Artistic features of the poetry of Vladimir Mayakovsky. Artistic features of the early lyrics of Mayakovsky V.V.
In the art of the 20th century, V. Mayakovsky is a phenomenon of enormous proportions. In his creative heritage we find lyrics and satire, poems and plays, essays and critical articles, advertising poems and drawings. But the true greatness of V. Mayakovsky is not only in the breadth of manifestation of his creative individuality, not only in the fact that the secrets of poetic mastery and knowledge of the laws of the stage, the ability to wield an essayist's pen and an artist's brush were equally accessible to him. First of all, he is a poet, and it is precisely as a poet of the socialist revolution that he entered the consciousness of millions of people.
In the work of V. Mayakovsky, which captured major events and the problems of their time, powerfully sounds the voice of the era, the era of the preparation and accomplishment of the proletarian revolution. But it would be wrong to reduce the artistic structure of V. Mayakovsky's poetry only to agitational and oratorical intonations, since it is easy to detect intimate love confessions, a tragic cry, and feelings of sadness, sadness, and philosophical reflections, and caustic irony, and a good-natured smile in it. . The poetry of V. Mayakovsky is not only diverse in terms of genre, but also multicolored in its artistic and intonational structure.
Whatever form the poetic thought of V. Mayakovsky takes, the defining principle in his work is the lyrical element.
Lyrics are usually seen as an artistic reflection inner life poet, his state of mind at one time or another. The objective world, reality is revealed in lyrical poetry through the experiences of the author. Life phenomena, events, as a rule, do not receive a direct and immediate image here. They are captured in that feeling, in that spiritual reaction that they evoke in the writer.
This fully applies to most of the works of V. Mayakovsky. Whatever they were about - class battles or love, trips to foreign countries or disputes about the tasks of art - the poet's attitude to real events, the facts that prompted him to take up his pen, is expressed with such emotional passion that the poetic structure of the work takes on a special character. The story about certain life phenomena is inextricably linked in them with the expression of the thoughts and feelings of the poet, with the disclosure of his inner peace, the author's "I".
The element of the author's thoughts and experiences in the works of V. Mayakovsky not only gives them a special emotional coloring, but often comes to the fore, becomes the basis of the artistic image. This strength and purposefulness of the author's feeling, acquiring a lyrical sound, is also manifested in his epic works, which depict life phenomena. It is also felt in the political poems of V. Mayakovsky and even in poems of an agitational-production nature. It can be said without exaggeration that lyricism is the all-penetrating and all-unifying force of V. Mayakovsky's creativity, internal energy even those of his works that are not lyrical in their artistic structure.
Paradoxical as it may seem, but in the verses and speeches of V. Mayakovsky one can often find attacks against lyric poetry. “We have repeatedly attacked the lyrics with hostility,” he wrote in the poem “Jubilee”. These words are not a slip of the tongue and not a poetic exaggeration. Through all the work of V. Mayakovsky there is a line of polemical-hostile attitude towards "lyrical outpourings". Particularly caustic remarks are caused by his love theme.
In these passionate words, of course, one cannot see a negative attitude towards the lyrics as such. The critical attitude of V. Mayakovsky to a number of forms of lyric poetry is caused by various reasons. And, above all, - the feeling that the framework of the "old" lyrics with its traditional themes - love, nature, philosophical reflections on life - have become too narrow. They do not fit the vast and complex world of feelings of a person of a new era, whose private life turned out to be connected with great historical events and processes. In V. Mayakovsky's attacks on the lyrics, in addition, a protest is expressed against subjectivism and lack of spirituality in poetry, against decadent moods, against all sorts of, as he called, "smells" - salon sophistication of feelings, bourgeois prettiness, aesthetic narcissism and other melodramatic " frills”, the existence of which their adherents justified by the right of poets to self-expression.
Not satisfied with the traditional possibilities of the poet's "self-disclosure" in lyrics, V. Mayakovsky feels the need to expand the boundaries of lyric poetry. This corresponded both to the objective needs of the time and to his spiritual disposition. After all, poetry, as the "sentiment of the era," could not fail to catch new trends, not to take into account the fact that in the 20th century the impact of a great human history, the most important social processes on the fate individual, on the so-called privacy of the people extraordinarily intensified.
As for the peculiarities of V. Mayakovsky's poetic perception, everything that happens in the world aroused a passionate interest in him. He possessed a rare ability to perceive everything that happens in life - and even remote from him by time and distance - as his own, deeply personal, vital business.
