Mayakovsky's early lyrics: features, originality. Hyperbole and litotes in poetry Mayakovsky’s early works are especially rich in hyperboles

V. Mayakovsky entered the history of Russian literature of the twentieth century as an innovative poet. He introduced a lot of new things into both the content and the form of the verse.

If we consider content, then Mayakovsky mastered new themes of revolution, civil war, socialist construction, and in this aspect. Which was typical only for him. This was expressed in the combination of a lyrical and satirical view of reality.

Mayakovsky's innovation was especially evident in form. The poet created new words and boldly introduced them into his poems. Neologisms enhanced the expressiveness of poetry: “two-meter-tall snake,” “huge plans,” “red-skinned passport,” etc., which is why they are called expressive-evaluative author’s neologisms.

Mayakovsky used techniques of oratory and colloquial speech: “Listen! If the stars light up, does that mean someone needs it?”, “Read, envy - I am a citizen of the Soviet Union!”

Of particular importance in Mayakovsky’s poetry are rhythm And intonation, which formed the basis of his verse system. The poet himself, in the article “How to Make Poems,” explained the features of his system. For him, rhythm, intonation, and pauses are important in poetry. Mayakovsky's poem is called that - intonation-tonic. The poet put the most semantically important word at the end of the line and always selected a rhyme for it. This word was thus highlighted twice - by intonation, logically and by consonance with another important word, i.e. semantic stress. To enable the reader to feel his own intonation, Mayakovsky graphically began to separate lines with pauses. This is how the famous “ladder” was formed

Mayakovsky's innovation is connected not only with the system of verse. Of particular importance is the nature of the imagery of Mayakovsky's poetry.

I immediately blurred the map of everyday life,
splashing paint from a glass;
I'm shown on a platter of jelly
slanted cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
play nocturne
we could
on the drainpipe flute?

An essential feature is its strong social overtones. Most often, the social emphasis of a poetic image is manifested in a separate trope - metaphor, personification, comparison.

Take a look at Russia from above -
turned blue by the rivers,
as if a thousand rods were spreading,
as if slashed with a whip.
But bluer than the water in spring,
bruises of Rus' serf.

With figurative social perception of the landscape, natural phenomena are endowed with signs of social relations. A very common technique in Mayakovsky’s poetics is hyperbola. A sharp look at reality led Mayakovsky to hyperbolism. The image of the proletariat as a community, the plans of the community, etc. runs through a number of works.

Metaphor Mayakovsky is always noticeable. The poet refers to the phenomena that surround a person in everyday life, widely introducing associations with everyday objects: “The sea, shiny. Than a doorknob." Mayakovsky's poetry became the basis for the tradition of accented or intonation-tonic verse, which was continued by N. Aseev, S. Kirsanov, A. Voznesensky, Y. Smelyakov.

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Hyperbole (Greek hyperbole - exaggeration) is a type of trope that comes down to exaggerating the properties, characteristics of objects, phenomena in order to enhance the expressiveness and imagery of artistic speech.

And half-asleep shooters are lazy
Tossing and turning on the dial
AND THE DAY LASTS FOR MORE THAN A CENTURY
AND THE HUG DOESN'T END.
(B. Pasternak.)

The highlighted lines contain hyperbolas, as they say, in their pure form. Everyone knows that the length of the day is a finite and variable quantity in physical and psychological terms, i.e. depends on the time of year, month, as well as on mood, fullness of certain events and experiences. In the quoted poem, the poet talks about those winter days when the sun turns to summer, the mood changes, and time itself is especially felt. There are only two hyperbolic words: “longer than a century,” but how deeply and figuratively they convey the poet’s state of mind, his fascination with the very duration of time, and the reflexive verb “end” in a negative form conveys the infinity of love.

As a literary device, hyperbole emphasizes the subjectivity of the created image, its deliberate conventionality. But at the same time, hyperbole maintains a connection with reality: hyperbolization is based on an assessment of artistic phenomena (images) that have their analogue in reality. The artist raises the depicted phenomena to a superlative degree and scales them; he does not deceive readers, but creates for them a world of displaced proportions, exaggerated passions, infects them with this world, causing a reaction of trust. This stimulates the imagination, forces one to pay attention to the highlighted features of phenomena, and highlights the character traits of literary heroes.

Hyperbole is an artistic invention, and not a lie in its usual sense. The basis of hyperbole is objective, real. In other words, a lie can be an element that enhances hyperbolization, giving it a special aesthetic charm. Simple lies, lies - pure fiction. In Chekhov's story "Rural Aesculapians" there is a portrait of paramedic Gleb Glebych, "who has not washed or scratched himself since the day he was born." Allowing for the possibility of such sloppiness and uncleanliness (and in this sense departing from the truth), the writer creates a comic and, if you like, satirical skit. There is hyperbole here. What about lies? If it is present, it is as a “moment of truth”, about which it cannot be said that “this can never happen.” Thus, the main difference between hyperbole and lies is that, by hyperbolizing, the artist strengthens something that really exists; and in a lie there is nothing but fiction.

When fables are attached to stories, either for the sake of boasting, or simply to capture the imagination of the interlocutor, the story takes on an exaggerated form. As the Liar from Krylov’s fable boasts:

In Rome, for example, I saw a CUCUMBER:
Ah, my Creator!
And to this day I can’t remember the time!
Will you believe it? Well, really, HE WAS OUT OF THE MOUNTAIN!

Although the exaggerated image of reality is not intended for literal understanding, the exaggeration cannot be endless - in highly artistic creativity there is always an aesthetic measure. As in the words of Boris Godunov from Pushkin’s tragedy of the same name, addressed to Shuisky:

Listen, prince: take measures this very hour;
So that Russia is protected from Lithuania
Outposts; so that not a single soul
Didn't cross that line; SO THAT THE HARE
DID NOT RUNE TO US FROM POLAND; SO RAVEN
DIDN'T ARRIVE FROM KRAKOW...

The emphatically conventional image of reality created with the help of hyperboles reflects the author’s special emotional state - intoxication with feelings, which prevents one from seeing things in their true dimensions.

The origins of hyperbole are in human nature itself. At the dawn of humanity, this “intoxication with feelings” was generated by people’s defenselessness before the forces of nature, their weakness. Even the ancient Greek researcher Demetrius (c. 1st century AD) wrote: “Every hyperbole deals with the incredible [in reality].” In the primitive era, exaggeration of the forces of nature, and then of society, incomprehensible to man, becomes a characteristic feature of worldview schemes and art. It permeates mythology, folklore, and ancient literature. At a later time, hyperbolization as “intoxication with feelings” becomes one of the methods for describing heroic, tragic, romantic behavior (attitude).

