The early works of Mayakovsky especially. Mayakovsky's early lyrics: features, originality. Satirical works by V.V. Mayakovsky

V. Mayakovsky entered the history of Russian literature of the twentieth century as an innovative poet. He introduced a lot of new things both in the content and in the form of the verse.

If we consider content, then Mayakovsky mastered new themes of the revolution, civil war, socialist construction, and in this aspect. Which was characteristic only for him. This was expressed in the combination of a lyrical and satirical view of reality.

Mayakovsky's innovation manifested itself especially brightly in form. The poet created new words, boldly introduced them into his poems. Neologisms enhanced the expressiveness of poetry: “two-meter tall snake”, “huge plans”, “red-skinned passport”, etc., therefore they are called expressive-evaluative author's neologisms.

Mayakovsky used methods of oratory and colloquial speech: "Listen! If the stars are lit, does it mean that someone needs it?”, “Read, envy - I am a citizen of the Soviet Union!”

Special meaning in Mayakovsky's poetry have rhythm and intonation, which formed the basis of the system of his verse. The poet himself in the article "How to make poetry" explained the features of his system. Rhythm, intonation, and pauses are important for him in verse. Mayakovsky's verse is called - intonation-tonic. The poet put the most important word in a semantic sense at the end of the line and be sure to select a rhyme for it. This word, therefore, was highlighted twice - by intonation, logically and by consonance with another important word, i.e. semantic emphasis. To enable the reader to feel his own intonation, Mayakovsky graphically began to separate the lines with pauses. And so the famous "ladder" was formed.

Mayakovsky's innovation is connected not only with the system of verse. Of particular importance is the nature of the imagery of Mayakovsky's poetry.

I immediately smeared the map of everyday life,
splashing paint from a glass;
I am shown on a platter of jelly
oblique cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
nocturne play
we could
on the drainpipe flute?

An essential feature is a sharp social coloring. Most often, the social sharpness of the poetic image is manifested in a separate path - a metaphor, personification, comparison.

Take a look at Russia from above -
burst into rivers,
like a thousand rods roamed,
as if slashed with a whip.
But bluer than water in spring
bruises of serf Rus.

With the figurative social perception of the landscape, natural phenomena are endowed with signs of social relations. A very common technique in Mayakovsky's poetics is hyperbola. A sharp look at reality led Mayakovsky to hyperbolism. Through a number of works, the image of the proletariat-hulk, the plans of the hulk, etc. passes.

Metaphor Mayakovsky is always noticeable. The poet refers to the phenomena that surround a person in Everyday life, widely introduces associations with household items: “The sea, brilliant. Than a door handle. Mayakovsky's poetry became the basis for the tradition of accent or intonation-tonic verse, which was continued by N. Aseev, S. Kirsanov, A. Voznesensky, Ya. Smelyakov.

site, with full or partial copying of the material, a link to the source is required.

4. Hyperbole, litote, irony, epithet.

The most important types of tropes include such as hyperbole and litotes - special verbal means of artistic exaggeration (as a kind of understatement), maximizing the disclosure of the essence of what the author is talking about.

The literal is replaced with a sharply exaggerated one, which helps to make the image more emotional. Indeed, when Mayakovsky writes “At a hundred and forty suns, the sunset burns,” this will give an idea not only of a hot day, but also makes this message especially excited, emotional, and expressive. In Mayakovsky, the phenomenon of hyperbolism is often achieved not by individual images, but by the scale of their selection: “the world’s drive belts”, “the sun will dance a thousand times ... The sun has thrown the Earth”, “the ocean has cast darkness on the world” (“Good”)

I. Zventov, characterizing the features of the pictorial system of the early Mayakovsky, calls it caricatured and hyperbolized Fleming.

In the remark to the tragedy "Vladimir Mayakovsky" one can meet the "stretched belly of the square",

In another poem, “the land fattened like a mistress that Rothschild fell in love with,” Hyperbole, irony turning into sarcasm helps Mayakovsky brighter, more figuratively present the face of the bourgeois crowd, philistinism, etc. What he did not accept.

Irony is a special kind of trope that expresses mockery. In irony, unlike all other tropes, transfer is determined by the fact that it implies a meaning that is directly opposite to the literal meaning of the word.

The most common type of trail is the epithet - artistic definition, which gives a vivid figurative idea of the essence of an object or phenomenon and their assessment by the writer. The literature of later times is characterized by a sharply individualized epithet, which is created only in this work to describe the phenomenon in its unique originality. Karabchievsky notes Mayakovsky's "bright line, strong and precise epithet." “Wheelbarrow of bullets”, “textbook gloss”, “the millstones of thoughts grinding the last” (“V.I. Lenin”), “Rinse the throat of an isohanous heart” (“Flute spine”), “thin and humpbacked ... working class” (“V .I. Lenin”). Many of his epithets have become aphorisms. They help to express the emotional description as much as possible. For example, in the 4th chapter of “It’s Good,” “the mustachioed nanny Pe En Milyukov” says “Madame Kusakova: “And I would, with my frail mind, crown Mikhail.”