The breadth of perception of life, the exceptional power of the poet's emotional reaction to the world could not fit into the traditional forms of lyrics and demanded space for their expression. That is why the poetry of V. Mayakovsky does not fit into the framework of his previous artistic experience. He becomes the creator of a new type of poetry, which broadly, as never before, covers political and social reality.
Lyrica V.V. Mayakovsky contains a lot - and history, and politics, and love, and life; and all this enters into his poetry not as a distant background, but is the main object of artistic representation. Even Mayakovsky's opponents (there were quite a few of them both during the poet's lifetime and after) could not say anything about the poet's insincerity, deceit, falsehood, and the time was cool, they were not shy in definitions and expressions.
V. Mayakovsky is a pioneer who owns the word and vocabulary, like a bold master, working with his material according to his own laws. It has its own construction, its own image, its own rhythm and rhyme. The poetry of V. Mayakovsky speaks not only in the language of images and metaphors, but also makes extensive use of the sound and rhythmic possibilities of the word. V. Mayakovsky created an innovative poetic system that largely determined the development of both Soviet and world poetry. A new type of lyrical hero with his revolutionary attitude to reality contributed to the formation of a new poetics of maximum expressiveness: the entire system of the poet's artistic means is aimed at the most dramatic verbal expression of the thoughts and feelings of the lyrical hero.
Today, V. Mayakovsky is not at all politically relevant, but humanly and aesthetically relevant. “... Love was for V. Mayakovsky “everything”. And this "everything" was in the full sense of "everything": the revolution, the country, the world, the people, friends, women whom the poet loved. And what for many is purely personal, intimate, in V. Mayakovsky is filled with the dissonance of life and raised to cosmic scales in affirmation and denial.
“No matter how controversial and controversial Mayakovsky’s work may seem today, from the height of the elapsed time we see the correctness of those who predicted him long life in art. These were his most insightful and sensitive contemporary readers and the most authoritative judges for us in poetry.
Composition
Mayakovsky closely listened to the pulse of his time and was constantly looking for new poetic solutions that would correspond to the spirit of the era of great changes.
His favorite technique is metaphor, especially hyperbolic, built on exaggeration. For example, in the poem "A Cloud in Trousers" we read: "And here is a huge one, / I stoop in the window, / I melt the window glass with my forehead." The poet plays on his extraordinary growth, conveys the power of feelings with the help of hyperbole: the glass melts under the forehead of the hero, hot from the heat of love. Often Mayakovsky used the so-called futuristic metaphor, which establishes connections between the most distant things and objects. Remember the poem “Could You?”, in which readers are struck by the metaphorical image of the “flute of drainpipes”.
Mayakovsky also has a futuristic outrageousness - shocking the “respectable public”, when the poet uses rude, defiant, emphatically unaesthetic images or statements, as, for example, in the poem “Nate!”: “I will laugh and spit joyfully, spit in your face ...”.
Frequent in Mayakovsky and ellipses - omissions meaningful words, which is typical for colloquial, emotional speech (compare the title of the poem “Violin and a little nervous”, which, apparently, should look like “Violin [sounded sad] and a little nervous”). Such disturbances explain negative program futurists: they are characterized by a declarative rejection of the norms of the existing language. But destruction for avant-garde artists has always been a creative act, for which grammatical irregularities are not an end in themselves, but a way of giving birth to new meanings.
The lexical composition of Mayakovsky's poetry is also peculiar. His works are saturated with colloquial vocabulary, irregular and colloquial forms (“here”, “you want”). A feature of the poet's artistic world is the frequent use of neologisms ("skyscrapers", "airplane", "cars"). He himself loved to invent new words (hulk, copper-throated, endless hours, verse, piano, legend, broadway and many others). Mayakovsky is rightfully considered a master of rhyming. Overcoming the traditions that had developed in poetry, he sought to use different kinds rhyme:
Truncated (“brain - flap”, “tones - in pants”);
inaccurate (“madness - Vesuvius”, “jacket - scaffold”);
compound (“tenderness is not in it” - twenty-two years old) and others.
Almost all of his rhymes are exotic, that is, they are not familiar to the reader, not always even recognizable as a rhyme. So, in the poem "Listen!" a sufficiently consistent cross-rhyming is not immediately visible, since this rather big poem consists of only four quatrains, each line is divided into segments by writing them in a "ladder".
It should be noted that the "ladder" is Mayakovsky's innovation. It was expressed in the fact that the poet broke the poetic lines, each individual word became, as it were, a step (hence the name - ladder), prompting the reader to stop, as it were, a pause to highlight the meaning of the word. The usual punctuation marks seemed insufficient to the poet. This innovation has remained unusual to this day, but it is justified, since Mayakovsky believed that poetry was intended not only to be read with the eyes, but also to be spoken aloud. "Ladder" is a kind of hint to the performer about the pace of reading, the nature of intonation, the place of pauses.
