Mayakovsky's love lyrics. Love lyrics in the works of Mayakovsky

The theme of love in the work of V. Mayakovsky. V. Mayakovsky is a poet of genius. His legacy is multi-dark and multi-genre, and therefore it is a shame that someone perceives Mayakovsky only as a poet-agitator or poet-satirist. The work of this man was integral, it was integral to his life.
The theme of love was never alien to Mayakovsky, since this feeling permeated through and through his stormy and restless life. But the poet, arguing that “love is the heart of everything”, was always against the vulgarization of this topic both in life and in art, he ridiculed those who “stick out, scribbling in rhymes, and love and nightingales some kind of brew”. Mayakovsky never limited this deep human feeling to the narrow framework of the selfish I, love in his work is extended to the horizons of the whole earth, space, even if it is undivided, unhappy:
... the love boat crashed against everyday life.
With you, we are in the calculation - and there is no need for a list of mutual pains, troubles and insults.
Look how quiet the world is
The night overlaid the sky with star tribute;
At such hours you get up and speak to the ages, history and the universe.
Everyday life, the philistine environment are the main enemies of all human feelings and love as well. In an environment equal to
blooms and shrinks”, and “between services, incomes and other things from day to day the soil of the heart hardens”. Yevgeny Yevtushenko wrote very truly about the poet: “Mayakovsky pulled love out of the alcoves ... and carried it like a tired deceived child, in his huge hands, braided with veins swollen from tension, towards the hated and dear street to him.”
The works of Mayakovsky, dedicated to L. Brik, reveal to us the full depth and strength of the feelings of the poet, who “scorched a blooming soul with love”, to whom “except for your love ... there is no sea”, “except for your love ... there is no sun” and “not one is joyful ringing, except for the ringing of your beloved name.” The feelings of the poet are huge, strong - this is both “mass-love” and “mass-hatred”. And at the same time - the endless quivering relationship:
Give me at least
with the last tenderness to cover your outgoing step.
For the sake of love, Mayakovsky is ready to sacrifice his whole life, because he is sure that "everyone pays for a woman." But this payment is made not with money, not with things, and not even always - with time, but with the soul, heart, often - with unbearable torment, suffering.
My love
like an apostle during it,
a thousand thousand I will smash the roads.
A crown has been prepared for you for centuries,
and in the crown my words are a rainbow of convulsions.
Mayakovsky believed that the rudeness, vulgarity, hypocrisy of the surrounding world can pervert a person’s feelings, destroy them even at the very moment of their inception. That is why he hated and actively fought the philistine world, ruthlessly scourging and ridiculing all its imperfections. And at the same time, this wonderful poet believed that true love is infinitely strong, omnipotent, neither life, nor resentment, misunderstanding can frighten it, it is able to stand up for itself, because this is not a selfish feeling, but a gift, a sacrifice to another, close and dear to you person.
Maybe from these days
creepy, like bayonets of the tip,
when the centuries whiten the beard,
only you will remain
and I,
following you from city to city.

