In most cases, the reader associates with the revolution, Lenin and October. However, no one has the right to deny this person the right to lyrical feelings. His fanatical desire to rebuild the world, to step "far into the communist", to remain in the annals of history, still did not contradict deep feelings and experiences.
Mayakovsky, obeying, as he thought, a sense of duty, sought to deny the theme of love the right to exist: "Now is not the time for love affairs." But he could not and did not want to free himself from the captivity of love: he only tried to introduce into his feeling a different meaning, perhaps dictated by reality itself. The ideal of high love, which the poet asserted with all his creativity, could be embodied in a bright future, and the task of poetry was to speed up the path to the future, overcoming "everyday nonsense."
Thus, poems with deeply "personal motives" became poems about universal happiness - after all, Mayakovsky did not count on a smaller scale. But to be in another time is beyond the power of anyone. However, all the most common things in life are not "nonsense", but the foundation of life, a kind of "life of a mare", which, despite all the prodding, does not move as fast as we would like.
After meeting Lilya Brik in 1915, Mayakovsky devoted almost all of his works to her. She became his real Muse. And he dedicated a very bright work to her - poem "I Love", on which he worked from November 1921 to February 1922. The very name - "I Love" - sounds life-affirming. Unlike the poem "Lilichka!" , in the poem there is no place for gloomy moods, it is full of love and love of life.
There are eleven chapters in the poem, the first of which, according to the tradition of Russian literature, are devoted to the childhood, adolescence and youth of the poet himself. In the chapter "Boy" there already appears hero image whose heart is able to love the whole world:
Where in this
a place in an arshin -
to me and to the river,
and hundred-handed rocks ?!
In the chapter "Young Men", the hero admits that while others were learning to fall in love, he had to go through the "school of life" in prison:
Love me
They taught in Butyrki.
And there you could only fall in love "Through the camera's peephole 103"... Therefore, the hero experiences, perhaps, a strange feeling for a young man - a desire to see a sunbeam:
And I'm behind the wall
for the yellow hare
then I would give - everything in the world.
In the chapter "Adult" you can see the result of such training: when considering the relationship between people, especially a man and a woman, he pokes fun at those who seek to impress with dress or wealth. And those who are used to buying love for money are not just condemned by the poet - he hates them:
I'm fatty
I used to hate since childhood ...
Striving to please the ladies, they try to look smarter than they really are, but nothing comes of it - "Little thoughts are jingling with brass little lips"... The hero of the poem studied love, "Spoke to some houses", but "Pump stations were interlocutors", it allowed him to learn to appreciate true love... Therefore, the hero caught "Capitals the heartbeat is wild", in the end, having learned to experience the feeling of love only on this scale:
Solid heart -
buzzing all over the place.
Probably, in this understanding, one should look for the root cause of his state - the state when "The lump of the heart has grown in size", which in what follows will be called "Bulk love".
The chapter devoted to meeting your beloved is called very simply and impartially - "You". So, the heroine came for manifestations of the brutal, as they call it now, men, and "I just saw a boy"... But I was not at a loss, but "Took it, took away my heart and just went to play - like a girl with a ball".
The final part of the poem is written in the manner typical of Mayakovsky: from a specific case, he goes to expanding throughout the world. Therefore, as fleets flock to the harbor, as trains tend to the station, so does the hero "Beckons and tends" to the heroine, because he really loves:
Love in you -
hid, go
and I rejoice at Croesus.
And this love is so strong that the hero is ready to tell the whole world about it. He cannot be far from her, he stretches steadily,
barely parted,
barely parted.
Perhaps the most curious thing about the hero is that he is well aware: the feeling of love can be unrequited, but the very thought that somewhere there is a person to whom you can address your declaration of love gives rise to happiness and hope for reciprocity in the soul. Therefore, he makes a kind of oath: "I swear - I love it unchanged and true!"... Perhaps such words sound too pathetic, but this is the "Conclusion", in which the poet proclaims: "Love will not be washed away by quarrels or miles".
Thus, the poem gives all lovers a chance to experience not just a mutual feeling, but a feeling that has been suffered and tested not only by time, but also by distance.
