Read Mayakovsky's ode to revolution. Analysis of Mayakovsky’s poem “Ode to the Revolution. From futurism to socialist realism

Vladimir Mayakovsky's enthusiastic attitude towards the revolution runs like a red thread through all of the poet's work. However, the author is well aware that a change of power is a serious social upheaval, which brings not only freedom to the common people, but also devastation, hunger, disease and drunken revelry. Therefore, in his assessment of the events of 1917, Mayakovsky is impartial; he does not extol praises and does not indulge himself in illusions. In 1918, the poet published the poem “Ode to the Revolution,” judging by the title of which we can conclude that the speech in the work

It will be about praising the dictatorship of the proletariat. But this is not at all true, because the poet lives in a real, not a fictional world, and every day he encounters the reverse side of freedom, equality and fraternity proclaimed by the new government.

“Ode to the Revolution,” maintained in the traditions of this poetic genre, really begins with lines of praise in which the poet immediately outlines the theme of the work, declaring that he enthusiastically raises “a solemn “O” over the abuse of the ode!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”,

“children's”, while emphasizing that it is still great.

“How will you turn around, two-faced?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaping ruins”, since any of these options against the backdrop of general euphoria can easily be implemented. Just look at the words of the “International”, so popular these days, which calls for the destruction of the old world to the ground!

However, Mayakovsky is not at all afraid of this development of events; he really believes that the world will become different, more fair and free. However, the author understands that for this he still has to be freed from the “gray-haired admirals” and “thousands of years of the Kremlin” - symbols of a past life that have no place in the new society. At the same time, Mayakovsky understands exactly how all this will happen, since recent events are still fresh in his memories, when the revolution “screamed with a drunken crowd” and demanded execution for everyone who did not agree with the Bolshevik ideas. Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he exclaims with enthusiasm “Oh, glory four times, blessed one!” And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.

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Analysis of Mayakovsky’s poem “Ode to the Revolution”

“Ode to the Revolution”, “Left March”, etc. - these first examples of socialist art of the Great October Revolution are captivating with their sincerity and deepest faith in the wonderful future that has opened up before humanity, Mayakovsky

Vladimir Mayakovsky
Poem
ODE TO THE REVOLUTION

You,
booed,
ridiculed by batteries,
you,
ulcerated by the slander of bayonets,
I exalt with enthusiasm
over the swearing
solemn ode
"ABOUT"!
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around for me, two-faced?
Slender building,
a pile of ruins?
To the driver,
covered in coal dust,
a miner breaking through the ores,
cense,
cense reverently
glorify human work.
And tomorrow
Blissful
cathedral rafters
vainly lifts up, begging for mercy, -
your six-inch thick-nosed hogs
The Kremlin's millennia are being blown up.
"Glory".
It wheezes on its dying flight.
The screech of sirens is muffled and thin.
You send sailors
on a sinking cruiser,
there,
where the forgotten kitten meowed.
And then!
A drunken crowd screamed.
The dashing mustache is twisted in force.
You drive away gray admirals with rifle butts
upside down
from the bridge in Helsingfors.
Yesterday's wounds lick and lick,
and again I see open veins.
Philistine for you
- Oh, be damned three times! -
and my,
poetically
- Oh, glory four times, blessed one! -

1918 © Vladimir Mayakovsky

Read by Alexander Lazarev

The famous Russian actor Lazarev Alexander Sergeevich (senior) was born on January 3, 1938 in Leningrad. After graduating from high school, he entered the Moscow Art Theater School. Since 1959 - actor of the Moscow Academic Theater named after Vl. Mayakovsky, where he served until the end of his days. During his creative life, the actor played more than 70 film roles.

Vladimir Vladimirovich Mayakovsky (July 7 (19), 1893, Baghdadi, Kutaisi province - April 14, 1930, Moscow) - Russian Soviet poet.
In addition to poetry, he clearly distinguished himself as a playwright, screenwriter, film director, film actor, artist, editor of the magazines “LEF” (“Left Front”), “New LEF”.
In his works, Mayakovsky was uncompromising, and therefore inconvenient. In the works he wrote in the late 1920s, tragic motifs began to appear. Critics called him only a “fellow traveler” and not the “proletarian writer” that he wanted to see himself. It is important that two days before his suicide, on April 12, he had a meeting with readers at the Polytechnic Museum, which was attended mainly by Komsomol members; there were a lot of boorish shouts from the seats. At some point, he even lost his composure and sat down on the steps leading from the stage, putting his head in his hands.
In his suicide letter dated April 12, Mayakovsky asks Lilya to love him, names her (as well as Veronica Polonskaya) among his family members and asks all the poems and archives to be handed over to the Briks.

