Mayakovsky's satire - features, description and interesting facts. Satirical works of VV Mayakovsky. Main themes, ideas and orases. Set of satirical means

What has become funny cannot be dangerous.

Voltaire

1. Philistinism is the worst enemy of spirituality.

2. Mayakovsky's satirical verses.

3. The plays "Bedbug" and "Bath" - a look into the future.

The tradesman and bourgeoisie in Soviet clothes is a constant theme of Mayakovsky's satire and sarcasm. He fought against philistinism until the last hour, a lot of poems, plays "Bug" and "Bath" are devoted to this topic. He saw in the tradesman the worst enemy of the revolution, its "Trojan horse". Philistinism is sometimes understood as purely external manifestations - a clean life, materialism, sentimentality, worldly bad taste. But everything is more difficult. The spiritual basis of philistinism is terrible: inability and unwillingness to think, lack of ideals, lack of spirituality.

Mayakovsky's satirical poems are written in a vividly realistic manner, they were supposed to serve as the establishment of a new Soviet state.

Mayakovsky said that the right to criticize is given to those who have a positive program. At the age of 21, Mayakovsky published two poems side by side in the BOV magazine “The Last Page civil war"and" About rubbish. The publication of these poems is not accidental. "The Last Page of the Civil War" ends with a threefold repetition of the word "glory". The same word "glory" begins the poem "On rubbish", directed against the bourgeoisie. “The philistine life is more terrible than Wrangel,” the poet declares and warns that the gains of the revolution and the civil war can be drowned in the mire of philistinism.

Another object of satire for Mayakovsky was bureaucracy. In 1922, he wrote the poem "The Sitting Ones", where the main artistic device is the realization of the grotesque:

half of the people are sitting.

Oh devilry!

Where is the other half?

Another artistic technique is hyperbolization:

meetings for twenty

we need to hurry up.

Inevitably, you have to split up.

To the waist here

and the rest is there.

The poem talks about the need for an active life position, the author defends the principle of intervention in life.

Mayakovsky's satire also manifested itself in the innovative dramatic works The Bedbug and The Bathhouse, which became a theatrical variation on the theme of philistinism and bureaucracy. If in his poems Mayakovsky spoke of the old philistines who adapted to Soviet reality, then the plays depict a new type of Soviet youth that arose under the influence of the NEP.

The play "Klop" debunks people like Prisypkin, who were drawn to the "exquisite" life. This is a degenerate proletarian origin, over which the author mercilessly mocks, putting him in the final of the play in a cage with the inscription "Civilian vulgares".

In the play The Bath, Mayakovsky warns of the dangers of bureaucracy. Bureaucrats are constantly looking to put a spoke in the wheel of a new cause, but if something is created contrary to their activities and approved by top management, they will strive to take a better place there.

In criticizing the negative aspects of life, Mayakovsky is harsh and merciless. He, like a real artist, sensitively caught the breath of time, warned of a new danger for the Soviet system.

Satire of the 20th century.

Satirical techniques of V.V. Mayakovsky and M.A. Bulgakov.

Satire is a kind of comic, an aesthetic category, the only subject of which is a person. The subject of satire is human vices. It is characterized by a negative, revealing tone of assessment. The source of satire is the contradiction between common human values ​​and the reality of life.

There are the following types of satire.Irony - the funny is hidden under the mask of the serious.Humor - the serious is hidden under the mask of the funny.Sarcasm – highest degree irony, sarcasm.

Literary critics note the followingmeans of satire: 1) hyperbole (i.e. exaggeration), grotesque (strong exaggeration);

2) discrepancy between the definition of the subject and its actual state;

3) the contrast between what a person should do and what he does.

Progressive Russian writers have long turned to satire as an effective means of combating the ugly phenomena of contemporary life. Answering the burning questions of public life, Russian classical satire brought up more than one generation of thinking, educated people. These are the following works: Pushkin's epigrams, Fonvizin's "Undergrowth", Gogol's "Inspector General" and "Dead Souls", Saltykov-Shchedrin's "History of a City".

In the 20th century, satirical literature was enriched by such authors as Sasha Cherny, Vladimir Mayakovsky, Mikhail Zoshchenko, Arkady Averchenko, Ilf and Petrov, Mikhail Bulgakov.

The vast majority of Russian writers, depicting life, also sought to influence a person. The author of The Tale of Igor's Campaign strove for the unity of the Russian princes. Pushkin sang and brought freedom closer. The satirical writers Gogol, Saltykov-Shchedrin, Chekhov sought to save people from the vulgarity of life.

Mayakovsky saw his main task as bringing the future closer with the help of his poems. Directly intrude into life in order to change it for the better - this is the task of art, according to Mayakovsky. His weapon is the poetic word. In all periods of Mayakovsky's work, his favorite kind of poetry was satire:

weapons

beloved family,

finished

rush in boom,

frozen

wit cavalry,

raising rhymes

sharpened peaks.

Since February 1915, Vladimir Mayakovsky has been published in A. Averchenko's magazine "New Satyricon". Already in the early satirical poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for poetry, for satirical literature, which is so rich in Russian culture. So, he uses irony in the very names of a number of works, which the poet designated as “hymns”: “Hymn to the Judge”, “Hymn to Dinner”, “Hymn to the Scientist”, “Hymn to Health”, “Hymn to Criticism”. As you know, the anthem is a solemn song. Mayakovsky's hymns are evil satire. In them, the subject of the poet's attention are individual institutions of bourgeois civilization: justice, science, art, etc. Together they create an expressive picture of a rotten system. Whatever phenomena of the capitalist world the poet illuminates, he sees in them one common feature: hostility to man. This gives Mayakovsky's satire a pronounced character.

For example, the poem "Hymn to the Scientist" is a satire on a person who is completely cut off from life, whose scientific activity has no practical benefit:

Not a man, but two-legged impotence,

With a head bitten clean

Treatise on warts in Brazil.

A particularly vivid satirical pathos is heard in the Hymn to Dinner.

The poem was first published in the 29th issue of the New Satyricon magazine. This is a satirical apotheosis of gluttony "fat". emphasizing main idea, already in 1 stanza the poet uses inversion:

Glory to you, millions going to dine!

And already managed to eat thousands!

The irony of Mayakovsky is reinforced by the hyperbole “and thousands of dishes of all kinds of food”, while the author uses the magnifying suffix -isch-, which in speech has a rudely disparaging connotation.

An important role in this stanza is played by the alliteration of the sounds “sh”, “h”, “u”. It seems that you hear around you people chewing food, even champing. This alliteration runs throughout the poem.

Gradually, the poet moves from irony to sarcasm, using a bright synecdoche in stanza 3 (that is, instead of the whole, he names a part): “The stomach is in panama!”

And the most caustic sarcasm of the poet is felt in the 4th stanza:

Let the pupils completely drown in fat -

anyway, your father made them in vain;

at least put on glasses on the caecum,

the gut wouldn't see anything anyway.

Mayakovsky uses a poetically veiled curse, drawing thick cheeks, swollen eyes of "fat", comparing them with a blind gut.

Such an evil mockery of the rich is explained by the fact that the poet does not accept their philosophy of life, in which the main place is given to the stomach. The meaning of human life is not in food, but in being able to sympathize, compassion. After all, the poem was written in 1915, at the height of the World War. The sincere indignation of V. Mayakovsky is permeated with the lines of the 7th stanza:

Sleep without worrying about the picture of blood

and the fact that the world is surrounded by fire ...