The theme of love is a traditional, eternal theme of Russian literature. Love is a source of inspiration that pushes poets to create poems, many of which have become masterpieces of world literature. Each of the great poets saw something of his own in this great feeling. For example, for love is a delight in spiritual and physical beauty, it is an expression of boundless respect for a woman, it is a pure and bright feeling that elevates and ennobles a person. Love is the tragedy of his soul. All-encompassing love passion brings pain and suffering to the poet. The lyrical hero, who bows before the Beautiful Lady, is attracted primarily by the mystery of love, the ignorance of love feelings. Love in the work of Mayakovsky is peculiar and acquires an unconventional artistic expression.
Love for Mayakovsky is a capacious and multi-valued concept, for him it is immeasurably more than a theme, it is not a separate part of his poetry, but its essence, combining both personal and social principles, passing from one work to another.
He called his first poem (1915) "four cries" - "Down with your love", "Down with your art", "Down with your system", "Down with your religion". The first of these is probably the strongest and most poignant, only after it do the other three appear. This is the cry of a man mad with pain and hatred, injustice, a man suffocating in a terrible, devastating world.
The lyrical hero is engulfed in a great deal of feelings, he makes the highest demands on love: to twist himself so that “there were solid lips”, to be “impeccably gentle” - “a cloud in his pants”. Unrequited love breaks his heart, leads to the tragedy of stolen happiness. Therefore, a stream of unprecedented passions is growing inside him, a “fire of the heart” flares up. The first torment is the expectation of the beloved: "the sinewy hulk groans, writhes." More and more growing anger, pain, horror of what must happen, lead to the first culmination - the dance of nerves. The external resolution of the climax (“You came in”) turns out to be the starting point of growing despair and pain, and this tension, pouring out into images of great emotional strength (“I’ll jump out! I’ll jump out! I’ll jump out! the final stanzas of the first chapter, in the last cry, torn "into the centuries."
Such is the severity of love. Love-suffering, love-torment is destined for the lyrical hero. His high and beautiful feeling turns into pain, despair, bitterness and gradually acquires the character of a social drama. The beloved prefers to the poet another who has money, and, according to Mayakovsky, the social system is to blame for this.
Praying for pure love, not spoiled by any self-interest, the poet transfers all the passion of denial to the bourgeois world order, which gave rise to vile, corrupt, dirty love. The lyrical hero goes crazy, does not find a place for himself from the fact that in a world where everything is bought and sold, love also becomes an object of sale and purchase, that everything is decided by money for feelings. This is the most painful point of the poem.
The love of a poet is much more than the circle of personal relationships between a man and a woman, this feeling is all-encompassing, not confined to the narrow framework of intimate experiences alone (“I am not enough for me”), this is all that a person lives and breathes, therefore, a love tragedy for Mayakovsky - a worldwide, universal catastrophe. Such a maximalist idea of love resounds in later works.
Perhaps, precisely because the poet makes the highest demands on love, that he is extremely emotional and completely surrenders to love feelings, his personal life is very tragic. All his early works are permeated with a sense of deep tragedy.
For example, in the poem "Lilichka!" (1916) a sincere declaration of love is combined with a cry of resentment, pain and despair of an offended, misunderstood person.
The mood of the lyrical hero corresponds to the environment in which it is stuffy and painful for him to be. It seems that “tobacco smoke” not only “ate out the air”, but also “ate out” the atmosphere of warm relations, love and mutual understanding between a man and a woman. Therefore, the room where for the first time the lyrical hero, "frantic", stroked the hands of his beloved, becomes like hell. Love has passed, Lilichka has cooled down, she can expel, “scold”, the person who loves her. But that doesn't stop him from loving her. “There is no sea”, “there is no sun” to a lyrical hero without a lover. He would not have exchanged his beloved “for money and fame,” even after she “tormented the poet so much.” Her gaze is more terrible than any torture and death, because "it burned out the blossoming soul with love." The lyrical hero went mad, went wild from this love, which, like a "heavy weight", squeezes the poet's heart and soul, and from which "you can't beg for rest even with crying." But despite all the misfortunes and suffering that the cruel beloved brings to the poet, she is still dear to him, he is ready to cover her “leaving step” with all his “last tenderness”.
According to Mayakovsky, love is a feeling of complete dedication. He does not recognize half-hearted feelings. “A lot of love, a lot of hate” - this is how his lyrical hero defines his attitude to life in the poem “I Love” (1922). This is the first work of Mayakovsky about love, in which joy is heard, a jubilant mood of liberation from suffering, spiritual healing prevails, the theme of friendship, love and life, a joyful union of principles that were previously in hopeless enmity, sounded here.
The "solid heart" beating in Mayakovsky's poetry is overflowing with a sense of life. The lyrical hero is in a hurry to admire the heart, to enjoy the feeling of how "the miserly Pushkin knight descends with his basement to admire and rummage." In "I Love" Mayakovsky glorifies his "unchanging and faithful" love, which "neither a quarrel nor a mile away" can wash away, a love that is not threatened by life.
And again this feeling for the poet is much more than personal happiness. All the time we feel love for one person, for a woman, love for people. For without the general happiness of mankind, the poet does not represent personal happiness, true love.
The poem “I Love” is a poetic autobiography, where, in contrast to the “hardening of the heart soil” “between services, income and other things,” the poet swears: “I love unfailingly and faithfully!” Mayakovsky raises love to an unattainable height and recognizes his enslavement in love.
The same all-burning fire of love, which knows no mercy, indulgence - love to which a person is doomed and from which there is no salvation for him, completely permeates the poem "About This" (1923). In it, Mayakovsky, with special force and passion, asserts about love, which goes “to the whole Universe”, dreams of true love, which would become the law and life for everyone. The word about love is spoken by Mayakovsky the romantic, about love that would not be “a servant of marriages, lust, bread”, about love that would fill the Universe with itself, and “so that everything at the first cry - / Comrade! / - the earth turned around. Mayakovsky imagined such, such Mayakovsky wanted to see love. In his large diary letter, created in connection with the work on the poem “About this”, the poet wrote: “Love is life, this is the main thing. Poems and deeds unfold from her ...
Love is the heart of everything ... And if the heart works, it cannot but manifest itself in everything. The poem "About this" is the final passionate outburst in Mayakovsky's love poetry. After her, the love theme disappeared from his poetry for a long time.
But in the last years of his life, the poet is going through a difficult love drama. He has a strong feeling for a woman who left her homeland. Mayakovsky writes "Letter to Tatyana Yakovleva" (1928), not intending it for publication. However, this is something immeasurably broader than a personal letter. Mayakovsky was seized with a deep, sincere feeling, because with all the maximalist demands for love, he lacked simple human happiness, his personal life was extremely unsettled. Tatyana Yakovleva became for Mayakovsky a person who understood him well, was spiritually close to him. The poet himself admits: “You are the only one who is my height.” This poem is permeated by the same idea of true love as a source of vital and creative energy of a person. Mayakovsky again and again persistently affirms the mighty power of love, which inspires a real artist, inspires him to create. The poet cannot live without love, for him it is "an inexhaustible joy."
Dreaming of true, pure love, Mayakovsky despises petty-bourgeois love. Next to his "I love" - hatred directed against the "oil workers", against the "females" decorated with silks, against the corrupt "Parisian love". In the last lines of the poem, there is growing confidence that this dirty love will be conquered by the world that rises behind the poet’s love: “I will take you anyway someday - / alone or together with Paris.”
"Letter to Tatyana Yakovleva" directly echoes the "Letter to Comrade Kostrov on the Essence of Love" (1928). In it, Mayakovsky addresses the journalist Taras Kostrov, with whom he had a personal friendship. In this poem, as in all love lyrics, the poet seeks first of all to speak about some important features of a person's great feeling. Mayakovsky emphasizes that love is not a “passing pair of feelings”, it is not determined by external beauties (“To me, comrade, in the highest measure / do not give a damn about the domes”) and only ardent passion (“Love is not to boil steeper, / not that they burn coals”), Love for the poet is a source of powerful creative inspiration, prompting a person to vigorous activity: “until the night of the rooks, shining with an ax, chop wood, playfully with his strength.” Love does not allow a person to become exhausted, to fizzle out. This feeling cannot be defiled by jealousy "for the husband of some Marya Ivanna." Jealous - so to Copernicus, to the Universe. The "essence of love" is, first of all, in the prime of man's creative powers, in "that the exhausted motor of the heart is once again set to work." And then "from the pharynx to the stars the word rises like a golden-born comet." This meets the poet's maximalist requirements for life, for love. Such were his love feelings in reality.
Love for Mayakovsky was everything, he always remained a “solid heart”, “forever wounded by love”, open to “pains, insults, troubles” no less than high and joyful feelings. Mayakovsky sang love as a great, exceptional, all-consuming feeling, as the most magnificent acquisition of a person.

