Mayakovsky is convinced that the main purpose of the poet and poetry in the revolutionary era is to serve the cause of the triumph of a new, truly just social system. He is ready to do any menial work in the name of people's happiness:
I, the sewer man
and a water carrier,
revolution
mobilized and called up,
went to the front
from lordly gardening
poetry -
women are capricious.
The poet admits:
And me
agitprop
stuck in my teeth,
and I would
scribble on you -
it's more profitable
and prettier.
But I
myself
humbled
becoming
on the throat
own song.
Mayakovsky felt like an “agitator”, a “bawler-leader” and believed that his verse
...it will come
across the ridges of centuries and over the heads of poets and governments.
The poet was ready to sacrifice his poetry to the revolution:
Let
for geniuses
inconsolable widow
glory trudges along
in the funeral march -
die, my verse,
die like a private
like nameless
Our people died during the assaults!
He, unlike his predecessors, starting with Horace, refused the individual poetic monument:
I do not care
a lot of work on bronze,
I do not care
on marble slime.
Let us be considered glory -
after all, we are our own people, -
let us
will be a common monument
battle-built socialism.
Mayakovsky compared his poems to “over-the-teeth armed troops” and gave them, “down to the very last leaf,” to the proletarians of the entire planet. He stated:
worker
enemy class communities -
he is my enemy and
notorious and long-standing.
They told us
go
under the red flag
years of labor
and days of malnutrition.
Mayakovsky convinced readers: the main purpose of the poet today is to serve the cause of the socialist revolution. But his poetry must be not only revolutionary in content, but also highly perfect in form, in order to survive for centuries, to convey to posterity the greatness of the era of revolution and the construction of socialism. Also, in his last public speech at an evening dedicated to the twentieth anniversary of his creative activity, Mayakovsky complained that “every minute we have to prove that the activity of a poet and the work of a poet is necessary work in our Soviet Union.”
He himself did not doubt for a second that his poems were no less important for the benefit of the revolution and socialism than ore mining, steel smelting, the armed suppression of counter-revolution, or the work of the party in organizing socialist construction. Because they strengthen the faith in the souls of people in the correctness of the Bolshevik revolution, in the imminent attainability of a bright communist future. It was with this faith that Mayakovsky died.
An interesting paradox is that this poem was never written by Mayakovsky. Literally before his death, he wrote only an introduction to it, which he dedicated to the first Soviet five-year plan in late 1929 - early 1930.
Getting to the topic “Analysis: “At the top of my voice” by Mayakovsky,” it should be noted that the poet timed this verse to coincide with the anniversary exhibition - the 25th anniversary of his creative path. He himself, speaking to the assembled public, said that this work fully and completely reflected everything that he had worked on all these many years, and presented it as a report on the creative work done. So, without suspecting it, he continued with this the classic theme of the “monument”, begun by Derzhavin and Pushkin.
“At the top of my voice”, Mayakovsky: analysis
In this introduction, the famous poet contrasts himself with pure art, which does not recognize any politics. It is in this role that one gets the general impression of his attitude to creativity in general and to its individual representatives in particular.
In a way, it became a kind of message to future descendants. The poet seems to evaluate himself with a view from the future, looking into the present, where he immediately amazes with the lines: “I, a sewer man and a water carrier, mobilized by the revolution...”.
With these words, he creates a certain image of poetry without meaning and purpose, which he sarcastically and sharply ridicules, calling it a “capricious woman.”
Poems as a weapon
His poems are not just lines on paper, he uses them as a serious weapon in the fight for the communist cause.
The poet-agitator hints that he is not afraid of the government, or “lyric volumes,” or “ridges of centuries.” Mayakovsky openly declares this loudly. The analysis of the work boils down to the fact that his weapon does not injure or kill a person, but it can very strongly hit the soul and heart of a person. He writes prophetic lines in which he hints that his poems stand like lead and are ready for death.
Inspiration
Mayakovsky wrote all his most desired things in the poem “At the top of his voice.” Its analysis suggests that everything that the poet did was not created for aesthetic pleasure, because it builds, inspires and fights meaninglessness, moves forward and leads the masses. He thought that his calling was to realize socialist dreams and move towards a bright future with the broad masses.
