Composition
In Russian poetry of the 20th century, Mayakovsky plays a special, exceptional role. He was the first of the 20th century poets to devote his powerful talent to the revolutionary renewal of life begun by the Great October Revolution. Today, with a diametrically opposite assessment of this turning point in history, the global scale of the feat he accomplished is visible. The merging of Mayakovsky’s poetry with the socialist revolution took place, in particular, because before the October Revolution he already possessed a rare poetic talent and participated in the liberation struggle.
These circumstances will play a huge role when the time comes for maturity - poetic, civil and human.
The poet's talent rapidly gained independence. Despite some obscurity and abstractness of poetic thought, already the tragedy "Vladimir Mayakovsky", and especially the poems that followed it "Cloud in Pants", "Spine Flute", "War and Peace", "Man" opened up completely new page in the history of literature. The poem “Cloud in Pants” has reached such scale and social intensity not only because it contains prophetic words about the approaching revolution, but also because of the very nature of the perception of capitalist reality and the poet’s attitude towards it. The imperialist war, as Mayakovsky admitted, pushed aside debates about art. The poet was completely taken over by the themes social nature. The leitmotif of his work becomes a cry: down with bourgeois civilization, hostile to the most beautiful thing that has been created by nature and history, man. In Mayakovsky's poetry, tragic notes not of reconciliation, but of struggle, sound increasingly stronger. The poet perceives the fate of millions of people, whom a bunch of “fat” people doom to self-destruction, as a personal tragedy.
Mayakovsky enters socialist literature as a revolutionary romantic who decisively rejected the world of capitalism, which has flooded the planet with blood; enters, deeply confident that this crazy, inhuman world will already be replaced by peace is coming true masters of the planet and the Universe. "Oh, glory four times, blessed one!" Mayakovsky greeted the Great October Socialist Revolution with these words. Begins in October 1917 new stage in his work, a stage determined primarily by changes in reality. The tonality of the poet's poems changes sharply. “Ode to the Revolution”, “Left March”, “Mystery-Bouffe” these are the first examples of socialist art of the Great October Revolution, which captivate with their sincerity and deepest faith in the future. Mayakovsky, as before, is a romantic, but now it is the romanticism of the affirmation and creation of a new world. The “extraordinary,” almost fantastic, in his works of those years grows out of life, melted down by the revolution. In the whirlwind days of the historical turning point, Mayakovsky confidently joined the ranks of the first literary and artistic figures who joined the gigantic process of revolutionary renewal of life. He is deeply convinced that revolution and poetry need each other, he believes in the effectiveness of words. But for it to become truly effective, everything must be rebuilt: lyricism and epic, poetry and drama. After all, never before has an artist been faced with such a huge task - to promote the unification of millions of people on the basis of new social and moral principles, principles of interconnection and mutual enrichment. This sincere desire to directly participate in the revolutionary renewal of life and art for the sake of the happiness of millions is the source of Mayakovsky’s innovation. This is why Mayakovsky’s work is dear to us because this poet is searching for ways to improve the health of poetry and strives to merge his fate with the fate of the people.
Mayakovsky took a bold and decisive step, turning poetry into an active participant in rallies, demonstrations, and debates. Poetry came out into the square and addressed the columns of demonstrators. “Streets are our brushes. Squares are our palettes” - these metaphors also apply to the poet’s words. It is these searches for the means of reliable influence of the poetic word on the consciousness, feelings, and actions of the masses that constitute the most important feature of Mayakovsky’s “creative laboratory.” His word is truly “the commander of human strength,” his voice is the voice of the era. The hero of Mayakovsky's poetry, with its focus on the fate of the people, the fate of millions, is a poet whose image takes on a personality. “It was with the soldiers, or the country, or in my heart” this is Mayakovsky’s “I” in the poem “Good!” This is the “I” of Soviet man in the highest manifestation of his beliefs and feelings. Highly appreciating the activity of the individual, he perfectly understands the significance of revolutionary events for the formation of consciousness and the human psyche. That is why his post-October poems are almost always crowded and eventful. In the poem "Good!" The principle of depicting Soviet reality in the dialectical unity of the heroic and the everyday, or more precisely, the heroic in the everyday, everyday, has found particularly wide application. “I take days from a series of days that have a thousand days in my family. From the gray stripe of days.” “Thousands of days” are ten post-October years. And almost every gray day deserves to go down in history. "Fine!" poem about love. About love for the motherland, transformed by the revolution. About devotion to the people who committed it. And about the hope that the history that the people are creating from now on will no longer be indifferent to the fate of man. How to immortalize this? Need new ones poetic forms. That is why the poet decisively declares:
No epics, no epics, no epics. Fly by telegram, stanza! Take a sore lip and drink from the river called “Fact”.
