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Mayakovsky Vladimir Vladimirovich biography | / Mayakovsky Vladimir Poems
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Maria Alexei Pleshcheyev Podalkov Sergey Polezhaev, Alexander Yakov Polonsky Boris Poplavsky Prutkov Kozma Pushkin Alexander R. K. Radishchev Alexander Raevskiy Vladimir Rzhevsky Alexey Christmas Vsevolod Rozhdestvensky Robert Evdokiya Rostopchina Rubtsov Nikolai Kondraty Ryleev David Samoilov Mikhail Svetlov Northerner Igor Ilya Selvinsky Simonov Konstantin Slutsky Boris Sluchevsky, Konstantin Smelyakov Yaroslav Smolensk Boris Solovyov Vladimir Sologub Fedor Solouhin Sumarokov Alexander Surkov Alexey Sukharev Dmitry Tarkovsky Arseny Twardowski Alexander Tikhonov Nikolai Tolstoy Aleksey Vasily Trediakovsky Turgenev Ivan Tushnov Veronica Taffy Tyutchev Fedor Utkin Joseph Vasiliy Fedorov Afanasy
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American Russians Atlantic Ocean Broadway Brooklyn Bridge to you!
Verlaine and Cezanne Grafters At the top of their voices Naval love That's how I became a dog Signage Conclusion Heine like Anthem to health City (One Paris...)
Cheap sale of Food.
From the cycle Paris From the "Bureaucratiada" Spain Kazan Clerical habits For everything Jacket veil Crimea Left march Lilichka!
Does he love you?
doesnot like it?
I'm wringing my hands...
I love Love (The world is overgrown with flowers again...)
Mexico - New York Shallow philosophy in deep places Scum Tired of Nate!
An extraordinary adventure They donot understand anything About the Night About 'fiascas`,' apogees` and other unknown things About trash A cloud in your pants From fatigue Attitude to the young lady A letter to Tatyana Yakovleva A letter to Comrade Kostrov Suck Up Listen!
The order for the Army of art Prozasedavshie Farewell (Usually we say...)
Parting Conversation at Odessa Harbor landing craft the conversation with the financial officer of the poetry of Russia Itself, the beloved Sergei Yesenin Tale of little red riding Hood the Violin and a little nervous Gossip Poems about the difference in flavors, the scammers Poem about a butcher, about a woman...
Pillar Tamara and the Demon Comrade Ivanov to Comrade Nette, a steamboat and a man Tropics Tuchkin things You Horrifying familiarity Universal answer Flute spine Good attitude towards horses Christopher Colombes four hack Hey!
Jubilee I (bridge...)
I know the power of words, I know the words of the alarm ...
I and Napoleon I am happy!
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Autobiography in the work "I myself” - V. Mayakovsky BIBLIOGRAPHY of V. Mayakovsky Mayakovsky Vladimir Vladimirovich biography Perpetuation of memory
Mayakovsky Vladimir Vladimirovich biography
Vladimir Vladimirovich Mayakovsky (July 7 [19], 1893, Bagdati, Kutaisi province[1] - April 14, 1930, Moscow) was a Russian Soviet poet, one of the greatest poets of the XX century[3][4][5].
In addition to poetry, he clearly showed himself as a playwright, screenwriter, film director, film actor, artist, editor of the magazines "LEF" ("Left Front"),"New LEF".
Biography
Vladimir Mayakovsky was born in the village of Bagdati, Kutaisi province (in Soviet times the village was called Mayakovsky) in Georgia, in the family of Vladimir Konstantinovich Mayakovsky (1857-1906), who served as a third class forester in the Erivan province, since 1889 in the Bagdat forestry.
The poet's mother, Alexandra Alekseevna Pavlenko (1867-1954), from the Kuban Cossacks, was born in the Kuban, in the village of Ternovskaya.
One of the grandmothers, Efrosinya Osipovna Danilevskaya, is a cousin of the author of historical novels G. P. Danilevsky.
The future poet had two sisters: Lyudmila (1884-1972) and Olga (1890-1949), and two brothers: Konstantin (died at the age of three from scarlet fever) and Alexander (died in infancy).
The Mayakovsky family, Kutaisi, 1905
In 1902, Mayakovsky entered the gymnasium in Kutaisi.
He was fluent in Georgian.
He participated in a revolutionary demonstration, read propaganda brochures.
In February 1906, his father died of blood poisoning after pricking his finger with a needle while stitching papers.
Since then, Mayakovsky could not stand pins and hairpins, bacteriophobia remained lifelong.
The future poet was about two meters tall.
In July of the same year, Mayakovsky, along with his mother and sisters, moved to Moscow, where he entered the IV class of the 5th Classical Gymnasium (now Moscow School No. 91 on Povarskaya Street), where he studied in the same class with B. L. Pasternak's brother Shura.
The family lived in poverty.
In March 1908, he was expelled from the V class due to non payment of tuition fees.
Mayakovsky published the first "half poem" in the illegal magazine "Rush", which was published by the Third Gymnasium.
According to him, "it turned out to be incredibly revolutionary and equally ugly."
In Moscow, Mayakovsky met revolutionary minded students, became interested in Marxist literature, and in 1908 joined the RSDLP.
