - in 1928 in Nice.
The last two years of Mayakovsky's life, the world of his personal experiences and feelings are associated with the name of Tatyana Yakovleva. A little over a year and a half before meeting Mayakovsky, T. Yakovleva came from Russia to Paris at the call of her uncle, artist A.E. Yakovlev. Twenty-two years old, beautiful, tall, long-legged with expressive eyes and bright glowing yellow hair, a swimmer and tennis player, she, fatally irresistible, attracted the attention of many young and middle-aged people of her circle.
He was introduced to Yakovleva by Lily Brik's sister Elsa Triolet. In her memoirs, Elsa herself will write that she did this so that Mayakovsky did not get bored in Paris.
But there is an opinion that the meeting was organized for other purposes - to distract the poet from the American daughter Ellie Jones, who gave birth to him, and to detain him in the capital of France, where he generously paid for the living conditions of Elsa and her companion Louis Aragon. The ending of this story is known: Mayakovsky fell in love with Tatiana and persistently began to persuade her to marry him. I almost thought about moving to Paris myself. As a result, he was denied travel abroad.
The denouement happened in the spring. And in October 1929, in the presence of Mayakovsky, Lilya read aloud in a letter from Elsa's sister that Tatyana was going to marry the Viscount du Plessis. Although, in fact, the wedding will only be discussed a month later. Yakovleva until the last day will not forget Brik of the incident with the letter. And with bitter irony, she once admits that she is even grateful to her for that. Otherwise, she, sincerely loving Mayakovsky, would return to the USSR and perish in a meat grinder in 1937.
Of course, in the life of Mayakovsky were not only these two women, it is worth mentioning about the one that was mentioned in his dying letter, this is the Moscow Art Theater actress Veronika Vitoldovna Polonskaya
The poet met the young actress of the Moscow Art Theater Veronika Vitoldovna Polonskaya and fell in love with her like a boy. She was married to the famous actor Mikhail Mikhailovich Yanshin. The relationship between Mayakovsky and Polonskaya has had ups and downs. In the end, the poet put the question bluntly: Polonskaya should immediately disperse from her husband and immediately leave the stage. At one of the friendly parties, Mayakovsky, who had the right to carry weapons, took a pistol out of his pocket and threatened: if Veronica did not fulfill his conditions, he would shoot himself. Polonskaya hardly dissuaded Mayakovsky from the fatal step.
The continuation of the explanation, begun the night before at Kataev's apartment, took place in a room on the Lubyanka on the morning of April 14.
It is known that the explanation in the room on the Lubyanka was reminiscent of the previous ones: Vladimir Vladimirovich demanded that all the issues be finally resolved - and immediately. He threatened not to let Polonskaya go to the theater, locked the room with a key. When she recalled that she was late for the theater, Mayakovsky became even more worried.
“Yesterday, April 14, at 10 hours 15 minutes in the morning, poet Vladimir Mayakovsky committed suicide in his office (Lubyansky proezd, 3). As our employee was told by the investigator comrade. Syrtsov, preliminary data from the investigation indicate that the suicide was caused by reasons of a purely personal nature that have nothing to do with the poet's social and literary activities. Suicide was preceded by a long illness, after which the poet had not yet fully recovered. "
“Everyone. Don't blame anyone for dying, and please don't gossip. The deceased did not like this terribly.
Mom, sisters and comrades, I'm sorry - this is not a way (I do not recommend it to others), but I have no other options.
Lily - love me. (Lilya Brik - A.D.)
Comrade government, my family is Lilya Brik, mother, sisters and Veronika Vitoldovna Polonskaya. If you give them a bearable life, thank you. Give the started verses to the Briks, they will figure it out.
As they say -
"The incident is spoiled", love boat
crashed into everyday life. I count with life
and there is no need for a list of mutual pains,
troubles
and insults .. "
Mayakovsky wrote for the opening of the exhibition "20 years of work", which he was preparing in January 1930. On February 1, 1930, at 17 o'clock, it was opened. It was attended by 300-350 people. Mostly young people. Mayakovsky pinned high, albeit vague hopes on this day, as well as on the exhibition in general. it felt like a boycott. The newspapers also kept silent about the exhibition.
Simultaneously with the exhibition business, other events were unfolding. On February 6, at a conference of the Moscow Association of Proletarian Writers, M. announced his entry into the RAPP, before this step he was in the organization, Ref (Revolutionary Arts Front). The refs perceived joining the RAPP as treason and boycotted him.
Failed in Leningrad and Moscow performances of the play "Bath", in which an angry satire on bureaucracy appears before the reader and the viewer. A series of devastating reviews followed, in which reviewers failed to see the play's merit behind the weakness of the performances. Meyerhold spoke up in defense of the Bani. It was necessary to save the play, which premiered on March 16. However, the play continued to be vigorously discussed at disputes: it was attributed both to the absence of "class content" and "a mocking attitude towards our reality", which at that time had a warning-threatening character. All these events were tied into a tight knot.
So, futurists proclaimed themselves the creators of a new art, formed the concept of a new language, reflecting the dynamics of a new life, opposed the bourgeoisie, frightened the fat bourgeois with a popular revolt. The main thing in creativity was considered to be the form, they strove to free art from ideology. They brought art to the people, to the street, they themselves pretended to be the spokesmen for the street. Art should awaken and excite! A whirlwind rushed into our poetry. The appearance of the futurists in the poetic arena was accompanied by a scandal. Their unbridled self-will abhorred the tastes of some and aroused the sympathy of others. The press was unanimous: they were called only abusively: a band of savages, a gang of hooligans. Only the most discerning could see the truly talented among them. This is how Mayakovsky was singled out. Gorky then said about him: “In vain he goes broke over trifles. So talented! Rude? This is from shyness. I know from myself. "
Suffering and lonely V. Mayakovsky came to Russian poetry. And from the very first appearance in print and on the stage, they imposed the role of a literary hooligan on him. And he, in order not to sink into obscurity, maintained this reputation with daring antics at the evenings. For example, he always wore a yellow jacket. This is, of course, a challenge to the well-meaning public, but it came from poverty.
- "Art should awaken and excite!" - proclaimed the futurists. Such are the early poems of Mayakovsky, in which the poet is not linear and therefore sometimes difficult to explain. And nevertheless, let us try, from the position of today's reader, to ponder over the problems that worry a very young poet, into those contradictions that are tearing his soul apart.
Writing in a notebook
— Let's write down the basic principles of futurism in a notebook.
Anarchic rebellion.
Freedom of creativity.
Rejection of literary and linguistic norms.
Striving for the future.
Rejection of bourgeois morality.
Shocking as a means of expressiveness.
Conversation with the class
— We have to talk about a lyric hero. Who is the lyrical hero of the poem?
— Who is the lyrical hero of V. Mayakovsky? What is the originality of this image? To answer this question, you need to analyze the poems. One of the first was the poem "Could you?"
For the first lesson, we chose three poems: “Could you?”, “Listen!”, “Here!”. Task
Analyzing these poems according to the proposed plan, draw a conclusion about the peculiarities of the artistic world of Mayakovsky's early lyrics.
Option 1 -
1) Reading a poem
2) analysis of the poem "Could you?"
Approximate plan
Describe the lyrical hero.
What is the system of images of the poem?
What means of expression does the poet use?
What is the poet's conflict with the outside world?
Analysis
Analysis of the poem "Could you?" (writing on the board)
— So, what are the features of the lyrical hero of Mayakovsky?
- How do you understand the meaning of the name?
- What means of expression does the poet use?
Mayakovsky, of course, could not help but think about the essence of poetry, about the appointment of a poet among everyday everyday worries. These reflections were reflected in the poem "Listen!", Written in 1914. In it, he thinks about the apparent uselessness of the poet in the midst of everyday life.
Both in content and in the peculiarities of the artistic form, it is very characteristic of the poet's early poems. To whom does the poet address and what artistic means does he use? What struck you about this poem? Identify the main conflict of the poem. / Dismissal from the crowd on the aesthetic side /. In the poetic world of Mayakovsky, as a rule, there is an opposition of the crowd (philistines, philistines) to the poet. Let's try to depict how the townsfolk and, in contrast to them, the poet look at the world around them:
for the poet: for the layman:
jelly jelly
ocean food
Tin fish fish
new lips mouth
love food
So, the main conflict in the poem "Could you?" - dissolution with the crowd from the aesthetic point of view. The poet sees the world quite differently from the crowd. With the power of imagination, he remakes this world, extracting poetry from everything.
Option 2 -
1) reciting the poem "Listen!"
2) analysis of the poem
Approximate plan
What is the meaning of the title of the poem?
What is the originality of intonation?
Describe the lyric hero of the poem.
Where does Mayakovsky see the poet's mission?
Analysis
... in her analysis, she reflected the originality of the intonation of the work, which is already manifested in its title, the innovative use of rhyme, gave an interesting description of the lyrical hero, revealed her vision of the problem “What does Mayakovsky see as the mission of the poet of the“ new time ”?"
Addition The poet is also a star, and its light serves as a moral, aesthetic, spiritual guide to people. Convinced of the need for a poetic word, Mayakovsky sees the poet's mission in absorbing the pain of millions and telling people about it, in order to evoke the desire to overcome this pain, to change the world.