The alliteration of the sounds "r", "zh" in these lines allows you to hear the sounds of explosions, shots, but nothing can disturb the well-fed and "fat". For such indifference, indifference to the tragedy of war, the poet castigates the "stomach in Panama."

The poet is amazed at the ability of gluttons not to notice anything around, putting their own satiety at the forefront:

If the last bull's neck is cut

and the last cereal from the gray stone,

you, faithful servant of your custom,

you can make canned food out of the stars.

So Mayakovsky evilly, satirically succinctly and aptly ridicules gluttons and gluttons.

Mayakovsky's satire in years Soviet power takes on a new character, it is built on accusatory laughter, but not only denounces, ridicules, but above all affirms the ideal by the method of contradiction. At the same time, satire takes on an agitational, educational character and is a very topical genre of literature.

Conventionally, Mayakovsky's satire can be divided into

political, where Mayakovsky denounced politicians from various capitalist countries. Cycle "Mayakovskaya Gallery"

anti-bureaucratic, where the poet condemned certain shortcomings in life public institutions. For example, the poems "Seated", "Bureaucratiad".

anti-philistine, where Mayakovsky denounced the shortcomings in everyday life, satirically portrayed the “muzzle of a petty bourgeois”, considering petty bourgeoisie the most dangerous phenomenon in our country. This topic is especially relevant during the NEP period. For example, the verses “About rubbish”, “Marusya got poisoned”, “Give a fine life” and others.

Satirical poetry was diverse in its genre features.

Mayakovsky used

1) the genre of satirical poetic feuilleton. For example, "Protsessed", "About rubbish", etc.

2) the genre of a satirical portrait For example, the poems "Coward", "Servant", "Pillar"

satirical songs, fables, ditties, riddles. For example, a ditty, composed back in October 1917:

Eat pineapples, chew grouse,

Your last day is coming, bourgeois.

Vladimir Vladimirovich Mayakovsky masterfully mastered various techniques of comic effect, skillfully used vocabulary, rhythm, and plot.

Self-revealing speech of the hero.

The satirical character makes a direct speech, expresses himself, and by doing this he exposes himself, without feeling it, considering himself right. Hence the comic effect. For example, the poem "Pillar". The literary hero is a certain Ivan Ivanovich Popov, he is outraged that the newspapers publish criticism of the leaders. The hero sincerely exclaims:

Criticism from below

it's poison.

Above -

this is the cure!

Well, can you afford

Nizam,

contract,

everyone!? - engage in criticism?

Parodic use of the form of famous poetic texts.

Mayakovsky skillfully uses the fables of Krylov, the poems of Zhukovsky and other poets. In the poem "Who is he?" the poet exposes the lack of culture in everyday life. The speaker, barely having time everywhere, runs to the debates on the "Cultural Revolution", and he himself does not even wash himself:

Like a ham ham

unshaven cheeks are black from dirt.

The beginning of this poem repeats the lines of Zhukovsky's ballad "Forest Tsar":

Who rushes

who rides

so young…

In the anti-bureaucratic poem "The Factory of Bureaucrats", the poet parodies Lermontov's poem "Borodino":

Sweat rolled down

the pen creaked

hand cramped

and pooped again...

3) Use of hyperbole (exaggeration).

Mayakovsky brought the negative quality to a fantastically maximum extent.

In the poem "Toady" the poet writes:

His treasure is his talent:

gentle way of getting around.

Licks leg, licks hand

licks in the belt, licks below ...

... And the language!?

at 30 meters

catching up

boss got out...

Uses wrong forms of words.

For example, in a political poetic portrait, he calls Mussolini -

"kind of chimpanzee"

Creates neologisms.

For example, the title of the poem "Seated" - this word was invented by the poet. Neologisms are actively working to reveal the artistic meaning.

The plot takes it to the absurd extreme, that is, it uses the grotesque. For example, in the poem “Seated,” the poet creates a grotesque picture of how new officials sit endlessly. The fact that “half people” are sitting at the next meeting is not only the realization of a metaphor - people are torn in half - but the very price of such meetings.

In the poem with antiphilistine pathos “On rubbish”, at the end of the verse, again, a grotesque picture appears - a traditional literary image of a reviving portrait, this time a portrait of Marx, who calls for canaries to turn their heads. This appeal is understandable only in the context of the entire poem, in which canaries have acquired a generalized meaning as a symbol of philistinism.

Mayakovsky's poems vividly and distinctly convey the reality of his day. Mayakovsky's satirical works are also known, in which he speaks not from the standpoint of militant revolutionism, but from the standpoint of common sense. One of these poems is "A poem about Myasnitskaya, about a woman and about the all-Russian scale." Here the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of the ordinary person. Baba, whose “snout was covered with mud” on the impassable Myasnitskaya Street, does not care about the global all-Russian scale. In this poem, one can see a roll call with the speeches of Professor Preobrazhensky, full of common sense, from M. Bulgakov's story "Heart of a Dog". The professor is worried about the general decline of culture, which manifests itself primarily in ordinary life: dirt, theft, inability and unwillingness of people to do their job. He believes that devastation is in the minds of people. The professor says after Mayakovsky: “It is impossible at the same time to sweep the tram tracks and arrange the fate of some Spanish ragamuffins!” We must first solve all our problems, and only then help the starving in other countries. Who will feed their hungry?

In the story of Mikhail Afanasyevich Bulgakov "Heart of a Dog" fantastic and real, comic and tragic, light irony and caustic sarcasm are intertwined. Such a combination cancels the possibility of an unambiguous interpretation of the characters and their actions and creates a peculiar, sparkling with all shades of laughter, the artistic world of the story. In this world, the drama of the dog Sharik and the drama of the man, Professor Preobrazhensky, are taking place. But the reader, having witnessed the dramatic events that almost ended tragically, cannot help laughing, just as he cannot but ponder the causes of the current tragicomic situation.

Bulgakov was concerned about the problem of the legitimacy of social experiments that took place on the scale of our country. He developed this problem as the theme of the responsibility of science to life in the story "Heart of a Dog", written in 1925. The author never saw the story printed. The story was published in Russia in 1987 and became extremely popular.

The story is based on the motive of transformation, the motive of werewolf. This is almost a fairy tale story about how a kind and observant stray dog ​​turned into an evil humanoid creature. Formally, this is, of course, a simple medical experiment, which has as its goal the transformation of a dog into a man by transplanting the seminal glands and the pituitary gland. The plot is clearly visible grotesque character. The writer satirically authentically shows how the formation of the “new man” takes place, who recently was not just a nobody, but a dog. Even before the hollow transformation, on January 2, the creature cursed its creator “by the mother”, and by Christmas, its lexicon was replenished with all swear words. The first meaningful reaction of a new person to the creator's remarks is "Get off, nit."

The progress of the experimental creature consists in adding more and more new qualities to swearing: smoking, uncleanliness and untidiness in clothes, rudeness, playing the balalaika at any time of the day, molesting women, permissiveness. The moral character of Sharikov is more and more clearly manifested - or rather, his absolute immorality: immorality, drunkenness and theft. Crown this process of transformation from " the cutest dog into scum" a denunciation of the professor, and then a threat of an attempt on his life.

Sharikov, having changed the shape of his body, did not become a man. Dr. Bormental believes that Sharikov has a dog's heart, referring to the dominance of dog traits in the laboratory creature. Professor Preobrazhensky, on the contrary. He claims that Sharikov has “precisely a human heart”, implying that Klim Chugunkin took over. What meaning did Bulgakov himself put into the epithet "dog". In this case, the possessive adjective "dog" goes into the category of quality and it means the vile qualities of a person - Klim Chugunkin.