The writer calls: “Die my verse like a private.” He believes that for social well-being, a poet must work hard, forgetting about himself and not thinking about reward, sacrificing his creativity.
He writes in his poem that he doesn’t need anything other than a freshly washed shirt, and that the poet and society are inseparable.
Fate and Motherland
In continuation of the topic “Mayakovsky “At the top of his voice”: analysis of the poem,” it should be noted that the active creator calls the descendants dexterous and healthy, and, in his opinion, they should remember how hard everything was paid for; he compared it with licking “consumptive spitting."
It’s a little surprising, but Vladimir Vladimirovich describes the future that the “communist far away” has already arrived, into which he invested maximum effort, because every day of his work he invested in the future.
The poet considers it his civic duty to build a worthy future, and this desire literally weakened his soul.
Cry from the heart
Mayakovsky shouts about this in his poem “At the top of his voice.” Analysis of the introduction suggests that the poet inspires the people to build a bright future, and that everyone should remember those who were involved in the battle for socialism and communism, and not forget their desperate work. Their soul lives in every line of it and will certainly pass through the centuries.
The great ideological leader addresses them as those who truly believe in communism, and expresses himself as a descendant of these people who can no longer imagine what it was possible to believe in so sincerely and deeply, and whether there will be as many forces as there were in the forefathers of the October Revolution.
Conclusion
From the introduction to the poem “At the Top of My Voice” it became clear that it is in some form a will, written almost three months before his tragic death. This question is even more interesting, since it remains unclear whether the poet was killed or it was suicide. Many historians and forensic experts, examining all the facts, documents and evidence, came to the conclusion that he was killed after all. And they killed him because he began to delve into the affairs of Stalin’s government, which deviated from the Leninist course that millions of people dreamed of. This is a dark matter, the same as with Yesenin.
However, the most interesting thing remains that his faith nevertheless began to waver at the end of his life, and he had his own reasons for this. Even such a notorious communist would eventually burst out of his soul on the evening of April 13, 1930, “Oh, Lord!” At this moment, his beloved woman, Polonskaya, will be next to him, who will be very surprised by this exclamation and will ask him again whether he is a believer. And Vladimir will answer her that he himself no longer understands what he believes in...
In a loud voice. First introduction to the poem
Dear comrades and descendants! They told us to march under the red flag of years of labor and days of malnutrition.Note
It is known that “At the top of my voice” was the introduction to the poem about the five-year plan. This work, which became Mayakovsky’s poetic testament and conceived as “The first introduction to the poem about the Five-Year Plan,” was subsequently assigned the genre definition of a poem. Mayakovsky himself called it a poem, speaking at the Komsomol House of Krasnaya Presnya on March 25, 1930.
Written during December 1929 - January 1930. The specific reason for writing was the reporting exhibition “20 years of Mayakovsky’s work,” which was supposed to open in December 1929.
Mayakovsky considered the beginning of his creative activity to be a lost notebook of poems written in solitary confinement in the Central Transit Prison Butyrka (Moscow), where he was held during his last arrest from August 18, 1909 to January 9, 1910 for participating in the underground revolutionary struggle. The notebook with poems was taken by the warden when Mayakovsky left prison.
The poet pointed out the direct connection between the “First Introduction to the Poem” and the exhibition “20 Years of Mayakovsky’s Work” when speaking on March 25, 1930 at the Komsomol House of Krasnaya Presnya at an evening dedicated to the twentieth anniversary of his activity: “The last of the things written is about the exhibition, since it completely determines what I do and why I work.
Very often lately those who are irritated by my literary and journalistic work say that I simply forgot how to write poetry and that my descendants will hate me for it. I hold this view. One communist said: “What posterity! You will report to posterity, but for me it’s much worse - to the district committee. This is much more difficult.” I am a decisive person, I want to talk to my descendants myself, and not expect that my critics will tell them in the future. Therefore, I appeal directly to descendants in my poem, which is called “At the top of my voice”... “The exhibition is not an anniversary, but a report on the work. I demand help, and not the exaltation of non-existent merits...” “I exhibited because I wanted to show what I did,” said Mayakovsky. “I arranged it because, due to my pugnacious nature, so many dogs have been hung on me and I have been accused of so many sins, which I have and which I don’t, that sometimes it seems to me that I should leave.” I would like to sit somewhere and sit for two years, just so as not to hear swearing.
