Ways to create a hyperbolic effect in creativity. Mayakovsky. (hyperbolic images on a metaphorical level. (using the example of the poem “out loud”)). Hyperbole and litotes in poetry Early works of Mayakovsky especially

The purpose of the lesson: show the logic of development of the idea of ​​the work.

Methodical techniques: analytical reading of the poem.

During the classes.

I. Checking homework.

Reading and discussion of selected poems.

II. Teacher's word

From his earliest poems, Mayakovsky was characterized by excessive lyrical openness, reckless inner openness. There is practically no distance between the specific lyrical “I” of the poet and his lyrical hero. The lyrical experiences are so intense that, no matter what he writes about, a sharp lyrical, individual intonation permeates the fabric of his poetry. This is also his first poem with the mysterious and shocking title “A Cloud in Pants” (1915). Mayakovsky himself defined it as a “tetraptych”, the meaning of the four parts of which is “down with your love”, “down with your art”, “down with your system”, “down with your religion”.

III. Analytical conversation

What associations reminiscences does this definition of Mayakovsky evoke?

(The categorical nature of the lyrical hero’s judgments and statements recalls the uncompromising nihilism, rebellion of Bazarov. Let us remember the subject of disputes between Bazarov and Kirsanov - it practically coincides with what Mayakovsky writes about.)

What image unites the parts of the poem?

(The parts of the poem are connected by the leading image - the lyrical “I”.)

In what ways is he portrayed?

(The main image technique is antithesis . The opposition to the entire society in the prologue of the poem grows to the opposition to the entire universe at the end. This is not just a dispute, it is a daring challenge, so characteristic of the work of early Mayakovsky (remember the poems “Here!”, “To You!”):

Your thought
dreaming on a softened brain,
like an overweight lackey on a greasy couch,
I will tease about the bloody flap of the heart,
I mock him to my heart's content, impudent and caustic. ("Cloud in Pants", intro)

Only an incredibly powerful personality can resist anything and everything and not break. Hence the next trick - hyperbolization image: “Having enlarged the world with the power of my voice, / I walk, handsome, / twenty-two years old”; hyperbole can be combined with a comparison: “like the sky, changing tones.” The range of this personality is poles: “mad” - “impeccably gentle, / not a man, but a cloud in his pants!” This is how the meaning of the title of the poem manifests itself. This is self-irony, but the main feeling that captured the hero is indicated: “tenderness.” How does it fit in with the rebellious element of the poem?

How is love portrayed in the poem?

First part- an extremely frank story about love. The reality of what is happening is consciously emphasized: “It was, / was in Odessa.” Love does not transform, but distorts the “block” of a person: “They couldn’t recognize me now: / the sinewy hulk / groans, / writhes.” It turns out that this “block” “wants a lot.” “Much” is actually very simple and human:

After all, it doesn’t matter to yourself
and the fact that it is bronze,
and that the heart is a cold piece of iron.
At night I want my own ringing
hide in something soft
into women's.

The love of this “hulk” should be a “small, humble darling.” Why? The community is exceptional, there is no other. The affectionate neologism “liubenochek,” reminiscent of “baby,” emphasizes the strength of feeling and touching tenderness. The hero is at the limit of feeling, every minute, hour of waiting for his beloved is agony. And as a result of suffering - execution: “The twelfth hour fell, / like the head of an executed man falling from the block.” Nerves are exposed and frayed. The metaphor is realized “Nerves / big, / small, / many! - / they are jumping madly, / and already / their legs are giving way from their nerves!”

Finally, the heroine appears. The conversation is not about love and dislike. The effect on the lyrical hero of the words of his beloved is conveyed by the grinding sound recording:

You came in
sharp, like “here!”
mucha suede gloves,
said:
"You know -
I'm getting married".

What techniques are used to convey the hero’s psychological state?

The psychological state of the hero is conveyed very strongly - through his external calm: “See - how calm he is! / Like the pulse of a dead man”; “and the worst thing / you saw was my face / when / I was absolutely calm?” Internal suffering, the tornness of the soul are emphasized by transference (enzhanbeman): you need to restrain yourself, and therefore speak clearly, slowly, measuredly.

“The fire of the heart” burns the hero: “I’ll jump out! I'll jump out! I'll jump out! I'll jump out! / Collapsed. / You won’t jump out of your heart!” Here the phraseology “the heart jumps out of the chest” is turned inside out. The catastrophe that befell the hero is comparable to world catastrophes: “The last cry, / even / that I’m burning, will groan for centuries!”

What is the logic of development of the poem in the second part?

The tragedy of love is experienced by the poet. It's logical that The second part- about the relationship between the hero and art. The part begins with the hero’s decisive statement: “I put “nihil” (“nothing”, lat.) over everything that has been done. The hero denies the “tormented”, sluggish art, which is done like this: “before it begins to sing, / they walk for a long time, limp from fermentation, / and quietly flounder in the mud of the heart / the stupid roach of the imagination.” “Boiling” “some kind of brew out of love and nightingales” is not for him. These “loves” - “nightingales” - are not for the street, which “writhes tongueless.” Bourgeoisism and philistinism filled the city, crushing living words with their carcasses. The hero shouts, calling for a rebellion against “those sucked with a free app / to every double bed”: “We ourselves are the creators in the burning hymn!” This is a hymn to living life, which is placed above the “I”:

I,
golden-mouthed,
whose every word
newborn soul,
birthday body
I tell you:
the smallest speck of living dust
more valuable than anything I will do and have done!
(Please note neologisms Mayakovsky).

“Screaming-lipped Zarathustra” (Nietzschean motifs are generally strong in the early Mayakovsky), speaking about the coming “in the crown of thorns of revolutions” “the year of sixteen,” clearly defines his role:

And I am your forerunner!
I am where the pain is, everywhere;
on every tear drop
crucified himself on the cross.

