How does the internal state of the lyrical hero change as the plot of the above fragment develops?
At the beginning of the snippet lyrical hero treats the sun with some suspicion, he is “embarrassed”, therefore he is insolent to his interlocutor. However, as the conversation progresses, the hero loses his seriousness and strikes up a casual, friendly conversation with the sun, switching to “you”. The hero no longer feels fear of the interlocutor, but, on the contrary, feels peace of mind and even allows himself to kindly slap him on the shoulder. The sun convinces the hero that the value of labor is enormous, and just as it supports the life of all living things, so the hero must benefit the people with his poems. With these words, the mood of the hero changes to inspired and decisive, as evidenced by the last lines.
In what works of Russian literature is the idea of the significance of art revealed, and in what way can these works be compared with the poem by V.V.
Mayakovsky?
The idea of the significance of art is revealed in such poems as “The Poet and the Citizen” by N.A. Nekrasov and “To drive the living rook with one push ...” A.A. Feta.
As in Mayakovsky's poem, Nekrasov associates poetic work with benefiting the people. If Mayakovsky’s sun calls on the poet to revive, sing “the world in gray trash” and convinces him to “shine always, shine everywhere, to the last bottom”, despite any obstacles, then citizen Nekrasov assures the poet that you can’t sit still, but you need to be useful with your creativity: “And do not go to the camp of the harmless, / When you can be useful!”.
Fet's poem also talks about the importance of art. So, the poet believes that art is the ability to turn sad into cheerful and share their feelings with people. He writes: "To interrupt a dreary dream with a single sound, ... / Give life a sigh, give sweetness to secret torments, / Instantly feel someone else's own." In the same way, Mayakovsky in the poem mentions several times the light that the poet brings to the masses with his work, illuminating the darkest nooks and crannies of human souls.
What makes up the internal inconsistency of the image of the poet in the poem by V.V. Mayakovsky "Nate"?
This poem reveals the internal inconsistency of the poet. On the one hand, the poet is a sensitive, vulnerable person who has torn off “so many verses from caskets” for people, a person whose “hearts are dirty, in galoshes and without galoshes” “upon a butterfly ... hearts”. But on the other hand, this is a rude “Hun” who does not owe anything to society and will not “grimacing” in front of an audience that does not understand him, but simply “spits” in their faces. Thus, the inconsistency of the image of the poet lies in the combination of rudeness and vulnerability in him.
In what works of Russian poets is the theme of the relationship between the poet and the crowd revealed, and in what ways are these works close to the poem by V.V. Mayakovsky?
The theme of the relationship between the poet and the crowd is revealed in such poems as “The Prophet” by M.Yu. Lermontov and “I don’t need odic rati…” A.A. Akhmatova.
The lyrical hero of Lermontov is an exiled poet. Like Mayakovsky, he is misunderstood by the crowd, an alienated person, whose words do not find a response in the souls of people: “I began to proclaim love / And the truth is pure teachings / All my neighbors me / They threw stones furiously ... ".
Anna Akhmatova in her poem says that, despite the difficult process of writing poems, she writes them “for the joy” of readers and her. In the same way, Mayakovsky creates for people, reveals to his readers the “butterfly of the poetic heart” and many “verses of caskets”.
In this poem, Mayakovsky raises a row problematic issues.
In this poem, Mayakovsky raises a number of problematic issues. It is dominated, of course, by the problem of bureaucracy. Mayakovsky condemns officials cut off from the cares and needs of the people, who went to the service only to sit out in cozy offices. The poet also ridicules the lowly needs of a person who dreams not of something great, but of new "breeches" and a dress. The poet demands that statesmen be engaged in the development of the country, serve for its benefit, and not indulge in philistine dreams of material wealth. It is these topical and "eternal" questions that Mayakovsky raises.
In what works of Russian writers do satirical motifs sound and in what way can these works be compared with the poem by V.V. Mayakovsky?
Satirical motifs sound in such poems as “Reflections at the front door” by N.A. Nekrasov and "Nate!" V.V. Mayakovsky.