How did you understand the meaning of the poem? How does it differ in general tone from the previous poem? (The lyrical hero does not confront the crowd, he tries to be understood). How do you understand the central image of the poem - the image of a star? ( The image of a star symbolizes the meaning of life. The poet claims the need for such human qualities as kindness, love, beauty ). Why are the stars called "spitters"? / Suddenly applied to the stars, the "shocking" (deliberately teasing with harshness) definition of "spit" is self-defense by irony from the worn-out conventional-romantic "poetry" suggested by tradition. It does not reduce, does not destroy the image of the night sky, but only helps to see it from the spattered asphalt of city streets, along which a lone poet wanders /. The light of the stars drives away the fear of the darkness of the night. The poet's task is to carry light. What means (including syntactic ones) does the author use to convey the feelings of the lyric hero, his emotion? / The poem contains many exclamation and question marks, many short sentences, sometimes consisting of one word, conveying the emotional intensity of the lyric hero's statements. The desire to prompt the reader with the necessary intonational attitude led the poet to a kind of breakdown of the line into separate segments - the "ladder" of Mayakovsky. B. Eikhenbaum called such a new recording of poems - “not by lines, but by breathing, because every word must be shouted with full breast. In some places you can calm down a little, then the lines stretch too " /. Like the poem "Listen!" changed your attitude towards Mayakovsky? Conclusion: in the poem "Listen!" we see the poet's melancholy and his reflections on the fact that every person is not accidentally on this Earth.
- The imperfection of life, a sharp discrepancy between dreams and reality gave rise to bewildered questions. In complete discord with this world, the poem "Nate!"
Reading and analysis of the poem "Nate"
Analyzing student response
The undoubted advantage of the work ... is the use of the recollections of contemporaries about the public reading of Mayakovsky's poem "Nate!" The analysis reflects the originality of the disclosure of the traditional for Russian literature conflict of the poet with the world, the poet and the "crowd"; shows the innovative use of means of artistic expression; reflects own perception of the read poem.
What is the reason for the sharpness of the general tone of the poem? / the feeling of social protest expressed in the poem, its anti-bourgeois orientation /. How are the relations between the poet and the public, who came to the poetry evening, built? / Mayakovsky hates the bourgeois-philistine crowd, which came to the poet's evening in search of entertainment, denounces its ugliness, vulgarity, stupidity. This polyphonic crowd, merging in the poet's presentation into a solid faceless mass of fat, is hostile to his democratic outlook /. How is the objective world of the poem presented? / The objective world of this poem is represented precisely by consumer goods: "cabbage soup", "whitewash", "things", "galoshes". The collective image of the bourgeois crowd is disgusting: "The crowd will go berserk, will rub, / a hundred-headed louse will bristle its legs" /. Identify the conflict of the poem. Now we will depict schematically a model of the relationship between the poet and the world around him:
butterfly heart hundred-headed louse
In bourgeois society, according to the poet, the norm is the alienation of the material from the spiritual. There is no place for the ideal. Therefore, so much repulsive material is portrayed in verse: "bloated fat", "meat", "drooling", etc. The lyrical hero of Mayakovsky often finds himself in isolation, alone, does not find understanding. Conclusion: in "Nat!" the conflict is ethical (not typical for romantic writers). Here we see a denial of culture in general; the crowd is anti-aesthetic, immersed in everyday life. Blok had "well-fed", Mayakovsky - "fat" (where the motive of fat is found - the crowd), that is. the same philistines.
Teacher's word. In 1917, another Russian revolution took place, followed by the October Revolution. For Mayakovsky, there was no poll to accept or not to accept the revolution, the poet said: "My revolution." It is very important to know that the poet came to the revolution through futurism.
The coming revolution was welcome, because it was understood as a massive artistic action involving the whole world in the game. The main slogan of the futurists: "We do not recognize art without work."
4. Let's read "Ode to the Revolution "Written by the poet in 1918. Remember the definition of ode as a genre.
How did Mayakovsky express his attitude to the revolution in a poem? Since this is "his revolution", then Mayakovsky is singing an ode, but why does he express an ambivalent attitude? What is the significance of the antithesis in this poem? / the antithesis conveys the inconsistency, the two-facedness of the revolution, which can turn into a "harmonious perestroika" and "heap of ruins" /
Output: Mayakovsky did not idealize the revolution, he was characterized not only by an optimistic, but also by a critical view of the present and the future.
6. Read the poem “Treating Horses well».
- How did you understand the meaning of the poem? What motives of early creativity does V.V. Mayakovsky in this poem? / Kuznetskiy, who “laughed,” was the same bourgeois crowd, the same “onlookers” who were left out of business, who filled the Pittoresk cafe located next to the Kuznetsk cafe, where Mayakovsky often performed. "- is a means of social characterization: we are talking about loiters who managed to escape from the common cause. This crowd is opposed, as always, with a lyrical hero: I only did not interfere with my voice in his howl ... Thus, the poem is a continuation of an old conversation in a new social environment. It was necessary to say to the desperate the word "gentle, human" ./
What means of artistic expression does V.V. Mayakovsky? / “The first stanza is all built on the transfer of movement, sonorous, melodious and fractional hop and clatter. It is richly instrumented, alliterations brought to onomatopoeia, a technique that is quite rare in Mayakovsky. And at the same time, the poet's sensitive ear distinguishes in this galloping some rough, unpleasant, warning sounds - "rob, coffin, rude." They seem to portend an impending danger.
The fall itself is conveyed with the utmost poetic clarity, almost physical tangibility.
How do you understand the words: "Baby, we are all a bit of a horse, each of us is a horse in his own way?"
Why do you think V.V. Mayakovsky changed the title of the poem? (Originally titled "Attitude Towards Horses.") / This poem is an affirmation of humanity. It is not difficult to see how much more definitively the pathos of humanity is affirmed in this final version. / At first glance, the "I" in the poem is lonely, weak in front of a crowd of laughing onlookers. But this is not the case. The thing is that it has ceased to be superfluous, unnecessary, it introduces an intonation of joyful conviction that life is not in vain. The desire to live, work, and act is stronger than the "animal melancholy".
And this is the fundamental difference between "Good attitude ..." from pre-revolutionary poems.
Conclusion: judging by the year in which the poem was written (1918), we can safely say that Mayakovsky is a very humane poet, he was concerned not only with the revolution; the image of a horse is allegorical, one poet understood its tragedy.
Summarizing
So, what are the features of Mayakovsky's early lyrics?
What are the main themes of the early works of the poet?
What are the most important "emotional sensations" of the early Mayakovsky?
What mood are the poems imbued with?
How was Mayakovsky's innovation manifested?
The main theme of early works is the theme of tragic loneliness, the problem of the poet's misunderstanding.
The most important emotional sensations of the early Mayakovsky were pain, suffering; they arise from the collision of the poet with the surrounding world. The imperfection of life, the imperfection of man, drives the lyrical hero Mayakovsky to despair.
The early lyrics of Mayakovsky were characterized by a spirit of rebelliousness and outrageousness.
Mayakovsky is a poet-innovator: innovation is manifested in the construction of a work, and in the creation of rhyme, and in the use of means of artistic expression and author's neologisms.
Homework Reading and Analyzing "Cloud in Pants"
LISTEN!
Listen!
After all, if the stars are lit -
So - someone wants them to be?
Means - someone calls these spit
a pearl?
And, straining
in blizzards of midday dust,
rushes to god,
afraid that he is late
crying
kisses his sinewy hand,
asks -
so that there must be a star! -
swears -
will not bear this starless torment!
And then
anxious walks
but outwardly calm.
Says to someone:
"Isn't it okay for you now?"
Not scary?
Yes?!"
Listen!
After all, if the stars
light up -
means - someone needs it?
It means - it is necessary,
so that every evening
over the rooftops
at least one star lit up ?!
1914
COULD YOU?
I immediately blurred the map of everyday life,
splashing paint from a glass;
I showed on a platter of jelly
slanting cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
nocturne play
we could
on the downspout flute?
1913
NATE!
An hour from here to a clean lane
your bloated fat will flow out on the person,
and I opened for you so many verses in boxes,
I - the priceless words mot and spender.
Here you are, man, you have cabbage in your mustache
Somewhere half-eaten, half-eaten cabbage soup;
here you are, woman, white on you thickly,
you look like an oyster from the shells of things.
All of you are on a butterfly poetic heart
perch, dirty, with and without galoshes.
The crowd will go wild, rubbing,
a hundred-headed louse bristles its legs.
And if today to me, a rude Hun,
you will not want to grimace in front of you - and now
I will laugh and happily spit,
spit in your face
I - the priceless words spender and mot.
1913
GOOD ATTITUDE TO HORSES
They beat the hooves
They sang as if:
- Mushroom.
Rob.
Coffin.
Rough -
By the wind of the opita,
shod with ice
the street slid.
Horse on the croup
crashed
and immediately
behind the onlooker onlooker,
the pants that Kuznetsky came to flare,
huddled together
laughter rang out and clanged:
- The horse has fallen!
- The horse has fallen! -
Kuznetsky laughed.
Came up
and see
horse eyes ...
The street capsized
flows in its own way ...
I came up and see -
For a drop of a drop
rolls in the face,
hiding in wool ...
And some kind of common
bestial melancholy
the splash poured out of me
and spread out in a rustle.
“Horse, don’t.
Horse, listen -
why do you think that you are worse than these?
Baby,
we are all a bit of a horse,
each of us is a horse in his own way. "
May be,
- old -
and didn't need a nanny
maybe my thought seemed to go to her,
only
horse
rushed,
got to her feet,
rzhanula
and went.
She wagged her tail.
Red-haired child.
Merry came
stood in the stall.
And everything seemed to her -
she is a foal
and it was worth living
and the work was worth it.
1918
List of used literature
2. Kryuchkov V. Russian poetry of the XX century: Essays on poetics. Text analysis: Textbook for high school students and applicants: In 2 hours - Saratov: "Lyceum", 2002. - Part 1.
