Mayakovsky V.V. Key dates of life and work
Born in the village of Baghdadi, Kutaisi province. His father was a nobleman, served as a forester, his ancestors were from the Cossacks of the Zaporozhye Sich; mother from a family of Kuban Cossacks. In 1902-1906. Mayakovsky studied at the Kutaisi gymnasium, in July 1906, after the death of his father, together with his mother and two sisters he moved to Moscow, where he entered the 4th grade of the 5th classical gymnasium (he was expelled from the 5th grade in March 1908 for non-payment of tuition fees). G.).
In Moscow, Mayakovsky met revolutionary-minded students, became interested in Marxist literature, joined the Bolshevik Party at the beginning of 1908, was arrested, spent 11 months in Butyrka prison, from where he was released in January 1910 as a minor. In prison, Mayakovsky wrote a notebook of poetry (1909), which was taken away by the guards; the poet calculated the beginning of his work from her. After his release from prison, he interrupts party work to “make socialist art.” In 1911, Mayakovsky entered the School of Painting, Sculpture and Architecture, where he met D.D. Burliuk, the organizer of the futuristic group "Gilea", who discovers in him a "genius poet". Three years later, in February 1914, Mayakovsky, together with Burliuk, was expelled from the school for public speaking.
In December 1912, Mayakovsky made his debut as a poet in the almanac “A Slap in the Face of Public Taste,” where his poems “Night” and “Morning” were published. It also published a manifesto of Russian Cubo-Futurists, signed by D. Burliuk, A. Kruchenykh, V. Mayakovsky and V. Khlebnikov. The manifesto proclaimed a nihilistic attitude towards Russian literature of the present and past: “Throw Pushkin, Dostoevsky, Tolstoy, etc., etc. from the Steamboat of our time. To all these Maxim Gorkys, Kuprins, Bloks, Sologubs, Remizovs, Averchenkos, Chernys, Kuzmins, Bunins and etc. etc. All you need is a dacha on the river. Such a reward is given by fate to tailors." However, contrary to declarations, Mayakovsky highly valued Gogol, Dostoevsky, Blok, and other writers who had a profound influence on his work. The year 1913 became creatively fruitful for Mayakovsky, when his first collection “I” (a cycle of four poems) was published, the programmatic tragedy “Vladimir Mayakovsky” was written and staged, and he and other futurists went on a large tour of Russian cities. The collection "I" was written by hand, accompanied by drawings by V.N. Chekrygin and L. Shekhtel and reproduced by lithographic method in the amount of 300 copies. This collection was included as the first section in the poet’s book of poems, “Simple as Mooing” (1916).
In 1915-1917 Mayakovsky undergoes military service in Petrograd at a driving school. On December 17, 1918, the poet for the first time read the poem “Left March (To the Sailors)” from the stage of the Sailors’ Theater. In March 1919, he moved to Moscow, began actively collaborating with ROSTA (Russian Telegraph Agency), and designed (as a poet and as an artist) propaganda and satirical posters for ROSTA ("Windows of ROSTA"). In 1919, the first collection of the poet's works was published - "Everything composed by Vladimir Mayakovsky. 1909-1919." At the end of the 10s. Mayakovsky connects his creative ideas with “left-wing art”, speaks in the “Futurist Newspaper”, in the newspaper “Art of the Commune”.
From the very beginning to the end of the poet’s days, Mayakovsky’s futurism had a romantic character. Mayakovsky remained a futurist in Soviet times, although with new properties: a “comfut”, that is, a communist futurist, as well as the leader of LEF (Left Front of the Arts) (1922-1928). In 1922-1924. Mayakovsky makes several trips abroad - Latvia, France, Germany; writes essays and poems about European impressions: “How does a democratic republic work?” (1922); "Paris (Conversations with the Eiffel Tower)" (1923) and a number of others. The poet will be in Paris in 1925, 1927, 1928, 1929. (lyrical cycle "Paris"); in 1925 Mayakovsky's trip to America (“My Discovery of America”) took place. In 1925-1928 He travels a lot around the Soviet Union, performing in a variety of audiences. During these years, the poet published many of his works: “To Comrade Nette, the Ship and the Man” (1926); "Through the Cities of the Union" (1927); "The story of the foundry worker Ivan Kozyrev..." (1928).