He was a propagandist in the commercial and industrial subdistrict, in 1908-1909 he was arrested three times (in the case of an underground printing house, on suspicion of being connected with a group of anarchist expropriators, on suspicion of aiding the escape of female political prisoners from Novinsky prison).
In the first case, he was released under the supervision of his parents by a court verdict as a minor who acted "without understanding", in the second and third cases he was released for lack of evidence.
In prison, Mayakovsky "scandalized", so he was often transferred from one unit to another: Basmannaya, Meshchanskaya, Myasnitskaya and, finally, Butyrskaya prison, where he spent 11 months in solitary confinement No. 103.
In prison in 1909, Mayakovsky again began to write poetry, but was dissatisfied with what he had written.
In his memoirs, he writes: "It turned out stilted and revplaksivo.
Something like: The forests were dressed in gold and purple, The sun played on the heads of churches.
I waited: but in the months the days were lost, Hundreds of weary days.
Thanks to the guards — they were taken away at the exit.
And then I would have printed it! "
— "I myself" (1922-1928)
Despite such a critical attitude, Mayakovsky calculated the beginning of his work from this notebook.
After his third arrest, he was released from prison in January 1910.
After his release, he left the party.
In 1918, he wrote in his autobiography: "Why not in the party?
The Communists worked at the fronts.
In art and education, there are still compromisers.
I would have been sent to fish in Astrakhan."
In 1911, the poet's friend, the bohemian artist Eugenia Lang, inspired the poet to take up painting.
Mayakovsky studied in the preparatory class of the Stroganov School, in the studios of artists S. Y. Zhukovsky and P. I. Kelin.
In 1911, he entered the Moscow School of Painting, Sculpture and Architecture — the only place where he was accepted without a certificate of reliability.
Having met David Burliuk, the founder of the futuristic group "Gilea", he entered the poetic circle and joined the cubo futurists.
The first published poem was called "Night" (1912), it was included in the futuristic collection "A Slap in the Face to Public Taste".
On November 30, 1912, Mayakovsky's first public performance took place in the "Stray Dog"artistic basement.
Collection of poems by Mayakovsky"I!"
In 1913, the first collection of Mayakovsky's "I" (a cycle of four poems) was published.
It was written by hand, provided with drawings by Vasily Chekrygin and Lev Zhegin and reproduced by lithographic method in the amount of 300 copies.
As the first section, this collection was included in the book of poems of the poet "Simple as a Lowing" (1916).
Also, his poems appeared on the pages of the futurist almanacs "Milk of Mares", "Dead Moon", "Roaring Parnassus", etc., began to be published in periodicals.
In the same year, the poet turned to drama.
The program tragedy "Vladimir Mayakovsky"was written and staged.
The scenery for it was written by artists from the" Union of Youth " P. N. Filonov and I. S. Shkolnik, and the author himself acted as a director and performer of the main role.
Mayakovsky.
Kazan, February 1914
In February 1914, Mayakovsky and Burlyuk were expelled from the school for public performances.
In 1914-1915, Mayakovsky worked on the poem "A Cloud in his Pants".
After the outbreak of the First World War, the poem "War is declared"was published.
In August, Mayakovsky decided to enlist as a volunteer, but he was not allowed, explaining this as political unreliability.
Soon, Mayakovsky expressed his attitude to serving in the tsarist army in the poem "To you!", which later became a song.
On March 29, 1914, Mayakovsky, along with Burlyuk and Kamensky, arrived on tour in Baku as part of the"famous Moscow futurists".
In the evening of the same day, at the Mailov Brothers Theater, Mayakovsky read a report on futurism, illustrating it with poems.
In July 1915, the poet met Lilya Yuryevna and Osip Maksimovich Briki.
In 1915-1917, Mayakovsky, under the patronage of M. Gorky, served in Petrograd in an automobile Training School.
The soldiers were not allowed to print, but he was saved by Osip Brik, who bought the poems "Flute Spine" and "Cloud in Pants" for 50 kopecks per line and printed them.
Anti war lyrics: "Mother and the evening killed by the Germans", "I and Napoleon", the poem "War and Peace" (1915).
An appeal to satire.
The cycle "Hymns" for the magazine "New Satyricon" (1915).
In 1916, the first large collection "Simple as a lowing" was published.
1917 - " Revolution.
Poetochronika".
On March 3, 1917, Mayakovsky led a detachment of 7 soldiers who arrested the commander of the Automobile Training School, General P. I. Sekretev.
It is curious that shortly before that, on January 31, Mayakovsky received a silver medal "For Diligence"from the hands of Sekretev.
During the summer of 1917, Mayakovsky vigorously tried to declare him unfit for military service and was released from it in the fall.
In 1918, Mayakovsky starred in three films based on his own scripts.
In August 1917, he decided to write the "Mystery Buff", which was completed on October 25, 1918 and staged for the anniversary of the revolution (dir. Vs. Meyerhold, hood. K. Malevich)
On December 17, 1918, the poet for the first time read the poems "The Left March"from the stage of the Sailor's Theater.
In March 1919, he moved to Moscow, began to actively cooperate in ROSTA (1919-1921), designed (as a poet and as an artist) propaganda satirical posters for ROSTA ("Windows of GROWTH").
In 1919, the first collection of the poet's works was published — " Everything composed by Vladimir Mayakovsky. 1909-1919".
