Mayakovsky's satire - features, description and interesting facts. Satirical works

1. Mayakovsky's early satire.
2. Satire in the fight against the remnants of the past.
3. Satirical depiction of reality in the poet's work.

Laughter cannot kill anything, laughter can only crush.
V. V. Rozanov

At all stages of his work, V. V. Mayakovsky created satirical works. At the beginning of his writing career, the poet collaborated with the magazines "Satyricon" and "New Satyricon", the main thematic focus of which is quite clear from the title. Both in poetry and in plays, Mayakovsky preferred satire. The themes, the images subjected to ridicule of the poet, changed over time. The main characteristic of the poet's satire is its relevance, compliance with the mood of the era.

In the early poetry of Mayakovsky, satire is permeated with the spirit of anti-bourgeoisness, and satirical works are not devoid of romanticism. In his poems one can see the conflict traditional for romantic poetry: the conflict creative personality against society, rebellion, loneliness, the desire to annoy and shock the “rich and well-fed”. Outrageousness was typical of futurism, the trend to which Mayakovsky belonged. The satirical depiction of an alien philistine environment characterizes Mayakovsky's poetry of that period. The poet sees her as soulless, immersed in the world of base interests, in the world of materialism, as in the poem "Nate" (1913):

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.

"Oysters", looking "from the shells of things", the bourgeois and the bourgeois, became the main object of Mayakovsky's ridicule. His satire was aimed at combating lack of spirituality. Already in early satirical poetry, the author uses artistic means traditional for satirical literature. For example, in the title of many of his works we see the ironic use of the word "hymns". Why ironic? “Hymn to Dinner”, “Hymn to the Scientist”, “Hymn to Criticism”... The first of the listed names is especially indicative. A hymn is a solemn song. Solemn song for dinner? Yes, in a satirical way. Mayakovsky's hymns are an evil satire. His heroes are dull people who do not know how to enjoy life, seeking to deprive the world around them of freedom, brightness and versatility. Mayakovsky's heroes strive to regulate life, to subordinate it to a number of rules. A particularly vivid satire is heard in the Hymn to Dinner. The heroes of this work were well-fed, symbolizing the bourgeois hated by Mayakovsky. Instead of a man, the hero of the poem was ... the stomach. Instead of a whole, a part is called. This technique in literary criticism is called synecdoche. And this is how it sounds in the "Hymn to Dinner":

Panama stomach!
Will they infect you with the majesty of death for a new era?!
You can't hurt your stomach
except for appendicitis and cholera!

The turning point in the work of Mayakovsky, to a certain extent, can be called a ditty composed in 1917:

Eat pineapples, chew grouse,
Your last day is coming
bourgeois.

Here, Mayakovsky has not yet departed from the romanticism characteristic of his early work, but the influence of the ideas of the new government is already being felt. The poet sincerely believed in the revolution. He expected the appearance of the new government as a breath of fresh air, as a deliverance from bourgeois narrow-mindedness, petty-bourgeois "thingism". But the relationship between the poet and the new government did not develop as smoothly as he imagined. However, this is a topic for a whole study.

Since 1917, Mayakovsky's satire has come to the service of the new government. To ridicule the enemies of the revolution was for the poet tantamount to fighting them. After all, laughter is also a weapon. In the first years after the revolution, Mayakovsky wrote poems that made up "Windows of GROWTH", propaganda posters on the topic of the day. Mayakovsky, both as a poet and as an artist, took part in their creation. In "Windows of GROWTH" the poet uses such means of artistic expression as grotesque, parody, hyperbole. The heroes of his topical poems were white generals, irresponsible peasants and workers, and, of course, bourgeois - always with fat bellies, in top hats.

Mayakovsky made maximalist demands for a new life and a new government. That is why his satire touched the shortcomings of the Soviet era. These tendencies were reflected, for example, in such satirical poems of the poet as "About rubbish", "Protsessed". In the poem "Seated" Mayakovsky creates a grotesque picture of constant meetings. In the poem "On rubbish" he again refers to the antiphilistine pathos:

Naked from a five-year sitting ass,
strong as washbasins,
live to this day -
quieter than water.
Cozy offices and bedrooms were built.

At first glance, harmless details of everyday life, such as a samovar or canaries, are associated with philistinism and become its symbols:

On the wall Marx.
Ala frame.
Lying on Izvestia, the kitten is warming,
And from under the ceiling
squealed
rabid canary.

And finally, the poet cannot stand it and speaks out, literally screams, protesting against the bourgeoisie .. At the end of the poem, we see a grotesque picture - an image that has become traditional for literature. Marx comes to life in the portrait and shouts:

They entangled the revolution of the philistine threads -
More terrible than Wrangel is the philistine way of life.
Quicker
roll the heads of the canaries -
so that communism
was not beaten by canaries!

Less well known are such satirical works in which the poet does not speak from the position of a militant revolutionary. For example, in the work “The poem about Myasnitskaya, about the woman and about the all-Russian scale” is permeated with common sense. Baba, whose snout was “covered with mud” on Myasnitskaya Street, has nothing to do with the revolution, global problems. Mayakovsky's poems about the passion of the new authorities to name everything in the world after heroes are permeated with a similar common sense. In the poem "Strictly Forbidden" (1926), one can read the following lines:

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.
Ready to paint the platform of Krasnodar to heaven.
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 this poem, we see a clash of sincere human impulses and interests with a clerical system in which everything is strictly subject to rules. It is no coincidence that the poem begins with a description of spring, joy. Poetic inspiration is expressed in the most ordinary phenomena. And here the clash of words that are contrasting in terms of the sphere of use - “Chinese tea caddy” with bureaucracy is “forbidden”. With amazing accuracy, Mayakovsky conveys the feelings of a person who is faced with a strict ban. The person no longer rejoices, does not laugh, he "giggles, looking for patronage." Mayakovsky's satirical poems still sound relevant today.

No other works of Russian poets are so replete with irony and ridicule as the work of Vladimir Vladimirovich Mayakovsky. unusually sharp, topical and mostly socially directed.

Curriculum vitae

Mayakovsky was born in Georgia. It was there, in the village of Baghdadi, that the future poet was born on July 17, 1893. In 1906, after the death of his father, he moved to Moscow with his mother and sisters. For an active political position, he goes to prison several times. Ends Even in his student years, Mayakovsky's futuristic path begins. Satire - along with shocking and bravado - is becoming hallmark his poetry.

However, futurism, with its nihilistic protest, could not fully contain the full force of Mayakovsky's writing, and the themes of his poems quickly began to go beyond the chosen direction. More and more they heard the social overtones. The pre-revolutionary period in Mayakovsky's poetry has two pronounced directions: accusatory satirical, revealing all the shortcomings and vices, disastrous, behind which terrible reality destroys a person who embodies the ideal of democracy and humanism.

Thus, satire in the work of Mayakovsky at the earliest stages of his work became a hallmark of the poet among his comrades in the literary workshop.

What is futurism?

The word "futurism" is derived from the Latin futurum, meaning "future". This is the name of the avant-garde movement of the early 20th century, which is distinguished by the denial of past achievements and the desire to create something radically new in art.

Features of futurism:

Anarchy and rebellion.
Rejection of cultural heritage.
Cultivating progress and industry.
Epatage and pathos.
Rejection of established norms of versification.
Experiments in the field of versification with rhyme, rhythm, orientation to slogans.
Creation of new words.

All these principles are perfectly reflected in Mayakovsky's poetry. Satire organically merges into these innovations and creates a unique style inherent in the poet.

What is satire?

Satire is a way of artistic description of reality, the task of which is to denounce, ridicule, impartial criticism of social phenomena. Satire most often uses hyperbole and the grotesque to create a distorted conditional image that embodies the ugly side of reality. Her main characteristic- a pronounced negative attitude towards the depicted.

The aesthetic orientation of satire is the cultivation of the main humanistic values: kindness, justice, truth, beauty.

In Russian literature, satire has a deep history, its roots can already be found in folklore, later it migrated to the pages of books thanks to A.P. Sumarokov, D.I. Fonvizin and many others. In the 20th century, the power of Mayakovsky's satire in poetry knows no equal.

Satire in verse

Already in the early stages of his work, Vladimir Mayakovsky collaborated with the magazines New Satyricon and Satyricon. The satire of this period has a touch of romanticism and is directed against the bourgeoisie. The poet's early poems are often compared with Lermontov's because of the opposition of the author's "I" to the surrounding society, because of the pronounced rebellion of loneliness. Although Mayakovsky's satire is clearly present in them. The poems are close to futuristic settings, very original. Among these are: “Nate!”, “Hymn to the Scientist”, “Hymn to the Judge”, “Hymn to Dinner”, etc. Already in the titles of the works, especially the “hymns”, one can hear irony.

