Introduction……….…………………………………………….……..3
1. Civil-patriotic lyrics by V. Mayakovsky…………...5
in Mayakovsky’s lyrics……………………………………………..11
3. The theme of the poet and poetry in the lyrics of V. Mayakovsky……………….…14
4. The image of America in the lyrics of V. Mayakovsky…………………….…18
Conclusion……………………………………………………….…..21
List of references……………………………......23
Introduction
Vladimir Vladimirovich Mayakovsky (07/19/1893, Baghdadi village, Georgia - 04/14/1930, Moscow) is an outstanding poet of the Russian artistic avant-garde, an innovative poet, the creator of an original verse system that had a noticeable impact on the development of poetry of the 20th century. His works, whether lyric poetry, poetic epic or drama, are distinguished by their exceptional originality and are marked with the stamp of a bright, unique artistic individuality. The originality of Mayakovsky's talent was recognized by almost all the major poets of the century, even those who were not impressed by his militant, politicized aesthetics.
V.V. Mayakovsky began his creative activity in a difficult historical era, an era of wars and revolutions, an era of destruction of the old system and the creation of a new one. These turbulent historical events could not help but be reflected in the poet’s work. The poet's work can be divided into two stages: pre-revolutionary (before 1917) and post-revolutionary (after 1917).
Mayakovsky's creative destiny is complex and contradictory. Unlike many of his famous contemporaries, who actively or passively did not accept the revolution, he organically fit into the new reality born of the October upheavals of 1917, moreover, with his poetic creativity he selflessly served to strengthen it. However, towards the end of his life he developed a conflict with the ruling ideological system, which not least pushed him to shoot himself. However, five years after the tragic death of Mayakovsky I.V. Stalin declared him “the best, most talented poet of our Soviet era,” which actually led to the canonization of his figure. Over the course of many subsequent decades, his artistic legacy was invariably interpreted as a unique and impeccable example of art’s faithful service to the ideas of socialism, Soviet society, and the Communist Party.
Today's time has not yet created its own image of the author of “Clouds in Pants” and “About This,” “Vladimir Ilyich Lenin” and “Good!” The “textbook gloss” that literary works of the mid-twentieth century brought to the poet’s attention also played a negative role in this. This is especially true for the work of V.V. Mayakovsky post-revolutionary period. Therefore, the purpose of the work is to consider the variety of lyrical motifs in the post-revolutionary work of V.V. Mayakovsky.
1. Civil-patriotic lyrics by V. Mayakovsky
February and October Revolution were for Mayakovsky the beginning of the real embodiment of his ideas about a new, free person and a happy world order. The commune promised by the Bolsheviks became the very ideal that replaced neo-Christian models in the futuristic utopias of the poet. The communist idea not only answered the futuristic dreams of a coming earthly paradise, but also gave them certainty, specific meaning and applied nature. Mayakovsky recalled, not without pride, that the soldiers and sailors who stormed the Winter Palace repeated two of his lines:
Eat pineapples, chew hazel grouse,
your last day is coming, bourgeois.
Mayakovsky's futuristic aesthetics gave way to the doctrine of communist futurism and the Left Front of the Arts with its ideas of art as life-building. Mayakovsky began the practical implementation of these ideas immediately: the loud pathos of marches, odes, and anthems praising the revolution merged with the everyday zeal of the “agitator, loudmouth, leader” - a kind of chronicler of the new era that had come.
Mayakovsky, with tripled energy, begins to participate in the renewed life, in cleansing the earth of self-interest, base and carnivorous aspirations of people. In his work, the generalized voice of the builder of a new, just world, born in tragic chaos, took shape. In the post-revolutionary period, revolutionary, civil-patriotic, anti-philistine themes became leading in Mayakovsky's poetry.
"Left March" (1918), addressed to revolutionary sailors, calls for armed defense of the Commune. The strong-willed voice of one who rejects crippled modernity, along with all previous history from Adam and Eve, however, gives preference to weapons (“your word, Comrade Mauser!”). The poet himself here “merged with the masses”, charges them with the energy of a selfless march into the future - from hopelessness to light, from hunger and pestilence - to happy sunny joy:
There
beyond the mountains of grief
The sunny land is endless.
For hunger
Over the sea pestilence
print the millionth step!
In the “Left March” the leading tendencies of the revolutionary reality of those days were “condensed in verse.” In each stanza one can hear “and the sounds of a rally, oratorical speech in front of the revolutionary masses, and the clarity of the military order, the command of the military leader in front of the formation":
Turn around and march!
There is no place for verbal slander here.
Quiet, speakers!
Yours
word,
Comrade Mauser.
The energetic and romantic lines of the “Left March” painted an image of the Russian people, the first to rush towards socialism, towards the commune. No wonder this poem has been translated into many languages of the world.
Poetry itself acquired a utilitarian meaning. From 1919 to 1922, Mayakovsky collaborated as an artist and lyricist, and then directed a workshop for the production of the so-called “ROSTA Windows” (Russian Telegraph Agency) - posters intended for hanging in the windows of empty shops and reflecting current political and military events. With the advent of Mayakovsky, ROSTA Windows acquired a structure reminiscent of a modern comic book: a series of drawings depicting sequentially developing events, with short poetic captions. Attempts to make texts more accessible to illiterate and poorly educated readers led to a turn to folklore stylization. The drawings and texts for the posters were anonymous, and it is not always possible to accurately establish the authorship of Mayakovsky. The famous “ROSTA Windows” were of an agitation-propaganda nature and were for Mayakovsky - in full accordance with the futuristic, and later with Lef’s understanding of the “usefulness” of art - a concrete contribution to the creation of a new reality. His art did not want to be only a response, only a “commentator” on the events taking place - it wanted to become life itself, it wanted to lay its cornerstone in the foundation of the general social structure.
Dubbed the “tribune of the revolution,” Mayakovsky cannot be presented otherwise than as an ardent supporter of revolutionary upheavals, unshakably believing in the victory of socialist ideas. Everything was so, and yet a little wrong. Mayakovsky, unlike many, saw two faces in the revolution: not only greatness, but also lowland features, not only its human (“childish”) side, but also cruelty (“opened veins”). And, being a dialectician, he could also imagine a “heap of ruins” instead of “socialism built in battles.” And this was expressed back in 1918 in the famous “Ode to the Revolution”:
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around, two-faced?
Slender building,
a pile of ruins?