Hyperboles are traditionally used when describing the strength of a hero in folklore:

And he began to walk with the axle,
And he began to swing the axle:
Wherever the street goes, there it is,
And when he turns around, it’s a side street...
(Bylina "Vasily Buslaevich")

The language of hyperbole is also characteristic of classicism:

Suvorov stood on Gall,
And the mountains cracked under him.
(G.R. Derzhavin.)

Lomonosov, who praises “silence” (peace) in his ode, still places the empress above her, following the genre canon:

Great light of the world,
Shining from the eternal heights
On beads, gold and purple,
For all the earthly beauties,
He lifts his gaze to all countries,
But THERE IS NO MORE BEAUTIFUL IN THE LIGHT
ELIZABETH AND YOU.
Besides that, you are above everything;
HER SOUL IS ZEPHYR QUIET,
AND THE SIGHT IS MORE BEAUTIFUL THAN HEAVEN.
(V.M. Lomonosov "Ode on the day of accession to the All-Russian throne...
Elisaveta Petrovna, 1747.")

Hyperbole refers to a figure of speech called “multiple exaltation”, i.e. using the plural to refer to oneself. This phrase is a cliche of many official speeches and documents, as in the manifesto of the All-Russian Emperor. Or in Pushkin’s “Boris Godunov,” the Pretender addresses a crowd of Russians:

We thank our Don army!
We know that now the Cossacks
Unjustly oppressed, persecuted;
But if God helps us to enter
To the throne of the fathers, then we are in the old days
Welcome to our faithful free Don.

Playing the role of a king, the Pretender revels in it. One feels that the pronoun “we” caresses his ears.

Hyperbole can convey feelings of anger:

"I WOULD LIKE TO BURN bureaucracy..."
(Mayakovsky. Poems about the Soviet passport),

Or a feeling of sadness:

"Motherland!
Name me such an abode,
I HAVE NEVER SEEN AN ANGLE LIKE THIS
WHERE ARE YOUR SOUNDER AND GUARDIAN,
WHERE WOULDN'T A RUSSIAN MAN MOAN?"
(Nekrasov. Reflections at the front entrance).

With the help of hyperbole, the artist emphasizes not only the strength of his feelings, but also the significance of phenomena (events), the value of some individual things, their properties, size, color, etc. Hyperbole is indispensable if you need to “say something lofty” and “exalt the insignificant” . The expression of an image in hyperbole is often achieved by an unexpected convergence of completely heterogeneous, contrasting objects and phenomena:

"He takes it like a bomb, he takes it like a hedgehog,
like a double-edged razor,
takes like a rattlesnake with 20 stings
a two-meter-tall snake"

(Mayakovsky. Poems about the Soviet passport).

Like other tropes, the author's hyperbole plays with all its colors in the context of a work of art, where it is often used along with hyperboles - “tumbleweeds”, which have long lived outside their primary context, and have become stable, catchphrases:

"Ah! Evil tongues are more terrible than a pistol; There is no stronger beast than a cat; I’ll tell you a hundred times!; Fear has big eyes; I won’t forget a century; A mind-boggling chamber; A million torments; Visible and invisible; I should sink on the spot; Seven Fridays in a week.

Hyperboles can be expressed by different parts of speech:

Noun:
“And the pine tree reaches the star...” (O.E. Mandelstam);
- numeral:
“Thousands of varieties of hats, dresses, scarves - colorful, light... will dazzle anyone on Nevsky Prospect” (Gogol. Nevsky Prospekt);
- adjective:
“Pulcheria Ivanovna’s economy consisted of... salting, drying, boiling a COUNTLESS MANY fruits and plants” (Gogol. Old World Landowners);
- pronominal adjective:
“Here you will meet a wonderful mustache, impossible to depict with any pen or brush...” (ibid.)

Like other tropes, they can be simple and detailed, expressed in several phrases.

In artistic speech, tropes are often combined with each other, which, on the one hand, enriches the style of the work, and on the other hand, gives rise to the possibility of ambiguous interpretation of certain tropes, and therefore difficulties with their definition. And it is hyperbole that is especially often woven into other tropes (on this basis, some researchers even deny it independence); only its specific types make it possible to isolate it. Let us give several examples of such a combination of tropes.

Hyperbole - comparison:
“I look thin, sickly, but I have the strength of a bull...” (Chekhov. Oversalted).

Hyperbole is a metaphor:
“You exhaust a single word for the sake of / thousands of tons of verbal ore” (Mayakovsky. Conversation with a financial inspector about poetry).

Hyperbole - irony:
“Here is the new Hercules, having gathered all the strength / that was in him, / carried half a skull to the bear with an ax...” (Krylov. Peasant and worker).

A hyperbole “on the contrary” can be called LITOTE (Greek litotes - smallness, moderation) - a deliberate understatement or softening of the properties, characteristics, meanings of any objects, phenomena in order to enhance the emotional impact, in particular the expression of the author's assessment:

My Marichen is so small, so small,
What from the wings of a mosquito
I made two shirtfronts for myself
And - into starch...
(K.S. Aksakov. My Marichen is so small, so small...)

The main thing that brings litotes and hyperbole together is “excess”. Therefore, sometimes litotes is considered as a type of hyperbole. Litotes is also a way of creating a subjective evaluative image with the help of “sensual excesses,” and this is its expressiveness. With the help of litotes, the artist is able to convey a lyrical mood, an undivided rapture with one feeling:

Only in the world is there something shady
Dormant maple tent.
Only in the world is there something radiant
Childishly thoughtful gaze,
Only in the world is there something fragrant
Sweet headdress,
Only in the world is there this pure
Parting to the left.
(Fet. Only in the world is there anything shady...)

Litota conveys the comic delight of the fable hero who did not notice the elephant:

"What tiny cows!
There really is less than a pinhead!”
(Krylov. Curious).

This technique is often resorted to in social satire:

“One gets a donut, the other gets a donut hole.
This is a democratic republic"
(Mayakovsky. Mystery-bouffe).

Litota brings expression to the description. Litotes, like hyperboles, are often combined with other tropes into a single complex trope.

For example: litotes - irony:

"I love their legs; but I hardly
You will find in Russia a whole
Three pairs of slender female legs..."
(Pushkin. Evgeny Onegin);

Litota - comparison:

"The shadows of the evening hair are thinner
Behind the trees they stretch along"
(Parsnips. The shadows of the evening are thinner than a hair...).

There are transitive and reflexive litotes. If the speaker (narrator, lyrical subject, character) talks about another person, belittling him, we can talk about TRANSITIVE, transitional LITOTE. Transitive litotes is an effective means of conveying a contemptuous attitude towards someone or something:

“This small semblance of a person dug, pored, wrote and finally concocted such a paper...” (Gogol. The story of how Ivan Ivanovich quarreled with Ivan Nikiforovich).