The post-revolutionary work of Mayakovsky dramatically changes its direction. Now his heroes are not well-fed bourgeois, but enemies of the revolution. Poems are complemented by slogans and reflecting the surrounding changes. Here the poet showed himself as an artist, since many works consisted of verse and drawing. These posters are part of the ROSTA window series. Their characters are irresponsible peasants and workers, White Guards and bourgeois. Many posters denounce the vices of modernity, which remained from past life, since post-revolutionary society seems to Mayakovsky an ideal, and everything bad in it is a relic of the past.

Among the most famous works, where Mayakovsky's satire reaches its apogee, are the poems "Seated", "About rubbish", "A poem about Myasnitskaya, about a woman and about the all-Russian scale." The poet uses the grotesque to create absurd situations and often speaks from a position of reason and a sound understanding of reality. All the power of Mayakovsky's satire is aimed at exposing the shortcomings and deformities of the world around him.

Satire in plays

Satire in the work of Mayakovsky is not limited to poems, it also manifested itself in plays, becoming a meaning-forming center for them. The most famous of them are "Klop" and "Bath".

The play "Banya" was written in 1930, and already with the definition of its genre, the author's irony begins: "a drama in six acts with a circus and fireworks." Its conflict consists in the confrontation between the official Pobedonosikov and the inventor Chudakov. The work itself is perceived easily and funny, but it shows the struggle with a senseless and ruthless bureaucratic machine. The conflict of the play is resolved very simply: a “phosphoric woman” arrives from the future and takes the best representatives of humanity with her, to where communism reigns, and bureaucrats are left with nothing.

The play "The Bedbug" was written in 1929, and on its pages Mayakovsky is at war with the bourgeoisie. The main character, Pierre Skripkin, miraculously ends up in a communist future after a failed marriage. It is impossible to clearly understand Mayakovsky's attitude to this world. The poet's satire mercilessly ridicules his shortcomings: machines do the work, love is eradicated... Skripkin seems to be the most alive and real person here. Under his influence, society gradually begins to collapse.

Conclusion

Vladimir Vladimirovich Mayakovsky becomes a worthy successor to the traditions of M.E. Saltykov-Shchedrin and N.V. Gogol. In poems and plays, he manages to aptly identify all the "ulcers" and shortcomings of the contemporary writer's society. Satire in the works of Mayakovsky bears a pronounced focus on the fight against the bourgeoisie, the bourgeoisie, bureaucracy, the absurdity of the surrounding world and its laws.

No other works of Russian poets are so replete with irony and ridicule as the work of Vladimir Vladimirovich Mayakovsky. unusually sharp, topical and mostly socially directed.

Curriculum vitae

Thus, satire in the work of Mayakovsky at the earliest stages of his work became a hallmark of the poet among his comrades in the literary workshop.

What is futurism?

Features of futurism:

Anarchy and rebellion.
Rejection of cultural heritage.
Cultivating progress and industry.
Epatage and pathos.
Rejection of established norms of versification.
Experiments in the field of versification with rhyme, rhythm, orientation to slogans.
Creation of new words.

All these principles are perfectly reflected in Mayakovsky's poetry. Satire organically merges into these innovations and creates a unique style inherent in the poet.

What is satire?

Satire is a way of artistic description of reality, the task of which is to denounce, ridicule, impartial criticism of social phenomena. Satire most often uses hyperbole and the grotesque to create a distorted conditional image that embodies the ugly side of reality. Its main characteristic feature is a pronounced negative attitude towards the depicted.

The aesthetic orientation of satire is the cultivation of the main humanistic values: kindness, justice, truth, beauty.

In Russian literature, satire has a deep history, its roots can be found already in folklore, later it migrated to the pages of books thanks to A.P. Sumarokov, D.I. Fonvizin and many others. In the 20th century, the power of Mayakovsky's satire in poetry knows no equal.

Satire in verse

The post-revolutionary work of Mayakovsky dramatically changes its direction. Now his heroes are not well-fed bourgeois, but enemies of the revolution. Poems are complemented by slogans and reflecting the surrounding changes. Here the poet showed himself as an artist, since many works consisted of verse and drawing. These posters are part of the ROSTA window series. Their characters are irresponsible peasants and workers, White Guards and bourgeois. Many posters denounce the vices of modernity that have remained from a past life, since post-revolutionary society seems to Mayakovsky an ideal, and everything bad in it is a relic of the past.

Satire in plays

Satire in the work of Mayakovsky is not limited to poems, it also manifested itself in plays, becoming a meaning-forming center for them. The most famous of them are "Klop" and "Bath".

The play "The Bedbug" was written in 1929, and on its villages Mayakovsky wages war on the bourgeoisie. The main character, Pierre Skripkin, miraculously ends up in a communist future after a failed marriage. It is impossible to clearly understand Mayakovsky's attitude to this world. The poet's satire mercilessly ridicules his shortcomings: machines do the work, love is eradicated... Skripkin seems to be the most alive and real person here. Under his influence, society gradually begins to collapse.

Conclusion

And today it is believed that Mayakovsky's satire is one of his most striking poetic sides. He was considered an unsurpassed master of this genre. In his works, there was often an exciting civic pathos, which organically coexisted with soulful lyricism. As well as merciless satire, which was filled with many of his poems.

Features of Mayakovsky's satirical creativity

Speaking of Mayakovsky's satire, many compare it to Swift's mocking laughter. This English writer in caustic pamphlets also shocked his contemporaries.

Many researchers have long noticed that the purer and higher the poet imagined the ideal of the new Soviet man, which the authorities so dreamed of, the more ruthlessly he fell with all his might on the vulgarity and bad taste that surrounded him. As well as vile predation and greed.

Critics of those years argued that the philistinism met in the face of the poet Mayakovsky too strong and biting enemy. Satire in the works of Mayakovsky also often falls on clumsy and thieving officials, on general rudeness and sycophancy. The poet categorically could not stand the spiritual hardness in a person, he called it "mental lying on the stove."

Terrible laugh

Satire in Mayakovsky's poetry occupied an important place. He himself called it "terrible laughter." The poet was sure that his poems help to burn out all sorts of nonsense and rubbish from life.

At the same time, he paid great attention to precise and vivid rhyme. He believed that it could be not only a slogan and caress, but also a whip and a bayonet. All sorts of bureaucrats and loafers, as well as scoundrels and plunderers of people's property, suffered greatly from him. The objects to which Mayakovsky's satire was directed were the most diverse. Almost like the reality around him.

The satirical whip of the poet was so sophisticated that the enemy got it, wherever he was, under whatever guise he was hiding. Mayakovsky denounced sycophants, interventionists, enemies of the Soviet people, officials who received a party card only for the sake of profit and their own benefit.

"Oh shit"

Speaking of Mayakovsky's satire, one can cite the poem "On Rubbish" as a vivid example. In it, the author describes a classic tradesman who seems to stick out from behind the back of the RSFSR. An inimitable and memorable image of Comrade Nadia.

Mayakovsky describes her as a woman who has emblems on her dress, and without a hammer and sickle it is impossible to appear in the world.

Mayakovsky's rejection of philistinism is similar to how Gorky relates to this class. He also hates him and makes fun of him, exposes him for any reason. This happens both in everyday life and in art, as well as among a large number the youth of his day.

Similar themes can be found in Mayakovsky's poems "Give a Graceful Life", "Love", "Marusya Poisoned", "Beer and Socialism", "Letter to Molchanova Beloved".

Satirical themes of Mayakovsky

The relevance of Mayakovsky's satire at that time was felt, perhaps, by everyone. He did not shy away from touching on the most acute and problematic issues. It is noteworthy that not only his poems were satirical, but also dramatic works. For example, the still popular comedies "Bath" and "Bedbug".

In the center of the narrative of the play "The Bedbug" is a character named Prisypkin. He does not like this surname, he wants elegance and is renamed Pierre Skripkin. The author characterizes him as a former worker who today became a groom. He marries a girl named Elsevira Renaissance. Grace, too, does not occupy her. She works as a manicurist.

Prisypkin in the future

Prisypkin is carefully preparing for the upcoming marriage. To do this, he buys red ham and red-headed bottles, because a red marriage is ahead. Then there is a whole list of fantastic and incredible events, as a result of which Prisypkin manages to survive in a frozen form until the bright future of communist society.

People who meet him in the future unfreeze the hero and look with surprise at the human being who eats vodka, as they note. Around him, Prisypkin begins to spread the fetid bacilli of alcoholism, begins to infect everyone around him with the worst human qualities which were characteristic of many of his contemporaries. So, in a satirical form, Mayakovsky ridicules sycophancy, as well as excessive sensitivity, which the author calls "guitar-romance".

In this society of the future, Prisypkin becomes a unique specimen, for which the very place is in the zoological garden. He is placed there along with the bug, which has been his constant companion all this time. Now he is an exhibit, which they specially go to stare at.

The play "Bath"

As an example of satire in the work of V. Mayakovsky, many cite another of his plays "Banya". In it, the poet sharply ridicules the bureaucratic Soviet institution.

Mayakovsky wrote that the bath washes or simply erases bureaucrats of all stripes. The protagonist of this work is the main head of the coordination management. In abbreviated form, his position sounds like the chief pups. With this detail, the author caustically notes the passion of the Soviet authorities for such abbreviations and abbreviations. The surname of this character is Pobedonosikov.