“Sickly mind” - here the coloring of the epithet creates a sharply negative characterization of the character. The epithet is based on all the achievements in the field of the use of verbal and visual means of the language. Therefore, it can be close to comparison and metaphor, hyperbole and irony. Mayakovsky's most striking epithet is obtained by using neologisms in satirical epithets:

“Old lyre-ringers”, “young dragonflies”, “chenovno-mouthed creatures”, “face-turning galaxy”, etc. Working on the word, Mayakovsky used all the variety of means to achieve figurative expressiveness. “This is a poet of powerful metaphor, precise and unexpected comparison. By means of these tropes, he unexpectedly introduced into the text whole clumps of what seemed to be extraneous, but in reality artistically necessary material" (Boyavsky). In his poetry, the world appears fortified, it is built on hyperbole. The torment of the poet, who is experiencing love and jealousy, is recreated in the poem "A Cloud in Pants" as follows:

Every word,

Even a joke

Which he vomits with his burning mouth,

Thrown out like a naked prostitute

From a burning brothel.

Using all these means, as well as diaesthetization, Mayakovsky sought to show phenomena in a way that they had never been perceived before. Tried to make the familiar strange. "Remove" the phenomenon was considered the main thing in his verbal work.

Chapter III: Poetic syntax and elements of phonics.

§1. Figures of poetic speech: Multi-union, non-union, inversion.

In addition to tropes, lexical means of imagery and expressiveness of the language, poetic syntax and elements of phonics largely contribute.

Poetic syntax is a system of special means of constructing speech. Features of the structure of speech in a work are always associated with the originality of the characters and life situations depicted in it, from the author's point of view. Another important feature of the syntax of poetic speech is determined by the fact that in literary work people are depicted in motion, in the process of changing their internal state, relationships. All this is reflected in the construction of poetic speech.

Special means of syntax of figurative and expressive speech are called figures of poetic speech. Figures help to significantly enhance the completeness and expressiveness of the semantic and emotional shades of speech: multi-union creates some slowness of speech, non-union is most often used to enhance the feeling of a rapidly and intense development of events, abrupt transitions in a person’s internal state, inversion, in which one of the lines of a sentence becomes unusual for him a place that stands out. In inversion constructions, the redistribution of logical stress and intonational isolation of words, that is, words sound more expressive, higher.

“I will tease about the bloodied heart flap;

dreaming on a softened brain,

like a fat lackey

not greasy sash,

your thought

mocking me to my fill, sassy

This excerpt from Mayakovsky's poem "A Cloud in Pants" is a vivid example of inversions. His excited intonation is fixed in complex inversions “teeth hanging down to the sky”; "heart - with long-haired postcards, the noblest album"; "faceted lines barefoot diamond"; “a young man thinking about life ... I will say” and others.

§2. Break, rhetorical communication, question, denial, affirmation, exclamation.

The omission of one of the members of the sentence also serves to increase emotional expressiveness; Break - the inclusion of unsaid sentences in speech. In Mayakovsky's poem "V.I. Lenin" we read:

" What do you see?!

Only his forehead,

And hope Konstantinovna

In the fog for...

Maybe in the eyes without tears

You can see more.

I didn't look into those eyes.

Here the cliff serves to convey a deep inner shock. Syntactic figures, in which the author's attitude to the phenomenon and its assessment are expressed especially clearly, are called rhetorical appeals, questions, denials, assertions, exclamations.

Mayakovsky, the whole system means of expression which in the highest degree intense, aimed at the extremely dramatized speech expression of the lyrical hero, these figures are used to the maximum:

"Beat, drum!

Drum, drum!

There were slaves! No slave!

Drum!

("150,000,000")

"Unit!

Thinner squeak.

Who hears it? -

Is it a wife!

("V.I. Lenin")

" Enough!

Talk to strangers!

("V.I. Lenin")

"End the war!

Enough!

("Good")

"Close, time,

your mouth!"

("Good")

This helps Mayakovsky imitate a fictitious dialogue, under the guise of an arbitrary emotional response to an external phenomenon, to make an ordinary message about this phenomenon, to sharpen the listener's emotional attention.

§3. Phonics, alliteration, assonance.