In 1918-1919, he appeared in the newspaper "Art of the Commune".
Propaganda of the world revolution and the revolution of the spirit.
In 1920, he finished writing the poem "150,000,000", which reflects the theme of the world revolution.
In 1918, Mayakovsky organized the group "Komfut" (communist futurism), in 1922 — the publishing house MAF (Moscow Association of Futurists), which published several of his books.
In 1923, he organized the LEF group( the Left Front of the Arts), a thick magazine " LEF " (seven issues were published in 1923-1925).
Aseev, Pasternak, Osip Brik, B. Arvatov, N. Chuzhak, Tretyakov, Levidov, Shklovsky, etc. were actively published.
He propagandized Lef's theories of industrial art, social order, and the literature of fact.
At this time, the poems "About It" (1923), "Kursk Workers who mined the first ore, a temporary monument to the work of Vladimir Mayakovsky" (1923) and "Vladimir Ilyich Lenin" (1924) were published.
Stalin was present when the author read a poem about Lenin at the Bolshoi Theater, accompanied by a 20 minute ovation.
Mayakovsky mentioned the "leader of the peoples" himself only twice in his poems.
Mayakovsky considers the years of the Civil War to be the best time in his life, there are nostalgic chapters in the poem "Good!", written in the prosperous 1927.
In 1922-1923, in a number of works, he continued to insist on the need for a world revolution and a revolution of the spirit — "The IV International", "The Fifth International", "My speech at the Genoa Conference", etc.
In 1922-1924, Mayakovsky made several trips abroad — Latvia, France, Germany; he wrote essays and poems about European impressions: "How does a democratic republic work?" (1922)
; "Paris (Conversations with the Eiffel Tower)" (1923) and a number of others.
In 1925, his longest journey took place: a trip to America.
Mayakovsky visited Havana, Mexico City and for three months performed in various cities of the United States with readings of poems and reports.
Later, poems were written (the collection " Spain.
- The ocean.
- Havana.
- Mexico.
- America") and the essay "My discovery of America".
In 1925-1928, he traveled a lot around the Soviet Union, performing in a variety of audiences.
During these years, the poet published such works as "To Comrade Netta, to the Steamer and to the Man" (1926);
"Through the cities of the Union" (1927);
"The Story of the foundry worker Ivan Kozyrev..."
(1928).
From February 17 to 24, 1926, Mayakovsky visited Baku, performed in opera and drama theaters, in front of oil workers in Balakhany.
In 1922-1926 he actively collaborated with Izvestia ,in 1926-1929 - with Komsomolskaya Pravda.
He was published in the magazines: "New World", "Young Guard", "Ogonyok", "Crocodile", "Krasnaya Niva", etc.
He worked in agitation and advertising, for which he was criticized by Pasternak, Kataev, and Svetlov.
In 1926-1927, he wrote nine screenplays.
In 1927, he restored the LEF magazine under the name "New LEF".
A total of 24 issues were published.
In the summer of 1928, Mayakovsky became disillusioned with LEF and left the organization and the magazine.
In the same year, he began writing his personal biography "I am myself".
From October 8 to December 8 — a trip abroad, on the route Berlin Paris.
In November, the first and second volumes of the collected works were published.
The satirical plays "The Bug" (1928) and "The Bathhouse" (1929) were staged by Meyerhold.
The poet's satire, especially "Banya", caused harassment from Rapp critics.
In 1929, the poet organized the group "REF", but in February 1930 he left it, joining the RAPP.
V. Mayakovsky is engaged in agitation of the people.
Many researchers of Mayakovsky's creative development liken his poetic life to a five act action with a prologue and an epilogue.
The role of a kind of prologue in the poet's creative path was played by the tragedy "Vladimir Mayakovsky" (1913), the first act were the poems "Cloud in trousers" (1914-1915) and "Flute spine" (1915), the second act — the poems "War and Peace" (1915-1916) and "Man" (1916-1917), the third act — the play "Mystery Buff" (the first version — 1918, the second — 1920-1921) and the poem "150,000,000" (1919-1920), the fourth act — the poems "I Love" (1922), "About it" (1923) and "Vladimir Ilyich Lenin" (1924), the fifth act — the poem "Good!" (1927) and the plays "Bug" (1928-1929) and "Bath" (1929-1930), the epilogue — the first and second introductions to the poem "At the top of my voice" (1928-1930) and the poet's suicide letter "To Everyone" (April 12, 1930).
The rest of Mayakovsky's works, including numerous poems, tend to one or another part of this general picture, which is based on the poet's major works.
V. V. Mayakovsky in 1930
In his works, Mayakovsky was uncompromising, and therefore inconvenient.
In the works written by him at the end of the 1920s, tragic motives began to arise.
Critics called him only a "fellow traveler", and not a "proletarian writer", as he wanted to see himself.
In 1930, he organized an exhibition dedicated to the 20th anniversary of his work, but he was hindered in every possible way, and none of the writers and state leaders visited the exhibition itself.
In the spring of 1930, a grandiose performance of "Moscow is Burning" based on Mayakovsky's play was being prepared at the Circus on Tsvetnoy Boulevard, the dress rehearsal was scheduled for April 21, but the poet did not live to see it.
Mayakovsky was at the origins of Soviet advertising.
For advertising and agitation activities, the poet was criticized by B. Pasternak, V. Kataev and M. Svetlov.