The Komsomol members who surround him invent an amazing time machine. On her main character seeks to leave for a brighter future. In the so-called communist age. In preparation for the journey, he even prepares mandates and relevant travel certificates writes out his own daily allowance.

But the whole plan fails as a result. The machine sets off, moving through the five-year plans, it carries hardworking and honest workers behind it, spitting out Pobedonosikov himself and useless officials like him on the go.

Set of satirical means

Satire in Mayakovsky's work is one of the most popular and widespread techniques. Working with him, the poet uses a wide range of different means. Mayakovsky himself called satire his favorite formidable weapon more than once. He had his own wit cavalry, whose heroic raids almost no one could repel.

One of the poet's favorite tricks was extreme hyperbolism. Hyperbolizing everything around him, Mayakovsky created truly fantastic phenomena in his poems. He used these grotesque techniques even in his early creations, which are called "Hymns".

He was also very fond of literary caricature. In it, he satirically emphasized the shortcomings of the described subject, thickened the features he denounced. An example of the use of such satire in Mayakovsky's poems is "Nuns".

Hatred for religious hypocrisy

Mayakovsky, like no one else, ridiculed religious hypocrisy. Also important role all sorts of literary parodies played in his work. For example, in the poem "Good!" he brilliantly parodied the text of Pushkin himself.

The witty parody that Mayakovsky presents to our court greatly enhances the effect of satirical exposure, which he achieves by all means. The poet's satire is always sharp, it stings flawlessly and always remains original and unique.

"Happy"

One of the classic examples of this poet's satire is "The Sitting Ones". This poem was first published in 1922 in the Izvestia newspaper. Mayakovsky begins with a calm and even light irony, gradually intensifying his righteous anger towards the bureaucratic apparatus.

In the plot, he tells how the working day of the "sitting" begins. At dawn, they rush to their institutions, trying to surrender there to the power of "paperwork".

Already in the second stanza, a petitioner appears who knocks on the threshold in the hope of getting an audience with the leadership and solving his old problem. He has long dreamed of getting to the elusive "Ivan Vanych", as everyone here calls him. He cannot come down to common man constantly disappearing from meetings.

Mayakovsky mockingly writes about the imaginary nature of the allegedly important affairs in which such Ivan Vanych is busy. And then immediately resorts to hyperbole. It turns out that their worries, which they are poring over, are the unification of the theatrical department of the People's Commissariat of Education with the Main Directorate of Horse Breeding, as well as the issue of buying ink and other stationery. They solve such problems instead of actually helping people.

V. Mayakovsky created satirical works at all stages of his creative path. It is known that in his early years he collaborated in the magazines Satyricon and New Satyricon, and in his autobiography I Myself, subject to 1928, that is, two years before his death, he wrote: ” as opposed to the 1927 poem “Good-rosho”. True, the poet never wrote "Bad", but he paid tribute to satire both in poetry and in plays. Her themes, images, focus, initial pathos changed.

In the early poetry of V. Mayakovsky, satire is dictated primarily by the pathos of anti-bourgeoisness, which is also of a romantic nature. In the poetry of V. Mayakovsky, a conflict of a creative personality, traditional for romantic poetry, arises, the author's "I" - a rebellion (it is not without reason that early V. Mayakovsky's poems are often compared with Lermontov's), the desire to tease, annoy the rich and well-fed, in other words, shock them.

For futurism - the direction in poetry to which the young author belonged - such a theme was typical. The alien philistine environment was portrayed satirically. The poet draws her (the poem "Nate!") as soulless, immersed in the world of base interests, in the world of things:

Here you are, man, you have cabbage in your mustache

Here you are, woman, - thick whitewashed on you,

Already in early poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for Russian poetry and satirical literature. Thus, irony was introduced into the 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 judges, dull people who themselves do not know how to enjoy life and bequeath it to others, strive to regulate everything, make it colorless and boring. The poet names Peru as the place of action 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 criticism 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

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,

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 has become important for the poet for many years. In the first years after the revolution, the poet wrote poems that made up the "Windows of 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 - popular prints, which also consisted of pictures and captions to them . In "Windows of GROWTH" V. Mayakovsky uses such satirical devices as grotesque, hyperbole, parody. So, some inscriptions were created on the motives of well-known songs, for example, “Two Grenadiers to France” or “Flea”, famous for Shalyapin's performance. Almost always their characters - white generals, irresponsible workers and peasants, bourgeois - are always in a top hat 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 gives a grotesque picture of endless meetings of new officials. A grotesque picture emerges in "The Sitting Ones". The fact that “half people” are sitting is not only the realization of a metaphor - people are torn in half in order to do everything, but also an assessment of such meetings.

In these works, Mayakovsky is faithful to the traditions of Russian literature, as he continues the theme begun by Fonvizin, Griboyedov, Gogol and Saltykov-Shchedrin. So, in Mayakovsky’s poems “On Rubbish” and “The Sitting Ones”, the poet widely uses a whole range of comic devices to describe bureaucrats and bourgeois, whose desires do not extend beyond the “Pacific breeches” and the desire to “figure” in a new dress “at the ball in the Revolutionary Military Council. The poet uses both smashing epithets, and vivid comparisons, and unexpected allegories, but hyper-bole, sarcasm and grotesque reveal the essence of the vice with particular clarity.

For example, let's draw a parallel between the "Seated" and "Inspector". Both of them are complete literary works, having a plot, a climax and a denouement. The beginning of both works is hyperbolic: hopeless attempts by officials to get into several meetings at once, where the “purchase of a bottle of ink” is discussed, and in another work, out of horror, officials recognize Khlestakov as an auditor. The climax is grotesque. In "Happened": And I see:

Half of the people are sitting

Oh devilry!

Where is the other half?

In a few lines, Mayakovsky brought the situation to the point of absurdity. There is a smoother transition to the climax in Gogol's "Inspector General", but in its absurdity it is not inferior to "The Prosperous" and is characterized, for example, by such situations as a non-commissioned officer flogged herself, Bobchinsky, asking to be brought to the attention of His Imperial Majesty that in "such and such a city lives Pyotr Ivanovich Bobchinsky."

In the development of The Inspector General, Gogol reflected his belief in the strength and justice of the highest authority, in the inevitability of punishment. The denouement of "Prose-sedated" is ironic, which probably indicates that Mayakovsky understood the vitality, indestructibility of bureaucracy.

If we talk about Mayakovsky’s poem “On Rubbish”, then here we will find both the grotesque in the image of the revived Marx, calling to turn the heads of petty-bourgeois canaries, and the hyperbolic epithet “Pacific galifis”, and the sarcastic expression “mur-lo tradesman”, and the comparison “ buttocks as strong as washstands. The poet does not hesitate to use these tropes and stylistic figures, considering the philistine life, which is "more terrible than Wrangel."

This poem can be correlated with the pathos of Saltykov-Shchedrin's work. In his works, sarcasm, grotesque and hyperbole are found literally on every page, especially in "The Wild Landowner", "The Tale of How One Man Feeded Two Generals", "History of a City". In his works, Saltykov-Shchedrin often used the technique of fantasy. A similar technique was also used by Mayakovsky in the play Bedbug, in which Pierre Skripkin is transported into the future.

V. V. Mayakovsky followed the traditions of Gogol and Saltykov-Shchedrin not only in the use of literary devices, but also in the very subject matter of his satirical works, directed against inertia of thinking, bureaucratic, petty-bourgeois life and philistine vulgarity.

Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the standpoint of militant revolutionism, but from the standpoint of common sense. One of these poems is "A poem about Myasnitskaya, about a ba-be and about an all-Russian scale."

Here, the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of the average person. Baba, who was “covered with mud” on the impassable Myasnitskaya Street, does not care about global all-Russian scales. In this poem, you can see a roll call with the common sense speeches of Professor Preobrazhensky from M. Bulgakov's story "Heart of a Dog". The satirical poems of V. Mayakovsky about the passion of the new authorities to give the names of heroes to everyone and everything are permeated with the same common sense. So, in the poem “Terrifying familiarity”, the poet invented, but quite reliable, “Meyerhold Combs” or “Dog named Polkan” appear.

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.

Ready to paint the platform of Krasnodar to heaven.

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, lowering my eyes to the ground, only giggled, seeking protection,

And I want to ask a question, but it’s impossible - the government will still be offended!

In the poem, there is a clash of natural human feelings, moods with bureaucracy, with the clerical system, in which everything is regulated, strictly subject to 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. V. Mayakovsky finds an amazing comparison: “The mood is a Chinese teapot!”. Immediately a feeling of something joyful, festive is born, and such moods are crossed out by strict bureaucracy. The poet, with amazing psychological accuracy, 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 it should be noted that rhymes "work" in it. So, the funniest word - "caddy" - rhymes with the verb "forbidden" from the wretched official vocabulary. The poet also uses here a characteristic technique for him - neologisms: to the coach, nizya - a gerund from the non-existent “lower”. They are actively working on the disclosure of artistic intent. The lyrical hero of this work is not an orator, not a wrestler, but simply a person with his natural mood, inappropriate where everything is subject to strict regulations.