But, of course, on the second day, this pessimism again cheers me up and, rolling up my sleeves, I begin to fight, defining my right to exist as a writer of the revolution, for the revolution, not as a renegade. That is, the point of this exhibition is to show that a revolutionary writer is not a renegade whose poems are written down in a book and lie on a shelf collecting dust, but a revolutionary writer is a human participant in the everyday everyday life of building socialism."
The exhibition “20 Years of Mayakovsky’s Work” opened on February 1, 1930 at the House of the Federation of the Association of Soviet Writers (now the Board of the Union of Writers of the USSR, Vorovsky St., 50). The conference hall and two adjacent rooms reserved for the exhibition could hardly accommodate examples of the poet and artist’s work completed over two decades. The exhibition demonstrated all the publications in which the poet was published - books, almanacs, magazines, newspapers. “Mayakovsky’s books - only 1,250,000,” explained the sign above the stands. One from each name represented the magazines and newspapers in which Mayakovsky collaborated. Newspaper stands, revealing the poet’s connection with a multimillion-dollar reader, his work in the peripheral press, went under the polemical slogan “Mayakovsky is not understandable to the masses.” The models of “Mystery-Bouffe” and “Bedbug” represented Mayakovsky’s work at the theater. The “Laboratory” showcased his drafts and white papers, revealing his creative process. At the “Towards an Autobiography” stand, next to documents about studying at the Kutaisi and Moscow gymnasiums, illegal political literature was located - brochures, leaflets, proclamations - characterizing the range of interests of the young man Mayakovsky. The materials of the Moscow Security Department, the Police Department, and the Military Court revealed the history of three arrests of “Vysoky” (Mayakovsky was listed under this name in secret police reports).
A map of the Soviet Union with Mayakovsky's travel itineraries and a diagram "Mayakovsky on the Stage" indicated the names of the cities visited by the poet from 1926 to 1930.
The other two halls of the exhibition showed examples of Mayakovsky’s work at ROSTA, his slogans for propaganda posters and advertisements.
The poem “At the top of my voice” was created during the preparation of the exhibition and was completed by January 26, 1930. Correlating the poem with the exhibition display gives an idea of the process of the birth of images, of the movement of poetic thought, developing from specific facts to broad artistic generalizations.
Having deployed my troops in parade, I walk along the line front
This extended metaphor, which determined the figurative structure of the central part of the poem, has its own specific visual basis, going back to the exhibition. The exhibition “20 years of Mayakovsky’s work” was indeed a kind of “parade”, a review of troops presented by the poet as a “formidable weapon”. Apparently, in the process of designing the stands, during the hours of reflection, associations arose in front of him, concretizing and developing this main image - “parade of troops”, “line front”.
The exposition of the exhibition allows you to see the process of the birth of a generalized winged image that expressed the pathos of Mayakovsky’s entire work: “All one hundred volumes of my party books.” The original version in the autograph of these lines: “all six volumes of my party books” is directly related to the exhibition stand, which demonstrated six books in a light dust jacket - volumes of a ten-volume collected works that began to be published in the State Publishing House. During Mayakovsky's lifetime, six volumes were published.
The first public reading of the poem by Mayakovsky took place on February 1 at the opening of the exhibition “20 Years of Mayakovsky’s Work”; On February 6, he read “At the top of his voice” at the MAPP (Moscow Association of Proletarian Writers) conference, which accepted him as a member of RAPP (Russian Association of Proletarian Writers); February 15 - at the exhibition "20 years of Mayakovsky's work", February 22 - at the closing of the exhibition; February 25 - at the opening of the theater workers' club; March 5 - at the opening of the exhibition "20 years of Mayakovsky's work" in Leningrad at the House of Press; March 25 - at the Komsomol House of Krasnaya Presnya (Moscow); April 9 - at an evening at the G.V. Plekhanov Institute of National Economy (Moscow).
V. Mayakovsky among young people at the exhibition "20 years of Mayakovsky's work." 1930
Planted a cute little garden, daughter, dacha, drive and smooth... - a similar statement by Mayakovsky in relation to the so-called “pure art” took place back in March 1918: “In small shops, pompously called exhibitions, they sell the pure daub of noblemen’s daughters and dachas in the Rococo style and other Louises...” ("Manifesto of the Flying Federation of Futurists").