Researchers of Mayakovsky's creative development liken his poetic life to a five-act action with a prologue and epilogue. The role of a kind of prologue in the poet’s creative path was played by the tragedy “Vladimir Mayakovsky” (1913), the first act was the poem “Cloud in Pants” (1914-1915) and “Spine Flute” (1915), the second act was the poem “War” and the world" (1915-- 1916) and "Man" (1916--1917), the third act - the play "Mystery-bouffe" (first version - 1918, second - 1920-- 1921) and the poem "150,000 000" (1919-- 1920), the fourth act - the poems "I Love" (1922), "About This" (1923) and "Vladimir Ilyich Lenin" (1924), the fifth act - the poem "Good!" (1927) and the plays "Bedbug" (1928--1929) and "Bathhouse" (1929--1930), the epilogue - the first and second introductions to the poem "At the top of my voice" (1928--1930) and the poet's suicide letter " Everyone" (April 12, 1930). The rest of Mayakovsky's works, including numerous poems, gravitate toward one or another part of this overall picture, the basis of which is the poet's major works.
Mayakovsky's artistic world is a synthetic drama, which includes the properties of various dramatic genres: tragedy, mystery, epic-heroic drama, comedy, paradise, cinema, extravaganza, etc., subordinated to Mayakovsky's main one - the tragic character of his main character and the tragic structure of his entire work. It should be noted that not only his plays, but also his poems are dramatic in their own way and most often tragic.
In the tragedy "Vladimir Mayakovsky" the poet sees his life duty and the purpose of his art to contribute to the achievement of human happiness. From the very beginning, art for him was not just a reflection of life, but a means of remaking it, a tool for life-building.
Mayakovsky strives to put his lyrical and tragic hero, who expresses the aspirations of all humanity, in the place of God - decrepit, helpless, incapable of any deeds for the sake of people. This hero, because of his unrequited love for a woman and for people in general, becomes a fighter against God with the heart of Christ. However, in order to become a Man-God, the hero and all other people must be free, reveal their best capabilities, and throw off all slavery. Hence Mayakovsky’s revolutionary nihilism, which found its expression in defining the programmatic meaning of the poem “A Cloud in Pants”: ““Down with your love,” “down with your art,” “down with your system,” “down with your religion”—four cries of four parts.” . Mayakovsky contrasts love, art, the social system and religion of the old world with his love, his art, his idea of the social structure of the future, his faith in the ideal of a new, beautiful person in all respects. The attempt to implement this program after the revolution turned out to be tragic for the poet. In “The Cloud,” Mayakovsky comes out to the people of the “languageless” street in the role of a poet-prophet, “the thirteenth apostle,” “today’s screaming-lipped Zarathustra” to deliver a new Sermon on the Mount to them. Calling himself “the scream-lipped Zarathustra of today,” Mayakovsky wanted to say that he, like Zarathustra, is a prophet of the future - but not of a superman, but of humanity liberated from slavery.
In the tragic poems “Cloud in Pants”, “Spine Flute”, “War and Peace”, “Man” and “About This”, Mayakovsky’s hero, acting as a god-fighter, “thirteenth apostle”, Demon and warrior, appears tragic doubles similar to Christ. In depicting this tragic duality, Mayakovsky develops the traditions of Gogol, Lermontov, Dostoevsky and Blok, becoming a fighter against God with the heart of Christ. His fight against God begins with the torments of unrequited love for a woman and only then acquires social and existential meaning. In the poem "Spine Flute" he showed the coming holiday of mutual, shared love, and in the poem "War and Peace" - a holiday of fraternal unity of all countries, peoples and continents. Mayakovsky wanted shared love not only for himself, but “so that love would flow throughout the universe.” His ideals were tragically shattered by reality. The poem "Man" shows the collapse of all the hero's efforts and aspirations aimed at achieving personal and social ideals. This collapse is due to the inertia of human nature, the tragic lack of love, the slavish submission of people to the Lord of Everything - this omnipotent viceroy of God on earth, a symbol of the power of money, the power of the bourgeoisie, capable of buying love and art, subjugating the will and mind of people.