For Mayakovsky, the events of the revolution and the post-October history of the country, even the most insignificant ones, serve to confirm a great poetic idea. In the poem "Good!" this is the idea of the emergence of a new state, hitherto unknown to humanity, which has become a true fatherland for the working people. It is still very young, the fatherland of working people. The associations with youth and youth interspersed in the fabric of the poem subtly remind us of this. This is the image of a child at a community cleanup, metaphors: the land of youth, a country of teenagers, the spring of humanity. This approach to the facts of reality was of fundamental importance. The realism of the poem is the realism of the affirmation of the real world, beautiful and fair. "Life is beautiful and amazing!" This is the leitmotif of Mayakovsky’s post-October creativity. But, lovingly noting the sprouts of new beauty in the life of the country, the poet never tires of reminding that “the rubbish has thinned out a little so far,” that there are still “a lot of different scoundrels walking around our land and around.” Every verse, every image shakes with human greatness, passionate conviction, nobility. last masterpiece Mayakovsky, his conversation with his descendants “At the top of his voice.” This poem is one of the most striking and talented speeches of the poet in defense of the socialist orientation of his creativity. This is not only a conversation with descendants, but also a confession-report of a revolutionary poet before the highest authority - the central control commission of communist society.
Having appeared in Tse Ka Ka of the coming light years, above the gang of poetic grabbers and burned out, I will raise, like a Bolshevik party card, all one hundred volumes of my party books.
Party affiliation in the confessional poem is not only a political and aesthetic, but also a moral principle that determines main feature the artist's behavior - unselfishness, and therefore true freedom.
They didn’t even save up a ruble for me, the cabinet makers didn’t send furniture to my house, and besides a freshly washed shirt, I’ll tell you in all honesty, I don’t need anything.
These confessions express the poet’s firm belief that the struggle for communism is the highest, truly universal criterion of beauty. By clearing the moral atmosphere of such incentives of the bourgeois world as self-interest, careerism, and the thirst for personal glory, it creates conditions for artists to fully demonstrate their abilities and talents, which contribute to the flourishing of art.
Everything Mayakovsky did in art is a feat of the greatest selflessness. And no matter how tragic the poet’s personal fate was, in history world literature It is difficult to find an example of such an amazing correspondence between the needs of the era, its character and the personality of the poet, the essence of his talent, as if created by history for the time when he lived and worked.
First revolution and third 1917–1918
Long live the political life of Russia
and long live art free from politics!
Vladimir Mayakovsky, March 1917
The poster for “Chained by Film” played a very important role in the film itself, Drawing by Mayakovsky.
“I returned to Moscow in complete confidence that we were facing a revolution,” recalled Roman Yakobson, “this was absolutely clear from the university mood.” It wasn't just students who rioted. On the occasion of the International women's day On February 23, 1917, a peaceful demonstration took place in Petrograd, the participants of which demanded bread and peace. In the following days, further demonstrations took place, dispersed by the police. On February 27, the Pavlovsk regiment voted to refuse to carry out the order to shoot at civilians, and on the same day most Petrograd was in the hands of the regiment. On February 28, unrest began in Moscow. Two days later, on March 2, Nicholas II abdicated the throne.
The monarchy was overthrown, a Provisional Government was created - the February Revolution took place. On March 8, Elsa wrote a letter to Mayakovsky, in which, as an exception, she commented on the events taking place outside the walls of her apartment: “Dear Uncle Volodya, what’s going on is absolutely magnificent!” Roman, who had such a clear presentiment of everything, joined the police, she reports, carries a weapon and arrested six policemen - he, as a student at Moscow University, was asked to help restore order on the streets.