- "Lilichka!", Analysis of the poem by Mayakovsky
The work of the poet of the twentieth century, Vladimir Mayakovsky, in the reader in most cases evokes an association with the revolution, Lenin and October. However, no one has the right to deny this person the right to lyrical feelings. His fanatical desire to rebuild the world, to step “far into the communist,” to remain in the annals of history, nevertheless, did not contradict his deep feelings and experiences.
Mayakovsky, obeying, as he thought, a sense of duty, sought to deny the theme of love the right to exist: "Now is not the time for love affairs." But also free yourself
From love captivity he could not and did not want to: he only tried to introduce into his feeling a different meaning, perhaps dictated by reality itself. The ideal of high love, which the poet asserted with all his creativity, could be embodied in a bright future, and the task of poetry was to speed up the path to the future, overcoming "everyday nonsense."
Thus, poems with deeply "personal motives" became poems about universal happiness - after all, Mayakovsky did not count on a smaller scale. But to be in another time is beyond the power of anyone. However, all the most common things in life are not "nonsense", but the foundation of life, a kind of
"Life is a mare", which, despite all the prodding, does not move as fast as we would like.
After meeting Lilya Brik in 1915, Mayakovsky devoted almost all of his works to her. She became his real Muse. And he dedicated a very bright work to her
- the poem "I Love". on which he worked from November 1921 to February 1922. The very name - "I Love" - sounds life-affirming. Unlike the poem "Lilichka!" in the poem there is no place for gloomy moods, it is full of love and love of life.
There are eleven chapters in the poem, the first of which, according to the tradition of Russian literature, are devoted to the childhood, adolescence and youth of the poet himself. In the chapter "The Boy" the image of the hero already appears. whose heart is able to love the whole world:
Where does this place in an arshin come from - to me, and the river, and hundred-versty rocks ?!
In the chapter "Young Men", the hero admits that while others were learning to fall in love, he had to go through the "school of life" in prison:
They taught me to love in Butyrki.
And there you could only fall in love with "the camera's peephole 103". Therefore, the hero experiences, perhaps, a strange feeling for a young man - the desire to see a sunbeam:
And I'm behind the wall
for the yellow hare
then I would give - everything in the world.
In the chapter "Adult" you can see the result of such training: when considering the relationship between people, especially a man and a woman, he pokes fun at those who seek to impress with dress or wealth. And those who are used to buying love for money are not just condemned by the poet - he hates them:
I used to hate since childhood ...
In an effort to please the ladies, they try to look smarter than they really are, but nothing comes of it - "little thoughts clink with brass little lips." The hero of the poem learned to love, "talked to some houses." and "the water pumps were interlocutors." this allowed him to learn to appreciate true love. Therefore, the hero caught the "wild heartbeat of the capitals." in the end, having learned to experience the feeling of love only on this scale:
Solid heart - buzzing everywhere.
Probably, it is in this understanding that we need to look for the root cause of his state - the state when "a lump of heart has grown in bulk." which in what follows will be called "the bulk of love."
The chapter devoted to meeting your beloved is called very simply and impartially - "You". So, the heroine came for the manifestations of the brutal, as it is customary to call it now, men, and “just saw a boy”. But I was not at a loss, but “took it, took my heart and just went to play - like a girl with a ball”.
The final part of the poem is written in the manner typical of Mayakovsky: from a specific case, he goes to expanding throughout the world. Therefore, as fleets flock to the harbor, as trains tend to the station, so the hero "beckons and tends" to the heroine, because he really loves:
Love is in you - I hid it, I walk and rejoice at Croesus.
And this love is so strong that the hero is ready to tell the whole world about it. He cannot be far from her, he stretches steadily,
barely parted, barely divorced.
Perhaps the most curious thing about the hero is that he is well aware: the feeling of love can be unrequited, but the very idea that somewhere there is a person to whom you can address your declaration of love gives rise to happiness and hope for reciprocity in the soul. Therefore, he makes a kind of oath: "I swear - I love it unchanged and true!" Perhaps such words sound too pretentious, but this is the "Conclusion", in which the poet proclaims: "No quarrels or miles can wash away love."
Thus, the poem gives all lovers a chance to experience not just a mutual feeling, but a feeling that has been suffered and tested not only by time, but also by distance.
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"About This" is one of the most difficult works of V. Mayakovsky, it is "the most literary, the most quotable of all his creations."
