Entrance“Analysis of the introduction of the poem “At the top of my voice.” Analysis of the introduction of the poem “At the top of my voice” At the top of my voice by Mayakovsky without censorship
In a loud voice. First introduction to the poem
Dear comrades and descendants! Rummaging through today's petrified city...... of our days, studying the darkness, you may ask about me. And perhaps your scientist will say, pouring out a swarm of questions with his erudition, that once upon a time there lived such a singer of boiled water and an ardent enemy of raw water. Professor, take off your bicycle glasses. I will tell you about time and myself. I, a sewer man and a water carrier, mobilized and called up by the revolution, went to the front from the lordly gardening of poetry - a capricious woman. I planted a cute little garden, my daughter, my dacha, water and smooth - I planted the garden myself, I will water it myself. Who pours poetry from a watering can, who sprinkles it into their mouth - curly Mithreikas, wise Curls - who the hell can tell them apart! There is no quarantine to break through - mandolin from under the walls: “Tara-tina, tara-tina, t-en-n...” It’s an unimportant honor for my statues to be made of such roses in the squares where tuberculosis spits, where... .with a bully and syphilis. And agitprop has stuck in my teeth, and I’d like to write romances about you - it’s more profitable and more charming. But I humbled myself by standing at the throat of my own song. Listen, comrade descendants, to the agitator, the loud-mouthed leader. Having drowned out the flows of poetry, I will step through the lyrical volumes, as if speaking to the living. I will come to you in the communist world far from being like a song-and-shadowed provityaz. My verse will reach across the ridges of centuries and over the heads of poets and governments. My poem will reach, but it will not reach in the same way - not like an arrow in an amorous lyre hunt, not as a worn-out nickel reaches a numismatist, and not as the light of dead stars reaches. My verse, through the labor of many years, will break through and appear weightily, roughly, visibly, just as in our days a water pipe entered, built by the slaves of Rome. In the mounds of books that buried the poem, when you accidentally discover pieces of iron, you respectfully feel them, like an old but formidable weapon. I’m not used to caressing my ear with words; A girl’s ear in curls of hair from semi-obscenity will not be touched, Having unfurled my troops in a parade, I walk along the line front. The poems stand like lead - heavily, ready for both death and immortal glory. The poems froze, pressing the muzzle of targeted, gaping titles to the muzzle. Weapons of the most beloved kind, ready to rush into the boom, the cavalry of witticisms froze, raising their sharpened peaks in rhymes. And all the armed troops, who flew by in victories for twenty years, until the very last leaf, I give to you, proletarian planet. The working class of the community is an enemy - he is also my enemy, notorious and long-standing. They told us to march under the red flag of years of labor and days of malnutrition. We opened each volume of Marx, just as we open the shutters in our own house, but even without reading we figured out which camp to go in, which camp to fight in. We did not teach dialectics according to Hegel. With the rattle of battles, it burst into verse, when the bourgeoisie ran away from us under bullets, just as we once ran from them. Let the glory of the inconsolable widow trail behind the geniuses in the funeral march - die, my verse, die like a private, like our nameless ones died in the assaults! I don’t give a damn about bronzes, I don’t care about marble slime. Let us be considered glory - after all, we are our own people - let the socialism built in battles be our common monument. Descendants, check the floats in your dictionaries: the remains of words such as “prostitution”, “tuberculosis”, “blockade” will float out of Lethe. For you who are healthy and agile, the poet licked the consumptive spittle with the rough tongue of the poster. With the tail of my years, I become like fossil-tailed monsters. Comrade life, let's quickly stomp, let's stomp through the rest of the five-year period. They didn’t even save up a ruble for me, the cabinet makers didn’t send furniture to my house. And besides a freshly washed shirt, I’ll tell you in all honesty, I don’t need anything. Having appeared in Tse Ka Ka of the coming bright years, above the gang of poetic grabbers and burned out, I will raise, like a Bolshevik party card, all one hundred volumes of my party books.Note
It is known that “At the top of my voice” was the introduction to the poem about the five-year plan. This work, which became Mayakovsky’s poetic testament and conceived as “The first introduction to the poem about the Five-Year Plan,” was subsequently assigned the genre definition of a poem. Mayakovsky himself called it a poem, speaking at the Komsomol House of Krasnaya Presnya on March 25, 1930.