How do you understand these words?

Here the hero already identifies himself with God himself. He is ready for self-sacrifice: “I will pull out the soul, / trample it, / so that it’s big! - / and I will give the bloody one as a banner.” This is the goal and purpose of poetry and the poet, worthy of the “hulk” of the hero’s personality.

How is this goal illustrated in Part Three?

The thought of the poem logically moves to those who are to be led under this “banner” made from the hero’s “trampled soul”:

From you,
who were wet with love,
from which
for centuries a tear has flowed,
I'll leave
sun monocle
I’ll insert it into the wide open eye.

There is vulgarity, mediocrity, ugliness all around. The hero is sure: “Today / we must / use brass knuckles / to cut the world into the skull!” Where are the “geniuses” recognized by humanity? The following fate is destined for them: “I will lead Napoleon on a chain like a pug.” This vulgar world must be destroyed at all costs:

Take your hands out of your trousers -
take a stone, a knife or a bomb,
and if he has no hands -
come and fight with your forehead!
Go, you hungry ones,

Sweaty,
humble,
soured in flea-filled dirt!
Go!
Mondays and Tuesdays
Let's paint it with blood for the holidays!

The lyrical hero himself takes on the role of the “thirteenth apostle.” With God he is already easily: “maybe Jesus Christ is sniffing / my soul’s forget-me-nots.” -

How does the lyrical love theme manifest itself in the fourth movement? How does it change?

From global plans to remake the world, the hero returns to thoughts about his beloved. However, he did not escape these thoughts; they were only sublimated in a powerful creative attempt to challenge the entire universe. The name "Maria" is shouted repeatedly. This is a plea for love. And the hero becomes submissive, almost humiliated, “just a man”: “and I am all meat, / I am all man - I simply ask for your body, / as Christians ask - “give us this day our daily bread.” The beloved replaces everything, she is necessary, like “daily bread.” The poet speaks of his “word born in agony”: it is “equal in greatness to God.” This, of course, is blasphemy, gradually developing into rebellion against God.

The refusal of his beloved provokes this rebellion of the suffering and desperate hero. At first he is simply familiar:

Listen, Mister God!
Aren't you bored?
Into the cloudy jelly
Soak your sore eyes every day?

Then familiarity goes beyond all boundaries: the hero is already on first name terms with God, openly rude to him:

Shaking your head, curly?
Will you raise your gray eyebrow?
You think -
this,
behind you, winged one,
knows what love is?

The main accusation against God is not the incorrect structure of the world, not social injustice. The imperfection of the world is “why didn’t you invent / so that it would be painless / to kiss, kiss, kiss?!” The hero’s despair reaches the point of frenzy, rage, almost madness, he shouts out terrible blasphemies, the elements overwhelm him:

I thought you were an all-powerful god,
And you are a dropout, tiny god.
You see I'm bending over
Because of the boot
I take out a shoe knife.
Winged scoundrels!
Hang out in paradise!
Ruffle your feathers in frightened shaking!
I will open you, smelling of incense
From here to Alaska!
Let me in!
Can't stop me.

And suddenly he humbles himself: “Hey, you! / Sky! / Take off your hat! / I'm coming! (he is already speaking with the sky again, although his pride has not yet been strangled). Nothing listens to the hero: “Deaf. / The universe sleeps, / with its huge ear resting on its paw / with the pincers of the stars.”

IV. Teacher's final words

Violently conflicting with the world, the hero reveals his rebellious essence. The hero’s inconsistency, the combination in him of extreme “looseness” and extreme tenderness, aggravate the conflict. The inconsistency that tears apart the hero dooms him to tragic loneliness.

V. Workshop on the poem by V.V. Mayakovsky “Cloud in Pants”

1. Poet Nikolai Aseev wrote: “A Cloud in Pants” is a mocking title that replaced the original one, prohibited by censorship, and was the first experience of a large theme built on the opposition of existing routines, institutions, institutions to what is replacing them, what is felt in the air, felt in the verse - the future revolution."

Why, according to Aseev, is the title of the poem “Cloud in Pants” “mocking”?

What did Aseev mean by “experiment on a big topic”?

What is the “contrast with existing routines”? Give examples from the text.

2. V. Mayakovsky said in March 1930: “It (“Cloud in Pants”) began as a letter in 1913/14 and was first called “The Thirteenth Apostle.” When I came to the censorship with this work, they asked me: “What, do you want to go to hard labor?” I said that in no case, that this did not suit me in any way. Then they crossed out six pages for me, including the title. It's a question of where the title came from. I was asked how I could combine lyrics and great rudeness. Then I said: “Okay, if you want, I will be like crazy, if you want, I will be the most gentle, not a man, but a cloud in my pants.”

Why did the original title of the poem “The Thirteenth Apostle” evoke the idea of ​​hard labor among the censors?

What is the combination of “lyricism and great rudeness” in the poem “Cloud in Pants”? Give examples from the text.

What is the meaning of the new title of the poem? How does the poet himself explain it? Does the title “Cloud in Pants” reflect the character of the lyrical hero of the work?

3. “Poems and poems created in 1915.(“Clouds in Pants”, “Flute and Spine”), they said that a major humanist poet and soulful lyricist had come to literature. In the poem about love robbed by modern life (“Cloud in Pants”), the voice of the author himself resounds loudly, the facts of his biography acquire a high poetic generalization here...” (K. D. Muratova).

What are the “facts... biography” of V. Mayakovsky that can be recognized in his poem?

According to Muratova, in the poem “the voice of the author himself sounds loudly,” is this true? Justify your answer, give examples from the text.