Phonics is the artistic use of sound possibilities in poetic speech. It includes general rules sound agreement of words in poetic speech, which contribute to its euphony, harmony, distinctness, and the use of special means of sound amplification and emotional highlighting of certain words and sentences.

With a special means of sound amplification, the selection of certain segments of speech is based on the use of sound repetitions.

Alliteration is the repetition of consonant sounds that is clearly visible in speech. The repetition of vowels is called assonance.

Mayakovsky wrote: "I resort to alliteration for framing, for even greater emphasis on an important word for me"

Alliterations and assonances of Mayakovsky give an emotionally memorable sound to the poetic text: “And the horror of jokes pecking laughter”, tears come down from ...”;

"hand of the river"; “In your mustache”, “in the choirs of the Archangel’s chorus, God, robbed, goes to punish!” (“Cloud”), “not at all embarrassed by the integrity of the jaws, let’s go rattling about the jaw with the jaw” (“About this”), “I hunch over the globe of the hillside” (“About this”), “The city robbed, rowed, grabbed” (“ V.I. Lenin), “The knife is rust. I cut. I rejoice. In the head, the heat raises the degree ("Good").

Through the use of phonetic means of verse, Mayakovsky's patterns become generalized, convex, the abstract is spiritualized.

Mayakovsky's word really sounds ("the words of the alarm", "the word raising thunder"). The whole system of expressive means of Mayakovsky makes the most of all the artistic resources of the Russian language, which is why he is called an innovator poet. But innovation would not have taken place if it were not for the passionate lyrical "I" of the poet, the one who saw it this way, survived the world and poured out his spiritual anguish in verse. It is under these conditions that all expressive and visual means become artistic, except when they organically enter the fabric of the work. Their choice depends on the efforts and tasks of the artist of the word.

Conclusion.

It is difficult for me to define my attitude to Mayakovsky's poetry. The fact is that they, in my opinion, are the opposite of "as simple as lowing." His very unusual wordy images are difficult to understand, not so much to understand as to read. I can’t understand some of them, I don’t like them, for example, “the muzzle of the room was carried out with horror”, “the street fell through like the nose of a syphilitic”, “our flabby fat will flow out through a person”, “a newborn cry moves from my mouth with my feet” etc. others, on the contrary, are very interesting, and expressive, very strong, such as “I am lonely, like the last eye of a person going to the blind”, “the last love in the world was expressed in the blush of a consumptive”, “the butterfly of a poetic heart”, etc. Many of the images that are now very much to my liking, at first, at the first reading, caused me rejection, even some disgust, for example: “Earth! Let me heal your balding head with rags of my lips stained with other people's gilding”, “a skull filled with verses”, etc. Very often, for a few words, for one phrase, I can recognize a writer as a genius. Mayakovsky has this urgent “Listen!, After all, if the stars are lit, it means that someone needs it?”. This is one of my favorite stocks.

Mayakovsky in verse usually talks about himself, about the people around him, about God. Very often he draws people as disgusting gluttons who crawled into the shell of things, but at the same time he collects their tears, their pains, this becomes an unbearable burden for him, but he still “creeps further” to throw them to the “dark god of thunderstorms” the source of animal fans. But people are still grateful, and the tradition of “love-hate” continues in Mayakovsky’s work. God for the poet is not a sacrament, not the Existing, but a man, and quite an ordinary one, somewhat more interesting than the rest. A stunning verse reveals not only his attitude, but also the inconsistency of the poet's personality: "And when my voice obscenely hoots ... maybe Jesus Christ sniffs my forget-me-not soul."

Own "I" is the central theme of the pre-revolutionary work of the poet. His love, which can be called a passion, his observations of life are torn, overtaking one another, often expressed in simple exclamations ("Ha! Maria!"). They are boundless, everything acquires a universal shade with him, and a tear is really a “tear”, and a tragedy is a “tragedy”. The frenzy in his poems replaced harmony, that harmony that elevates our soul in the poems of Pushkin, Lermontov, Blok, Tyutchev, Bunin and many other poets. Describing even suffering and chaos, they seem to spiritualize it or, perhaps, take us out of it, elevating us, while Mayakovsky, on the contrary, screws us into the abyss of passion, the street, not only belittling it, but leaving it scattered, modest. I do not feel harmony in his post-revolutionary poems. Rhythm appears in them, these lines are a step, but for me the confusion of his pre-revolutionary poems and constant self-admiration (“I am the most beautiful in the human array”) are better, which nevertheless bothers me, passing from poem to poem, from poem to poem. In the end, each person will always consider himself, if not better than the rest, then the most special, and this is not because of pride, but because of discovering something new and new in himself. The attempt to dissolve into “we” and be proud of this “we” does not attract me, and even more so “work is not a social order.” How Mayakovsky could not understand what is more dangerous for the “butterfly of a poetic heart” than without galoshes! All this led his poems to ordinary, average, and then simply boring. Even as a child, you may like the “History of Vlas” or “The Story of Kuznetskstroy”, then you are no longer interested in rhymes and edifications, you want to become involved in eternity, and what kind of eternity is it if “the last day is coming”, even if it’s the opposite “bourgeois”. When an artist responds to some "demands of society", "topics of the day", he stops the development of this society, keeps its level within limits, even if there is criticism of "individual aspects" in his poems. The artist is “human walkways”, they raise the society by this, talking about what people do not demand, but what they need most of all, which, perhaps, they forgot or did not notice.