...I planted the garden myself, I will water it myself... - a couplet from a popular ditty in those years.
...curly-haired Mithreikas, wise-haired Curly-haired women... - young poets K. N. Mitreikin (1905-1934) and A. A. Kudreiko (b. 1907), close in those years to the Literary Center of Constructivists group, which Mayakovsky sharply criticized in a number of speeches in 1929-1930 for aesthetics and passion for technicalism. Having criticized a number of young poets at the MAPP conference on February 8, 1930, Mayakovsky cited a stanza from A. Kudreiko’s collection “The Siege” (1929) as an example of “the shepherd-pastoral setting of a poetic work.”
"Tara-tina, tara-tina, t-en-n..."- Mayakovsky ridicules the poetic tricks of the head of the Constructivist Literary Center, poet Ilya Selvinsky, who wrote in the poem “Gypsy Waltz on Guitar” (1923).
And only moans can be heard? Gittaors: Tara ginna-taratinna-tan...
Provityaz- Mayakovsky’s ironic neologism, formed from the words “seer” and “knight”
...aqueduct built by the slaves of Rome.- This refers to the water supply systems (aqueducts) of Rome and the provinces of the Roman Empire (from the 4th century BC)
Summer- in Greek mythology, the river of oblivion in the underworld.
Tse Ka Ka- Central Control Commission, a party body elected by the Congress of the All-Union Communist Party (Bolsheviks).
Dear
Comrade descendants!
Swarming
in today's
petrified g.....,
our days studying the darkness,
You,
Maybe,
ask about me too.
And perhaps he will say
your scientist,
cut with erudition
a swarm of questions,
that there once lived such a thing
singer boiled
and an ardent enemy of raw water.
Professor,
take off your bicycle glasses!
I'll tell you myself
about the time
and about myself.
I, the sewer man
and a water carrier,
revolution
mobilized and called up,
went to the front
from lordly gardening
poetry -
women are capricious.
I planted a cute little garden,
daughter,
dacha,
water
and smooth surface -
I planted the kindergarten myself,
I'll water it myself.
Who pours poetry from a watering can,
who sprinkles
putting it in your mouth -
curly Mithreikas,
wise Kudreiki -
who the hell can figure them out!
There is no quarantine to break through -
mandolin playing from under the walls:
"Tara-tina, tara-tina,
t-en-n..."
Unimportant honor
so that from these roses
my statues towered
through the squares,
where tuberculosis spits,
where the hell... with the bully
yes syphilis.
And me
agitprop
stuck in my teeth,
and I would
scribble
romances for you -
it's more profitable
and prettier.
But I
myself
humbled
becoming
on the throat
own song.
Listen,
comrades descendants,
agitator,
loudmouth leader.
Muffled
poetry flows,
I'll step
through lyrical volumes,
as if alive
talking to the living.
I'll come to you
to the communist far
not this way,
like a song-like evityaz.
My verse will reach
across the ridges of centuries
and through the heads
poets and governments.
My verse will reach
but he won’t get there that way, -
not like an arrow
in the cupid-lyre hunt,
not how it comes
worn-out nickel to the numismatist
and not as the light of dead stars reaches.
My verse
labor
the vastness of years will break through
and will appear
weighty,
rough,
visibly
like these days
the water supply came in,
worked out
still slaves of Rome.
In the mounds of books,
buried the verse,
string glands are accidentally discovered,
You
Sincerely
feel them
like old
but a formidable weapon.
I
ear
in a word
not used to caressing;
girl's ear
in curls of hair
with semi-obscenity
don't fall apart, touched.
Unfurling the parade
my pages troops,
I am walking through
along the line front.
Poems are worth
leaden-heavy,
ready for death
and to immortal glory.
The poems froze
pressing the muzzle to the muzzle
targeted
gaping titles.
Weapons
beloved
genus,
ready
rush in the boom,
froze
cavalry of witticisms,
raising the rhymes
sharpened peaks.
And that's it
armed troops over their teeth,
that twenty years of victories
flew by
right up to
last sheet
I give it to you
planet proletarian.
worker
enemy class communities -
he is my enemy and
notorious and long-standing.
