Mayakovsky's introduction to the poem in full. The theme of the poet and poetry in the introduction to the poem by V.V.

A. Solzhenitsyn in 5th grade. To understand such a profound work, you need to have at least two or three decades behind you. The poet himself did not live to see forty, but his perception of life is many times larger and more complete than that of the average person.

Where to start analyzing Mayakovsky's poem "At the top of my voice"

Initially, the work was listed as an introduction to the poem, but it was not completed, and what has come down to us has taken shape into a completely finished poem. According to tradition, when analyzing Mayakovsky’s “At the Top of His Voice,” the work is called a poem.

As a straightforward person, the author begins his work with the address “Dear comrades and descendants..”. Very intelligent, isn’t it, considering the morals of the young futurist poet, who loved to shock the public with expressions that were far from artistic. However, even here the poet will not change his tradition: “rummaging through today’s petrified shit...”. Contrast is the master’s most favorite technique; if he speaks softly at the beginning of a sentence, then expect a “hot” word at the end. This is all Vladimir Vladimirovich. According to the stories of his relatives and friends, the poet was a rather modest and very sensitive person, and as for personal relationships, he was generally shy, romantic and very vulnerable.

The key idea of ​​the poem is contained in the lines “I myself will talk about time and myself.” Choosing this path, the poet has only one thing left: the truth and nothing else. And if we take into account the realities of the time when Mayakovsky’s poem was written, then besides metaphors and allegories, the poet had no other means to express himself and pass censorship. And he did it really well! His verse sounds harsh and straightforward:

I, the sewer man

and a water carrier,

revolution

mobilized and called up,

went to the front

from lordly gardening

poetry -

women are capricious.

The entire poem as a whole is imbued with revolutionary pathos and is politically “colored.” But behind the outer side of the verse one can notice the inner poetry and play on words. This is very important to take into account when analyzing Mayakovsky's "At the Top of Your Voice".

Rhyme in Mayakov style

In the field of rhyme and versification, Vladimir Vladimirovich is a most skillful theorist and practitioner. Everyone knows his work “How to Write Poetry.” But his work is broader and more revealing than any treatise.

“Discovering - a weapon, caressing - a hair, Hegel - running” - this is the standard rhyme for the poet. Mayakovsky’s work is always rich and sophisticated. The poet finds rhyming options where it would seem there could not be any, changing stress, rearranging and redoing words as he sees fit. Maybe that's why his poems are always full of neologisms.

To feel and understand Mayakovsky’s style and verse, you need to re-read it more than once. And then the analysis of Mayakovsky’s “At the top of my voice” will become simpler and more effective. In addition to the complex structure of the verse and the arrangement of stanzas that is difficult for an unprepared reader, the poet has a maximum of semantic load in a minimum of words. Anyone who understands Mayakovsky’s lyrical hero will see much more than the average reader.

What did the poet want to say?

At first glance, this is implicit, but in the poem the author characterizes his poetry, his creative credo. In other words, the poet talks about his destiny, about the future of the country and humanity as a whole, about poetry as the most powerful weapon. Distant goals, reflections on modernity, strength of spirit, will, and the everyday painful creative process merged together. The entire work is imbued with one important thought: writing for future generations is a very responsible thing, it is hard work that will not pay off with fame or money.

not used to caressing;

girl's ear

in curls of hair

with semi-obscenity

don't fall apart, touched.

Unfurling the parade

my pages troops,

I am walking through

along the line front.

Vladimir Mayakovsky knew the value and power of the poetic word, and therefore understood his responsibility to society and time. No matter how much he wanted to write about personal things, about relationships, he preferred to remain a poet-fighter and agitator for the masses. But the intimate lyricism of the poet of the proletarians is his strong point, which has always remained in the shadows. Mayakovsky's love is a piercing, passionate, tender, hopeless and, at the same time, the strongest feeling. He, like no one else, turned his soul out and declared in poetry that loving is painful. But let’s return to the analysis of Mayakovsky’s unfinished “At the top of his voice.”