There are several "eternal" themes in literature. Poets are always interested in the themes of revolution, freedom, the meaning of life and the role of the poet in it. But still the most beautiful and sensual theme in poetry is the theme of love. A high feeling excited people at all times, whether it was troubled or happy days. And, of course, this theme did not pass by the Russian poetry of the early twentieth century, which, however, was busy singing the revolution and the ideas of equality and freedom.

The brightest representatives of the Silver Age did not bypass the theme of love, this motive runs through all their work, makes them admire and bow before a woman.

Although we are accustomed to perceive Mayakovsky as a poet of the revolution, love lyrics are far from the last place in his work. Love for him is a feeling that knows no peace. The poet does not hold back emotions, he splashes them out, screams. Mayakovsky does not tolerate any semitones in feelings. He either loves or not. Even jealousy for him should be high, and not insignificant, everyday and ordinary:

To love is from the sheets,

insomnia torn, break down,

jealous of Copernicus, him,

and not the husband of Marya Ivanna,

considering him a rival.

However, the feeling of love, unrequited love, coarsened the poet, made him cruel. Mayakovsky ceases to believe in earthly love, in his opinion, it is impossible in the vulgar, ordinary, superficial world:

Enough!

I swear by my heathen power! -

beautiful

I won't waste my soul

rape

and in my heart I will spit resentment against her.

Blok's work is characterized by rich, complex, mysterious symbolism, which creates the attraction of his poetry. All of Blok's poetic skill was reflected in love lyrics. The poet often refers to the theme of the Beautiful Lady. Beauty, tenderness, harmony, mystery - this is what combines his ideal. Block is waiting for her appearance, he lives for her. But at the same time, he is afraid of being deceived in his dreams and desires:

I feel you. Years pass by

All in the guise of one I foresee You.

However, the changes in Russia have a strong effect on Blok. He sees only hopelessness, lack of love and understanding. Everything high and beautiful perishes in this chaos:

Is this house really a house?

Is it so destined between people

Only lips with gore

On your golden icon

(Is this what we called love?)

Oh my Rus'! My wife!

Yesenin's work is also inextricably linked with the theme of love. The poet cannot but love, but admire. He breathes love, lives it. In Yesenin's poems, a wide variety of experiences found a place - the joy of meeting with a loved one, longing for parting, sadness, happiness and joy. But the most important thing is that the poet's theme of love is closely and inextricably intertwined with the theme of the Motherland. Love for a woman is revealed through love for the native land:

green hair,

Maiden chest.

Oh, thin birch,

What did you look into the pond?

The poet's beloved is the embodiment of the beauty of the surrounding world, the beauty of the native land.

However, the further moods of the poet are seriously changing. Desperate for the outcome of the revolution, seeing the chaos that it brought, uncertainty and insensitivity, Yesenin is going through a difficult period of his life. In his poems, high feelings are no longer sung, there is no admiration and enjoyment of nature. Even the girl is no longer a slender birch, but a "lousy" one who was "beaten", for the poet she is now stupid and disgusting.

No matter how different love is, this feeling is still beautiful. That is why so much is written about love. Despite the fact that Mayakovsky, Yesenin, and Blok changed their attitude to love, they experienced it, and this made them happy and raised them to heaven. And, reading their works, we ourselves involuntarily experience all their feelings and passions, poets help us to love and make us kinder and cleaner.

MOSHI "Beloyarsk School - Boarding School of Secondary (Complete) General Education"

Abstract on the topic:

THE THEME OF LOVE IN V.V. MAYAKOVSKY

11 "A" class student

Head: Evdokimova Alena Alexandrovna,

teacher of Russian language and literature

With. Beloyarsk, 2008

I. Introduction………………………………………………………………3 p.

II. Main part

2.1 The theme of love in the work of V.V. Mayakovsky ………………5 p.

III. Conclusion……………………………………………………....17 p.

IV. References…………………………………………….. 19 p.

V. Application………………………………………………….………20 p.

Introduction

Vladimir Vladimirovich is one of my favorite poets. Mayakovsky is the forerunner, singer and victim of the October Revolution of 1917. He sings, describes, expresses the world he himself experiences, his worldview, through the images he creates. The work of poets is always interesting. A person changes, society changes - certain verses appear that reflect his thoughts, and therefore, one way or another, the society in which he lives. Therefore, the biography of the poet always helps to understand the meaning of his works, to look at the world, events through his eyes.

Mayakovsky and love lyrics. I used to think that these two concepts are incompatible; after all, when studying Mayakovsky's poetry, attention is usually paid to his civil and philosophical aspects. This is quite natural and is determined by the desire to present the author as the main poet of the revolution. Fortunately, in recent years more and more materials have begun to appear that make us take a fresh look at the life and work of Mayakovsky. Moreover, the more I learn about Mayakovsky as a person, the more interesting he becomes to me in his work. A real revelation for me was Mayakovsky's love lyrics.

The theme of the personal life of famous writers and poets is always intriguing, because it is very interesting to consider their work at certain moments in their lives. V. Mayakovsky has long been considered a poet, glorifying the revolution, the Soviet system. All the specifics of his work in Soviet literature were associated with agitation poems. The poet was one of the most talented futurists. V. Mayakovsky impressed his contemporaries with “the originality of form, originality of syntax, boldness of inversions, unusual materiality of images, ... cruel sharpness of motives.” Therefore, such a traditional theme as love, lyrics in the poet's work is not traditional, unexpected. “He wanted the impossible. His feelings were exaggerated ... People and passions in his mind took on grandiose outlines. If he wrote about love, the love was enormous.”

Purpose of my essay: to consider and study the theme of love in the work of V.V. Mayakovsky.

Tasks:

1) Study the biography of the poet.

2) Analyze the love work of V.V. Mayakovsky.