In the play "Mystery Bouffe" and the poem "150,000,000" the poet puts the revolutionary masses of the people in the place of God and Christ. At the same time, in contrast to Blok’s “Twelve,” Mayakovsky one-sidedly idealizes the social consciousness and creative capabilities of the revolutionary masses, who until recently were portrayed by the poet as faceless crowds of people, submissive to the Lord of Everything, and now, at the author’s prompting, self-confidently declaring: “We are ourselves and Christ and Savior!"
In the brilliant tragedy poem “About This,” Mayakovsky showed the lyrical hero’s struggle for ideal, shared love, without which there is no life. During this tragic duel, fantastic metamorphoses occur with the hero; his natural nature, under the influence of the “mass of love,” disincarnates and turns into creative and spiritual energy, the symbols of which are verse, poetry and the suffering Christ. The hyperbolic process of metamorphosis is expressed by the poet in a complex system of the poet’s tragic doubles: a bear, a suicidal Komsomol member, who simultaneously resembles Jesus, and Mayakovsky himself, and others. In general, this tragic metamorphic process takes the form of a mystery poem about love, suffering, death and the coming resurrection of the All-Man, the Natural Man, striving to take the place of God.
In the poem "Good!" and the satirical duology “The Bedbug” and “Bathhouse” Mayakovsky depicts how Soviet Russia is born in the revolutionary struggle, glorifies the “fatherland... which is, / but three times - which will be”, carefully follows the sprouts of a new life, striving like a romantic poet -Futuristic warehouse to help their rapid development. At the same time, he discovers in the embryo the cancerous tumors of Soviet society, threatening him with fatal diseases.
After the poem "Good!" Mayakovsky wanted to write the poem “Bad,” but instead he wrote the satirical plays “The Bedbug” and “Bathhouse,” in which he showed the most dangerous trends in the young Soviet society: the degeneration of workers and party members into philistines - lovers of a beautiful, “aristocratic” life for someone else’s account (Prisypkin) and the strengthening of the power of ignorant and incompetent party-Soviet bureaucrats like Pobedonosikov. The poet’s satirical dilogy showed that the majority of people were not ready to take the place of God and begin to realize the high ideals and potential of man. In the poem “At the Top of My Voice,” Mayakovsky calls the present “petrified shit,” and transfers the realization of his ideal of Man to the indefinitely distant “communist far.”
The poet's satire, especially "Bath", caused persecution from Rapp's critics.
In February 1930, the poet joined RAPP (Russian Association of Proletarian Writers). This act of Mayakovsky was condemned by his friends. Alienation and public persecution were aggravated by personal drama (“the love boat crashed into everyday life”). Mayakovsky was persistently denied permission to travel abroad, where he was supposed to have a meeting with a woman (poem “Letter to Tatyana Yakovleva”, 1928), with whom he intended to connect his life. All this led Mayakovsky to suicide, predicted in the tragedy “Vladimir Mayakovsky”.
Mayakovsky futuristic poet lyrical tragic
Vladimir Mayakovsky is the flame of the twentieth century. His poems are inseparable from his life. However, behind the cheerful Soviet slogans of Mayakovsky the revolutionary, one can discern another Mayakovsky - a romantic knight, a theurgist, a crazy genius in love.
Below is a short biography of Vladimir Vladimirovich Mayakovsky.
Introduction
In 1893, the future great futurist, Vladimir Mayakovsky, was born in the village of Bagdati in Georgia. They said about him: a genius. They shouted about him: a charlatan. But no one could deny that he had an incredible influence on Russian poetry. He created a new style that was inseparable from the spirit of Soviet times, from the hopes of that era, from the people living, loving and suffering in the USSR.
He was a man of contradiction. They will say about him:
This is a complete mockery of beauty, tenderness and God.
They will say about him:
Mayakovsky has always been and remains the best and most talented poet of our Soviet era.