If the subject engages in self-deprecation and downplays any of his own characteristics, we are talking about REFLECTIVE LITOTES:

“But still, forgive me, father, a barely visible insect, if I dare to refute...” (Chekhov. Letter to a learned neighbor).

Obviously, this division can be extended to hyperbolas. Using a transitive hyperbole - comparison, Nekrasov describes the beauty of Russian peasant women:

Wouldn't a blind person notice them?
And the sighted man says about them:
“It will pass as if the sun will shine!
If he looks, he’ll give me a ruble!”
(N.V. Nekrasov. “Frost, Red Nose”)

In I. Severyanin we find a colorful reflexive hyperbole:

I, the genius Igor Severyanin,
Intoxicated with his victory:
I'm completely screened!
I am completely confirmed!
(I. Severyanin. “Epilogue”)

Let's summarize. Hyperbole and litotes are peculiar tropes. They combine constructions of phrases inherent in both epithet, comparison, and metaphor, and can, for example, be simultaneously classified as comparison, epithet or metaphor, and hyperbole (litotes), if precisely in meaning they have the meaning of exaggeration ( understatement). We usually recognize this trope in a poetic text not by some characteristic construction or by the part of speech used, but solely by its meaning.

WAYS OF CREATING HYPERBOLIC EFFECT IN V. MAYAKOVSKY’S WORK. (HYPERBOLIC IMAGES AT THE METAPHORICAL LEVEL. (BASED ON THE EXAMPLE OF THE POEM “OUTLOOK”))

Fattakhova Aida Zhavdatovna

2nd year master's student, Department of Russian Language, Theoretical and Applied Linguistics, Udmurt State University, Russian Federation, Izhevsk

E-mail: a19 f19@ mail. ru

Donetskikh Lyudmila Ivanovna

scientific supervisor, Dr. Ph. Sciences, Professor Udmurt State University, Russian Federation, Izhevsk

V. Mayakovsky is a bright and multifaceted personality in the history of Russian literature and culture in general. Being an extremely sensitive and emotional person, he deeply and subtly perceived everything that happened around him. Devotion to the revolutionary cause was inspired by ardent optimism, deep faith in everything new, and an uncompromising attitude towards the old, obsolete.

Mayakovsky's artistic quests, his attitude to literary movements were reflected in the nature of his creativity, the style of his works: the personality of the poet himself, with his attitude, strong character, and bright temperament, is constantly present in them. “Volitional consciousness was not only in his verse work, it was in the very structure of his poetry, in his lines, which were units of muscular will rather than speech, and were addressed to the will.” Mayakovsky, relying on the richness of the Russian language, tried to choose from its system such means that would be aimed at the utmost verbal expression of his lyrical hero.

The hyperbolic style is organically connected with the poet’s worldview. From the point of view of V. Mayakovsky, the grandeur of the events, the fundamental changes taking place in the country, the importance of the tasks set - all this implied the use of bright means to reflect the spirit of the time. Hyperboles are present almost everywhere in Mayakovsky’s work. In the article “How to Make Poems?”, speaking about the methods of “making” images, the poet wrote: “One of the ways of creating an image that I have most recently used is the creation of fantastic events themselves - facts emphasized by hyperbole.” The more you read, the more you fall under the influence of the author’s power of image, the intensity of words, and extreme emotionality. As a result, each image may be significantly exaggerated.

In the article we examined tropical ways of creating a hyperbolic effect in the works of V. Mayakovsky, because it is this level that plays the most important role in the creation of vivid hyperbolic images. We have identified the main types of tropes used by V. Mayakovsky as a way of forming hyperbole in the poem “At the top of my voice.”

Among the tropes, metaphor occupies a leading place; it creates vivid, memorable images based on bold associations that demonstrate the ability to perform both nominative and figurative, expressive-evaluative and conceptual functions in a literary text.

Structurally, Mayakovsky's hyperbolic metaphors do not go beyond the framework of metaphorical structures known in language.

The linguistic material made it possible to identify several groups of hyperbolic metaphors that function in the works of V. Mayakovsky:

1. Metaphorical combinations of the predicative type (“the sky will burn,” “the water is burning,” “the earth is burning,” “the asphalt is burning”) are presented in the examples:

"From the flags

will burn with fire";

"The water is burning,

the earth is burning,

until it burns."

Metaphorical combinations with verbs: “burns”, “inflames” in this case undergo semantic complication. Lexemes: “from the flags” (meaning “from the bright red color of the flags”), “will burn” (meaning “to become red-hot”), “to burning” (meaning “to become so hot that you can get burned”) not only create images of “sky”, “earth”, “asphalt” as flaming, fiery spaces, but also endow metaphorical combinations with semantics of color and touch: flags are so bright that they illuminate the sky with a fiery red color; the asphalt is so hot that it becomes red hot and can burn you. Of particular importance in creating the effect of the all-encompassing fiery space is the threefold repetition of the verb “burning.” In all three cases, this verb is placed in preposition, which emphasizes the hyperbolic nature of the image of the “great fire” happening around.

Most of the verbs used in a figurative metaphorical meaning are prefixed (cf. frozen, kindled, inflamed). For example:

“The blood was kindled by the temples.”

The verb “to kindle” means “to begin to burn, to flare up.” In the combination “the blood was kindled,” the law of semantic agreement is violated: blood does not burn, so it cannot be kindled. The verb “to kindle” in its poetic function receives a different semantic coordination: it becomes more mobile, capable of highlighting new contextual semes: “the blood ran wild,” “seethed,” “boiled.”

2. In the works of V. Mayakovsky, the metaphor is explicated in combinations of the nominal type:

A. In examples:

“Mountains of anger, my legs are swelling”;

“And the speech was interrupted by avalanches of roars”;

genetic metaphorical combinations stand out: “mountains of anger”, “landslides of roar”, “thunder of voices”, where the nouns: “mountains”, “landslides”, “thunder” conceptually indicate the global spread of something, and the lexemes “mountains” and “ landslides" indicate the number of material objects, and "thunder" indicates the force of sound propagation.

Let's look at one example:

interrupted

landslides of roar."

In the substantive combination “falls of roar” there is a noticeable violation of semantic agreement. A new meaning is born, which takes the word out of its usual perception. This is inherent in the lexical content of the words “collapse” and “roar” in combination with “collapses of roar”, which in the nominative meaning realize the semes: “big”, “huge”, “weighty” (collapse), “very loud”, “lingering” , “animal” (roar). By combining such words, like a nuclear reaction, new semantic and emotional energy is born.

b. Hyperbolic application metaphors are no less frequent:

My beloved eyes."