4. K.D. Muratova writes about “Cloud in Pants”: “The poem is given great originality by its metaphorical richness; almost every line in it is metaphorical. An example of a materialized metaphor is the line “the fire of the heart” of the poet, which is extinguished by firefighters, or “sick nerves” that “thrash around in a desperate tap dance,” causing the plaster on the ground floor to collapse.”

What gives grounds to say that in the poem “almost every line is metaphorical”? Do you agree with the critic's statement?

What do you think is meant by the term “materialized metaphor”? Give examples of such metaphors in the text of the poem.

5. “One of the main features is visible in “The Cloud...” Mayakovsky's thinking: the ability for powerful associative condensations of themes, images, plots that are very far from each other. What do Severyanin, Bismarck and the “carcasses of the meadowsweet” have in common? And what do they have to do with the suffering rejected lover - the “thirteenth apostle”, now offering God to have “girls” in heaven, now threatening him with a knife? (S. Bovin).

What, according to Bovin, is the main feature of “Mayakovsky’s thinking”? Find examples of this type of thinking in the text.

The researcher poses certain questions to the reader regarding Mayakovsky's work. Try to answer them yourself. Are there any answers to them in the poem itself?

6. A.A. Mikhailov writes about “A Cloud in Pants”: “Blasphemy, aggressive language, street rudeness and deliberate anti-aestheticism reveal anarchic tendencies, the rebellious element of the poem. And although Mayakovsky, blaspheming, exalts a person, the elements overwhelm him: “Take your hands out of your trousers, you walkers, take a stone, a knife or a bomb...”

What does the critic say about the “anarchic tendencies” and the “rebellious element of the poem”? Do you agree with this?

How, in your opinion, does Mayakovsky “elevate man” by “blaspheming”? Give examples from the text.

Mayakovsky's early lyrics (poems "Port", "Night", "Here!" and others) are considered a large-scale phenomenon in the art of the 20th century. Among his works are poems, critical articles, essays, drawings, and satirical works. The greatness of Mayakovsky lies in his creative individuality, with the help of which he comprehended the secrets of poetic mastery and the laws of the stage. He skillfully wielded the pen of an essayist and the brush of a painter. However, Mayakovsky entered the consciousness of people as an original poet of the era. In his works, he captured the key problems and events of his time.

The spirit of rebellion in Mayakovsky's early lyrics

The author combined many means in his works. The voice of that era sounded powerfully in them. This was the period of preparation and accomplishment of the workers' and peasants' revolution. The epic scope of comparisons and metaphors is visible in the works. The weight and power of rhythm are combined with journalistic passion. The lyrical hero of Mayakovsky's early lyrics addresses a mass audience. The author is often called a "tribune". There are many reasons for such a comparison in his works.

Thus, in the poem “At the Top of His Voice,” which is considered to be largely the final poem, he calls himself a “bawler-leader,” an “agitator.” There is undoubtedly some truth to this. However, it would be wrong to reduce Mayakovsky’s early lyric poems only to propaganda and oratorical appeals to the public. Love confessions, a good-natured smile, and caustic irony are quite clearly visible in the works. There is also sadness, sadness, and philosophical reflections in them. Mayakovsky's early lyrics, in short, are universal. It is diverse in genre, multicolored in intonation.

Mayakovsky: the artistic world of the poet’s early lyrics

Lunacharsky spoke very accurately about the nature of the author’s talent in his time. Having heard the poem “About This,” he noted that he knew it before, and after listening, he was finally convinced that Mayakovsky is a subtle lyricist, despite the fact that he himself does not always understand this. The author combined this quality with his agitator and oratorical abilities. Lyrics are usually considered as an artistic expression of the poet's inner world. It reflects his state at one time or another. Real reality, the world of objective things, are revealed in lyrical poems through the experiences of their author. Events and phenomena usually do not receive a direct, direct image in works. They are captured in the reaction, in the feeling they evoke in the author. This is exactly what Mayakovsky’s early lyrics are like.

Poems could be devoted to a variety of phenomena - love or battles between classes, disputes about the purpose of art or travel abroad. The narration of events is inextricably linked with the expression of the author’s feelings and thoughts, the disclosure of his own “I”. Reflections and experiences do not just give a specific emotional coloring to creativity. The artistic world of Mayakovsky's early lyrics is manifested in his depiction of life phenomena and political events. The emotional component is also present in propaganda and production masterpieces. It can be noted without exaggeration that lyricism acts as a unifying and all-pervasive force in the poet’s work; it is visible even in those works that are not lyrical in structure.

Author's inconsistency

Despite the presence of lyricism in his poems, Mayakovsky often speaks against him in them. This, for example, can be seen in the work “Jubilee,” where he talks about the perception of this trend “with hostility.” A polemically hostile reaction, meanwhile, runs through the author’s entire work. He reacts to love themes in a particularly caustic manner. The author's works reveal dissatisfaction with traditional opportunities for self-discovery. Constant search, the desire to expand the boundaries of creativity are the key ideas that Mayakovsky’s early lyrics proclaim. Composing any work required space for thought.

Emotional component

Everything that happened in life aroused the author's passionate interest. He had a special perception of events. Whatever happened in life, even at a considerable distance from him, he perceived as his own, intimate, deeply personal matter. The author's exceptional emotional reaction to the phenomena could not fit into traditional lyrical forms. She required space for expression. The themes of Mayakovsky's early lyrics are varied. He writes about everyday life, love, politics, history. All this does not appear in his works as a distant background. Each event in one or another area of ​​life is the key object of the work.

Mayakovsky's early lyrics are a completely new direction for the twentieth century. It, unlike its predecessors, widely embraced social and political reality.