His “cavalry of witticisms” are always ready for battle, “raising their sharpened peaks of rhyme.” Bequeathing his poems to us, he gives the order to continue to fight without him, with the faith that his life and work will not be lost, will not be forgotten, and that his goals will be achieved.

The poetic language of the poem “At the top of my voice” by Vladimir Mayakovsky

In the poem, as in the entire creative heritage of Vladimir Vladimirovich, one encounters his own “pearls” - neologisms. These are individually authored words that are created by the poet himself, subordinating them to artistic intent. “Curly - wise”, “mandolin” - from the name of a musical instrument, “glasses-bicycle”, “song-like”, “amorous-lyre”, “lead-heavy”, “to fly apart”. The poet loved and knew how to play with words, hence his unique style. In addition, in the poem the master of words continually plays with sounds - alliteration is the norm for Mayakovsky’s poems. Notice how in the next quatrain he selects words with the sounds “g” and “l”:

Listen,

comrades descendants,

agitator,

loudmouth leader.

poetry flows,

through lyrical volumes,

as if alive

talking to the living.

And in the following lines, masterfully executed alliteration (“p”, “r” and “l”) is clearly visible:

armed troops over their teeth,

that twenty years of victories

flew by

right up to

last sheet

I give it to you

planet proletarian..

It is impossible not to mention such a stylistic device as inversion, or, more simply put, the rearrangement of words in a sentence. When analyzing Mayakovsky's poem "At the Top of Your Voice", it is worth considering that most of the sentences are inversions. This technique helps highlight words, focusing attention on them. To understand the meaning of a phrase, sometimes you have to re-read the lines several times. This is poetry in the Mayakov style, it is complex, like the character and soul of the poet.

And yet he is the best!

Despite the fact that the poet “tromped through” his life, as in the poem, quite quickly, and sometimes it was not easy for him, Vladimir Mayakovsky is a brilliant poet! In Russian literature, someone who could just as powerfully and uncompromisingly revolutionized everything is turned upside down and eclipses his glory. Even though party cards and the Central Committee no longer exist, there is the power of the poetic thought of the great poet, he is relevant, irreconcilable and always alive in his poems.

The result of Mayakovsky’s creative path, his poetic testament, was the introduction to the poem “At the top of his voice” (1929-1930). Here the classic theme of the “monument”, begun in the poems of Derzhavin and Pushkin, is continued.

Mayakovsky chooses the form of a “conversation with descendants,” precisely designating the topic: “about time and about himself.” The very idea of ​​addressing the future through the heads of his contemporaries, the abrupt (using “low” vocabulary) beginning of a conversation on a high topic carries a polemical charge directed against those who reproached Mayakovsky for his inability to write, considered his poems incomprehensible, who called him a “fellow traveler.” ”, and not the creator of new literature, who predicted a quick death for his work. “I am a decisive person, I myself want to talk to my descendants, and not expect that my critics will tell them in the future,” this is how Mayakovsky explained the idea of ​​the poem. The desire to be correctly understood determines the tone of the work, in which the poet’s views on the revolutionary era and the meaning of his own work are presented in detail and frankly, without any omissions.

I, a sewer man and a water carrier,

revolution

mobilized and called...

These lines give rise to the main motifs and images of the poem. The author feels united with time, which determines the meaning and even the forms of his work. He polemically contrasts his oratorical, propaganda poetry with the “lordly gardening” of intimate lyrics. Behind everything that the poet did, starting with simple propaganda (“once upon a time there was such a singer / a singer of boiled water / and an ardent enemy of raw water”) and ending with his poems and plays, there was an important idea of ​​​​the civil service of art, strengthened by the perception of the new world as one’s own, long-awaited which gave new impetus to world history. The poet's view of the times is truthful and harsh, but at the same time it is colored with hope and faith in the speedy implementation of the ideals of the revolution. Everything - both life and creativity - is maximally subordinated to these tasks, therefore the best monument is seen as “socialism built in battles.”