3. Paperny Z. Mayakovsky's poetic image. M, 1961.
Used materials and Internet resources
This is how Vladimir Vladimirovich Mayakovsky began his autobiographical narration “ I myself":" I am a poet. This is what makes it interesting. This is what I am writing about ”. His poetic word has always been focused on creative experiment, innovation, striving for the future world and future art. He always wanted to be heard, so he had to force his voice strongly, as if screaming at the top of his lungs; in this sense, the title of the unfinished poem " In a loud voice"Can characterize all the work of Mayakovsky.
Striving for the future was expressed at the very beginning of the path: in 1912, together with the poets D. Burliuk, V. Khlebnikov and A. Kruchenykh, he signed the manifesto "Slap in the face of public opinion." The futuristic outlook remained with him for the rest of his life: it is the deification of the future, his immeasurable idealization and the idea that it is much more valuable than the present and the past; this is also "striving for the extreme, the ultimate," as N. Berdyaev characterized such a world outlook; this is a radical denial of modern life foundations, which are thought of as bourgeois, shocking as the most important goal of the poetic word. The programmatic works of this period of Mayakovsky's work are the tragedy of the twenty-year-old poet " Vladimir Mayakovsky", Staged in St. Petersburg and failed, the poem" Could you?"And the poem" A cloud in pants"(1915). Its leitmotif is the word “down”, which expresses a feature that is organic for the poet's personality: extreme revolutionary spirit and the need for a radical reorganization of the world order as a whole - a feature that led Mayakovsky to futurism in poetry and to the Bolsheviks in politics. In the same year, the poem “ Spine flute". Its plot was the beginning of a dramatic and even tragic relationship with a woman who went through Mayakovsky's whole life and played a very controversial role in it - Lilia Brik.
After the revolution, Mayakovsky feels like its poet, accepts it completely and uncompromisingly. The task of art is to serve it, to bring practical benefits. The practicalism and even utilitarianism of the poetic word is one of the fundamental axioms of futurism, and then of LEF, a literary group that accepted all the fundamental futuristic ideas for practical development. It is with the utilitarian attitude to poetry that Mayakovsky's propaganda work at ROSTA is connected, which produced "Windows of Satire" - topical leaflets-posters with rhymed lines to them. The basic principles of futuristic aesthetics were reflected in the poet's post-revolutionary program poems: “ Our march"(1917)," Left march" and " Order for the Army of the Arts"(1918). The theme of love - the poem “ I love"(1922); " About it”(1923), although here, too, gigantism and excessive hyperbolization, characteristic of the outlook of the lyrical hero, are manifested, the desire to present to himself and the object of his love exceptional and impracticable demands.
In the second half of the 1920s, Mayakovsky increasingly feels himself to be an official poet, plenipotentiary not only of Russian poetry, but also of the Soviet state, both at home and abroad. A peculiar lyrical plot of his poetry is the situation of going abroad and a collision with representatives of an alien, bourgeois, world (“ Poems about the Soviet passport", 1929; cycle " Poems about America", 1925). A kind of motto of the "plenipotentiary of the verse" can be considered his lines: "The Soviets / their own pride: / on the bourgeoisie / look down on them."
At the same time, in the second half of the 1920s, a note of disillusionment with revolutionary ideals, or rather, with what real embodiment they found in Soviet reality, began to sound in Mayakovsky's work. This somewhat changes the problematics of his lyrics. The volume of satire is increasing, its object is changing: it is no longer counterrevolution, but its own, homegrown, party bureaucracy, a "mule bourgeoisie" crawling out from behind the back of the RSFSR. The ranks of this bureaucracy are replenished by people who have gone through the civil war, tested in battles, reliable party members who have not found the strength to resist the temptations of nomenklatura life, the delights of the NEP, who have survived the so-called rebirth. Similar motives are heard not only in the lyrics, but also in the drama (comedy " Bug", 1928, and" Bath", 1929). The ideal is no longer a wonderful socialist future, but a revolutionary past, the goals and meaning of which are distorted by the present. It is this understanding of the past that characterizes the poem “ Vladimir Ilyich Lenin"(1924) and the October poem" Good”(1927), written for the tenth anniversary of the revolution and addressed to the ideals of October.
So, we reviewed the work of Mayakovsky briefly. The poet died on April 14, 1930. The cause of his tragic death, suicide, was probably a whole complex of insoluble contradictions, both creative and deeply personal.
Z.S. PAPERNY
MAYAKOVSKY'S NOTEBOOKS
(From the poet's creative laboratory)
They often say about Vladimir Mayakovsky:
He wrote his poems not in the office, but on the street - in motion, walking ...
This idea is supported by the statements of the poet himself:
“I walk, waving my arms and humming still almost without words, then shortening my step so as not to interfere with the hum, then I hum faster in time to the steps” (“How to Make Poems”, X, 230).
But one should not think that Mayakovsky did not work at his desk at all, that he put on paper only the final text of the work. Manuscripts of early poems, with a few exceptions, have not survived. But manuscripts have survived that depict - although far from complete - the creative history of poems of the Soviet era, the most process design of artistic thought.
Work on the poem "150,000,000" (1919-1920) is reflected in two notebooks (Library-Museum of V.V. Mayakovsky), in typewritten text and galleys (Central State Archive of Literature and Art). Using the notebook stored in TsGALI, you can restore important moments in the creative history of the poem "I Love" (1922) - by the way, still far underestimated and for some reason pushed into the section of poems in the complete collected works. The work on the V International is richly represented in six notebooks, a poem that is sometimes spoken of with undue haste as the poet's failure. L. Yu. Brik keeps (and is available in photocopies) two rough and one blank manuscript of the poem "About It" (1923) - an invaluable treasure for anyone who seeks to penetrate the laboratory of Mayakovsky's creativity. Work on the major poems "Vladimir Ilyich Lenin" (1924) and "Good!" (1927), above the introduction to the poem "With the Whole Voice" (1929-1930) reflected in notebooks (Library-Museum). If we turn to the poems, then here too we can be convinced that Mayakovsky's handwritten heritage is not at all as poor as it is customary to say about it.
For the words that Mayakovsky did not write poetry on paper, but only in motion, in walking, that he did not know Pushkin’s “fingers ask for a pen, a pen for paper,” behind these words, which contain a large share of truth, but not all the truth - sometimes lies a reluctance to carefully examine everything that has been preserved in the papers, manuscripts, and notebooks of the poet.
True, we have separate books and articles devoted to the very process of Mayakovsky's work on verse. But there are few of them. In the collection of 1940 "Vladimir
Mayakovsky ", published under the editorship of A. L. Dymshits and O. V. Tsekhnovitser, was published" Review of Mayakovsky's manuscript heritage "(based on materials from the Library-Museum). The author of the review N. V. Reformatskaya wrote: “The study of Mayakovsky's handwritten heritage, his“ workshop of verse ”is awaiting research. Work in this area has just begun ”(p. 308). The footnote listed Mayakovsky's research on the creative process: V.V. Trenin, In the workshop of Mayakovsky's verse, publishing house "Soviet writer", M., 1937; V. Trenin and N. Khardzhiev, In the workshop of verse, “Lit. critic ", 1933, no. 7; N. A. A. Aseev, Mayakovsky's work on the poem "About this", Complete collection. cit., t. V, M., 1934; N. Reformed, Mayakovsky's work on poems about poetry, “Lit. study ", 1937, no. 5; A. Bromberg and L. Stelletskaya, In the laboratory of Mayakovsky, "Znamya", 1936, No. 6).
Fifteen years have passed since then. Are there many new works about Mayakovsky's poetry workshop added to this list? Very little.
The poet himself said that he is "in debt" to many things in life. The researcher of Mayakovsky should just as keenly and vividly feel that he is indebted to many aspects of the poet's work, "to everything that he did not have time to write about," and, in particular, to the poetry workshop, the laboratory of Mayakovsky's creativity.
About 70 of Mayakovsky's notebooks have survived. These are multi-colored on the covers, "different-sized" books, from a miniature notebook to a weighty thick notebook. Suddenly you even come across an "poetry album". Probably, Mayakovsky was smiling inwardly, introducing the "pieces of iron" into the album.
The first impression is the messy, chaotic records. Separate lines are like poetic shards ... There are also drawings ... addresses, phone numbers, surnames ... comic notes. A sketch of an imaginary speech by a bureaucrat proposing "to approve of Copernicus's actions, to admit that the earth turns." He also declares that horses do not speak only because "there were no suitable conditions and organizations" (zap. Book. 1924).
And next to it is a record of an extremely serious thought, hard-won: “Man cannot live without art” (zap. Book 1924).
Rhyme blanks are well-coordinated sound combinations surprising with unexpectedness and inner precision. For example: "rulers-foreshadowed." Sometimes it was postponed for future use, but more often there are rhymes - "grains", with sprouts of poetic lines.
All this motley mixture of lines, rhymes, surnames, drawings is not easy to understand. In addition, books were filled from two sides at once - from the beginning and from the end. Apparently, the poet, snatching out a notebook, wrote into it from the side that turned up under the arm. And sometimes he skipped pages - he made a note on the first one that came across. It is often impossible to establish a sequence of records.
But gradually, reading deeply into notebooks, comparing rough sketches with printed text, you begin to grasp their internal interconnection through the external messy notes.
Here are four words:
new
horse
to the abyss
rider (zap. book 1922).
This is not a simple preparation of rhymes - in it, the outlines of the idea are already vague, as yet vague. Before us is one of the sketches for the prologue "V International" (1922). And four words are written by the poet as pivotal
points of the stanza about the "fiery" horse of the revolution, which rushes into the future through flame, smoke, through the philistine child:
Mountain.