man of the new age. We are faced with the task of not only tracing the entire poetic process in the history of poetry in the period of the 50s-80s, but also comprehending that difficult, dramatic time. Artistic research in the poetry of this time, the most promising lines of development of its genres and styles relied on the entire socio-political, moral and aesthetic experience of the era, on the traditions of the world and...

For example, the entire history of Russian literature from the beginning of the 18th century. and to this day contains a very pronounced change of poetic and prose eras. So, the difference between poetry and prose is not only an external, narrowly formal moment, introducing, along with the features of the form - poetic or prosaic - a certain originality into the expression of the ideological content. Romantic high...

Hyperbole (Greek hyperbole - exaggeration) is a type of trope that boils down to an exaggeration of the properties, features of objects, phenomena in order to enhance the expressiveness and figurativeness of artistic speech.

And half-asleep shooters are too lazy
Toss and turn on the dial
AND THE DAY LASTS LONGER THAN A CENTURY
AND THE HUG DOES NOT END.
(B. Pasternak.)

The highlighted lines contain hyperbolas, as they say, in their pure form. Everyone knows that the length of the day is a finite and variable value in the physical and psychological planes, i.e. depends on the season, month, as well as on the mood, fullness of certain events, experiences. In the quoted poem, the poet speaks of those winter days when the sun turns to summer, the mood changes, and time itself is especially felt. Just two hyperbolizing words: " over a century", but how deeply, figuratively they convey the state of mind of the poet, his fascination with the very duration of time, and the reflexive verb "end" in a negative form conveys the infinity of love.

How literary device hyperbole emphasizes the subjectivity of the created image, its deliberate conventionality. But along with this, hyperbole retains a connection with reality: the basis of hyperbolization is the assessment of artistic phenomena (images) that have their analogue in reality. The artist erects the depicted phenomena in superlatives, scales them; he does not deceive readers, but creates for them a world of displaced proportions, exaggerated passions, infects them with this world, causing a reaction of trust. This stimulates the imagination, makes you pay attention to the highlighted features of phenomena, highlights the character traits of literary heroes.

Hyperbole is fiction, not a lie in its usual sense. The basis of hyperbole is objective, real. In other words, a lie can be an element that enhances hyperbolization, giving it a special aesthetic charm. A simple lie, a lie - pure fiction. In Chekhov's story "Rural Aesculapius" a portrait of the paramedic Gleb Glebych is given, "who has not washed and scratched himself since the day he was born." scene. There is hyperbole here. What about lies? If it is present, then as a "moment of truth", about which it cannot be said that "this can never be." Thus, the main difference between hyperbole and lies is that, by hyperbolizing, the artist enhances something that really exists; and in a lie, except for fiction, there is nothing.

When fables are attached to true stories, either for the sake of boasting, or simply to amaze the interlocutor's imagination, then the true story takes on an exaggerated form. As the Liar from Krylov's fable boasts:

Here in Rome, for example, I saw a CUCUMBER:
Ah, my Creator!
And to this day I don’t remember!
Will you believe? Well, right, HE WAS FROM THE MOUNTAIN!

Although the exaggerated depiction of reality is not designed for a literal understanding, the exaggeration cannot be endless - in highly artistic creativity, an aesthetic measure is always felt. As in the words of Boris Godunov from the tragedy of the same name by Pushkin, addressed to Shuisky:

Listen, prince: take measures this very hour;
So that Russia is protected from Lithuania
Outposts; so that not a single soul
Didn't cross that line. TO HARE
DID NOT RUN FROM POLAND TO US; TO THE RAVEN
DID NOT FLY FROM KRAKOW...

The emphatically conditional image of reality created with the help of hyperbolas reflects the author's special emotional state - intoxication with feelings, which prevents seeing things in their real sizes.