Written during December 1929 - January 1930. The specific reason for writing was the reporting exhibition “20 years of Mayakovsky’s work,” which was supposed to open in December 1929.
Mayakovsky considered the beginning of his creative activity to be a lost notebook of poems written in solitary confinement in the Central Transit Prison Butyrka (Moscow), where he was held during his last arrest from August 18, 1909 to January 9, 1910 for participating in the underground revolutionary struggle. The notebook with poems was taken by the warden when Mayakovsky left prison.
The poet pointed out the direct connection between the “First Introduction to the Poem” and the exhibition “20 Years of Mayakovsky’s Work” when speaking on March 25, 1930 at the Komsomol House of Krasnaya Presnya at an evening dedicated to the twentieth anniversary of his activity: “The last of the things written is about the exhibition, since it completely determines what I do and why I work.
Very often lately those who are irritated by my literary and journalistic work say that I simply forgot how to write poetry and that my descendants will hate me for it. I hold this view. One communist said: “What posterity! You will report to posterity, but for me it’s much worse - to the district committee. This is much more difficult.” I am a decisive person, I want to talk to my descendants myself, and not expect that my critics will tell them in the future. Therefore, I appeal directly to descendants in my poem, which is called “At the top of my voice”... “The exhibition is not an anniversary, but a report on the work. I demand help, and not the exaltation of non-existent merits...” “I exhibited because I wanted to show what I have done,” said Mayakovsky. “I arranged it because, due to my pugnacious nature, so many dogs have been hung on me and I have been accused of so many sins, which I have and which I don’t, that sometimes I think I should leave.” I would like to sit somewhere and sit for two years, just so as not to hear swearing.
But, of course, on the second day, this pessimism again cheers me up and, rolling up my sleeves, I begin to fight, defining my right to exist as a writer of the revolution, for the revolution, not as a renegade. That is, the point of this exhibition is to show that a revolutionary writer is not a renegade whose poems are written down in a book and lie on a shelf collecting dust, but a revolutionary writer is a human participant in the everyday everyday life of building socialism."
The exhibition “20 Years of Mayakovsky’s Work” opened on February 1, 1930 at the House of the Federation of the Association of Soviet Writers (now the Board of the Union of Writers of the USSR, Vorovsky St., 50). The conference hall and two adjacent rooms reserved for the exhibition could hardly accommodate examples of the poet and artist’s work completed over two decades. The exhibition demonstrated all the publications in which the poet was published - books, almanacs, magazines, newspapers. “Mayakovsky’s books - only 1,250,000,” explained the sign above the stands. One from each name represented the magazines and newspapers in which Mayakovsky collaborated. Newspaper stands, revealing the poet’s connection with a multimillion-dollar reader, his work in the peripheral press, went under the polemical slogan “Mayakovsky is not understandable to the masses.” The models of “Mystery-Bouffe” and “Bedbug” represented Mayakovsky’s work at the theater. The “Laboratory” showcased his drafts and white papers, revealing his creative process. At the “Towards an Autobiography” stand, next to documents about studying at the Kutaisi and Moscow gymnasiums, illegal political literature was located - brochures, leaflets, proclamations - characterizing the range of interests of the young man Mayakovsky. The materials of the Moscow Security Department, the Police Department, and the Military Court revealed the history of three arrests of “Vysoky” (Mayakovsky was listed under this name in secret police reports).
A map of the Soviet Union with Mayakovsky's travel itineraries and a diagram "Mayakovsky on the Stage" indicated the names of the cities visited by the poet from 1926 to 1930.
The other two halls of the exhibition showed examples of Mayakovsky’s work at ROSTA, his slogans for propaganda posters and advertisements.
The poem “At the top of my voice” was created during the preparation of the exhibition and was completed by January 26, 1930. Correlating the poem with the exhibition display gives an idea of the process of the birth of images, of the movement of poetic thought, developing from specific facts to broad artistic generalizations.
Having deployed my troops in parade, I walk along the line front
This extended metaphor, which determined the figurative structure of the central part of the poem, has its own specific visual basis, going back to the exhibition. The exhibition “20 years of Mayakovsky’s work” was indeed a kind of “parade”, a review of troops presented by the poet as a “formidable weapon”. Apparently, in the process of designing the stands, during the hours of reflection, associations arose in front of him, concretizing and developing this main image - “parade of troops”, “line front”.