Assessing his first experience of composing poetry, Mayakovsky writes in his autobiography: “The Third Gymnasium published the illegal magazine Impulse. Offended. Others write, but I can't?! Began to creak. It turned out incredibly revolutionary and ugly to the same extent ... I wrote the second. It came out lyrically. Not considering such a state of the heart compatible with my "socialist dignity", I quit altogether. It was this peculiar embarrassment to write lyrics, to look like everyone else, that further influenced the poet's reflection of the theme of love in his poems.

Love. The inexhaustibility of this topic is obvious. At all times, judging by the legends and legends of different peoples that have come down to us, it excited the hearts and minds of people. Love is the most complex, mysterious and paradoxical reality that a person faces. And not because, as it is usually believed, that there is only one step from love to hate, but because love cannot be “neither calculated nor calculated”! In love, it is impossible to be petty and mediocre - it requires generosity and talent, vigilance of the heart, breadth of soul, kind, subtle mind and much, much more than nature has endowed us with in abundance, and that we unreasonably waste and dull in our vain life. Poets and writers, philosophers and mystics, artists and composers of different eras turned to this eternal theme, trying to express the charm, harmony, drama of love, to comprehend its secret by means of their genre. The theme of love in the works of great poets is always relevant, because like nothing else it allows you to feel their inner world and state of mind so deeply. Today, humanity has a colossal historical and literary material for understanding the phenomenon of love.

Although early Russian literature does not know such beautiful images of love as the literature of Western Europe, but at the end of the 19th and beginning of the 20th centuries, the theme of love breaks into Russian literature with volcanic energy. For several decades in Russia, more has been written about love than for several centuries. Moreover, this literature is distinguished by intensive searches and originality of thinking. Unfortunately, I would like to dwell on only one of them - Vladimir Vladimirovich Mayakovsky.

The poet reveals the depth of his love, the magnitude of suffering with lines understandable to everyone: “Not a single ringing is joyful, except for the ringing of your beloved name”, “Give me at least the last tenderness to cover your departing light.”

1. The theme of love in the work of Mayakovsky V.V.

V. Mayakovsky wrote about love in his diary: “Love is life, this is the main thing. Poems, deeds, and everything else unfold from it. Love is the heart of everything". The poet transferred this thesis to his work, reflecting it in various versions, even considering love not only as a relationship between a man and a woman, but also more broadly love for the whole world, built on the basis of these relationships, love for the party, system, etc.
V. Mayakovsky also speaks against philistinism in love, about personal relationships in people's relationships in verses of 1915. For example, in the poem "Naval Love", the poet describes the love of a destroyer and a destroyer with a sad ending. After the intervention of the “copper voice” in the relationship of loving hearts, after hitting the rib of the miner, the miner was widowed. The poem also reflects the personal understanding of the author, a speech against philistinism in love. The muse of the poet is Lilya Brik. He dedicated early lyrical poems to her (Lilichka! Instead of a letter, 1916):

And I won’t throw myself into the span,
And I won't drink poison
And I can’t pull the trigger over my temple.
over me,
Except your gaze
The blade of a single knife is not powerful ...

The depth of his love, the magnitude of suffering, the poet reveals with lines understandable to everyone: “Not a single ringing is joyful, except for the ringing of your beloved name”, “Give me at least the last tenderness to cover your departing light.”

V. Mayakovsky's poem "A Cloud in Pants" is dedicated to Lila Brik. They met in 1914. Osip Brik, L. Brik's first husband, was an admirer of V. Mayakovsky's work. It was he who published "A Cloud in Pants" as a separate book with his own money.

Mayakovsky’s biographer notes that the poet’s Lilya “was connected with some kind of mystical feeling, much deeper than ordinary love for a woman ... Lilya really was a muse for the poet, and not only the inspirer of his poetry, but also life support. After all, Mayakovsky rather wanted to be a "roarer" and a "rebel" and really seemed like that to many, but in his heart he was a vulnerable person and not even self-confident. To those who listened to Mayakovsky's speeches, who admired his bravado, thunderous voice, and enthusiasm, this might seem like an invention. His huge figure seemed to be the embodiment of strength. But, nevertheless, like many people of art, in the depths of his soul, Mayakovsky constantly needed assurances of his greatness. Lilya Brik listened to the poet, admired him, reassured him, inspired confidence. She did not play and certainly did not flatter him, she really was sure of his genius. She generally had the talent to listen to people in such a way that they grew in their own eyes.

Katanyan V.A., a biographer of V. Mayakovsky, collected and published in 1993. In the collection “The name of this topic: love,” the memoirs of women close to Vladimir Vladimirovich, who played a more or less prominent role in the life of the poet. Among them: Sofia Shamardina, Marusya Burliuk, Elsa Triolet, her sister Lilya Brik, Natalya Bryukhanenko, Natalya Ryabova, Galina Katanyan and Veronika Polonskaya, Elizaveta Sieber, Tatyana Yakovleva. V. Mayakovsky fell in love more than once.

The poet speaks of his love for Yakovleva in the verses “Letter to Comrade Kostrov on the Essence of Love”. V. Mayakovsky's love is ready to sweep away all obstacles. He compares it to a natural disaster generated by "hurricane, fire and water":

Us
Love is not a paradise but a bush,
Us
Love
Buzzing about it
What now
Put into work
hearts
Exhausted motor.

"Emigrant" and "non-returner" - so the poet's contemporaries spoke about T. Yakovleva. This love story is full of tragedy. The best Soviet poet can fall in love with a Russian emigrant? It's not Soviet. Therefore, the poems written by Mayakovsky about her, dedicated to her, were not published for a long time. Reflecting his admiration for his beloved, Mayakovsky wrote:

You and us
needed in Moscow
lacks
leggy.

