Analysis of V. Mayakovsky's poem Ode to Revolution
V. M. is my favorite poet. Of course, these days the attitude towards him has changed. Many of my peers think that, apart from poems about Lenin and the party, the poet wrote nothing. But this is not true at all. Yes, V.M., in the name of the revolution, stepped on “the throat of his own song,” giving the “ringing power of the poet” to the proletariat. “Every poet has his own drama...” wrote Anna Akhmatova. V.M. also has it. He believed in the revolution, fought with verse against its enemies, seeing them not only in Kolchak and Denikin, but also in the Soviet, new petty bourgeoisie, “rubbish.” But today’s opponents of the poet do not want to notice this. They also don’t know anything else: there is an early M., a subtle lyricist, an unusually gifted stylist, a true innovator of versification, an experimenter in the field of form. By arranging the poems in a “ladder” pattern, he ensured that each word became meaningful and weighty. V.M.’s rhyme is extraordinary, it is, as it were, “internal”, the alternation of syllables is not obvious, not obvious - it is blank verse. And how expressive is the rhythm of his poems! It seems to me that rhythm in poetry is the most important thing; first it is born, and then a thought, an idea, an image.
Some of my peers also think that V.M.’s poems should be shouted, straining the vocal cords. Yes, he has poems for "squares". But in the early poems the intonations of trust and intimacy predominate. One feels that the poet only wants to seem formidable, daring, and self-confident. But in reality he is not like that. On the contrary, M. is lonely and restless, and his soul longs for friendship, love, and understanding. This is exactly the kind of V.M. I love.
The poem "Listen!" written in 1914. In the poems of this period, the attentive reader will see not only familiar, mocking, disdainful intonations, but also, upon closer inspection, will understand that behind the external bravado there is a vulnerable, lonely soul. The integrity of the poet’s character, human decency, which helped to navigate the main problems of the time, and the inner conviction in the correctness of his moral and aesthetic ideals isolated V. M. from other poets, from the usual flow of life. This isolation gave rise to a spiritual protest against the philistine environment, where there were no high spiritual ideals. But he dreamed about them.
A poem is a cry from the poet’s soul. It begins with a request addressed to people: “Listen!” With such an exclamation, each of us very often interrupts his speech, hoping to be heard and understood. The lyrical hero of the poem not only pronounces, but, I would say, “exhales” this word, desperately trying to draw the attention of people living on Earth to the problem that concerns him. This is not a complaint about “indifferent nature”, it is a complaint about human indifference. The poet seems to be arguing with an imaginary opponent, a narrow-minded and down-to-earth person, a layman, a tradesman, convincing him that one cannot put up with indifference, loneliness, and grief. After all, people are born for happiness.
The entire structure of speech in the poem “Listen!” exactly the kind that happens when there is a heated discussion, polemic, when you are not understood, and you are feverishly looking for arguments, convincing arguments and hoping: they will understand, they will understand. You just need to explain it properly, find the most important and precise expressions. And the lyrical hero finds them.
(QUOTE) And then... Further, it seems to me, in a very unusual antithesis, in antonymous words (they are antonyms only in V.M., in our usual, commonly used vocabulary they are far from antonyms) very important things are contrasted. We are talking about the sky, about the stars, about the Universe. But for one, stars are “spits,” and for another, “pearls.”
The lyrical hero of the poem “Listen!” and there is that “someone” for whom life on Earth is unthinkable without the starry sky. He rushes about, suffers from loneliness and misunderstanding, but does not resign himself to it.
(QUOTE) The despair is so great that he simply cannot bear “this starless torment.”
Detail is of great importance in V.M.’s system of visual and expressive means. The portrait description of God consists of only one single detail - he has a “wiry hand”. The epithet “veiny” is so alive, emotional, visible, sensual that you seem to see this hand, feel the pulsating blood in its veins. “Hand” (an image familiar to the consciousness of a Russian person, a Christian) is organically, absolutely naturally replaced, as we see, simply by “hand”. This means that the Lord God, like a plowman or a baker, is a commoner. The lyrical hero, in my opinion, deeply and subtly feels and experiences everything that happens to the world around us, the Universe, people. So he says to someone: (QUOTE) And if the first two sentences are interrogative, then the third is interrogative and exclamatory at the same time. The intensity of passions and emotions experienced by our hero is so strong that they cannot be expressed otherwise except with this ambiguous, capacious word “Yes?!” , addressed to someone who will understand and support. It contains concern, and care, and empathy, and participation, and love... I’m not alone, someone else thinks the same way as me, feels the same way, is rooting for this world, the sky, the Universe with all my soul, with everything heart.
