Here are some artistic techniques. Analysis of the poem “Here!” Mayakovsky. Analysis of Mayakovsky's poem "Nate"

An hour from here to a clean alley
your flabby fat will flow out over the person,
and I opened so many boxes of poems for you,
I am a spendthrift and spender of priceless words.

Here you are, man, you have cabbage in your mustache
Somewhere, half-eaten, half-eaten cabbage soup;
Here you are, woman, you have thick white paint on you,
you are looking at things as an oyster.

All of you on the butterfly of the poet's heart
perch up, dirty, in galoshes and without galoshes.
The crowd will go wild, they will rub,
the hundred-headed louse will bristle its legs.

And if today I, a rude Hun,
I don’t want to grimace in front of you - so
I will laugh and spit joyfully,
I'll spit in your face
I am a spender and spendthrift of priceless words.

Analysis of the poem “Here!” Mayakovsky

The appearance of Mayakovsky in Russian poetic society can be compared to the effect of a bomb exploding. At the beginning of the 20th century, many poets used non-standard images and techniques in their work. But it was Mayakovsky who acquired the most scandalous fame. In 1913, he wrote the poem “Here!”, which became his programmatic statement to the public.

At this time, public performances by poets were very popular. This provided a way to earn money and gain fame for those who did not have the opportunity to publish their works. The performances of beginning authors sometimes took on the character of a humiliated request for a handout from a bored society. This developed false conceit among rich listeners; they began to consider themselves true experts and connoisseurs of art.

Mayakovsky's contempt for bourgeois society is well known. It was further intensified by the poet’s forced participation in such public readings. The poem "Here!" became a sharp protest of the author, directed against those who perceived his work as just another entertainment. One can imagine the reaction of a person who came to see Mayakovsky perform this poem for the first time.

The aggressive style and content of the work should immediately evoke a negative reaction in the listener. Mayakovsky declares that his poetic gift is being wasted in front of “flabby fat.” The author snatches from the crowd characteristic male and female images that personify all the abominations of society. The man has “cabbage in his mustache,” and the woman is not even visible due to makeup and the abundance of objects that belong to her. Nevertheless, these “subhumans” are respected and revered members of human society.

The main way Mayakovsky describes the crowd is the “hundred-headed louse.” Thanks to money, the human mass claims its rights to the personality of the poet. She believes that, having bought his time, she has the power to dispose of his talent as she wishes.

Mayakovsky goes against the rules of decent society. He, like a “rude Hun,” commits an individual rebellion. Instead of decent admiration and antics of the poet, spittle flies into the face of the crowd. All the hatred accumulated by the author is concentrated in this spit.

The poem "Here!" - one of the most powerful works of protest in Russian poetry. No one before Mayakovsky had expressed such open contempt for his own listeners. In it one can see the embryo of modern ultra-radical art.

Note: This verse is also called "Hate!", which means "hatred" in English.

“Here!” Vladimir Mayakovsky

An hour from here to a clean alley
your flabby fat will flow out over the person,
and I opened so many boxes of poems for you,
I am a spendthrift and spender of priceless words.

Here you are, man, you have cabbage in your mustache
Somewhere, half-eaten, half-eaten cabbage soup;
Here you are, woman, you have thick white paint on you,
you are looking at things as an oyster.

All of you on the butterfly of the poet's heart
perch up, dirty, in galoshes and without galoshes.
The crowd will go wild, they will rub,
the hundred-headed louse will bristle its legs.

And if today I, a rude Hun,
I don’t want to grimace in front of you - so
I will laugh and spit joyfully,
I'll spit in your face
I am a spender and spendthrift of priceless words.

Analysis of Mayakovsky's poem "Nate"

The literary world at the turn of the 19th and 20th centuries was undergoing significant changes; many different movements and directions appeared that did not fit into the generally accepted canons. But even in this chaos and confusion, from which only several decades later the real diamonds of Russian poetry would crystallize, the figure of Vladimir Mayakovsky initially plays a very shocking role. Syllable, sense of rhythm, construction of phrases - these distinctive features make it possible to unmistakably recognize the poet’s works in a sea of ​​literary experiments. Moreover, each rhymed line of Mayakovsky carries a certain semantic load, which is sometimes expressed in a rather rude and shocking form.