And while glorifying her four times in his poetic name, he did not forget to curse her three times on behalf of the average person. This suggests that Mayakovsky assessed the events taking place much more soberly than those who are considered lesser apologists. The two faces of the revolution, its two real manifestations - heroic, creative and spontaneously destructive - are parallel to two types of its perception: the poet and the average person:
Philistine for you
- oh, be thrice damned! –
and my,
poetically
- Oh, glory four times, blessed one!
It is no coincidence that Mayakovsky, a lyric poet, has one of the epithets of the poetic perception of the revolution in “Ode...”, along with “great” and “blessed”, “children’s”. The October Revolution was perceived by the poet as a spring awakening (“Lie down with greenery, meadow...” - “Our March”, 1917), as a birth, the beginning of a new life, the birth of a new society, where the poet himself again felt young, again felt in himself “ childish."
In Mayakovsky's civil and patriotic poems we can identify shades of satire. In “Poems about the Soviet Passport” (1929), the author touches on two themes at once: anti-bureaucratic and patriotic. Before us is a stage sketch, which is preceded by a rather expressive opening: “I would gnaw out bureaucracy like a wolf.” It is characteristic that the poem does not begin on a high note, without loud phrases, without rhetoric. The words sound conversational, casual, bold, energetic, slightly rude and informal. Hatred of officialdom is expressed not only in the direct tone of the statement - immediate, conversational.
But the main theme of this poem is undoubtedly a patriotic theme. The lyrical hero is proud of his country, which is conducting an unprecedented experiment, building a new society:
Read, envy!
I am a citizen of the Soviet Union!
The civic pride of a person who has his own powerful state is truly expressed here.
Patriotic lyrics can also include such poems as “To Comrade Nette, the Man and the Steamship” (1926), “Khrenov’s Story about Kuznetskstroy and the People of Kuznetsk” (1926). Based on specific events of “current” politics, these poems were an example of the decisive introduction of a dictated social order into poetry from the outside.
One of the main themes in Mayakovsky’s poetry in the first half of the 20s is a nihilistic perception of the spiritual and historical values of Russia. “More than once, atheistic motives were noted in Mayakovsky’s poems, the utmost strength of rebellion, readiness to encroach on all sacred things, emphasized insubordination to the Almighty.” The poet takes a fundamentally atheistic position. As he himself stated in the poem “After the Confiscations” (1922), he and God have “extremely many disagreements.” A concrete manifestation of these positions were poems directed against Patriarch Tikhon. In the poems of 1923 “When we defeated the famine, what did Patriarch Tikhon do?” and “About Patriarch Tikhon. Why is their mercy judged?” the poet, taking the side of the Soviets in the conflict between the patriarch and the authorities, shifts the blame for the famine on the Volga onto the Church. In his poetry, Mayakovsky develops the theme of the anti-nationality of religion.
Russia in Mayakovsky’s views was the chosen country, which in itself was a traditional idea of Russian social consciousness. But if for D. Merezhkovsky this chosenness of Russia was embodied in the utopia of the Third Testament, the Testament of the Spirit, if for M. Voloshin Russia was destined to perform a sacrificial feat, take upon itself all revolutionary trials and thereby save Europe, then Mayakovsky’s concept affirmed the chosenness of Russia as a homeland earthly paradise and communist doctrine.
2. Anti-philistine and anti-bureaucratic theme
in Mayakovsky's lyrics
The pathos of negation, characteristic of Mayakovsky’s post-revolutionary lyrics, also manifested itself in the poet’s attitude towards philistinism and bureaucracy, as evidenced by the satirical poems “About Rubbish” (1921), “Sessed” (1922), “Bureaucratia” (1922). With the uncompromisingness of a maximalist, using the techniques of hyperbolization and fantastic transformation of reality, the poet asserts: “the mug of a tradesman,” “philistine life” is “more terrible than Wrangel.”
Rubbish in Mayakovsky’s poem appears in the guise of philistinism, philistinism, the threads of which “entangled the revolution” and “covered Soviet life with mud.” He perceives the bourgeoisie and bureaucrats both as something omnipresent and as werewolves. Both of them do not fit into the Soviet paradise. The poet speaks about the emergence of “combined communities” and connects it with the very beginning of the work of Soviet institutions, i.e. almost with the time of establishment Soviet power:
From all the vast Russian fields,
from the first day of Soviet birth
they flocked together
hastily changed his feathers,
and settled into all institutions.
The essence of spiritual philistinism became the subject of a satirical exposure in the scene, which is the plot center of the poem “On Rubbish.” “This or that scum” who has built himself “cozy offices and bedrooms” in the evening informs his wife about the “increase” for the holiday: “24 thousand. Rate". Specific details confirm the authenticity of what is happening. The subject of the conversation is also real - a discussion of what to buy with the extra money. And here one of the most important and dramatic problems of Mayakovsky’s entire work is identified: the substitution of ideas by the spiritual philistines for an emblem, of essence for appearances.
According to Mayakovsky, the “rabid canary” becomes the symbol and companion of the bureaucrat in everyday life, and the call is born:
turn the heads of the canaries -
so that communism
was not beaten by the canaries!
For the poet, to wring the necks of canaries means to destroy philistinism. For the lyrical hero Mayakovsky, the reign of such bourgeois filth is an insult to the memory of the heroes, a social evil that threatens to stop historical progress, understood by the poet as a movement towards communism.
In 1922, the poem “The Satisfied,” a new satirical work, was published. A trend toward an increase in the bureaucratic apparatus began to emerge already in the first years of Soviet power. With incredible speed, institutions began to emerge, mired in continuous sessions, meetings, imitating vigorous activity, but far from the true needs of the people. The poem satirically summarizes a dangerous phenomenon, according to Mayakovsky - imitation, profanation of vigorous activity by the state apparatus. Government officials, replacing real work with endless empty meetings. Using the technique of bringing quality to the point of absurdity, Mayakovsky comes up with the “Unification of TEO and GUKON”, i.e. The theater association is connected with the Main Directorate of Stud Farms. And vice versa, Glavkompolitprosvet is divided into four organizations: Glav, Kom, Polit, Prosvet. And in order to completely ridicule the absurdity of this phenomenon, he names the institution by letters of the alphabet:
“Has Comrade Ivan Vanych come?” –
"At the meeting
A-be-ve-ge-de-e-zhe-ze-koma.”