If the lyrical hero had no hope of understanding at all, he would not have convinced, would not have exhorted, would not have worried... The last stanza of the poem (there are three in total) begins in the same way as the first, with the same word: (QUOTE) But the author’s thought in it develops in a completely different way, more optimistically, life-affirmingly compared to how it is expressed in the first stanza. The last sentence is interrogative. But, in essence, it is affirmative. After all, this is a rhetorical question, no answer is required.
(QUOTE) In this poem there are no neologisms so familiar to V.M.’s style. “Listen!” - an excited and tense monologue of the lyrical hero. The poetic techniques used by V.M. in this poem, in my opinion, are very expressive. Fantasy (“rushes into God”) is naturally combined with the author’s observations of the internal state of the lyrical hero. A number of verbs: “bursts”, “cries”, “asks”, “swears” - conveys not only the dynamics of events, but also their emotional intensity. Not a single neutral word, everything is very, very expressive, and, it seems to me, the very lexical meaning, the semantics of action verbs indicates the extreme aggravation of the feelings experienced by the lyrical hero. The main intonation of the verse is not angry, accusatory, but confessional, confidential, timid and uncertain. We can say that the voices of the author and his hero often merge completely and it is impossible to separate them. The expressed thoughts and the splashed out, bursting out feelings of the hero undoubtedly excite the poet himself. It is easy to detect in them notes of anxiety (“he walks anxiously”), confusion, and hidden distance.
The poem "Listen!" - an expanded metaphor that has a great allegorical meaning - “man does not live by bread alone.” In addition to our daily bread, we also need a dream, a great life goal, spirituality, beauty. We need “pearl” stars, not “spitting” stars. Immanuel Kant was struck more than anything else by two things: “the starry sky above us and the moral law within us.” V. M. is also concerned about eternal philosophical questions about the meaning of human existence, about love and hate, death and immortality, good and evil.
However, in the “star” theme, the poet is alien to the mysticism of the Symbolists, he does not think about any “extension” of the word to the Universe, but V. M. is in no way inferior to the mystical poets in flights of fantasy, freely throwing a bridge from the earth’s firmament to the limitless sky, space. Of course, such a free flight of thought was prompted by V.M. in that era when it seemed that everything was subject to man. And regardless of what tones the astral images are painted in, satirical or tragic, his work is imbued with faith in Man, in his mind and great destiny.
Years will pass, passions will subside, Russian cataclysms will turn into normal life, and no one will consider V.M. only a political poet who gave his lyre only to the revolution. In my opinion, this is the greatest of lyricists, and the poem “Listen!” - a true masterpiece of Russian and world poetry.
The main problem of Mayakovsky's poem is the sated ones. The main problem of Mayakovsky's poem is the sated ones. Analysis of Mayakovsky's verse CONVERSATION WITH THE FINANCIAL INSPECTOR analysis of Mayakovsky's verse CONVERSATION WITH THE FINANCIAL INSPECTOR. Analysis of the poem Ode to Revol
“Ode to the Revolution” Vladimir Mayakovsky
You,
booed,
ridiculed by batteries,
you,
ulcerated by the slander of bayonets,
I exalt with enthusiasm
over the swearing
solemn ode
"ABOUT"!
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around, two-faced?
Slender building,
a pile of ruins?
To the driver,
covered in coal dust,
a miner breaking through the ores,
cense
cense reverently
glorify human work.
And tomorrow
Blissful
cathedral rafters
vainly lifts up, begging for mercy, -
your six-inch thick-nosed hogs
The Kremlin's millennia are being blown up.
"Glory".
It wheezes on its dying flight.
The screech of sirens is stiflingly thin.
You send sailors
on a sinking cruiser,
there,
where is the forgotten
the kitten meowed.
And then!
The drunken crowd was screaming.
The dashing mustache is twisted in force.
You drive away gray admirals with rifle butts
upside down
from the bridge in Helsingfors.
Yesterday's wounds lick and lick,
and again I see open veins.