The poem “Here!”, created in 1913, belongs to the early period of the poet’s work, whose social worldview was just beginning to form. This stage of Mayakovsky’s poetic experiments can rightfully be called rebellious, since form is of secondary importance for him, but the author pays special attention to content. His favorite technique is opposition, which the poet masterfully masters, which allows him to create vivid and multifaceted literary images. “Here!” - this is a kind of challenge to bourgeois society, for which poetry is still an amorphous art designed to delight the ear. Therefore, the author, who has to earn his living by publicly reading his own poems, is very outraged by such a consumerist attitude towards literature. His poem "Here!" it is precisely dedicated to all those who see not the essence of poetry, but only its shell, an empty wrapper into which you can put any delicacy, the taste of which ordinary people will never be able to taste.

Already from the first lines of his work, Vladimir Mayakovsky addresses the crowd, trying to provoke it, hurt it more painfully and stir it up. His goal is simple and clear - to force people who consider themselves to be among the caste of true connoisseurs of art to look at themselves from the outside. As a result, a very ironic and caricatured picture emerges, which makes even those who recognize themselves in the image of a man with “cabbage in his mustache” or a woman looking “like an oyster from the shell of things” to smile.

Such deliberate rudeness is not only a desire to express contempt for those for whom attending literary readings is a tribute to fashion. In this simple way, young Mayakovsky, among other things, wants to draw attention to his creativity, which is extraordinary, devoid of romance and sentimentality, but has undoubted charm and appeal. Shocking antics for the poet are quite common, but behind the feigned indifference, causticity and satire hides a very vulnerable and sensual nature, which is not alien to sublime impulses and mental torment.

Mayakovsky in the poem “Nate” clutters consciousness. The multitude of objects, the monstrous formlessness of details, the avalanche of the grotesque are hypnotic; This is probably why it is often difficult to object to Mayakovsky. To some extent, here he can be compared with Boris Pasternak, because. Pasternak, inventing his own system of coordinates, which can be conditionally called “jamais vu” (that is, the priority of the explicit over the metaphysical), also piles up objects. However, reading both poets, one can be convinced that Pasternak’s details, unlike Mayakovsky’s details, firstly, exist only in the present, without falling into the past and without running ahead into the future, like Mayakovsky, whose details suffer from paramnesia , the characteristic symptom of which is dejă vu, i.e. a mixture of the explicit and the metaphysical. Secondly, Pasternak proceeds from considerations of taste when he attracts some detail from the outside, while Mayakovsky, it seems, does not think about whether the detail is “tasty” or not, which gives a “slap in the face to public taste.” For example, let's compare:

…heart, splashing across the platforms,

wagon showers with doors in the steppe...

(Parsnip)

...All of you are on a poetic butterfly hearts

perch up, dirty, in galoshes and without galosh…

(Mayakovsky)

Such differences between Pasternak and Mayakovsky are to some extent explained (conditionally, not deliberately) by their belonging to different movements: for example, Mayakovsky is a futurist, and Pasternak is an Acmeist. One of the “commandments” of Acmeism, announced in the manifesto of O.E. Mandelstam, “Love the existence of a thing more than the thing itself.” Mayakovsky does not seem to follow this commandment. He loves the thing itself more. “A futurist, not realizing the true meaning of a word, throws it away,” is Mayakovsky’s commandment, actually written by Mandelstam. But “easily discarded” words carry a certain semantic load, due to the exchange of meanings with other words through alliteration and shifting emphasis, which, by the way, is often done by Mayakovsky. Thanks to purely “technical” techniques - alliterated sounds (for example, “ With mo tr ite u page itsy") - details are attracted into the poem, and they “stick” in the poems solely because of them (techniques). And since they “hold on,” they are forced to accept the meaning of the entire poem; So, if the poem is satirical, then the detail is tasked with conveying the satirical meaning. Let's try to show this using the example of Mayakovsky's poem. Let's take the poem "Here!" and consider it, identifying how its satirical meaning is revealed in the context of details.