The work develops two metaphorical series: poetry as a weapon and poet as a water carrier. Moreover, Mayakovsky, as N. Stanchek notes, subtly plays on the meaning of the word “water”. In one case, this is a metaphor for poetry that is vital for people, and therefore durable (the verse “will appear / weightily, / roughly, / visibly, / as in our days / a water pipe entered, / worked by the slaves of Rome”). In another case, this is a metaphor for empty poetry, pouring water from empty to empty (“Who pours poetry from a watering can, / who sprinkles, / putting it in his mouth ...”, “Having drowned out the flows of poetry, / I will step / through lyrical volumes”), In polemics Even the rhythm of the work is involved: the offensive, strong-willed pressure of the “iron verse” (“Listen, / comrade descendants, / the agitator, / the loud-mouthed leader”) is replaced by the ironic parody tempo of the romance (“mandolin from under the walls: / “Tara- tina, tara-tina, / t-en-n..."). The contrast is also emphasized by the choice of vocabulary and rhyme: “Roz - tuberculosis”, “rose - syphilis”, “burning - books”. Mayakovsky appears here as a fighter, consistently defending his understanding of the main directions of development of art in the revolutionary era.

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Mayakovsky is convinced that the main purpose of the poet and poetry in the revolutionary era is to serve the cause of the triumph of a new, truly just social system. He is ready to do any menial work in the name of people's happiness:

I, the sewer man
and a water carrier,
revolution
mobilized and called up,
went to the front
from lordly gardening
poetry -
women are capricious.
The poet admits:
And me
agitprop
stuck in my teeth,
and I would
scribble on you -
it's more profitable
and prettier.
But I
myself
humbled
becoming
on the throat
own song.

Mayakovsky felt like an “agitator”, a “bawler-leader” and believed that his verse
...it will come
across the ridges of centuries and over the heads of poets and governments.
The poet was ready to sacrifice his poetry to the revolution:
Let
for geniuses
inconsolable widow
glory trudges along
in the funeral march -
die, my verse,
die like a private
like nameless
Our people died during the assaults!

He, unlike his predecessors, starting with Horace, refused the individual poetic monument:
I do not care
a lot of work on bronze,
I do not care
on marble slime.
Let us be considered glory -
after all, we are our own people, -
let us
will be a common monument
battle-built socialism.

Mayakovsky compared his poems to “over-the-teeth armed troops” and gave them, “down to the very last leaf,” to the proletarians of the entire planet. He stated:
worker
enemy class communities -
he is my enemy and
notorious and long-standing.
They told us
go
under the red flag
years of labor
and days of malnutrition.

Mayakovsky convinced readers: the main purpose of the poet today is to serve the cause of the socialist revolution. But his poetry must be not only revolutionary in content, but also highly perfect in form, in order to survive for centuries, to convey to posterity the greatness of the era of revolution and the construction of socialism. Also, in his last public speech at an evening dedicated to the twentieth anniversary of his creative activity, Mayakovsky complained that “every minute we have to prove that the activity of a poet and the work of a poet is necessary work in our Soviet Union.”

He himself did not doubt for a second that his poems were no less important for the benefit of the revolution and socialism than ore mining, steel smelting, the armed suppression of counter-revolution, or the work of the party in organizing socialist construction. Because they strengthen the faith in the souls of people in the correctness of the Bolshevik revolution, in the imminent attainability of a bright communist future. It was with this faith that Mayakovsky died.

Almost all major writers discussed the role of the poet and the purpose of poetry in life. Russian literature has always been closely connected with social movements and discussed the most pressing problems of a particular era. The theme of the poet and poetry occupies an important place in the work of V. Mayakovsky. The author called for approaching art phenomena from a position of social significance. He believed that every artist should bring the people, first of all, the truth.

In the introduction to the poem “At the Top of My Voice,” which was never completed, V. Mayakovsky declares that he wants to talk about time and himself. The lyrical hero and the author literally merge into a single poetic “I” - the central image in the introduction. V. Mayakovsky was often reproached for egocentrism, for the fact that his lyrical hero perceives himself as the central point around which the world, the cosmos, and the entire universe revolves. The poet, on the contrary, perceived himself as “mobilized and called upon by the revolution.”