The exposition of the exhibition allows you to see the process of the birth of a generalized winged image that expressed the pathos of Mayakovsky’s entire work: “All one hundred volumes of my party books.” The original version in the autograph of these lines: “all six volumes of my party books” is directly related to the exhibition stand, which demonstrated six books in a light dust jacket - volumes of a ten-volume collected works that began to be published in the State Publishing House. During Mayakovsky's lifetime, six volumes were published.
The first public reading of the poem by Mayakovsky took place on February 1 at the opening of the exhibition “20 Years of Mayakovsky’s Work”; On February 6, he read “At the top of his voice” at the MAPP (Moscow Association of Proletarian Writers) conference, which accepted him as a member of RAPP (Russian Association of Proletarian Writers); February 15 - at the exhibition "20 years of Mayakovsky's work", February 22 - at the closing of the exhibition; February 25 - at the opening of the theater workers' club; March 5 - at the opening of the exhibition "20 years of Mayakovsky's work" in Leningrad at the House of Press; March 25 - at the Komsomol House of Krasnaya Presnya (Moscow); April 9 - at an evening at the G.V. Plekhanov Institute of National Economy (Moscow).
V. Mayakovsky among young people at the exhibition "20 years of Mayakovsky's work." 1930
Planted a cute little garden, daughter, dacha, drive and smooth... - a similar statement by Mayakovsky in relation to the so-called “pure art” took place back in March 1918: “In small shops, pompously called exhibitions, they sell the pure daub of noblemen’s daughters and dachas in the Rococo style and other Louises...” ("Manifesto of the Flying Federation of Futurists").
...I planted the garden myself, I will water it myself... - a couplet from a popular ditty in those years.
...curly-haired Mithreikas, wise-haired Curly-haired women... - young poets K. N. Mitreikin (1905-1934) and A. A. Kudreiko (b. 1907), close in those years to the Literary Center of Constructivists group, which Mayakovsky sharply criticized in a number of speeches in 1929-1930 for aesthetics and passion for technicalism. Having criticized a number of young poets at the MAPP conference on February 8, 1930, Mayakovsky cited a stanza from A. Kudreiko’s collection “The Siege” (1929) as an example of “the shepherd-pastoral setting of a poetic work.”
"Tara-tina, tara-tina, t-en-n..."- Mayakovsky ridicules the poetic tricks of the head of the Constructivist Literary Center, poet Ilya Selvinsky, who wrote in the poem “Gypsy Waltz on Guitar” (1923).
And only moans can be heard? Gittaors: Tara ginna-taratinna-tan...
Provityaz- Mayakovsky’s ironic neologism, formed from the words “seer” and “knight”
...aqueduct built by the slaves of Rome.- This refers to the water supply systems (aqueducts) of Rome and the provinces of the Roman Empire (from the 4th century BC)
Summer- in Greek mythology, the river of oblivion in the underworld.
Tse Ka Ka- Central Control Commission, a party body elected by the Congress of the All-Union Communist Party (Bolsheviks).
Mayakovsky’s poem “At the top of his voice,” strictly speaking, is not such a thing: the poet wrote only an introduction, but both critics and literary scholars consider it a full-fledged work. A brief analysis of “At the Top of Your Voice” according to plan will help 11th grade students understand why literary scholars think so, as well as better appreciate the artistic perfection of the work. In a literature lesson, this analysis can be used both as main and additional material.
Brief Analysis
History of creation- the introduction to the poem was written by Vladimir Vladimirovich in the winter of 1929-1930. Thus, the poet embodied his desire to address the modern reader and descendants without intermediaries.
Theme of the poem– the author’s creative credo and the results of twenty years of poetic work.
Composition- one-part, throughout the entire poem the poet develops the same idea.
Genre- lyrical and journalistic poem.
Poetic size– tonic verse.
Epithets – “an old but formidable weapon”, “poems stand leaden-heavy”, “yawning titles”.
Metaphors – “a swarm of questions”, “tuberculosis spitting out”, “the throat of one’s own song”, “a line front”.
Comparisons – “poetry is a capricious woman”, “we opened Marx every volume, like we open the shutters in our own house”.