If the number of meetings is exaggerated, then the issue discussed at the meeting is a clear understatement - “the purchase of a bottle of ink by the Gubkooperative”. The semantic and compositional center of the poem is a certain faceless, but obviously important “meeting” for the bureaucracy, which for the lyrical hero appears as “devilishness”, because he saw “halves of people” there. It’s fantastic to see half the people sitting at a meeting – “up to the waist here, and the rest there” – since employees have to literally be torn between meetings.
Mayakovsky’s lyrical hero is close to the radical method of eliminating all bureaucracy. His dream:
"Oh, at least
more
one meeting
regarding the eradication of all meetings!”
The apt, clearly emotionally non-neutral title of the poem “The Sat” has become a household word for defining the soulless, disgusting world of bureaucracy.
In the second half of the 1920s, Mayakovsky paid more and more attention to satirical portraiture. In “The Sat,” the appearance of the elusive and tireless Ivan Vanych in itself was of little interest to the author. We never saw what he was like. The heroes of Mayakovsky’s “portrait” gallery are generalized and at the same time individually characteristic types. They are grotesque; the poet does not set himself the task of developing them in detail. The “coward” is trying to hide, to hide from life. Gossip Cop sees the whole world as a “huge keyhole.” What infuriates the poet most of all is the bureaucrat, the official nominated by the revolution, who is already beginning to speak, as it were, on behalf of revolutionary reality. This new “revolutionary” bureaucratic version of the formula “the state is me” was especially hateful for Mayakovsky.
3. The theme of the poet and poetry in the lyrics of V. Mayakovsky
An important place in the poet’s post-revolutionary work is occupied by the theme of the poet and the purpose of poetry, touched upon in such works as “The Worker Poet” (1918), “Conversation with the Financial Inspector about Poetry” (1926), “To Sergei Yesenin” (1926), “Yubileinoe” (1924). Mayakovsky evaluates his work, writes that the work of a poet is difficult, that “poetry is the same mining of radium,” and the work of a poet is akin to any other work. Poetry is a “sharp and formidable weapon.” She is able to agitate, rouse people to fight, and force them to work. But this position of the poet-leader often interfered with the lyric poet. Mayakovsky often had to “step on the throat of his own song,” and the gift of a subtle poet-lyricist sounded less and less often in his work (“Unfinished,” “Letter to Tatyana Yakovleva” (1928)).
Realizing himself as a Russian national poet, Mayakovsky, like his great predecessors, could not help but think, could not help but write about the role of the poetic word, about the place of the poet in life. In his poems, Mayakovsky not only talks about the high purpose of poetry, but spends a lot of time on the conditions under which poetry can justify this high purpose.
The February and October revolutions of 1917 were understood by the poet as a real living chance to merge, connect the poetic word with living life, as a chance to go out with the poetic word to the masses. Mayakovsky believed that the poetry of modern times should be new, strong, striking, calling for itself. A rebel not only in life, but also in his work, he was constantly in search of new forms, unconventional rhymes, rhythms, and was engaged in word creation (many of the neologisms he invented today seem familiar, because at one time they were precise, capacious concepts that took root among the people ). Mayakovsky the poet demands from creative workers to be closer to life:
Comrades,
give me new art -
such,
to drag the republic out of the mud.
In the summer of 1920, Mayakovsky wrote one of his small poems about poetry - “An extraordinary adventure that happened to Vladimir Mayakovsky in the summer at the dacha.” Developing classical traditions, Mayakovsky in this work appears as a poet of a new historical era, who defined a new, special system of feelings, new figurative associations. The image of the sun is also filled with new content. In Mayakovsky’s post-October works, this image usually personifies a bright (communist) future. But in “The Extraordinary Adventure...” this allegory is not so clearly expressed. As the lyrical plot develops, the sun gradually personifies from an inanimate celestial body into a guest hero speaking in a “bass voice.”
As a result of a friendly conversation, the deep commonality of the roles of “the poet Vladimir Mayakovsky” and the “sun”, the coincidence of their tasks, becomes clear:
I will pour my sunshine,
and you are yours,
in poetry.
<…>
Always shine
Shine everywhere
Until the last days of the Donetsk.
The final slogan “shine” always and everywhere, illustrated so brightly and wittily, with such an “extraordinary” story, is no longer an abstract allegory. This is the everyday work of a poet, an artist who conquers darkness, bringing beauty, joy, and light to the world.
The reason for creating the poem “Anniversary” (1924) was the 125th anniversary of the birth of A.S. Pushkin. But there is no “jubilee-praising” note in the poem. The tone of Mayakovsky's conversation with Pushkin is polite, respectful, sincere, relaxed, sometimes humorous, with a noticeable amount of self-irony. Like the great poet of the 19th century, Mayakovsky in his work thinks about the way to overcome death and calls the book the most important way to overcome death. The book, as one of the reincarnations of its creator, the human poet, in all its spiritual and physical materiality, denotes the poet’s life “after death”, in the space of time and the library:
After death
us
standing almost next to each other:
you are on Pe,
and I
on Um...
In the same poem, Mayakovsky conducts a humorous review of Russian poetry. The historical review ends with reflections on the place and participation of the living classic Pushkin in the poetic life of the twentieth century:
you now
would have to
throw an iambic burr.
Today
our feathers -
bayonet and fork teeth, -
battles of revolutions
more serious than “Poltava”,
and love
more grandiose
Onegin's love.
Pushkin himself is declared a great poet - equal to Vladimir Mayakovsky:
Maybe,
I
one
I really regret it
what today
you are no longer alive.
To me
in life
with you
we need to come to an agreement.
Coming soon
and I
I'll die
and I will be mute.
Ultimately, in art world“Jubilee” celebrates life, which declares itself by the very fact of the existence of poetry, which is not subject to death. With the passing of Pushkin, the poetic word did not disappear, poetry did not stop.
4. The image of America in the lyrics of V. Mayakovsky
Russia in Mayakovsky’s worldview is a country to which the future belongs and which in this regard has an advantage over America. In 1925-1926, he wrote the cycle “Poems about America,” which reflected his impressions of a trip to America in 1925: in May the poet left Moscow, stayed in Paris for three weeks, and on June 21 went to Mexico on the ship “Espagne” making stops along the way in the Spanish port of Santander, in the port of Havana, and after a three-week stay in Mexico arrived in the United States.