The work contains a hidden polemic with S. Yesenin, who glorified unique landscapes with all the power of his poetic talent, and also created a large layer of love lyrics, which V. Mayakovsky ironically calls “amorous and playful hunting.”

Who pours poetry from a watering can,

who sprinkles

putting it in your mouth -

curly Mithreikas,

wise Kudreiki -

Who the hell will figure them out!

The very rhythm of the verse in this passage speeds up to show how thematically shallow and rhythmically monotonous such poetry is. In the twenties there really were poets K.N. Mitreykin and A.A. Kudreiko, belonging to the literary group of constructivists. Now they are unknown to the reader. This fact once again emphasizes the validity of V. Mayakovsky’s criticism. But it is possible that such devastating and deafening criticism contributed to oblivion.

It is important that the poet in V. Mayakovsky’s work does not seek personal gain from his difficult craft.

For V. Mayakovsky, the idea of ​​civic and public duty comes first. He exclaims:

I'll come to you

to the communist far

not this way

like a song-like evityaz.

My verse will reach

across the ridges of centuries

and through the heads

poets and governments.

It would be superficial to see delusions of grandeur in these lines. The poet’s goal is not to assert himself, but to convey his beliefs. That is why he strives to write louder, more posterly, more prominently. This is exactly how large-scale, sweeping, enlarged, in the author’s opinion, a verse should be that descendants will know and remember through the centuries.

V. Mayakovsky angrily denounces ephemeral poetry, rewarding it with a number of eloquent comparisons (“like an erased nickel,” “like the light of dead stars”). For a poet, a poem is the most important work. Its novelty is as significant and progressive as, for example, running water:

My verse

labor

the vastness of years will break through

and will appear

weighty,

rough,

visibly

like these days

the water supply came in,

worked out

still slaves of Rome.

The adverbs “weighty”, “roughly”, “visibly” here seem to reinforce each other, characterizing the style of a truly talented work. It is known that critics often reproached Vladimir Mayakovsky himself for being excessively rude and self-centered. Indeed, in this work the pronoun “I” placed at the beginning of the line sounds majestic and solemn. However, this poetic “I” is somewhat broader than the author’s. It is more correct to understand it not as a specific person but as a creative artist in general. As for rude language, these reproaches seem more fair. And although swear words undoubtedly bring bright, memorable colors to the work, they at the same time reduce the aesthetic quality of the poetic text. In connection with this data, the technique is difficult to justify in an artistic sense. In modern poetry, it has become fashionable to include explicit swear words in the text, but This quality does not exactly contribute to increasing the vitality of the work, but only narrows the circle of fans of a particular author.

A technique designed to shock the reader is called shocking. V. Mayakovsky loved and often used it. Perhaps, having worked on the poem a little more, the author would have abandoned the openly abusive language, but in the existing version it occupies, albeit a small but key place in the work, the place of his ideas and his poetic voice: in other words, to shout enough to be, finally heard and acknowledged.

V. Mayakovsky's poems were created to defend one thing and subvert the other. His philosophical worldview included a number of utopian features. The poet believed in the idea of ​​​​creating an ideal future and assessed the past and present from the perspective of this future. At the same time, V. Mayakovsky agreed with the idea that the greatness of the goal justifies the means.

V. Mayakovsky compares poetry with an irreconcilable struggle, with a formidable weapon. He is helped in this by a number of expressive metaphors related to military realities (“pages of troops”, “line front”, “cavalry of witticisms”, “rhyme peaks”). The poet believes that works that were topical in his historical era will survive centuries and will be relevant for grateful descendants, telling them about the rebellious era of the early 20th century. After all, it is for those who will live in the new, fair society of the future that the fighters for the victory of socialism endure all the hardships and difficulties.

An interesting paradox is that this poem was never written by Mayakovsky. Literally before his death, he wrote only an introduction to it, which he dedicated to the first Soviet five-year plan in late 1929 - early 1930.