“Ode to the Revolution,” maintained in the traditions of this poetic genre, indeed begins with lines of praise, in which the poet immediately outlines the theme of the work, declaring that he enthusiastically raises “a solemn “O” over the abuse of the ode!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”, “childish”, while emphasizing that it is still great.

“How will you turn around, two-faced one?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaped ruins”, since any of these options against the backdrop of general euphoria can easily be implemented. Just look at the words of the so popular... these days “International”, which calls for the destruction of the old world to the ground!

Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he enthusiastically exclaims “Oh, glory four times, blessed one!”

And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.

“Ode to the Revolution” Vladimir Mayakovsky

You,
booed,
ridiculed by batteries,
you,
ulcerated by the slander of bayonets,
I exalt with enthusiasm
over the swearing
solemn ode
"ABOUT"!
Oh, bestial!
Oh, children's!
Oh, cheap!
Oh, great one!
What other name did you have?
How else will you turn around, two-faced?
Slender building,
a pile of ruins?
To the driver,
covered in coal dust,
a miner breaking through the ores,
cense,
cense reverently
glorify human work.
And tomorrow
Blissful
cathedral rafters
vainly lifts up, begging for mercy, -
your six-inch thick-nosed hogs
The Kremlin's millennia are being blown up.
"Glory".
It wheezes on its dying flight.
The screech of sirens is stiflingly thin.
You send sailors
on a sinking cruiser,
there,
where is the forgotten
the kitten meowed.
And then!
A drunken crowd screamed.
The dashing mustache is twisted in force.
You drive away gray admirals with rifle butts
upside down
from the bridge in Helsingfors.
Yesterday's wounds lick and lick,
and again I see open veins.
Philistine for you
- oh, be damned three times! -
and my,
poetically
- Oh, glory four times, blessed one! -

Analysis of Mayakovsky's poem "Ode to the Revolution"

“Ode to the Revolution,” maintained in the traditions of this poetic genre, indeed begins with lines of praise, in which the poet immediately outlines the theme of the work, declaring that he enthusiastically lifts “above the abuse of rheme
ode to the solemn “O”!” And he immediately rewards the revolution with such unflattering epithets as “animal”, “penny”, “childish”, while emphasizing that it is still great.

“How will you turn around, two-faced?” the poet wonders, and there is no idle curiosity in this question, since in a very short period of time Mayakovsky saw not only the achievements of the new government, but also its shamelessness, rudeness, and inconsistency. Therefore, the author is at a loss as to what exactly these changes, frightening in their mercilessness, promise for his homeland. The poet does not know what exactly the revolution will turn out to be for Russia - “a slender building” or “heaping ruins”, since any of these options against the backdrop of general euphoria can easily be implemented. Consider the words of the Internationale, so popular these days, which calls for the destruction of the old world to the ground!

However, Mayakovsky is not at all afraid of this development of events; he really believes that the world will become different, more fair and free. However, the author understands that for this he still has to be freed from the “gray-haired admirals” and “thousands of years of the Kremlin” - symbols of a past life that have no place in the new society. At the same time, Mayakovsky understands exactly how all this will happen, since recent events are still fresh in his memories, when the revolution “screamed with a drunken crowd” and demanded execution for everyone who did not agree with the Bolshevik ideas. Indeed, after the revolution, some had to lick “yesterday’s wounds” for a long time, remembering the glorious battles with the “counter.” However, there were those who preferred “opened veins” to shame and humiliation. And there were a lot of them. From their lips, according to the poet, came philistine curses, since quite successful and wealthy classes instantly lost not only their well-being, but also their homeland itself, which had become alien to them. At the same time, Mayakovsky is delighted with the changes, therefore, turning to the revolution, he enthusiastically exclaims “Oh, glory four times, blessed one!” . And there is no pathos in this line, since the poet sincerely believes in a new society, not suspecting that the dual essence of the revolution that he glorifies will manifest itself more than once, turning into deprivation and humiliation for the people. However, this awareness will come to Mayakovsky much later and will result in a cycle of sarcastic poems in which criticism is mixed with humor, and indignation with helplessness. But even against the backdrop of public, political and social excesses, the poet remains true to his ideals, considering the revolution not an evil, but a great achievement of the Russian people.