By the way, this beautiful photo is fake. Mayakovsky, unfortunately, never met Frida Kahlo, but the idea of their meeting is wonderful - they are both like riot and fire.
One thing is certain: whether a genius or a charlatan, Mayakovsky will forever remain in the hearts of the Russian people. Some like him for the glibness and impudence of his lines, others - for the tenderness and desperate love that hides in the depths of his style. His broken, crazy style, breaking from the shackles of writing, which is so similar to real life.
Life is a struggle
Mayakovsky's life was a struggle from beginning to end: in politics, in art and in love. His first poem is the result of struggle, the consequence of suffering: it was written in prison (1909), where he was sent for his Social Democratic beliefs. He began his creative journey, admiring the ideals of the revolution, and ended it, mortally disappointed in everything: everything in him is a tangle of contradictions, struggle.
He ran like a red thread through history and art and left his mark in subsequent works. It is impossible to write a modernist poem without referring to Mayakovsky.
The poet Vladimir Mayakovsky is, in his own words:
But there is something else behind this rough, militant façade.
short biography
When he was only 15 years old, he joined the RSDLP(b), and was enthusiastically engaged in propaganda.
Since 1911, he studied at the Moscow School of Painting, Sculpture and Architecture.
Major Poems (1915): "Cloud in Pants", "Spine Flute" and "War and Peace". These works are full of delight for the coming, and then the coming revolution. The poet is full of optimism.
1918-1919 - revolution, he actively participates. Produces posters "Windows of Satire ROSTA".
In 1923, he became the founder of the creative association LEF (Left Front of the Arts).
Mayakovsky’s later works “The Bedbug” (1928) and “Bathhouse” (1929) are a sharp satire on Soviet reality. Mayakovsky is disappointed. Perhaps this was one of the reasons for his tragic suicide.
In 1930, Mayakovsky committed suicide: he shot himself, leaving a suicide note in which he asked not to blame anyone. He is buried at the Novodevichy cemetery.
Art
Irina Odoevtseva wrote about Mayakovsky:
Huge, with a round, short-cropped head, he looked more like a strong hooker than a poet. He read poetry completely differently than was customary among us. Rather like an actor, although - which the actors never did - not only observing, but also emphasizing the rhythm. His voice - the voice of a meeting tribune - either thundered so loudly that the windows rattled, or cooed like a dove and babbled like a forest stream. Stretching out his huge hands to the stunned listeners in a theatrical gesture, he passionately suggested to them:
Do you want me to go mad from meat?
And, like the sky, changing colors,
Do you want me to become inexpressibly tender, -
Not a man, but a cloud in his pants?..
These lines show Mayakovsky’s character: he is first of all a citizen, not a poet. He is first and foremost a tribune, an activist at rallies. He is an actor. His early poetry is, accordingly, not a description, but a call to action, not a statement, but a performative. Not so much art as real life. This applies at least to his social poems. They are expressive and metaphorical. Mayakovsky himself admitted that he was impressed by Andrei Bely’s poem “He launched a pineapple into the sky”:
low bass.
launched a pineapple.
And, having described the arc,
illuminating the surroundings,
the pineapple was falling,
beaming into the unknown.
But there is also a second Mayakovsky, who wrote without being impressed by either Bely or the revolution - he wrote from the inside, desperately in love, unhappy, tired - not the warrior Mayakovsky, but the gentle knight Mayakovsky, an admirer of Lilichka Brik. And the poetry of this second Mayakovsky is strikingly different from the first. The poems of Vladimir Mayakovsky are full of piercing, desperate tenderness, rather than healthy optimism. They are sharp and sad, in contrast to the positive cheerfulness of his Soviet poetic appeals.
Mayakovsky the warrior proclaimed:
Read! Envy! I am a citizen! Soviet Union!
Mayakovsky the knight rang with shackles and sword, vaguely reminiscent of the theurgist Blok, drowning in his purple worlds:
The fence of reason is broken by confusion,
I pile up despair, burning feverishly...
How did two such different people get along in one Mayakovsky? It is difficult to imagine and impossible not to imagine. If it were not for this internal struggle in him, there would not have been such a genius.