The poem is full of allusions and reminiscences, referring both to the early works of Mayakovsky himself, and to the works of Dostoevsky, Blok, Lermontov, Heine, Goethe, etc. to comrade Kostrov from Paris about the essence of love ”,“ Letter to Tatiana Yakovleva ”, plays“ Bedbug ”,“ Bath ”).
Critics' reviews of the poem were mixed: from enthusiastic to devastating. Even some of the poet's friends and associates did not understand her. The thing is that "About It" came into conflict with the theories of industrial art, literature of fact, promoted by the LEF group, to which Mayakovsky belonged.
The leitmotif of the first chapter of Mayakovsky's poem "About It" was the lines from Oscar Wilde's "The Ballad of Reading Prison":
"But they kill all loved ones, -
Let everyone know about -
One will kill with a cruel look
The other is a deceiving dream
Cowardly - with a deceitful kiss
And the one who dared - with a sword!
(Translated by K. Balmont)
Mayakovsky considers himself to be guilty of cooling feelings ("depreciation of the heart and soul"), like the soldier from Oscar Wilde's ballad. The poet “condemns” himself to a voluntary two-month home “confinement”, during which he looks for ways out of the crisis and writes “About this”. Of course, his "confinement" cannot be taken literally. These were creatively intense two months.
Simultaneously with the poem "About This", Mayakovsky worked on a series of political pamphlets, the "heroes" of which were the most prominent politicians of the Western world. He is actively published in newspapers. During this period, his books "13 years of work" and "Lyrics" with a typographic dedication to "Leela" were published. And most importantly: 1923 - the beginning of the publication of the magazine "LEF", the organ of the by that time formed the Left Front of the Arts, of which Mayakovsky became the editor-in-chief. On January 17, 1923, the first meeting of the editorial board took place in Mayakovsky's room, in Lubyansky passage. Yet in the first chapter of the poem, he states:
What does the prison have to do with it?
Christmas.
Confusion.
House windows without bars!
It's none of your business.
I say it's a prison.
his soul was in prison, deprived of the opportunity to see his beloved: “Without you (not without you“ away ”, but internally without you) I stop.” So a person may be unusually lonely in a crowd of people. Communication with the outside world, the world of his beloved, was carried out by means of notes, "note ripples" and a telephone (telephone cable):
Cable
thin -
well, just a thread!
And that's it
here on this one there is a thread.
A few decades later, another Russian poet V.S. Vysotsky in his poem "Zero seven" also tried to shout to his beloved through the night, which is "outlawed" for him. He is ready to wait as long as he wants and "agrees to start every evening from scratch":
The phone is like an icon for me
The phone book is a triptych,
The telephone operator became madonna,
Shortening the distance for a moment.
in his autobiography, Mayakovsky says:
"I wrote:" About this. " For personal reasons, about the common life. "
"Personal motives" poured into a love drama. In the poem, it reaches its peak, no ordinary words, images are able to convey its intensity, only metaphor and hyperbole. Such is the fantastic picture of the "earthquake" at the post office on Myasnitskaya, where the telephone network is taking place, the poet's unwillingness, and the duel. But in the poetic refraction, one can hear the echo of what is in the letters: the hero of the poem blames himself and condemns the musty, "from ancient times" relic that has settled in itself, the very life that reminds of scratching jealousy ... a monster. "
True love in Mayakovsky always opposes the danger of vulgarizing this feeling by philistine manifestations. The call sounded in the tragedy "Vladimir Mayakovsky" (1913): "Leave the apartments! .. ", passes from work to work, unfolding as a single metatext, in which the power of everyday life is interpreted as a demonic power capable of killing love in the world - the“ heart of everything ”.
The plot about a lyrical hero struggling with the inert force of philistinism and everyday life, who abduct his beloved from him ("Our rags are for her, / timid wings in silks have grown fat b") and, more broadly, they prevent harmony and fullness of life from being embodied on earth poems by Mayakovsky. The resolution of this conflict, which Mayakovsky interpreted as permanent, eternal, turns out to be possible only in the future (realized utopia) or in space above the stars, where there is no time.