Tatyana Yakovleva evoked a great feeling in the poet, he dedicated poems of amazing power to her:

You are the only one for me
straight growth,
get close
with an eyebrow...
Jealousy,
wives, tears...
well them! -
swollen eyelids,
fit Viu.
I'm not myself
and I
jealous
for Soviet Russia.

As for the place of the theme of love in the work of Mayakovsky, A. Subbotin in the book "Horizons of Poetry" proves that the motive of the exaltation of love permeates all the work of the poet. Because not only a poet of this magnitude, but also any “person cannot “just live” and “just love”. He needs to understand, realize, explain to himself and others why he lives and loves this way and not otherwise ... ".

Mayakovsky's love combined "personal and public". Hyperbole was the dominant style of Mayakovsky. His passions were as hyperbolic as the images. If he loved, it was unimaginable love. His love lyrics, depicting unrequited love, are painful to the point of screaming, to the point of hysteria.

MOSHI "Beloyarsk School - Boarding School of Secondary (Complete) General Education"

Abstract on the topic:

THE THEME OF LOVE IN V.V. MAYAKOVSKY

11 "A" class student

Head: Evdokimova Alena Alexandrovna,

teacher of Russian language and literature

With. Beloyarsk, 2008

I. Introduction………………………………………………………………3 p.

II. Main part

2.1 The theme of love in the work of V.V. Mayakovsky ………………5 p.

III. Conclusion……………………………………………………....17 p.

IV. References…………………………………………….. 19 p.

V. Application………………………………………………….………20 p.

Introduction

Purpose of my essay: to consider and study the theme of love in the work of V.V. Mayakovsky.

1) Study the biography of the poet.

2) Analyze the love work of V.V. Mayakovsky.

1. The theme of love in the work of Mayakovsky V.V.

And I won’t throw myself into the span,
And I won't drink poison
And I can’t pull the trigger over my temple.
over me,
Except your gaze
The blade of a single knife is not powerful ...

Us
Love is not a paradise but a bush,
Us
Love
Buzzing about it
What now
Put into work
hearts
Exhausted motor.

You and us
needed in Moscow
lacks
leggy.

Tatyana Yakovleva evoked a great feeling in the poet, he dedicated poems of amazing power to her:

You are the only one for me
straight growth,
get close
with an eyebrow...
Jealousy,
wives, tears...
well them! -
swollen eyelids,
fit Viu.
I'm not myself
and I
jealous
for Soviet Russia.

With the appearance in print of "Clouds in Pants" ("The Thirteenth Apostle"), an event that was by no means an ordinary event took place in Russian poetry. The poem of the 22-year-old Mayakovsky encroached on the foundations of the bourgeois world order and predicted the imminent arrival of the revolution. In the words of the poet himself, it was the result of "a strengthened consciousness of an imminent revolution."

Mayakovsky began his poem in the first half of 1914, after visiting Odessa during the Black Sea tour. In Odessa, Mayakovsky fell in love with the young Maria Denisova, a girl of extraordinary charm and strong character. I fell in love unrequitedly, suffered from it, and already on the way to the next city in the train car I read the first lines of the poem to my friends ... Then there was a big break, the war pushed this plan away. And when the insight came about the war, when the origins of the world catastrophe were revealed to the poet, he realized that he was ready to continue working on the poem, but in a different understanding of life in general. The love drama grew into the drama of life. The poet himself defined the meaning of the work in this way: "Down with your love", "Down with your art", "Down with your system", "Down with your religion" - four cries of four parts. The poem was completed by July 1915.

At the very beginning of the poem, in its preface, the offensive power of youth is affirmed:

I don’t have a single gray hair in my soul, And there is no senile tenderness in it! Having thundered the world with the power of my voice, I’m walking - beautiful, twenty-two years old.

Youth and love go hand in hand. The theme of love is the main one in the first chapter of the poem. The love drama that serves as the plot twist is unusual. In the love triangle, there is no successful lucky rival whom Maria fell in love with. She doesn’t say at all when explaining whether she loves or doesn’t love, she only says: “You know, I’m getting married.” She is the Gioconda, "which must be stolen!". She was stolen, bought, seduced by wealth, money, comfort ... Any of these assumptions can be true. In the triangle, the third character includes the bourgeois order of life, where the relationship between a man and a woman is based on profit, self-interest, buying and selling, but not on love. Here Mayakovsky typifies the phenomenon, departs from the real fact, since Maria Denisova did not get married then, this happened later. And her marriage was not a marriage of convenience: a different fate, a different character. And in general, the heroine of the poem is a collective image (although at the very beginning of work on the poem, Mayakovsky wrote specifically about Denisova). The name Maria, according to the poet, suits him more than any other, it seems to him the most feminine.

The hero of the poem suffers deeply. Suffering and despair push him to rebellion, and his suffering spills out on such a powerful lyrical wave that can flood a person, dragging him into a stream of unprecedented passions. This is where paradoxical metaphors are born:

I hear: quietly, like a patient from a bed, a nerve jumped. Or: Mother! Your son is very sick! Mom! He has a heart of fire. Or: I'll bulge out my eyes, teary with barrels, Let me lean on my ribs. And etc.

The structure of the first chapter, as well as the entire poem, is distinguished by aggressive vocabulary, street rudeness and deliberate anti-aestheticism. Blasphemy reveals anarchic tendencies, the rebellious element of the poem. The hero of Mayakovsky is a powerful image of denial, rebellion. The first chapter of the poem is permeated with the theme of love, but this love is unrequited; and therefore very strong:

Will there be love or not? Which one - big or tiny?