The principle of similarity underlying metaphorical combinations is quite clearly manifested in the example: “eyes-heaven”. According to V.N. Telia, “Metaphorization begins with the assumption of similarity (or similarity) between the emerging concept of reality and some somewhat similar “concrete” figurative-associative idea of ​​another reality.” In this example, the author perceives the size and color of his beloved’s eyes as a huge blue sky. The association occurs both in color and in quality: a person in love literally “drowns” in the eyes of his beloved, as if in the sea. However, we note that this similarity is possible only if there is a clarification in the form of an adjective and pronoun “my beloved,” which emphasizes the chosenness of a particular woman from among many.

V. In poetic texts, Mayakovsky uses various techniques that create and enhance the effect of exaggeration. One of the techniques for creating hyperbolic in a poetic metaphor is the choice of concepts, the substantive basis of which is exaggeration or emphasizes the enormity of the compared phenomena." Let us highlight attributive hyperbolic combinations:

"To the shaking people

the apartment is quiet

the hundred-eyed glow bursts from the pier";

"The jaw will open slightly

or yapping

instead of language -

three-tongued mile";

pencil forest".

In the constructions of hyperbolic metaphors of this type, the author's metaphorical occasionalisms are frequent: “hundred-eyed glow”, “three-tongued milepost”, “pencil forest”. In the examples “hundred-eyed glow”, “verst three-tongued”, occasional adjectives are constructed according to the numeral + noun type: “hundred” + “eye”, “three” + “tongue”. The substantive basis of these individual words does not contain the meaning of exaggeration, but when they are combined, such a meaning is manifested due to the surprise and fantastic nature of the resulting concept.

The “pencil forest” example is not occasionalism, however, its substantive basis also emphasizes hyperbolicity. This is possible in combination with the noun “forest,” which itself means “many trees.” In combination with the adjective “pencil,” this word takes on a new semantics - “a large number of pencils for writing,” which were covered with writing.

3. A favorite technique is to use inverse word order. For example:

“Breast of despair an avalanche”;

"Over the years

muscles of steel."

Inversion combinations: “strike the chest” instead of “strike the chest”, “desperation avalanche” instead of “avalanche of despair”, “weakened over the years” instead of “weakened over the years”, “steel of muscles” instead of “steel of muscles” are put by the author in a strong position, which indicates the non-triviality of the described phenomena. In the first example: the inversion of “avalanche of despair” emphasizes the incredible power of grief more than the direct word order - “avalanche of despair.” In the second example: the inversion of “muscles of steel” concentrates greater expressiveness of the image of a strong, strong man with “steel” muscles. The inversion “has weakened over the years” emphasizes temporal extension.

4. Hyperbolism in metaphor is also achieved with the help of “a game built on surprise, paradox, anecdotalism and analogy.” In Mayakovsky, figurative images can be created individually by the author - on the basis of stylistically neutral vocabulary, with the help of unexpected comparisons. The manifestation of this method can be seen in the following examples: “tank energy”, “armpit fur”, “mouth-verst”, “bayonet-tongue”, etc.

5. In Mayakovsky’s works there are also hyperbolic metaphors, the semantic structure of which is fully realized and motivated by the context, or the context “highlights” the hyperbolic meaning more clearly. Let's look at an example:

"It's boring here

not good

the armor will also become damp... -

the world is slumbering,

To the Black Sea District

blue-tear

sea ​​defense."

The “blue-tear” combination also has an artistic effect. Researchers call such metaphors riddle metaphors. Only the context deciphers such a hyperbolic metaphor: “The world is slumbering, / on the Black Sea district / the blue-tear / sea of ​​armor” (“the armor on the Black Sea district”, “the blue-tear is armored by the sea”).

Z. Paperny notes that the combination “blue-tear” “emphasizes not only the enormous scale of the poetic picture, which appears before us as if captured from a gigantic height. At the same time, the sadness that was heard in the trumpet sounds of the steamer now colored the entire vision of the world. This “blue-tear” evokes the idea not of a sad ship, but of someone who heard sadness in the ship’s pleas-signals. And some kind of unusual, unique “Mayakovskaya” sadness! Not a self-absorbed experience, but a feeling merging with the boundless expanse of the world.”

In creating hyperbolic meaning, Mayakovsky uses the technique of “developing and reviving metaphor.”

“The burn bell is already squealing,

The apparatus is white-hot."

The morphological element that develops the verbal metaphor “the bell squeals” is the adverb “white-hot,” which, together with the participle “hot,” creates a hyperbolic meaning (the adverb “white-hot” expresses the extreme degree of incandescence and tension). The second part of this compound sentence is closely related in meaning to the first and is its logical continuation. The metaphor is brought to life with the help of the verb “squeals”, which is traditionally used in relation to living beings. In combination with the noun “from burns,” the effect of gradual personification is created - from the inanimate state of the telephone (before frequent calls) to the animate state (the phone could not stand countless calls).

The tropical level of creating hyperbolic images is one of the most important components of constructing the general hyperbolic background of the poem “At the top of my voice.” Among the tropes used by V. Mayakovsky to designate poetry as revolution and struggle, we will highlight metaphorical and metonymic tropes that are close to symbols. For V. Mayakovsky, poetry and revolution are inseparable from each other: poetry is as persistent in the struggle for freedom of expression of an individual worldview as revolution, and revolution, like poetry, is filled with sublime impulses and hope for a wonderful future. An image of “poetry-revolution” emerges, the hyperbolic nature of which is explicated in the globality of the author’s idea. Both poetry and revolution are two lifelong affairs for Mayakovsky; by combining them, the author challenges the existing way of life and exalts himself as a demiurge - one who is able to resist chaos.

This metaphorical and metonymic generalization, equal to the symbol - “poetry-revolution” - in the poem “At the top of my voice” consists of many metaphorical and metonymic images: “pages of the army”, “along the line front”, “the poems froze, / pressed to the muzzle the mouth of / aimed / gaping titles”, “the cavalry of witticisms froze, / raising the sharpened peaks of rhymes” - all of them include lexemes that characterize, at first glance, incompatible concepts - poetry and revolution:

1. In the example of “pages of troops,” the lexemes “pages” and “troops” are not individually word images, but when combined, they form a metaphorical image of many pages of the author’s works, which, like troops of soldiers, are aimed at the battle for enlightening the reader’s minds.

The metaphor here is based on a quantitative attribute: there are so many pages lined up in rows that they can be compared to an army. The noun “pages” in combination with the noun “troops” correlates with military vocabulary, and the metaphorical image of “pages of troops” is a link in the general chain of creating the main metaphor: poetry-revolution.