Everyday life has always been Mayakovsky's enemy. Placing great hopes on the Revolution, he perceived it primarily as a "revolution of the spirit." Having discovered that this third revolution did not take place and October changed little in this regard, the poet renewed his attacks on all sorts of manifestations of everyday life. In the poem On Trash (1921), for example, revolution is threatened by a Soviet philistine with a portrait of Marx on the wall, a canary in a cage and a kitten warming himself on Izvestia.
The situation was aggravated by the introduction in 1921 of a new economic policy... The rebellious impulse dried up, the October holiday was replaced by gray "everyday life". Life moved away from the heroic romance of the revolution, went into its well-worn rut, from messianic slump and cosmic plans returned to the norm, to the arrangement of everyday existence, to simple, everyday affairs and worries.
As well as quick recovery economy after the chaos of war communism, the NEP gave birth to a new philistinism, which in its carelessness and vulgarity often surpassed the pre-revolutionary philistinism. Nikolai Aseev in his article “The work of Mayakovsky on the poem About this” expressed the spirit of the times in this way: “... the waves of the NEP were already rolling over the deck of the revolutionary ship.< … >It was very difficult to stay on his deck; it was necessary to clench his teeth and cling to the handrails so as not to be washed away into the sea of philistine and philistine.
Quite a few people with a revolutionary past found themselves overboard. Many lives were broken, not overpowering the tension of contradictions. This was reflected in the works of the poets "Forge", Eduard Bagritsky ("From black bread and a faithful wife / We are infected with pale sickness ..."). In the story "The Viper" Al.Tolstoy writes about this. This is the central theme of many poems by N. Aseev ("Lyrical digression;" Sverdlovsk storm ", poems" in the days when we were young ... ")
The poet's beloved just belongs to the bourgeois world, which the poet hates and with the manifestations of which he tries to fight in himself. Among the multitude of voices of "ravens - guests", he distinguishes also "her unbearable voice." “Protecting the beloved name”, he separates the beloved from them, persuades them to run with him to the “man on the bridge”, hoping that it is not too late to “save” him - everything is meaningless. To the "guests-crows" "she" is closer than to him. If you look closely at the scene of the "execution" of the poet, who completed his fantastic flight on the site of the Ivan the Great Bell Tower, then there "she" is passively present, in her detachment without even trying to come to the aid of the poet, Mayakovsky included in the poem the realities of his own life and the life of those close to him of people.
On the pages of the poem, real faces are mixed (L. Brik, Mayakovsky himself, his family, housekeeper Annushka, neighbor Balshin, "readers-admirers", etc.) and fictional characters (mystical man-bear, "a man from over seven years", boy Christ-Komsomolets). Many themes and images of the poem are still relevant today. Yevgeny Schwartz's play-fairy tale "An Ordinary Miracle" appears as a young bear, whose power of love is capable of changing the world by creating a miracle. In V. Vysotsky's poetry, there is a motive of predetermination of fate, the brevity of life, expressed by Mayakovsky: "I did not live out my earthly, / did not love my earthly ..." (In Vysotsky: "And I did not have time to live, I do not have time to finish - in the song" "The alarming thought of the incompleteness, imperfection of his life was brought by Vysotsky to hopeless despair:
and the one that is alone
Did not love, did not love!
The poem "About This" is connected with Mayakovsky's poem "The Man" (1917), which is already stated in the epigraph. This is how the image of a double, traditional for Russian literature, is introduced into the poem. In Mayakovsky, he takes different guises - either a bear, a huge but defenseless in love and doomed to it, then a “man because of seven years” (the lyric hero of the poem “Man”), then a suicide boy, or Mayakovsky himself.
And all this whirls, rushes furiously in the carnival of Christmas night, recalling Gogol's "The Night Before Christmas". Faces, masks flicker, the vulgar "little worlds of houses" look with dead windows, and in them "inanimate people" are like figurines from a shooting gallery. The boundaries of space and time are expanding. The lyrical hero swiftly moves from his room across the expanses of the Universe: he floats on an ice-cushion along the Neva, meeting himself on the bridge, finds himself on the banks of the Seine, climbs the Ivan the Great bell tower, which has turned into an “icy Mashuk”.
The story about the futility of searching for people who are ready to go with the hero to save the Man from a loveless existence ends with a scene of the murder of the poet by a duelist-society, which is teeming not only with the Pinkertons, but also with the beloved friends of human ribbons.