“Poems about America” is characterized by an ironic subtext. If poems about the USSR are imbued with the motive of the poet’s involvement in the life of the country, then in “Poems about America” an ironically colored motive of alienation from the existence of Europe and America prevails. Thus, in the poem “Spain” the hero distances himself from the senoritas, and from the “telefonos”, and from the jellyfish:
What do I need all this for?
Hello as a dog!
In the poem “6 Nuns,” irony gives way to satire, the images acquire elements of shocking, attack, and deliberate rudeness:
Rejoice, crucified Jesus,
don't get off
from the nails of your board,
and you will appear a second time -
here
don't pry -
doesn't matter:
hang yourself from boredom!
America appears in Mayakovsky’s poems as a province; it is akin to pre-October Yelets or Konotop. This is the country of that very philistinism that was associated in the poet’s mind with the past tense. In the poem “100%,” Mr. John, the exemplary embodiment of philistinism, is depicted in the same images as the Soviet philistine in Mayakovsky’s satirical poems:
Mr John
his wife
and cat
got fat,
sleeping
in his apartment hole,
waking up
occasionally
from your own hiccups.
The way of life in the USA, the class contrasts of New York teach you to hate:
if you are
lost the habit of hating -
come here,
to New York.
The American version of freedom is interpreted by Mayakovsky unambiguously - as “hypocrisy, cents, lard.” The concept of freedom according to Mayakovsky should be oriented towards the official ideology of class necessity. In the poem “Home!” personal freedom is adequate to the social order and conscious submission to the norm:
I want,
so that in the debate
Gosplan sweated,
giving me
assignments for the year.
I want,
so that over thought
times commissar
loomed with an order.
I want,
so that at the end of work
factory manager
locked my lips with a lock.
In Mayakovsky’s mind, America with its way of life appears as the personification of the primitive.
Conclusion
The defining words for his work were the words from the poem “Home” (1925):
I want,
to the bayonet
aligned the pen...
The “bayonet pen” helped the poet write poems about everything in equal measure talented and unusual. That is why his poetry is so many-sided: from ROSTA posters with short and apt captions to a poem about the whole country - “Good!” From anti-war poems to gentle, sublime poems about love. Mayakovsky is a giant poet, his poetry is irrepressible and frantic.
Mayakovsky, in the stormy atmosphere of the brewing world war and tectonic social shifts of the early twentieth century, writing with naked nerves, was able to express and capture this time, these achievements. His poetic self included history as a personal experience.
Lyrics by V.V. Mayakovsky is multifaceted. It covers almost the entire range of topics traditional for Russian literature, adding motifs inherent to its time. Creative path the poet is in close connection with the heritage of Russian classical poetry and prose. At the same time, Mayakovsky, with his creativity, paved the way for a new Russian poetry. All Russian poetry became different after Makovsky. There is not a single remarkable poet who has not been influenced by him to one degree or another.
In Mayakovsky's work, the romantic aspirations of the individual coincided with the utopian mentality of the era, the herald of which he was destined to become. Believing in utopia, the romantic poet sang it and, like the masses of those to whom he addressed as like-minded people, devoted himself to its affirmation. The attempts of Mayakovsky, who was furiously rushing for time, to pass off wishful thinking as reality were not the conscious calculation of a conformist. The poet’s commitment to the Bolshevik utopia, which turned out to be the collapse of humanism for the country and the world, ultimately demonstrated his true solidarity with millions of fellow citizens who were just as sincerely captured by socialist illusions. We must not forget about this when comprehending Mayakovsky’s fate today, which is both contradictory and integral.
List of used literature
1. Alfonsov, V.N. “We need the word for life.” IN poetic world Mayakovsky / V.N. Alfonsov. – L.: Soviet writer, 1984. – 247 p.
2. Goncharov, B.P. Poetics of Mayakovsky: The lyrical hero of post-October poetry and the paths of his artistic affirmation / B.P. Goncharov. – M.: Nauka, 1983. – 353 p.
3. Gordovich, K.D. Story Russian literature XX century: a manual for humanitarian universities / K.D. Gordovich. – St. Petersburg: Special literature, 1997. – 320 p.
4. Dyadichev, V.N. V.V. Mayakovsky in life and work / V.N. Dyadichev. – M.: LLC “TID” Russian word- RS", 2006. - 128 p.
5. Zaitsev, V.A. On the study of V. Mayakovsky’s creativity at the present stage / V.A. Zaitsev. // Philological sciences. – 2004. – No. 3. – P. 3-11.
6. Mayakovsky, V.V. Works in 3 volumes. T. 1: Myself, poems / V.V. Mayakovsky. – M.: Fiction, 1965. – 566 p.
Until they loosened their grip on the weapon,
another will is commanded.
We bring new tablets to the earth
from our gray Sinai.
V. Mayakovsky
V. Mayakovsky is the founder of a new type of poetry, which combined socio-historical, moral and philosophical directions with a lyrically frank story of a person “about time and about himself.” His work had and continues to have a huge influence on the development of all poetry, being an effective weapon against lack of ideas and formalism in literature.
Many of Mayakovsky's works are deeply patriotic. The inability and reluctance to accumulate any kind of values, the desire for an active and productive spiritual life, sacrifice and dedication, which underlie his human and poetic essence, led Mayakovsky to thoughts about the people, about the world “without pain, troubles and insults”, to the acceptance of the revolution, forcing one to live a “tenfold life”. For this poet, the idea of an insurmountable contradiction between art and life, art and revolution, ingrained in the minds of many (including very talented) artists, did not exist.
There was patriotism main feature, the direction of Mayakovsky’s work, because he considered personal responsibility for everything that happens around him to be the basis of spiritual existence. The poet’s numerous revolutionary works were the result of just such a worldview.
The runs of the planets, holding existence, are subject to our wills. Our land. The air is ours. Our stars are diamond mines. And we never, never! We won’t let anyone else! tear our earth with cannonballs, tear our air with the points of sharpened spears.
“Left March” by V. Mayakovsky is a call to arms, to a courageous, active struggle against the old world. Mayakovsky's word - an explosive charge capable of shaking the most inert consciousness - calls on thought to immediately turn into action:
Will the eyes of the eagles darken? Shall we stare at the old? Be strong The world has its fingers on the throat of the proletariat! Chest forward, brave! Cover the sky with flags!
No precepts of the past burdened the poet; he walked towards the revolution without any internal struggles: “To accept or not to accept? There was no such question for me. My revolution."