They told us
go
under the red flag
years of labor
and days of malnutrition.
We opened
Marx
every volume
like at home
own
we open the shutters,
but without reading
we figured it out
which one to go in,
in which camp to fight.
We
dialectic
They didn’t teach according to Hegel.
The rattling of battles
she burst into verse,
When
under bullets
The bourgeoisie ran away from us,
like us
once upon a time
ran from them.
Let
for geniuses
inconsolable widow
glory trudges along
in the funeral march -
die, my verse,
die like a private
like nameless
Our people died during the assaults!
I do not care
a lot of work on bronze,
I do not care
on marble slime.
Let us be considered glory -
after all, we are our own people, -
let us
will be a common monument
built
in battles
socialism.
Descendants,
dictionaries check floats:
from Lethe
will swim out
remnants of such words
like "prostitution"
"tuberculosis",
"blockade".
For you,
which
healthy and agile
poet
licked
consumptive spitting
rough language of the poster.
With a tail of years
I become likeness
monsters
fossil-tailed.
Comrade life,
Let's
let's stomp quickly,
let's trample
according to the five-year plan
days remaining.
To me
and ruble
didn't accumulate lines,
cabinetmakers
They didn’t send furniture to the house.
And besides
freshly washed shirt,
I'll tell you in all honesty,
I need nothing.
Having appeared
in Tse Ka Ka
walking
bright years,
over the gang
poetic
grabbers and burning
I'll lift you up
like a Bolshevik party card,
all one hundred volumes
my
party books.
Mayakovsky is convinced that the main purpose of the poet and poetry in the revolutionary era is to serve the cause of the triumph of a new, truly just social system. He is ready to do any menial work in the name of people's happiness:
I, the sewer man
And a water carrier,
Revolution
Mobilized and called,
Went to the front
From lordly gardening
Poetry -
Women are capricious.
The poet admits:
And me
Agitprop
It's stuck in my teeth,
And I would
Scribble on you -
It's more profitable
And prettier.
But I
Myself
Humbled
Becoming
To the throat
Your own song.
Mayakovsky felt like an “agitator”, a “bawler-leader” and believed that his verse
...it will come
Through the ridges of centuries and over the heads of poets and governments.
The poet was ready to sacrifice his poetry to the revolution:
Let
Behind the geniuses
An inconsolable widow
Glory weaves
In the funeral march -
Die, my verse,
Die like a private
Like nameless
Our people died during the assaults!
He, unlike his predecessors, starting with Horace, refused the individual poetic monument:
I do not care
A lot of bronze,
I do not care
On marble slime.
Let us be considered glory -
After all, we are our own people,
Let us
The common monument will be
Socialism built in battle.
Mayakovsky compared his poems to “over-the-teeth armed troops” and gave them, “down to the very last leaf,” to the proletarians of the entire planet. He stated:
worker
Enemy class hulks –
He is my enemy too
Notorious and old.
They told us
Go
Under the red flag
Years of labor
And days of malnutrition.
Mayakovsky convinced readers: the main purpose of the poet today is to serve the cause of the socialist revolution. But his poetry must be not only revolutionary in content, but also highly perfect in form, in order to survive for centuries, to convey to posterity the greatness of the era of revolution and the construction of socialism. Also, in his last public speech at an evening dedicated to the twentieth anniversary of his creative activity, Mayakovsky complained that “every minute we have to prove that the activity of a poet and the work of a poet is necessary work in our Soviet Union.”
He himself did not doubt for a second that his poems were no less important for the benefit of the revolution and socialism than ore mining, steel smelting, the armed suppression of counter-revolution, or the work of the party in organizing socialist construction. Because they strengthen the faith in the souls of people in the correctness of the Bolshevik revolution, in the imminent attainability of a bright communist future. It was with this faith that Mayakovsky died.
Essay on literature on the topic: Analysis of the introduction of the poem “At the top of my voice”
Other writings:
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- The poem is an appeal to the future to “comrade descendants”, in which Mayakovsky talks “about time and about himself.” Mayakovsky calls himself “a singer of boiled water and an ardent enemy of raw water.” He was mobilized and called to the front “from the lordly gardening of poetry.” With mockery Read More......
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