2. “On the line front.” The emphasis of this metaphor falls on the noun “front”, which refers to military vocabulary and denotes the front side of the combat disposition of troops, facing the enemy. In combination with the adjective “line” (from the noun “line”), which here is a component of the concept of “poetry”, the lexeme “front” ceases to be only a military designation and takes on a metaphorical meaning in the phrase “line front” = the poet’s struggle for freedom of thought and the truthfulness of the presentation.

3. “The poems froze, / pressing the muzzle of / aimed / gaping titles to the muzzle,” writes Mayakovsky. The word image “poetry-revolution” is also concretized through military vocabulary - “the mouth of titles.” A poem is a weapon that can change the way of life and worldview of the masses.

4. In the example “the cavalry of witticisms froze, / raising the sharpened peaks of rhymes,” the word image of poetry contaminates lexemes of military and literary themes: the nouns “cavalry”, “spikes” belong to military vocabulary, but are combined with lexemes denoting literary concepts - “witnesses”, “rhymes” are acquiring new shades - a cultural revolution capable of ridding the world of the ignorance of life with peak rhymes. The word image poetry-revolution, the hyperbolic nature of which signifies for the author the desire to show the peaceful poetic craft as a frantic struggle to transform everyday life into poetry and to establish poetry in life, consists of many concretized metaphors, which in turn are also meaningfully symbiotic. Therefore, hyperbolic word images are the most important component in creating the overall hyperbolic background of the poem.

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4. Hyperbole, litotes, irony, epithet.

The most important types of tropes include hyperbole and litotes - special verbal means of artistic exaggeration (as a type of understatement), maximizing the disclosure of the essence of what the author is talking about.

The literal is replaced by a sharply exaggerated one, which helps make the image more emotional. Indeed, when Mayakovsky writes “In a hundred and forty suns the sunset burns,” this gives an idea not only of a hot day, but also makes this message especially excited, emotional, and expressive. In Mayakovsky, the phenomenon of hyperbolism is often achieved not by individual images, but by the scale of their selection: “the world’s driving belts”, “the Sun will dance a thousand times... the Earth”, “the ocean has cast darkness on the world” (“Good”)

I. Zventov, characterizing the features of the early Mayakovsky’s visual system, calls it caricatured and hyperbolized Flemishism.

In the remark to the tragedy “Vladimir Mayakovsky” one can find “the stretched belly of the square”,

In another poem, “The Earth, Fattened, Like the Mistress Whom Rothschild Loved,” Hyperbole, irony, turning into sarcasm helps Mayakovsky to more clearly, more imaginatively imagine the face of the bourgeois crowd, philistinism, etc. What he did not accept.

Irony is a special type of trope that expresses ridicule. In irony, unlike all other tropes, transference is defined by the fact that it implies a meaning that is directly opposite to the literal meaning of the word.

The most common type of trope is an epithet - an artistic definition that gives a vivid figurative idea of ​​the essence of an object or phenomenon and the writer’s assessment of them. The literature of later times is characterized by a sharply individualized epithet, which is created only in this work to describe the phenomenon in its unique originality. Karabchievsky notes Mayakovsky’s “bright line, strong and precise epithet.” “Bullet Wheelbarrow”, “textbook gloss”, “grinding the last with the millstones of thoughts” (“V.I. Lenin”), “Rinse the throat of an exhausted heart” (“Flute Spine”), “thin and hunchbacked...working class” (“V .I. Lenin"). Many of his epithets became aphorisms. They help to express the emotional description as much as possible. For example, in chapter 4 “Good”, “the mustachioed nanny Pe En Miliukov” says to “Madame Kusakova: “And I, with my frail little mind, would crown Mikhail.”

“Mishko is frail” - here the coloring of the epithet creates a sharply negative characteristic of the character. The epithet is based on all achievements in the field of using verbal and visual means of language. Therefore, it can be close to simile and metaphor, hyperbole and irony. Mayakovsky’s most striking epithet is obtained by using neologisms in satirical epithets:

“old lyre-ringers”, “young dragonflies”, “chenovny-mouthed creatures”, “muzzle-faced galaxy”, etc. Working on the word, Mayakovsky used all the variety of means to achieve figurative expressiveness. “He is a poet of powerful metaphor, of precise and unexpected comparison. By means of these tropes, he unexpectedly introduced into the text whole blocks of seemingly extraneous, but in fact artistically necessary material” (Boyavsky). In his poetry, the world appears strengthened, it is built on hyperbole. The torment of the poet, experiencing love and jealousy, in the poem “Cloud in Pants” is recreated as follows:

Every word,

Even a joke

Which he spews out with his burning mouth,

Thrown out like a naked prostitute

From a burning brothel.

Using all these means, as well as dysaestheticization, Mayakovsky sought to show phenomena in a way that they had never been perceived before. I tried to make the familiar strange. The “detach” phenomenon was considered the main thing in his verbal creativity.

Chapter III: Poetic syntax and elements of phonics.

§1. Figures of poetic speech: Polyunion, non-union, inversion.

In addition to tropes, lexical means, poetic syntax and elements of phonics greatly contribute to the imagery and expressiveness of the language.

Poetic syntax is a system of special means of constructing speech. The structural features of speech in a work are always associated with the originality of the characters and life situations depicted in it, from the author’s point of view. Another important feature of the syntax of poetic speech is determined by the fact that in a literary work people are depicted in motion, in the process of changing their internal state and relationships. All this is reflected in the construction of poetic speech.

Special means of syntax of figurative and expressive speech are called figures of poetic speech. Figures help to significantly enhance the fullness and expressiveness of semantic and emotional shades of speech: polyunion creates some slowness of speech, non-union is used most often to enhance the feeling of rapid and intense development of events, sharp transitions in a person’s internal state, inversion, in which one of the lines of the sentence becomes unusual a place for him, which is what makes them stand out. In inversion constructions, there is a redistribution of logical stress and intonational isolation of words, i.e. Words sound more expressive, higher.

“I will tease about the bloody flap of the heart;

dreaming on a softened brain,

like an overweight lackey

not a greasy sash,

your thought,

I'm mocking him to my heart's content, impudent

This excerpt from Mayakovsky’s poem “A Cloud in Pants” is a vivid example of inversions. His excited intonation is fixed in complex inversions “dangling teeth into the sky”; “The heart is the noblest album with long-haired postcards”; “faceted stitches barefoot diamond maker”; “I will tell a young man pondering his life” and others.

§2.Break, rhetorical communication, question, denial, affirmation, exclamation.

Omitting one of the members of a sentence also serves to increase emotional expressiveness; Clipping is the inclusion of unspoken sentences in speech. In Mayakovsky’s poem “V.I. Lenin" we read:

" What do you see?!

Only his forehead,

And Nadezhd Konstantinovna

In the fog behind...