Autobiography in the work “I myself”
Personal life
For a long period of Mayakovsky's creative life, his muse was Lilya Brik.
Mayakovsky and Lilya Brik met in July 1915 at her parents ' dacha in Malakhovka near Moscow.
At the end of July, Sister Lily Elsa, who had a superficial affair with the poet, brought Mayakovsky, who had recently arrived from Finland, to the Briks ' Petrograd apartment at 7 Zhukovsky Street.
The Briks, people far from literature, were engaged in entrepreneurship, having inherited a small but profitable coral business from their parents.
Mayakovsky read at their home an unpublished poem "A Cloud in your pants" and after an enthusiastic reception dedicated it to the hostess — "To you, Lilya".
The poet later called this day "the most joyful date".
Osip, Lily's husband, published the poem in a small edition in September 1915.
Fascinated by Lily, the poet settled in the hotel" Palais Royal "on Pushkinskaya Street in Petrograd, never returning to Finland and leaving the"lady of the heart" there.
In November, the futurist moved even closer to the Brics ' apartment — to 52 Nadezhdinskaya Street.
Soon Mayakovsky introduced new friends to friends, futurist poets D. Burlyuk, V. Kamensky, B. Pasternak, V. Khlebnikov, etc.
The Brikov apartment on Zhukovsky Street becomes a bohemian salon, which was visited not only by futurists, but also by M. Kuzmin, M. Gorky, V. Shklovsky, R. Yakobson, as well as other writers, philologists and artists.
Soon, a stormy romance broke out between Mayakovsky and Lilya Brik with the obvious connivance of Osip.
This novel was reflected in the poems "Flute spine" (1915) and " Man "(1916) and in the poems "To everything" (1916), "Lilichka!
Instead of a letter" (1916).
After that, Mayakovsky wrote all his works (except for the poem "Vladimir Ilyich Lenin") he began to dedicate a Brick to Lila.
In 1928, when publishing his first collection of works, Mayakovsky dedicated to her all the works created before their acquaintance.
In 1918, Lilya and Vladimir starred in the film "Chained by the film" based on the script of Mayakovsky.
To date, the film has been preserved in fragments.
There are also photos and a large poster where Lilya is drawn, entangled in film.
Since the summer of 1918, Mayakovsky and Briki lived together, the three of them, which quite fit into the popular marriage and love concept after the revolution, known as the"Theory of a glass of water".
At this time, all three finally switched to Bolshevik positions.
In early March 1919, they moved from Petrograd to Moscow to a communal apartment in Poluektov Lane, 5, and then, from September 1920, they settled in two rooms in a house on the corner of Myasnitskaya Street in Vodopyanoy Lane, 3.
Then all three moved to an apartment in Gendrikov Lane on Taganka.
Mayakovsky and Lilya worked in the "Windows of GROWTH" , and Osip served for some time in the Cheka and was a member of the Bolshevik Party.
Despite the close communication with Lilya Brik, Mayakovsky's personal life was not limited to her.
According to the testimonies and materials collected in the Channel One documentary "The Third Extra", which premiered on the 120th anniversary of the poet on July 20, 2013, Mayakovsky is the birth father of the Soviet sculptor Gleb Nikita Lavinsky (1921-1986).
The poet became closely acquainted with the mother of Gleb Nikita, the artist Lilya Lavinskaya, in 1920, working in the Windows of the Satire of GROWTH.
Since Mayakovsky began to be published a lot in Izvestia and other major publications since 1922, he could afford to live abroad often and for a long time together with the Brikov family.
In 1922, Lilya published a large article about the Futurists and about Mayakovsky in the Riga newspaper Novy Put.
She also organized his performances.
All nine days they lived at the Bellevue Hotel, and the poem "I Love" was finished there.
At the end of 1922, Bric simultaneously with Mayakovsky had a long and serious affair with the head of Prombank A. Krasnoshchekov.
This affair almost led to a break in relations with Mayakovsky.
For two months, Mayakovsky and Briki lived separately.
This story is reflected in the poem "About it".
In a narrow circle, Lilya Yuryevna allowed herself such statements about Mayakovsky: "Can you imagine, Volodya is so boring, he even arranges scenes of jealousy";
"What is the difference between Volodya and the cabman?
One controls the horse, the other controls the rhyme."
As for his experiences, they apparently did not touch Lilya Yuryevna much, on the contrary she saw in them a kind of "benefit": "It is useful for Volodya to suffer, he will suffer and write good poems."
In 1923, after writing the poem "About it", the passions gradually subsided, and their relationship entered a calm, stable period.
In the summer of 1923, Mayakovsky and Briki flew to Germany.
This was one of the first flights of Deruluft from the USSR.
They spent the first three weeks near Göttingen, then went to the north of the country, to the island of Norderney, where they rested together with Viktor Shklovsky and Roman Jakobson.
In 1924, in the poem "Jubilee" Mayakovsky wrote: "I am now free from love and from posters," and more: "..here's a kayak for love, dear Vladimir Vladimirovich."
According to the literary critic K. Karchevsky, these works mark an "irreparable turning point" in the poet's relationship with Lilya Brik, after which they did not return to their former intimacy.
In 1926, Mayakovsky received an apartment in Gendrikov Lane, in which the three of them and the Briks lived until 1930 (now Mayakovsky Lane, 15/13).