The greatest event in the history of Russia of the twentieth century, which radically changed its existence, could not fail to be reflected in the work of at least some significant artists who lived during this turning point. But for some of them this topic has become dominant.

Singer of the Revolution

Many cultural figures have their own established image in the public consciousness. According to the tradition formed during the Soviet period of history, the name of the poet Vladimir Mayakovsky is inextricably linked with the image of the Russian revolution. And there are very good reasons for such a relationship. The author of the poem “Ode to the Revolution” devoted his entire adult life to its chanting. He did it fiercely and selflessly. And unlike many of his literary colleagues, Mayakovsky did not bend his heart. The creations that came from his pen came from a pure heart. It was written with talent, like everything that Mayakovsky created. "Ode to the Revolution" is one of his early works. But it is by no means a student’s work; the poet showed himself in it as an already formed master. He has his own style, his own imagery and his own expression.

What I saw Mayakovsky? "Ode to the Revolution"- horror or delight?

This poem was written in 1918, hot on the heels of revolutionary events. And only at first glance does it seem unambiguously enthusiastic. Yes, the poet accepts the accomplished revolution with all his soul. He felt and predicted its inevitability even in his very first literary experiments. But even Mayakovsky’s superficial “Ode to the Revolution” does not allow one to ignore the glaring contradictions that the author sees in the whirlwind of ongoing events. The enormity of the ongoing reorganization of the world is only emphasized by the seemingly completely inappropriate adjectives with which Mayakovsky awards the ongoing revolution - “animal”, “childish”, “penny”, but at the same time, without a doubt, “great”. Delight at the process of the birth of a new world in no way cancels out the horrors and abominations that occur. Reading Mayakovsky, it is difficult not to recall the famous saying of the leader of the world proletariat that “revolutions are not made with white gloves.” Lenin knew what he was talking about. And the poet knew what he was writing about. He drew his images not from romantic dreams, but from the surrounding reality.

Vladimir Mayakovsky, "Ode to the Revolution". Analysis stylistic features

The first thing that attracts attention in this work is the ragged poetic rhythm and the seemingly chaotic flow of images. But in such compositional structures there is neither chaos nor randomness. Everything that passes before the mind's eye harmoniously obeys poetic logic. This poem illustrates well what the early Mayakovsky became famous for. "Ode to the Revolution" is one of his programmatic works. It is generally accepted that Mayakovsky borrowed many characteristic features from European futurist poets of the beginning of the century. But even if we agree with this statement, we cannot help but give him credit for the virtuoso brilliance with which this set of borrowed features was applied in Russian poetry. Before Mayakovsky appeared in it, such a synthesis seemed simply impossible.

From futurism to socialist realism

Only he wrote about the events of 1917 in his “Ode to the Revolution” gives us grounds for a broader interpretation of this poem. It also has an obvious philosophical meaning. It talks about changes in society and the cost of these changes. Reading the works of this poet, it is not at all difficult to notice the simple fact that practically no one had written like this before him. In Russian literature, Vladimir Mayakovsky is an innovative poet and revolutionary poet. His figurative system, poetic thinking and expressive means opened the main path of development not only for Russian poetry of the twentieth century, but also for many aesthetic spheres not directly related to it. The influence of Mayakovsky’s work is easy to trace and detect in many works of art, from painting and graphics to cinema inclusive. Even when in the thirties they burned out with a hot iron everything that deviated from the general line of the party, including futurism and all other “-isms,” no one could question the significance of Mayakovsky’s creative heritage. He was attributed to the classics. The poet could no longer object to this due to his absence from this world.

Death of the poet

It has been said many times that “the revolution devours its children.” This is exactly what happened to Mayakovsky. It is difficult to find another creator who would devote himself so selflessly to one topic, “stepping on the throat of his own song.” “Ode to the Revolution” was far from the poet’s only work about it. But after the victory of the uprising, Mayakovsky turned out to be completely irrelevant and unclaimed by the new government. He summed up his life with one bullet.