Love
These two Mayakovskys got along probably because they were both driven by passion: for one it was a passion for Justice, and for the second for a femme fatale.
Perhaps it is worth dividing the life of Vladimir Mayakovsky into two main periods: before and after Lilichka Brik. This happened in 1915.
She seemed like a monster to me.
This is how the famous poet Andrei Voznesensky wrote about her.
But Mayakovsky loved this one. With a whip...
He loved her - fatal, strong, “with a whip,” and she said about him that when she made love with Osya, she locked Volodya in the kitchen, and he “was eager, wanted to come to us, scratched at the door and cried...”
Only such madness, incredible, even perverted suffering could give rise to poetic lines of such power:
Don’t do this, dear, good, let’s say goodbye now!
So the three of them lived, and eternal suffering spurred the poet on to new lines of genius. Besides this, there was, of course, something else. There were trips to Europe (1922-24) and America (1925), as a result of which the poet had a daughter, but Lilichka always remained the same, the only one, until April 14, 1930, when, having written “Lilya, love me,” the poet shot himself, leaving a ring with LOVE engraved on it - Liliya Yuryevna Brik. If you twirled the ring, you got the eternal “lovelovelove.” He shot himself in defiance of his own lines, his eternal declaration of love, which made him immortal:
And I won’t throw myself into the air, and I won’t drink poison, and I won’t be able to pull the trigger above my temple...
Creative heritage
The work of Vladimir Mayakovsky is not limited to his dual poetic heritage. He left behind slogans, posters, plays, performances and film scripts. He actually stood at the origins of advertising - Mayakovsky made it what it is now. Mayakovsky came up with a new poetic meter - the ladder - although some argue that this meter was generated by the desire for money: editors paid for poems line by line. One way or another, it was an innovative step in art. Vladimir Mayakovsky was also an actor. He himself directed the film “The Young Lady and the Hooligan” and played the main role there.
However, in recent years he has been plagued by failure. His plays "The Bedbug" and "The Bathhouse" failed and he slowly fell into depression. An adept of cheerfulness, fortitude, and struggle, he scandalized, quarreled, and gave in to despair. And at the beginning of April 1930, the magazine “Print and Revolution” removed the greeting to the “Great Proletarian Poet” from print, and rumors spread: he had written himself off. This was one of the last blows. Mayakovsky took his failure hard.
Memory
Many streets in Russia, as well as metro stations, are named after Mayakovsky. There are Mayakovskaya metro stations in St. Petersburg and Moscow. In addition, theaters and cinemas are named after him. One of the largest libraries in St. Petersburg also bears his name. Also, a minor planet discovered in 1969 was named in his honor.
The biography of Vladimir Mayakovsky did not end after his death.
Works of Vladimir Vladimirovich Mayakovsky
MAYAKOVSKY Vladimir Vladimirovich (born July 7 (19), 1893, village of Baghdadi, Kutaisi province - died tragically on April 14, 1930, Moscow), Russian poet, one of the brightest representatives of avant-garde art of the 1910s - 1920s. In pre-revolutionary works, the confession of a poet, forced to the point of screaming, perceives reality as an apocalypse (tragedy “Vladimir Mayakovsky”, 1914; poems “Cloud in Pants”, 1915; “Spine Flute”, 1916; “Man” 1916-1917).
After 1917 - the creation of a socialist myth about the world order (the play “Mystery-bouffe”, 1918; the poem “150000000”, 1921; “Vladimir Ilyich Lenin”, 1924, “Good!”, 1927) and the tragically growing sense of its depravity (from the poem “The Seated”, 1922, to the play “Bath”, 1929).
Family. Studies. Revolutionary activities
Born into a noble family. Mayakovsky's father served as a forester in the Caucasus. After his death (1906), the family lived in Moscow. Mayakovsky studied at the classical gymnasium in Kutaisi (1901-1906), then at the 5th Moscow gymnasium (1906-1908), from where he was expelled for non-payment. Further education - artistic: he studied in the preparatory class of the Stroganov School (1908), in the studios of artists S. Yu. Zhukovsky and P. I. Kelin, in the figure class of the School of Painting, Sculpture and Architecture (1911-1914, expelled for participating in scandalous speeches of futurists).