Weekly meetings of LEF participants were held in this apartment.
Lilya, not formally registered as an employee, took an active part in the creation of the magazine.
In 1927, the film "The Third Meshchanskaya" ("Love in threesomes"), directed by Abram Room, was released.
The script was written by Viktor Shklovsky, taking as a basis the well known "love threesome" by Mayakovsky with Bricks.
At this time, Lilya Yuryevna is also engaged in writing, translating (translating from German Gross and Wittfogel) and publishing Mayakovsky.
In 1927, in chapters 13-14 of the poem " Good!", the theme of love for Lila Brik appears for the last time in Mayakovsky's work.
Despite a long relationship with Lilya Brik, Mayakovsky had many other novels and hobbies, both at home and abroad — in the United States and France.
In 1926, his daughter Helen Patricia was born to a Russian emigrant Ellie Jones (Elizabeth Siebert) in New York, Mayakovsky saw her for the only time in 1928 in Nice.
Other lovers are Sofia Shamardina, Natalia Bryukhanenko.
Lilya Brik will keep friendly relations with them until the end of her days.
In Paris, Mayakovsky meets a Russian emigrant Tatyana Yakovleva, with whom he falls in love and dedicates two poems to her: "A Letter from Paris about the essence of love" and "A Letter to Tatyana Yakovleva" (published 26 years later).
Together with Tatiana, Mayakovsky chose a gift for Lila in Paris — a Renault car.
Brik will become the second female Muscovite behind the wheel.
Upon arrival in Moscow, Mayakovsky tries to persuade Tatyana Yakovleva to return to Russia, but these attempts were unsuccessful.
At the end of 1929, the poet was supposed to come for her, but could not do it because of visa problems.
The last novel of Mayakovsky was a young and beautiful actress of the Moscow Art Theater Veronika Polonskaya (1908-1994).
At the time of their first meeting, she was 21, he was 36.
Polonskaya was married to actor Mikhail Yanshin, but she did not leave her husband, realizing that the romance with Mayakovsky, whose character Veronika assessed as complex, uneven, with mood swings, could be interrupted at any moment.
And so it happened: a year later, Comrade Mauser put an end to their relationship and in the poet's life.
Children
Mayakovsky was not in any registered marriage.
It is known about two of his children:
V. V. Mayakovsky at his exhibition "20 years of work", 1930
* Son Gleb Nikita Antonovich Lavinsky (1921-1986)
* Daughter Patricia Thompson (Elena Vladimirovna Mayakovskaya) (born 1926)
Suicide
The year 1930 began unsuccessfully for Mayakovsky.
He was ill a lot.
In February, Lilya and Osip Brik left for Europe.
Mayakovsky was harshly studied in the newspapers as a "fellow traveler of the Soviet government" — while he himself saw himself as a proletarian writer.
There was an embarrassment with his long awaited exhibition "20 years of work", which was not visited by any of the prominent writers and state leaders, which the poet hoped for.
The premiere of the play "Banya" was held without success in March, the performance "Bedbug"was also expected to fail.
At the beginning of April 1930, the greeting "to the great proletarian poet on the occasion of the 20th anniversary of his work and social activity" was withdrawn from the peer reviewed magazine "Press and Revolution".
There was talk in literary circles that Mayakovsky had written himself out.
The poet was denied a visa for a foreign trip.
Two days before the suicide, on April 12, Mayakovsky had a meeting with readers at the Polytechnic Institute, which was attended mainly by Komsomol members; there were a lot of boorish shouts from the seats.
The poet was pursued everywhere by quarrels and scandals.
His state of mind became increasingly anxious and depressing.
Since the spring of 1919, Mayakovsky, despite the fact that he constantly lived with the Briks, had a small boat room for work on the fourth floor in a communal apartment on the Lubyanka (now it is the State Museum of V. V. Mayakovsky, Lubyansky Proezd, 3/6 p. 4).
In this room, the tragedy occurred.
On the morning of April 14, Mayakovsky had an appointment with Veronika (Nora) Polonskaya.
The poet met with Polonskaya for the second year, insisted on her divorce and even signed up for a writers ' cooperative in the passage of the Art Theater, where he was going to move to live with Nora.
As 82 year old Polonskaya recalled in 1990 in an interview with the magazine "Soviet Screen" (No. 13-1990), on that fateful morning the poet called for her at eight o'clock, because at 10.30 she had a rehearsal with Nemirovich Danchenko scheduled at the theater.
"I couldnot be late, it angered Vladimir Vladimirovich.
He locked the doors, put the key in his pocket, began to demand that I did not go to the theater, and generally left there.
I cried…
I asked if he would show me out.
"No," he said, but he promised to call.
And he also asked if I had money for a taxi.
I had no money, he gave me twenty rubles…
I managed to get to the front door and heard a shot.
I was rushing around, afraid to come back.
Then I entered and saw the smoke from the shot that had not yet dissipated.
There was a small bloodstain on Mayakovsky's chest.
I rushed to him, I repeated: "What did you do...?"
He tried to raise his head.
Then his head fell, and he began to turn terribly pale...
People appeared, someone said to me: "Run, meet the ambulance ...
I ran out, met him.
I came back, and on the stairs someone says to me: "It's too late.