The origins of hyperbole are in the very nature of man. At the dawn of mankind, this "intoxication with feelings" was generated by the defenselessness of people before the forces of nature, their weakness. Even the ancient Greek researcher Demetrius (c. 1st century AD) wrote: "Every hyperbole deals with the incredible [in reality]" . In the primitive era, the hyperbolization of the forces of nature, incomprehensible to man, and then of society, becomes characteristic feature worldviews and art. It permeates mythology, folklore, ancient literature. At a later time, hyperbolization as "intoxication with feelings" becomes one of the methods for describing heroic, tragic, romantic behavior (attitude).

Hyperbolas are traditionally used to describe the strength of a hero in folklore:

And he began to walk with the axle,
And he began to wave the axis:
Wherever it goes, there is a street,
And he will turn - yes, the alley ...
(Bylina "Vasily Buslaevich")

The language of hyperbole is also characteristic of classicism:

Suvorov became the foot of Galla,
And the mountains cracked under him.
(G.R. Derzhavin.)

Lomonosov, who sings of "silence" (peace) in his ode, nevertheless puts the empress above it, following the genre canon:

Great light of the world
Shining from the eternal height
For beads, gold and purple,
To all earthly beauties,
He raises his gaze to all countries,
But MORE BEAUTIFUL IN THE LIGHT DOES NOT FIND
ELIZABETH AND YOU.
You, besides that, are above everything;
SOUL OF HER ZEFIR HISTER,
AND THE SIGHT IS MORE BEAUTIFUL than PARADISE.
(V.M. Lomonosov "Ode on the day of accession to the All-Russian throne ...
Elisaveta Petrovna, 1747")

Hyperbole includes a turn of speech called "multiple exaltation", i.e. use of the plural in relation to oneself. This turnover is a cliché of many official speeches and documents, as in the manifesto of the All-Russian Emperor. Or in Pushkin's Boris Godunov, the Pretender addresses a crowd of Russians:

We thank our Don army!
We know that now the Cossacks
Unjustly oppressed, persecuted;
But if God helps us enter
On the throne of the fathers, then we are in the old days
Let's welcome our faithful free Don.

Playing the part of the king, the Pretender revels in it. One feels that the pronoun "we" caresses his ear.

Hyperbole can convey feelings of anger:

"I WOULD LIKE THE WOLF out of bureaucracy..."
(Mayakovsky. Poems about the Soviet passport),

Or a feeling of sadness:

"Motherland!
Name me a place like this
I DID NOT SEE THIS ANGLE
WHERE IS YOUR SOOWER AND KEEPER,
WHERE WOULD A RUSSIAN MAN NOT MOAN?
(Nekrasov. Reflections at the front door).

With the help of hyperbole, the artist emphasizes not only the strength of his feelings, but also the significance of phenomena (events), the value of some individual things, their properties, sizes, color, etc. Hyperbole is indispensable if you need to "say something high" and "elevate the insignificant" . The expression of an image in hyperbole is often achieved by an unexpected convergence of completely heterogeneous, contrasting objects, phenomena:

"Takes - like a bomb, takes - like a hedgehog,
like a double-edged razor,
takes like a rattlesnake at 20 stings
two-meter tall snake

(Mayakovsky. Poems about the Soviet passport).

Like other tropes, the author's hyperbole plays with all colors in the context of a work of art, where it is often used along with hyperbolas - "tumbleweeds", which have long lived outside their primary context, have become stable, popular expressions:

"Ax! Evil tongues are worse than a gun; There is no stronger beast than a cat; I repeat you a hundred times!; Fear has big eyes; I will not forget for a century; Mind Chamber; A million torments; Apparently, invisible; I will fail on the spot; Seven Fridays in a week.

Hyperbolas can be expressed by various parts of speech:

Noun:
"And the pine reaches the star..." (O.E. Mandelstam);
- numeral:
"Thousands of varieties of hats, dresses, scarves - colorful, light ... will blind anyone on Nevsky Prospekt" (Gogol. Nevsky Prospekt);
- adjective:
"The economy of Pulcheria Ivanovna consisted in ... salting, drying, boiling an Countless number of fruits and plants" (Gogol. Starosvetskie landowners);
- pronominal adjective:
"Here you will meet a wonderful mustache, no pen, no brush depicted ..." (ibid.)

Like other paths, they can be simple and extended, expressed in a few phrases.

In artistic speech, the tropes are often combined with each other, which, on the one hand, enriches the style of the work, and on the other hand, gives rise to the possibility of an ambiguous interpretation of certain tropes, and therefore difficulties with their definition. And it is hyperbole that is most often woven into other paths (on this basis, some researchers even deny it independence), only its species allow us to isolate it. Here are some examples of such a combination of paths.

Hyperbole - comparison:
"I look thin, sickly, but I have strength like a bull ..." (Chekhov. Oversalted).