Thus, the meaning of the title of the story is twofold: the dog's heart of the dog Sharik is trusting and devoted, the dog's heart of Sharikov is vile, corrupt, boorish.

Thanks to Shvonder, Sharikov becomes a member of society, receives a first and last name, a specialty, and a certain status in society. The chairman of the house committee does this not out of philanthropy, but only in order to show his power, to command the intelligentsia. To do this, he provokes Sharikov, sets him on a professor, "let the dog go." This is a method of implementing a metaphor: a phraseological unit takes on a literal meaning. And Sharikov becomes under the banner of social demagoguery. He does not start with a problem book with grammar, but with Engels’s correspondence with Kautsky, formulates the vulgar idea of ​​​​dividing equally among all: “rob the loot.” why "live in seven rooms", have "40 pairs of trousers", dine in the dining room.

The writer uses contrasting details. On the one hand, this is a lamp under a green lampshade, a stuffed owl - a symbol of wisdom, books in glazed cabinets - these are the details that create the impression of calmness, comfort, and conditions for intellectual work. On the other hand, rudeness, drunkenness, the smell of cats, catching fleas that invaded this world. Contrasting details reinforce the opposition between the two ways of life, reinforce the satire on the "new world".

Professor Preobrazhensky bitterly realizes the failure of his experiment and is forced to curtail it. Of course, at this level of the story, everything ended happily, because Sharikov again becomes a dog. Is it possible to complete an experiment carried out with an entire people, with an entire country? This is what the satirist makes the reader think about.

Both Mayakovsky and Bulgakov, in the best traditions of Russian and world literature, were characterized by pain for a person, they did not accept that literature that would depict the suffering of abstract, unreal heroes, passing by life at the same time. The satire of Mayakovsky and Bulgakov is very closely connected with modernity, it sounds relevant and topical.

In the early poetry of V. Mayakovsky, imbued with the pathos of anti-bourgeoisness, a conflict of the creative personality, the author's “I”, traditional for romantic poetry, arises: rebellion, loneliness, the desire to tease, annoy the rich and well-fed, in other words, to shock them. For futurism, this was typical. The alien philistine environment was portrayed satirically. The poet draws her as soulless, immersed in the world of base interests, in the world of things:
Here you are, man, you have cabbage in your mustache Somewhere half-finished, half-eaten cabbage soup; Here you are, woman, whitewashed on you

Gusto, you look like an oyster from the shells of things.
Even in pre-revolutionary satirical poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for satirical literature, which is so rich in Russian culture. Thus, irony already sounds in the very titles of a number of works, which the poet designated as “hymns”: “Hymn to the Judge”, “Hymn to the Scientist”, “Hymn to Criticism”, “Hymn to Dinner”. As you know, the anthem is a solemn song, but Mayakovsky's hymns are an evil satire.

His heroes are judges, dull people who do not know how to enjoy life and bequeath it to others,

They strive to regulate everything, to make it colorless and dull. The poet names Peru as the scene of action, although the real address is quite transparent. A particularly vivid satirical pathos is heard in the “Hymn to Dinner”. The heroes of the poem are the very well-fed ones who acquire the meaning of a symbol of the bourgeoisie.

In a poem, the poet uses a synecdoche when a part is called instead of the whole. In the Hymn to Dinner, the stomach acts instead of a person:
Panama stomach! Will they infect you with the majesty of death For a new era?! Nothing can hurt the stomach, Except for appendicitis and cholera!
A peculiar turning point in the satirical work of V. Mayakovsky was the ditty composed by him in October 1917:
Eat pineapples, chew grouse, Your last day is coming, bourgeois.
There is also an early romantic poet, and V. Mayakovsky, who put his work at the service of the new government. These relations - the poet and the new government - were far from simple, this is a separate issue, but one thing is certain - the rebel and futurist V. Mayakovsky sincerely believed in the revolution. And the satirical orientation of V. Mayakovsky's poetry is changing.
First, the enemies of the revolution become its heroes. This topic became important for the poet for many years. In the first years after the revolution, these are poems that were compiled by Okna ROSTA, that is, the Russian Telegraph Agency, which produced propaganda posters on the topic of the day.

V. Mayakovsky took part in their creation both as a poet and as an illustrator. In "Windows of GROWTH" V. Mayakovsky uses such satirical devices as grotesque, hyperbole, parody. So, some inscriptions are created on the motives of famous songs: for example, “Two grenadiers to France” or “Bloch”, known from Shalyapin's performance.

Their characters - white generals, irresponsible workers and peasants, bourgeois - an indispensable top hat and with a fat stomach.
Mayakovsky makes maximalist demands on the new life, so many of his poems satirically denounce its vices. So, the satirical poems of V. Mayakovsky “On Rubbish”, “Protected” gained great fame. The latter creates a grotesque picture. The fact that “half of the people” are sitting is not only the realization of a metaphor: people are torn in half in order to do everything, but also the very price of such meetings.

In the poem “On rubbish”, V. Mayakovsky seems to return to the former anti-philistine pathos. Rather harmless details of everyday life, like a canary or a samovar, acquire the sound of sinister symbols of the new philistinism. In the finale, the image of a portrait coming to life, traditional for literature, appears: this time, the portrait of Marx, who makes a rather strange call to turn the heads of canaries.

This appeal is understandable only in the context of the entire poem, in which canaries have acquired such a generalizing meaning.
Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the position of militant revolutionism, but from the standpoint of common sense. For example, in “A poem about Myasnitskaya, about a woman and about an all-Russian scale”, the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of an ordinary person. Baba, whose snout was “covered with mud” on the impassable Myasnitskaya Street, does not care about the global all-Russian scale. In this poem, one can hear a roll call with the speeches of Professor Preobrazhensky, full of common sense, from M. Bulgakov's story “The Heart of a Dog”.

The satirical poems of V. Mayakovsky about the passion of the Bolsheviks to give the names of heroes to everything and everyone are permeated with the same common sense. So, in the poem “Terrifying familiarity” there appear the completely authentic “Meyerhold Combs” or “The Dog named Polkan” invented by the poet. In 1926, V. Mayakovsky wrote the poem “Strictly Forbidden”:
You rejoice in everything: the porter, the ticket inspector. The pen itself raises the hand, And the heart boils with song gift. Ready to paint the platform of Krasnodar to heaven.

Here to sing the nightingale-trailer. Mood - Chinese teapot! And suddenly on the wall: -It is strictly forbidden to ask questions to the controller! - And immediately the Heart for the bit.

Solovyov with stones from a branch. And I want to ask: - Well, how are you? How is your health?

How are the kids? - I passed, eyes down to the ground, just giggled, looking for patronage, And I want to ask a question, but I can’t - The government will still be offended!
There is a conflict of natural human feeling with the bureaucracy, with the clerical system, in which everything is regulated, strictly subject to rules that complicate people's lives. It is no coincidence that the poem begins. a spring picture that gives rise to a joyful mood; the most mundane phenomena, such as the station platform, evoke poetic inspiration, a gift for song. V. Mayakovsky finds an amazing comparison:. “The mood is a Chinese teapot!” Immediately a feeling of something joyful, festive is born.

And all this is crossed out by senseless clericalism.
With amazing psychological accuracy, the poet conveys the feeling of a person who becomes the subject of strict control and prohibition - he becomes humiliated, no longer laughs, but “giggles, looking for patronage.” The poem is written in a tonic verse characteristic of V. Mayakovsky's work, and what is typical for the artist's poetic skill, rhymes “work” in it. So, the funniest word “caddy” rhymes with the verb “forbidden” from the wretched official vocabulary. Here the poet also uses neologisms dual to him: treleru, nizya - a gerund from the non-existent “lower”.