The poet Mayakovsky has entered our consciousness, our literature as "an agitator, a bawler, a ringleader." He really stepped towards us "through lyrical volumes, as if he were alive talking to the living." His poetry is loud, irrepressible, frantic. Rhythm, rhyme, step, march - all these words are associated with the poet's work. This is truly a giant poet. And the true assessment of his work is yet to come, because he is too large, voluminous, his poetry does not fit into a narrow and cramped world our representations.

The struggle against bureaucracy, vulgarity, sycophancy is one of the main themes of Mayakovsky's work. Mayakovsky created satirical works at all stages of his work. In the early poetry of Mayakovsky, satire is dictated, first of all, by the pathos of anti-bourgeoisness, and it is of a romantic nature. There is a conflict, traditional for romantic poetry, between the creative personality, the author's "I" - rebellion, loneliness (it is not for nothing that Mayakovsky's early poems are often compared with Lermontov's), the desire to tease, annoy the rich and well-fed. This was characteristic of futurism - the poetry of the direction to which the young author belonged. 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.

It should be noted that already in early poetry Mayakovsky uses the entire arsenal of traditional means of satire, which is so rich in Russian literature. 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 forbid it to others, strive to regulate everything, make it colorless and dull.

It would seem that you can make fun of 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 author uses a technique that in literary criticism is called a synecdoche: instead of the whole, a part is called. In the Hymn to Dinner, instead of a person, the stomach acts:

Panama stomach! Will they infect you

The majesty of death for a new era?!

You can't hurt your stomach

Except appendicitis and cholera!

If we continue the gastronomic theme, then a ditty composed by him in October 1917 became a kind of turning point in the satirical work of V. Mayakovsky:

Eat pineapples, chew grouse,

Your last day is coming, bourgeois.

Here you can still feel the early romantic poet, and Mayakovsky is visible, putting 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 - a rebel and a futurist, 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." In the post-revolutionary period, the satirical orientation of 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 were poems that made up the "Windows of ROSTA" (Russian Telegraph Agency) - propaganda posters on the topic of the day. 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.

“I am a sewer and a water carrier, mobilized and called upon by the revolution ...” Mayakovsky wrote about himself. In "Windows of GROWTH" Mayakovsky uses such satirical devices as grotesque, hyperbole, and parody. So, some inscriptions are created on the motives of famous songs, for example, "Two Grenadiers to France" or "Fleas" famous for Shalyapin's performance. Their characters are white generals, irresponsible workers and peasants, bourgeois.

Mayakovsky makes maximalist demands for a new life, so many of his poems satirically show its vices. The satirical poems "About rubbish", "Prosadyasyushchiesya" gained great fame. The latter creates a grotesque picture of how new officials sit endlessly, although, knowing today about the activities of the then authorities in Russia, this weakness of theirs seems to us rather harmless.

In the poem "On rubbish" Mayakovsky seems to return to the former anti-philistine pathos.

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, a traditional literary image of a portrait comes to life, 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 Mayakovsky, in which he speaks not from the position of militant revolutionism, but from the position 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. In this poem, one can see a roll call with the common sense speeches of Professor Preobrazhensky from M. Bulgakov's story "Heart of a Dog".

Mayakovsky's satirical poems about the passion of the new authorities to give the names of heroes to everyone and everything are permeated with the same common sense. In the poem "Terrifying familiarity" appear invented by the poet, but quite reliable "Combs Meyerhold" or "Dog named Polkan". In 1926, V. Mayakovsky wrote the poem "Strictly Forbidden". 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 and does give rise to a joyful mood, even the most mundane phenomena, such as the station platform, cause poetic inspiration. 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 lyrical hero of this work is not a speaker, 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.

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 counterbalance 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 B. Mayakovsky, the conflict of the creative personality, the author's “I”, traditional for romantic poetry, arises - rebellion, loneliness (it is not without reason that early V. Mayakovsky’s poems are often compared with Lermontov’s), 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, husband, 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 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.

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 - many poems were accompanied by drawings, 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 devices as grotesque, hyperbole, parody - for example, some inscriptions are created on the motives of famous songs, for example, "Two grenadiers to France .." or known for Shalyapin's performance of "Fleas". 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”, “Protected” 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 in time - but the very price of such meetings.

In the poem “On rubbish”, V. Mayakovsky seems to return to the former anti-philistine pathos. 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 striving 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 "Heart of a Dog". 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,

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 a nightingale trailer.

Mood - Chinese teapot!

And suddenly on the wall: - Ask questions

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,

Looking for 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 a speaker, 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.

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SATIRICAL WORKS OF V. MAYAKOVSKY

Satire of the 20th century.

Satirical techniques of V.V. Mayakovsky and M.A. Bulgakov.

Satire is a kind of comic, an aesthetic category, the only subject of which is a person. The subject of satire is human vices. It is characterized by a negative, revealing tone of assessment. The source of satire is the contradiction between common human values and the reality of life.

There are the following types of satire.Irony - the funny is hidden under the mask of the serious.Humor - the serious is hidden under the mask of the funny.Sarcasm - the highest degree of irony, caustic mockery.

Literary critics note the followingmeans of satire: 1) hyperbole (i.e. exaggeration), grotesque (strong exaggeration);

2) discrepancy between the definition of the subject and its actual state;

3) the contrast between what a person should do and what he does.

Progressive Russian writers have long turned to satire as an effective means of combating the ugly phenomena of contemporary life. Answering the burning questions of public life, Russian classical satire brought up more than one generation of thinking, educated people. These are the following works: Pushkin's epigrams, Fonvizin's "Undergrowth", Gogol's "Inspector General" and "Dead Souls", Saltykov-Shchedrin's "History of a City".

In the 20th century, satirical literature was enriched by such authors as Sasha Cherny, Vladimir Mayakovsky, Mikhail Zoshchenko, Arkady Averchenko, Ilf and Petrov, Mikhail Bulgakov.

The vast majority of Russian writers, depicting life, also sought to influence a person. The author of The Tale of Igor's Campaign strove for the unity of the Russian princes. Pushkin sang and brought freedom closer. The satirical writers Gogol, Saltykov-Shchedrin, Chekhov sought to save people from the vulgarity of life.

Mayakovsky saw his main task as bringing the future closer with the help of his poems. Directly intrude into life in order to change it for the better - this is the task of art, according to Mayakovsky. His weapon is the poetic word. In all periods of Mayakovsky's work, his favorite kind of poetry was satire:

weapons

beloved family,

finished

rush in boom,

frozen

wit cavalry,

raising rhymes

sharpened peaks.

Since February 1915, Vladimir Mayakovsky has been published in A. Averchenko's magazine "New Satyricon". 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 names of a number of works, which the poet designated as “hymns”: “Hymn to the Judge”, “Hymn to Dinner”, “Hymn to the Scientist”, “Hymn to Health”, “Hymn to Criticism”. As you know, the anthem is a solemn song. Mayakovsky's hymns are evil satire. In them, the subject of the poet's attention are individual institutions of bourgeois civilization: justice, science, art, etc. Together they create an expressive picture of a rotten system. Whatever phenomena of the capitalist world the poet illuminates, he sees in them one common feature: hostility to man. This gives Mayakovsky's satire a pronounced character.

For example, the poem "Hymn to the Scientist" is a satire on a person who is completely cut off from life, whose scientific activity has no practical use:

Not a man, but two-legged impotence,

With a head bitten clean

Treatise on warts in Brazil.

A particularly vivid satirical pathos is heard in the Hymn to Dinner.

The poem was first published in the 29th issue of the New Satyricon magazine. This is a satirical apotheosis of gluttony "fat". Emphasizing the main idea, already in stanza 1 the poet uses inversion:

Glory to you, millions going to dine!

And already managed to eat thousands!

The irony of Mayakovsky is reinforced by the hyperbole “and thousands of dishes of all kinds of food”, while the author uses the magnifying suffix -isch-, which in speech has a rudely disparaging connotation.

An important role in this stanza is played by the alliteration of the sounds “sh”, “h”, “u”. It seems that you hear around you people chewing food, even champing. This alliteration runs throughout the poem.

Gradually, the poet moves from irony to sarcasm, using a bright synecdoche in stanza 3 (that is, instead of the whole, he names a part): “The stomach is in panama!”

And the most caustic sarcasm of the poet is felt in the 4th stanza:

Let the pupils completely drown in fat -

anyway, your father made them in vain;

at least put on glasses on the caecum,

the gut wouldn't see anything anyway.

Mayakovsky uses a poetically veiled curse, drawing thick cheeks, swollen eyes of "fat", comparing them with a blind gut.

Such an evil mockery of the rich is explained by the fact that the poet does not accept their philosophy of life, in which the main place is given to the stomach. The meaning of human life is not in food, but in being able to sympathize, compassion. After all, the poem was written in 1915, at the height of the World War. The sincere indignation of V. Mayakovsky is permeated with the lines of the 7th stanza:

Sleep without worrying about the picture of blood

and the fact that the world is surrounded by fire ...