I waved over the mountain -
and to the new one.
Abyss,
Soared over the abyss - and to the abyss.
Until the blood from under the nail
horse's scruff
clinging
the rider raced and raced (II, 584).
But there will be
Shaturskoe
thousand-eyed
the path will see electricity with radiance (II, 585).
And all this is crowded in the head of the poet, who wrote down only four words in the book.
And this is the peculiarity of the poet's notebooks: one word there can mean extremely much - act as a sign, a harbinger of an emerging idea. These are words, rhymes, as if loaded with thought and image.
While working on a poem about Lenin, Mayakovsky writes on the page of his notebook:
particle
eye
commune
class (zap. book. 1924).
And then he adds before the word “eye”: “that even tears are common from ...” This is how a stanza arises, which millions know by heart, perceive as their own, secret:
I'm happy,
what am I
a particle of this force,
what are the common
even tears from my eyes.
Stronger
and cleaner
you can't take communion
great feeling
by the name -
Class! (VI, 224-225).
The notebook, which contains traces of the work on the poem about the leader, reflected on its pages a creative process of exceptional tension. Here is just one page of the notebook. Let's take a closer look at it - a huge figurative wealth is hidden behind hasty, and sometimes random, at first glance, notes:
Forever such a valuable cargo
Our oceans have not yet carried
like his coffin moved to the house of unions
on the waves of spinning sobs and marches
came and said
what will wake up
people
by them
saints
by their
dream
I'm straining
poor eyesight
in inspiration
no louder than
trifle
rings in
pocket
How is this red coffin
to the house of unions
floating
on the backs of sobs and marches (Zap. book 1924).
Reading this page, we begin to see with our own eyes, almost to feel the very process of the poet's figurative thinking. A single moving image runs through the entire poem - the image of the ocean-revolution. Lenin is the navigator of the Soviet giant ship. And the picture of the funeral of the leader is refracted through the prism of the same image of the ocean-revolution. Hence the nonrandomness of such expressions: “the dam of the streets”, “the steps grow, grow into a reef”, “the ringing march of water”. And therefore the line - "like his coffin movable to the house of unions ”does not sound quite accurate. The poet remakes: not "movable", but "floating". In the beginning it was: driven "on the waves of the spin ..." It would seem - completely incomprehensible. But in the seeming "nonsense" the desired image is already flickering. Another effort - and he was found: "priceless load",
floating
on the backs of sobs and marches.
These words cannot be correctly understood out of context. It was impossible to "invent" them, to reach them in a purely logical way. The poet saw them through the prism of an integral and developing image.
Then the entry follows: "he came and said that he would wake up ... people." And again, this is not a blank of rhyme, but a stanza that is being born. The rhyme is not written by itself; and it’s not such a godsend for Mayakovsky: “people will wake up”. He could have found a more complex and rhyme rhyme. But now he needs this one, because for him it is the reference point of thought. Having sketched out a few words, he already anticipates the stanza, mentally goes through dozens of options, until he stops at the final:
Now
sounded b
the words of the miracle worker,
what should we die
and they will wake him up, -
dam streets
will dissolve by surprise,
and with the song
to death
people will rush (VI, 219-220).
On the left of the page it is written: "They ... saints ... their ... dream ...". Further, these words will unfold into lines about the lands that Lenin "ordered to call their own", about the lands "that grandfathers in coffins, hewn, dream about" (VI, 219). Immediately there are the original words of the stanzas: "Painfully revealing poor eyesight ...", "They fired from a cannon, or maybe from a thousand" (VI, 226). And all this on one page of your notebook.
In literary-critical works, one sometimes comes across such an idea of the creative process, of “design” and “execution”: first, the artist conceives the work; this is the first stage - working on the content; then he proceeds to the second stage - to the artistic embodiment of the ideological plan; work is already underway on the form ...
Looking at Mayakovsky's page alone, you clearly feel how far such a scheme is from how a real artist works, who thinks in images, in whom the big and the small, the particular and the whole, thoughts and rhymes, ideas, images and the smallest, are indissolubly connected. says Mayakovsky, "images."
The wealth, complexity, versatility of the poet's figurative thinking are evidenced by his notebooks. Five quatrains are born almost simultaneously on one page half a size of a notebook sheet. And what! The poet's figurative thought encompasses many poems at once, in their movement, development, perspective. The poet sees not only this stanza, but the whole picture - it constantly stands before his eyes, crying out for embodiment. And the pressure of images is so strong, the power of inspiration is so great that this picture is simultaneously embodied in several stanzas; they appear on paper as if not one after another, but together.
The artist thinks in images. This means, first, that he is extremely concretely aware of the figurative, verbal, rhythmic, sound "flesh" of thought; secondly, he sees the prospect of the development of artistic thought; simultaneously looks at the work from the inside and from the outside; does not go with the flow of images, but owns, controls them.
On one of the pages of the same notebook we read: “As if it’s not the night and not the stars on it, but the negroes from the states are crying over Lenin ... [Frost] tortures how tempered in love ...” This is still the same picture. people's sorrow. But at the end of the page, from bottom to top, with an energetic, confident hand, two words are written and underlined: "jerk ... shaft." Thus, at the same time, joyful and victorious words, imbued with the consciousness of the immortality of Lenin's cause, begin to sound:
Already
over the pipes
monstrous grove,
hands
million
folded into the staff,
red banner
the Red Square
up
heaves
a terrible leap (VI, 230).
In his article "How to Make Poems" (1926), Mayakovsky talks about his continuous - painful and joyful - work on the word:
“Some words just bounce off and never come back, others linger, roll over and twist several times.
dozens of times until you feel that the word has fallen into place (this feeling, developed along with experience, is called talent). The first most often revealed is the main word - the main word that characterizes the meaning of the verse, or the word to be rhymed. The rest of the words come and are inserted depending on the main thing. When the main thing is already ready, suddenly there is a feeling that the rhythm is torn - there is a lack of some kind of complexity, sound. You start redrawing all the words again, and the work comes to a frenzy. It is as if a crown that does not fit on a tooth is being tried on a hundred times, and finally, after hundreds of fittings, it was pressed and she sat down. The similarity for me is aggravated by the fact that when, finally, this crown “sat down”, I already had tears from my eyes (literally) - from pain and relief ”(X, 231).
If “the word has fallen into place,” it no longer exists by itself, but has merged with the movement of the image, with the flow of the verse. And in the verse, new, fresh colors came to life, lit up. In the initial rough sketch, the image that the artist seeks and achieves often only "dawns". The first notebook contains the following entry (it refers to the poem "Man"):
The whole city is made of gold
litas
all shines
and streets.
In a spill of gold
julit
rejoices and rejoices.
In this sketch, which depicts the "golden" city, the "den of bankers", the thought that will sound in the final text of the poem is poorly expressed, the thought that defines its entire figurative implication: the appearance and the whole system of life of the capitalist city resemble a prison. Mayakovsky rejects the first sketch, but not entirely - he remakes it. In response to the song that the heart is more valuable than money, that hoarding is aimless and meaningless, the alarmed roar of the owners of gold is heard:
How dare they sing
who gave the right?
Who told the days to be July?
Lock the sky with wires!
Roll the earth into streets! (I, 276, 468.)
There is only one rhyme left from the original version. The word "July" was there "out of place", it did not really fit in meaning with the neighboring words. "Yulit" and "julyitsya" - perhaps these words are put side by side, rather by consonance than by internal semantic connection. In the final version, the word fell into place, acquired a clear meaning. “How dare they sing, who gave the right? Who told the days july? " - that is, who allowed the days to bloom like summer? This is no longer just a sketch of a shining city cast from gold, but a picture of a prison city where you can neither sing, breathe, nor bloom freely, where the sky is locked in wires and the earth is twisted by the ropes of the streets.
Reading notebooks, many times we come across initial sketches, which contain only a particle of the desired image and require more work, alteration, and redrawing of lines. In a book from the beginning of 1922, it is written in pencil:
Go all
from Marx to Ilyich you
all
from whom in ages rays.
Learned by you
to the great truth
came
and I want to teach you.
Mayakovsky speaks about the truth of the new world, the world of the Commune. But there is also some foreign intonation here; the poet appears as some kind of prophet, almost the only bearer of truth. In 1922, such "messianic" motives for him were already yesterday. And to the left of this pencil note, new words appear, written in ink: instead of “I came to the majestic truth and I want to teach you,” he writes:
worlds majestic
I see.
Anyone come and learn.
This edition is repeated in the manuscript and in the printed text of the prologue to the poem "V International" ("Krasnaya Nov ', 1922, no. 3; see also VI, 588).
Mayakovsky worked especially hard on the stanza that the poet should absorb the juices "from the whole universe." First, he writes:
Forgetting and dining
and stories timing
like an oak
I could eat
all over the world
pouring juices
into the roots of ingrown feet.
"History", put next to "dinners", and even in the plural, is perceived somehow ambiguously (history of mankind or history in the sense of "incident"?). And it is completely unfortunate: "to eat ... the world." The poet means "to absorb" the juices, but here it sounds almost like "having a snack." The author is also not satisfied with another option: "Pour the whole universe into what is a nut." A new entry appears:
We will survive through ...
But the word "through" is crossed out:
We'll survive everything
so that I am
could live.
so that I am
could live alone
all Russia is pouring juices into me
roots of ingrown legs.