Reading Nekrasov’s poem, one can discern the poet’s mockery of the “owner of luxurious chambers” who will die surrounded by his beloved family, which is actually looking forward to his death: “You will fall asleep, surrounded by the care / Dear and beloved family / (Looking forward to your death) “Like Mayakovsky, Nekrasov in his poem condemns the representative of power: the Nekrasov official drives the peasants who came to him into the neck, and Mayakovsky’s official, instead of dealing with the problems of the people, thinks about what breeches he will buy with an increase.
In the poem "Nate!" Mayakovsky denounces the base needs of people, satirically depicting them: “Here you are a man, you have cabbage in your mustache / somewhere half-eaten, half-eaten cabbage soup; / here you are, a woman, white was thick on you, / you look like an oyster from the shells of things. As in the poem "On rubbish", here the poet ridicules people who are concerned not with spiritual problems, but with material ones.
15. What underlies the confrontation between the hero and the crowd in Cloud in Pants?
The basis of this poem is the conflict between the hero and the crowd. The lyrical hero is the only one who notices the decline of society and protests against it. He is desperate and full of resentment because people value the wrong thing. So, for example, streets full of screams and noise are the way of life of the crowd, who have forgotten about the beauty of the world, about the value of art, goodness. This is a soulless society, in which in the first place are material values, as evidenced by the cry "let's go eat!". But the hero does not want to join this crowd, so in his soul there is a struggle with it.
16. In what works of Russian poetry is the conflict between the poet and the crowd depicted, and in what way can these works be compared with V.V.
Mayakovsky?
The conflict between the poet and the crowd is displayed in such poems as "Nate!" V.V. Mayakovsky and "The Poet and the Citizen" by N.A. Nekrasov.
In the poem "Nate!" the lyrical hero harshly, but justly, denounces people for heartlessness and lack of will, for the baseness of their needs. He is not afraid to ridicule them and separate himself from the soulless crowd. He declares: “And if today I, a rude Hun, / do not want to grimace in front of you - / and now / I want to and joyfully spit, spit in your face / I am a priceless spender and waste.” Likewise, the lyrical hero of "Clouds in Pants" prefers to be alone than with those whom he condemns, and is also not afraid to fight the immoral world, and this is the strength of both heroes.
The theme of the poet and the crowd also sounds in Nekrasov's poem. Like Mayakovsky, who condemns the chanting of petty and vulgar themes of love and the chanting of nature. The Nekrasov hero, like the hero of Mayakovsky, believes that the poet should bring to the masses, first of all, the benefit of his work: “It’s a shame to sleep with your talent. / Even more ashamed in the hour of grief / The beauty of the valleys, the skies and the sea / And sing the sweet caress.
Satire occupies a special place in the work of Mayakovsky. The first satirical works were published even before the revolution on the pages of the New Satyricon magazine. These were parodic "hymns" - "Hymn to Health", "Hymn to the Judge", "Hymn to the Scientist", "Hymn to Criticism", etc.
After the revolution and during the years civil war Mayakovsky worked at the ROSTA Windows, where he created the signature genre - caustic, biting, caustic - under cartoons and satirical pictures. Later, Mayakovsky wrote a whole cycle of satirical poems: “About rubbish”, “Protsessed”, “Bureaucratiad”.
In them, he depicts different types of Soviet philistines, opportunists, bureaucrats, fawns. Social vice is concentrated in one hero, whose image, as a rule, is hypertrophied, grotesque. In the Mayakovskaya Gallery, satirical portraits are created according to the principle of a “social mask”. These are portraits of political figures of the capitalist world (“Mussolini”, “Curzon”, “Vandervelde”), and images embodying the typical vices of Soviet society (“Hackworker”, “Pillar”, “Sneaky”, “Gossip”, “Honge” and etc.).