Let me make a reservation right away that it is no coincidence that the discussion above was about the “cluttering of consciousness” characteristic of Mayakovsky. The fact that Mayakovsky uses it everywhere as an artistic principle can be motivated by the fact that “Here!” - satirical poem. Attracting the “butterfly”, “heart”, i.e. rather fragile objects, Mayakovsky, not caring about compatibility, specially draws “perched”, “dirty”, “in galoshes and without galosh" The philosopher noted: “Satire is the transition of the significant into nothingness”; in the same way, Mayakovsky carries out the transition of the fragile (“butterfly of the poet’s heart”) into nothingness, into galoshes.” However, let's not get ahead of ourselves.

“An hour from here into a clean alley // Your flabby fat will flow out over a person.” It is obvious that an hour is a conventional period of time, given that time in Mayakovsky’s poems is a conventional concept, because it depends on the “time of details”; for example, "cabbage" malnourished cabbage soup" is a detail of the past, and the "hundred-headed louse" is of the future (“a crowd of beasts nope"). Here, most likely, is a satirical comparison of the hour of people with “flabby fat” (philistines, probably) and the eternity of priceless words and their spender (the poet). Let us pay attention to the impartiality of the “flabby fat”, which flows out “through the person” from somewhere where the “verses of the box” are opened, and to the “coziness” of the boxes and the image of the spendthrift. The first stanza is built on such a deliberate contrast, and even at the level of sound writing one can trace this satirical conflict. The first two verses are built on alliterated sibilants: “ch”: “ h through" - " h as" - "in h true" - "you h et" - "by h to a person"; "w"/"zh": "va" w" - " flabby w y" - " and ir". The last two verses of the first stanza are in more sonorous: “to”: “from To dug" - "sh To atulo To"; "m", "t":

…I V A m O opened st O just a verse O in school A tul O To…

The contrast between the first and second halves of the first stanza is also due to the “commonality” of the first two verses and the last two. Thus, even at the semantic level, Mayakovsky indicates a satirical conflict; details such as “flabby fat” and “clean lane” take on added meaning. For example, an alley with sonorous “r” and “k” has no hissing words and does not seem to belong to “flabby fat”, but “clean” -
with an alliterated “ch” - loses (futuristically) its meaning of true purity.

We read further the poem “Nate.” It is obvious that Mayakovsky “according to the person” attracts first a man, then a woman, into the present of his poems. Moreover, they really exist in the present, since he seems to be addressing them: “ Here you..." However, Mayakovsky's tendency towards "paramnesia" (dejă vu) makes itself felt, and he draws on details from the past, using the grotesque: "Cabbage<…>somewhere half-eaten, half-eaten cabbage soup”; further he shifts the emphasis from the present (“woman”) to the ordinary (“things, sink"), which increases the effect of satire; those. his present is not ordinary, bourgeois, philistine, but different.

Then he turns the fragile into nothing, and what can be considered negative (philistine, apparently), which is what the satire is actually aimed at - all with alliterated hissing: “kalo w and about sch etinit but and bushy head in w b".

“...To me, a rude Hun,” - Mayakovsky, finally, definitively marks the difference between him and the supposedly “refined connoisseurs of art”; it feels like they don’t notice its grotesqueness or its details at all. And he, apparently, decides to do something desperate - to prove the strength and independence of his priceless words and details - “I will laugh and joyfully spit.” The inversion “I’ll spit in your face // I...” adds additional turmoil to the general merry and at the same time terrifying chaos, and here the satire is in terrifying, demonic fun, laughter at people with “flabby fat.”