Hyperbole - metaphor:
"You exhaust a single word for the sake of / thousands of tons of verbal ore" (Mayakovsky. Conversation with the financial inspector about poetry).

Hyperbole - irony:
“Here is the new Hercules, with all the strength gathered, / that was only in him, / carried half the skull to the bear with an ax ...” (Krylov. Peasant and worker).

Hyperbole "on the contrary" can be called LITOTA (Greek litotes - smallness, moderation) - a deliberate understatement or mitigation of the properties, signs, values of any objects, phenomena in order to enhance the emotional impact, in particular the expression of the author's assessment:

My Marichen is so small, so small
What of mosquito wings
I made two shirt-fronts
And - in starch ...
(K.S. Aksakov. My Marihen is so small, so small...)

The main thing that brings together litote and hyperbole is "excess". Therefore, sometimes the litote is considered as a kind of hyperbole. Litota is also a way of creating a subjective-evaluative image with the help of "sensual excesses", and this is its expressiveness. With the help of the litote, the artist is able to convey and lyrical mood, undivided intoxication with one feeling:

Only in the world and there is that shady
Dormant maple tent.
Only in the world and there is that radiant
Childish thoughtful gaze
Only in the world is there that fragrant
cute headdress,
Only in the world is this pure
Left running parting.
(Fet. Only in the world is there that shady ...)

The litote conveys the comic delight of the fable hero who did not notice the elephant:

"What tiny cows!
There is, right, less than a pinhead!"
(Krylov. Curious).

This technique is often used in social satire:

"One - a donut, the other - a hole from a donut.
This is a democratic republic."
(Mayakovsky. Mystery buff).

Litota brings expression to the description. Litotes, like hyperbolas, often mate with other tropes in a single complex trope.

For example: litote - irony:

"I love their legs; only hardly
You will find in Russia a whole
Three pairs of slender female legs..."
(Pushkin. Eugene Onegin);

Litota - comparison:

"Shadows of evening hair are thinner
Behind the trees stretch along"
(Pasternak. The shadows of the evening hair are thinner ...).

There are transitive and reflexive litotes. If the speaker (narrator, lyrical subject, character) talks about another person, belittling him, we can talk about TRANSITIVE, transitional LITOT. The transitive litote is an effective means of conveying a contemptuous attitude towards someone or something:

"This little likeness of a man dug, pored, wrote, and, finally, concocted such paper ..." (Gogol. The story of how Ivan Ivanovich quarreled with Ivan Nikiforovich).

If the subject engages in self-abasement, downplays any of his features, we are talking about REFLEXIVE LITOT:

“But still, forgive me, father, for a barely visible insect, if I dare to refute ...” (Chekhov. Letter to a learned neighbor).

Obviously, this division can be extended to hyperbolas. With the help of transitive hyperbole - comparison, Nekrasov describes the beauty of Russian peasant women:

Can't the blind see them?
And the sighted one says about them:
"It will pass - as if the sun will shine!
Look - the ruble will give!
(N. V. Nekrasov. "Frost, Red Nose")

In I. Severyanin we find a colorful reflexive hyperbole:

I, the genius Igor Severyanin,
Intoxicated with his victory:
I'm completely screened!
I am wholeheartedly approved!
(I. Severyanin. "Epilogue")

Let's summarize. Hyperbole and litotes are peculiar paths. They combine phrase constructions inherent in both epithet, comparison, and metaphor, and can, for example, be simultaneously attributed to both comparison, epithet or metaphor, and hyperbole (litote), if it is in their meaning that they have the meaning of exaggeration ( understatement). We usually recognize this trope in a poetic text not by some characteristic construction or by the part of speech used, but solely by its meaning.

Could you?

I immediately smeared the map of everyday life,
splashing paint from a glass;
I showed on a saucer of jelly
oblique cheekbones of the ocean.
On the scales of a tin fish
I read the calls of new lips.
And you
nocturne play
we could
on the drainpipe flute?

Listen!

Listen!
After all, if the stars are lit -

So - someone wants them to be?
So - someone calls these spitting pearls?

And, tearing up
in blizzards of midday dust,
rushes to God
afraid of being late
crying
kisses his sinewy hand,
asks -
to have a star! -
swears -
will not endure this starless torment!
And then
walks anxious,
but calm on the outside.
Says to someone:
“After all, now you have nothing?
Not scary?
Yes?!"
Listen!
After all, if the stars
ignite -
Does that mean anyone needs it?
So, it is necessary
so that every evening
over the rooftops
lit up at least one star ?!