Beginning of work

Quite early on, Mayakovsky became interested in underground revolutionary activities. Like many other underground fighters, he was caught and imprisoned for 11 months in solitary confinement. The fate of the future poet was decided by Stolypin. It was on his orders that the prisoner was released. While in prison, Mayakovsky read a lot. After his release, he was overcome by a passionate desire to work in art. He wanted to create a socialist direction. As a result, Mayakovsky entered the Moscow School of Architecture, Sculpture and Painting. From that moment on, he cooled somewhat towards the revolutionary struggle. During his studies, he met a group of young poets and artists. They called themselves creators of the art of the future - futurists. All this had a special influence on Mayakovsky’s early lyrics.

Specifics of the works

The peculiarities of Mayakovsky's early lyrics lie in the mass of genre formations, intense rhythm, unexpected comparisons, and spectacular images. For the author, the surrounding reality appears as a living organism that hates, loves, and suffers. The poet humanizes the real world:

“There were sheets of water under my belly.
They were torn into the waves by a white tooth.
There was a howl of a trumpet - as if it was raining
love and lust are copper pipes."

The work amazes with its combination of traditionally incompatible figurative rows. This makes a strong impression. You may or may not like Mayakovsky's early lyrics, but they do not leave anyone indifferent.

Entertainment

In his works, the author creates vivid, memorable images. This is especially clearly seen in poems such as “Port”, “Morning”, “Could You?”. The author boldly combines completely diverse concepts in one row. Thanks to the amazingly accurate reproduction, the use of touches of reality, seen by Mayakovsky from an unexpected perspective, the lines are remembered and etched into memory. The author shows the “hell of the city”, where there is no happiness and joy. The landscape is gloomy and heavy: “a scorched quarter,” “crooked horses,” “the kingdom of bazaars.” “Tired trams” walk along the roads; the sun at sunset seems to the author; the wind appears deplorable and gloomy. The city strangles and fetters the poet, causing him disgust.

Tragedy

Mayakovsky's early lyrics are filled with sadness, suffering, and emotions. This is clearly visible in the work "I". The theme of loneliness appears with varying strength in his different poems: “Tired of it,” “Listen!”, “Sale,” etc. In the work “To My Beloved,” the author addresses those around him, his words are filled with pain and mental anguish:

"And to such
like me,
poke where?
Where is the lair prepared for me?"

Love

Even in it, Mayakovsky’s hero does not find salvation. He strives for a comprehensive, enormous feeling - he will not settle for anything less. Having found such love, the hero never ceases to be unhappy and lonely. His feelings become desecrated and belittled under the influence of possessive relationships. Thus, in the poem “A Cloud in Pants,” the beloved rejects the hero, preferring bourgeois well-being. A similar motif can be seen in the poem "Man". In this work, the beloved sold herself to the Lord of Everything, and the Poet got nothing. The author comes to the conclusion that true love has no place in ugly reality.

Motive

The hero of Mayakovsky's lyrics strives to overcome loneliness. He goes to people, reaches out to them, hopes to find support and sympathy from them. For a human, kind word, he is ready to give all his spiritual wealth. But deep disappointment will await him: no one understands him, no one needs him. A faceless crowd surrounds him. The lyrical hero also has rude traits, in some cases he is even cynical. Thus, in the work “A Warm Word to Some Vices,” he “glorifies” the power of money, “mocks” the working people, and “welcomes” cheaters and extortionists. This is how his ostentatious cynicism is expressed, hiding true pain and tragic irony. The author puts on this mask because of the greatest despair, fatigue from restlessness, combat with philistinism, the “hulk” of evil.

Objectivity

Mayakovsky's early lyrics are full of social problems. His works laid the foundation for art designed for the masses. The author's speech is “coarsened” and simplified. The works include material and everyday images. This indicates the lack of connection between the poet and the futurists. The works of the young author implement the principle of thingness, objectivity. Abstract feelings and concepts turn into tangible, visible, real. Reification has a militant humanistic character in creativity. The works reveal something that was missing from the futurists - social content.

Cultural connection

Mayakovsky passionately preached a new art. He even proposed throwing Pushkin and other classics off the “steamboat of modernity.” However, by analyzing the essence of Mayakovsky’s works, one can easily trace the connection with Russian culture, namely with the satire of Nekrasov and Saltykov-Shchedrin. The author followed classical literary traditions. In particular, the connection with the works of Nekrasov, in which illustrations of the capitalist city occupied a key place, is particularly clear. The humanistic pathos of Mayakovsky's creativity makes it similar to Gorky's literature. Thus, the title of the poem “Man” is indicative in this regard. However, the main thing that brings the author closer to the classics is poetry, his lively response to modern phenomena.

Critical pathos

The poet's pre-revolutionary lyrics are closely connected with the poems and act as an introduction to them. The works contain a motive of protest. The theme “people and poet” occupies a central position in the lyrics. The First World War became the most important test for many literary and artistic movements. It revealed their true essence and showed their genuine attitude towards the interests of the nation and the needs of the people. Responding with his poem "War and Peace" to the beginning of the war, Mayakovsky politically acutely assesses its imperialist essence. Critical pathos began to intensify in the author’s work. His voice called for revolution and opposed the imperialist carnage. This can be seen in such works as “Me and Napoleon”, “To You!” and others.

The tragedy of human existence

This theme is very vividly described in Mayakovsky’s lyrics. He talks about the existence of man under capitalism and is an ardent opponent of it. The poet in his works exposes the process of dehumanization of feelings and people themselves, which acts as a key property of bourgeois society. The author exposes the falsehood of the Acmeists and illustrates the ostentatious, decorative nature of their optimism. Poems about the “well-fed Sytins”, “quail-chirping” poets, scientific servants, and about the “leper colony” - a capitalist city - were directed against the bourgeois world.