The thought is expressed inaccurately - the poet wants to say only one thing about himself. After all, it is not for this that you need to absorb the juices, so that “I can live alone,” but so that he, the poet, can lead people. And the final edition appears:
So that the poet outgrows the ages,
so that the poet
could lead mankind,
soak up the juices from all over the universe
the roots of the feet that have grown into the ground (II, 112-113).
The above statement by Mayakovsky about how, in the course of work, the words either "just bounce off and never return", or
times ”, - this statement all the time pops up in memory when you read the poet's manuscripts. Especially indicative is the notebook of 1925 with foreign verses. It contains the texts of almost all the poems of the American cycle - from "Spain" to "Home". Most often these are recordings of poems that have already taken shape, but have not yet been completely perfected.
On the way to America, the poem "Atlantic Ocean" was written on board the ship. It is based on the image that passed through the poem about the leader: the mighty and endless ocean-revolution. The author discards many lines until he finds the most accurate words about an ocean-toiler, a hard-worker with an athletic chest. Already one rhyme "athletic - Atlantic" well emphasizes the idea of the heroic power of the ocean. But further, peering into the bottomless ocean depths, the poet begins to distinguish other outlines:
Waves excite the master
childhood splash out another sweet voice
Well, I used to stretch the banners again.
And the fourth line appears on the page:
what else October ...
Here the poet's most secret thought has already sounded; but she appeared somehow too straightforward, as if breaking through the shell of the image. Everything that the poet sees now is revealed to him in a refracted form - through the image of the ocean. And he crosses out the fourth line, without completing it, and replaces it with another, already "in line" with the image:
Vaughn gone goes merged and cluttered.
But this is not entirely accurate. The word "goes" is out of place here. Where is "going"? In the final version:
Here it goes,
rattled,
cluttered.
There is no longer any mention of October. But it has not been removed - on the contrary, the thought of revolution, the sister of the ocean, will determine the entire movement of the image in this poem. The beginning of a new quatrain appears
The water lies motionless through.
Then before the last word "how" is written. But just now the water was agitated, "rattled". Why is she motionless now? The line is being altered, but the word “through” must necessarily remain: water is “through”, because through it the poet is already seeing another image akin to the ocean:
And again the water calmed down through
and there is no doubt about anyone.
And suddenly from somewhere the devil knows him
rises from the depths of a whirlwind revolutionary committee.
So “from the depths” an image is born in which the ocean and the revolution are already merged. Two rows of performances connected, merged into one - figurative.
And the guard pe. ..
Obviously the poet wanted to write: "foam guard". This is unfortunate. But it is clear where such an expression could have come from. Figurative thought moves forward, absorbing the living signs of the ocean and revolution, fusing them. Anything unsuccessful is discarded. Instead of "guard foam" - "guard of drops":
And a guard of water droplets guerrillas
climb up from the ocean moat
to the sky they dash fall again
the porphyry of the foam is torn into shreds.
In the last line, the "foam" is already in place.
It is wrong to think that in this two-fold development of the image, the features of the ocean and the features of the revolution participate, so to speak, on equal terms. Leading here, of course, is the image of the revolution; it appears more and more clearly through the oceanic "landscape".
The following quatrain is hard to come up with:
And again, a mile away [they will exalt] one
by silent agreement [the cross] was called the leader
and every wave around him
orders and slogans [pouring] rain.
Mayakovsky crosses out this quatrain - not with one vertical line, as he does, marking the finished one, but with several oblique lines, as if completely discarding the stanza. And this is no coincidence. In the discarded lines, the "waves" silently lift one up. The poet did not like this picture. And instead of the discarded one, it writes:
And again the drops were fused into one.
Then, instead of the words "drops", "water" is entered. Finally:
And again the waters welded into one
commanding the wave ...
But this is not the final version either. Not "commanding", but "commanding" - so solemn and at the same time more accurate. Not a simple "command", but precisely the "command" of the waters. In the final, printed text, we read:
And again
the waters were soldered into one,
wave
commanding
get drunk by the leader,
and rushing waves
from under the clouds
to the bottom -
orders
and slogans
rains down (VII, 97).
The picture has changed dramatically in comparison with the one that was drawn in the original version: not the silent ascension of the leader in waves, but the mighty force of the waters welded together into one, commanding the wave to "ripple out as the leader."
In the same notebook - a draft of the poem "Home":
Proletarians come to communism from the bottom
the bottom of the shafts of the sickles and pitchforks
I am throwing myself into communism from the clouds of poetry ...
"From the clouds of poetry" - an expression similar to those with which we have already met "on the waves of backs", "foam guard". This is not yet cleared up, a groping image, a kind of threshold to the image. It is replaced by the finally found:
I'm
from the skies of poetry
I throw myself into communism.
from huge from unrealizable love.
"I throw myself into communism ... out of ... love" - this phrase itself cannot satisfy the author in any way. After all, the thought that he seeks to embody in the image consists precisely in the inseparability of love and communism. The line is crossed out, a new and final one appears:
because
no me
without him love (VII, 196).
In the poem "The Young Lady and Woolworth" there are two people separated by thick display glass: Mayakovsky himself, behind whom is the whole of young Soviet Russia, and a seventeen-year-old American miss advertising a device for the point of razor blades. Whatever words the poet threw to her - bitter, frank, calling for rebellion, struggle - she fancies only one thing: a small cozy happiness with a free table and an apartment:
How to put knife-thoughts into her head
that I know another remedy
how to get workers into all floors
without sighs, without weddings, without waiting for an inheritance.
This is how the quatrain is written down and immediately covered with amendments. “Thoughts-knives” is good, it was born in contrast to the knives of safety razors that miss the advertising girl sharpens with a belt all day long. But the second line raises doubts: “I know ...” It sounds as if he, Mayakovsky, is the only owner of that “secret”, which is discussed in the final stanza. In the second option:
that there is another remedy in the world.
And this, on the contrary, is said somehow vaguely. Where in the world? And the last option:
How to punch her
to the head
thoughts-knives
that the Russians know another remedy ...
The quatrain seems to be ready. But in the last line of the quatrain, the words seem to be inconvenient to stand: "without sighs" ... even difficult to pronounce. The poet replaces: "without dreams ..." And only now can we put an end to it.
It happens like this: the quatrain is finished, but one word does not hold firmly, as if it is swinging, it has not grown into the verse, it can be replaced with another.
In the book of 1922 there is such an entry relating to the poem “They asked me once:“ Do you love the NEP? ”:
We will still hear by
countries of the worlds
revolutions a furious stomp.
In the final text: “... revolutions glad stomp ". The word "joyful" has colored the entire ending of the poem in a new way.
In the prologue to the poem The V International, Mayakovsky glorifies the heroism of the Russian revolutionaries. One of the stanzas is written in book number 12 as follows:
I crumpled into the armchairs of times
unshakable
capitalism ass.
Life to him
cold tea on a saucer.
And you
already gazed into the eyes of the raid ...
And you
already looked in the eyes
attacking days of revolutions.
In the 16th notebook, related to the same poem, a picture of the world revolution is drawn:
Sometimes only
clouds mountains
scorched by a star of light.
The word “scorched” is immediately crossed out, replaced by the word “flared”. The poet continues to look for a sharper, more active, "attacking" word. In the final text:
Sometimes only
black mountain
exploded star of light -
then from India
then from Angora,
then from the Hungarian Republic of Soviets (II, 116).
In the poet's book, kept in the TsGALI, there are records of poems of 1927-1928. Here we find an interesting example of the search for a single epithet. In the satirical poem "Heart Request" (1928) Mayakovsky angrily and cheerfully laughs at boring and empty lectures, at jubilee praise and praise. About one speaker - a lover of flat, common truths - the poet writes:
All that is needed
he tied
superb
smooth talk ...
But...
flashed
out of the hall,
... heels
What kind of heels flashed from the audience? The epithet did not come immediately. At first there was: "somehow saved heels." Then - more expressive: "heels carried away." And finally - the most successful, frankly ironic epithet:
But...
flashed
out of the hall,
irresponsible heels (IX, 36).
The last notebook of the poet ... Excerpts from the second, lyrical introduction to the poem "At the top of his voice":
I know the words of the alarm
coffin,
118 The rhyme, contrasting in meaning, as it were, carries on itself a stanza about powerful - stronger than death - poetry:
I know the power of words, I know the alarm words.
They are not the ones who are applauded by the lodges.
From such words the coffins are torn
run with four of your oak legs ...
In this stainless steel cast quatrain, only one word seems inconclusive - "run." The poet speaks of the power of the word, which conquers death, which can "raise the dead". In the word "run" there is a connotation, in this case completely inappropriate: to run, to run away from someone, to flee from a threat. The second option appears:
walk with four of your oak legs.
But - "they break down ... go" - this is also not very neatly said. And the poet finds a word that more accurately, in a way that conveys the steps of the rebels from oblivion, lifted up by the power of the word:
From such words the coffins are torn
step four of their oak legs.
Many stanzas, lines, expressions, words of Mayakovsky, which easily and naturally arise in our memory, have a long and difficult prehistory.
The poet began to write a poem. But in reality, work on it began much earlier - continuous inner work, when words are tried on and "listened to", when they line up, scatter and again seem to be holding hands. These are a kind of poetic maneuvers - they facilitate the poet's creative victory when he passes from blanks to the work as such. Let us recall the satirical portrait of the "darling premier" Kerensky in the poem "Good!":
To the kings
Castle
built by Rastrelli.
Kings were born
lived
were getting old.
These lines sound solemn, united by unity of command and sonorous rhyme, carefully "instrumented" (play of sounds - "r", "ts" and "s"). In this solemnity, notes of irony and mockery are still almost indistinguishable. But the following lines seem to overturn everything that was said before:
Castle
Did not think
about the fidgety shot ...