There are many who are thirsty for a duel; they throw not a glove in the poet's face, but “glove shops”, he receives hundreds of insults “they slapped his cheek with a washcloth”). They have no compassion, pity, human feelings. They are deaf to the poet's plea:
I'm not bothering you.
Why insult!
I'm just a verse
I am only a soul.
Only the sky, which "still stars with lyrics," accepts the hero. Next to the Big Dipper, the eternal companion of the poet's work, he freely rushes through the Universe as a "Bear's brother", bawling "verses to the universe in the noise."
Mayakovsky associates the image of the starry sky with inner freedom, liberation from certain constraining restrictions and conventions (if the stars light up ... "). Everything that was "driven in by the departed slave" remains on the earth. And there, in the sky, the poet sees how "the sun shines on the mountains", "the days are smiling from the pier."
This is how the last chapter of the poem "A Petition to the Name ..." begins enlightened. It reflected the theme of the resurrection of a person after death, which had long worried Mayakovsky, which was also present in the poem "Man".
The poet was inspired by the ideas of NF Fedorov's "Philosophy of the Common Cause" and Einstein's theory of relativity, as reported in the article "On the Generation Who Wasted Their Poets" by Roman Yakobson. He quotes Mayakovsky's words: “And I am absolutely convinced that there will be no death. Will raise the dead. I will find a physicist who will explain Einstein's book to me point by point. After all, it cannot be that I did not understand. I will pay this physicist an academic ration. ”
Feeling the impossibility of victory over everyday life in the present “Everything has stood for centuries, / as it was. / Do not beat - / and the life of the mare did not move "), in the last chapter of the poem lyrical hero appeals to the scientist "big-headed quiet chemist" from the XXX century.
Realizing that the “red flag system” did not offer anything better compared to pre-revolutionary life, that the force that ruled life and love before triumphs even now, the poet comes to a vision of the ideal of love in the future, with the complete merging of personal happiness with the happiness of all mankind. This is how Mayakovsky's dream of "a workshop for human resurrection" is embodied in the poem.
The theme of the future as the world of ideal human relations, the world of maximum fulfillment of life, living with full dedication, “with all heartfelt measure”, the expression of the truly human in man is the pivotal one in Mayakovsky's work ”.
But behind the light, optimistic tone of the epilogue, it is impossible not to notice the melody of sadness making its way. Perhaps this is due to the hero's lack of confidence that he will be resurrected (according to Fedorov, all generations are resurrected), although he wants this with all his heart.
Mayakovsky here ...
Let's look for a brighter face -
the poet is not handsome enough.
And then his passionate cry breaks through,
practically pleading:
- Don't turn the page!
Resurrect!
< … >
Resurrect
at least for the fact
what am I
poet
was waiting for you,
threw away everyday nonsense!
Resurrect me
even for that!
Resurrect -
I want to live my life!
He agrees to any work in this new life, even for the role of a jester (“I will use charades of hyperbole, / allegories / will entertain, / with verses of a joker”). The vocabulary used by the poet also speaks of doubt, some kind of uncertainty:
Can,
may be,
someday
path of zoological alleys
and she-
she loved animals -
will also enter the garden ...
She's beautiful -
she will probably be resurrected.
The desire for one's own resurrection expands to the desire for the resurrection of the beloved. The antithesis of the tragic (“I didn’t live, / on earth / didn’t love mine”) and the life-affirming (“Today, disliked / make up for / the starryness of countless nights”) appears. However, the poet does not show his reunion, meeting with his beloved in the future, continuing the theme of "non-meeting" touched upon in "The Man" and akin to Lermontov's poem "They loved each other so long and tenderly ...": and death came: a date came behind the grave ... But in a new world they did not recognize each other.
Perhaps this sadness, showing through the lines, is explained by Mayakovsky's presentiment that the "deadly love duel" will end with his defeat, not now, so later. "Personal motives" did not form a symphony of love and happiness, a joint trip to Petrograd at the end of the poem on February 28, 1923, and then abroad only slightly postponed the inevitability of the ending. But the poem ends with a powerful life-affirming outcome. In the last chapter, "Love", the hero appears purified, elated with hope.