He died... "
- Veronika Polonskaya.
The suicide letter, prepared two days earlier, is clear and detailed (which, according to the researchers, excludes the version about the spontaneity of the shot), begins with the words: "Donot blame anyone for the fact that I'm dying, and please donot gossip, the deceased didnot like it terribly...".
The poet calls Lilya Brik (as well as Veronika Polonskaya), his mother and sisters members of his family and asks them to transfer all the poems and archives to the Briks.
Briki managed to arrive at the funeral, having urgently interrupted the European tour; Polonskaya, on the contrary, did not dare to attend, because Mayakovsky's mother and sisters considered her the culprit of the poet's death.
For three days, with an endless stream of people, the farewell went on in the House of Writers.
Tens of thousands of fans of his talent accompanied the poet to the Don Cemetery in an iron coffin to the singing of the "International".
Ironically, the" futuristic " iron coffin of Mayakovsky was made by the avant garde sculptor Anton Lavinsky, the husband of the artist Lily Lavinskaya, who gave birth to a son from a relationship with Mayakovsky.
The poet was cremated in the first Moscow crematorium opened three years earlier in the Donskoy Monastery.
Initially, the ashes were located in the columbarium of the New Don Cemetery, but as a result of the persistent actions of Lilia Brik and the elder sister of the poet Lyudmila, the urn with the ashes of Mayakovsky was moved on May 22, 1952 and buried at the Novodevichy Cemetery.
Mayakovsky's grave at the Novodevichy Cemetery
Creation
"I may be the last poet..."
The first poetic experiments related to the theory and practice of a group of cubo futurists, which attracted him by protesting against the foundations of bourgeois society, date back to 1912.
But if the anti aestheticism of the Futurists was manifested mainly in the field of “pure” form, then Mayakovsky perceived it in his own way, as an approach to solving the problem of creating a new democratic poetic language.
He will say this in the revolutionary poem "The Cloud in the Pants” (1915):" ...
The street writhes without language – it has nothing to shout and talk with.”
Mayakovsky's work did not fit into the framework of futurism in its public sound, which was especially manifested in the tragedy “Vladimir Mayakovsky” (staged in 1913).
The pathos of the tragedy is in protest against the institutions of bourgeois society, against the power of “soulless things”.
The tragedy ultimately goes back to the moods of the masses, outraged by the injustice of the world, but not yet realizing their strength.
The pathos of denying bourgeois reality is also felt in the poet's early poems ("The Hell of the City”," Here!").
For participating in public literary performances of futurists, Mayakovsky was expelled from the school (1914).
The beginning of the 1st World War of 1914-18 was reflected in his work ambiguously: in the article "Civilian shrapnel” (November 1914), he wrote that" today we need hymns...", but in the verses "War is declared” (July 1914) and" Mother and the evening killed by the Germans” (November 1914), his aversion to the war, to its bloody nonsense, was manifested.
In the poems published in the magazine “New Satyricon " ("Gim n to the judge”, "Hymn to the Scientist”, "Hymn to the bribe"), Mayakovsky pays sarcastic " praise” to the abominations of life, in which honest work, a clear conscience and high art become the subject of blasphemy.
A new stage was the poem "The Cloud in the pants". "
"Down with your love”," down with your art”,” down with your system“,” down with your religion” – four cries of four parts, “ – this is how the poet himself characterized the main socio aesthetic orientation of”Clouds".
The poem reflected the growing strength of millions who spontaneously rise up against capitalism and realize their path in the struggle.
The main pathos of Mayakovsky's pre October poems - "The Flute Spine" (1916), "War and Peace “(a separate edition – 1917),”Man" (1916-17, published in 1918) – was a protest against bourgeois relations that crippled the true nature of Man.
This brought the poet closer to M. Gorky, who, distinguishing him from the futurists, attracted him to participate in the magazine “Chronicle”.
Having joyfully met the October Revolution, Mayakovsky defined his position: "My revolution.
I went to Smolny.
Worked.
Everything I had to do.”
The poet sought to aesthetically comprehend the "stunning facts" of the new socialist reality.
Until October, Mayakovsky did not have a clear social perspective.
Some dogmas of the futurist group left an imprint on the peculiarities of the form of his poems and on the system of socio aesthetic views.
After October, Mayakovsky's work acquires a new socio aesthetic coloring, due to the struggle for the ideals of communism (both in a positive and satirical sense).
This was already reflected in the play “Mystery Buff "(1918, 2nd version, 1921) – " ... a heroic, epic and satirical depiction of our era”, the first Soviet play on a modern theme.
Asserting the greatness and heroism of ordinary people, Mayakovsky exposed the creative impotence of the bourgeoisie; only the “unclean” with their moral purity and class solidarity can build the “ark” of the new world.
In "The Left March" (1918), a kind of anthem of proletarian power and purposefulness, the poet called for a fight against the enemies of the revolution.
But Mayakovsky's aesthetic palette was multicolored: in the poem "A Good attitude to Horses" (1918), he advocated the richness of emotions of a new person, who should be able to sympathize with all living things, all defenseless.
The humanistic orientation of Mayakovsky's poetry acquired a new social quality.
The poem "150,000,000" (1919-20, 1st edition without the author's name, 1921) asserted the leading role of the Russian people as a herald of the socialist revolution.