The revolution aroused great enthusiasm among broad sections of the population; people sincerely believed in the possibility of deep transformations. Political spring had arrived and the air was filled with freedom. These sentiments are reflected in a letter the philosopher Lev Shestov wrote to relatives in Switzerland a week after the coup:
We all think and talk here exclusively about the grandiose events that took place in Russia. It is difficult to imagine for someone who did not see what was here. Especially in Moscow. As if by order from above, everyone, as one person, decided that the old order needed to be changed. We decided and did everything in one week. Even in Petrograd there were some tensions, but in Moscow there was one continuous holiday.<… >in less than one week, all huge country with the calmness that only happens on solemn and big holidays, she left the old and moved on to the new.
The new government was presented with specific demands: to normalize the food situation and bring the war to victory or at least to a dignified end. However, few people knew exactly what the political future of Russia should look like after the overthrow of the autocracy. The dominant feeling was liberation and euphoria.
The revolution gave Mayakovsky and other writers and artists hope that they would be able to create without the interference of censorship bodies and academies. In March 1917, the Union of Artists was formed, which included representatives of all political and artistic directions, from conservatives to anarchists, from aesthetic retrogrades to the most radical futuristic groups. Mayakovsky was elected to the presidium as a representative of writers, which caused surprise and protest: why a scandalous futurist, and not Gorky, who is known all over the world? The election of Mayakovsky was caused by the fact that Gorky agreed to join the government commission, thus betraying the interests of cultural figures. The newly formed Union fought for the independence of art and artists from the state, and those who collaborated with the government were considered collaborators. “My motto and everyone’s in general - long live the political life of Russia and long live art free from politics! - Mayakovsky proclaimed two weeks after the February Revolution, clarifying: “I do not give up politics, only in the field of art there should be no politics.”
The fact is that art should be independent of the state, and the left and right flanks of the Union were united. The same unanimity was observed in their attitude to the war: the “left bloc,” which included Mayakovsky, was just as defencist as most others. Mayakovsky, who was awarded the medal “For Diligence” in January, proudly explained that “we not only have the world’s first art, but also the world’s first army.” It was entirely possible to combine patriotism with aesthetic avant-gardeism and political radicalism: hopes were high that the course of the war would change with the new government.
In the poem “Revolution,” published in May 1917 in the newspaper of social democratic internationalists founded by Gorky, “ New life", Mayakovsky hails the revolution as a triumph of the "socialists of the great heresy." However, he was not a member of any party - his political ideal was socialism with a strong anarchist bent. At this time he did not adhere to more definite political convictions. Having once taken part in collecting money for the families of victims of the revolution, he handed it over to the editors of the newspaper Rech, published by the liberal Cadet Party.
The dizzying joy of the overthrow of the tsarist regime inspired unrealistic hopes for the future. The fact that Mayakovsky's faith in the possibilities of revolution was somewhat naive is evidenced by an episode told by Nikolai Aseev. For the first time in Russian history any person had the opportunity to nominate his candidacy in elections, and all of Moscow was plastered with posters and election leaflets. Next to the posters of the major parties on the walls of the houses there were messages from lesser-known political associations, such as various anarchist groups and small organizations like the “chefs’ union.” One day, when Aseev and Mayakovsky were walking around the city, looking at posters, Mayakovsky suddenly proposed drawing up his own electoral list consisting of futurists. He should be in first place, Kamensky in second, and so on. “To my bewildered objection that who will vote for us, Vladimir Vladimirovich answered thoughtfully: The devil knows! Now the time is like this: what if they are elected president..."
If Mayakovsky’s worldview was romantic and divorced from reality, then Osip had a very developed political sense. Apparently, at this time his attitude towards Bolshevism was more positive than that of Mayakovsky. When Lenin returned to Russia in April 1917 after more than ten years of emigration, he was greeted by a jubilant crowd in Petrograd at the Finlyandsky Station. Osip was also in the crowd, going there out of curiosity. “He seems crazy, but terribly convincing,” he made a judgment, preserved for posterity by Roman Yakobson, who spent this fateful night for Russia drinking cognac and playing billiards in the company of Mayakovsky and other friends.