Mayakovsky is, first of all, a man of decisive actions that allowed him to become the first poet of the revolution. The poet's poems were a reaction to what was happening in the world around him and within himself.
Anything but contemplation - this is the key to the philosophical and ethical nature of Mayakovsky’s talent. Efficiency always and in everything is the distinctive quality of a poet. Material from the site
I hate all carrion! I love all kinds of life!
Mayakovsky deliberately turned the art of poetry into a difficult, risky ascent to the top, from which, as it seemed to him, the horizons of a new, unprecedented life opened up. He always wrote only what interested people, worried them or was incomprehensible, because the poet, according to Mayakovsky, is the people's servant.
What if I am a leader of the people and at the same time a servant of the people?
Mayakovsky's legacy is enormous. He enriched Russian and world poetry with immortal works of art that will never lose the feeling of novelty, confidence and strength, since his heart was forever given to the people.
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On this page there is material on the following topics:
- sochineniya mayakovskogo
- patriotism in the works of Mayakovsky
- Mayakovsky, Vladimir Vladimirovich patriotism
- essay on the topic of patriotism in the works of Mayakovsky
The revolution attracted special attention to the topic of the fate of the homeland and the people, while simultaneously making significant adjustments to the understanding of patriotism. Thus, in the 20s, a completely new understanding of the homeland emerged and strengthened - as a socialist fatherland, in which the national recedes into the background, and the national comes to the fore. social content. Moreover, in the literature of socialist realism there was simply no place for the old, national understanding of patriotism; it was replaced by the idea of proletarian internationalism. Under these conditions, the theme of patriotism sounded exclusively as a theme of love for the socialist homeland, the country of the victorious proletariat. The most powerful and consistent exponent of this new understanding of patriotism was Mayakovsky. In his work, patriotism appears as one of the facets of internationalism. Mayakovsky did not actually feel any love for Russia even before the revolution (“I feel like an overseas ostrich / In this homeland - a snow monster”). And after the revolution, Mayakovsky remains a consistent internationalist, whose dream is “in a world without Russia, without Latvia / To live in a single human community.” He feels love and pride specifically for the socialist fatherland, and this feeling permeates his poems “Good!”, “Vladimir Ilyich Lenin”, and many poems. Comparing Russia with the West during his trip abroad, the poet draws attention first of all to the fact that, despite all the achievements of culture and civilization, the West lags behind Soviet Russia in social development: for example, about America he writes: “I strived seven thousand miles ahead, / And I arrived seven years ago,” that is, in the pre-revolutionary era. One of Mayakovsky’s best patriotic poems, in which social notes are least heard, is the poem “Home!” with its winged ending: “I would like to live and die in Paris, / If there were no such land - Moscow.”
Essay
on the topic: “Mayakovsky’s lyrics”
Completed by: Andrey Gordievsky
Having decided to write about Mayakovsky and his lyrics, I will tell you what lyrics are. Lyrics are the content of inner life, the poet’s own “I,” and the speech form is an internal monologue, mainly in verse, which covers many poetic genres, for example: elegy, romance, sonnet, song, poem. Any phenomenon and event of life in the lyrics is reproduced in the form of subjective experience. However, the poet’s “self-expression” acquires universal human significance in the lyrics thanks to the scale and depth of the author’s personality; she has access to the fullness of expression of the most complex problems of existence. As you know, lyrics convey a person’s experiences, his thoughts and feelings caused by various phenomena life. Mayakovsky's lyrics depict the structure of thoughts and feelings of a new man - the builder of a socialist society. The main themes of Mayakovsky's lyrics are Soviet patriotism, the heroism of socialist construction, the superiority of the socialist system over the capitalist system, the struggle for peace, strengthening the country's defense power, the place of the poet and poetry in the working class, the fight against the remnants of the past, etc.
Merged together, they recreate the majestic image of a Soviet man who passionately loves his homeland, devoted to the ideas of the revolution and the people. The openness and civic spirit of the poet, his desire to show the “nature and flesh” of communism, to ignite everyone with the desire to “think, dare, want, dare,” are very dear. In the name of the revolution, Mayakovsky creates an extraordinary oratorical structure of verse that raised, called, demanded to move forward.
Mayakovsky's lyrical hero is a fighter for universal happiness. And no matter what the most important event of our time the poet responded to, he always remained a deeply lyrical poet and affirmed a new understanding of lyricism, in which the moods of the Soviet people merge with the feelings of the entire Soviet people. Mayakovsky's heroes are ordinary, but at the same time amazing people(“The story about Kuznetskstroy”). During the construction of the city, courageous people live in the open air, they are cold, hungry, they have great difficulties ahead, but their lips stubbornly whisper in harmony:
Four years later
will be here
garden city!
Mayakovsky's lyrics are rich and varied. The poet dedicated many of his poems to patriotism Soviet people. The best of them are “To Comrade Nette - the Ship and the Man” (1926) and “Poems about the Soviet Passport.” The first poem is a memory of the Soviet diplomatic courier Theodor Nette, who died heroically in the line of duty. The introduction to the topic is Mayakovsky’s meeting with the ship bearing the name of the famous hero. But gradually the ship becomes animated, as it were, and the image of a man appears before the poet.
It's him - I recognize him
In saucer-glasses of lifebuoys.
Hello Nette!
Then follows a memory of Netta, who was Mayakovsky's friend. These everyday memories are replaced in the central part of the poem by a description of the heroic deed of an ordinary Soviet man - “the trail of the hero is bright and bloody.” The scope of the poem expands: starting with a description of a friendly meeting, it rises to thoughts about the Motherland, about the struggle for communism. People like Nette do not die - people embody their memory...in ships, in lines, and in other long-lasting deeds. Another lyrical poem by Mayakovsky, “Poems about the Soviet Passport” (1929), also sounds like a hymn to the Soviet Motherland. The poem begins with an insignificant event - with a description of the check of passports in a railway carriage at the moment the train arrives at the border. And the poet notices a lot: the courtesy of the official, who “without ceasing to bow,” “with respect” takes the passports of an American and an Englishman; and his disdain at the sight of a Polish passport
So, Mayakovsky does not conceive of lyricism outside of poetry, outside of verse. There is no real verse, no real poetry outside of lyricism. In the lyrics, in the lyrical beginning, is the true essence of poetry. And the lyrical principle is an effective principle for Mayakovsky, the lyric is the most active type of artistic creativity in relation to the reader. Mayakovsky calls the utmost activity of Mayakovsky’s genuine lyrics “tendency” or “agitation.”