They are actively working to reveal the artistic meaning. The lyrical hero of this work is not a speaker, not a wrestler, but above all a person with his natural mood, inappropriate where everything is subject to strict regulations.
V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines Satyricon and New Satyricoya, and in his autobiography “I myself”, under the date “1928”, that is, two years before his death, he wrote: “I am writing the poem“ Bad ”in counterbalance to the 1927 poem "Good!". True, the poet never wrote “Bad”, but he paid tribute to satire both in poetry and in plays, which still sound very modern today.




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13. The work of Vladimir Mayakovsky, one of the largest Russian urban poets, testifies that in the theme of the capitalist city, it is possible to enter the path of true poetry only by overcoming both extremes. A social approach to phenomena, life, the idea of ​​a person oppressed by capitalism, the poet's connection with modernity and its progressive tendencies, a violent protest against the capitalist city, the tragedy of a lyrical hero who bears pain […]...
14. In all ages, poets have addressed the theme of the hero and the crowd, revealing it based on their own worldview. The classics contrasted the lyrical hero with society, considered him in isolation from the masses, since they put a certain meaning into the concept of “crowd”. The poetry of the Soviet period was distinguished by a social orientation, therefore, in the twentieth century, the rapprochement of the hero with the crowd, which is no longer “silent”, can be traced. A prominent representative [...]
15. On the topic “Creativity of V. Mayakovsky”, it is supposed to give definitions and brief characteristics the following concepts: “lyrical hero”, “estrangement”, “pathos”, “metaphor”, “tonic system of versification”, “myth”, “utopia”. Themes of compositions The man of the present and the man of the future in the work of Mayakovsky. An artistic tragedy and a human tragedy. Romantic duality of Mayakovsky. The theme of civilization and the image of the city in Mayakovsky's poetry. Paphos of pre-October creativity. Lyrics of love. Modernity […]...
16. Mayakovsky's poetry is in many ways similar to the painting of the early 20th century, although the instrument of the artist of the word and the master of the brush is different. It is known that Vladimir Mayakovsky himself was a talented artist and painter. Malevich, Kandinsky, Picasso in their search new form on canvas are close to the creative search for the verbal form of Mayakovsky. However, for Mayakovsky, the search for form was not an end in itself. And here it is indicative [...]
17. Listen! After all, if the stars are lit, it means that someone needs it? V. Mayakovsky Mayakovsky's poetry is in many respects similar to the painting of the beginning of the 20th century, although the instrument of the artist of the word and the master of the brush is different. It is known that Vladimir Mayakovsky himself was a talented artist and painter. Malevich, Kandinsky, Picasso, in their search for a new form on canvas, are close to the creative search for verbal [...] ...
18. The theme of the poet and society is one of the central themes of Mayakovsky's work. The poet opposes the tearful sentimentality of the lyrics, calls for the ideological effectiveness of poetry. He characterizes his poetic work as follows: “One hundred volumes of my party books,” and the poet is a worker-hard worker engaged in the difficult task of restructuring human consciousness. Mayakovsky sees the task of the poet and poetry in giving a new […]...
19. -15 Listen! After all, if the stars are lit - So - does anyone need it? V. Mayakovsky Mayakovsky's poetry is in many respects similar to the painting of the beginning of the 20th century, although the instrument of the artist of the word and the master of the brush is different. It is known that Vladimir Mayakovsky himself was a talented artist and painter. Malevich, Kandinsky, Picasso, in their search for a new form on canvas, are close to the creative search […]...
20. What is the innovation of V. Mayakovsky's poetry? a. Accent-tonic verse b. The use of the grotesque Expressive neologisms d. Folklore images What distinguishes the lyrical hero of V. Mayakovsky's early poetry? a. optimism b. Loneliness in. Fight against God d. Social rebellion Which poetic current was close to the early V. Mayakovsky? a. Imagism b. Symbolism in. Acmeism d. Futurism What works […] ...
21. LYRICS Satire in the lyrics of VV Mayakovsky 1. Pre-revolutionary creativity. In the poem "To you!" the poet touches on the theme of war and peace, denounces false patriotism. The poet widely uses the technique of the grotesque in the poem “Hymn to the judge” (“peacock tail”, “non-smoking valley”): Angrily huddled under the vaults of the law, Sad judges live ... Judges interfere with both the bird and the dance, And me, and you, and [ …]...
22. Despite all the innovation of his style, Mayakovsky remains true to the traditions of Russian literature and continues the theme begun by the great classics, the theme of exposing the vulgarity and injustice of modern reality, bureaucracy, philistinism and narrow-mindedness. Already in his early satirical poetry, Vladimir Vladimirovich uses the entire arsenal of traditional artistic means that our culture is so rich in. It is impossible not to notice the author's irony in [...]
23. Each artist of the word in one way or another in his work touched upon the question of the appointment of the poet and poetry. The best Russian writers and poets highly appreciated the role of art in the life of the state and in the life of society, and especially the affirmative significance of poetry. The poet has always been considered a herald of progressive ideas, a defender of the interests of the people. Mayakovsky could not get around this topic [...] ...
24. I. Vladimir Mayakovsky - the leader of Russian futurism. (V. Mayakovsky is one of the founders and the brightest poet of Russian futurism.) II. Futurism as one of the directions of the "Silver Age" of Russian poetry. (Russian futurism (from the Latin word, “future”) arose in the 1910s. The basis of the futuristic movement in Russia was a premonition of the collapse of the old world and a premonition of a future “world revolution”. Aesthetic […]...
25. LYRICS The theme of the poet and poetry in the work of V. V. Mayakovsky 1. The role of satire (1930). A) Introduction to the poem "Out loud". The poet emphasizes his difference from “curly mitrees, wise curls”, he calls on the service of poetry the “cavalry of witticisms”, designed to ruthlessly fight against the shortcomings of society. This is the final work of Mayakovsky, his poetic testament. In it, he summarizes [...]
26. “Story”, “conversation” are genres characteristic of Mayakovsky, conveying an orientation towards direct communication, oral speech, including the speech of not only the author, but also the hero-narrator. If the existing words are not enough or they inaccurately convey the thought and feeling of the poet, Mayakovsky creates his own words (neologisms). Examples here are numerous: “plans ... a enormity”, “span steps of sazhens”, “dark [...] ...
27. V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines Satyricon and New Satyricon, and in his autobiography “I myself” under the date “1928”, that is, two years before his death, he wrote: “I am writing the poem“ Bad ”in counterbalance to the 1927 poem "Good". True, “Bad” the poet did not […]
28. I think that these words of Yu. N. Tynyanov fully refer to the satirical works of V. V. Mayakovsky. After all, it is satire, ridiculing vices, that combines the tragic and the comic. V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines "Satyricon" and "New satirists", and in his […]...
29. June In his autobiography “I myself”, V. Mayakovsky noted: “Good” I consider it a program thing”. The poem was written in 1926-1927 and was originally called "October", then "October 25, 1917". Title "Okay!" was given after the poem was completed. It was this name that predetermined new poetic possibilities and generalized the meaning of the poem. The genre of the work is unusual - poetic chronicle. […]...
30. In his autobiography “I myself”, V. Mayakovsky noted: “Good” I consider it a program thing. The poem was written in 1926-1927 and was originally called "October", then "October 25, 1917". Title "Okay!" was given after the poem was completed. It was this name that predetermined new poetic possibilities and generalized the meaning of the poem. The genre of the work is unusual - poetic chronicle. FROM […]...
31. The traditions laid down by Russian classical literature were picked up in the 20th century, especially in the first years after the revolution. The first of the Soviet satirists should, obviously, be called Mayakovsky, who called satire “weapons of the most beloved kind.” Even before the revolution, Mayakovsky wrote several satirical “hymns” (“Hymn to the Scientist”, “Hymn to the Judge”, “Hymn to Dinner”, etc.), in which, in a grotesque-ironic form of imaginary praise, he ridiculed social […]...
32. Prepare an answer to the question: "Innovation of V. Mayakovsky." The theme of the poet and poetry in the work of Mayakovsky: traditions and innovation. To answer this question, memorize one poem of the poet and, after giving a general overview of the topic, analyze this poem in detail, determining the features of vocabulary, figurative system, verse, rhymes. Mayakovsky's satire: themes, genres, methods of satire. Learn one poem by heart and […]
33. Satire occupies a special place in the work of Mayakovsky. The first satirical works were published even before the revolution on the pages of the New Satyricon magazine. These were parodic “hymns” - “Hymn to Health”, “Hymn to the Judge”, “Hymn to the Scientist”, “Hymn to Criticism”, etc. , biting, caustic [...] ...
34. 1. The value of satire in the work of V. V. Mayakovsky. 2. Satire in early work. 3. Satire in the late period. 4. Mayakovsky the satirist. The works of V. V. Mayakovsky are characterized by versatility and multi-genre. There are in his “arsenal” touching love lyrics and a harsh march, and a calm description of nature, and a dynamic, frantic dialogue. Satire was no exception as one of the favorite […]
35. There is hardly at least one major Russian poet who would not think about the purpose of creativity, about his place in the life of the country, the people. It was important for every serious Russian poet that time demanded him. On the other hand, a turning point in history was bound to produce its own poet. This poet was Vladimir Mayakovsky. But not immediately […]
36. The poetry of V. V. Mayakovsky made an indelible impression on me, one might even say, it shocked me, causing such feelings as excitement, admiration, delight, awe. V. V. Mayakovsky is a bright, unusual person, a deeply individual poet. Against the background of lyrical or philosophical poetry, sustained in calm tones, his works are bold and resolute. Mayakovsky, along with major works, created an original innovative [...] ...
37. V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the journals “Satyricon” and “New Satyricon”, and in his autobiography “I myself” under the date “1928”, that is, two years before his death, he wrote: “ I am writing the poem “Bad” as opposed to the poem “Good” of 1927. […]...
38. Mayakovsky is one of the most talented satirists of the 20th century. He created classic examples of a new type of satire, denying and denouncing everything that hindered the success of socialism, and thereby clearing the way for the movement of Soviet society towards communism. Mayakovsky's work traces the traditions of Russian classical satire by Gogol, Nekrasov, Saltykov-Shchedrin. At the beginning creative way Mayakovsky, his satire was directed [...] ...
39. -24 From Mayakovsky's first steps in literature, it became clear: a new poet came, unlike anyone else, with his own worldview and worldview, with his own view of things and phenomena. He had his own, unborrowed voice. In such, however, already late lines: “Well, how do you like the abyss, Vladimir Vladimirovich?” And I answer also kindly: “Lovely abyss. […]...