Mayakovsky’s satire is powerful, destructive, since cluttering consciousness with “metal structures” from words of “general meaning” is a dangerous and effective technique; The rhythmicity of Mayakovsky's poems also unites the details - the poems gain additional power thanks to the iambic almost without pyrrhic. One gets the feeling of an incredible Alter Ego, putting too much pressure on the often simple Ego of the average person. Often Mayakovsky's poems are similar to a medieval painting by Bosch, where in every corner some hundred-legged, hundred-headed creature is tossing and turning, trying to attract attention to itself. In Mayakovsky, the details are kept almost the same as in the painting, on an invisible canvas.

The most terrible and destructive thing in Mayakovsky’s satire is the transformation of all the chaos, uncertainty of time, space (“somewhere”, “from here”, “here you are...” - “half-eaten, half-eaten”), the incompatibility of the present and the ordinary into a spender and a spendthrift. Unfortunately, I am more inclined to believe that the existence of a thing should be loved more than the thing itself, just as the meaning of a word is more than the word itself. “A walk in the forest of symbols” and “picking up” a difficult word with a knitting needle were designated by Mandelstam in “The Morning of Acmeism” as untenable methods of poetry. Although Mayakovsky's poems suffer from dejă vu, his satire and poems in general are amazingly made, with clutter of consciousness and with this very dejă vu, oscillation from the past to the future in the context of the present and vice versa.

Rejection of existing reality is the main motive of Vladimir Mayakovsky’s early lyrics. The poet declares himself a herald of new truths and faces the alienation of the people around him. The world around the lyrical hero Mayakovsky is inhuman, cruel and spiritually wretched. A moral person, noble in soul, is infinitely lonely in such a society. However, he does not so much despair and alienate his surroundings as try to fight them. The poet mercilessly and furiously criticizes the existing world order, creating vivid satirical images of well-fed, complacent, indifferent people. One of the classic examples of early satire by Vladimir Mayakovsky is the poem “Here!” The title of the work already hurts the ear; it expresses the indignation of the creator, whom the spoiled public takes for a slave, ready to fulfill its every desire. No, the hero of the poem - the poet - will serve art, and not this crowd that is wasting its life. The creator's monologue is very emotional, every word in it castigates the audience, consisting of vulgar inhabitants:

An hour from here to a clean alley

your flabby fat will flow out over the person,

and I opened so many boxes of poems for you,

I am a spendthrift and spender of priceless words.

The first stanza of the work presents us with the environment of the lyrical hero in general. The poet depicts people as one solid fat, and also “flabby” (epithet). This metaphor indicates precisely their excessive satiety, which turned into complacency and stupidity. The poet opposes himself to this entire society, because the essence of the creator is not hoarding, but spiritual generosity. The hero calls his words “priceless” (an epithet) not out of vanity. It’s just that art and poetry are the most precious things he has. Poems are the “gems” of the poet’s heart, and, apparently, that’s why they are stored in “boxes.” The hero does not hide these “jewels”; he is ready to reveal the secrets of his soul to everyone. But the trouble is that his poetry is not needed by society, just like culture in general. With disgust, the hero describes the representatives of this world:

Here you are, man, you have cabbage in your mustache

somewhere half-eaten, half-eaten cabbage soup;

Here you are, woman, you have thick white paint on you,

you are looking at things as an oyster.

The poet insults these people for a reason. He wants to be heard, tries to stir up the philistine “swamp”, to awaken the souls of these people, swollen with fat. What I like most about the second stanza is the “shell of things” metaphor. In my opinion, it very accurately reflects the complete immersion of a person in a life that kills the individual, turning people into some kind of “molluscs”, devoid of internal form and meekly accepting any guise, even the most terrible. Looking around this vile society with his prophetic gaze, the poet understands one thing: a lot of suffering awaits him ahead:

All of you on the butterfly of the poet's heart

Perch up, dirty, in galoshes and without

The crowd will go wild, they will rub,

the hundred-headed louse will bristle its legs.

And if today I, a rude Hun,

I don’t want to grimace in front of you - so

I will laugh and spit joyfully,

I'll spit in your face

I am a spender and spendthrift of priceless words.