Mayakovsky uses all the means of satire - from ironic mockery and caustic sarcasm to the grotesque connecting the real with the fantastic. In the poem "On rubbish" the poet mocks the demands of the new Soviet philistines, who do not extend beyond the desire to have "Pacific breeches" and "figure" in a dress "with sickles and hammers" "at a ball in the Revolutionary Military Council." He reveals the "inside" of the Soviet inhabitants, who, having taken in the surroundings, superficial signs of belonging to the new time and the socialist system, in essence remained ordinary bourgeois philistines and opportunists.
A new vice, born of the Soviet government, is shown in the poem "The Sitting Ones". Meetings on any occasion (“About buying a bottle of ink”), which give significance to yesterday’s slave, and today to an official, are ridiculed maliciously and caustically, and the “assessors” themselves appear in a grotesque form: and I see
Half of the people are sitting
Oh devilry!
Where is the other half?
The situation is brought to the point of absurdity in order to show the absurdity of the phenomenon itself. Mayakovsky's satirical talent was most clearly expressed in the plays Bedbug and Bathhouse. In the comedy Bedbug, the poet satirically reproduced many signs of the NEP period. The former worker, and now a degenerate Petya Prisypkin, replaced his "dissonant" name according to the Western model, becoming Pierre Skripkin. Mayakovsky ridicules the philistine, essentially vulgar claims of the hero. The pinnacle of his dreams is the marriage to the daughter of the Nepmansha Elsevira Renaissance, in order to "have a rest by the quiet river." This “new” hero is “not some kind of small thing”, in his own words, he is more interested in: “Give me a mirror cabinet!” In the play, the hero constantly exposes himself. His pretensions to be a hero of the new time fail.
The second act of the play, when after 50 years, i.e. in 1979, Prisypkin is defrosted, is a metaphor. Residents of the future keep Prisypkin in an isolated cage as a harmful exhibit of the zoo. He is a "terrible humanoid simulator" - "philistine vulgaris", akin to "common bug". This convention allowed Mayakovsky to express optimistic confidence that in the future such "bugs" would die off.
The play "Banya" is directed against bureaucracy, which crushes every living thought. Chief Bobblehead ( chief boss on coordination management) Pobedonosikov is a stupid creature who imagines himself to be Napoleon, capable of controlling the fate of others. Seeing no possibility of cracking down on bureaucracy at that time, Mayakovsky resorted to a conventionally fantastic transfer to the future. The phosphoric woman, the messenger of this future, refuses to take Pobedonosikov and his "faithful squire" Optimistenko into it.
Lesson topic: "Weapons of the most beloved kind"
(Satirical works by V.V. Mayakovsky)
Lesson type : practical lesson; 2 paired lessons.
The purpose of the lesson : repeat the features of Mayakovsky's lyrics;
by analyzing poems, show how talent matured
Mayakovsky the satirist;
reveal what his satire is directed against;
reveal ways to create satirical images;
develop students' creativity.
Lesson equipment: handout "Peculiarities of Mayakovsky's lyrics", cards with assignments for group work, collections of poems by the poet, electronic presentation "Mayakovsky and ROSTA Windows".
During the classes.
Organizing time. Announcement of the topic, purpose and objectives of the lesson.
Creative workout.
Teacher: Guys, the plot is written on the board to create lyrical work. (A note on the blackboard: “A gusty wind blows smoke from the chimneys, a lantern illuminates a dark street”). Try to create a short poem on this plot within 5-7 minutes.
After the allotted time, the work is read out. Here are some of them:
The house is soft and warm,
In the hallway, the violent wind is angry ...
In an open trough oven
The fire of fun is flowing ...
There's a lamp on the street
Warming my soul with your fire,
And the wind is evil, like a demon of the night,
In its impulses, everything is more terrible ...
(M. Shalanova)
Here comes the night.
The dark leaf fell off.
Wind raging whistle
Silently played in the night.
A beam of light broke through.
This is a lantern.
He lights the way.
The night became brighter.
Looking into the oven
You can see darkness.
There is light in the darkness...
Remember this, friend!
(Koksharov S.)