Mayakovsky Vladimir Vladimirovich - Russian poet, playwright. He quickly gained popularity in literary circles, as he had talent, charisma, and was not afraid to express his opinion. From 1912, Mayakovsky began collaborating vigorously with the Futurists, and was soon able to become one of the leading poets of this controversial and complex literary movement.

Mayakovsky's satirical works were characterized by socio-psychological certainty, language expression. He did not at all try to veil the satirical debunking of untruth and insincerity, which he observed in the life around him. Both social and civil satire were significant in Mayakovsky's work.

In his works, Mayakovsky tried to match the spirit of the times, the new language of the streets, modern heroes and fashionable slogans. Trying to respond to the "social order", Mayakovsky wrote satire "on the topic of the day", poems and ditties for campaign posters("Windows of ROSTA", 1918-1921) and others. Mayakovsky's civic position of these years was personified by his poems: "150,000,000" (1921), "Vladimir Ilyich Lenin" (1924), "Good!" (1927), the plays Bedbug (1928), Bathhouse (1929) and other works.

The poet's work reflected the combination of satire and social utopia, characteristic of Mayakovsky, especially in the post-revolutionary period:

In his arsenal of artistic means, Mayakovsky actively used grotesque imagery, a combination of everyday and fantastic coloring, single and symbolically generalized, experiments with verbal form, the use of collective images of human "crowds", "masses" as objects of satirical comprehension.

The affirmation of a new life, its social and moral structure became the main thing in his work. But one should not think that Mayakovsky accepted the new system unconditionally, turning a blind eye to the many shortcomings of the socialist system. Accepting the revolution, the poet also accepted the new role that it offered him, the role of castigator of the vices of this society. An accurate vision of the problem helped the author very accurately and bitingly describe the phenomena that should be fought and eradicated.

By the end of the 1920s, Mayakovsky had a growing sense of the inconsistency of political and social reality with the expectations that the revolution promised. The plays "Bath" (1928) and "The Bedbug" (1929) were written by the poet literally in one breath, in these comedies the poet attacked the bourgeois society, which had forgotten about the high ideals of the revolution, the old vices that successfully flourished in the new country. They are topical, each in their own way, but they also have common features - they are sharp, the satirical effect is achieved by exaggerating shortcomings and introducing fantasy elements into creativity.

The work is called “Social satire in the works of V.V. Mayakovsky's "Bedbug" and "Bath"", its purpose is to explain the meaning of the satirical works of V. Mayakovsky, the main semantic load that the poet puts into his works. In this regard, a number of tasks have to be solved:

• to characterize in general the satirical orientation in the works of V.V. Mayakovsky;
• consider the plays "Bedbug" and "Bath" as satirical works through which the poet denounced contemporary society.

The objects for this work were the plays by V.V. Mayakovsky's "Bug" and "Bath", the subject are those expressive language tools with which the poet denounces the vices of society. The structure of the work is as follows: it consists of three chapters, introduction, conclusion and bibliography.

The first chapter is called "Mayakovsky the satirist", this chapter contains a general overview of Mayakovsky's works with a satirical focus, in which the poet openly denounced the vices and shortcomings of society. The second chapter is called “The play “Bedbug” as a denunciation of philistinism in society”, in this chapter we will talk about one of the main vices of Soviet society in the 20s-30s - philistinism, the manifestation of which Mayakovsky could not stand, and tried in every possible way to stigmatize. The third chapter "Banya" - Soviet satirical comedy about bureaucrats”, which denounces one of the main vices that is inherent in any society, and which is almost impossible to eradicate. However, this circumstance does not prevent the poet from ridiculing the manifestation of this phenomenon, which was inherent in society in his time.

The 1920s-1930s played an important role in the Soviet literature of this time, this period is well studied by researchers who note that the satirical plays "Klop" and "Banya" are the most typical examples of this genre in the first post-revolutionary decades. A huge number of works are devoted to the study of Mayakovsky's work, in particular, I would like to note the following:

The works of B. Milyavsky are characterized by the desire to restore the ideological and artistic atmosphere of the time, the free use of periodicals of the second half of the 1920s, and the comparison of satirical works of various genres. The ideological and thematic approach to the author's works made it possible to conduct a comprehensive analysis of the plays and compare them with other characteristic works of his time (L. Leonov, M. Bulgakov).