"The kings ... the kings ... the palace ... They were shot ... getting old" - and suddenly some ... "fidgety shot." The mountain gave birth to a mouse. This is how Kerensky appears in the poem. But then after the lines:
From the eagles
from the authorities,
blankets
and lace
head
attorney at law
spinning -
the rhythm changes abruptly, as if the head of the "fidgety shooter" who imagined himself to be Napoleon was really spinning.
Forgetting
and classes
and parties,
goes
on duty speech.
Eyes
him
bonaparties
and colors
protective
french.
Poems (as it has been noted by researchers more than once) are parodically correlated with Lermontov's; and, of course, it is not the poem "Airship" itself that is parodied - Kerensky is ridiculed as a pitiful parody of Napoleon. "His eyes are bonaparte and the color of a protective jacket" - built directly according to Lermontov's model: "He is wearing a triangular hat and a gray marching frock coat." The unexpected rhyme is very expressive: "the parties are the Bonaparties." The word "bonapartie", a neologism, by its very unusualness emphasizes the comic situation even more sharply. This feeling is enhanced by the last line (“and the color of a protective jacket”) - rhythmically perfected, as if even “poetic” and effective, which in this case only exacerbates the comic situation.
Mayakovsky worked on this chapter of the poem at the beginning of 1927. But in the poet's creative laboratory, work began earlier. Even then, when Kerensky came to power for a short time, in 1917, the poet began to make the first sketches, preparations for a satirical portrait, which would be created only 10 years later. The first notebook (1916-1917) contains the following entry:
Gathered in Moscow
speeches flow.
All meeting
buzzing.
And he got up
in khaki colors
jacket
crossed
hands on
breasts.
Before us is a kind of sketch for a portrait. Here, details are already emerging, which the author uses and will sharpen later, working on the poem "Good!" Kerensky is depicted against the background of pouring speeches, oratorical buzz in a Napoleonic pose. Comparing this sketch of 1917 with an excerpt from the poem, we see how long and carefully kept in the memory of the writer, in the "skull box" some satirical details. I recall the words once said by S. Kirsanov: "The poet sees life for life." At the same time, we clearly feel how the poet's skill has grown and matured, how much sharper the exposure of the "fidgety shot" in the poem than in the original preparation.
Acquaintance with notebooks helps to find out the history of individual sketches, their creative "biography", to trace how the artist's idea develops from one version to another.
In a notebook of 1920 we read:
All who cleaned the dirt
who loved cleanliness
in practice
prove traces
work flush
on the day of the bath
Delhi.
Obviously, before us is a rough draft of the signature for Rost's poster about the "bath week" associated with the fight against the typhus epidemic. The same book contains another passage on the same topic:
First in this purgatory
lather the body with soap.
A lot of people go differently.
We do not let you into the Commune
so dirty.
Having been in the bath
go without hesitation.
In purgatory first
rub the body with a washcloth.
In contrast to the first, in the above passage - not only agitation for cleanliness, for a bath, for hygiene. Along with this, there is also a poetic subtext: "We do not let such dirty things into the Commune." The poet is not talking about physical neatness only, but about cleansing a person joining the Commune. This thought is still being heard here in an undertone, a hint. In the third passage, recorded in the next booklet of the same 1920, the idea of the Commune as liberation from age-old dirt receives a new, immeasurably richer artistic embodiment:
We are dirty what can
seem freer
continuous bath
cloud and you are in it
in the cold transparent
smelling like lightning
bathe in showers
fragrant showers.
Reading these verses, it seems, you breathe in clean, "smelling of lightning" post-pink air. "To us, dirty ..." - this means - to people who came out of the old world, breaking with everything that the poet called - "dirty flea". A joyous sense of liberation fills this passage. Comparison of thunderclouds with a bathtub, "fragrant showers" with a shower is striking in its scale, hyperbolicity, because it evokes a view
about a huge man who feels at home in the sky. And how amazingly the rhythm of the verses was found - as if liberated, uninhibited and at the same time stately!
This wonderful passage, full of the same feeling of liberation that triumphs in a conversation with the sun ("An Extraordinary Adventure" - the same 1920), a passage that, in terms of the power of artistic expression, can safely be equated to the best works of the poet, was born in the course of everyday " black work for the windows of Rost, agitation for the "bath week". Mayakovsky's “poetic” is deeply rooted in the very thick of life, with its daily work and struggle.
The poem "To us, dirty, what may seem more free ..." remained an unused sketch. Has the poet forgotten about them? Or maybe he remembered this sketch when he wrote, six years later, denouncing bourgeois Europe, "where each of the citizens stinks of peace, grub, currency!" -
Not cleaner eh
our air,
sparse twice
thunderstorm
two revolutions! (VIII, 166-167).
If you ask the question: when was this figurative comparison of the atmosphere of our life with the air purified and refreshed by a thunderstorm born? - it will not be so easy to answer it. We see how thoughts, impressions, images are nurtured in the poet's heart for years, how invisible, continuous, inner work goes on all his life.
And finally, some final sketches. The poet already knows that he is leaving life, but with unrelenting, perhaps even increased persistence, greed he is working on the image, on the word, on the rhyme. He confesses that he did not find happiness in love. Where can you find love? -
like in automotive New York
look for a horseshoe for luck ...
An amazing image ... There is an expression - a horseshoe of happiness. But Mayakovsky does not like conventionally metaphorical expressions with erased concrete meaning. He always strives to give them a living, real, objective meaning. In one of his books (1924) we find such a humorous, but characteristic entry: "a suitcase made of the fiber of one's own soul." So the "fibers of the soul" (cf. "with all the fibers of the soul") merged with the fiber from which suitcases are made. The same is true here: not an abstract "horseshoe of happiness", but an iron horseshoe, with which horses are shod and which cannot be found in New York full of cars.
However, this is the power of Mayakovsky's poetic image, that, restoring the erased specific meaning, the poet simultaneously enhances and ideological and symbolic subtext. The meaning of the comparison is not limited to the fact that you will not find a horseshoe in automotive New York. You don't have to be a poet to say this. But Mayakovsky's idea of an iron horseshoe merges with another thought - of a horseshoe of happiness that cannot be found in a gloomy, crowded overseas city. In other words, the habitual expression “horseshoe of happiness” has not been discarded, in it with renewed vigor, mutually reinforcing each other, both objective and figurative meaning came to life. In accordance with this, Mayakovsky not only repeats the usual turn, but, as it were, recreates it:
look for a horseshoe for luck ...
We perceive these words as if "against the background" of the old, familiar expression, outside of which their figurative meaning would be lost.
The above entry was not included in the text of the introduction to the poem "In all
voice "to which she refers, as did the passage about" the power of words. " One might think that a great poetic fate awaited these sketches, and only death prevented them from moving from the pages of notebooks to the pages of printed books addressed to millions.
Whatever side of Mayakovsky's creativity the researcher is working on, the study of notebooks enriches his idea of the poet, his imaginative thinking, his creative laboratory. Mayakovsky himself wrote in the concluding lines of his programmatic article "How to Make Poems" that it is necessary to reveal the secrets of poetic work. He suggested that writers, comrades in arms of the word, talk about their laboratory and “would directly help further poetic work” (X, 248).
The time has long come to publish Mayakovsky's notebooks, to make his "workshop of verse" the property of a wide range of researchers, readers and admirers of the poet.
With the exception of three, located in the Central State Archives of Literature and Art, notebooks are kept in the V.V. Mayakovsky Library-Museum (68 notebooks). In order to save them from destruction, models were photocopied from the originals. The direct work on the study of books is carried out by the employee of the Library-Museum Varvara Avetovna Arutcheva. What she has done makes acquaintance with notebooks much easier. All entries have already been read, transcribed and verified with the final text. Unpublished sketches were taken into account, "tables of contents" of books were compiled. For the first time, all this work was done by the compilers of the first and second complete works of Mayakovsky, published in 1934-1938 and 1939-1949, respectively. Careful reading of the books allows you to clarify the text and sequence of entries given in these publications.
However, all the publications that have been published so far have not yet solved the problem: to publish the text of notebooks and manuscripts so that they give a clear and accurate idea of the most creative process... In this article, we have given examples illustrating the creative history of individual passages, stanzas, lines. Many of these examples have already been published in the collected works, in the lists of handwritten variations, some are cited for the first time.
The discrepancies in the collected works are presented in this way. A footnote is added to each verse of the work after the corresponding number in the comments: in a notebook or in a manuscript, the line was read this way. Lists of discrepancies like these are very useful, they reveal a lot in the creative laboratory. But they still do not create a holistic idea of the successive stages of the formation of an ideological and artistic conception; this impression is, as it were, fragmented, breaking up into separate lines.
In order to clearly and visually represent - how concretely, in what sequence the stanzas, lines, individual words were written, - it is necessary see rough notes. There is a need for a special edition of Mayakovsky's handwritten heritage, in which exact copies of records were recreated.
On the eve of the war, on the initiative of L. Yu. Brik, preparations began for the publication of manuscripts of the poem "About this". As already mentioned, these manuscripts, belonging to L. Yu. Brik, are of absolutely exceptional interest - so richly and multilaterally imprinted in them is Mayakovsky's "workshop of verse". Goslitizdat negotiated their publication with the printing house of the State Sign. The first test prints have survived. When you look at them, you do not even believe that these are copies, and not originals: so accurately reproduced
notes, every stroke, the slightest pressure of a pencil. The war prevented the publication of this most valuable publication. But now is the time to tackle it again. This is all the more necessary since a lot of the poet's manuscripts and books are written in pencil - such sketches are erased, they are short-lived.