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The main motive of A. S. Griboedov’s work “Woe from Wit” is a reflection of the tragedy of Chatsky, a typical representative younger generation 1810-1820s, one way or another involved in social activities. This tragedy includes many moments, but one of the most important among them is his unrequited love for Sophia.
We learn about the life and character of the hero even before he appears on stage. So, Sophia’s maid Lisa, hinting at his passion for the mistress, exclaims:
Who is so sensitive and cheerful and sharp
Like Alexander Andreich Chatsky,
and Sophia herself gives him the most vivid description:
Sharp, smart, eloquent,
I'm especially happy with friends,
He thought highly of himself...
The desire to wander attacked him...
Chatsky, a native of a noble family, was raised in Famusov's house. He is smart and impeccably honest, sincere and witty. He loves his homeland, and this love gives rise to hatred of slavery and oppression of the people. Chatsky was engaged in literary work, was at military service, had connections with ministers, but left this because, he says: “I would be glad to serve, but being served is sickening.” He is a restless thinker, a hero of that time, one of those people whose heart “cannot tolerate dumbness,” and therefore reveals everything deeply thought out even to nonentities, “fools.” Chatsky laughs at Famusov and his entourage, sharply jokes about their morals, because he himself is taller than the Famusovs, Zagoretskys, silent ones, skalozubs and other representatives of Moscow society at the beginning of the 19th century. Over the course of three years of travel, the character of the hero undergoes many changes and is finally formed. However, it remains unchanged sincere love to Sophia. That is why he, remembering his youthful affection, is in such a hurry to see his beloved, for whose sake “forty-five hours, without squinting an eye, flew more than seven hundred miles...”, and such sincere joy from the meeting sounds in his words: “It’s barely light - already on your feet! And I am at your feet."
The best personal qualities are revealed in his attitude to love and marriage. Chatsky loves Sophia and sees her as his future wife. However, Sophia cannot love him, because, although she is not deprived positive qualities, but still completely belongs to Famus’s world. During the years of Chatsky's absence, Sophia's character has changed greatly; now she perceives their relationship as youthful love, which does not oblige her to anything. In addition, she now loves another person - Molchalin, and is cold with Chatsky, and answers his questions with general phrases or jokes:
Who do you love?
Oh! My God! The whole world.
Who is more dear to you?
There are many, relatives...
However, Chatsky still does not understand the real reason Sophia's coldness, he is happy, lively, talkative, asks about old acquaintances, makes fun of them. And here he makes the main mistake, mentioning Molchalin with caustic mockery. By this, he, without knowing it, causes a storm of indignation in Sophia’s soul. It is for these ridicule of the object of her love that she then deals with him so cruelly, spreading rumors about his madness.
Of course, Sophia does not love Molchalin himself, but the ideal created by her sensitive imagination. Chatsky is right when he tells her: “You gave him darkness by admiring him.”
Blinded by his grief, disappointed in his feelings, Chatsky is often unfair, reproaching Sophia even for what is not her fault:
Why did they lure me with hope?
Why didn't they tell me directly?
Why did you turn everything that happened into laughter?!
In fact, Sophia does not hide her feelings from him, she barely talks to him, and sincerely admits her indifference. Chatsky’s trouble is that, blinded by his feelings, he did not stop in time, and splashed out his disappointment on everyone around him, and his personal drama is now aggravated by a clash with the entire Famus society. Love and intelligence, which lift him above the crowd, bring the hero nothing but grief, and he leaves Moscow, taking into his heart only “a million torments.”
Comedy “Woe from Wit”, written by A. S. Griboedov in early XIX century, is also relevant for today’s Russia. In this work, the author reveals in all depth the vices that have struck Russian society the beginning of the last century. However, reading this work...
In the comedy “Woe from Wit” by A.S. Griboedov, Chatsky’s opposition to the Russian nobility is shown. All characters can be considered insane. Each side thinks the other side is crazy. In all actions, the heroes of A.S. Griboedov gossip and defame each other...