Teacher: And now listen, please, to Mayakovsky's masterpiece:
The wind is prickly
Trumpet
pulls out
Smoky wool tuft;
bald lantern
Voluptuously removes
From the street
Black stocking.
(From the poem "From street to street")
Repetition.
Teacher: Let us note how striking is the novelty of Mayakovsky's poetry, how unusual are the memorable and surprising images. In the last lesson, we talked about the features of the lyrics of V.V. Mayakovsky. Taking advantage handout, which is on your tables, determine which of the features of his poetics can be traced in one or another passage from his works.
Handout content.
"Features of the lyrics of V.V. Mayakovsky ».
Innovation, the desire for a radical renewal of poetry.
At the center of his poetry is a "grandiose" lyrical hero, who communicates on an equal footing with the world, with the Universe.
With extraordinary courage, the poet introduces words and expressions of a rough, vulgar style - destroys clichés, stereotypes, the boundaries of what is permitted.
Mayakovsky's speech is usually addressed to the listener, so many poems are in form a dialogue, a conversation.
Mayakovsky creates his own system of tonic and accent verse, in his line there is a different number of unstressed syllables. The poet has the lines of the "ladder".
Mayakovsky is an unusual reformer in the field of rhyme.
Fragments from poems.
Hey you!
Sky!
Take off your hat!
I'm coming!
("A cloud in pants")
Listen!
After all, if the stars are lit -
So, does anyone need it?
("Listen!")
Do you know, mediocre many,
Thinking to get drunk better how -
Maybe now the bomb feet
Tore out Lieutenant Petrov too?...
("To you")
Mother!
Your son is very sick!
Mother!
He has a heart of fire.
("A cloud in pants")
To you,
of course known
rhyme phenomenon.
Let's say
line
ended with the word
"father"
And then
through the line
repeating the syllable, we
We put
some:
lamb-tsa.
("Conversation with the financial inspector about the essence of poetry")
Here comes the evening
Into the night terror
Away from the windows
Frowning,
December.
("A cloud in pants")
Floors roar.
The streets are staring.
Doused with cold water.
All covered in smoke
and in the fingers
I pass the years.
("Russia")
I'm going - beautiful
Twenty-two years old.
("A cloud in pants")
4. Work on the topic of the lesson.
1) teacher's word : With great love, V.V. Mayakovsky wrote about the people building new life. That is why he angrily opposed those who interfered with this construction. “Weapons of the most beloved kind,” Mayakovsky defined his attitude to satire in this way.
Irony, hyperbole, grotesque, fantasy, sarcasm gave the poet's satirical works various shades.
"Mayakovsky smiles,
Mayakovsky laughs,
Mayakovsky mocks, ”he called one of the collections of his poems.
2 ) vocabulary work(means of artistic expression).
Teacher: Let's remember what the artistic and visual means written on the board mean. (Bold only on the board)
Irony (taunt)
Sarcasm (highest degree irony, evil, bitter or angry mockery)
Humor (kind, sympathetic laughter)
Satire (condemning, angry laughter)
Fantastic (contrived, implausible, supernatural)
Hyperbola (exaggeration)
Grotesque (excessive exaggeration, depiction of something in a fantastic, ugly comic way)
Allegory (figurative allegory)
Synecdoche (value transfer according to the principle of quantitative ratio, the name of the part instead of the whole).
Teacher: Actually satirical poems of the pre-revolutionary period are his famous "Hymns", published in the journal "New Satyricon". In the very titles of the hymns: "Hymn to the Judge", "Hymn to the Bribe", "Hymn to the Dinner" - there is a comic discrepancy: after all, the anthem is a solemn song, which is simply ridiculous to sing in honor of a dinner or a bribe.
3) Reading by trained students of poems and their discussion. (What does the author make fun of in these works?)
A) "Hymn to the Judge" (1915)
(Mayakovsky makes fun of social order Russia, although the distant country of Peru is named as the scene of action.. This country is ruled by dull judges, hostile to all living things. They themselves do not know how to enjoy life and forbid others to do it, they strive to regulate everything, to make it colorless. So, under the gaze of the judge, an orange-blue peacock's tail faded (grotesque). Further:
The judge caught both fluff and feathers
Shaved the poor hummingbird.