History of creation
The work was written shortly before the suicide of its author. This was the period when Mayakovsky was preparing for a special exhibition dedicated to the twentieth anniversary of his work. But this seemingly joyful time, in fact, turned out to be gloomy for him - there was a lot of criticism, many colleagues and critics made harsh statements against him.
Apparently, this gave rise to Vladimir Vladimirovich’s desire to talk directly with his reader. He conceived a grandiose work - the poem “At the top of his voice”, but only wrote its introduction. He was unable or did not want to work further on the work: the poem with the subtitle “First Introduction to the Poem” was completed in January 1930, and already in April a tragic suicide occurred.
The work is called a poem only by tradition, but this is quite significant.
Subject
At the end of his life (although it is unknown whether the poet was already planning his suicide then), Mayakovsky once again turned to the important topic of creativity for himself - more precisely, its purpose and its place in the creative process. He chooses a difficult path - to tell only the truth about himself and the time in which he lives. And he speaks - harshly and without excessive politeness.
Composition
In his work, Vladimir Vladimirovich acts both as an author and as a lyrical hero. He promotes a rejection of art as an aesthetic approach, talks about the social component of poetry, and even calls himself a “sewage man-water carrier,” that is, on the one hand, he gives people what they need, on the other, he often deals with the most unsightly side of reality .
The main idea of the poem is to accurately express Mayakovsky’s creative credo: poetry is work, it should motivate people, there is no place for prettiness, it is part of life, everyday life.
The poet says that there is poetry that is closed in its philistinism, like flowers in a master's garden. It is created simply for the sake of beautiful words and has neither a social burden nor the right to tell people how to live and what to do. But his poetry is not like that, it is a weapon. And the poet is her servant-commander, who brings out the words at the solemn military parade.
At the same time, he does not seek rewards or recognition; his army may even die completely. The main thing is victory, namely, a harmonious, healthy and fair society.
Genre
Although “At the Top of Your Voice” belongs somewhat conventionally to the genre of poem, the work still turned out to be quite epic. In this case, the main thing is the scale of the thought, which, although embodied in a small poem in comparison with the poem, does not lose its strength and grandeur.
Using the tonic system of versification, Mayakovsky, as usual, emphasizes rhythm and verbal stress. He singles out those words that, in his opinion, best express the thought and allow him to express the rebellious moods and vivid emotions that overwhelm the poet.
Means of expression
In addition to the neologisms characteristic of his poetic word, Vladimir Vladimirovich also uses familiar artistic tropes, making them bright and harsh. So, the work uses:
- Epithets- “an old but formidable weapon”, “the poems stand leaden-heavy”, “yawning titles”.
- Metaphors– “a swarm of questions”, “tuberculosis spits out”, “the throat of one’s own song”, “a line front”.
- Comparisons- “poetry is a capricious woman”, “we opened Marx every volume, like we open the shutters in our own house.”
Thanks to them, the poem seems to be carved into eternal granite, preserving the memory of Mayakovsky the poet.
Poem test
Rating Analysis
Average rating: 4.4. Total ratings received: 17.
Target: show how the poet solves the theme of the poet and poetry; show the lyrical “I” of Mayakovsky.
Tasks:
- artistic understanding of the role of poetry and the purpose of the poet;
- the ability to compare the works of different poets and work with words;
- the ability to find ways in the text to express the author’s attitude to the world;
- mastering historical and literary knowledge.
Lesson equipment: posters from “Windows of GROWTH”, texts from “At the top of my voice” by Mayakovsky, Poems by S. Yesenin “Now we are leaving little by little”, “Soviet Rus'”.
The words are written on the board:
“Mayakovsky is led by the masses... he is the genius of the masses, because he also leads them. Mayakovsky is led by history, he is the leader and the follower. Mayakovsky began by revealing himself to the world: with a show, with a loud voice...
Mayakovsky was not afraid of anything, he stood and shouted, and the louder he shouted, the more people listened... The world's first poet of the masses. The first Russian poet-speaker. Mayakovsky tirelessly hammers something into your brain, gets something out of you - by any means, even the most brutal, invariably successful. Mayakovsky needs to be read together... by the whole audience. All century."M. Tsvetaeva
DURING THE CLASSES
I. Organizational moment
II. Teacher's opening speech
Working with a quote.
– How do you understand the words M. Tsvetaeva said about Mayakovsky?