Continuing to look at the site, I often wonder who is actually here goodies, and who are negative? And I can’t clearly answer this question. It would seem that the most negative heroes, subsequently, do very good deeds, and the heroes...
Alexander Sergeevich Griboyedov is the author of the wonderful realistic comedy “Woe from Wit”. Inheriting the satirical traditions of Fonvizin and Krylov, he managed to create a Russian political comedy based on everyday material, with a broad depiction of modern...
Question 5 exam card(ticket number 18, question 3)
How does Chatsky’s attitude towards Sophia change during the action of A. S. Griboyedov’s comedy “Woe from Wit”?
The play “Woe from Wit” by Alexander Sergeevich Griboyedov belongs to the genre of social comedies. This means that its main conflict is social: the contradiction between the positive protagonist Chatsky, who represents the progressive forces of Russian society, and the conservative, vicious environment that surrounds him. At the same time, the action of the comedy is also driven by psychological conflict, associated with the hero’s unrequited love. The plot embodiment of this conflict becomes the so-called “love triangle”, the parties of which are Chatsky, Sophia and Molchalin.
In its most general form, the plot looks like this. Chatsky and Sophia communicated a lot at a young age. They were united by feelings of mutual sympathy. When Sophia was fourteen years old, Chatsky left to gain intelligence on distant travels. During his absence, the girl matured three years and fell in love with Molchalin, her father’s secretary, who lives with her in the same house. Chatsky returned, full of ardent feelings for Sophia, but was met with coldness and hostility in response. He tried to find out the reason for this and eventually found out that Sophia loved someone else. Her chosen one seemed to Chatsky unworthy of such a girl as Sophia. She, offended by his ridicule of the object of her love, in order to take revenge, started a rumor that Chatsky had gone crazy. At the end of the play, Sophia was shocked to learn that Chatsky was right: Molchalin does not love her, and behind her back he is trying to seduce the maid Liza. When everything was revealed, Chatsky delivered an angry monologue denouncing everyone, including Sophia, and left her and the Famusovs’ house.
To understand these intricacies of the plot and try to understand why everything happened this way, you need to determine what Sophia’s character is. Is she really a “scoundrel,” as Chatsky apparently believes and as the author of the comedy called her in one of his letters? In other words, can her actions towards Chatsky be called treason, and her gossip about Chatsky’s madness be called outright meanness? But why did Chatsky decide that Sophia should love him? After all, when they broke up, she was still a teenager, and hardly smart man, as Chatsky considers himself, could take seriously the relationship that previously connected them. And he certainly should not have assumed that during the three years of their separation no changes would occur in Sophia’s moral development. Nevertheless, having arrived at the Famusovs’ house after a long absence, he rushes to Sophia as if they had parted just yesterday. Sophia at this moment is not thinking about Chatsky at all.
On the contrary, he is only an annoying nuisance in the current circumstances. After all, just before his arrival, with great difficulty she managed to convince her father that Molchalin was at the door of her room by accident. She is now busy with her new, and maybe her first, we don’t know for sure, love. She simply has no time for Chatsky now. Nevertheless, when Lisa, just before his appearance, gently reproaches her for forgetting about Chatsky, Sophia answers her:
I was very windy, perhaps I acted
And I know and I’m guilty; but where did it change?
To whom? so that they could reproach with infidelity.
Yes, it’s true that we were brought up and grew up with Chatsky; The habit of being together every day inseparably tied us together with childhood friendship; but then he moved out, he seemed bored with us,
And he rarely visited our house;
Then he pretended to be in love again,
Demanding and distressed!!.
Sharp, smart, eloquent,
I am especially happy with friends.
So he thought highly of himself -
The desire to wander attacked him,
Oh! if someone loves someone,
Why bother searching and traveling so far?