The overcoming of traditions is also manifested in Mayakovsky's rejection of the old laws of melody in poetic speech. He does not strive for sweetness, as the poets of the 19th century did, but on the contrary - he creates verses in such a way that they gnash, cut the ear. The poet, as if on purpose, selects dissonant words: “He was fastened for a long time, curly, rough ...” (“Mother and the Evening Killed by the Germans”). Such coarseness of the poetic material has increased expressiveness and contributes to the creation of a special image of the lyrical hero-poet, the leader of the street crowds, the singer of the urban lower classes.
1. Innovation in Mayakovsky's poetry.
2. The connection of the poet's lyrics with painting.
3. The challenge to the "public taste" and the inner experiences of the lyrical hero.
Already at the first acquaintance with the work of V. V. Mayakovsky, the striking dissimilarity of his lyrics with classical samples of poetic works is striking. Not only images - "tin fish", "flute of drainpipes", "smart muzzle of a tram" - but the melody of the verse itself is unusual. There is no songlike musicality in Mayakovsky's lyrics. The verses are in tune with a measured, chased step:
Veins and muscles - more prayers.
Should we beg for favors of time!
We -
each -
keep in our fives
worlds drive belts!
One of the innovations that Mayakovsky actively used in his poetic work was a special form of recording poems - a short flight of stairs. Such a record helps to convey on paper some of the features of the sound of his verse. Researchers believe that the connection between the poetic work of the poet and painting was also manifested here. It is known that Mayakovsky studied at art studios, as well as at the School of Painting, Sculpture and Architecture, from where he was expelled for participating in the scandalous antics of futurist poets.
The connection with painting was also manifested in the characteristic imagery of Mayakovsky's lyrics. The narrative always appears in the form of a visible sketch, more precisely, a series of sketches that succeed each other, like newsreel frames. By analogy with painting, Mayakovsky's idea of poetry was formed as a visible, well-made, albeit crudely crafted subject:
I immediately smeared the map of everyday life,
splashing paint from a glass;
i showed on a platter of jelly
oblique cheekbones of the ocean.
The theme of Mayakovsky's lyrics, for all its outrageousness, includes most of the motifs characteristic of poetry. This is love and loneliness, as well as the tragic contrasts of the world order, which are acutely experienced by the lyrical hero. The poet paid much attention to the topical problems of our time, which were reflected in a satirical form in the poems “Hymn to the Judge”, “Attentive Attention to Bribers”.
In the early lyrics of Mayakovsky, a deliberate, hooligan challenge to philistine existence was especially pronounced, which is typical of futurist poets. Rough vocabulary (the poet does not shy away from obscene words), emphatically familiar and contemptuous appeal to the audience - it is not surprising that such poems made a repulsive, shocking impression:
Do you know, mediocre, many,
thinking it's better to get drunk, -
maybe now the bomb feet
tore out the lieutenant of Petrov? ..
However, it is easy to see that deep feelings are hidden behind external rudeness, behind hostility towards the "bourgeois". thrill catastrophic life. The opposition of a well-fed philistine existence and the inner drama of the lyrical hero, covered with external bravado, is a kind of refraction of the traditions of romanticism. Like the classic romantic hero, Mayakovsky's lyrical hero is alone in the world around him, mired in everyday life. Like a true romantic, Mayakovsky is looking for a suitable background for his hero, unusual, clean from the filth of everyday troubles:
Listen!
After all, if the stars are lit -
So, does anyone need it?
So - someone wants them to be?
So - someone calls these spitting pearls?
The theme of loneliness is refracted in different ways in many of the poet's poems. For example, the sad melody of the violin in the work “Violin and a little nervously”, which does not find understanding among other instruments in the orchestra, evokes deep sympathy and a lively response in the soul of the lyrical hero:
The orchestra was watching someone else
how the violin cried
without words,
no beat...
“You know what, violin?
We are terribly similar:
me here too
shout-
But I can't prove anything!
Note: musical instruments in this poem are presented as living beings, each with its own character. And in the poem "Tired" the poet exclaims: "There are no people." The theme of loneliness in the works of Mayakovsky is closely connected with the identification negative sides urban civilization - the cult of consumption and the loss of understanding true values, love and life itself.