The alliteration of the sounds "r", "zh" in these lines allows you to hear the sounds of explosions, shots, but nothing can disturb the well-fed and "fat". For such indifference, indifference to the tragedy of war, the poet castigates the "stomach in Panama."

The poet is amazed at the ability of gluttons not to notice anything around, putting their own satiety at the forefront:

If the last bull's neck is cut

and the last cereal from the gray stone,

you, faithful servant of your custom,

you can make canned food out of the stars.

So Mayakovsky evilly, satirically succinctly and aptly ridicules gluttons and gluttons.

Mayakovsky's satire in the years of Soviet power takes on a new character, it is built on accusatory laughter, but not only denounces, ridicules, but above all affirms the ideal by contradiction. At the same time, satire takes on an agitational, educational character and is a very topical genre of literature.

Conventionally, Mayakovsky's satire can be divided into

political, where Mayakovsky denounced politicians from various capitalist countries. Cycle "Mayakovskaya Gallery"

anti-bureaucratic, where the poet condemned certain shortcomings in life public institutions. For example, the poems "Seated", "Bureaucratiad".

anti-philistine, where Mayakovsky denounced the shortcomings in everyday life, satirically portrayed the “muzzle of a petty bourgeois”, considering petty bourgeoisie the most dangerous phenomenon in our country. This topic is especially relevant during the NEP period. For example, the verses “About rubbish”, “Marusya got poisoned”, “Give a fine life” and others.

Satirical poetry was diverse in its genre features.

Mayakovsky used

1) the genre of satirical poetic feuilleton. For example, "Protsessed", "About rubbish", etc.

2) the genre of a satirical portrait For example, the poems "Coward", "Servant", "Pillar"

satirical songs, fables, ditties, riddles. For example, a ditty, composed back in October 1917:

Eat pineapples, chew grouse,

Your last day is coming, bourgeois.

Vladimir Vladimirovich Mayakovsky masterfully mastered various techniques of comic effect, skillfully used vocabulary, rhythm, and plot.

Self-revealing speech of the hero.

The satirical character makes a direct speech, expresses himself, and by doing this he exposes himself, without feeling it, considering himself right. Hence the comic effect. For example, the poem "Pillar". The literary hero is a certain Ivan Ivanovich Popov, he is outraged that the newspapers publish criticism of the leaders. The hero sincerely exclaims:

Criticism from below

it's poison.

Above -

this is the cure!

Well, can you afford

Nizam,

contract,

everyone!? - engage in criticism?

Parodic use of the form of famous poetic texts.

Mayakovsky skillfully uses the fables of Krylov, the poems of Zhukovsky and other poets. In the poem "Who is he?" the poet exposes the lack of culture in everyday life. The speaker, barely having time everywhere, runs to the debates on the "Cultural Revolution", and he himself does not even wash himself:

Like a ham ham

unshaven cheeks are black from dirt.

The beginning of this poem repeats the lines of Zhukovsky's ballad "Forest Tsar":

Who rushes

who rides

so young…

In the anti-bureaucratic poem "The Factory of Bureaucrats", the poet parodies Lermontov's poem "Borodino":

Sweat rolled down

the pen creaked

hand cramped

and pooped again...

3) Use of hyperbole (exaggeration).

Mayakovsky brought the negative quality to a fantastically maximum extent.

In the poem "Toady" the poet writes:

His treasure is his talent:

gentle way of getting around.

Licks leg, licks hand

licks in the belt, licks below ...

... And the language!?

at 30 meters

catching up

boss got out...

Uses wrong forms of words.

For example, in a political poetic portrait, he calls Mussolini -

"kind of chimpanzee"

Creates neologisms.

For example, the title of the poem "Seated" - this word was invented by the poet. Neologisms are actively working to reveal the artistic meaning.

The plot takes it to the absurd extreme, that is, it uses the grotesque. For example, in the poem “Seated,” the poet creates a grotesque picture of how new officials sit endlessly. The fact that “half people” are sitting at the next meeting is not only the realization of a metaphor - people are torn in half - but the very price of such meetings.

In the poem with antiphilistine pathos “On rubbish”, at the end of the verse, again, a grotesque picture appears - a traditional literary image of a reviving portrait, this time a portrait of Marx, who calls for canaries to turn their heads. This appeal is understandable only in the context of the entire poem, in which canaries have acquired a generalized meaning as a symbol of philistinism.

Mayakovsky's poems vividly and distinctly convey the reality of his day. Mayakovsky's satirical works are also known, in which he speaks not from the standpoint 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. In this poem, one can see a roll call with the speeches of Professor Preobrazhensky, full of common sense, from M. Bulgakov's story "Heart of a Dog". The professor is worried about the general decline of culture, which manifests itself primarily in ordinary life: dirt, theft, inability and unwillingness of people to do their job. He believes that devastation is in the minds of people. The professor says after Mayakovsky: “It is impossible at the same time to sweep the tram tracks and arrange the fate of some Spanish ragamuffins!” We must first solve all our problems, and only then help the starving in other countries. Who will feed their hungry?

In the story of Mikhail Afanasyevich Bulgakov "Heart of a Dog" fantastic and real, comic and tragic, light irony and caustic sarcasm are intertwined. Such a combination cancels the possibility of an unambiguous interpretation of the characters and their actions and creates a peculiar, sparkling with all shades of laughter, the artistic world of the story. In this world, the drama of the dog Sharik and the drama of the man, Professor Preobrazhensky, are taking place. But the reader, having witnessed the dramatic events that almost ended tragically, cannot help laughing, just as he cannot but ponder the causes of the current tragicomic situation.

Bulgakov was concerned about the problem of the legitimacy of social experiments that took place on the scale of our country. He developed this problem as the theme of the responsibility of science to life in the story "Heart of a Dog", written in 1925. The author never saw the story printed. The story was published in Russia in 1987 and became extremely popular.

The story is based on the motive of transformation, the motive of werewolf. This is almost a fairy tale story about how a kind and observant stray dog turned into an evil humanoid creature. Formally, this is, of course, a simple medical experiment, which has as its goal the transformation of a dog into a man by transplanting the seminal glands and the pituitary gland. The plot is clearly visible grotesque character. The writer satirically authentically shows how the formation of the “new man” takes place, who recently was not just a nobody, but a dog. Even before the hollow transformation, on January 2, the creature cursed its creator “by the mother”, and by Christmas, its lexicon was replenished with all swear words. The first meaningful reaction of a new person to the creator's remarks is "Get off, nit."

The progress of the experimental creature consists in adding more and more new qualities to swearing: smoking, uncleanliness and untidiness in clothes, rudeness, playing the balalaika at any time of the day, molesting women, permissiveness. The moral character of Sharikov is more and more clearly manifested - or rather, his absolute immorality: immorality, drunkenness and theft. This process of transformation from "the sweetest dog into scum" is crowned by a denunciation of the professor, and then the threat of an attempt on his life.

Sharikov, having changed the shape of his body, did not become a man. Dr. Bormental believes that Sharikov has a dog's heart, referring to the dominance of dog traits in the laboratory creature. Professor Preobrazhensky, on the contrary. He claims that Sharikov has “precisely a human heart”, implying that Klim Chugunkin took over. What meaning did Bulgakov himself put into the epithet "dog". In this case, the possessive adjective "dog" goes into the category of quality and it means the vile qualities of a person - Klim Chugunkin.

Thus, the meaning of the title of the story is twofold: the dog's heart of the dog Sharik is trusting and devoted, the dog's heart of Sharikov is vile, corrupt, boorish.

Thanks to Shvonder, Sharikov becomes a member of society, receives a first and last name, a specialty, and a certain status in society. The chairman of the house committee does this not out of philanthropy, but only in order to show his power, to command the intelligentsia. To do this, he provokes Sharikov, sets him on a professor, "let the dog go." This is a method of implementing a metaphor: a phraseological unit takes on a literal meaning. And Sharikov becomes under the banner of social demagoguery. He does not start with a problem book with grammar, but with Engels’s correspondence with Kautsky, formulates the vulgar idea of dividing equally among all: “rob the loot.” why "live in seven rooms", have "40 pairs of trousers", dine in the dining room.

The writer uses contrasting details. On the one hand, this is a lamp under a green lampshade, a stuffed owl - a symbol of wisdom, books in glazed cabinets - these are the details that create the impression of calmness, comfort, and conditions for intellectual work. On the other hand, rudeness, drunkenness, the smell of cats, catching fleas that invaded this world. Contrasting details reinforce the opposition between the two ways of life, reinforce the satire on " new world».

Professor Preobrazhensky bitterly realizes the failure of his experiment and is forced to curtail it. Of course, at this level of the story, everything ended happily, because Sharikov again becomes a dog. Is it possible to complete an experiment carried out with an entire people, with an entire country? This is what the satirist makes the reader think about.