Maybe in the eyes without tears

You can see more.

Those were not the eyes I looked into.

Here the break serves to convey deep inner shock. Syntactic figures in which the author's attitude to a phenomenon and its assessment are expressed especially clearly are rhetorical appeals, questions, denials, statements, and exclamations.

In Mayakovsky, whose entire system of expressive means is extremely intense, aimed at the extremely dramatized speech expression of the lyrical hero, these figures are used to the maximum:

“Beat the drum!”

Drum, drum!

There were slaves! No slave!

Drum!

Drum!

("150,000,000")

“One!

Thinner than a squeak.

Who can hear her? –

Is it a wife!

("V.I. Lenin")

" Enough!

Conversations to strangers!”

("V.I. Lenin")

"End the war!

Enough!

("Fine")

"Close, time,

your mouth!

("Fine")

This helps Mayakovsky to imitate a fictitious dialogue, under the guise of an arbitrary emotional response to an external phenomenon, to make an ordinary message about this phenomenon, to sharpen the emotional attention of the listener.

§3.Phonics, alliteration, assonance.

Phonics is the artistic use of sound capabilities in poetic speech. It includes general rules for the sound coordination of words in poetic speech, which contribute to its euphony, harmony, clarity, and the use of special means of sound amplification and emotional emphasis of some words and sentences.

A special means of sound amplification, highlighting certain segments of speech are based on the use of sound repetitions.

Alliteration is the repetition of consonant sounds clearly prominent in speech. The repetition of vowels is called assonance.

Mayakovsky wrote: “I resort to alliteration for framing, to further emphasize a word that is important to me.”

Mayakovsky’s alliterations and assonances give an emotionally memorable sound to the poetic text: “And a terrible joke pecking laugh,” tears fall from...”;

"hand of the river"; “In your mustache,” “in the choirs of the Archangel’s Horola, God, robbed, comes to punish!” (“Cloud”), “not at all embarrassed by the jaws intact, let’s go rattle the jaws against the jaw” (“About this”), “I’m hunched over the globe of the hills” (“About this”), “The city was robbed, rowed, robbed” (“Cloud”) V.I. Lenin), “The knife is rusty. I'm cutting. I'm happy. The heat in my head rises ("Good").

Through the use of phonetic means of verse, Mayakovsky’s samples become generalized, convex, and the abstract is spiritualized.

Mayakovsky’s word really sounds (“the word alarm”, “the word that raises thunder”). Mayakovsky’s entire system of expressive means makes maximum use of all the artistic resources of the Russian language, which is why he is called an innovator poet. But the innovation would not have taken place if it were not for the passionate lyrical “I” of the poet, the one who saw and experienced the world in exactly this way and poured out his mental anguish in poetry. It is under these conditions that all expressive and visual means become artistic, except when they organically enter into the fabric of the work. Their choice depends on the efforts and tasks of the word artist.

Conclusion.

It is difficult for me to determine my attitude towards Mayakovsky’s poems. The fact is that they, in my opinion, are the opposite of “as simple as mooing.” His very unusual, verbose images are difficult to understand, not so much to understand as to read. Some of them I can’t understand, I don’t like them, for example, “the face of the room was filled with horror,” “the street has sunk in like a syphilitic’s nose,” “our flabby fat will flow out of a person,” “a newborn cry is moving from my mouth.” and so on. others, on the contrary, are very interesting, and expressive, very strong, such as “I am lonely, like the last eye of a man going to the blind,” “the last love in the world was expressed in the blush of a consumptive,” “the butterfly of a poet’s heart,” etc. Many of the images that now really resonate with me, at first, upon first reading, caused me rejection, even some disgust, for example: “Earth! Let me heal your balding head with the rags of my lips stained with someone else’s gilding,” “a skull filled with poetry,” etc. Very often, in just a few words, in one phrase, I can recognize a writer as a genius. Mayakovsky has this urgent “Listen! After all, if the stars light up, it means that someone needs it?” This is one of my favorite stories.

Mayakovsky usually speaks in poetry about himself, about the people around him, about God. Very often he paints people as disgusting gluttons who have climbed into the shell of things, but at the same time he collects their tears, their pains, this becomes an unbearable burden for him, but he still “crawls further” to throw them to the “dark god of thunderstorms.” the source of animal fans." But people are still grateful, and the tradition of “love-hate” continues in Mayakovsky’s work. For the poet, God is not a mystery, not a Being, but a man, and a rather ordinary one, somewhat more interesting than the rest. A stunning verse reveals not only his attitude, but also the contradictory nature of the poet’s personality: “And when my voice hoots obscenely...maybe Jesus Christ smells the forget-me-nots of my soul.”

One’s own “I” is the central theme of the poet’s pre-revolutionary work. His love, which can be called passion, his observations of life are torn, overtaking one another, often expressed in simple exclamations (“Ha! Maria!”). They are limitless, everything with him takes on a universal connotation, and a tear is truly a “tear,” and a tragedy is a “tragedy.” The frenzy in his poems replaced harmony, the harmony that elevates our soul in the poems of Pushkin, Lermontov, Blok, Tyutchev, Bunin and many other poets. Describing even suffering and chaos, they seem to spiritualize it or, perhaps, lead us out of it, elevating us, while Mayakovsky, on the contrary, screws us into the abyss of passion, the streets, not only does he belittle us, but leaves us scattered and modest in it. I don’t feel any harmony in his post-revolutionary poems either. Rhythm appears in them, these lines step by step, but for me, the confusion of his pre-revolutionary poems and constant self-admiration (“I am the most beautiful in the human massif”), which still gets boring, moving from poem to poem, from poem to poem, is better. In the end, every person will always consider himself, if not better than others, then the most special, and this is not because of pride, but because of the discovery of something new and new in himself. An attempt to dissolve into “we” and to be proud of this “we” does not attract me, and even more so “work is not a social order.” Just as Mayakovsky could not understand what is more dangerous for the “butterfly of the poet’s heart” than “those perched on him in galoshes and without galoshes”! All this made his poems ordinary, average, and then simply boring. Even in childhood, you may like “The Story of Vlas” or “The Story of Kuznetskstroy”, then you are no longer interested in rhymes and edifications, you want to become involved in eternity, and what kind of eternity is there if “the last day is approaching”, even to the nasty “bourgeois”. When an artist responds to some “demands of society”, “the topic of the day”, he stops the development of this society, keeps its level within the framework, even if his poems contain criticism of “individual sides”. An artist is “people’s wandering paths,” they lift up society by talking about what people do not demand, but what they need most, what they may have forgotten or not noticed.

man of new times. We are faced with the task of not only tracing the entire poetic process in the history of poetry from the 50s to the 80s, but also comprehending that complex, dramatic time. Artistic research in the poetry of this time, the most promising lines of development of its genres and styles were based on the entire socio-political, moral and aesthetic experience of the era, on the traditions of world and...