The author says that class society cripples a naturally beautiful and strong person. In his works, he openly expresses hatred of the exploiters and love for the lower classes, enslaved, disadvantaged people crushed by this system. He advocates raising human self-awareness. The capitalist system dooms the people to physical and spiritual extinction. clearly understands and forms the image of a rebellious hero. The conflict with the environment, which initially existed as disunity with the crowd, subsequently begins to acquire an increasingly social orientation.

As socio-political motives intensify in his work, the author moves further and further away from the formalism of the futurists. In this regard, the differences between the pamphlet “You!” and the work "Here!" The first was written a year and a half after the second. The poem "Here!" shows Mayakovsky's mocking attitude towards the crowd. It is characterized exclusively by external signs. Pamphlet "To you!" has a pronounced political overtones. Here the author denounces not the average person as such, but those who seek to profit from the war.

WAYS OF CREATING HYPERBOLIC EFFECT IN V. MAYAKOVSKY’S WORK. (HYPERBOLIC IMAGES AT THE METAPHORICAL LEVEL. (BASED ON THE EXAMPLE OF THE POEM “OUTLOOK”))

Fattakhova Aida Zhavdatovna

2nd year master's student, Department of Russian Language, Theoretical and Applied Linguistics, Udmurt State University, Russian Federation, Izhevsk

E-mail: a19 f19@ mail. ru

Donetskikh Lyudmila Ivanovna

scientific supervisor, Dr. Ph. Sciences, Professor Udmurt State University, Russian Federation, Izhevsk

V. Mayakovsky is a bright and multifaceted personality in the history of Russian literature and culture in general. Being an extremely sensitive and emotional person, he deeply and subtly perceived everything that happened around him. Devotion to the revolutionary cause was inspired by ardent optimism, deep faith in everything new, and an uncompromising attitude towards the old, obsolete.

Mayakovsky's artistic quests, his attitude to literary movements were reflected in the nature of his creativity, the style of his works: the personality of the poet himself, with his attitude, strong character, and bright temperament, is constantly present in them. “Volitional consciousness was not only in his verse work, it was in the very structure of his poetry, in his lines, which were units of muscular will rather than speech, and were addressed to the will.” Mayakovsky, relying on the richness of the Russian language, tried to choose from its system such means that would be aimed at the utmost verbal expression of his lyrical hero.

The hyperbolic style is organically connected with the poet’s worldview. From the point of view of V. Mayakovsky, the grandeur of the events, the fundamental changes taking place in the country, the importance of the tasks set - all this implied the use of bright means to reflect the spirit of the time. Hyperboles are present almost everywhere in Mayakovsky’s work. In the article “How to Make Poems?”, speaking about the methods of “making” images, the poet wrote: “One of the ways of creating an image that I have most recently used is the creation of fantastic events themselves - facts emphasized by hyperbole.” The more you read, the more you fall under the influence of the author’s power of image, the intensity of words, and extreme emotionality. As a result, each image may be significantly exaggerated.

In the article we examined tropical ways of creating a hyperbolic effect in the works of V. Mayakovsky, because it is this level that plays the most important role in the creation of vivid hyperbolic images. We have identified the main types of tropes used by V. Mayakovsky as a way of forming hyperbole in the poem “At the top of my voice.”

Among the tropes, metaphor occupies a leading place; it creates vivid, memorable images based on bold associations that demonstrate the ability to perform both nominative and figurative, expressive-evaluative and conceptual functions in a literary text.

Structurally, Mayakovsky's hyperbolic metaphors do not go beyond the framework of metaphorical structures known in language.

The linguistic material made it possible to identify several groups of hyperbolic metaphors that function in the works of V. Mayakovsky:

1. Metaphorical combinations of the predicative type (“the sky will burn,” “the water is burning,” “the earth is burning,” “the asphalt is burning”) are presented in the examples:

"From the flags

will burn with fire";

"The water is burning,

the earth is burning,

until it burns."

Metaphorical combinations with verbs: “burns”, “inflames” in this case undergo semantic complication. Lexemes: “from the flags” (meaning “from the bright red color of the flags”), “will burn” (meaning “to become red-hot”), “to burning” (meaning “to become so hot that you can get burned”) not only create images of “sky”, “earth”, “asphalt” as flaming, fiery spaces, but also endow metaphorical combinations with semantics of color and touch: flags are so bright that they illuminate the sky with a fiery red color; the asphalt is so hot that it becomes red hot and can burn you. Of particular importance in creating the effect of the all-encompassing fiery space is the threefold repetition of the verb “burning”. In all three cases, this verb is placed in preposition, which emphasizes the hyperbolic nature of the image of the “great fire” happening around.

Most of the verbs used in a figurative metaphorical meaning are prefixed (cf. frozen, kindled, inflamed). For example:

“The blood was kindled by the temples.”

The verb “to kindle” means “to begin to burn, to flare up.” In the combination “the blood was kindled,” the law of semantic agreement is violated: blood does not burn, so it cannot be kindled. The verb “to kindle” in its poetic function receives a different semantic coordination: it becomes more mobile, capable of highlighting new contextual semes: “the blood ran wild,” “seethed,” “boiled.”

2. In the works of V. Mayakovsky, the metaphor is explicated in combinations of the nominal type:

A. In examples:

“Mountains of anger, my legs are swelling”;

“And the speech was interrupted by avalanches of roars”;

genetic metaphorical combinations stand out: “mountains of anger”, “landslides of roar”, “thunder of voices”, where the nouns: “mountains”, “landslides”, “thunder” conceptually indicate the global spread of something, and the lexemes “mountains” and “ landslides" indicate the number of material objects, and "thunder" indicates the force of sound propagation.