Both Mayakovsky and Bulgakov, in the best traditions of Russian and world literature, were characterized by pain for a person, they did not accept that literature that would depict the suffering of abstract, unreal heroes, passing by life at the same time. The satire of Mayakovsky and Bulgakov is very closely connected with modernity, it sounds relevant and topical.

Mayakovsky Vladimir Vladimirovich - Russian poet, playwright. He quickly gained popularity in literary circles, as he had talent, charisma, and was not afraid to express his opinion. From 1912, Mayakovsky began collaborating vigorously with the Futurists, and was soon able to become one of the leading poets of this controversial and complex literary movement.

Mayakovsky's satirical works were characterized by socio-psychological certainty, language expression. He did not at all try to veil the satirical debunking of untruth and insincerity, which he observed in the life around him. Both social and civil satire were significant in Mayakovsky's work.

In his works, Mayakovsky tried to match the spirit of the times, the new language of the streets, modern heroes and fashionable slogans. Trying to respond to the “social order”, Mayakovsky wrote satire “on the topic of the day”, poems and ditties for propaganda posters (“ROSTA Windows”, 1918-1921), etc. Mayakovsky’s civic position of these years was personified by his poems: “150,000,000” (1921), "Vladimir Ilyich Lenin" (1924), "Good!" (1927), the plays Bedbug (1928), Bathhouse (1929) and other works.

The poet's work reflected the combination of satire and social utopia, characteristic of Mayakovsky, especially in the post-revolutionary period:

In his arsenal of artistic means, Mayakovsky actively used grotesque imagery, a combination of everyday and fantastic coloring, single and symbolically generalized, experiments with verbal form, the use of collective images of human "crowds", "masses" as objects of satirical comprehension.

The affirmation of a new life, its social and moral structure became the main thing in his work. But do not think that Mayakovsky accepted new system unconditionally, turning a blind eye to the multiple shortcomings of the socialist system. Accepting the revolution, the poet also accepted the new role that it offered him, the role of castigator of the vices of this society. An accurate vision of the problem helped the author very accurately and bitingly describe the phenomena that should be fought and eradicated.

By the end of the 1920s, Mayakovsky had a growing sense of the inconsistency of political and social reality with the expectations that the revolution promised. The plays "Bath" (1928) and "The Bedbug" (1929) were written by the poet literally in one breath, in these comedies the poet attacked the bourgeois society, which had forgotten about the high ideals of the revolution, the old vices that successfully flourished in the new country. They are topical, each in their own way, but they also have common features - they are sharp, the satirical effect is achieved by exaggerating shortcomings and introducing fantasy elements into creativity.

The work is called “Social satire in the works of V.V. Mayakovsky's "Bedbug" and "Bath"", its purpose is to explain the meaning of the satirical works of V. Mayakovsky, the main semantic load that the poet puts into his works. In this regard, a number of tasks have to be solved:

to characterize in general the satirical orientation in the works of V.V. Mayakovsky;
consider the plays "Bedbug" and "Bath" as satirical works through which the poet denounced contemporary society.

The objects for this work were the plays by V.V. Mayakovsky's "Bug" and "Bath", the subject are those expressive language tools with which the poet denounces the vices of society. The structure of the work is as follows: it consists of three chapters, introduction, conclusion and bibliography.

The first chapter is called "Mayakovsky the satirist", this chapter contains a general overview of Mayakovsky's works with a satirical focus, in which the poet openly denounced the vices and shortcomings of society. The second chapter is called “The play “Bedbug” as a denunciation of philistinism in society”, in this chapter we will talk about one of the main vices of Soviet society in the 20s-30s - philistinism, the manifestation of which Mayakovsky could not stand, and tried in every possible way to stigmatize. The third chapter "Banya" is a Soviet satirical comedy about bureaucrats, which denounces one of the main vices that is inherent in any society, and which is almost impossible to eradicate. However, this circumstance does not prevent the poet from ridiculing the manifestation of this phenomenon, which was inherent in society in his time.

The 1920s-1930s played an important role in the Soviet literature of this time, this period is well studied by researchers who note that the satirical plays "Klop" and "Banya" are the most typical examples of this genre in the first post-revolutionary decades. A huge number of works are devoted to the study of Mayakovsky's work, in particular, I would like to note the following:

The works of B. Milyavsky are characterized by the desire to restore the ideological and artistic atmosphere of the time, the free use of periodicals of the second half of the 1920s, and the comparison of satirical works of various genres. The ideological and thematic approach to the author's works made it possible to conduct a comprehensive analysis of the plays and compare them with other characteristic works of his time (L. Leonov, M. Bulgakov).

A large article by R. Duganov about the idea of "The Bath" contains a number of particular interesting observations, the author also argues the idea of the through metaphorical nature of the play and the "concentric" construction of the play. The “concentric” construction means that all the characters are located, as it were, in a circle, and the more negative qualities of the hero are expressed, the farther he is from the center, and the brighter he is described by the poet.

The collection “Creativity of V.V. Mayakovsky in early XXI century: New tasks and ways of research ", in this collection much corresponds to latest trends modern lighthouse science. It contains both new historical, literary and theoretical approaches to the study of the creative heritage of the great poet of the 20th century, and an analysis of specific factual material, which contributes to a deeper and more comprehensive understanding of the artistic originality of Mayakovsky's work, his connections with the era, with the literary movement.

Researchers of creativity V.V. Mayakovsky agree that the poet's satirical work is clearly focused on the future, the poet's confidence rests on the fact that Russia will get rid of everything bad, and that his works can help expose vices. The study of "Klop" and "Banya" until recently was complicated by the proximity of the time of their creation to the moment tragic death poet, as well as a general assessment in the 1930s of the work of V. Meyerhold, with whom the stage history of Mayakovsky's plays was firmly connected.

Mayakovsky is a satirist, this phenomenon is bright and unique. His humor was distinguished by harshness and harshness; for him, all manifestations of an inhumane, soulless appeal to a person were unacceptable. The poet was fluent in the satirical language, and skillfully used in his writings the techniques of hyperbole and the grotesque, with which it was possible to create a comic effect. A heightened moral sense - this is what made him a worthy successor to the best traditions of Russian satire, which castigated not only social vices, but, above all, human vices.

The objects and objects of the satirical image in the pre-revolutionary works of Mayakovsky were various manifestations modern world indifferent to the person and his feelings. Such a world is soulless, ugly and terrible in these manifestations. In 1915, several works by Mayakovsky under the title "Hymns" were published in the journal "New Satyricon".

The main "heroes" of Mayakovsky's "Hymns" were common life phenomena: lunch, a bribe, a judge, etc. ; science that does not see man and is indifferent to him (“Hymn to the scientist”); the philistine essence of the “consumer society” (“Hymn to Dinner”). The images of the recipients of "praise" are built in a peculiar way: moral ugliness is expressed in terms of physical ugliness.

Mayakovsky worked in the satirical genre even after the revolution. He wrote the satirical plays "Bug" and "Bath", a number of satirical poems. Some of them are still relevant today, for example, “About Rubbish”, “Seated”, etc. In the twenties, the object of satire for Mayakovsky was the Soviet philistinism, which the poet denounces in the poem “On Rubbish”, in the poem “Prostsessed”, he castigates Soviet bureaucracy.

In these verses, Mayakovsky's rejection of all manifestations of lack of spirituality, squalor and vulgarity is clearly visible. Soviet people who become indifferent to problems, who do not touch their little world and are interested in satisfying their urgent needs, become petty bourgeois, which is categorically unacceptable for the poet.

The bureaucratic machine, measured and clearly moving from one meaningless meeting to another, feels like judges drowned under the codes of laws, hiding from life behind letters and paragraphs. The objects of satire became more specific over time, but, as before, the essence of manifestations of philistinism, inertia of the mind, posturing, etc., unacceptable to Mayakovsky, all that he always ridiculed, remained.

Mayakovsky's satire not only laughs, but you can also learn from it helpful tips. By exposing all the filth and filth to the public, the poet paints pictures of the "philistine" that unfold before the mind's eye of readers, they are permeated with humor, without it, these pictures would be too pessimistic.

Applying the grotesque and elements of fantasy, Mayakovsky builds the poem "The Sitting Ones". main topic, this is the absurdity of the topics of the meetings, the poet creates a strong comic effect, which is supported by a fantastic picture of bifurcated officials, forced, in order to be in time for all meetings, to attend them in a peculiar form - "to the waist here, and the rest there."

The poet attached great importance to his satirical works. “Terrible Laughter” was the title of a 1929 satirical collection. Another collection was called "Mayakovsky smiles, Mayakovsky laughs, Mayakovsky scoffs." Bureaucracy, philistinism, idlerism, plunder - all these manifestations of vices aroused the indignation of the satirist poet. Mayakovsky's gift was that with his caustic word he could literally hit "on the spot."