Back in 1905, in Kutaisi, Mayakovsky took part in gymnasium and student demonstrations; in 1908, having joined the RSDLP, he conducted propaganda among Moscow workers. He was arrested several times, and in 1909 he spent 11 months in Butyrka prison.
He called the time of imprisonment the beginning of his poetic activity; the poems he wrote were taken away from him before his release.
Mayakovsky and futurism
In 1911, Mayakovsky began a friendship with the artist and poet D. D. Burliuk, who in 1912 organized the literary and artistic group of futurists “Gilea” (see Futurism). Since 1912, Mayakovsky has constantly taken part in debates about new art, exhibitions and evenings held by the radical associations of avant-garde artists “Jack of Diamonds” and “Youth Union”.
Mayakovsky's poetry has always maintained a connection with fine art, primarily in the very form of writing poetry (in a column, later in a “ladder”), which implied an additional, purely visual, impression made by the poetic page.
Mayakovsky’s poems were first published in 1912 in the almanac of the Gileya group “A Slap in the Face of Public Taste”, which included a manifesto signed by Mayakovsky, V.V. Khlebnikov, A.E. Kruchenykh and Burliuk, which in a deliberately shocking form declared a break with traditions of Russian classics, the need to create a new literary language appropriate to the era.
The ideas of Mayakovsky and his like-minded futurists about the purpose and forms of new art were embodied in the staging of his poetic tragedy “Vladimir Mayakovsky” (published in 1914) at the St. Petersburg Luna Park Theater in 1913. The scenery for it was made by artists from the “Youth Union” P. N. Filonov and I. S. Shkolnik, and the author himself acted as director and performer of the main role - a poet suffering in a disgusting modern city that has disfigured and corrupted its inhabitants, who, although they choose the poet as his prince, but they do not know how to recognize and appreciate the sacrifice he makes.
"The Creator in the Burning Hymn." Poetry of the 1910s
In 1913, Mayakovsky’s book of four poems entitled “I” was published, his poems appeared on the pages of futurist almanacs (1913-1915 “Mares’ Milk”, “Dead Moon”, “Roaring Parnassus”, they began to be published in periodicals, poems were published “Cloud in Pants” (1915), “Spine Flute” (1916), “War and Peace” (1917), collection “Simple as a Moo” (1916).
Mayakovsky's poetry is filled with rebellion against the entire world order - the social contrasts of modern urban civilization, traditional views of beauty and poetry, ideas about the universe, heaven and God. Mayakovsky uses militantly broken, rough, stylistically reduced language, contrasting traditional poetic images - “put love on violins”, “nocturne... on the flute of drainpipes”. The lyrical hero, shocking the average person with harshness, brittle language and blasphemy (“They caught a god with a lasso in the sky”), remains a romantic, lonely, gentle, suffering, feeling the value of “the smallest speck of living dust.”
Mayakovsky's poems of the 1910s were oriented towards reproduction orally - from the stage, at evenings, at debates (the collection “For the Voice”, 1923; in magazines, newspapers and book publications, poems often appeared in a form distorted by censorship). Their short chopped lines, “ragged” syntax, “colloquiality” and deliberately familiar (“familiar”) intonation were the best suited for listening comprehension: “... Do you, who love women and dishes, give your life to please?”
In combination with his tall stature (“hefty, with a long stride”) and Mayakovsky’s sonorous voice, all this created a unique individual image of a poet-fighter, a public rally speaker, a defender of the “languageless street” in the “hell of the city,” whose words cannot be beautiful, they are “convulsions stuck together in a lump.”
"Love is the heart of everything"
Already in the early rebellious poems of Mayakovsky, a significant place is occupied by the love lyrical theme: “My love, like an apostle in time, I will destroy roads along a thousand thousand.” Love “tortures the soul” of the suffering, lonely poet.