I love
(Excerpt)

Came -
glancing
behind the roar
for the growth
busily
I just saw a boy.
I took
took away the heart
and just
went to play
like a girl with a ball.
And each -
a miracle seems to be seen -
where the lady dug in,
where is the girl.
Yes, such a rush!
Must be a tamer.
Must be from the menagerie!”
And I rejoice.
He is not here -
yoke! -
For joy, I do not remember myself,
galloped,
Indian wedding jumped,
it was so fun
it was easy for me.

Poems about the difference of tastes

The horse said, looking at the camel:
"What a giant motherfucker horse."
The camel cried out: “Are you a horse?! You
simply - the camel is underdeveloped.
And only the gray-bearded god knew
that they are animals of different breeds.

goodbye

In the car, having exchanged the last franc. -
What time is Marseille? -
Paris is running, seeing me off,
in all its impossible glory.
Approach your eyes, separation slurry,
open my heart with sentimentality!
I would like to live and die in Paris
if there were no such land - Moscow.

Questions and tasks

Read the works of V. V. Mayakovsky, written in the early years of the revolution, prepare one of them or an excerpt for reading. What does the poet draw your attention to?
Korney Chukovsky believed that the main nerve of Mayakovsky's early poetry was pain and protest against bourgeois reality. Where do we find confirmation of this?
Mayakovsky's early works are especially rich in hyperbole, extended metaphors, and neologisms. Give examples of the use of these artistic means and consider what the poet achieves by means of them. Why did Mayakovsky need new rhymes and rhythms?
How do you understand the words of Mayakovsky himself about the poet's work: "In order to correctly understand the social order, the poet must be at the center of affairs and events ..."?
What poems and plays by Mayakovsky, known to you, are directed against bureaucracy, bribery, and other evils of modern society?
Why did Mayakovsky perform so many readings of his poems?
What is the meaning of the poems "Listen!", "Poems about the difference in tastes" and "Farewell"?

Enrich your speech

What was Mayakovsky's innovation? Prepare a detailed answer using the story about the poet and the sections “How V. V. Mayakovsky worked”, “In creative laboratory V. V. Mayakovsky”, “The Work of the Word”, “Word Creation”.
Name the neologisms of the poet from the poems you read. Include two or three of them in sentences of your own design.