A play on words based on a similar sound (pun) creates a comic effect. The people under the rule of evil judges are given in the form of convicts rowing a galley. It is possible to free the convicts only by eliminating the judges who
... interfere with both the bird and the dance,
And me, and you, and Peru.)
B) "Hymn to Dinner" (1915)
(Mayakovsky is especially hated by the bourgeois world - the world of the “fat”. In the poem, a technique arises that is called a synecdoche (a part is called instead of the whole). Instead of a person, the stomach acts:
Panama stomach! Will they infect you
The majesty of death for a new era?!
You can't hurt your stomach
Except appendicitis and cholera!
Sleep without worrying about the picture of blood
And the fact that the world is surrounded by fire, -
Milk is rich in cow strength and
Immensely rich in bovine meat.)
Teacher: After the revolution, in which Mayakovsky sincerely believed, the satirical focus of his poetry changes. The heroes of his poems are the enemies of the revolution. In 1919-1922. Mayakovsky worked at the ROSTA Windows, drew posters, and wrote poetic captions for them. The poet sang of the victories of the Red Army, mercilessly ridiculed the enemies of the revolution, angrily spoke out against the philistines.
4) Electronic presentation of the student "Mayakovsky and" ROSTA Windows ".
5) In the post-revolutionary period, the poems “About Rubbish”, “Protected”, “Bribery”, “Protection” and others gained great fame.
6) Work in groups (4 groups).
Each group is given the task to analyze the specified poem, based on the proposed questions.
Group 1 - "On Rubbish" (1920-1921).
- Why does Mayakovsky condemn the townspeople?
What artistic and visual means does the poet use to denounce the philistines who have adapted to the new social order?
(The heroes of the civil war were replaced by new “heroes”, whom the poet stigmatizes with the words “rubbish”, “muzzle”, “scum”. They quickly adapted to the new social order. External disguise (portrait of Marx, Izvestia newspaper) hide the true essence tradesman, his desire for material well-being, comfort, prestige.
The poet uses various means of representation. Hyperbole (“having been sore from a five-year sitting ass ...”, “oh, and I’ll get myself Pacific breeches to look out of my pants like a coral reef”). A grotesque image of a bureaucrat is created, which has turned into an inanimate object, i.e. soulless. A grotesque picture emerges at the end - a traditional literary image of a portrait coming to life, this time a portrait of Marx, who makes a rather strange call to turn the heads of canaries. This appeal is meaningful only in the context of the entire poem, in which canaries have acquired a generalized meaning as a symbol of philistinism (allegory).
Group 2 - "Prosessed" (1922)
What causes the poet's anger?
For what purpose does he resort to fiction?
What means of expression does the author use?
What lines contain the main idea of the poem?
(The trend towards an increase in the bureaucratic apparatus was already outlined in the first years of Soviet power. Institutions began to emerge with incredible speed. They were mired in continuous meetings, meetings, imitating vigorous activity, but far from the true needs of the people. This poem is directed against them.
Visual means: hyperbole (exaggerated number of meetings), litote (purchase of a bottle of ink by the Gupkooperativ). Next, a fantastic picture is created (“half of the people are sitting”) in order to show that employees have to literally be torn between meetings that take place at the same time.
The main idea is in the last lines of the poem:
You won't fall asleep with excitement.
Early morning.
I dream of meeting the early dawn:
"Oh, at least
More
One session
Concerning the eradication of all meetings!”
This rhetorical exclamation expresses the author's dream of a time when all meetings will be eradicated.)
Group 3 - "Bribery" (1926)
What is the poem directed against?
- What is Mayakovsky calling for?