That ideal of life appears, that ideal of love that Mayakovsky has been looking for so long and unsuccessfully in modern times. This is both denial and affirmation, this is reality and a dream:
To live
do not sacrifice the house to holes.
So that he could
in the family
henceforth
become
father
at least the world
land at least - mother.
The theme that the poet wants to talk about has been covered many times. He himself circled a poetic squirrel in it and wants to circle again. This theme can even push the cripple to the paper, and his song will ripple in lines in the sun. There is truth and beauty hidden in this theme. This theme is getting ready to jump into the recesses of instincts. Having declared itself to the poet, this theme scatters people and affairs like a thunderstorm. This theme, whose name is love, approaches the throat with a knife!
The poet tells about himself and his beloved in a ballad, and the harmony of the ballads is getting younger, because the poet's words hurt. “She” lives in her house in Vodopyanny Lane, “he” sits in his house by the phone. The inability to meet becomes a prison for him. He calls his beloved, and his call flies like a bullet through the wires, causing an earthquake on Myasnitskaya, near the post office. The calm cook second picks up the phone and slowly goes to call the poet's beloved. The whole world has been pushed away somewhere, only the unknown is aiming at it with a pipe. Between him and his beloved, separated by Myasnitskaya, lies the universe, through which a cable stretches like a thin thread. The poet does not feel himself to be a venerable employee of Izvestia, who will have to go to Paris in the summer, but as a bear on his ice-floe pillow. And if the bears cry, then exactly as he does.
The poet remembers himself - such as he was seven years ago, when the poem "Man" was written. Since then, he has not been destined to crawl into everyday life, into family happiness as a cockerel: with the ropes of his own lines, he is tied to a bridge over the river and is waiting for help. He runs through Moscow at night - through Petrovsky Park, Khodynka, Tverskaya, Sadovaya, Presnya. On Presnya, in the family mink, his relatives are waiting for him. They are happy to see him on Christmas, but are surprised when the poet calls them somewhere 600 miles away, where they must rescue someone standing over the river on the bridge. They do not want to save anyone, and the poet understands that his relatives replace love with tea and darning of socks. He doesn't need their chicken love.
The poet walks through the Presnensk mirages with gifts under his arms. He finds himself in the bourgeois house of Fyokla Davidovna. Here the angels turn pink from the iconic gloss, Jesus graciously bows, lifting a thorny wreath, and even Marx, harnessed to a scarlet frame, drags the common man's strap. The poet tries to explain to the townsfolk what he writes for them, and not because of his personal whim. Smiling, they listen to the eminent buffoon and eat, rattling their jaws against their jaws. They, too, are indifferent to some person tied to a bridge over the river and waiting for help. The poet's words pass through the townsfolk.
Moscow resembles Beklin's painting "The Island of the Dead". Once in the apartment of friends, the poet listens to them chatting with laughter about him, never ceasing to dance two-step. Standing at the wall, he thinks of one thing: if only not to hear the voice of his beloved here. He did not betray her in any of his poems, he bypasses her in curses with which horror smashes everyday life. It seems to him that only his beloved can save him - a man standing on a bridge. But then the poet realizes: for seven years he has been standing on the bridge as a redeemer of earthly love, in order to pay for everyone and cry for everyone, and if necessary, he must stand for two hundred years, not waiting for salvation.
He sees himself standing over Mount Mashuk. Below is a crowd of ordinary people, for whom the poet is not a verse and a soul, but a century-old enemy. They shoot at him from all rifles, from all batteries, from every Mauser and Browning. Poet scraps shine with a red flag on the Kremlin.
He hates everything that was driven into people by the departed slave, that settled and settled by life even in the red flag system. But he believes with all his heartfelt faith in life, in this world. He sees the future workshop of human resurrection and believes that it is he, who did not live and did not love his own, that the people of the future will want to resurrect. Maybe his beloved will also be resurrected, and they will make up for countless nights, disliked by the stardom. He asks for resurrection at least because he was a poet and waited for his beloved, throwing away everyday nonsense. He wants to live out his own in a life where love is not a servant of marriages, lust and bread, where love goes to the whole universe. He wants to live in a life where at least the world will be his father and at least the earth as his mother.
Retold