It should be noted that in the work of Mayakovsky, the love experiences of the hero are shown quite frankly and naturalistically:
Sonnet poet sings to Tiana
and I'm all meat,
the whole man,
your body just ask
how christians ask
"our daily bread
give us today."
However, the rough sensuality of Mayakovsky's lyrical hero by no means excludes serious, deep emotional experiences. “I gladden the road with the blood of my heart,” this line, which speaks of the suffering of unrequited love, echoes the love poetry of the medieval East. The name of the beloved for the poet is a word, "greatness equal to God."
Mayakovsky also demonstrates a special attitude towards God. We note right away that the reality of the very existence of God is not called into question. But, like love, God in Mayakovsky's lyrics has lost its original exalted attributes. “Bursts to God”, “kisses his sinewy hand” - as if not about God in question, but about a person, perhaps with a certain power, but by no means about an incomprehensible and perfect Essence. The decline in the image of God was clearly manifested in the poem "A Cloud in Pants":
I thought you were an almighty god
And you are a half-educated, tiny god.
In these blasphemous words, the deep spiritual suffering of the lyrical hero sounds, who experiences the lack of reciprocity in love as a global collapse, leading to disappointment in God. The theme of loneliness is repeated again - and the world, and the beloved, and even God are far from the aspirations and aspirations of the lyrical hero, indifferent to his torment.
Plan
Introduction
V.V. Mayakovsky is an original poet.
Main part
Artistic originality Mayakovsky's poetry:
- rhymes, truncated lines, multi-strike verses;
- selection by pauses, significant semantic lines;
- non-traditional breakdown of the poem;
- author's neologisms;
- sound recording;
- mixing of different language styles.
Conclusion
Mayakovsky created his own poetic style.
V.V. Mayakovsky is an original poet of the early 20th century, who created many original poetic works, an innovator in the field of versification. His special art style, attention to the rhythm of the poem, peculiar rhymes, the use of new words - all this distinguishes the poetry of V.V. Mayakovsky from traditional lyrics.
AT poetic works Vladimir Vladimirovich Mayakovsky especially important rhymes, truncated lines, verses with different impacts. The poet uses his style of writing a poem, that is, V.V. Mayakovsky highlights significant semantic lines with pauses. This is how the painful atmosphere of hopelessness is intensified in the poem “ Good relationship to the horses"
Horse on the croup (pause)
crashed (pause - the reader focuses his attention),
and immediately (pause)
behind the onlooker onlooker (pause),
trousers that came to Kuznetsky to flare (pause),
huddled...
Such an unconventional breakdown of the poem into lines helps the poet draw the reader's attention to the most important thing. The state of the horse is conveyed through lexical artistic means: verb - crashed, noun - on the croup. The feeling of hopelessness is also conveyed syntactically, through a special breakdown of the line.
V.V. Mayakovsky saw the power of the word and tried to influence the reader through the creation of his own author's neologisms - words or phrases invented by the poet himself, they most fully reveal the essence of the poetic intention, convey the shades of the author's speech. In the poem "An Unusual Adventure that Was with Vladimir Mayakovsky in the Summer at the Dacha" there are many original author's neologisms: "gold-browed", "bearing", "ringing", "let's sing". The poet plays with words and rhymes to grab the reader's attention. For example, in this poem there are homonyms: “I drive the fires back for the first time since creation. Did you call me? Drive tea, drive, poet, jam! ”, Synonyms: sun, gold-browed, shone. Poetic vocabulary of V.V. Mayakovsky is always expressive, this is the main originality of the poet's artistic creativity.
In poetic works, such a phonetic technique as sound writing is used. Thus, the reader not only imagines the picture depicted by the poet (most of Mayakovsky's poems have a plot), but also hears what is happening. In the poem “A Good Attitude towards Horses”, the sound of a dying horse’s hooves is conveyed as follows:
They beat hooves, / They sang as if:
- Mushroom. / - Rob.
- Coffin. / - Rough
Here it is important not lexical meaning words, but a combination of sounds. They sound in a new way in the poetry of V.V. Mayakovsky traditional themes. For example, in the poem "The Sitting Ones", the theme of bureaucracy is revealed by the poet through a mixture of fantasy and reality, the creation of grotesque situations when people
“... at two meetings at once.
In a day
meetings for twenty
We need to hurry up.
Inevitably, you have to break.
To the waist here
But other
There".
In this poem, another special artistic device of V. Mayakovsky is also used: a mixture of different linguistic styles. Within the framework of one work there are words and expressions that are closely related to realities contemporary poet world, and on the other hand, there are obsolete forms and words. For example, within the boundaries of one work there are such words and expressions: Theo, Gukon (abbreviations of the early twentieth century) and the old form of the verb yell - yell; the neologism of that time - an audience and archaism - from the time of it.