The hero's love is such a powerful impulse that it incinerates him internally. But this feeling is not autonomous, it takes on the character of a social drama. Praying for pure love, not spoiled by any self-interest, the poet transfers all the passion of denial to the bourgeois world order. In him, he sees evil that distorts morality, and does not want to accept it anymore. In the poem “A Cloud in Pants”, Mayakovsky seeks to put his lyrical and tragic hero, expressing the aspirations of all mankind, in the place of God - decrepit, helpless, incapable of any or deeds for the sake of people. This hero, because of his unrequited love for a woman and for people in general, becomes a theomachist 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 potential, throw off all slavery. Hence the revolutionary nihilism of Mayakovsky, which found expression in the definition of 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". Mayakovsky opposes 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, wonderful person in all respects. An 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 "tongueless" street in the role of a poet-prophet, "the thirteenth apostle", "today of the cry-lipped Zarathustra" to deliver a new Sermon on the Mount to them. Calling himself "today's screaming Zarathustra," Mayakovsky wanted to say that he, like Zarathustra, is a prophet of the future - but not of the superman, but of mankind liberated from slavery.

In the tragedy poems “A Cloud in Pants”, “Flute-Spine”, “War and Peace”, “Man” and “About This”, the hero of Mayakovsky, acting as a god-fighter, “the thirteenth apostle”, a Demon and a warrior, has tragic twins like Christ. In the depiction of this tragic duality, Mayakovsky develops the traditions of Gogol, Lermontov, Dostoevsky and Blok, becomes a theomachist with the heart of Christ. His theomachism begins with the pangs of unrequited love for a woman and only then acquires a social and existential meaning. In the poem "Flute-Spine" he showed the coming holiday of mutual, shared love, and in the poem "War and Peace" - the holiday of fraternal unity of all countries, peoples and continents. Mayakovsky wanted shared love not only for himself, but "so that love would go to the whole universe."

The ideals of V. Mayakovsky were tragically shattered against reality. The poem "Man" shows the collapse of all the efforts and aspirations of the hero, aimed at achieving personal and social ideals. This collapse is due to the inertia of human nature, the tragic lack of love, the slavish obedience of people to the Lord of Everything - this omnipotent vicar 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.

The poem "About this" is also devoted to the theme of love. The poem consists of a prologue and two parts: "The Ballad of Reading Jail" and "Christmas Night". The introduction answers the question: “About what - about this?”. The conclusion "A petition addressed to ...", like the prologue, is called half-jokingly. If in the main part a lyrical hero stands out, then in the introduction and conclusion he merges with the author himself. A feature of the poem is that everything described does not actually happen, but in the mind of the lyrical hero, and passes as a change of figurative associations. The whole description is permeated with a mournful, indignant and tragic tone and is framed by the author's deeply optimistic oratorical tone.

V. Mayakovsky began work on the poem "About this" in December 1922. He doomed himself to domestic confinement in order to think in private and comprehend how a new person should live, what his morals, way of life, love should be in post-revolutionary conditions. Mayakovsky defined the main theme of the poem in this way: "For personal reasons about the common life."

In this topic, both personal and petty,
sung more than once or five,
I circled a poetic squirrel
and I want to spin again.

In February 1923, the poem was already finished. Although the work was created in such a short time, within two months, according to A. Metchenko, a researcher of Mayakovsky’s work, “in terms of the speed of response to topical questions,“ About This ”is not inferior to any of Mayakovsky’s post-October works.” And, of course, in two months he went through not only "thousands of tons of verbal ore", but also passed through himself a powerful stream of thoughts that flooded over this topical topic. Contemporaries did not even understand and did not accept this poem.

The hero, due to some complex relationship that remains outside the poem, is separated from his beloved and feels in his room as in a prison. The phone for him is a straw for a drowning man. He finds out that she is ill, and "more terrible than bullets" is that they do not want to talk to him. The feeling of "scratching jealousy" turns the hero into a bear. But the "bear" suffers, cries. Tears are water.

This association grows into the image of a river. A love delusional hallucination begins. He is already floating along the Neva on the “floe-pillow” into the past and recognizes himself in the “man because of seven years”, also rejected by his beloved. From the pages of the poem a cry for help is heard: “Save me! There on the bridge, on the Neva, a man!” the hero swims on, and under him "a pillow island grows." The island grows into dry land, and now it is already in Moscow in the same guise of a bear. He appeals to everyone he meets with a plea to help that man on the bridge. Nobody understands him. He is horrified to be convinced that in himself, and not only in those around him, the remnants of the past have not been uprooted. And at this time, “a man because of seven years” himself “walked” to the hero of the poem and declares to him that he is ready to suffer alone for everyone whose love is vulgarized by the philistine life. Half-delirious, half-asleep, the hero sees himself on the bell tower of Ivan the Great and from below “duelists are going against him”, “you are our hundred-year-old enemy. One already got caught - a hussar! - the insolent philistines mock the hero-poet, comparing him with Lermontov. They shoot him “from a hundred paces, from ten, from two at point-blank range - for a charge, a charge ...” a terrible dream, but the poet-hero lives on. The essence of his struggle and revival is that "At the Kremlin, poetic shreds shone in the wind like a red flag." The victorious hero floats aboard the constellation Ursa Major, bawling "verses to the universe into noise." The ark sticks to the window of his room, where his fantastic journey began. The hero now merges with the poet himself, reveals the meaning of everything that happened in the final "resolution".

In the poem, Mayakovsky showed the struggle of the lyrical hero for an ideal, shared love, without which there is no life. In the course of this tragic duel, fantastic metamorphoses occur with the hero, his natural being, under the influence of the “mass of love”, disincarnates, turns into creative and spiritual energy, the symbols of which are verse, poetry and the suffering Christ. The hyperbolic process of metamorphoses is expressed by the poet in a complex system of tragic doubles of the poet: a bear, a suicidal Komsomol member, similar at the same time to Jesus, 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.