Students find the evaluation characteristics of M. Tsvetaeva. Key words are highlighted. The internal connection between Mayakovsky and Tsvetaeva is noted.
III. Message from a pre-prepared student about the exhibition dedicated to the 20th anniversary of V. Mayakovsky’s work.
Teacher's word. During Mayakovsky's lifetime, 100 books were published. Mayakovsky was reproached for not writing poetry. “At the top of my voice” is the answer. Hope, if contemporaries did not understand, descendants will understand. “At the top of my voice” is the introduction to an unwritten poem about the five-year plan.
Clarification of unclear expressions
ardent enemy of raw water- during the cholera outbreak, Mayakovsky, working at ROSTA Windows, campaigned not to drink raw water
bicycle glasses– round glasses without showers
sewer truck- one who removes and neutralizes impurities
water carrier- meaning that water is something that is vital for a person
“I planted a cute little garden”- a line from the popular song of those years “I planted the garden myself, I will water it myself”
“curly mitreikas, wise curly girls”- the young poets Mitreikin and Kudreikin in those years, belonging to a group of writers whom Mayakovsky repeatedly criticized for their aesthetics.
"tara-tina, tara-tina"- line from the poem “Gypsy Waltz on Guitar”
agitprop- department of mass agitation, propaganda and party education, which existed until 1930 under local party committees
Central Control Commission- central control commission, party body elected by the congress of the CPSU (b)
provityaz- Mayakovsky’s neologism, formed from the words “seer” and “knight”
aqueduct built by slaves of Rome- meaning the water supply system of Rome - aqueducts - is an architectural monument of antiquity from Lethe will float - Lethe - in ancient Greek mythology, the river of oblivion (loss of memory) in the underground kingdom
Pre-prepared students recite the poem “At the top of their voice” by heart.
(Before reading, pay attention to intonation)
Conversation with the class:
1. What is this work about?
(- About time, about the era. About the time of “the rattling of battles”, “when our bourgeoisie ran under bullets”, “years of labor and days of malnutrition”
– About Mayakovsky’s aesthetic views
– About the poet and poetry, about the author.)
2. Who is the lyrical hero of the poem? (The image of the author is in many ways identical to the lyrical hero. This is one of the facets of Mayakovsky himself.)
3. In what form is the work written? (Conversation with the intended interlocutor.)
4. In which poems of the poet have we already encountered a similar form? (“Conversation with the financial inspector about poetry”, “Jubilee”, “To Sergei Yesenin”, “Comrade Netta, the ship and the man.”)
5. Who does Mayakovsky address in this work? Give examples.
(To descendants:
“Dear comrades and descendants!”
“Listen, comrade descendants!”
"Descendants, check the dictionaries' floats."
“I am a decisive person, I want to talk to my descendants, and not expect that my critics will tell them in the future. Therefore, I address myself directly to descendants in my poem, which is called “At the top of my voice.”
V.V. Mayakovsky. Speech at the Komsomol House
Krasnaya Presnya. 1930)
6. Why do you think the poet begins a poem with a grandiose plan, addressed to future generations, with rudely familiar, or even simply rude, expressions? What phenomena in poetry does he oppose?
(It is important for the author to warn his descendants against the arrogantly dismissive approach to social poetry that his contemporaries adopted (“the singer of boiled water and the ardent enemy of raw water”). Mayakovsky aggravates the harshness of his assessments of his work by introducing rude self-characteristics. He seems to be saying: “Yes, I was a singer of boiled water, because during times of famine and epidemics this activity takes on great meaning on the path to a happy future." Remember the work in "Windows of GROWTH." Time gave Mayakovsky a social order, and the poet did not shy away from any work if he believed that it will help the construction of socialism.
In his suicide note, Mayakovsky would write: “Please don’t gossip, the deceased really didn’t like that.” To avoid misunderstandings, the poet talks “about himself.”
Mayakovsky defends his daring, independent and even defiant poetry.
The author uses everyday colloquial speech. This is not stylization “to resemble the common people”, thus the poet destroys cliches and stereotypes. In the fight against vices, Mayakovsky was not afraid to resort to anti-aesthetic feelings. The unaesthetic image of the sewer poet fits into Mayakovsky’s aesthetic system. The poet boldly introduces words and expressions of a vulgar style into poetry.