In 1915 Mayakovsky met Lilya Brik, who took a central place in his life. From their relationship, the futurist poet and his beloved sought to build a model of a new family, free from jealousy, prejudice, and traditional principles of relations between women and men in “bourgeois” society. Many of the poet’s works are associated with the name Brik; intimate intonation colors Mayakovsky’s letters addressed to her. Declaring in the 1920s that “now is not the time for love affairs,” the poet nevertheless remains faithful to the theme of love (lyric poems, the poem “About This,” 1923), which reaches a tragically heartbreaking sound in the last lines of Mayakovsky - in the unfinished introduction to the poem “At the top of my voice” (1930).
"I want to be understood by my country"
The revolution was accepted by Mayakovsky as the implementation of retribution for all those offended in the former world, as a path to earthly paradise.
Mayakovsky asserts the position of the Futurists in art as a direct analogy to the theory and practice of the Bolsheviks and the proletariat in history and politics. Mayakovsky organizes the group “Comfut” (communist futurism) in 1918 and actively participates in the newspaper
“The Art of the Commune”, in 1923 he created the “Left Front of the Arts” (LEF), which included his like-minded writers and artists, and published the magazines “LEF” (1923-1925) and “New LEF” (1927-1928). In an effort to use all artistic means to support the new state and promote new values, Mayakovsky writes topical satire, poetry and ditties for propaganda posters (“Windows of ROSTA”, 1918-1921).
The roughness, clarity, straightforwardness of his poetic style, the ability to transform the design elements of a book and magazine page into effective expressive means of poetry - all this ensured the success of the “ringing force of the poet,” wholly devoted to the service of the interests of the “attacking class.” The embodiment of Mayakovsky’s position in these years were his poems “150,000,000” (1921), “Vladimir Ilyich Lenin” (1924), “Good!” (1927).
"Windows ROSTA"
By the end of the 1920s, Mayakovsky had a growing feeling of inconsistency between political and social reality and the lofty ideals of the revolution that inspired him from his adolescence, in accordance with which he built his entire life - from clothes and gait to love and creativity. The comedies “The Bedbug” (1928) and “Bathhouse” (1929) are a satire (with dystopian elements) on an embourgeois society that has forgotten the revolutionary values for which it was created.
The internal conflict with the surrounding reality of the approaching “bronze” Soviet age undoubtedly turned out to be among the most important incentives that pushed the poet to the last rebellion against the laws of the world order - suicide.
In preparing this work, materials from the site http://www.studentu.ru were used
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Vladimir Vladimirovich Mayakovsky began his autobiographical narrative this way: “ 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 experimentation, innovation, and aspirations for the future world and future art. He always wanted to be heard, so he had to force his voice very much, as if shouting at the top of his lungs; in this sense, the title of the unfinished poem is “ In a loud voice"can characterize the entire work of Mayakovsky.
His aspiration for the future was expressed at the very beginning of his journey: in 1912, together with the poets D. Burliuk, V. Khlebnikov and A. Kruchenykh, he signed the manifesto “A Slap in the Face of Public Opinion.” The futuristic worldview remained with him throughout his life: this includes the deification of the future, its immense idealization and the idea that it is much more valuable than the present and the past; this is also “aspiration towards the extreme, the ultimate,” as N. Berdyaev characterized such a worldview; this is a radical negation of modern principles of life, which are conceived 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 turns out to be the word “down,” expressing a trait that is organic to the poet’s personality: extreme revolutionaryism and the need for a radical reorganization of the world order as a whole - a trait that led Mayakovsky to futurism in poetry and to the Bolsheviks in politics. In the same year the poem “ Flute-spine" Its plot was the beginning of a dramatic and even tragic relationship with a woman who went through Mayakovsky’s entire life and played a very ambiguous role in it - Liliya 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 benefit. 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 futurist ideas for practical development. It is precisely with this utilitarian attitude towards poetry that Mayakovsky’s propaganda work in ROSTA is connected, which published “Windows of Satire” - topical leaflets and posters with rhyming lines for 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 Arts"(1918). The theme of love - the poem " I love"(1922); " About it"(1923), although here too the gigantism and excessive hyperbolization characteristic of the lyrical hero’s worldview, the desire to present exceptional and impossible demands to himself and the object of his love, are manifested.