The shocking act of the lyrical hero is again caused by the desire to attract attention and be heard at all costs. This is how Mayakovsky bursts into the poetry of the twentieth century as a “rude Hun” to show the world of the well-fed, the wrong side of real life. The imperfection of the world order, the sharp discrepancy between dreams and reality, the depressing lack of spirituality and vulgarity gave rise to an angry protest in the poet’s soul. And he had one weapon - the word. Mayakovsky's poems will always be modern. They are focused on the future because they encourage a person to improve. The poet unobtrusively educates us. Thus, in the satirical work “Nate” he states: spiritual death is much more terrible than physical death. We must remember this and be vigilant.

Vladimir Mayakovsky is a brilliant poet of the first half of the twentieth century. This is a man with a very tragic fate. He was committed to the global idea that “art changes the world,” but, in essence, it turned out to be completely different. Any creativity is congenial to the era. And Mayakovsky lived in difficult, post-revolutionary times.

He was a stranger among his own. In 1930, Vladimir Mayakovsky joined RAPP. In the same year, he opened the exhibition “20 Years of Work,” but none of his writer friends came to it, due to the fact that he was a member of the Association of Proletarian Writers. In addition, the leader of RAPP Vladimir Ermilov wrote a highly critical article about Mayakovsky’s work. This came as a real shock to him. 1.5 months after these events, the poet committed suicide. The eternal struggle with society is reflected in his poetry. It is permeated with shockingness and protest. The poem "Here!" is a striking example to reinforce this idea, although it was written 17 years earlier. The genius of Vladimir Mayakovsky allowed him to see and feel a little more than ordinary people.

This poem was written in 1913 and belongs to the poet’s early work. Mayakovsky by nature was a rebel and a true revolutionary. “Here!” he wrote at age 20. The revolution of 1907, when the poet was in adolescence, had a great influence on his worldview. As you know, teenagers have a more impressionable, labile psyche and are more easily influenced. Accordingly, the poem “Here!” - this is a kind of challenge posed to the bourgeoisie.

Genre, direction, size

For Mayakovsky, futurism is a characteristic direction. This particular poem is characterized by such features of futuristic poetry as: contempt for conservatism, urban theme and shockingness. The poet openly criticizes the behavior of the bourgeoisie. The work is permeated with a call for the creation of a completely new society, the basis of which is the Bolshevik ideology and the thirst for new power. This is a real innovation of the early 20th century. The lyrical hero of the poem is a kind of “red matter”, a provocateur.

The work has an accent verse meter and cross rhyme, which gives it a sense of freedom and revolutionary form.

Composition

The poem consists of three quatrains and one pentad.

1. The first shows a clear disgust for the “flabby” bourgeois, stupefied society.
2. In the next quatrain, the lyrical hero condemns a man for gluttony, and compares a woman to an oyster, devoid of all intelligence, due to her empty gaze.
3. In the third quatrain and final five-line there is a direct description of the crowd.

Images and symbols

The core of the composition is the lyrical hero. He is the image of an ideal, exalted person who looks down on the faceless biomass with contempt.

All these ugly, snickering individuals want to continue to sit on the neck of the Proletariat. They are like greenhouse plants, incapable of working and creating anything beautiful. Without a greenhouse maintained by active workers, they will die.

The main goal of the lyrical hero is to serve art, which transforms people and makes them better.

Means of artistic expression

The main artistic instrument of expressiveness of the poem “Here!” serves as an antithesis. The lyrical hero is an innovator and romantic by nature. He is opposed to a decaying, bloated society. This means here appears in the form of the pronouns “I” and “we”.

The poet also uses an excellent simile when describing the image of a woman: “You look like an oyster from the shells of things.” By this he shows the stupid materialism and spiritual emptiness of the lady; she is an “empty vessel.”

In describing the crowd, Mayakovsky uses the epithet “dirty,” emphasizing its asociality and moral ugliness, disfigurement.