The satirical plays Bedbug and Bathhouse convey the unhealthy social atmosphere of the 1920s, which needed a good shake-up. In his work, the author often uses live conversational intonations, which he intentionally distorts, and also invents new words. Mayakovsky's poetry was inextricably linked with the life of his country, it absorbed the difficulties and contradictions of his era, but has not lost its significance today. The tradesman is the constant target of Mayakovsky's satire and sarcasm. He "fought" with philistinism until the last hour of his life, he looked at this vice as the worst enemy of the revolution.

By philistinism, Mayakovsky sometimes meant purely external manifestations: everyday life, materialism, sentimentality, worldly tastelessness. But for the poet, this external side was not worse, although he criticized it, but the lack of a spiritual foundation, as well as the inability and unwillingness to think broadly, the lack of ideals and the presence of idols. Mayakovsky sang a lot and loudly the hymns of the Revolution, its leaders and ideologists, just as skillfully he ridiculed its enemies, both external and internal. His satire was often ruthless, while he did not try to smooth out sharp corners and speak softer about this or that “sin”.

Mayakovsky was distinguished from other contemporary poets by the fact that he always "hit" in the very heart, in the very essence of the problem, in the most painful place, and his words were also clear and painful for the persons whom he criticized. He has satire everywhere: “Hymns”, “Seated”, “About rubbish”, “Nate”, “Scum”, “Bureaucratiad”, “Bedbug”, “Bath” - in these works the pictures painted with the brush of Mayakovsky’s satire come through especially clearly .

The satirical play The Bedbug was written in 1928. In this play we see at least three plans: the first one is a satirical-everyday one, the second one is connected with the author's lyrical voice, the third one is a built-in theatrical performance. All plans are connected by a common plot opening, revealing the metaphor included in the title of the play.

The metamorphoses that take place with the main character Ivan Prisypkin (the transformation of a person into a bug) are read differently at different levels.

On the first, satirical-everyday level, the plot of the comedy is a story about everyday rebirth. With its help, the new Soviet philistinism is denounced and ridiculed, the problem of the dangerous attractiveness of the “cozy” philistine life, focused on everyday life and its conveniences, is raised for the younger generation, who grew up in the devastation of the civil war.

Wanting to make yourself better life”, the main character, Ivan Prisypkin, “breaks away” from the working class, marries a NEPman’s daughter, thereby betraying the revolutionary ideals of universal collective happiness, replacing them with the “separate” happiness of a petty-bourgeois family. Mayakovsky shows that the problem of everyday rebirth is largely a matter of lack of culture, taste. There is a fight at the wedding, and then a fire, as a result of which everyone dies, except for Prisypkin himself, who was only frozen and resurrected fifty years later.

There is such a type in comedy - Oleg Bayan, who promotes a "beautiful" life. At the same time, at the first meeting, a poorly educated person appears before readers, his speech is not literate, his ideas about “cultural life” are primitive. And it is he who acts as a “seductive teacher” for Prisypkin, whom he seduces with the “benefits of culture” (dances, clothes, manners), leads him astray.

Bayan's main ideological project is a wedding, which he interprets as an act of transition to a new world, a prototype of the future life under communism. In the bourgeois world, love and marriage are reduced to mutually beneficial trade, while true love is associated not with marriage, but with life itself, the eternal movement forward.

About the marriage between Prisypkin and Zoya Berezkina is not there is talk. This is emphasized by the fact that both of them live in a hostel. Elsevira Renaissance in this system of values turns out to be an enemy, an owner, a predator who "has her eye" on Prisypkin. Her very name speaks of a return to the past. Marriage is an act of sale and purchase. A wedding is a symbol of the future life. According to Bayan, Prisypkin's marriage to Elsevira Davidovna Renaissance marks a combination of "Unknown labor with defeated capital."

The author sees the reason for the rebirth of Prisypkin in depression, confusion caused by the NEP, everything that they had previously fought for was slowly returning, both the former structure of society and the former system of relations, but at the same time there was a rejection of everyday benefits, amenities that make a person a person. , it becomes unclear which way to move forward in order to achieve a great goal.

One of the forms of replacing spiritual emptiness is the desire to live today, deriving maximum pleasure and enjoyment. Prisypkin finds himself in the place of a man who has lost the meaning of life, and Bayan acts as an ideologist of momentary happiness. The metaphor "man-bug" gets a broader meaning, it is not only a man in the street, but also a man who has forgotten about his high nature, betraying a man in himself. The power of everyday life is comprehended in Mayakovsky's poetry as a dynamic force: it is capable of killing love in the world.

In the way Prisypkin perceives the teachings of Bayan and reveals its true value, the author shows how Prisypkin tries to implement the new skills he has acquired and implement them in a new life. He tries to stage his future life with shopping: the things he buys act as a way of transforming life, he even changes his name to a pseudonym and becomes Pierre Skripkin, wears new clothes and learns to behave differently. Prisypkin, who is now called Skripkin, strives for culture as a conductor of another world that is still inaccessible to him.

When he enters the world of the future, he sees that everything has changed beyond recognition, the new world is the world of technology and science. Mayakovsky in the pictures of the future embodies everything that he called for in his propaganda poems and poems, this is purity, and a culture of communication, and the absence of drunkenness, bureaucracy.

The people of the future, whom Skripkin met, consider the hero to be a charged microbe of philistinism, and therefore they do not even fully recognize him as a person, he is considered a representative of an extinct family. Rude, selfish Skripkin among the "ideal" people, for whom drunkenness, sycophancy and other vices have long become relics, looks very unpresentable, for them all these phenomena have long been forgotten.

The very society of the future is presented by Mayakovsky very reasonably. Many functions of a person are performed by automata, love is eradicated as an unnecessary, and even harmful feeling.

For the people of the future, Skripkin poses a real threat, he is a representative of the bourgeoisie, and they are people of high moral culture, free from all prejudices and passions, in fact, the people of the future, freed from all emotional experiences, become faceless.

In the society of the future there is no way of life, but the question of whether philistinism is possible if there is no way of life still remains. The author shows that philistinism has not gone away, it has changed, transformed, changed its shell, but it remains. In the "pure" people of the future, devoid of all the vices of the present, such as drunkenness, lack of culture, and so on, there remains main feature philistinism, from which neither external gloss nor the absence of everyday life saves. This is a complete immersion in the material world, the absence of spiritual ideals, in the future you can go through physical purification, through a special bathroom, there is no spiritual purification.
Skripkin, being initially a negative character, finds himself in a situation where he alone retains a mental and emotional sphere, and he awakens it in others. Getting into a new world, he discovers that this world does not please him at all, and he categorically does not become obsolete, that he was unfrozen. After all, the world in which a person was completely devoid of a soul, this significant flaw makes this new world a truly philistine world, since there is no desire to go beyond the limits of this material world.

The professor unfreezes Prisypkin/Skripkin, observes his revival and adaptation to a new life. But this life does not suit Prisypkin. Skripkin, despite his shortcomings, remains the only normal person. As a result, the ideal people of the future very quickly pick up the "virus of feelings" from Skripkin, and succumb to long, seemingly eradicated feelings. The people of the future are beginning to be attracted by bourgeois pleasures, all that they have uprooted in themselves. This leads them to believe that Skripkin is a breeding ground for their disease and needs to be isolated.

Mayakovsky denies the main character, this inveterate tradesman, the right to live in society, he places him in a zoo, where he finds himself in the same cage with a bug that got into the future from his collar, and which he refused to get rid of, becoming emotionally attached to him. The metaphor "bedbug" here means the rebirth of a representative of the advanced class of builders of the future, into a layman and tradesman.

Critics were inclined to perceive the play "The Bedbug" as an anti-philistine agitation. Comedy largely grows out of newspaper facts, in which stories of this kind were printed.

It is also interesting to observe how Mayakovsky's satire invents new definitions for the newly born vices of the young Soviet republic. These are such neologisms as: “philistine”, “nepists” and many others, which, however, characterize one and the same phenomenon, or rather, an estate, the so-called middle class.

And although the revolution proclaimed the abolition of all estates, it will completely get rid of the estate system, it could not. And it was Mayakovsky, together with his constant satire companion, who undertook to eradicate it. It is interesting to see that the poet not only denounces, but he also gives specific advice, shows ways out, tries not to be unfounded.

The last satirical play "Bath" was written in 1929, and it was written in the "theatre within the theater" format. In this play, the society of the new bureaucracy was shown, and it was rather coldly received by contemporaries. One of the main themes of the play is the affirmation of the life-giving power of art. And the power of time invented by Chudakov becomes a metamorphosis of overcoming time by means of art. In the play, the author ridiculed talkers, loafers, narcissistic bureaucrats. Mayakovsky believed that this work was publicistic, and through human images he showed the main trends that were in society at that time.

Mayakovsky defined the play "Banya" as "a drama in six acts with a circus and fireworks," but the author's ironic notes are heard in this, warning the reader that the play is a kind of farce. The main character of the play is "Comrade Pobedonosikov, chief of coordination management, Glavnvchups".