A large article by R. Duganov about the idea of ​​"The Bath" contains a number of particular interesting observations, the author also argues the idea of ​​the through metaphorical nature of the play and the "concentric" construction of the play. The “concentric” construction means that all the characters are located, as it were, in a circle, and the more negative qualities of the hero are expressed, the farther he is from the center, and the brighter he is described by the poet.

The collection “Creativity of V.V. Mayakovsky at the Beginning of the 21st Century: New Tasks and Ways of Research”, in this collection much corresponds to the latest trends in modern lighthouse science. It also contains new historical, literary and theoretical approaches to the study of the creative heritage of the great poet of the 20th century, and the analysis of specific factual material, which contributes to a deeper and more comprehensive understanding of the artistic originality of Mayakovsky's work, his connections with the era, with the literary movement.

Researchers of creativity V.V. Mayakovsky agree that the poet's satirical work is clearly focused on the future, the poet's confidence rests on the fact that Russia will get rid of everything bad, and that his works can help expose vices. The study of "Klop" and "Banya" until recently was complicated by the proximity of the time of their creation to the time of the tragic death of the poet, as well as general assessment in the 1930s, the work of V. Meyerhold, with whom the stage history of Mayakovsky's plays was firmly connected.

Mayakovsky is a satirist, this phenomenon is bright and unique. His humor was distinguished by harshness and harshness; for him, all manifestations of an inhumane, soulless appeal to a person were unacceptable. The poet was fluent in the satirical language, and skillfully used in his writings the techniques of hyperbole and the grotesque, with which it was possible to create a comic effect. A heightened moral sense - this is what made him a worthy successor to the best traditions of Russian satire, which castigated not only social vices, but, above all, human vices.

The objects and objects of the satirical image in the pre-revolutionary works of Mayakovsky were various manifestations modern world indifferent to the person and his feelings. Such a world is soulless, ugly and terrible in these manifestations. In 1915, several works by Mayakovsky under the title "Hymns" were published in the journal "New Satyricon".

The main "heroes" of Mayakovsky's "Hymns" were common life phenomena: lunch, a bribe, a judge, etc. ; science that does not see man and is indifferent to him (“Hymn to the scientist”); the philistine essence of the “consumer society” (“Hymn to Dinner”). The images of the recipients of "praise" are built in a peculiar way: moral ugliness is expressed in terms of physical ugliness.

Mayakovsky worked in the satirical genre even after the revolution. He wrote the satirical plays "Bug" and "Bath", a number of satirical poems. Some of them are still relevant today, for example, “About Rubbish”, “Seated”, etc. In the twenties, the object of satire for Mayakovsky was the Soviet philistinism, which the poet denounces in the poem “On Rubbish”, in the poem “Prostsessed”, he castigates Soviet bureaucracy.

In these verses, Mayakovsky's rejection of all manifestations of lack of spirituality, squalor and vulgarity is clearly visible. Soviet people who become indifferent to problems, who do not touch their little world and are interested in satisfying their urgent needs, become petty bourgeois, which is categorically unacceptable for the poet.

The bureaucratic machine, measured and clearly moving from one meaningless meeting to another, feels like judges drowned under the codes of laws, hiding from life behind letters and paragraphs. The objects of satire became more specific over time, but, as before, the essence of manifestations of philistinism, inertia of the mind, posturing, etc., unacceptable to Mayakovsky, all that he always ridiculed, remained.

Mayakovsky's satire not only laughs, but you can also learn from it helpful tips. By exposing all the filth and filth to the public, the poet paints pictures of the "philistine" that unfold before the mind's eye of readers, they are permeated with humor, without it, these pictures would be too pessimistic.

Applying the grotesque and elements of fantasy, Mayakovsky builds the poem "The Sitting Ones". The main theme is the absurdity of the topics of the meetings, the poet creates a strong comic effect, which is supported by a fantastic picture of bifurcated officials, who are forced to attend them in a peculiar form in order to be in time for all meetings - “to the waist here, and the rest there.”

The poet attached great importance to his satirical works. “Terrible Laughter” was the title of a 1929 satirical collection. Another collection was called "Mayakovsky smiles, Mayakovsky laughs, Mayakovsky scoffs." Bureaucracy, philistinism, idlerism, plunder - all these manifestations of vices aroused the indignation of the satirist poet. Mayakovsky's gift was that with his caustic word he could literally hit "on the spot."

The satirical plays Bedbug and Bathhouse convey the unhealthy social atmosphere of the 1920s, which needed a good shake-up. In his work, the author often uses live conversational intonations, which he intentionally distorts, and also invents new words. Mayakovsky's poetry was inextricably linked with the life of his country, it absorbed the difficulties and contradictions of his era, but has not lost its significance today. The tradesman is the constant target of Mayakovsky's satire and sarcasm. He "fought" with philistinism until the last hour of his life, he looked at this vice as the worst enemy of the revolution.

By philistinism, Mayakovsky sometimes meant purely external manifestations: everyday life, materialism, sentimentality, worldly tastelessness. But for the poet, this external side was not worse, although he criticized it, but the lack of a spiritual foundation, as well as the inability and unwillingness to think broadly, the lack of ideals and the presence of idols. Mayakovsky sang a lot and loudly the hymns of the Revolution, its leaders and ideologists, just as skillfully he ridiculed its enemies, both external and internal. His satire was often ruthless, while he did not try to smooth out sharp corners and speak softer about this or that “sin”.

Mayakovsky was distinguished from other contemporary poets by the fact that he always "hit" in the very heart, in the very essence of the problem, in the most painful place, and his words were also clear and painful for the persons whom he criticized. He has satire everywhere: “Hymns”, “Seated”, “About rubbish”, “Nate”, “Scum”, “Bureaucratiad”, “Bedbug”, “Bath” - in these works the pictures painted with the brush of Mayakovsky’s satire come through especially clearly .

The satirical play The Bedbug was written in 1928. In this play, we see at least three plans: the first is satirical and everyday, the second is associated with the author's lyrical voice, the third one is built-in theatrical performance. All plans are connected by a common plot opening, revealing the metaphor included in the title of the play.

The metamorphoses that take place with the main character Ivan Prisypkin (the transformation of a person into a bug) are read on different levels differently.

On the first, satirical-everyday level, the plot of the comedy is a story about everyday rebirth. With its help, the new Soviet philistinism is denounced and ridiculed, the problem of the dangerous attractiveness of the “cozy” philistine life, focused on everyday life and its conveniences, is raised for the younger generation, who grew up in the devastation of the civil war.

Wanting to arrange a "better life" for himself, the main character, Ivan Prisypkin, "breaks away" from the working class, marries a NEPman's daughter, thereby betraying the revolutionary ideals of universal collective happiness, replacing them with the "separate" happiness of a petty-bourgeois family. Mayakovsky shows that the problem of everyday rebirth is largely a matter of lack of culture, taste. There is a fight at the wedding, and then a fire, as a result of which everyone dies, except for Prisypkin himself, who was only frozen and resurrected fifty years later.

There is such a type in comedy - Oleg Bayan, who promotes a "beautiful" life. At the same time, at the first meeting, a poorly educated person appears before readers, his speech is not literate, his ideas about “cultural life” are primitive. And it is he who acts as a “seductive teacher” for Prisypkin, whom he seduces with the “benefits of culture” (dances, clothes, manners), leads him astray.

Bayan's main ideological project is a wedding, which he interprets as an act of transition to a new world, a prototype of the future life under communism. In the bourgeois world, love and marriage are reduced to mutually beneficial trade, while true love is associated not with marriage, but with life itself, the eternal movement forward.