Poetry, which does not affirm anything, does not excite, but only states and registers impressions and emotions (remember: “All incoming people rhyme their impressions and publish them in the outgoing journal”), for Mayakovsky is not poetry, because it is not lyricism. This is the essence of the above polemical thesis. This thesis is a denial, but, on the contrary, the ultimate affirmation of the lyrical principle, as the beginning that forms the verse. Demanding a “tendency” from poetry, Mayakovsky, in essence, demands from it the power of lyrical affirmation of his ideal, high poetic effectiveness, in other words, high degree normativity. Of course, normativity (correlations with the “norm”, with the proper, high, beautiful is inherent not only in lyric poetry, but in art in general. However, in lyric poetry, in poetry, in verse it is, as a rule, expressed more nakedly, more directly than in epic, in narration , in prose. With a half-joking reference to Lermontov, Mayakovsky emphasizes that his poems differ from the poems of the classics not in that they have a “tendency,” i.e., an active affirmation of the “ideal,” a certain high standard of human worldview and behavior (this is also true for poets of the past), but by what this “tendency” is, by the fact that the ideal, the norm, the idea of beauty for him are inextricably linked with the idea of communism, perceived not only in social and ethical terms, but also in aesthetic terms:
I measure the varieties of poetry by commune,
That’s why the soul is in love with the commune,
that the commune, in my opinion, is a huge height.
That commune, in my opinion, is the deepest depth.
Therefore, “tendency” in the understanding that Mayakovsky puts into this word is not something alien to the concept of “lyricism” and. therefore, requiring from the lyric poet some kind of violence against his “muse”, but, on the contrary, the most essential aesthetic feature of lyricism.
Mayakovsky has three types of lyrics: lyrics on the theme of revolution, patriotic lyrics and lyrics on the theme of labor. At the peak of the most acute socio-political changes associated with revolutionary events, the poet brings the theme of revolution to the fore. This is how revolutionary lyrics are born in Mayakovsky. The poet strives to be needed by his people and the Bolshevik Party, which, in his understanding, embodies and defends the people's interests.
V. Mayakovsky was extremely sincere in his unconditional faith in the revolution. He was driven not by religious desires to quickly swear allegiance to the new government, but by a deep civic conviction in the sanctity of revolutionary ideas. The poem “Revolution” was written hot on the heels of the February revolutionary events and has the subtitle “Poetochronicle”. As we see, Mayakovsky strives to be original even in the genre definition of the work. Undoubtedly, there are numerous historical and documentary chronicles that meticulously describe the events of 1917, telling about them in the existing language of numbers and dates. Mayakovsky poses a different problem. Only an artistic (and especially a poetic) chronicle can fill a narrative with vitality. Mayakovsky shows how the popular movement is growing and expanding (“Wider and wider are the wings of the weapon”). In the text of the work there are often slogans and appeals designed to enhance the dynamics of the development of the plot. Victory revolution is also associated in the author’s mind with the end of international wars:
And we never, never!
We won’t let anyone, anyone!
tear up our earth with cannonballs,
tear our air apart with sharpened spears
Numerous repetitions are designed to emphasize this most important idea in the poem. The last stanza of the work is polemically directed at those who considered socialist ideas to be heresy and refused to believe in their rapid implementation. Similar motifs can be heard in the poem “Our March,” the marching rhythm of which symbolizes the triumphal procession of the victors. Having made the propaganda of communist ideas one of the main tasks of his work, Mayakovsky could not, could not write about the leader of the Bolsheviks. The poems “Vladimir Ilyich!”, “Lenin is with us!”, “Conversation with Comrade Lenin” and a number of other works are dedicated to V.I. Lenin. The author tried to highlight not the biography of the leader, but Lenin’s cause. The central work dedicated to the leader of the state of workers and peasants is the poem “Vladimir Ilyich Lenin”. The idea that the birth of Lenin in Russia is a historical pattern runs through the entire work. At the conclusion of the poem, Mayakovsky describes the grief of loss that he experienced Soviet people in 1924, when Lenin died. In Mayakovsky's work, the revolution is identified with a beautiful and long-awaited spring, with a new era in the history of mankind. The right to take a worthy place among the classics is connected not with Mayakovsky’s political convictions, but with his artistic skill, capable of creating literary works with extraordinary aesthetic expressiveness.
Dedicate the best lines native land- a deep tradition of both Russian classical poetry and literature in general since its times ancient history. Particularly relevant are reflections on the fate of the homeland, the glorification of its greatness and turning points when the choice of the further path of development of the power is determined. long years. Mayakovsky's patriotic lyrics are multifaceted. Most of the patriotic poems glorify the new Soviet country. There are also poems about the small homeland:
Just set foot in the Caucasus,
I remembered that I am Georgian.
Mayakovsky, as you know, was born in the Georgian village of Baghdadi and grew up in the Caucasus. In the poem “Vladikavkaz-Tiflis” the lyrical hero travels to his native places, freely moving in space and time. To create a national flavor, Mayakovsky uses interspersed Georgian phrases. He longs for progressive changes in the life of his native side; scope of construction; industrial development:
With all your labor speed, it’s not a pity for the construction to break!
Even if
Kazbek gets in the way - tear it down!
Still can't be seen in the fog.
Some studies about the poet note that Mayakovsky felt like a citizen of the Universe and was not as touchingly attached to his native Russian landscape as, for example, S. Yesenin. As proof of this, a poem about “Russia” is cited, which contains the line: “I’m not yours, snow freak.” Mayakovsky attached enormous importance to rhyme, and the very fact that in the poem in the title “Motherland” there is a rhyme “ugly - homeland” leads to certain conclusions. However, these such obvious conclusions will still turn out to be too hasty, because this poem is comic, fantastic, and it would be wrong to look for echoes of a patriotic line in it. The emphasis here is different. The lyrical hero is a heat-loving, southern bird:
Here I come
overseas ostrich,
In the feathers of stanzas, meters and rhymes.
Anti-war motives are another important facet in Mayakovsky’s patriotic lyrics, which arose in connection with the outbreak of the First World War. In the poem “War has been declared,” the very news of the beginning of the war is likened to a stream of blood. The first and last stanzas of the work form a ring composition due to repetitions. The back row of the poem is divided into two parts. The first includes images that responded energetically and positively to the beginning of the war. Mayakovsky emphasizes the bravura poster slogans, the hyperbolic rise of people when even bronze generals are ready to rush to the front. The second part includes phenomena of the opposite order: “the sky, torn by bayonet stings,” “red snow,” falling “in juicy shreds of human flesh.”