So, V.V. Mayakovsky created his own poetic style, which made works of art original, unique.
Speaking about the artistic features of Mayakovsky's poetry, it is important to remember that he was one of the founders of Russian futurism. Cubo-futurists strove for the unity of painting and poetry, and in Mayakovsky's poems there is a bright color scheme; he often reflects the world with the help of geometric shapes. Mayakovsky is not only a poet, but also an artist. He sees the world in colors, in color. Hence the vivid metaphors, in which the sometimes incompatible is connected:
Crimson and white discarded and crumpled,
handfuls of ducats were thrown into the green,
and the black palms of the runaway windows
handed out burning yellow cards.
Night, 1912
Pay attention to the vocabulary, to the metaphorical complexity of the images in the poem “I immediately smeared the map of everyday life ...” - “smeared”, “moved”, “splashing paint from a glass”. What "shifted" and "lubricated"? Weekdays? Existing space? Ordinary city? Instead of a roof - "scales of tin fish", "flute of drainpipes".
When reading a poem, it is important to see and comprehend keywords and concepts, since they contain an explicit or implicit antithesis or analogy. So, in the above poem, the main phrase is: “I immediately smeared the map of everyday life ...” For what? The answer is hidden in the antithesis "I showed on a dish of jelly / oblique cheekbones of the ocean."
Departure from everyday life presupposes a meeting with the sublime, the beautiful. For example, with a nocturne that can be played "on a drainpipe flute." This poem is an example of philosophical lyrics, it comprehends the questions of being.
According to K.D. Muratova, " early work testified to Mayakovsky's strong passion for formal experimentation. Being not only a poet, but also an avant-garde artist, he strove to recreate unusual visual images, to complicate and deform them. Just as in Cubist painting the world of objective phenomena broke up into planes and volumes, Mayakovsky sometimes dissected individual words and created a peculiar play of dissected parts.
U-
faces.
faces
At
great danes
years
res-
Che.
Che-
cut
iron horses
from the windows of running houses
the first cubes jumped.
In addition, the concept of a “self-made” word was fundamentally important for the futurists, that is, a word cleared of later semantic layers, as the futurists said, a word in its original form, or a word invented by the creator himself, which is not obscured by anything. (By the way, the word "samovi-toe" is just such an artificially created word.) Therefore, already in Mayakovsky's early poems there are many neologisms invented by him. He could use a word with an uncharacteristic suffix (“hell”, “god”), he could simply come up with a new word (“poetic”). Word creation was the most important feature Mayakovsky's poetry. Onomatopoeia often occurs in his early poems, he is not afraid to use the language of the street.
Mayakovsky's verse is oratory, aimed at speaking to a large audience. The most important for the poet was the conviction that literature should not only and not so much reflect life in its diversity, but first of all influence it, striving to change the world for the better. In order to “get through” to people, it is necessary, in his opinion, not only to publish poetry, but to agitate.
Mayakovsky actively used tonic verse: the line was divided not into stops, but into rhythmic and semantic parts, distinguished intonation and logically. (Next, we will talk in detail about tonic versification.) For example, in the poem "Gift Sale" (<1916>):
Listen well:
everything that my soul owns,
- and her wealth, go kill her! - magnificence,
that will adorn my step for eternity,
and my very immortality,
which, rumbling through all the ages,
the kneeling will gather the world assembly, -
do you want all this? -
now I will give
for just one word
affectionate,
human.
Traditional rhymes (for example, "death - immortality", "I will give - to centuries", "veche - human") are most often present in Mayakovsky's poems, but they are difficult to notice: the quatrain is divided into segments in which the rhyme cannot be immediately distinguished. Mayakovsky introduced the breakdown of verse into intonation segments with internal rhyme (ladder) in 1923.
The poet attached great importance to rhyme. He put the stressed word at the end of the line, which gave this word a special weight. Mayakovsky's rhyme is often inaccurate: he rhymes not only the ends of lines, but also the middle, middle and end. It is important that the vowels match, but the consonants do not have to match. Often the poet uses a compound rhyme: "got stuck like a violin."
Mayakovsky’s poetic voice either sounded like a “copper-throated siren”, then gently and penetratingly, he knew how to “raise and lead and attract”, prove, convince ... Hence the special structure of poetry, when “every little thing” is taken into account - vocabulary, figurative structure , intonation, rhythm, rhyme - everything carries a semantic load.