After the appearance of the poem, many wrote that it reflected the period of the New Economic Policy. But Mayakovsky took more broadly, returning to the past and outlining the future. One of the main themes of the poem is the struggle against philistinism. Mayakovsky is fighting the vulgarity of the philistine, with everything that is “driven into us by the departed slave”. But the most important thing in the poem is "the militant affirmation of great love", the restoration of this feeling, mutilated by possessive relationships. The problem of sex thus develops into a social and humanistic problem. With his poem, according to I. Mashbits-Verov, “Mayakovsky ... affirms the possibility and necessity of great, beautiful, undying love. Mayakovsky is fighting for this. It is only necessary to destroy the abomination of buying and selling, the criminal possessive world that turns women into “a bundle of rags and meat” ... ”It is this world that separates the lovers in the poem, perverts the beloved. The collision of the poem is tragic, because it is based on “the clash of two forms of life, two attitudes to the world” (A. Metchenko). Here a compromise with oneself can lead to the disintegration of the personality. And therefore, “the leitmotif of the poem “About this,” writes A. Metchenko, “is the demand for integrity, the ideal of a person, integral, both in public and in private life.”

This theme will come, will never wear out,
only say: - From now on, look at me! -
And you look at her, and you go as a standard-bearer,
red-silk fire over the land of the banner.
This is a tricky topic! Dive under the events
In the recesses of instincts preparing to jump
And as if furious - dared to forget her! -
will shake; souls will fall from the skins ...

The theme of the first chapter is still relevant today. In the episode of the conversation on the phone, the hero does not want to admit to himself that his beloved has rejected him, that he does not recognize the right of a woman to freedom of feelings. Here is such a dilemma: the question of the exclusivity of the high essence of love and jealousy as a base feeling of the owner, which has long been a feeling and the right of a man. The poet, as if continuing the poem "About this" in 1928 in "Letter to Comrade Kostrov from Paris on the essence of love" writes:

To love is from sheets, torn insomnia,
break loose, jealous of Copernicus,
him, and not the husband of Marya Ivanna,
considering him a rival.

In the system of images of the poem “About this”, the main place is occupied by the lyrical hero, his relationships and connections with other images. The tension of the conflict is that the hero is surrounded by rudeness, violence, dirty words. His aspirations are incomprehensible to the closest people. Everyone who surrounds him, love is "replaced by tea, darning socks." This makes the hero step over even his family. And here is the last hope. Through the hated world of philistinism, the poet makes his way to his beloved.

Now only you could save.
Get up! Let's run to the bridge! -
A bull in the slaughterhouse under attack
He bent my head.
I'll pick myself up and go there.
One second and I'll go.

But ... she is surrounded by the same hostile rabble. And the hero has to step over even his own love. The most difficult, however, is not this. The most difficult thing for a lyrical hero is the restructuring of consciousness. There are strong attempts to evade the struggle for the new in the family and love, conservatism and the inertia of the old thinking when the situation requires a new approach to life. The essence of the inner struggle of the lyrical hero lies in the fact that she "goes for the establishment of the principles of a new morality in the most intimate areas of life, everyday life." There is a temptation to compromise, to achieve reciprocity, but for this the lyrical hero would have to “shorten” his “huge-love”. The idea of surrender is rejected, since the hero cannot replace his love with the darning of socks, he cannot kill a person in himself. Because love is impossible in the world of merchants, just as beauty and goodness are impossible in it.

Therefore, it should be said that the poem "About this" reflects the most important, turning point in the formation of a new person. The hero has a need to "shake his gray-haired soul out of himself." “The poet,” according to Lurie, “is especially keenly aware of the fact that the liberation in the revolution ... from the norms of the old morality and proprietary fetters did not become for a person of Soviet society a real freedom from the power of the old world, did not lead to a complete renewal of the spiritual and moral world of the individual. It suddenly opens before him that this super-difficult task can be solved in a distant historical perspective, in the change of a number of human generations. The poet learns from his own bitter experience how difficult and painful the path of moral self-purification ... "

Your thirtieth century will overtake the flocks
the heart of the torn little things.
Today we will make up for the unloved
The stardom of countless nights.
Resurrect at least for the fact that I am a poet
waiting for you, threw away everyday nonsense!
Resurrect me at least for this!
Resurrect - I want to live my life!
So that there is no love - servants
Marriages, lust, bread.
Cursing the bed, getting up from the couch,
so that love flows throughout the universe.
So that the day, which is aging with grief,
do not baptize, please.
So that all at the first cry: - Comrade! -
The earth turned around.
To live not as a sacrifice at home to holes
so that from now on I can become in my family
father, at least in peace,
earth, at least - the mother.

Even 70 years after that revolution, we still feel the relevance of the problems raised by Mayakovsky in this poem, literally in everything, from the theme of love and life to the restructuring of consciousness, the restructuring of thinking. In this regard, we can say that Mayakovsky's poem "About This" is modern in content and for her, in connection with the same fundamental changes in society, a new life begins. Because, just like then, we need to fight for the future, to “dredge” the future into the present. This is what Mayakovsky is talking about when addressing a chemist of the 20th century in a poem. And the remnants of the past are the strongest and longest kept in everyday life. In some ways, we have gone far ahead of what is described in the poem, but in some ways we have not even made a step.
The poem in the conditions of Soviet Russia in the 20-30s of the twentieth century was developed by other poets, among whom were Yesenin, Pasternak, Akhmatova, Tsvetaeva. They have, with all the differences between them, something unifying, due to the time of revolutionary changes in society. However, with all this, when comparing, for example, Mayakovsky's poems "About this" and Yesenin's "The Black Man", it turns out that Mayakovsky's poem is much larger in socio-historical and philosophical terms. The poet was far ahead of his time, capturing and reflecting in the poem the barely noticeable sprouts of the future, which is largely due to the misunderstanding and rejection of the poem "About this" by contemporaries. When compared with Tsvetaeva and Pasternak, the same thing appears: “where Tsvetaeva puts an end to and ends the life of the heroine, and Pasternak absorbs, absorbs life with all its properties of today’s history, Mayakovsky goes further, courageously explores reality in all its inconsistency and strives to the distant future. The perspective is important to him,” writes A.N. Lurie. Therefore, Mayakovsky's poetic thought turns out to be more effective, since it proceeds from a concrete historical assessment of reality. He declares thus:

Well, from the heights of poetry I rush into communism,
For I have no love without him.