(In this poem, the poet’s anger is directed against another enemy of the revolution - bribery. First, a description is given of a certain “responsible person”, who is burdened all day by an “impassable thought”: where to attach a godfather. Mayakovsky writes with bitter irony that this official literally understood “brotherhood peoples" as the happiness of brothers, aunts and sisters". Called to the service of the people, he delays the solution of the issues entrusted to him until "a package with sheets of the latest data" appears on his table. slobbering, the bastard counts chervonchiki.’ Mayakovsky’s indignation grows, he writes:
Who stole bread
You don't need a car.
Maybe
forgive the killer.
Perhaps sick
crazy frenzy
In the shower
him
swirls.
But if
who hid
this is the ruble
palm
touches my hand,
I washed my hand
brick ototru
Foul skin from the palm of your hand.
The poet's contempt grows, and at the end of the poem it turns into an open protest:
Down with the suckers
to our
rows
And those
who to pennies
stuck!)
Group 4 - "Protection" (1926)
What does Mayakovsky denounce in this poem?
What is the composition of the poem? What is the ideological content of each part?
- What feeling is imbued with the last lines of the work?
(Mayakovsky struggled with the manifestation of bureaucracy and philistinism until the end of his life. In many of his poems, careerists, bribe-takers, sycophants, scoundrels are denounced. In this poem, the poet considers another evil - nepotism. Without patronage, influential support, not a single thing is solved. A bleak picture arises : a person is worth something in this life, if only he has "great connections". The composition of the poem is interesting. It consists of three parts. Part 1 - a description of various connections. Part 2 - showing how quickly any business is solved with these 3 parts are opposed (antithesis) in content family ties!”, “They won’t let you get close.”
With the hope of changing things for the better, the last lines sound:
Whoever they are
the culprits
Bipod small
or a big whale
Let's tear apart
Woven by officials
Web of nepotism
protection, red tape.)
7) Performance of groups with the analysis of the proposed poems.
8) Summing up the lesson.
Answer to the question:"Are Mayakovsky's satirical works relevant today?"
1) Answer in writing the last question of the lesson.
- "Sneaky" (1 level)
- "Sneaky", "Scum" (level 2)
- "Sneaky", "Scum", "Coward" (level 3).
V. Mayakovsky created satirical works at all stages of his creative path. It is known that in early years he collaborated in the magazines Satyricon and New Satyricon, and in his autobiography I Myself, subject to 1928, that is, two years before his death, he wrote: "Fine". True, the poet never wrote "Bad", but he paid tribute to satire both in poetry and in plays. Her themes, images, focus, initial pathos changed.
IN early poetry V. Mayakovsky's satire is dictated primarily by the pathos of anti-bourgeoisness, which is also of a romantic nature. In the poetry of V. Mayakovsky, a conflict traditional for romantic poetry arises creative personality, the author's "I" - a rebellion (it is not without reason that early V. Mayakovsky's poems are often compared with Lermontov's), the desire to tease, annoy the rich and well-fed, in other words, to shock them.
For futurism - the direction in poetry to which the young author belonged - such a theme was typical. The alien philistine environment was portrayed satirically. The poet draws her (the poem "Nate!") as soulless, immersed in the world of base interests, in the world of things:
Here you are, man, you have cabbage in your mustache
Somewhere half-finished, half-eaten cabbage soup;
Here you are, woman, - thick whitewashed on you,
You look like an oyster from the shells of things.
Already in early poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for Russian poetry and satirical literature. Thus, irony was introduced into the titles of a number of works, which the poet designated as "hymns": "Hymn to the Judge", "Hymn to the Scientist", "Hymn to Criticism", "Hymn to Dinner". As you know, the anthem is a solemn song. Mayakovsky's hymns are evil satire. His heroes are judges, dull people who themselves do not know how to enjoy life and bequeath it to others, strive to regulate everything, make it colorless and boring. The poet names Peru as the place of action of his anthem, but the real address is quite transparent. A particularly vivid satirical pathos is heard in the Hymn to Dinner. The heroes of the poem are the very well-fed ones who acquire the meaning of a symbol of the bourgeoisie. The poem uses a technique that in literary criticism is called a synecdoche: instead of the whole, a part is called. In the Hymn to Dinner, the stomach acts instead of a person:
Panama stomach!