So, here is Sophia’s opinion about their past relationship with Chatsky: childhood friendship. Although, contrary to this definition, in Sophia’s words one can also hear resentment towards Chatsky for leaving her. But, from her point of view, Chatsky has no right to reproach her for falling in love with another. She did not give him any obligations. If Chatsky had not been so blinded by his feelings, he would have quickly realized that he had a lucky rival. In fact, he constantly stands on the verge of this conjecture. But he just can’t believe her. Firstly, because he himself is in love. And secondly, he cannot possibly imagine that Sophia is capable of falling in love with such an insignificant person as Molchalin is in his eyes.
And what about Molchalin himself? He is burdened by Sophia's love. Although, it would seem, in accordance with his character, he should rejoice at such happiness. The goal of his life is a career, and becoming Famusov’s son-in-law is a direct road to bureaucratic heights. However, Molchalin, for all his vices, is by no means as stupid as Chatsky thinks. He understands perfectly well that if his relationship with Sophia is revealed, he will even lose his current place: why does Famusov need a poor and unofficial son-in-law? In addition, Sophia does not attract him as a love partner. Molchalin, like Famusov himself, by the way, is attracted to Lisa. By the way, her participation in the plot allows us to talk not about a triangle, but about a quadrangle. True, Lisa’s participation in all these ups and downs is passive. “Equally dangerous for her are “ lordly love”, and Molchalin’s pestering, and the possible anger of the hostess, who is also of a tough temperament. And Lisa wonders if she should fall in love with the bartender Petrusha? She probably likes him, and at the same time, perhaps, he will protect her from attacks from other men. Molchalin, moreover, having studied Sophia’s character, among other things, fears that her attachment to him will also be short-lived. “I once loved Chatsky, but she will stop loving me as much as he did,” he astutely notes.
Thus, having considered love conflict comedy, we can conclude that everything here is not so simple and unambiguous. And this is explained by the fact that “Woe from Wit” is a realistic work. Everything in it is complex and confusing, just like in life itself. No, Sophia did not cheat on Chatsky. On the contrary, she herself suffered, having been deceived by Molchalin. Her action towards Chatsky, of course, cruel joke, explained by annoyance at the caustic words he said about her loved one. And maybe, when Sophia repented after Molchalin was exposed, Chatsky should have consoled her and supported her in her grief, and not aggravated it with angry words. But Chatsky can also be understood: his anger after what happened was already such that his emotions suppressed his reason. However, other opinions on this matter are possible. This means that Griboedov’s immortal comedy still excites us with its not fully resolved mysteries.
is a comedy where one of the conflicts is social. This work shows us Famusov society with his outdated views and a representative of the progressive views of Chatsky. The theme of love is also touched upon here. love triangle. Let's try to understand Chatsky's relationship with Sophia and try to answer the question of why Chatsky loves Sophia and what kind of relationship connected our heroes.
Relationship between Chatsky and Sophia
So, what are Chatsky’s feelings for Sophia? Reading the work, we learn that Chatsky and Sophia’s history of relationship begins from a young age, when Chatsky was brought up in the Famusov family. There really were friendly relations between them, but there were no hints of love at such a young age. Later, Chatsky leaves for distant lands and nothing is known about him for a long time. Maybe such a long separation awakened Chatsky’s feelings for Sophia, and they became more than friendship. But was it love?
Chatsky was traveling to Moscow with good mood, dreaming of meeting Sophia and what did he get? He is met with coldness from Sophia, he sees her passion for others. Who is he, who did Sophia exchange Chatsky for? It turned out to be Molchalin, who turned the girl’s head, and now our heroine is infatuated with him. The only question is: did the girl exchange Chatsky for Molchalin? More likely no than yes. After all, the girl did not promise anything to the hero, they did not swear love. Chatsky was gone for a long time, naturally, the girl’s heart could open to feelings for another. That's just Chatsky this hobby perceives it as a betrayal and begins to mock Sophia’s chosen one.
Chatsky does not try to understand the girl, her feelings, because he is completely blinded by feelings. And this shows the conflict between Chatsky and Sophia. The girl was offended by such ridicule, so Sophia decides to take revenge on Chatsky by spreading the rumor that he is crazy. Having made sure that Sophia loves another and realizing that he is a stranger in this society, where his views are not understood, Chatsky flees from Moscow.