In the second half of the 20s, Mayakovsky increasingly felt like an official poet, a plenipotentiary representative 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 traveling abroad and clashing with representatives of an alien, bourgeois world (“ Poems about the Soviet passport", 1929; cycle " Poems about America", 1925). His lines can be considered a kind of motto of the “plenipotentiary representative of poetry”: “The Soviets / have their own pride: / we look down on the bourgeoisie.”
At the same time, in the second half of the 20s, a note of disappointment in revolutionary ideals, or rather, in the real embodiment they found in Soviet reality, began to sound in Mayakovsky’s work. This somewhat changes the problematic of his lyrics. The volume of satire is increasing, its object is changing: it is no longer a counter-revolution, but the party’s own, home-grown bureaucracy, the “philistine’s mug” crawling out from behind the back of the RSFSR. The ranks of this bureaucracy are filled with people who went through the civil war, experienced in battle, reliable party members, who did not find the strength to resist the temptations of nomenklatura life, the delights of the NEP, who experienced the so-called degeneration. Similar motives can be heard not only in lyrics, but also in drama (comedy " Bug", 1928, and " Bath", 1929). The ideal that is put forward is no longer a wonderful socialist future, but a revolutionary past, the goals and meaning of which are distorted by the present. It is precisely this understanding of the past that characterizes the poem “ Vladimir Ilyich Lenin"(1924) and the October poem " Fine"(1927), written for the tenth anniversary of the revolution and addressed to the ideals of October.
So, we examined Mayakovsky’s work briefly. The poet passed away on April 14, 1930. The cause of his tragic death, suicide, was probably a whole complex of insoluble contradictions, both creative and deeply personal.
Mayakovsky's biography contains many dubious moments that make us wonder who the poet really was - a servant of communism or a romantic? A short biography of Vladimir Mayakovsky will give you a general idea of the poet’s life.
The writer was born in Georgia, in the village. Baghdadi, Kutaisi province, July 7, 1893. Little Vova studied well and diligently, and showed interest in painting. Soon the Mayakovsky family experiences a tragedy - the father dies. Working as a forester, the father of the future poet was the only breadwinner. Therefore, a family that has experienced the loss of a loved one finds itself in a difficult financial situation. Next, Mayakovsky’s biography leads us to Moscow. Vladimir is forced to help his mother earn money. He has no time left for studies, so he cannot boast of academic success. During this period, Mayakovsky began to have disagreements with his teacher. As a result of the conflict, the rebellious nature of the poet manifests itself for the first time, and he loses interest in his studies. The school decides to expel the future genius from school due to poor performance.
Biography of Mayakovsky: youthful years
After school, Vladimir joins the Social Democratic Party. During this period, the poet was subjected to several arrests. Vladimir wrote his first poem at this time. After his release, Mayakovsky continued his literary work. While studying at the gymnasium, the writer met David Burliuk, who was the founder of a new literary movement - Russian futurism. Soon they become friends, and this leaves an imprint on the themes of Vladimir’s work. He supports futurists, joins their ranks and writes poetry in this genre. The poet's first works are dated 1912. Soon the famous tragedy “Vladimir Mayakovsky” will be written. In 1915, work on his most outstanding poem, “A Cloud in Pants,” was completed.
Biography of Mayakovsky: love experiences
His literary work was not limited to propaganda pamphlets and satirical fables. In the life and work of the poet there is a theme of love. A person lives as long as he experiences a state of love, as Mayakovsky believed. The poet's biography and work testify to his love experiences. The writer's muse, Lilya Brik, the closest person to him, was ambiguous in her feelings towards the writer. Another great love of Vladimir, Tatyana Yakovleva, never married him.
The tragic death of Mayakovsky
To this day, there are conflicting rumors about the mysterious death of the poet. In 1930, on April 14, the writer shot himself in his rented apartment in Moscow under unclear circumstances. Vladimir was 37 years old at that time. Whether it was suicide, or whether Mayakovsky was helped to go to the next world, one can only guess. A short biography of Mayakovsky contains evidence that confirms any of the versions. One thing is certain: the country lost a brilliant poet and great man in one day.