During these years, Mayakovsky began to pave the way to a truly democratic art, consonant with the mood of the masses.
After moving to Moscow in March 1919, he worked in the "Windows of GROWTH “ - he draws posters with poetic texts of an agitation nature (about 1100”windows" were created in 3 years).
In these posters, as well as in Mayakovsky's industrial and book graphics of the 20s, his talent and experience as an artist, his catchy laconic manner were especially clearly manifested (Mayakovsky turned to fine art since the 10s; his numerous portrait sketches, sketches of splints, theatrical works have been preserved).
This activity of the " poet of the worker”, who gave his pen and brush to the needs of the revolution, was deeply organic for Mayakovsky, corresponded to his aesthetic concept of the invasion of art into reality.
In Mayakovsky's poetry of the 20s, a lyrical hero of a new type appears: he does not separate his intimate world from the big world of social storms, does not think of the intimate outside of the social – “I Love” (1922), “About this” (1923), “A Letter to Tatyana Yakovleva” (1928) and others.
As a result of Mayakovsky's trips to capitalist countries (USA, Germany, France, Cuba and others) the cycles of poems “Paris” (1924-25) and “Poems about America” (1925-26) appear.
Mayakovsky acted as a representative of the young socialist state, challenging the bourgeois system
The pathos of namelessness (”I sing millions") in the poet's work gave way to a more harmonious concept of personality.
Like M. Gorky, Mayakovsky stands at the origins of the Soviet Leninianism.
In the poem “Vladimir Ilyich Lenin” (1924), the activity of the leader of the proletarian revolution is artistically recreated against a broad historical background.
Mayakovsky realized the great importance of Lenin's personality – "the most humane person”," the organizer of the victory” of the proletariat.
The poem was a hymn to the "attacking class" – the proletariat and its party.
Feeling himself “ ... a soldier in the ranks of a billion " (ibid., volume 7, 1958, p. 166), Mayakovsky considered the aspiration to the communist future as a criterion for all creative activity, including poetic. “
...
A great feeling named class " was the main driving force of Mayakovsky's creativity of the Soviet time.
A.V. Lunacharsky called the poem “Good!” (1927)
" The October Revolution cast in bronze”; Mayakovsky sang here the " spring of humanity” – his socialist fatherland.
Along with Gorky, Mayakovsky became the founder of socialist realism in Soviet literature.
During these years, Mayakovsky created such lyrical masterpieces as” To Comrade Netta, to the Steamship and to the Man“,” To Sergei Yesenin “(both 1926),” Poems about the Soviet Passport " (1929) and others.
Mayakovsky's lyricism is comprehensive – it expressed the unprecedented spiritual growth of a person of the new society.
Mayakovsky is a lyricist, a tribune, a satirist a poet of a huge, "solid heart".
The belief in the triumph of communist ideals is combined in his poems with an irreconcilability to everything that prevents” rushing into tomorrow, forward”.
Mayakovsky's speech against bureaucracy and parliamentary fuss in the poem “Prozasedavshiesya” (1922) caused a great " pleasure” Lenin.
Inspired by the approval of the leader of the revolution, Mayakovsky, and later denounced all “the pompadours”, cling to the party and cover their membership card selfish bourgeois insides (“Pompadour”, 1928, “a Conversation with comrade Lenin”, 1929).
In the verses at the end of 20 years, in the plays the Bedbug (1928 set out in 1929) and the Bathhouse (1929 set in 1930) appeared a gallery types, threat of its social mimicry and empty demagoguery.
Mayakovsky's satirical plays, innovative both in content and in form, played a major role in the development of Soviet drama.
Mayakovsky created an innovative poetic system that largely determined the development of both Soviet and world poetry; his influence was experienced by Nazim Hikmet, Louis Aragon, Pablo Neruda, I. Becher and others.
Proceeding from his ideological and artistic task, Mayakovsky significantly reformed the Russian verse.
A new type of lyrical hero with his revolutionary attitude to reality contributed to the formation of a new poetics of maximum expressiveness: the whole system of artistic means of the poet is aimed at an extremely dramatized speech expression of the thoughts and feelings of the lyrical hero.
This affects the system of graphic designations: increased expressiveness is transmitted both by changes in the framework of traditional spelling and punctuation, and by the introduction of new methods of graphic fixation of the text – “column”, and since 1923 – “ladder”, reflecting pausing.
The desire for maximum expressiveness of the verse runs along different lines: vocabulary and phraseology, rhythmics, intonation, rhymes.
Mayakovsky headed the literary group LEF (Left Front of Arts) and later REF (Revolutionary Front of Arts); edited the magazine "LEF “(1923-25) and” New LEF" (1927-28), but came to the conclusion that closed groups hinder the normal creative communication of Soviet writers, and in February 1930 joined the RAPP, which he considered as a mass literary organization.
The difficult situation of the last years of his personal life and literary struggle led Mayakovsky to depression and suicide.
The Poem “At the top of his voice” (1930) is perceived as a poetic testament of Mayakovsky, full of deep inner faith in the triumph of communism.
However, later in the works of Mayakovsky began to appear anxious and restless mind, he exposes the flaws and weaknesses of the new system (from the poem "members of the Parliament", 1922, to play "Bath", 1929).