There is no talk of marriage between Prisypkin and Zoya Berezkina. This is emphasized by the fact that both of them live in a hostel. Elsevira Renaissance in this system of values ​​turns out to be an enemy, an owner, a predator who "has her eye" on Prisypkin. Her very name speaks of a return to the past. Marriage is an act of sale and purchase. A wedding is a symbol of the future life. According to Bayan, Prisypkin's marriage to Elsevira Davidovna Renaissance marks a combination of "Unknown labor with defeated capital."

The author sees the reason for the rebirth of Prisypkin in depression, confusion caused by the NEP, everything that they had previously fought for was slowly returning, both the former structure of society and the former system of relations, but at the same time there was a rejection of everyday benefits, amenities that make a person a person. , it becomes unclear which way to move forward in order to achieve a great goal.

One of the forms of replacing spiritual emptiness is the desire to live today, deriving maximum pleasure and enjoyment. Prisypkin finds himself in the place of a man who has lost the meaning of life, and Bayan acts as an ideologist of momentary happiness. The metaphor "man-bug" gets a broader meaning, it is not only a man in the street, but also a man who has forgotten about his high nature, betraying a man in himself. The power of everyday life is comprehended in Mayakovsky's poetry as a dynamic force: it is capable of killing love in the world.

In the way Prisypkin perceives the teachings of Bayan and reveals its true value, the author shows how Prisypkin tries to implement the new skills he has acquired and implement them in a new life. He tries to stage his future life with shopping: the things he buys act as a way of transforming life, he even changes his name to a pseudonym and becomes Pierre Skripkin, wears new clothes and learns to behave differently. Prisypkin, who is now called Skripkin, strives for culture as a conductor of another world that is still inaccessible to him.

When he enters the world of the future, he sees that everything has changed beyond recognition, the new world is the world of technology and science. Mayakovsky in the pictures of the future embodies everything that he called for in his propaganda poems and poems, this is purity, and a culture of communication, and the absence of drunkenness, bureaucracy.

The people of the future, whom Skripkin met, consider the hero to be a charged microbe of philistinism, and therefore they do not even fully recognize him as a person, he is considered a representative of an extinct family. Rude, selfish Skripkin among the "ideal" people, for whom drunkenness, sycophancy and other vices have long become relics, looks very unpresentable, for them all these phenomena have long been forgotten.

The very society of the future is presented by Mayakovsky very reasonably. Many functions of a person are performed by automata, love is eradicated as an unnecessary, and even harmful feeling.

For the people of the future, Skripkin poses a real threat, he is a representative of the bourgeoisie, and they are people of a high moral culture, free from all sorts of prejudices and passions, in fact, the people of the future, freed from all emotional experiences, become faceless.

In the society of the future there is no way of life, but the question of whether philistinism is possible if there is no way of life still remains. The author shows that philistinism has not gone away, it has changed, transformed, changed its shell, but it remains. In the "pure" people of the future, devoid of all the vices of the present, such as drunkenness, lack of culture, and so on, there remains the main sign of philistinism, from which neither external gloss nor the absence of everyday life can save. This is a complete immersion in the material world, the absence of spiritual ideals, in the future you can go through physical purification, through a special bathroom, there is no spiritual purification.
Skripkin, being originally negative character, finds himself in a situation where he alone retains the mental-emotional sphere, and he awakens it in others. Getting into a new world, he discovers that this world does not please him at all, and he categorically does not become obsolete, that he was unfrozen. After all, the world in which a person was completely devoid of a soul, this significant flaw makes this new world a truly philistine world, since there is no desire to go beyond the limits of this material world.

The professor unfreezes Prisypkin/Skripkin, observes his revival and adaptation to a new life. But this life does not suit Prisypkin. Skripkin, despite his shortcomings, remains the only normal person. As a result, the ideal people of the future very quickly pick up the "virus of feelings" from Skripkin, and succumb to long, seemingly eradicated feelings. The people of the future are beginning to be attracted by bourgeois pleasures, all that they have uprooted in themselves. This leads them to believe that Skripkin is a breeding ground for their disease and needs to be isolated.

Mayakovsky denies the main character, this inveterate tradesman, the right to live in society, he places him in a zoo, where he finds himself in the same cage with a bug that got into the future from his collar, and which he refused to get rid of, becoming emotionally attached to him. The metaphor "bedbug" here means the rebirth of a representative of the advanced class of builders of the future, into a layman and tradesman.

Critics were inclined to perceive the play "The Bedbug" as an anti-philistine agitation. Comedy largely grows out of newspaper facts, in which stories of this kind were printed.

It is also interesting to observe how Mayakovsky's satire invents new definitions for the newly born vices of the young Soviet republic. These are such neologisms as: “philistine”, “nepists” and many others, which, however, characterize one and the same phenomenon, or rather, an estate, the so-called middle class.

And although the revolution proclaimed the abolition of all estates, it will completely get rid of the estate system, it could not. And it was Mayakovsky, together with his constant satire companion, who undertook to eradicate it. It is interesting to see that the poet not only denounces, but he also gives specific advice, shows ways out, tries not to be unfounded.

The last satirical play "Bath" was written in 1929, and it was written in the "theatre within the theater" format. In this play, the society of the new bureaucracy was shown, and it was rather coldly received by contemporaries. One of the main themes of the play is the affirmation of the life-giving power of art. And the power of time invented by Chudakov becomes a metamorphosis of overcoming time by means of art. In the play, the author ridiculed talkers, loafers, narcissistic bureaucrats. Mayakovsky believed that this work was publicistic, and through human images he showed the main trends that were in society at that time.

Mayakovsky defined the play "Banya" as "a drama in six acts with a circus and fireworks," but the author's ironic notes are heard in this, warning the reader that the play is a kind of farce. The main character of the play is "Comrade Pobedonosikov, chief boss for coordination management, Glavnvchups.

This is a typical puffed-up official who, between phone calls and thoughtless shifting of government papers, dictates to the typist a meaningless and endless article. The drama in the play is built on the conflict between the inventor Chudakov, the cavalryman Bicyclekin, the worker helping the inventor, on the one hand, and his assistant Optimistenko, on the other. Mayakovsky draws in the play many funny and stupid situations that his characters find themselves in, but at the same time the play is a drama, and its drama consists in the fight against bureaucracy, which, according to the poet, is a huge and ossified system.

When asked why the play is called “Bath”, Mayakovsky answered in two ways. The first answer: "The Bath" washes (simply erases) the bureaucrats" - it seemed to satisfy everyone and for a long time remained the definition of a straightforward "accusatory" perception of the play. Another answer: "Because it's the only thing that doesn't come across there," seemed to be Mayakovsky's usual humorous excuse. Meanwhile, the second answer is much more concerned with the substance of the matter.

He points not to the object, but to the method of its perception and thus to the way of understanding it. "Bath", of course, is not the only thing that is not in the play, but that's not the point, the name of the play determines the only correct point of view on it. And from this point of view, what is really most important in the "Ban" is what "doesn't come across" there.

On the one hand, the play is called "Bath", but on the other hand, we do not find any bath there. On the one hand, this is a "drama", but on the other hand, a circus and fireworks, and no drama at all. On the one hand, the whole collision in the play is deployed around Chudakov's "car", but on the other hand, this car is invisible, that is, it is as if it does not exist. On the one hand, Chudakov's invention is a machine, that is, something spatio-material, but on the other, it is a time machine, that is, something opposite to any spatiality and materiality.