At one time, someone's indifferent hands threw rollers from one institution to another, on which Mayakovsky's voice was recorded. Some of the records were lost. True, the poet's handwritten heritage is carefully preserved. But this is not enough. It must be immortalized, made the property of all who love, study Mayakovsky. It would be right if the Writers' Union, the Institute of World Literature of the Academy of Sciences, the Mayakovsky Library-Museum and the State Publishing House of Fiction seriously discuss the issue of a special phototypic edition that recreates the pages of manuscripts and notebooks of the genius poet.
Mir is a communard (III, 92-93).
Mayakovsky put a lot of meaning into the word "most conscientious", speaking of good and conscientious poetry.
“In addition to the necessary abilities,” the poet said, “you have to work to the limit, to the climax, you have to work on the poem until you feel that you can't do anything else.” Eyewitnesses claimed that Mayakovsky worked on some poems for weeks or months. In other cases, the creative process was reduced to one day, or even a few hours.
One of the most frequent questions to the poet at his evenings was the question: "What would happen if you wrote in ordinary lines?"
“Then it would be more difficult for you to read them,” the poet replied. - It's not just the lines, but the nature of the verse. After all, the reader needs to switch from one size to another. I do not have a uniform size over a large extent. And with broken lines, it's easier to switch. And the line, thanks to this arrangement, becomes more significant, more significant. Consider the techniques - semantic gaps, spoken language, shortened and even one-word lines. And from such an arrangement, the line comes to life, tightens, bounces ... Words by themselves become full-blooded - and the responsibility for them increases.
But the main thing is in their nature. At the same time, I will add, there is such a criterion: you cannot throw out a word from a good line. And if the word can be replaced, then it is still loose. The word should stick to the verse like a well driven nail. Try to pull it out! And finally, the poems are designed mainly for reading from the voice, for a mass audience ... "
Mayakovsky talked about his work: “I walk, waving my arms and mumbling still almost without words, then shortening my step so as not to interfere with humming, then I hum faster, in time with my steps. This is how the rhythm is cut and shaped - the basis of any poetic thing, passing through it with a roar. Gradually you begin to pull out separate words from this hum. "
And here is the transition to the second stage of work, when the selection and processing of verbal material already begins: “Some words just bounce off and never return, others linger, turn over and twist dozens of times until you feel that the word has fallen into place ... "
The third stage is described as follows: “When the basic is already ready, suddenly there is a feeling that the rhythm is breaking - there is a lack of some kind of complexity, sound. You start redrawing all the words again, and the work drives you to a frenzy. It is as if a non-fitting crown is being tried on a tooth a hundred times, and finally, after hundreds of fittings, it was pressed and it sat down. "
Mayakovsky speaks in a peculiar way about the work of the poet:
- Poetry -
- all! -
- riding into the unknown.
- the same extraction of radium.
- per year of work.
- one word for the sake of
- verbal ore.
- sizzling
- these words are burning
- smoldering
- raw words.
- set in motion
- millions of hearts.
How do you understand this poetic statement?
A special role in the poet's work was played by his performances. P.I.Lavut, who helped Mayakovsky in organizing the lectures, recalls:
“The poem“ An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha ”was simply called“ Extraordinary ”on the poster. But from the stage, the poet announced it as a full, even expanded name (“what was with me, with Vladimir Vladimirovich, at the Pushkino station ...”). Very loudly and clearly pronounced “unusual ...”, and the second half of the word and all subsequent ones - faster, bringing to tongue twisters. I also added:
I consider this thing to be software. This is about posters. I once did this business. It wasn't easy. Sometimes they painted days and nights. Often they did not get enough sleep. In order not to oversleep, they put a log under the head instead of a pillow. In such conditions, we made "Windows ROSTA", which then partially replaced newspapers and magazines. We wrote on the topic of the day so that today or the next day our work would bring concrete benefits. some of them multiplied and went to other cities.
The ending of "Unusual" sounded like this: extremely loudly - "This is my slogan ..." and dismissively, ironically, shortly - "and the sun" ...
The poet reads a note:
"How do you feel about reading Artobolevsky?"
I am not at all concerned. I do not know him. An embarrassed voice comes from the orchestra:
And I'm here ... Mayakovsky bends down:
Read it, then I will recognize you. Since we are talking about "The Sun", read it ... Then, if you are not offended, I will make my remarks and read "The Sun" in my own way.
Artobolevsky enters the stage. Visibly agitated, he reads “The Sun.” Applause breaks out.
Mayakovsky praises his voice, notes other positive qualities of performance. But he says that the reader lacks rhythmic acuity, and criticizes the excessive "playing", some bombast. you cannot abbreviate the title of the poem.
This, unfortunately, is what most of the readers do, ”he notes,“ and yet the name is inextricably linked with the text. Everything that I said, - he concludes, - applies to all the readers whom I have heard, with the exception of one Yakhontov.
Then Mayakovsky himself reads “The sun.” Artobolevsky thanked him and noted an interesting detail: it seemed to him that the words “... shouted to the sun:“ Get down! ” slightly dismissive.
Raise your hands, who is for me? - the poet turned to the audience. - Almost unanimously ... "
Outlining the exhibition and inviting Lavut to help him, Mayakovsky sketches out what needs to be given on it: "Children's books, newspapers in Moscow, newspapers of the USSR about Mayakovsky, abroad about Mayakovsky," Windows of satire ROSTA "- Mayakovsky's text-drawings. Mayakovsky on the stage. Mayakovsky Theater Mayakovsky in the magazine.<...>The purpose of the exhibition is to show the diversity of the poet's work ...
On December 30, he arranged something like a "flying exhibition" at his home - for friends and acquaintances who planned to turn it all into a comic anniversary close to the spirit of the hero of the day. Mayakovsky was asked to come back later. Posters were brought to the apartment in Gendrikov Lane (now Mayakovsky Lane) , posters, books, albums ... At the end of that evening, Mayakovsky was asked to read poetry.
First, he performed "A good attitude towards horses." It sounded more gloomy than usual, but peculiar and deep ... "
Lessons 41-42
Mayakovsky: life and work.
Early poetry lyrics
Goals : to give an idea of the life and work of V. Mayakovsky, noting the tragedy of his fate; teach to identify the features of Mayakovsky's early work; develop the skills of analyzing poetic text.
Lesson progress
I'm a poet. This is what makes it interesting.
V. Mayakovsky
I. Introductory speech of the teacher.
You already know a lot about the life and work of poets of the 20th century. Unfortunately, in the harsh time of the First World War and the Russian revolutions, many of them had a hard time.
Gumilyov was shot, his poetry was banned, Mandelstam died in the camp, his poems were not published, Pasternak was hounded after the Nobel Prize for the novel Doctor Zhivago, Yesenin and Tsvetaeva committed suicide, Akhmatova got a bitter share.
Mayakovsky was artificially pushed forward. During several decades it was published in millions of copies, quoted to the place and out of place.
Now that the true history of Russian literature of the 20th century is finally being recreated, maybe there is no place for Mayakovsky in it at all, since, at Stalin's instructions, he was declared "the best and most talented"?
No, it’s not like that. Mayakovsky, cleared of the official "textbook gloss", remained a true poet, not an exaggerated figure, and rightfully occupies a place in the first row of Russian poetry.
The fate of Mayakovsky was tragic, like Yesenin and Tsvetaeva, he committed suicide. The fate of his poems was also tragic. “Mayakovsky was introduced forcibly, like potatoes under Catherine. This was his second death. He is not guilty of it, "wrote Pasternak in 1956. Mayakovsky was turned into a singer and propagandist of the totalitarian regime. The official interpretation of the poet's life, which was based on forgery, triumphed: the works of Mayakovsky, written in the 1920s and reflecting precisely this time, the revolutionary wave that had not yet subsided, were redirected to a later era. In our history, the difference between 20 and 30 years was very significant. The year 1929 really marked the great tragic turning point of all life. The canonization of Mayakovsky began after high praise by Stalin in 1936, his poetry was used to glorify the Stalinist regime, which brought violent collectivization, the devastation of the village, famine, and massive repressions. It was used for political and aesthetic demagoguery, to create a "painted world"; for this, individual lines were "ripped out" from works. From the poem "Vladimir Ilyich Lenin", for example, the stanzas about the poet's hatred for the cult of the leader were thrown out:
Regal and divine
Out of rage
I didn’t save myself
In the midst of the processions,
Worship
And across the crowds.
Curses of the thunderous
And while I am trampled
And my cry
I would throw
Blasphemies
The Kremlin would
Metal bombs:
Down with!
The ideological authorities did not honor the satire of Mayakovsky, under the tacit ban of his play - they had not been staged for almost three decades.
The tragic essence of the poet's contradictions is that he took class, revolutionary, and then Soviet interests for the highest, universal, for the "command of God." An ominous symbol - a poet with a lock on his lips - expressed the contradictions in the soul and in the work of Mayakovsky. In the poem "At the top of his voice" bitter confessions sounded:
And agitprop for me
In the teeth imposed
And I would scribble
Romances on you -
It is more profitable and more charming.
Becoming
To my own song.
Marina Tsvetaeva wrote about this: “No sovereign censor dealt with Pushkin as much as Vladimir Mayakovsky did with himself ... Mayakovsky ended more strongly than with a lyric poem - with a shot. For twelve years in a row the man Mayakovsky killed the poet Mayakovsky in himself, the thirteenth poet stood up and killed the man ... "
Yes, the life of the man Mayakovsky was cut short by his shot, the life of the poet Mayakovsky continues. His faith in the power of free speech will reach descendants through the years and the heads of governments:
I know the power of words, I know the alarm words,
They are not the ones who are applauded by the lodges.