Let's look at one example:

interrupted

landslides of roar."

In the substantive combination “falls of roar” there is a noticeable violation of semantic agreement. A new meaning is born, which takes the word out of its usual perception. This is inherent in the lexical content of the words “collapse” and “roar” in combination with “collapses of roar”, which in the nominative meaning realize the semes: “big”, “huge”, “weighty” (collapse), “very loud”, “lingering” , “animal” (roar). By combining such words, like a nuclear reaction, new semantic and emotional energy is born.

b. Hyperbolic application metaphors are no less frequent:

My beloved eyes."

The principle of similarity underlying metaphorical combinations is quite clearly manifested in the example: “eyes-heaven”. According to V.N. Telia, “Metaphorization begins with the assumption of similarity (or similarity) between the emerging concept of reality and some somewhat similar “concrete” figurative-associative idea of ​​another reality.” In this example, the author perceives the size and color of his beloved’s eyes as a huge blue sky. The association occurs both in color and in quality: a person in love literally “drowns” in the eyes of his beloved, as if in the sea. However, we note that this similarity is possible only if there is a clarification in the form of an adjective and pronoun “my beloved,” which emphasizes the chosenness of a particular woman from among many.

V. In poetic texts, Mayakovsky uses various techniques that create and enhance the effect of exaggeration. One of the techniques for creating hyperbolic in a poetic metaphor is the choice of concepts, the substantive basis of which is exaggeration or emphasizes the enormity of the compared phenomena." Let us highlight attributive hyperbolic combinations:

"To the shaking people

the apartment is quiet

the hundred-eyed glow bursts from the pier";

"The jaw will open slightly

or yapping

instead of language -

three-tongued mile";

pencil forest".

In the constructions of hyperbolic metaphors of this type, the author's metaphorical occasionalisms are frequent: “hundred-eyed glow”, “three-tongued milepost”, “pencil forest”. In the examples “hundred-eyed glow”, “verst three-tongued”, occasional adjectives are constructed according to the numeral + noun type: “hundred” + “eye”, “three” + “tongue”. The substantive basis of these individual words does not contain the meaning of exaggeration, but when they are combined, such a meaning is manifested due to the surprise and fantastic nature of the resulting concept.

The “pencil forest” example is not occasionalism, however, its substantive basis also emphasizes hyperbolicity. This is possible in combination with the noun “forest,” which itself means “many trees.” In combination with the adjective “pencil,” this word takes on a new semantics - “a large number of pencils for writing,” which were covered with writing.

3. A favorite technique is to use inverse word order. For example:

“Breast of despair an avalanche”;

"Over the years

muscles of steel."

Inversion combinations: “strike the chest” instead of “strike the chest”, “desperation avalanche” instead of “avalanche of despair”, “weakened over the years” instead of “weakened over the years”, “steel of muscles” instead of “steel of muscles” are put by the author in a strong position, which indicates the non-triviality of the described phenomena. In the first example: the inversion of “avalanche of despair” emphasizes the incredible power of grief more than the direct word order - “avalanche of despair.” In the second example: the inversion of “muscles of steel” concentrates greater expressiveness of the image of a strong, strong man with “steel” muscles. The inversion “has weakened over the years” emphasizes temporal extension.

4. Hyperbolism in metaphor is also achieved with the help of “a game built on surprise, paradox, anecdotalism and analogy.” In Mayakovsky, figurative images can be created individually by the author - on the basis of stylistically neutral vocabulary, with the help of unexpected comparisons. The manifestation of this method can be seen in the following examples: “tank energy”, “armpit fur”, “mouth-verst”, “bayonet-tongue”, etc.

5. In Mayakovsky’s works there are also hyperbolic metaphors, the semantic structure of which is fully realized and motivated by the context, or the context “highlights” the hyperbolic meaning more clearly. Let's look at an example:

"It's boring here

not good

the armor will also become damp... -

the world is slumbering,

To the Black Sea District

blue-tear

sea ​​defense."

The “blue-tear” combination also has an artistic effect. Researchers call such metaphors riddle metaphors. Only the context deciphers such a hyperbolic metaphor: “The world is slumbering, / on the Black Sea district / the blue-tear / sea of ​​armor” (“the armor on the Black Sea district”, “the blue-tear is armored by the sea”).

Z. Paperny notes that the combination “blue-tear” “emphasizes not only the enormous scale of the poetic picture, which appears before us as if captured from a gigantic height. At the same time, the sadness that was heard in the trumpet sounds of the steamer now colored the entire vision of the world. This “blue-tear” evokes the idea not of a sad ship, but of someone who heard sadness in the ship’s pleas-signals. And some kind of unusual, unique “Mayakovskaya” sadness! Not a self-absorbed experience, but a feeling merging with the boundless expanse of the world.”

In creating hyperbolic meaning, Mayakovsky uses the technique of “developing and reviving metaphor.”

“The burn bell is already squealing,

The apparatus is white-hot."

The morphological element that develops the verbal metaphor “the bell squeals” is the adverb “white-hot,” which, together with the participle “hot,” creates a hyperbolic meaning (the adverb “white-hot” expresses the extreme degree of incandescence and tension). The second part of this compound sentence is closely related in meaning to the first and is its logical continuation. The metaphor is brought to life with the help of the verb “squeals”, which is traditionally used in relation to living beings. In combination with the noun “from burns,” the effect of gradual personification is created - from the inanimate state of the telephone (before frequent calls) to the animate state (the phone could not stand countless calls).