Will they infect you
The majesty of death for a new era?!
You can't hurt your stomach
Except appendicitis and cholera!
A peculiar turning point in the satirical work of V. Mayakovsky was the ditty composed by him in October 1917:
Eat pineapples, chew grouse,
Your last day is coming, bourgeois.
There is also an early romantic poet, and V. Mayakovsky, who put his work at the service of the new government. These relations - the poet and the new government - were far from simple, this is a separate issue, but one thing is certain - the rebel and futurist V. Mayakovsky sincerely believed in the revolution. In his autobiography, he wrote: “To accept or not to accept? There was no such question for me (and for other Muscovites-futurists). My revolution."
The satirical orientation of V. Mayakovsky's poetry is changing. First, the enemies of the revolution become its heroes. This topic has become important for the poet for many years. In the first years after the revolution, the poet wrote poems that made up the "Windows of ROSTA", that is, the Russian Telegraph Agency, which produces propaganda posters on the topic of the day. V. Mayakovsky took part in their creation both as a poet and as an artist - many poems were accompanied by drawings, or rather, both were created as a whole in the tradition of folk pictures - luboks, which also consisted of pictures and captions to them . In "Windows of GROWTH" V. Mayakovsky uses such satirical devices as grotesque, hyperbole, parody. So, some inscriptions were created on the motives of well-known songs, for example, “Two Grenadiers to France” or “Flea”, famous for Shalyapin's performance. Almost always their characters - white generals, irresponsible workers and peasants, bourgeois - without fail in a top hat and with a fat stomach.
Mayakovsky makes maximalist demands for a new life, so many of his poems satirically show its vices. Thus, the satirical poems of V. Mayakovsky "On rubbish", "Protsessed" became very famous. The latter gives a grotesque picture of endless meetings of new officials. A grotesque picture emerges in "The Sitting Ones". The fact that “half people” are sitting is not only the realization of a metaphor - people are torn in half in order to do everything, but also an assessment of such meetings.
In these works, Mayakovsky is faithful to the traditions of Russian literature, as he continues the theme begun by Fonvizin, Griboyedov, Gogol and Saltykov-Shchedrin. So, in Mayakovsky’s poems “On Rubbish” and “The Sitting Ones”, the poet widely uses a whole range of comic devices to describe bureaucrats and bourgeois, whose desires do not extend beyond the “Pacific breeches” and the desire to “figure” in a new dress “at the ball in the Revolutionary Military Council. The poet uses both smashing epithets, and vivid comparisons, and unexpected allegories, but hyper-bole, sarcasm and grotesque reveal the essence of the vice with particular clarity.
For example, let's draw a parallel between the "Seated" and "Inspector". Both of them are complete literary works, having a plot, a climax and a denouement. The beginning of both works is hyperbolic: hopeless attempts by officials to get into several meetings at once, where the “purchase of a bottle of ink” is discussed, and in another work, out of horror, officials recognize Khlestakov as an auditor. The climax is grotesque. In "Happened": And I see:
Half of the people are sitting
Oh devilry!
Where is the other half?
In a few lines, Mayakovsky brought the situation to the point of absurdity. The transition to the climax in Gogol's "Inspector General" is smoother, but in its absurdity it is not inferior to "The Prosadden" and is characterized, for example, by such situations as a non-commissioned officer flogged herself, Bobchinsky, asking to be brought to the attention of His Imperial Majesty that in "such and such a city lives Pyotr Ivanovich Bobchinsky."
In the development of The Inspector General, Gogol reflected his belief in the strength and justice of the highest authority, in the inevitability of punishment. The denouement of "The Prose of the Sitting Ones" is ironic, which probably indicates that Mayakovsky understood the vitality, indestructibility of bureaucracy.