Philistine for you
- oh, be damned three times! -
and my,
poetically
- Oh, glory four times, blessed one! -
Analysis of Mayakovsky's poem "Ode to the Revolution"
Vladimir Mayakovsky's enthusiastic attitude towards the revolution runs like a red thread through all of the poet's work. However, the author is well aware that a change of power is a serious social upheaval, which brings not only freedom to the common people, but also devastation, hunger, disease and drunken revelry. Therefore, in his assessment of the events of 1917, Mayakovsky is impartial; he does not extol praises and does not indulge himself in illusions. In 1918, the poet published the poem “Ode to the Revolution,” judging by the title of which one can conclude that the work in the work is about praising the dictatorship of the proletariat. But this is not at all true, because the poet lives in a real, not a fictional world, and every day he encounters the reverse side of freedom, equality and fraternity proclaimed by the new government.
“Ode to the Revolution,” maintained in the traditions of this poetic genre, indeed begins with lines of praise, in which the poet immediately outlines the theme of the work, declaring that he enthusiastically lifts “above the abuse of rheme
ode to the solemn “O”!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”, “childish”, while emphasizing that it is still great.
“How will you turn around, two-faced?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaping ruins”, since any of these options against the backdrop of general euphoria can easily be implemented. Just look at the words of the “International”, so popular these days, which calls for the destruction of the old world to the ground!
However, Mayakovsky is not at all afraid of this development of events; he really believes that the world will become different, more fair and free. However, the author understands that for this he still has to be freed from the “gray-haired admirals” and “thousands of years of the Kremlin” - symbols of a past life that have no place in the new society. At the same time, Mayakovsky understands perfectly well how exactly all this will happen, since recent events are still fresh in his memories, when the revolution “screamed with a drunken crowd” and demanded the execution of everyone who did not agree with the Bolshevik ideas. Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he enthusiastically exclaims “Oh, glory four times, blessed one!” . And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.
“Ode to the Revolution”, “Left March”, etc. - these first examples of socialist art of the Great October Revolution are captivating with their sincerity and deepest faith in the wonderful future that has opened up before humanity, Mayakovsky
Vladimir Mayakovsky
Poem
ODE TO THE REVOLUTION
You,
booed,
ridiculed by batteries,
you,
ulcerated by the slander of bayonets,
I exalt with enthusiasm
over the swearing
solemn ode
"ABOUT"!
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around for me, two-faced?
Slender building,
a pile of ruins?
To the driver,
covered in coal dust,
a miner breaking through the ores,
cense
cense reverently
glorify human work.
And tomorrow
Blissful
cathedral rafters
vainly lifts up, begging for mercy, -
your six-inch thick-nosed hogs
The Kremlin's millennia are being blown up.
"Glory".
It wheezes on its dying flight.
The screeching of sirens is muffled and thin.
You send sailors
on a sinking cruiser,
there,
where the forgotten kitten meowed.
And then!
The drunken crowd was screaming.
The dashing mustache is twisted in force.
You drive away gray admirals with rifle butts
upside down
from the bridge in Helsingfors.
Yesterday's wounds lick and lick,
and again I see open veins.
Philistine for you
- Oh, be damned three times! -
and my,
poetically
- Oh, glory four times, blessed one! -
1918 © Vladimir Mayakovsky
Read by Alexander Lazarev
The famous Russian actor Lazarev Alexander Sergeevich (senior) was born on January 3, 1938 in Leningrad. After graduating from high school, he entered the Moscow Art Theater School. Since 1959 - actor of the Moscow Academic Theater named after Vl. Mayakovsky, where he served until the end of his days. During his creative life, the actor played more than 70 film roles.
Vladimir Vladimirovich Mayakovsky (July 7 (19), 1893, Baghdadi, Kutaisi province - April 14, 1930, Moscow) - Russian Soviet poet.
In addition to poetry, he clearly distinguished himself as a playwright, screenwriter, film director, film actor, artist, editor of the magazines “LEF” (“Left Front”), “New LEF”.
In his works, Mayakovsky was uncompromising, and therefore inconvenient. In the works he wrote in the late 1920s, tragic motifs began to appear. Critics called him only a “fellow traveler,” and not the “proletarian writer” that he wanted to see himself. It is important that two days before his suicide, on April 12, he had a meeting with readers at the Polytechnic Museum, which was attended mainly by Komsomol members; there were a lot of boorish shouts from the seats. At some point, he even lost his composure and sat down on the steps leading from the stage, putting his head in his hands.
In his suicide letter dated April 12, Mayakovsky asks Lilya to love him, names her (as well as Veronica Polonskaya) among his family members and asks all the poems and archives to be handed over to the Briks.