It is believed that in the mid 1920's, he began to be disappointed in the socialist system, the so called his foreign travel perceive as attempts to escape from himself, in the poem "In a loud voice" there is a line "rummaging in today's petrified shit" (in correct censored version — "shit").
Although he continued to create poems imbued with official cheerfulness, including those dedicated to collectivization, until the last days.
Another feature of the poet is the combination of pathos and lyricism with the most poisonous Shchedrin satire.
Lyrical lines from the American cycle, written back in 1925:
I want to be understood by my native country,
and I will not be understood —
well?!
By native country
I'll pass by,
how's going
slanting rain.
the author then did not dare to include the poems in the text, but in 1928 he published them as part of a critical article, although with the explanation: "Despite all the romantic sensitivity (the audience grabs for handkerchiefs), I pulled out these beautiful, rain soaked feathers."
There is an opinion that even in the panegyric poem "Well" Mayakovsky mocks the ceremonial officialdom: "He rules with a rod so that he goes to the right.
/ I'll go to the right.
/ Very good."
In the poem "At the top of my voice" (1930) - a statement of the sincerity of my path and the hope of being understood in the "communist faraway".
However, the mysterious obra zom the poem "Bad" disappeared.
Mayakovsky kept all his notebooks.
His sharply satirical plays "Bedbug" and "Bathhouse"were withdrawn from the repertoire.
His anniversary portraits were torn out of the already printed magazine by order of the top.
In addition, a strange package with a revolver was received from Lubyanka.
Mayakovsky had a great influence on the poetry of the XX century.
Especially on Kirsanov, Voznesensky, Yevtushenko, Rozhdestvensky, Kedrov, and also made a considerable contribution to children's poetry.
Mayakovsky fearlessly turned to his descendants, to the distant future, confident that he would be remembered in hundreds of years:
My verse
by labor
the bulk of the years will break through
and it will appear
weighty,
rude,
visibly,
as in our days
the water supply system has entered,
worked out
still slaves of Rome.
- At the top of your voice
Perpetuation of memory
BIBLIOGRAPHY
Mayakovsky Vladimir Vladimirovich biography | / Mayakovsky Vladimir Biography
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Bunin Ivan
Burliuk David
Konstantin Vanshenkin
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Maximilian Voloshin
Vladimir Vysotsky
Vyazemsky Peter
Gabriak Cherubina de
Galina Galina
Rasul Gamzatov
Mikhail Gerasimov
Hippius Zinaida
Glazkov Nikolay
Glinka Fyodor
Gnedich Nikolai
Viktor Goncharov
Gorodetsky Sergey
Maxim Gorky
Griboyedov Alexander
Grigoriev Apollo
Gudzenko Semyon
Nikolai Gumilev
Denis Davydov
Delvig Anton
Andrey Dementyev
Derzhavin Gavrila
Dolmatovsky Evgeny
Yulia Drunina
Mikhail Dudin
Yevgeny Yevtushenko
Yesenin Sergey
Alexey Zhemchuzhnikov
Anatoly Zhigulin
Vasily Zhukovsky
Nikolai Zabolotsky
Mikhail Zenkevich
Vyacheslav Ivanov
George Ivanov
Ivnev Rurik
Inber Vera
Mikhail Isakovsky
Kazakova Rimma
Vasily Kazin
Kapnist Vasily
Nikolai Karamzin
Dmitry Kedrin
Kirsanov Semyon
Sergey Klychkov
Nikolay Klyuev
Kogan Pavel
Ivan Kozlov
Alexey Koltsov
Korzhavin Naum
Alexander Kochetkov
Vladislav Krapivin
Krivin Felix
Alexey Kruchenykh
Ivan Krylov
Mikhail Kuzmin
Mikhail Kulchitsky
Vasily Kurochkin
Alexander Kushner
Kuchelbecker Wilhelm
Lebedev Kumach Vasily
Levitansky Yuri
Mikhail Lermontov
Mikhail Lomonosov
Lokhvitskaya Myrrh
Lugovskoy Vladimir
Mike Apollo
Mandelstam Osip
Leonid Martynov
Marshak Samuel
Matveeva Novella
Vladimir Mayakovsky
Mezhirov Alexander
Mei Lev
Dmitry Merezhkovsky
Mikhalkov Sergey
Moritz Yunna
Ivan Myatlev
Vladimir Nabokov
Nadson Semyon
Sergey Narovchatov
Nikolai Nekrasov
Nikitin Ivan
Obradovich Sergey
Ogarev Nikolay
Alexander Odoevsky
Irina Odoevtseva
Ozerov Lev
Okudzhava Bulat
Nikolay Oleynikov
Sergey Orlov
Otrada Nikolai
Oshanin Lev
Pavlova Karolina
Parnok Sofia
Boris Pasternak
Petrov Maria
Alexey Pleshcheev
Sergey Podelkov
Alexander Polezhaev
Polonsky Yakov
Boris Poplavsky
Kozma Prutkov
Alexander Pushkin
R. K.
Alexander Radishchev
Rayevsky Vladimir
Alexey Rzhevsky
Rozhdestvensky Vsevolod
Christmas Robert
Rostopchina Evdokia
Rubtsov Nikolay
Ryleev Kondraty
David Samoilov
Mikhail Svetlov
Severyanin Igor
Ilya Selvinsky
Konstantin Simonov
Boris Slutsky
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