V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines Satyricon and New Satyricon, and in his autobiography “I myself” under the date “1928”, that is, two years before his death, he wrote: “I am writing the poem“ Bad ”in counterpoint to the 1927 poem "Good". True, the poet never wrote "Bad", but he paid tribute to satire both in poetry and in plays. Her themes, images, focus, original pathos changed.
Let's consider them in more detail. In the early poetry of V. Mayakovsky, satire is dictated primarily by the pathos of anti-bourgeoisness, and pathos, which is of a romantic nature. In the poetry of V. Mayakovsky, a conflict traditional for romantic poetry arises creative personality, the author's "I" - rebellion, loneliness (it is not for nothing that often the poems of the early V. Mayakovsky are compared with those of Lermontov), the desire to tease, annoy the rich and well-fed.
For futurism, the direction to which the young author belonged, this was typical. The alien philistine environment was portrayed satirically. The poet draws her as soulless, immersed in the world of base interests, in the world of things:
Here you are, man, you have cabbage in your mustache
Somewhere half-finished, half-eaten cabbage soup;
Here you are, woman, - thick whitewashed on you,
You look like an oyster from the shells of things.
Already in the early satirical poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for poetry, for satirical literature, which is so rich in Russian culture. So, he uses irony in the very titles of a number of works, which the poet designated as “hymns”: “Hymn to the Judge”, “Hymn to the Scientist”, “Hymn to Criticism”, “Hymn to Dinner”. As you know, the anthem is a solemn song. Mayakovsky's hymns are evil satire. His heroes are dull people who themselves do not know how to enjoy life and bequeath it to others, strive to regulate everything, make it colorless and dull. The poet names Peru as the scene of his anthem, but the real address is quite transparent. A particularly vivid satirical pathos is heard in the Hymn to Dinner. The heroes of the poem are the very well-fed ones who acquire the meaning of a symbol of the bourgeoisie. The poem uses a technique that in literary science is called a synecdoche: instead of the whole, a part is called. In the Hymn to Dinner, the stomach acts instead of a person:
Panama stomach!
Will they infect you
The majesty of death for a new era?!
You can't hurt your stomach
Except appendicitis and cholera!
A peculiar turning point in the satirical work of V. Mayakovsky was the ditty composed by him in October 1917:
Eat pineapples, chew grouse,
Your last day is coming, bourgeois.
There is also an early romantic poet, and V. Mayakovsky, who put his work at the service of the new government. These relations - the poet and the new government - were far from simple, this is a separate issue, but one thing is certain - the rebel and futurist V. Mayakovsky sincerely believed in the revolution. In his autobiography, he wrote: “To accept or not to accept? There was no such question for me (and for other Muscovites-futurists). My revolution.
The satirical orientation of V. Mayakovsky's poetry is changing. First, the enemies of the revolution become its heroes. This topic became important for the poet for many years, it gave abundant food to his work. In the first years after the revolution, these are poems that were compiled by Okna ROSTA, that is, the Russian Telegraph Agency, which produces propaganda posters on the topic of the day. V. Mayakovsky took part in their creation both as a poet and as an artist - drawings were attached to many poems, or rather, both were created as a whole in the tradition of folk pictures - luboks, which also consisted of pictures and captions to them. In "Windows of GROWTH" V. Mayakovsky uses such satirical techniques as grotesque, hyperbole, parody - for example, some inscriptions are created on the motives of famous songs, for example, "Two Grenadiers to France ..." or the famous Chaliapin performance of "Flea". Their characters - white generals, irresponsible workers and peasants, bourgeois - are always in top hats and with a fat stomach.
Mayakovsky makes maximalist demands for a new life, so many of his poems satirically show its vices. So, the satirical poems of V. Mayakovsky "On Rubbish", "Protsessed" gained great fame. The latter creates a grotesque picture of how the new officials sit endlessly, although against the background of what we know about the activities of the then authorities in Russia, this weakness of theirs looks rather harmless. The fact that “half of the people” are sitting at the next meeting is not only the realization of the metaphor - people are torn in half in order to do everything - but the very price of such meetings.
In the poem "On rubbish" the former antiphilistine pathos seems to return to V. Mayakovsky. Rather harmless details of everyday life like a canary or a samovar acquire the sound of sinister symbols of the new bourgeoisie. At the end of the poem, again, a grotesque picture appears - a traditional literary image of a reviving portrait, this time a portrait of Marx, who makes a rather strange call to turn the heads of canaries. This appeal is understandable only in the context of the entire poem, in which canaries have acquired such a generalized meaning. Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the position of militant revolutionism, but from the standpoint of common sense. One of these poems is "A poem about Myasnitskaya, about a woman and about the all-Russian scale."
Here the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of the ordinary person. Baba, whose “snout was covered with mud” on the impassable Myasnitskaya Street, does not care about the global all-Russian scale. This poem echoes the common sense speeches of Professor Preobrazhensky from M. Bulgakov's story “ dog's heart". The satirical poems of V. Mayakovsky about the passion of the new authorities to give everyone and everything the names of heroes are permeated with the same common sense. So, in the poem "Terrifying familiarity" appear invented by the poet, but quite reliable "Meyerhold Combs" or "Dog named Polkan".
In 1926, V. Mayakovsky wrote the poem "Strictly Forbidden":
The weather is such that May fit.
May is nonsense. Real summer.
You rejoice in everything: the porter, the ticket inspector.
The pen itself raises the hand,
and the heart boils with song gift.
In paradise ready to paint the platform
Krasnodar.
Here to sing to the nightingale-trelera.
Mood - Chinese teapot!
And suddenly on the wall: - Ask questions to the controller
strictly prohibited! -
And immediately the heart for the bit.
Solovyov with stones from a branch.
And I want to ask:
- Well how are you?
How is your health? How are the kids? -
I passed, eyes down to the ground,
just giggled, seeking patronage,
And I want to ask a question, but I can’t -
the government will be offended!
In the poem, there is a collision of a natural human impulse, feeling, mood with the bureaucracy, with the clerical system, in which everything is regulated, strictly subordinated to the rules that complicate people's lives. It is no coincidence that the poem begins with a spring picture, which should give birth and gives birth to a joyful mood, the most ordinary phenomena, such as the station platform, cause poetic inspiration, a song gift. V. Mayakovsky finds an amazing comparison: “The mood is a Chinese teapot!”. Immediately a feeling of something joyful, festive is born. And all this crosses out strict bureaucracy. With amazing psychological accuracy, the poet conveys the feeling of a person who becomes the subject of a strict ban - he becomes humiliated, no longer laughs, but “giggles, looking for patronage.” The poem is written in a tonic verse characteristic of V. Mayakovsky's work, and, which is typical for the artist's poetic skill, rhymes "work" in it. So, the funniest word - "caddy" - rhymes with the verb "forbidden" from the wretched official vocabulary. Here the poet also uses his characteristic technique - neologisms: treleru, nizya - a gerund from the non-existent "lower". They are actively working to reveal the artistic meaning. The lyrical hero of this work is not an orator, not a wrestler, but, above all, a person with his natural mood, inappropriate where everything is subject to strict regulations.
Satirical poems by V. Mayakovsky still sound modern today.