On the one hand, it is as if we have a theater in front of us, but on the other hand, we also see a theater within a theater, so that the first theater is no longer a theater, but a reality. On the one hand, Pobedonosikov sees himself in the theater, but on the other hand, he does not recognize himself in this theater, that is, he “does not come across” to himself. In the entire play as a whole and in each of its individual elements, we find a discrepancy between the subject and its meaning. The most abstract concepts here are reduced, materialized, materialized, and vice versa, the most concrete objects, phenomena and even people dematerialize up to complete disappearance.

The structure and problems of The Bath, its very satirical topicality, are such that they inevitably push us to search for prototypes on which the characters of the drama are oriented. All the characters in the play, both negative and positive, are not characters or types of "The Bath".

It is easy to see that the most similar, the most realized characters are negative (Pobedonosikov, Optimistenko, Mezalyansova, etc.), the neutral characters are less realized (Underton, Polya, Pochkin, etc.), even less positive (Chudakov, Bicyclekin, workers, Phosphoric woman). The internal topography of the "Banya" can be represented as several concentric circles with a positive center and a negative periphery. The farther the character is from some absolute center, the more brightly it is lit, the more detailed it is outlined, the more animated and realized.

The negative characters are not so much opposed by the positive characters as the whole idea as a whole, the whole play. In other words, if positive characters assert themselves in their proximity to the central semantic core, then negative ones, on the contrary, deny themselves in their remoteness from it.

The paradoxical duality of The Bath, as well as of Mayakovsky's entire dramatic work in general, was a direct consequence of the specific genre design of his main aesthetic principle. The only thing that does not come across in the "Ban" is the characterization, but the most important thing that is there is the personality of the author. And no matter how strange it may seem, we must admit that "Banya" is nothing more than a lyrical drama, or, more precisely, a monodrama. Her dramatic space is the conceptual sphere of internal representation. Hence the special character of its conventionality and its fantasy.

The time machine in the "Bath" is not just an invention of Chudakov, but also a metaphor for the very invention, innovation, creativity. The time machine is a metaphorical embodiment of the art of the future, its life-giving, creative force. The time machine was created not only by Chudakov, but also by time itself, by life itself. She is plotted against another machine, bureaucratic, also realized in the aspect of time.

If Chudakov’s machine is “a matter of universal relativity, a matter of translating the definition of time from a metaphysical substance, from a noumenon into reality”, then in a bureaucratic machine, on the contrary, reality turns into fictions of “circulars, letters, copies, theses, amendments, extracts, references, cards, resolutions, reports, protocols and other supporting documents", and the theory of relativity into "the theory of relations, links and agreements". The institution, like the time machine, seeks to accumulate the experience of mankind. And he does it in his characteristic bureaucratic way, organizing "anniversaries".

Here, not only the reality and fiction of two time machines are opposed, Pobedonosikov himself is given as a verbal machine that grinds reality into nothing. In addition to the bureaucratic machine, Chudakov's invention in the play is opposed by many other mechanisms, which all, in the end, turn out to be different implementations of the metaphor of time. It is, first of all, of course, a watch.

Chudakov's car, "the first train of time", is opposed in the play by the train on which Pobedonosikov is going to go "to the heights of the Caucasus". This is indicated by the coincidence of the cost of tickets and the amount stolen by the accountant Nochkin to complete Chudakov's car.

All these antitheses are built using a local device, according to which even such details as an increase in the cost of a tram fare should indicate its negative value. By themselves, all these machines are, of course, neutral, but in the system of bureaucratic mechanism they inevitably acquire regressive functions.

Thus, the plot is carried out not only in events, not only in characters, but also in trifles, in details, in verbal constructions, so that the play, with its through organization, approaches the structure of a poetic work.

As a result of all this plot mechanics, we have a gigantic image of the Machine, which can be both a dead machine of space, if it exists as it has become, complete and unchanged, and a living creative time machine, if it exists in continuous formation, change and renewal. A car can be both a fictitious "thing" and a real "idea". Here is the starting point of the whole idea of ​​"Bani".

But after all, the play itself is in some way a “machine”, and it is a time machine, with all its progressive and regressive functions, which is clearly represented in the image of a “theatrical machine”. In act III (theatre within the theatre), its functional reversibility is parodied. The agitational theatre, "serving the struggle and construction", is opposed by the theater where "they make us beautiful". In this central image, undoubtedly, all the main constructive and semantic plans of the play intersect. Meanwhile, the role of the Phosphoric Woman in the dramatic intrigue is completely passive, she only represents the future.

In The Bath, the formal difference between theater and life is demonstrated in every possible way. Emphasizing the conventionality of any game (dramatic, farce, circus) performance, Mayakovsky thereby pointed to the fundamental meaningful unity of theater and life. The finale of the "Bath" functionally fully corresponds to the "silent scene" of Gogol's play, with the difference that the scene of "shock" is duplicated three times: darkness, then the actual "silent scene" and, finally, the final explicative remarks of the characters.

Mayakovsky's satire always calls a spade a spade, no matter what happens, and no matter what readers think about it, the poet always has a lot of grotesque in his verse. Mayakovsky increases human vices to gigantic proportions, the voice of his accusatory satire also increases its power. Often Mayakovsky acts as a poet describing the everyday side of human life, which seemed boring and uninteresting to many writers, which was a hallmark of his satire. He knew how to address not only his contemporaries, but also his descendants in an amazing way.

Mayakovsky is not just a rebel, a judge, an accuser, a prophet, he is also a fighter. Bourgeois society quite easily "tamed" the rebels with fame, money, etc., but Mayakovsky was able to resist these temptations. Understanding the inevitability of the fall of the old world, and contributing to the approach of collapse with his work, Mayakovsky could not but pin all his hopes on the socialist revolution. It was believed that from her "cleansing fire" new person, new morality, life.

The plays "Bedbug" and "Bath" are comedies that ridicule the main vices of contemporary society for the poet. According to the poet, in the future, there will be no place for such vices as: rudeness, drunkenness, rudeness, vulgarity. In plays, Mayakovsky typifies his characters, i.e. they are typical representatives of society, they are Nepmen, and workers, and bureaucrats, and journalists. One of the main literary devices used by the author is giving the characters "speaking" surnames: Prisypkin, Pobedonosikov, Chudakov, Mezolyansova, etc.

The plays carry a sharp satirical orientation, reveal those shortcomings of the environment that can be found in any society and at any time. These plays reflected the heavy impressions of the discrepancy between the real Soviet reality, which did not justify the expectations of a brighter future. The merit of Mayakovsky is that he was not afraid to say “no” to these vices, and to say that they have no place in the future. Thus, the satire of V. Mayakovsky largely developed in the very warehouse of creative thinking

The arsenal of artistic means of satirical depiction includes actively used grotesque figurativeness, the combination of everyday and fantastic coloring, single and symbolically generalized, experiments with verbal form, the use of collective images of human "crowds", "masses" as objects of satirical comprehension.

Moreover, if the tragic intensity of Mayakovsky's poetic satire over time more and more definitely gives way to hopes for the reorganization of being, overcoming its eternal disharmony through revolutionary, volitional intervention.

The author of the plays "The Bedbug" and "Bath" believed that neither the townspeople nor the bureaucrats would survive in the new world. The utopian projection of the future in these plays suffers from naivety. Mayakovsky was convinced of the indispensable spiritual improvement of man, which was to come as a result of political transformations. Time has shown the fallacy of such hopes. But the criticism of bureaucracy, philistine attitude to life, soulless existence, voiced in the plays, is still relevant today.