The tropical level of creating hyperbolic images is one of the most important components of constructing the general hyperbolic background of the poem “At the top of my voice.” Among the tropes used by V. Mayakovsky to designate poetry as revolution and struggle, we will highlight metaphorical and metonymic tropes that are close to symbols. For V. Mayakovsky, poetry and revolution are inseparable from each other: poetry is as persistent in the struggle for freedom of expression of an individual worldview as revolution, and revolution, like poetry, is filled with sublime impulses and hope for a wonderful future. An image of “poetry-revolution” emerges, the hyperbolic nature of which is explicated in the globality of the author’s idea. Both poetry and revolution are two lifelong affairs for Mayakovsky; by combining them, the author challenges the existing way of life and exalts himself as a demiurge - one who is able to resist chaos.

This metaphorical and metonymic generalization, equal to the symbol - “poetry-revolution” - in the poem “At the top of my voice” consists of many metaphorical and metonymic images: “pages of the army”, “along the line front”, “the poems froze, / pressed to the muzzle the mouth of / aimed / gaping titles”, “the cavalry of witticisms froze, / raising the sharpened peaks of rhymes” - all of them include lexemes that characterize, at first glance, incompatible concepts - poetry and revolution:

1. In the example of “pages of troops,” the lexemes “pages” and “troops” are not individually word images, but when combined, they form a metaphorical image of many pages of the author’s works, which, like troops of soldiers, are aimed at the battle for enlightening the reader’s minds.

The metaphor here is based on a quantitative attribute: there are so many pages lined up in rows that they can be compared to an army. The noun “pages” in combination with the noun “troops” correlates with military vocabulary, and the metaphorical image of “pages of troops” is a link in the general chain of creating the main metaphor: poetry-revolution.

2. “On the line front.” The emphasis of this metaphor falls on the noun “front”, which refers to military vocabulary and denotes the front side of the combat disposition of troops, facing the enemy. In combination with the adjective “line” (from the noun “line”), which here is a component of the concept of “poetry”, the lexeme “front” ceases to be only a military designation and takes on a metaphorical meaning in the phrase “line front” = the poet’s struggle for freedom of thought and the truthfulness of the presentation.

3. “The poems froze, / pressing the muzzle of / aimed / gaping titles to the muzzle,” writes Mayakovsky. The word image “poetry-revolution” is also concretized through military vocabulary - “the mouth of titles.” A poem is a weapon that can change the way of life and worldview of the masses.

4. In the example “the cavalry of witticisms froze, / raising the sharpened peaks of rhymes,” the word image of poetry contaminates lexemes of military and literary themes: the nouns “cavalry”, “spikes” belong to military vocabulary, but are combined with lexemes denoting literary concepts - “witnesses”, “rhymes” are acquiring new shades - a cultural revolution capable of ridding the world of the ignorance of life with peak rhymes. The word image poetry-revolution, the hyperbolic nature of which signifies for the author the desire to show the peaceful poetic craft as a frantic struggle to transform everyday life into poetry and to establish poetry in life, consists of many concretized metaphors, which in turn are also meaningfully symbiotic. Therefore, hyperbolic word images are the most important component in creating the overall hyperbolic background of the poem.

Bibliography:

1. Kovalev V.P. Language expressive means of Russian fiction: Author's abstract. dis. doc. Philol. Sci. Kyiv, 1974.
2. Levin Yu.I. The structure of Russian metaphor//Proceedings on sign systems. 1965.
3. Mayakovsky V.V. Collection op. in 12 volumes. M.: Pravda, 1978.
4. Oparina E.O. Conceptual metaphor // Metaphor in language and text. M.: Nauka, 1988.
5. Paperny Z. About Mayakovsky's mastery. M.: Publishing House of the USSR Academy of Sciences, 1961.
6. Dictionary of the modern Russian literary language: in 17 volumes. M.-L.: Publishing House of the USSR Academy of Sciences, 1950.
7. Tynyanov Yu.N. Poetics. History of literature. Movie. M.: Nauka, 1977.
8. Fatyushchenko V.I. Mayakovsky's metaphors and questions of the history of metaphor in Russian poetry: Author's abstract. dis. Ph.D. Philol. Sci. M, 1966.