Vladimir Vladimirovich Mayakovsky
You,
booed,
ridiculed by batteries,
you,
ulcerated by the slander of bayonets,
I exalt with enthusiasm
over the swearing
solemn ode
"ABOUT"!
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around, two-faced?
Slender building,
a pile of ruins?
To the driver,
covered in coal dust,
a miner breaking through the ores,
cense
cense reverently
glorify human work.
And tomorrow
Blissful
cathedral rafters
vainly lifts up, begging for mercy,—
your six-inch thick-nosed hogs
The Kremlin's millennia are being blown up.
"Glory".
It wheezes on its dying flight.
The screech of sirens is stiflingly thin.
You send sailors
on a sinking cruiser,
there,
where is the forgotten
the kitten meowed.
And then!
The drunken crowd was screaming.
The dashing mustache is twisted in force.
You drive away gray admirals with rifle butts
upside down
from the bridge in Helsingfors.
Yesterday's wounds lick and lick,
and again I see open veins.
Philistine for you
- oh, be damned three times!
and my,
poetically
- Oh, glory four times, blessed one! —
Vladimir Mayakovsky's enthusiastic attitude towards the revolution runs like a red thread through all of the poet's work. However, the author is well aware that a change of power is a serious social upheaval, which brings not only freedom to the common people, but also devastation, hunger, disease and drunken revelry. Therefore, in his assessment of the events of 1917, Mayakovsky is impartial; he does not extol praises and does not indulge himself in illusions. In 1918, the poet published the poem “Ode to the Revolution,” judging by the title of which one can conclude that the work in the work is about praising the dictatorship of the proletariat. But this is not at all true, because the poet lives in a real, not a fictional world, and every day he encounters the reverse side of freedom, equality and fraternity proclaimed by the new government.
“Ode to the Revolution,” maintained in the traditions of this poetic genre, indeed begins with lines of praise in which the poet immediately outlines the theme of the work, declaring that he enthusiastically raises “a solemn “O” over the abuse of the ode!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”, “childish”, while emphasizing that it is still great.
“How will you turn around, two-faced?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaping ruins”, since any of these options against the backdrop of general euphoria can easily be implemented. Just look at the words of the “International”, so popular these days, which calls for the destruction of the old world to the ground!
However, Mayakovsky is not at all afraid of this development of events; he really believes that the world will become different, more fair and free. However, the author understands that for this he still has to be freed from the “gray-haired admirals” and “thousands of years of the Kremlin” - symbols of a past life that have no place in the new society. At the same time, Mayakovsky understands perfectly well how exactly all this will happen, since recent events are still fresh in his memories, when the revolution “screamed with a drunken crowd” and demanded the execution of everyone who did not agree with the Bolshevik ideas. Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he enthusiastically exclaims “Oh, glory four times, blessed one!” . And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.
Vladimir Mayakovsky's enthusiastic attitude towards the revolution runs like a red thread through all of the poet's work. However, the author is well aware that a change of power is a serious social upheaval, which brings not only freedom to the common people, but also devastation, hunger, disease and drunken revelry. Therefore, in his assessment of the events of 1917, Mayakovsky is impartial; he does not extol praises and does not indulge himself in illusions. In 1918, the poet published the poem “Ode to the Revolution,” judging by the title of which one can conclude that the work in the work is about praising the dictatorship of the proletariat. But this is not at all true, because the poet lives in a real, not a fictional world, and every day he encounters the reverse side of freedom, equality and fraternity proclaimed by the new government.
“Ode to the Revolution,” maintained in the traditions of this poetic genre, indeed begins with lines of praise in which the poet immediately outlines the theme of the work, declaring that he enthusiastically raises “a solemn “O” over the abuse of the ode!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”, “childish”, while emphasizing that it is still great.
“How will you turn around, two-faced?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaped ruins”, since any of these options against the background of general euphoria can easily be implemented. Just look at the words of the so popular... these days “International”, which calls for the destruction of the old world to the ground!
However, Mayakovsky is not at all afraid of this development of events; he really believes that the world will become different, more fair and free. However, the author understands that for this he still has to be freed from the “gray-haired admirals” and “thousands of years of the Kremlin” - symbols of a past life that have no place in the new society. At the same time, Mayakovsky understands perfectly well how exactly all this will happen, since recent events are still fresh in his memories, when the revolution “screamed with a drunken crowd” and demanded the execution of everyone who did not agree with the Bolshevik ideas.
Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he enthusiastically exclaims “Oh, glory four times, blessed one!”
And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.