Already from the first years of the revolution, the poet declared that the poet of the revolution must be an “active fighter” and not disdain any menial work if this work is useful. “A poet is one who is useful.”
Even in the pre-revolutionary years, Mayakovsky stated with all certainty: “We need the word for life. We do not accept useless art."
In the 1926 article “How to Make Poems,” Mayakovsky wrote: “Our constant and main hatred falls on romance-critical philistinism.”)
7. How does Mayakovsky assert himself? What technique does Mayakovsky use when calling useless poetry “a capricious woman” and his own “front”? (Makovsky asserts himself by contradiction, using an antithesis.)
Students are asked to find the antithesis in the text.
(An antithesis arises: kindergarten-front. A parallel arises: “poetry is a fighter.” Mayakovsky’s poems are not “caressing the ear,” but fighting. Mayakovsky, in his early work, compared poetry to weapons. The poem “Cloud in Pants”: “Today we need to cut the world into the skull with brass knuckles”
Poem "Home" - “I want a feather to be compared to a bayonet”
Poem "Mr. People's Artist" “Both the song and the verse are a bomb and a banner”
8. With what intonation does he speak about the poetry of the Kudreikins-Mitreikins? (Remember what “irony” is.)
9. What visual means does the author of the poem “At the Top of Your Voice” use in the central part of the work when he talks about his poems?
(The central part of the poem is a parade of lines. The poems are soldiers. The author uses metaphors and extended metaphors. The era demanded to become a warrior. The phraseology “mobilized and called up by the revolution” creates the image of a poet-soldier of the revolution. This entailed a chain of associations:
"line front"
"parade of troops"
"the vents of titles"
"cavalry of witticisms"
"peaks of rhymes"
For Mayakovsky, a verse gains power only when it becomes “a weapon of the class, a weapon of the revolution”)
11. In criticism, Mayakovsky’s lines especially caused a lot of controversy:
"And me
agitprop
stuck in my teeth,
and I would
scribble
romances for you -
it's more profitable
and prettier.
But I
myself
humbled
becoming
on the throat
own song"
Some believed that Mayakovsky, throughout the years he lived under Soviet rule, was false, breaking himself, “killing the poet in himself.” What do you think?
And the poet himself said: “I don’t care that I’m a poet. I am not a poet, but first of all, I put my pen in the service, mind you - in the service of the present hour, the present reality and its conductor - the Soviet government and the party."
(You don’t need the word “humbled” to understand that he did not do what he believed in, what he thought, what he felt. No, the role of “agitator-bawler-leader” was chosen by him absolutely voluntarily and corresponded to Mayakovsky’s convictions. Earlier he wrote:
“Understand -
My face
One -
It is a face, but a weather vane"
Yes, there were other feelings and thoughts. There was a desire to write about something else:
"I owe it to Broadway
Lampionia,
In front of you
Baghdad skies
Before the Red Army,
In front of the cherries of Japan -
Before everything that I didn’t have time to write about,” but when “the heart votes,” the poet writes according to the “mandate of duty”)
IV. Group work
Comparative analysis of the introduction to the poem “At the top of my voice” and S. Yesenin’s poem “Soviet Rus'”. What are the moral values of Mayakovsky and Yesenin?
General: both democratized the image of the lyricist, introduced the facts of their own biography into real relations with the world, their poetry breathes the air of the era.
Miscellaneous:
S. ESENIN |
V. MAYAKOVSKY |
| “My poetry is no longer needed here, And, perhaps, I myself am not needed here either.” “Blossom, young ones! And have a healthy body! Yesenin is not with the young people, he makes way for them. He will go his own way. |
"For you, which healthy and agile poet licked consumptive spitting rough language of the poster" The future of these healthy and agile people depended on him. His poetry is for them. “Healthy and Agile” is largely thanks to him in the way Mayakovsky prepared the way for a new generation. Mayakovsky is with them, the young ones. |
General:
S. ESENIN |
V. MAYAKOVSKY |
| “I will give my whole soul to October and May, but I will not give up my dear lyre.” The new life accepted by the mind is poorly perceived by the heart. A truly dramatic breakdown.
|
“...stepped on the throat of his own song” There is bitterness and tragedy in these words. But the bitterness is drowned out by the consciousness of victory over oneself in the name of the future.
|
V. Conversation with the class
1. How do you understand the words “I will come to you in a communist place”?
(The poem has the theme of "immortal glory" “speaking like alive to living people”
"Having appeared in Tse Ka Ka
The coming bright years,
Over a gang of poetic grabbers and a burnt out,
I'll rise as
Bolshevik party card,
All hundred volumes
my
Party
Books."