From such words the coffins are torn
Walk with four of your oak legs.
It happens that they throw it away without publishing it, without publishing it.
But the word rushes, pulling up the girths,
Centuries are ringing and trains are crawling
Lick poetry calloused hands.
Indeed, this is "a verse flying on strong wings" (Mandelstam). In 1933 Tsvetaeva predicted: "With his quick feet, Mayakovsky went far beyond our present and somewhere, around some bend, will wait for us for a long time."
II. Students' words about Mayakovsky.
1. A message from a trained student about the life of a poet.
2. The message is accompanied by speeches of assistants.
A) Boris Pasternak recalled:
“In the summer of 1914, members of one of the literary groups brought Mayakovsky with them to a coffee shop on the Arbat.
It turned out that the sight of a young man, beyond expectation, was familiar to me along the corridors of the Fifth Gymnasium, where he studied two grades below.
Before me sat a handsome, gloomy-looking youth with the bass of a protodeacon and a boxer's fist, inexhaustible, deadly witty, a cross between the mythical hero of Alexander Green and the Spanish bullfighter.
It was immediately guessed that if he is handsome, and witty, and talented, and, perhaps, architectonic, this is not the main thing in him, but most importantly - an iron inner endurance, some covenants or foundations of nobility, a sense of duty, according to which he did not allow himself to be different ... And immediately his decisiveness and disheveled mane, which he ruffled with all five, reminded me of the composite image of a young underground terrorist from Dostoevsky ...
The young man miraculously supplemented his natural external data with the artistic disorder that he let on, the rude and careless bulkiness of the soul and figure and the rebellious features of the bohemian, in which he draped and played with such taste ”.
B) And here is how Lilya Brik recalled about Mayakovsky's first reading of the poem "A Cloud in Pants":
“Mayakovsky stood with his back against the door frame. From the inside pocket of his jacket, he took out a small notebook, looked into it and put it in the same pocket. He thought about it. Then he looked around the room like a huge audience, read the prologue and asked - not in poetry, in prose - in a quiet, since then unforgettable voice: "Do you think this is raving about malaria? It was. It was in Odessa." We raised our heads and did not take our eyes off the unprecedented miracle to the end. Mayakovsky never changed his posture. Didn't look at anyone. He complained, was indignant, mocked, demanded, fell into hysterics, paused between parts.
Now he is already sitting at the table and with pretentious swagger demands tea. Hastily pouring from the samovar, I am silent ...
Mandelstam was the first to come to his senses. He had no idea! I couldn't think! This is the best that he knows in poetry! .. Mayakovsky is the greatest poet, even if he does not write anything else. He took the notebook away from him and did not give it away for the whole evening. This was what they had dreamed of for so long, what they had been waiting for. Lately I didn’t want to read anything.
Mayakovsky sat and drank tea and jam. He smiled and looked with big childish eyes. I'm speechless.
Mayakovsky took the notebook from OM, put it on the table, opened it to the first page, asked: "Can I dedicate it to you?" - and carefully printed over the title: "Lilya Yurievne Brik".
In Finland, Mayakovsky had already read The Cloud to Gorky and Chukovsky and said that Gorky cried when he listened to him.
V) V. Polonskaya recalls the last moments of Mayakovsky:
“A shot rang out. My legs gave way, I screamed and rushed along the corridor: I could not bring myself to enter.
It seemed to me that a very long time had passed before I decided to enter. But, obviously, I entered a moment later, in the room there was still a cloud of smoke from the shot.
Vladimir Vladimirovich was lying on the carpet, arms outstretched... There was a tiny bloody speck on his chest.
I remember that I rushed to him and only repeated endlessly:
- What have you done? What have you done?
His eyes were open, he was looking straight at me and he was trying to raise his head.
It seemed that he wanted to say something, but the eyes were already lifeless. "
G) Reading by heart.
Mayakovsky
From the poetry workshop
Without getting lost in the Moscow crowd,
Walked down the street on Tverskaya
With a thick stick Mayakovsky.
Talkative and broad
A wave of people is splashing smoothly
Over the side of his jacket
Like overboard a steamer.
Its height is high,
The angry eye looks askance,
And sandwiched in a sculpture of the mouth
Roughly crumpled cigarette.
The whole capital from afar
This modeling is very memorable:
Clean shaven cheek
All-Russian this cap.
I am happy that I found him
And, having memorized poems to cover,
I stood at his evenings,
Stretching out his neck, in the gallery.
The winter square is all in lights,
The entrance door is taken with a fight,
And the police on horseback
Above the swaying crowd.
I don't have a dime
I forgot about the ringing of coins
But the ruble ticket is jammed -
All my wealth is in the palm of your hand.
I am happy that through the winter smoke
After the evening from the museum
In the distance I followed him,
Not childishly reverent.
How the country needs you now
To the club, the square and the newspapers
Ya. Smelyakov. 1956
III. Early work of Mayakovsky.
1. Lecture of the teacher: "Mayakovsky and futurism."
Today's lesson is devoted to the problem of the poet's creative debut.
Like any great artist, he came to art with an application for a new one. Moreover, the application was demonstrative, and the thirst for the unknown, the daring challenge - boyishly pointed.
At the same time, one should not forget that at first Mayakovsky asserted himself in the group of futurists, who, as you already know, overcoming the harmony and psychologism of the previous literature, wished for an introduction radical changes into poetry. They introduced new themes, shattered the syntax and crushed rhythms, mixed the tragic and the comic, the lyrics, the epic and the drama, enthusiastically searched for a tangible word.
The closest art for futurist poets is painting, which acted as the leading one in a common bundle. The theses of one of V. Mayakovsky's reports read: “3) The similarity of the paths leading to the comprehension of artistic truth, and painting, and poetry. 4) Color, line, plane - the goal of painting in itself - a pictorial concept, a word, its outline, its phonic side, myth, symbol - a poetic concept. "
Demonstration of compositions by P. Picasso, K. Malevich, N. Goncharova and other representatives of Cubism, Suprematism and related trends.
And yet there have always been borders that separate Mayakovsky from other futurists. If spontaneity and intuition are inherent in them, then Mayakovsky is more social and rational. This makes him the most understandable of the futurists. His early poems ("Still," "War has been declared," "I and Napoleon"), the tragedy "Vladimir Mayakovsky" are characterized not only by encryption, incredible scale and illogism, but also by documentary, crude frankness of urban pictures, visibility tending to unfolding metaphors.
Mayakovsky's futurism is not limited to the creation of form. In addition to the desire to master the skill, he included internationalism, and anti-bourgeois, and revolutionary spirit. In the early articles of the poet, it was said many times about the intrinsic integrity of the word, but it also stated: “We need the word for life. We do not recognize useless art. " Mayakovsky's futurism is not an experience so much self-worth creativity, how much is the fact of life creation.
The early poems of Mayakovsky are a prologue to the understanding of those contradictory motives that clashed in large poetic spaces.
2. Students exchange experiences from the early poems read by Mayakovsky: "Here!", "A few words about myself", "Listen!", "Violin and a little nervous", "Lilechka!"
3. Working with the text of the poem V. Mayakovsky "A Cloud in Pants".
1) Commented reading of the poem.
2) Partial text analysis.
The leading image of this poem, as well as of all pre-October creativity as a whole, is the image of "I". B. Pasternak spoke about the tragedy "Vladimir Mayakovsky": "The title was not the name of the writer, but the name of the content." Becoming a center of content, the "ego" reaches grandiose proportions, but still remains a human "I": "What can such a lump want? / And a lump wants a lot!"
The “I” in “A Cloud in Pants” is huge, overflowing with its own boundaries (“I feel /“ I ”/ is not enough for me. Someone breaks out of me stubbornly”). It is omnipotent, but it is also lonely.
- How does the lyric hero of the poem appear?
The lyrical hero of the poem is a barbarian, a rude Hun, calling for destruction, violence ("You see, I bend over, / from behind the bootleg / pull out a boot knife ... I will open you, smelling of incense, / from here to Alaska"). But he is also defenseless, gentle, when, throwing aside a red wig of vulgar pretense, he repeatedly pronounces "Mama" with his lips that have just spewed out a completely different "mother."
The lyrical hero feels himself already big, but still unnecessary. Hence - the adolescent resentment against God, against the imperfection of the whole world, unwillingness to notice the direct interdependence of phenomena, “you are the king: live alone,” Pushkin calmly stated. The early Mayakovsky does not accept this inevitable logic: being proud of the consciousness of his own uncommonness, he suffers severely from loneliness.
- How can you explain the original title of the poem: "The Thirteenth Apostle"?
In the early works of Mayakovsky, the motive of the poet - God-man sounds: "And I am / on earth / alone / herald of future truths" - we read in the poem "War and Peace", and in one of the articles the author presents the futurists as "new people of a new life" ...
- What is the attitude of the lyric hero to other people?
The hero seeks to reject the ordinary, transform into a superman, but the human remains in him. He is ready to give everything “for just one sweet word, human,” but beautiful people have disappeared, around - mediocre, vulgar creatures. Hence - the longing, the dream, but hence the anger. And it is not for nothing that the lyrical hero is sometimes called the god-devil, a beautiful bastard.
- What is the theme of the work?
Students, relying on the text, name the themes that sound in Mayakovsky's poem.
IV. Creative work.
Writing-reasoning(with the transmission of perception): "My reading of the early Mayakovsky."