The poem “Magnificent Absurdities” debunks the beliefs of those who look at the war with bravura and ceremonial views. The bloody carnival of fighting is depicted in theatrical and mystical motifs, but this does not make the terrible similarities any more attractive. They are not veiled by metaphorical beauty (“measuring the sky by running out”). Actual events are shown in a terrifyingly naturalistic manner: death, blood. "yellow-leaved in flower beds from killed gangrene." The war seems like a terrible, childish fairy tale.
Mayakovsky's patriotic orientation is directed to the future. In the poem “Red Envy” the poet addresses children. For their sake, for the sake of future large-scale economic achievements, the older generation makes sacrifices and hardships.
But what can be said about Mayakovsky’s labor lyrics? Let's start with the fact that in the controversial era of the 20th century, public views on social problems, on the structure of government life, and on the style of relations between people radically changed. The style of ownership of the means of production has changed. The attitude of every person to his work and to the work of people had to change radically. Mayakovsky was a supporter of radical changes in public life. Considering himself “mobilized and called upon” to fight inertia, backwardness and everything that prevented the country from breaking through to the forefront of technological progress and radically raising the standard of living, the poet devoted a whole layer of his creativity to promoting a program of socio-economic reforms, the goal of which, ultimately Ultimately, it was supposed to be the creation of a communist state, where there would be no economic difficulties and problems at all, and the main principle for the distribution of material wealth would be the motto: “From each according to his ability, to each according to his needs.”
The theme of labor is one of the most important in Mayakovsky’s work. The poet is interested in the question of the relationship between the costs of honest labor and the amount of remuneration for it. In the poem “A Warm Word to Some Prophets,” the author writes that some earn money through painstaking work by the sweat of their brow, while others can get rich faster and easier by gambling.
Glory to the one who found it first
as without labor and cunning,
clean and good
empty your neighbor's pockets and shake them out,
the poet says ironically.
Mayakovsky often compares the socialist attitude to work. Where labor is equated to a military feat, and work in the world of capital. Work for a bright future is going on in the most difficult conditions, but despite the cold and hunger, people are winning the battle with the taiga. For business, the main thing is not technology and latest materials, but people, their strong characters, their convinced determination to transform the face of the earth.
Mayakovsky was distinguished by his desire to be at the forefront of the most important historical events. The poem “March of Shock Brigades” has a strong journalistic beginning (many exclamatory sentences, slogans, appeals, agitation). The impact labor solution, according to the author, should expand, grow, and gain speed:
From shock brigades to shock shops,
from workshops to impact factories.
This refrain is important in the poem both in terms of content and composition. The poet calls on workers to rely on technical advances, for electrification, but the main trump card is enthusiasm. Work without absenteeism and holidays. The poem constantly sounds the motif of a competition between two formations - revolutionaries and bourgeoisie, communists and capitalists. The poet lives with the desire to catch up, surpass, show and prove the advantages of collective farming. The motive of struggle is emphasized by the rebellious vocabulary of military operations: barricades, worker platoons. The dialectic of darkness and light is important in the poem (darkness symbolizes the gloomy past, light - the joyful future; it is associated with images of the industrial world (lamp, factory rainbow glow). But the main motive is the motive of movement: there are many verbs in the poem imperative mood. Poem in to a greater extent addressed to the working class, which, according to Marxist-Leninist teaching, is driving force historical progress, but Mayakovsky does not forget about the peasantry:
Tractor to where the plow and bread were poring
storm with a collective farm campaign.
The poet strives for maximum clarity and conciseness. Mayakovsky taught how to treat his native land as a master. However, working does not mean currying favor or moving up the career ladder. Mayakovsky emphatically separates these two points. The heroes of the poem “Which One!” - two comrades who served together shared all the hardships of life in half. One did not go through an easy labor path without meeting special awards and confessions. Another made his way to the top, not without effort taking a warm place. After some time, fate brought the first to the second’s office asking for help. The poet vividly describes this meeting:
The second glance -
at least glide on skis.
A yard dog sits.
Enraged by his own “successes” in terms of being polite and being able to climb into the right chair, the “brother” asks his former friend not to come to him without a report. They have long forgotten the ideals of youth and the bonds of friendship. Feeling like the master of the situation, he enjoys the opportunity to paint in his own eyes. Mayakovsky calls for cleansing of such people government agencies, otherwise the people may lose faith in their leaders. It is not easy to increase labor productivity, having a well-established life “with a sea of technology on hand.” In the same difficult conditions in which the heroic construction projects of the century were erected, the formation of a new economy and industry was even more difficult and required incredible efforts and complete dedication from people. In the poem “To the workers of Kursk who mined the first ore, a temporary monument to the work of Vladimir Mayakovsky,” the poet calls labor an indispensable front on which days are won in the struggle for better life. He compares the “flow of words of the stream” and this everyday work, and the reader understands that not even the most brilliant verse can express the full depth of the selfless feat that our people accomplished in the difficult post-revolutionary years. The chopped rhythmic verse successfully conveys the intensity of the percussion work.
A true hymn to the human greatness of the feat is “Khrenov’s Story about Kuznetskstroy and the People of Kuznetsk.” This is a work about courageous and proud builders of a new life, altruists, similar to Gorky’s Danko from the story “Old Woman Izergil.”
Mayakovsky managed to convey through a change in the landscape the birth of a new era, bright and joyful, like a spring picture of a blooming orchard. At the beginning of the poem, hopeless rain and darkness are depicted, embodied in the vivid definition-neologism “lead feet”. The poet does not romanticize the path to labor achievements. Rather, on the contrary, he emphasizes the painful life of construction workers, every moment of which is filled with the need to overcome certain adversities. People are starving, sitting in dirt and cold for years. They only live with the dream that “in four years there will be a garden city here.” And for the sake of this “garden city,” the winged dream of millions, for the sake of a better life for their children, workers are ready to devote all these four years of their unique, priceless and inimitable life to the construction of a metallurgical giant. In the name of poeticizing this dream, Mayakovsky does not spare the figurative and expressive means of language, primarily hyperbole and metaphors (“In a hundred suns, we will ignite Siberia with open-hearth furnaces,” “...The taiga, thrown back behind Baikal, will retreat”).