For example, the entire history of Russian literature from the beginning of the 18th century. and to this day contains a very pronounced change of poetic and prosaic eras. So, the difference between poetry and prose is not only an external, narrowly formal moment, introducing, along with the peculiarities of the form - poetic or prosaic - a certain originality into the expression of ideological content. Romantic elation,...

The purpose of the lesson: show the logic of development of the idea of ​​the work.

Methodical techniques: analytical reading of the poem.

During the classes.

I. Checking homework.

Reading and discussion of selected poems.

II. Teacher's word

From his earliest poems, Mayakovsky was characterized by excessive lyrical openness, reckless inner openness. There is practically no distance between the specific lyrical “I” of the poet and his lyrical hero. The lyrical experiences are so intense that, no matter what he writes about, a sharp lyrical, individual intonation permeates the fabric of his poetry. This is also his first poem with the mysterious and shocking title “Cloud in Pants” (1915). Mayakovsky himself defined it as a “tetraptych”, the meaning of the four parts of which is “down with your love”, “down with your art”, “down with your system”, “down with your religion”.

III. Analytical conversation

What associations reminiscences does this definition evoke Mayakovsky?

(The categorical nature of the lyrical hero’s judgments and statements recalls the uncompromising nihilism, rebellion of Bazarov. Let us remember the subject of disputes between Bazarov and Kirsanov - it practically coincides with what Mayakovsky writes about.)

What image unites the parts of the poem?

(The parts of the poem are connected by the leading image - the lyrical “I”.)

In what ways is he portrayed?

(The main image technique is antithesis . The opposition to the entire society in the prologue of the poem grows to the opposition to the entire universe at the end. This is not just a dispute, it is a daring challenge, so characteristic of the work of early Mayakovsky (remember the poems “Here!”, “To You!”):

Your thought,
dreaming on a softened brain,
like an overweight lackey on a greasy couch,
I will tease about the bloody flap of the heart,
I mock him to my heart's content, impudent and caustic. ("Cloud in Pants", intro)

Only an incredibly powerful personality can resist anything and everything and not break. Hence the next trick - hyperbolization image: “Having enlarged the world with the power of my voice, / I walk, handsome, / twenty-two years old”; hyperbole can be combined with a comparison: “like the sky, changing tones.” The range of this personality is poles: “mad” - “impeccably gentle, / not a man, but a cloud in his pants!” This is how the meaning of the title of the poem manifests itself. This is self-irony, but the main feeling that captured the hero is indicated: “tenderness.” How does it fit in with the rebellious element of the poem?

How is love portrayed in the poem?

First part- an extremely frank story about love. The reality of what is happening is consciously emphasized: “It was, / was in Odessa.” Love does not transform, but distorts the “block” of a person: “They couldn’t recognize me now: / the sinewy hulk / groans, / writhes.” It turns out that this “block” “wants a lot.” “Much” is actually very simple and human:

After all, it doesn’t matter to yourself
and the fact that it is bronze,
and that the heart is a cold piece of iron.
At night I want my own ringing
hide in something soft
into women's.

The love of this “hulk” should be a “small, humble darling.” Why? The community is exceptional, there is no other. The affectionate neologism “liubenochek,” reminiscent of “baby,” emphasizes the strength of feeling and touching tenderness. The hero is at the limit of feeling, every minute, hour of waiting for his beloved is agony. And as a result of suffering - execution: “The twelfth hour fell, / like the head of an executed man falling from the block.” Nerves are exposed and frayed. The metaphor is realized “Nerves / big, / small, / many! - / they are jumping madly, / and already / their legs are giving way from their nerves!”

Finally, the heroine appears. The conversation is not about love and dislike. The effect on the lyrical hero of the words of his beloved is conveyed by the grinding sound recording:

You came in
sharp, like “here!”
mucha suede gloves,
said:
"You know -
I'm getting married".

What techniques are used to convey the psychological state of the hero?

The psychological state of the hero is conveyed very strongly - through his external calm: “See - how calm he is! / Like the pulse of a dead man”; “and the worst thing / you saw was my face / when / I was absolutely calm?” Internal suffering, the tornness of the soul are emphasized by transference (enzhanbeman): you need to restrain yourself, and therefore speak clearly, slowly, measuredly.

“The fire of the heart” burns the hero: “I’ll jump out! I'll jump out! I'll jump out! I'll jump out! / Collapsed. / You won’t jump out of your heart!” Here the phraseology “the heart jumps out of the chest” is turned inside out. The catastrophe that befell the hero is comparable to world catastrophes: “The last cry, / even / that I’m burning, will groan for centuries!”

What is the logic of development of the poem in the second part?

The tragedy of love is experienced by the poet. It's logical that The second part- about the relationship between the hero and art. The part begins with the hero’s decisive statement: “I put “nihil” (“nothing”, lat.) over everything that has been done. The hero denies the “tormented”, sluggish art, which is done like this: “before it begins to sing, / they walk for a long time, limp from fermentation, / and quietly flounder in the mud of the heart / the stupid roach of the imagination.” “Boiling” “some kind of brew out of love and nightingales” is not for him. These “loves” - “nightingales” - are not for the street, which “writhes tongueless.” Bourgeoisism and philistinism filled the city, crushing living words with their carcasses. The hero shouts, calling for a rebellion against “those sucked with a free app / to every double bed”: “We ourselves are the creators in the burning hymn!” This is a hymn to living life, which is placed above the “I”:

I,
golden-mouthed,
whose every word
newborn soul,
birthday body
I tell you:
the smallest speck of living dust
more valuable than anything I will do and have done!
(Please note neologisms Mayakovsky).

“Screaming-lipped Zarathustra” (Nietzschean motifs are generally strong in the early Mayakovsky), speaking about the coming “in the crown of thorns of revolutions” “the year of sixteen,” clearly defines his role:

And I am your forerunner!
I am where the pain is, everywhere;
on every drop of tear flow
crucified himself on the cross.

How do you understand these words?

Here the hero already identifies himself with God himself. He is ready for self-sacrifice: “I will pull out the soul, / trample it, / so that it’s big! - / and I will give the bloody one as a banner.” This is the goal and purpose of poetry and the poet, worthy of the “hulk” of the hero’s personality.

How is this goal illustrated in Part Three?

The thought of the poem logically moves to those who are to be led under this “banner” made from the hero’s “trampled soul”:

From you,
who were wet with love,
from which
for centuries a tear has flowed,
I'll leave
sun monocle
I’ll insert it into the wide open eye.