Getting to the topic “Analysis: “At the top of my voice” by Mayakovsky,” it should be noted that the poet timed this verse to coincide with the anniversary exhibition - the 25th anniversary of his creative path. He himself, speaking to the assembled public, said that this work fully and completely reflected everything that he had worked on all these many years, and presented it as a report on the creative work done. So, without suspecting it, he continued with this the classic theme of the “monument”, begun by Derzhavin and Pushkin.

“At the top of my voice”, Mayakovsky: analysis

In this introduction, the famous poet contrasts himself with pure art, which does not recognize any politics. It is in this role that one gets the general impression of his attitude to creativity in general and to its individual representatives in particular.

In a way, it became a kind of message to future descendants. The poet seems to evaluate himself with a view from the future, looking into the present, where he immediately amazes with the lines: “I, a sewer man and a water carrier, mobilized by the revolution...”.

With these words, he creates a certain image of poetry without meaning and purpose, which he sarcastically and sharply ridicules, calling it a “capricious woman.”

Poems as a weapon

His poems are not just lines on paper, he uses them as a serious weapon in the fight for the communist cause.

The poet-agitator hints that he is not afraid of the government, or “lyric volumes,” or “ridges of centuries.” Mayakovsky openly declares this loudly. The analysis of the work boils down to the fact that his weapon does not injure or kill a person, but it can very strongly hit the soul and heart of a person. He writes prophetic lines in which he hints that his poems stand like lead and are ready for death.

Inspiration

Mayakovsky wrote all his most desired things in the poem “At the top of his voice.” Its analysis suggests that everything that the poet did was not created for aesthetic pleasure, because it builds, inspires and fights meaninglessness, moves forward and leads the masses. He thought that his calling was to realize socialist dreams and move towards a bright future with the broad masses.
The writer calls: “Die my verse like a private.” He believes that for social well-being, a poet must work hard, forgetting about himself and not thinking about reward, sacrificing his creativity.

He writes in his poem that he doesn’t need anything other than a freshly washed shirt, and that the poet and society are inseparable.

Fate and Motherland

In continuation of the topic “Mayakovsky “At the top of his voice”: analysis of the poem,” it should be noted that the active creator calls the descendants dexterous and healthy, and, in his opinion, they should remember how hard everything was paid for; he compared it with licking “consumptive spitting."

It’s a little surprising, but Vladimir Vladimirovich describes the future that the “communist far away” has already arrived, into which he invested maximum effort, because every day of his work he invested in the future.

The poet considers it his civic duty to build a worthy future, and this desire literally weakened his soul.

Cry from the heart

Mayakovsky shouts about this in his poem “At the top of his voice.” Analysis of the introduction suggests that the poet inspires the people to build a bright future, and that everyone should remember those who were involved in the battle for socialism and communism, and not forget their desperate work. Their soul lives in every line of it and will certainly pass through the centuries.

The great ideological leader addresses them as those who truly believe in communism, and expresses himself as a descendant of these people who can no longer imagine what it was possible to believe in so sincerely and deeply, and whether there will be as many forces as there were in the forefathers of the October Revolution.

Conclusion

From the introduction to the poem “At the Top of My Voice” it became clear that it is in some form a will, written almost three months before his tragic death. This question is even more interesting, since it remains unclear whether the poet was killed or it was suicide. Many historians and forensic experts, examining all the facts, documents and evidence, came to the conclusion that he was killed after all. And they killed him because he began to delve into the affairs of Stalin’s government, which deviated from the Leninist course that millions of people dreamed of. This is a dark matter, the same as with Yesenin.

However, the most interesting thing remains that his faith nevertheless began to waver at the end of his life, and he had his own reasons for this. Even such a notorious communist would eventually burst out of his soul on the evening of April 13, 1930, “Oh, Lord!” At this moment, his beloved woman, Polonskaya, will be next to him, who will be very surprised by this exclamation and will ask him again whether he is a believer. And Vladimir will answer her that he himself no longer understands what he believes in...