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. Its themes, images, focus, and initial pathos changed.
Let's take a closer look at them. In the early poetry of V. Mayakovsky, satire is dictated primarily by the pathos of anti-bourgeoisism, and pathos that is of a romantic nature. In the poetry of V. Mayakovsky, a traditional conflict for romantic poetry arises between the creative personality and the author’s “I” - rebellion, loneliness (it is not without reason that the early poems of V. Mayakovsky are often compared to Lermontov’s), the desire to tease and irritate the rich and well-fed.
For futurism, the movement to which the young author belonged, this was typical. The alien philistine environment was depicted satirically. The poet portrays 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-eaten, half-eaten cabbage soup;
Here you are, woman, you have thick white on you,
You are looking at things as an oyster.
Already in his 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. Thus, 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 the Critic,” “Hymn to the Dinner.” As you know, the anthem is a solemn song. Mayakovsky's hymns are an evil satire. His heroes are sad people who themselves do not know how to enjoy life and bequeath this to others, they strive to regulate everything, to make it colorless and dull. The poet names Peru as the setting for his anthem, but the real address is quite transparent. Particularly vivid satirical pathos is heard in “Hymn to Lunch.” The heroes of the poem are those well-fed ones who acquire the meaning of a symbol of bourgeoisity. The poem uses a technique that in literary science is called synecdoche: instead of the whole, a part is called. In “Hymn to Lunch,” the stomach acts instead of a person:
Stomach in a Panama hat!
Will you get infected?
The greatness of death for a new era?!
Nothing can hurt your stomach,
Except for appendicitis and cholera!
A peculiar turning point in the satirical work of V. Mayakovsky was the ditty he composed in October 1917:
Eat pineapples, chew hazel grouse,
Your last day is coming, bourgeois.
There is also an early romantic poet here, and V. Mayakovsky, who put his work at the service of the new government. These relationships - the poet and the new government - were far from simple, this is a separate topic, 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. Firstly, the enemies of the revolution become its heroes. This topic became important for the poet for many years; it provided abundant food for his work. In the first years after the revolution, these are the 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 - many poems were accompanied by drawings, or rather, both were created as a single whole in the tradition of folk pictures - popular prints, which also consisted of pictures and captions for them. In “Windows of GROWTH” V. Mayakovsky uses such satirical techniques as grotesque, hyperbole, parody - for example, some inscriptions are created based on famous songs, for example, “Two Grenadiers to France...” or “The Flea,” famous from Chaliapin’s performance. Their characters are white generals, irresponsible workers and peasants, bourgeoisie - certainly in top hats and with a fat belly.
Mayakovsky makes maximalist demands for his new life, so many of his poems satirically show its vices. Thus, V. Mayakovsky’s satirical poems “About Rubbish” and “The Satisfied Ones” became very famous. The latter creates a grotesque picture of how 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 quite harmless. The fact that “half of the people” sit at the next meeting is not only the implementation of the metaphor - people are torn in half to get everything done - but also the very price of such meetings.
In the poem “About Rubbish”, V. Mayakovsky’s former anti-philistine pathos seems to return. Quite harmless details of everyday life, like a canary or a samovar, take on the sound of ominous symbols of the new philistinism. At the end of the poem, a grotesque picture again appears - the traditional literary image of a portrait coming to life, this time a portrait of Marx, who makes a rather strange call to turn the heads of the canaries. This call is understandable only in the context of the entire poem, in which the canaries 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 position of common sense. One of these poems is “A poem about Myasnitskaya, about a woman and about an all-Russian scale.”
Here the revolutionary desire for a global remake of the world comes into direct conflict with the everyday interests of the ordinary person. Baba, whose “snout was covered in 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 “The Heart of a Dog.” The same common sense permeates the satirical poems of V. Mayakovsky about the passion of the new authorities to give everyone and everything the names of heroes. Thus, in the poem “Terrifying Familiarity,” the poet’s 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 is just right.
May is nonsense. Real summer.
You rejoice at everything: the porter, the ticket inspector.
The pen itself raises the hand,
and the heart boils with the gift of song.
The platform is ready to be painted to heaven
Krasnodar.
Here the nightingale-trailer would sing.
The mood is a Chinese teapot!
And suddenly on the wall: - Ask questions to the controller
strictly prohibited! -
And immediately the heart is at the bit.
Soloviev stones from a branch.
I would like to ask:
- Well how are you?
How's your health? How are the kids? -
I walked, eyes down to the ground,
just chuckled, looking for protection,
And I want to ask a question, but I can’t -
the government will be offended!
In the poem there is a collision of natural human impulse, feeling, mood with officialdom, 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 and does give rise to a joyful mood; the most ordinary phenomena, such as a station platform, evoke poetic inspiration, the gift of song. V. Mayakovsky finds an amazing comparison: “The mood is like a Chinese teapot!” Immediately a feeling of something joyful and festive is born. And all this is negated by strict bureaucracy. The poet, with amazing psychological accuracy, conveys the feeling of a person who becomes the subject of a strict prohibition - he becomes humiliated, no longer laughs, but “giggles, looking for protection.” The poem is written in tonic verse, characteristic of V. Mayakovsky’s work, and, which is typical of the artist’s poetic skill, rhymes “work” in it. Thus, the most cheerful word - “teapot” - rhymes with the verb “forbidden” from the wretched official vocabulary. Here the poet also uses a technique characteristic of him - neologisms: treleru, nizya - a gerund from the non-existent “lower”. They actively work to reveal artistic meaning. The lyrical hero of this work is not an orator, not a fighter, but first of all a person with his natural mood, inappropriate where everything is subject to strict regulations.
The satirical poems of V. Mayakovsky still sound modern today.

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

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

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

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

Of particular importance in Mayakovsky’s poetry are rhythm And intonation, which formed the basis of his verse system. The poet himself, in the article “How to Make Poems,” explained the features of his system. For him, rhythm, intonation, and pauses are important in poetry. Mayakovsky's poem is called that - intonation-tonic. The poet put the most semantically important word at the end of the line and always selected a rhyme for it. This word was thus highlighted twice - by intonation, logically and by consonance with another important word, i.e. semantic stress. To enable the reader to feel his own intonation, Mayakovsky graphically began to separate lines with pauses. This is how the famous “ladder” was formed

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

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

An essential feature is its strong social overtones. Most often, the social emphasis of a poetic image is manifested in a separate trope - metaphor, personification, comparison.

Take a look at Russia from above -
turned blue by the rivers,
as if a thousand rods were spreading,
as if slashed with a whip.
But bluer than the water in spring,
bruises of Rus' serf.

With figurative social perception of the landscape, natural phenomena are endowed with signs of social relations. A very common technique in Mayakovsky’s poetics is hyperbola. A sharp look at reality led Mayakovsky to hyperbolism. The image of the proletariat as a community, the plans of the community, etc. runs through a number of works.

Metaphor Mayakovsky is always noticeable. The poet refers to the phenomena that surround a person in everyday life, widely introducing associations with everyday objects: “The sea, shiny. Than a doorknob." Mayakovsky's poetry became the basis for the tradition of accented or intonation-tonic verse, which was continued by N. Aseev, S. Kirsanov, A. Voznesensky, Y. Smelyakov.

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