There is vulgarity, mediocrity, ugliness all around. The hero is sure: “Today / we must / use brass knuckles / to cut the world into the skull!” Where are the “geniuses” recognized by humanity? The following fate is destined for them: “I will lead Napoleon on a chain like a pug.” This vulgar world must be destroyed at all costs:

Take your hands out of your trousers -
take a stone, a knife or a bomb,
and if he has no hands -
come and fight with your forehead!
Go, you hungry ones,

Sweaty,
humble,
soured in flea-filled dirt!
Go!
Mondays and Tuesdays
Let's paint it with blood for the holidays!

The lyrical hero himself takes on the role of the “thirteenth apostle.” With God he is already easily: “maybe Jesus Christ is sniffing / my soul’s forget-me-nots.” -

How does the lyrical love theme manifest itself in the fourth movement? How does it change?

From global plans to remake the world, the hero returns to thoughts about his beloved. However, he did not escape these thoughts; they were only sublimated in a powerful creative attempt to challenge the entire universe. The name "Maria" is shouted repeatedly. This is a plea for love. And the hero becomes submissive, almost humiliated, “just a man”: “and I am all meat, / I am all man - I simply ask for your body, / as Christians ask - “give us this day our daily bread.” The beloved replaces everything, she is necessary, like “daily bread.” The poet speaks of his “word born in agony”: it is “equal in greatness to God.” This, of course, is blasphemy, gradually developing into rebellion against God.

The refusal of his beloved provokes this rebellion of the suffering and desperate hero. At first he is simply familiar:

Listen, Mister God!
Aren't you bored?
Into the cloudy jelly
Soak your sore eyes every day?

Then familiarity goes beyond all boundaries: the hero is already on first name terms with God, openly rude to him:

Shaking your head, curly?
Will you raise your gray eyebrow?
You think -
this,
behind you, winged one,
knows what love is?

The main accusation against God is not the incorrect structure of the world, not social injustice. The imperfection of the world is “why didn’t you invent / so that it would be painless / to kiss, kiss, kiss?!” The hero’s despair reaches the point of frenzy, rage, almost madness, he shouts out terrible blasphemies, the elements overwhelm him:

I thought you were an all-powerful god,
And you are a dropout, tiny god.
You see I'm bending down
Because of the boot
I take out a shoe knife.
Winged scoundrels!
Hang out in paradise!
Ruffle your feathers in frightened shaking!
I will open you, smelling of incense
From here to Alaska!
Let me in!
Can't stop me.

And suddenly he humbles himself: “Hey, you! / Sky! / Take off your hat! / I'm coming! (he is already using the sky again, although his pride has not yet been strangled). Nothing listens to the hero: “Deaf. / The universe sleeps, / with its huge ear resting on its paw / with the pincers of the stars.”

IV. Teacher's final words

Violently conflicting with the world, the hero reveals his rebellious essence. The hero’s inconsistency, the combination in him of extreme “looseness” and extreme tenderness, aggravate the conflict. The inconsistency that tears apart the hero dooms him to tragic loneliness.

V. Workshop on the poem by V.V. Mayakovsky “Cloud in Pants”

1. Poet Nikolay Aseev wrote: “A Cloud in Pants” is a mocking title that replaced the original one, prohibited by censorship, and was the first experience of a large theme built on the opposition of existing routines, institutions, institutions to what is replacing them, what is felt in the air, felt in the verse - the future revolution."

Why, according to Aseev, is the title of the poem “Cloud in Pants” “mocking”?

What did Aseev mean by “experiment on a big topic”?

What is the “contrast with existing routines”? Give examples from the text.

2. V. Mayakovsky said in March 1930: “It (“Cloud in Pants”) began as a letter in 1913/14 and was first called “The Thirteenth Apostle.” When I came to the censorship with this work, they asked me: “What, do you want to go to hard labor?” I said that in no case, that this did not suit me in any way. Then they crossed out six pages for me, including the title. It's a question of where the title came from. I was asked how I could combine lyrics and great rudeness. Then I said: “Okay, if you want, I will be like crazy, if you want, I will be the most gentle, not a man, but a cloud in my pants.”

Why did the original title of the poem “The Thirteenth Apostle” evoke the idea of ​​hard labor among the censors?

What is the combination of “lyricism and great rudeness” in the poem “Cloud in Pants”? Give examples from the text.

What is the meaning of the new title of the poem? How does the poet himself explain it? Does the title “Cloud in Pants” reflect the character of the lyrical hero of the work?

3. “Poems and poems created in 1915.(“Clouds in Pants”, “Flute and Spine”), they said that a major humanist poet and soulful lyricist had come to literature. In the poem about love robbed by modern life (“Cloud in Pants”), the voice of the author himself resounds loudly, the facts of his biography acquire a high poetic generalization here...” (K. D. Muratova).

What are the “facts... biography” of V. Mayakovsky that can be recognized in his poem?

According to Muratova, in the poem “the voice of the author himself sounds loudly,” is this true? Justify your answer, give examples from the text.

4. K.D. Muratova writes about “Cloud in Pants”: “The poem is given great originality by its metaphorical richness; almost every line in it is metaphorical. An example of a materialized metaphor is the line “the fire of the heart” of the poet, which is extinguished by firefighters, or “sick nerves” that “thrash around in a desperate tap dance,” causing the plaster on the ground floor to collapse.”

What gives grounds to say that in the poem “almost every line is metaphorical”? Do you agree with the critic's statement?

What do you think is meant by the term “materialized metaphor”? Give examples of such metaphors in the text of the poem.

5. “One of the main features is visible in “The Cloud...” Mayakovsky's thinking: the ability for powerful associative condensations of themes, images, plots that are very far from each other. What do Severyanin, Bismarck and the “carcasses of the meadowsweet” have in common? And what do they have to do with the suffering rejected lover - the “thirteenth apostle”, now offering God to have “girls” in heaven, now threatening him with a knife? (S. Bovin).

What, according to Bovin, is the main feature of “Mayakovsky’s thinking”? Find examples of this type of thinking in the text.

The researcher poses certain questions to the reader regarding Mayakovsky's work. Try to answer them yourself. Are there any answers to them in the poem itself?

6. A.A. Mikhailov writes about “A Cloud in Pants”: “Blasphemy, aggressive language, street rudeness and deliberate anti-aestheticism reveal anarchic tendencies, the rebellious element of the poem. And although Mayakovsky, blaspheming, exalts a person, the elements overwhelm him: “Take your hands out of your trousers, you walkers, take a stone, a knife or a bomb...”

What does the critic say about the “anarchic tendencies” and the “rebellious element of the poem”? Do you agree with this?

How, in your opinion, does Mayakovsky “elevate man” by “blaspheming”? Give examples from the text.