For Mayakovsky, the traditional “he and she is my ballad” turns out to be narrow, the poet’s intensely searching thought breaks these boundaries and expands from the world of apartments to the scale of the entire planet, from love for a woman to the problems of universal community, from the 20th to the 20th century. This is how an innovative work in structure arose, synthesizing various genre varieties of the poem.
Mayakovsky approached the problem of personality in life and art in a new way. The theme of love, which belongs to the so-called "pure" poetry, Mayakovsky won back for social lyrics: love and life, love and family, love and friendship, love and the struggle for the triumph of communism in the atmosphere of those years. The poet, as a citizen of his time and his country, demonstrates under what conditions this topic “will never wear out”, how the idea of love must change so that this topic does not become petty. In this regard, Mayakovsky's "Application addressed to ..." is significant, which enriched literature with a wonderful poetic program for the future, in which personal, intimate feeling is exalted as a powerful factor in the unity of man with humanity. So it turns out that the ideal of love, affirmed by Mayakovsky, is inseparable from the victory of communism. This ideal has nothing to do with love, understood as an attribute of a double bed. This ideal rises to a sense of kinship with all working humanity, pushes the boundaries of the family. Before Mayakovsky, world lyrics did not know such an understanding of love.

It remains to note the significance of the poem "About this" in the development of the genre. This poem is not everyday, but romantic, affirming the greatness of exclusivity in love, and not the so-called "free love." Based on the fact that in the poem the main interest is caused by feelings, aspirations, thoughts, I. Mashbits-Verov characterizes the poem as psychological and philosophical. Of course, this poem is specific in many ways, but it does not stand alone in a number of monumental poetry, which always artistically explores the urgent, key problems of the time. Some researchers (A. Subbotin) indicate the successive connection of Mayakovsky with Pushkin, Lermontov, Nekrasov. For subsequent generations of poets, Mayakovsky himself is a model of an innovative, bold approach to poetry. In all this, we see the enormous significance of the poem "About this" and its innovative genre originality.
Even in the suicide letter of V. Mayakovsky, love is mentioned:

Lily, love me.
Comrade government, my family is Lilya Brik, mother, sisters and Veronika Vitoldovna Polonskaya.
If you give them a decent life, thank you.
As they say -
"Incident is over"
love boat
crashed into life.
I'm in with life
and no list
mutual pain, troubles and insults.
Happy staying, Vladimir Mayakovsky.

12.4.30.

Conclusion

For a long time V. Mayakovsky was considered a poet, glorifying the revolution, the Soviet system. All the specifics of his work in Soviet literature were associated with agitation poems. The poet was one of the most talented futurists. V. Mayakovsky impressed his contemporaries with “the originality of form, originality of syntax, boldness of inversions, unusual materiality of images, ... cruel sharpness of motives.” Therefore, such a traditional theme as love, lyrics in the poet's work is not traditional, unexpected. “He wanted the impossible. His feelings were exaggerated ... People and passions in his mind took on grandiose outlines. If he wrote about love, love was enormous.

Summing up, I would like to say that Russian literature of the 19th-20th centuries constantly turned to the theme of love, trying to understand its philosophical and moral meaning.

On the example of Mayakovsky's works discussed in the abstract, I tried to reveal the theme of love in literature and philosophy.

V. Mayakovsky wrote about love in his diary: “Love is life, this is the main thing. Poems, deeds, and everything else unfold from it. Love is the heart of everything." The poet transferred this thesis to his work, reflecting it in various versions, even considering love not only as a relationship between a man and a woman, but also more broadly love for the whole world, built on the basis of these relationships, love for the party, system, etc.

The goal of my essay has been achieved. Having studied the biography and love lyrics of V.V. Mayakovsky, we came to the conclusion that love is a constant lyrical theme of poetry. But due to the specifics of style, hyperbolism in V. Mayakovsky, it acquires an unconventional shade. It seems that the poet speaks clearly, understands, feels like everyone else, but expresses it in some other words, somehow differently. Usually poets use nature to describe, emphasize feelings. In Mayakovsky's works there is no landscape, no nature. This makes even tender feelings somehow rough, but no less strong. Behind hyperbolic, futuristic images, reflections hides an ordinary romantic with a vulnerable soul.

No matter how one relates to his work, it colored an entire historical era. Mayakovsky's poems will be studied in the new millennium, which he dreamed about in his works.

Literature

1. Big school encyclopedia. 6-11 cells - T. 1. - M., 1999.
2. Goncharov B.P. Poetics of Mayakovsky. - M., 1983.
3. Korenevskaya E. The love boat crashed into everyday life: Lilya Brik is the only muse. Big heart of a poet. Two deaths. // Website: Arguments and Facts.
4. Lurie A.N. Lyrical hero in Mayakovsky's poems. Lecture. - L., 1972.
5. Mashbits-Verov I. Poems of Mayakovsky. - M., 1963.
6. Mayakovsky V.V. Poems. - L., 1973.
7. Metchenko A. Mayakovsky's creativity. 1917-1924 - M., 1954.
8. Nyanin A. Genre originality of the poem by V.V. A.M. Gorky, Faculty of Philology, Department of Literature // Website: Press Center "Golden Gates of the Urals". 2001.
9. Pertsov V. Mayakovsky: life and work. v.2. (1918-1924). - M., 1976.
10. Petrosov K.G. Creativity VV Mayakovsky. - M. 1985.
11. Russian writers of the twentieth century: Bibliographic dictionary. - T1. - M., 1999.
12. Subbotin A. Horizons of poetry. - Sverdlovsk, 1984.
13. Timofeev L. Poetics of Mayakovsky. - M., 1941.
14. Encyclopedia for children. - T. 9: Russian literature. - Part 2: XX century. - M., 1999.

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