This is a typical puffed-up official who, between phone calls and by thoughtless shifting of government papers dictates to the typist a meaningless and endless article. The drama in the play is built on the conflict between the inventor Chudakov, the cavalryman Bicyclekin, the worker helping the inventor, on the one hand, and his assistant Optimistenko, on the other. Mayakovsky draws in the play many funny and stupid situations that his characters find themselves in, but at the same time the play is a drama, and its drama consists in the fight against bureaucracy, which, according to the poet, is a huge and ossified system.

When asked why the play is called “Bath”, Mayakovsky answered in two ways. The first answer: "The Bath" washes (simply erases) the bureaucrats" - it seemed to satisfy everyone and for a long time remained the definition of a straightforward "accusatory" perception of the play. Another answer: "Because it's the only thing that doesn't come across there," seemed to be Mayakovsky's usual humorous excuse. Meanwhile, the second answer is much more concerned with the substance of the matter.

He points not to the object, but to the method of its perception and thus to the way of understanding it. "Bath", of course, is not the only thing that is not in the play, but that's not the point, the name of the play determines the only correct point of view on it. And from this point of view, what is really most important in the "Ban" is what "doesn't come across" there.

On the one hand, the play is called "Bath", but on the other hand, we do not find any bath there. On the one hand, this is a "drama", but on the other hand, a circus and fireworks, and no drama at all. On the one hand, the whole collision in the play is deployed around Chudakov's "car", but on the other hand, this car is invisible, that is, it is as if it does not exist. On the one hand, Chudakov's invention is a machine, that is, something spatio-material, but on the other, it is a time machine, that is, something opposite to any spatiality and materiality.

On the one hand, it is as if we have a theater in front of us, but on the other hand, we also see a theater within a theater, so that the first theater is no longer a theater, but a reality. On the one hand, Pobedonosikov sees himself in the theater, but on the other hand, he does not recognize himself in this theater, that is, he “does not come across” to himself. In the entire play as a whole and in each of its individual elements, we find a discrepancy between the subject and its meaning. The most abstract concepts here are reduced, materialized, materialized, and vice versa, the most concrete objects, phenomena and even people dematerialize up to complete disappearance.

The structure and problems of The Bath, its very satirical topicality, are such that they inevitably push us to search for prototypes on which the characters of the drama are oriented. All the characters in the play, both negative and positive, are not characters or types of "The Bath".

It is easy to see that the most similar, the most realized characters are negative (Pobedonosikov, Optimistenko, Mezalyansova, etc.), the neutral characters are less realized (Underton, Polya, Pochkin, etc.), even less positive (Chudakov, Bicyclekin, workers, Phosphoric woman). The internal topography of the "Banya" can be represented as several concentric circles with a positive center and a negative periphery. The farther the character is from some absolute center, the more brightly it is lit, the more detailed it is outlined, the more animated and realized.

The negative characters are not so much opposed by the positive characters as the whole idea as a whole, the whole play. In other words, if positive characters assert themselves in their proximity to the central semantic core, then negative ones, on the contrary, deny themselves in their remoteness from it.

The paradoxical duality of The Bath, as well as of Mayakovsky's entire dramatic work in general, was a direct consequence of the specific genre design of his main aesthetic principle. The only thing that does not come across in the "Ban" is the characterization, but the most important thing that is there is the personality of the author. And no matter how strange it may seem, we must admit that "Banya" is nothing more than a lyrical drama, or, more precisely, a monodrama. Her dramatic space is the conceptual sphere of internal representation. Hence the special character of its conventionality and its fantasy.

The time machine in the "Bath" is not just an invention of Chudakov, but also a metaphor for the very invention, innovation, creativity. The time machine is a metaphorical embodiment of the art of the future, its life-giving, creative force. The time machine was created not only by Chudakov, but also by time itself, by life itself. She is plotted against another machine, bureaucratic, also realized in the aspect of time.

If Chudakov’s machine is “a matter of universal relativity, a matter of translating the definition of time from a metaphysical substance, from a noumenon into reality”, then in a bureaucratic machine, on the contrary, reality turns into fictions of “circulars, letters, copies, theses, amendments, extracts, references, cards, resolutions, reports, protocols and other supporting documents", and the theory of relativity into "the theory of relations, links and agreements". The institution, like the time machine, seeks to accumulate the experience of mankind. And he does it in his characteristic bureaucratic way, organizing "anniversaries".

Here, not only the reality and fiction of two time machines are opposed, Pobedonosikov himself is given as a verbal machine that grinds reality into nothing. In addition to the bureaucratic machine, Chudakov's invention in the play is opposed by many other mechanisms, which all, in the end, turn out to be different implementations of the metaphor of time. It is, first of all, of course, a watch.

Chudakov's car, "the first train of time", is opposed in the play by the train on which Pobedonosikov is going to go "to the heights of the Caucasus". This is indicated by the coincidence of the cost of tickets and the amount stolen by the accountant Nochkin to complete Chudakov's car.

All these antitheses are built using a local device, according to which even such details as an increase in the cost of a tram fare should indicate its negative value. By themselves, all these machines are, of course, neutral, but in the system of bureaucratic mechanism they inevitably acquire regressive functions.

Thus, the plot is carried out not only in events, not only in characters, but also in trifles, in details, in verbal constructions, so that the play, with its through organization, approaches the structure of a poetic work.

As a result of all this plot mechanics, we have a gigantic image of the Machine, which can be both a dead machine of space, if it exists as it has become, complete and unchanged, and a living creative time machine, if it exists in continuous formation, change and renewal. A car can be both a fictitious "thing" and a real "idea". Here is the starting point of the whole idea of "Bani".

But after all, the play itself is in some way a “machine”, and it is a time machine, with all its progressive and regressive functions, which is clearly represented in the image of a “theatrical machine”. In act III (theatre within the theatre), its functional reversibility is parodied. The agitational theatre, "serving the struggle and construction", is opposed by the theater where "they make us beautiful". In this central image, undoubtedly, all the main constructive and semantic plans of the play intersect. Meanwhile, the role of the Phosphoric Woman in the dramatic intrigue is completely passive, she only represents the future.

In The Bath, the formal difference between theater and life is demonstrated in every possible way. Emphasizing the conventionality of any game (dramatic, farce, circus) performance, Mayakovsky thereby pointed to the fundamental meaningful unity of theater and life. The finale of the "Bath" functionally fully corresponds to the "silent scene" of Gogol's play, with the difference that the scene of "shock" is duplicated three times: darkness, then the actual "silent scene" and, finally, the final explicative remarks of the characters.

Mayakovsky's satire always calls a spade a spade, no matter what happens, and no matter what readers think about it, the poet always has a lot of grotesque in his verse. Mayakovsky increases human vices to gigantic proportions, the voice of his accusatory satire also increases its power. Often Mayakovsky acts as a poet describing the everyday side of human life, which seemed boring and uninteresting to many writers, which was a hallmark of his satire. He knew how to address not only his contemporaries, but also his descendants in an amazing way.

Mayakovsky is not just a rebel, a judge, an accuser, a prophet, he is also a fighter. Bourgeois society quite easily "tamed" the rebels with fame, money, etc., but Mayakovsky was able to resist these temptations. Understanding the inevitability of the fall of the old world, and contributing to the approach of collapse with his work, Mayakovsky could not but pin all his hopes on the socialist revolution. It was believed that from her "cleansing fire" new person, new morality, life.

The plays "Bedbug" and "Bath" are comedies that ridicule the main vices of contemporary society for the poet. According to the poet, in the future, there will be no place for such vices as: rudeness, drunkenness, rudeness, vulgarity. In plays, Mayakovsky typifies his characters, i.e. they are typical representatives of society, they are Nepmen, and workers, and bureaucrats, and journalists. One of the main literary devices used by the author is giving the characters "speaking" surnames: Prisypkin, Pobedonosikov, Chudakov, Mezolyansova, etc.

The plays carry a sharp satirical orientation, reveal those shortcomings of the environment that can be found in any society and at any time. These plays reflected the heavy impressions of the discrepancy between the real Soviet reality, which did not justify the expectations of a brighter future. The merit of Mayakovsky is that he was not afraid to say “no” to these vices, and to say that they have no place in the future. Thus, the satire of V. Mayakovsky largely developed in the very warehouse of creative thinking

The arsenal of artistic means of satirical depiction includes actively used grotesque figurativeness, the combination of everyday and fantastic coloring, single and symbolically generalized, experiments with verbal form, the use of collective images of human "crowds", "masses" as objects of satirical comprehension.

Moreover, if the tragic intensity of Mayakovsky's poetic satire over time more and more definitely gives way to hopes for the reorganization of being, overcoming its eternal disharmony through revolutionary, volitional intervention.

The author of the plays "The Bedbug" and "Bath" believed that neither the townspeople nor the bureaucrats would survive in the new world. The utopian projection of the future in these plays suffers from naivety. Mayakovsky was convinced of the indispensable spiritual improvement of man, which was to come as a result of political transformations. Time has shown the fallacy of such hopes. But the criticism of bureaucracy, philistine attitude to life, soulless existence, voiced in the plays, is still relevant today.