If we talk about Mayakovsky’s poem “On Rubbish”, then here we will find both the grotesque in the image of the revived Marx, calling to turn the heads of petty-bourgeois canaries, and the hyperbolic epithet “Pacific galifis”, and the sarcastic expression “mur-lo tradesman”, and the comparison “ buttocks as strong as washstands. The poet does not hesitate to use these tropes and stylistic figures, considering the philistine life, which is "more terrible than Wrangel."
This poem can be correlated with the pathos of Saltykov-Shchedrin's work. In his works, sarcasm, grotesque and hyperbole are found literally on every page, especially in "The Wild Landowner", "The Tale of How One Man Feeded Two Generals", "History of a City". In his works, Saltykov-Shchedrin often used the technique of fantasy. A similar technique was also used by Mayakovsky in the play Bedbug, in which Pierre Skripkin is transported into the future.
V. V. Mayakovsky followed the traditions of Gogol and Saltykov-Shchedrin not only in the use of literary devices, but also in the very subject matter of his satirical works, directed against inertia of thinking, bureaucratic, petty-bourgeois life and philistine vulgarity.
Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the standpoint of militant revolutionism, but from the standpoint of common sense. One of these poems is "A poem about Myasnitskaya, about a ba-be and about an all-Russian scale."
Here, the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of the average person. Baba, who was “covered with mud” on the impassable Myasnitskaya Street, does not care about global all-Russian scales. In this poem, you can see a roll call with the common sense speeches of Professor Preobrazhensky from M. Bulgakov's story "Heart of a Dog". The satirical poems of V. Mayakovsky about the passion of the new authorities to give the names of heroes to everyone and everything are permeated with the same common sense. So, in the poem “Terrifying familiarity”, the poet invented, but quite reliable, “Meyerhold Combs” or “Dog named Polkan” appear.
In 1926, V. Mayakovsky wrote the poem “Strictly Forbidden”:
The weather is such that May fit.
May is nonsense.
Real summer.
You rejoice in everything: the porter, the ticket inspector.
The pen itself raises the hand, and the heart boils with song gift.
Ready to paint the platform of Krasnodar to heaven.
Here to sing to the nightingale-trelera.
The mood is a Chinese teapot!
And suddenly on the wall:
- ask questions to controller
strictly prohibited! —
And immediately the heart for the bit.
Solovyov with stones from a branch.
And I want to ask:
- Well how are you?
How is your health?
How are the kids? —
I passed, lowering my eyes to the ground, only giggled, seeking protection,
And I want to ask a question, but I can’t - the government will still be offended!
In the poem, there is a clash of natural human feelings, moods with bureaucracy, with the clerical system, in which everything is regulated, strictly subject to rules that complicate people's lives. It is no coincidence that the poem begins with a spring picture, which should give birth and gives birth to a joyful mood, the most ordinary phenomena, such as the station platform, cause poetic inspiration. V. Mayakovsky finds an amazing comparison: “The mood is a Chinese tea caddy!”. Immediately a feeling of something joyful, festive is born, and such moods are crossed out by strict bureaucracy. The poet, with amazing psychological accuracy, conveys the feeling of a person who becomes the subject of a strict ban - he becomes humiliated, no longer laughs, but “giggles, seeking patronage.” The poem is written in a tonic verse characteristic of V. Mayakovsky's work, and it should be noted that rhymes "work" in it. So, the funniest word - "caddy" - rhymes with the verb "forbidden" from the wretched official vocabulary. Here the poet also uses a characteristic technique for him - neologisms: to the coach, nizya - a gerund from the non-existent “lower”. They are actively working on the disclosure of artistic intent. The lyrical hero of this work is not an orator, not a wrestler, but simply a person with his natural mood, inappropriate where everything is subject to strict regulations.
The poet Mayakovsky has entered our consciousness, our literature as "an agitator, a bawler, a ringleader." He really stepped towards us "through lyrical volumes, as if he were alive talking to the living." His poetry is loud, irrepressible, frantic. Rhythm, rhyme, step, march - all these words are associated with the poet's work. This is truly a giant poet. And the true assessment of his work is yet to come, because he is too large, voluminous, his poetry does not fit into the narrow and cramped world of our ideas.
