Poetic innovation Mayakovsky

Mayakovsky goes to the poetic arena in a difficult period, critical for Russia. The atmosphere is heated to the limit. The first Russian revolution, flooded with blood, a whirlwind of world war, causes people to doubt all former values. They long for change and look to the future with hope. In art, as if in a mirror, these complex social processes are reflected. This is one of the secrets of the popularity of Futurism with its frank denial of traditional culture, the outrage of petty-bourgeois life, almost a religious cult of technology and modern industry and its superhuman strength.

Mayakovsky sees the “inevitability of the wreck of junk” and anticipates the coming “world revolution” with the means of art and the birth of a “new humanity”. “To break into tomorrow, forward!” – that’s his motto.

– all! driving in unfamiliar.

This unfamiliar, unknown, becomes the object of his poem. He widely uses the

method of contrasts: dead objects come to life in his poetry and become more animated than the living ones. Mayakovsky’s poetry, with its urban-industrial pathos, contrasts the image of the many thousands of modern city with its busy streets, squares, buzzing cars – pictures of nature that seem to him to be something stagnant and hopelessly dead. The poet is ready to kiss the “clever muzzle of the tram,” he sings the city lantern, which “takes off the blue stocking from the street,” while the moon is “flabby”, “unnecessary to anyone”, and the girl’s heart is lifeless, as if “iodized “. The poet is convinced that a new word can only be said in a new way.

Mayakovsky is a pioneer who owns a word and a dictionary, as a brave master working with his own material according to his own laws. He has his own structure, his image, his rhythm and rhyme. The poet fearlessly breaks the usual poetic form, creates new words, introduces into poetry a low and vulgar vocabulary. In relation to the greatest phenomena of history, he assimilates a familiar

tone, speaks of art classics with disdain:

Roll into the tube

And they are passed through a meat grinder.

Mayakovsky likes contrasts. Beautiful lives with him ugly, high – with a low: “Prostitutes, like a shrine, they will bear me and show God in their defense.” All his poems are deeply personal, he is present in each of them. And this concrete presence becomes a point of reference, a system of coordinates in the unrestrained flow of his imagination, where time and space are shifted, where the great seems insignificant, and the intimate, intimate grows to the size of the universe. He stands with one foot on Mont Blanc, the other on Elbrus, with Napoleon on “you”, and his voice (“screaming”) drowns out thunder.

He is the Lord God who creates his poetic world, regardless of whether someone will like his creation. He does not care that his deliberate rudeness can shock someone. He is convinced that everything is allowed to the poet. As a daring challenge and “slap in the face of public taste,” the lines from the poem “Nate!” Sound:

And if today to me, the rude Hun,

You will not want to scream before you – and here

I’ll laugh and cheerfully spit,

Spit in your face,

I – precious words and spoilers.

Mayakovsky is characterized by a completely new vision of the world, he seems to turn it inside out. The habitual appears in his poetry strange and bizarre, the abstract becomes tangible, the dead – alive, and vice versa: “Tears of snow from flush reddened eyelids”; “Cramped boats in the cradles of the entrances / to the breasts of iron mothers.”

Mayakovsky’s poetry says not only the language of images and metaphors, but also widely uses the sound and rhythmic possibilities of the word. A vivid example is the poem “Our march,” which literally hears the battle of drums and the measured step of the marching columns:

The arba is slow.

Our heart is the drum.

Mayakovsky changed not only poetry, but also the old idea of ​​it. He became the mouthpiece of the ideas and moods of the era. His poems are “the weapons of the masses”, he brought poetry from the salons on the square and forced her to step along with the demonstrators.

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Poetic innovation Mayakovsky