At the end of the poem, in order to once again emphasize his confidence that the bright dream of the workers will definitely come true, Mayakovsky once again exclaims:
I know there will be a city
I know that the garden will bloom,
when there are such people in the country
in the Soviet one there is!
The poet directly states that his confidence is based primarily on the so-called human factor. It is the high moral qualities of the builders of a new life that will make it possible, despite the most difficult conditions, to bring large-scale plans to life. Khrenov, mentioned in the title of the poem, is a real person, Mayakovsky’s acquaintance I.P. Khrenov, a participant in the construction of the Kuznetsk Metallurgical Plant. He told the poet about this historically important event.
Reading Mayakovsky’s lines, one cannot help but admire the courage and valor of the builders of communism, however, this very reliance on the human factor without taking into account real economic conditions, so passionately praised by the poet, played a largely negative role. The same generation, in whose name our fathers and grandfathers spent their lives in long hours, sometimes backbreaking and selfless work, proclaimed different values and approaches. If in the reader of the mid-20th century such poems only gave rise to pride in their great homeland and its hardworking citizens, then modern residents of the country are more skeptical about such stories. They do not understand the boundless fanaticism of hungry workers who gave their strength in the name of an idea that, although realized, did not triumph for long.
Mayakovsky's traditions in embodying the theme of labor were picked up by the sixties poets in the years when the bloody victory in the Great Patriotic War, in conditions of unprecedented social upsurge Soviet Union brought to life gigantic economic projects, the so-called “construction projects of the century.” Yevtushenko, Voznesensky, Rozhdestvensky sought to capture this labor feat. Which they succeeded in many ways. I would like to believe that, contrary to the current trend in the modern world, people leave their country in the name of a well-fed and comfortable life in a foreign land. The modern generation will accept Mayakovsky’s behests and devote their work to their native land.
In conclusion, I can say that for Mayakovsky it was important to separate the main from the secondary. When correlating Mayakovsky's lyrics with the work of his predecessors, one should keep in mind the poetic roll call and polemics, a deliberate appeal to traditional images and the emergence of community, objectively determined by the proximity of creative tasks, solved, however, in different historical eras. The significance of a lyric poem is determined not by the topic, but by the human and social quality of the emotion expressed in it. It is no coincidence that in the poem “Reflections on Ivan Molchanov and Poetry,” written in 1927, Mayakovsky equally negatively evaluates Molchanov’s poems on both love and political themes. He ridicules Mollanov’s poem “At the Cliff” not because it love lyrics, but for the fact that these lyrics are small, not affirming (as a matter of course, beautiful, i.e. as an “ideal”, “norm”) a complete, great feeling, but registering feelings, regardless of their ethical and social quality:
...Your novel is bad,
And the verse is unsightly,
That's how I would love it
any high school student.
A poet has no right to be indifferent and impersonal. A poet is a person invested with high public trust and obliged to justify this trust.
Used Books:
Mayakovsky lyrical creativity
(V.O.Pertsova, V.F.Zemskova)
Creativity V.V. Mayakovsky
(K.G. Petrosov)
V. V. Mayakovsky. Literary criticism.
Patriotism in the works of Mayakovsky
With the beginning of the first imperialist war, Mayakovsky experienced a general patriotic mood supported by official propaganda for some time, even asked to volunteer for the active army (he was not accepted due to political unreliability), but already at the beginning of 1915 his position towards the war changed decisively, the tragedy he truly expressed the war in the poem “Me and Napoleon,” and the poem “To You!”, first read in the artistic tavern “Stray Dog” on February 11, 1915, caused a real storm of indignation among the bourgeois public:
You, who live behind the orgy orgy, have a bathroom and a warm closet!
Aren’t you ashamed to read about those presented to George from newspaper columns?!
The poem "To you!" and his premiere in "Stray Dog", which caused hypocritical complaints from the newspapers, marks a critical moment, an internal turn in Mayakovsky's understanding of the war. At this time, he returned to the “Cloud in Pants” pose, which he began in the first half of 1914, after visiting Odessa during a tour.
Mayakovsky fell in love in Odessa. Fell in love at first sight with young Maria Alexandrovna Denisova, a girl of extraordinary charm and, judging by her subsequent fate, strong character. I fell in love unrequitedly, suffered from it, and on the way to the next city in the train carriage I read the first lines of the poem to my friends...
Then there was a big break, the war pushed this plan aside. And when he had an epiphany regarding the war, when the origins of the world catastrophe were revealed to the poet, he realized that he was ready to continue working on the poem, but in a different understanding of life. at all. The love drama grew into the drama of life. The poet himself defined the meaning of the work as follows: “down with your love”, “down with your art”, “down with your system”, “down with your religion” - four cries of four parts.”
The theme of love did not disappear from the poem; the initial impulse was so powerful, so internally withering that it permeated the entire poem, every part of it, with its nervous current. But this feeling is no longer autonomous; it takes on the character of a social drama. Praying for pure love, not corrupted by any self-interest, the poet transfers all the passion of denial to the bourgeois world order. In it he sees evil, distorting morality, distorting art. He challenges God himself, he is the “thirteenth apostle” - a powerful image of negation, rebellion (as the poem was first called).
Blasphemy, aggressive language, street rudeness and deliberate anti-aestheticism reveal anarchic tendencies and the rebellious element of the poem. And although Mayakovsky, blaspheming, exalts a person, the elements overwhelm him: “Take your hands out of your trousers, you walkers, take a stone, a knife or a bomb...”
Suffering and despair push the hero of the poem to revolt, and his suffering splashes out on such a powerful lyrical wave that can drown a person, dragging him into a stream of unprecedented passions. This is where paradoxical metaphors are born: “Mom! Your son is beautifully sick! Mother! His heart is on fire!”; “I’ll roll out my teary eyes. Let me lean on my ribs."
Mayakovsky's anti-bourgeois rebellion in this poem was also a revolt against salon art, drained of blood by the naked aesthetics. Indirectly, with the instinct of a healthy, socially programmed person, Mayakovsky thus opposes futurism with its essentially aesthetic concept of art. The poet proceeds from a deeply democratic need: “... the street is writhing, tongueless - it has nothing to shout or talk with.” Art in its concept, resulting from the meaning of the poem, acquires a social, moral character.
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