But there is another possibility.
The motive of the poet's selfless creative service, knightly devoted to the revolution, sounds with utmost sincerity.
"Die, my verse, die like a private"
“In the mounds of books that buried verse”
Mayakovsky is confident that he will come to the future not through poetry, but through the work of poetry.
He worked, fought, fought (hence the metaphors of poetry-weapons) so that there would be “socialism built in battles.)
VI. Group work
Miscellaneous:
S. ESENIN |
V. MAYAKOVSKY |
The meaning of life for the lyrical hero Yesenin is in life itself; everything that happens in the present is dear to him.
|
“Let socialism built in battle be our common monument.” The main thing for Mayakovsky’s lyrical hero is his focus on the future. The meaning of life is the construction of a wonderful future, which will certainly come when “prostitution”, “tuberculosis”, “consumptive spitting”, “poetic grabbers and burners will ... glow as a faint reminder of the past ». |
1.Why is the poem optimistic?
(“This is optimism not of “constant clarity,” but of hard-won faith in the future. And there is no need to artificially lighten the sound of “At the Top of Your Voice.”
Comrade life,
Let's
let's stomp quickly,
let's trample
according to the five-year plan
the rest of the days...”
We hear in these words a non-linear, cheerful intonation. This is not just “fraternization with life.” The poet sums up what has been done over two stormy decades...
And how much more in these words, at the same time sad, heavy and victorious, in this Mayakov style rough and strong “we trample” - how much more in all this strength and courage than in insanely cheerful cries."
Z. Paperny)
VII. Teacher's final words
Despite the fact that Mayakovsky (together with the futurists) advocated for a new art, if we consider his poetry on its merits, it is easy to establish its connection with Russian culture. The humanistic pathos of Mayakovsky's poetry brings it closer to Russian classics - this is the civic spirit of his poetry, a lively response to modern events.
F. Iskander said about V. Mayakovsky: “He dreamed that people, shocked by the beauty of the myth, would begin to live in harmony with it, and then it would turn out that there was no myth, everything would turn out to be true. The amazing poetic honesty with which he served the ideology... He was more devoted to the ideology than its creators themselves. Truly tragic devotion..."
Used Books
- L.S.Azerman“It’s time to understand. Problems of Russian literature of the Soviet period" - Moscow, "SCHOLA-PRESS", 1997
- “Russian literature of the twentieth century. 11th grade: Workshop for educational institutions”, ed. Yu.I. Baldy. – Moscow, Mnemosyne, 1998
Mayakovsky's poem "At the top of his voice" was written by the author in poetic form. With great regret, the poem was not published, so readers were not given the opportunity to familiarize themselves with it. The poem was written back in the 30s, which was exhibited as an exhibit at an exhibition of Mayakovsky’s twenty years of creativity. According to Mayakovsky, the first lines of the poem were written as a reflection of the essence of the poet’s work, which became the start of the author’s creative work. The idea behind writing “At the Top of My Voice” was to look at myself from the future: “Dear comrades and descendants! Studying the darkness of our days.”
From these lines it is immediately clear that the poet writes them for the future generation, and also talks about himself. But Mayakovsky also writes lines, simply indulging in poetry, but joking a little at the woman who planted the garden: “I planted a nice garden, daughter, dacha, water and smooth, I’ll water it myself.”
With his poems, the poet seriously fought for the communist cause, neither fearing the government nor secret organizations. With lines from his poems, he simply pierced the soul of the Soviet people: “The troops unfolded in parade on my pages. The poems stand leaden-heavy.”
During the revolution, everything changed very quickly. This meant that Mayakovsky must enter this pace, join the people, and together with them rebuild the world in a new, socialist direction. With his poetry he moved forward, and at the same time he set this movement for others. Recognizing this poetry meant making your intentions real, striving step by step towards a bright, wonderful future.
With these lines the poet ended his poem “At the top of his voice”: “I will raise, like a Bolshevik party card, all one hundred volumes of my party books.” His poems made me think about many things. They awakened the people to act, which, according to his plan, the poet strove for.