Mayakovsky's work summary. Biography of Mayakovsky. Key moments from the life of the poet. Active creative activity

Glass and glass products 24.06.2024

Glass and glass products

Vladimir Vladimirovich
Mayakovsky

Born on July 7, 1893 in one of the Georgian villages - Baghdati. The Mayakovsky family was classified as foresters; in addition to their son Vladimir, there were two more sisters in their family, and two brothers died at an early age.
Vladimir Mayakovsky received his primary education at the Kutaisi gymnasium, where he studied since 1902. In 1906, Mayakovsky and his family moved to Moscow, where his path to education continued at gymnasium No. 5. But, due to the inability to pay for his studies at the gymnasium, Mayakovsky was expelled.
The beginning of the revolution did not leave Vladimir Vladimirovich aside. After being expelled from the gymnasium, he joins the RSDLP (Russian Social Democratic Party).
After being active in the party, Mayakovsky was arrested in 1909, where he wrote his first poem. Already in 1911, Mayakovsky continued his education and entered the painting school in Moscow. There he was ardently interested in the work of the futurists.
For Vladimir Mayakovsky, 1912 was the year his creative life began. It was at this time that his first poetic work, “Night,” was published. The following year, 1913, the poet and writer created the tragedy “Vladimir Mayakovsky,” which he himself directed and in which he played the main role.
Vladimir Mayakovsky's famous poem “A Cloud in Pants” was completed in 1915. Mayakovsky's further work, in addition to anti-war themes, contains satirical motifs.
A proper place in Vladimir Vladimirovich’s creative path is given to writing scripts for films. So, in 1918 he starred in 3 of his films.
The following year, 1919, was marked for Mayakovsky by the popularization of the theme of revolution. This year, Mayakovsky took an active part in the creation of posters “Windows of Satire ROSTA”.
Vladimir Mayakovsky is the author of the creative association “Left Front of the Arts”, in which he later began to work as an editor. This magazine published works by famous writers of that time: Osip Brik, Pasternak, Arvatov, Tretyakov and others.
Since 1922, Vladimir Mayakovsky has been traveling around the world, visiting Latvia, France, Germany, the USA, Havana and Mexico.
It was while traveling that Mayakovsky gave birth to a daughter from an affair with a Russian emigrant.
Mayakovsky's greatest and true love was Lilia Brik. Vladimir was close friends with her husband, and then Mayakovsky moved to live in their apartment, where a stormy romance with Lilia began. Lilia's husband, Osip, practically lost her to Mayakovsky.
Mayakovsky did not officially register any of his relationships, although he was extremely popular among women. It is known that in addition to his daughter, Mayakovsky has a son.
In the early 30s, Mayakovsky’s health suffered greatly, and then a series of failures awaited him: the exhibition dedicated to the 20th anniversary of his work was doomed to failure, and the premieres of “The Bedbug” and “Bathhouse” did not take place. Vladimir Vladimirovich's state of mind left much to be desired.
Thus, the gradual depression of his condition and mental health, on April 14, 1930, the poet’s soul could not stand it and Mayakovsky shot himself.
Many objects are named in his honor: libraries, streets, metro stations, parks, cinemas and squares.

Vladimir Vladimirovich Mayakovsky. Born on July 7 (19), 1893 in Bagdati, Kutaisi province - died on April 14, 1930 in Moscow. Russian and Soviet poet, playwright, screenwriter, film director, actor, artist. One of the most outstanding poets of the 20th century.

Vladimir Mayakovsky was born on July 7 (19 according to the new style) July 1893 in Bagdati, Kutaisi province (Georgia).

Father - Vladimir Konstantinovich Mayakovsky (1857-1906), served as a third-class forester in the Erivan province, from 1889 in the Bagdat forestry. My father died from blood poisoning after pricking his finger with a needle while stitching papers - from then on, Vladimir Mayakovsky had a phobia of pins, needles, hairpins, etc., fearing infection, bacteriophobia haunted him all his life.

Mother - Alexandra Alekseevna Pavlenko (1867-1954), from the Kuban Cossacks, was born in the village of Ternovskaya in the Kuban.

In the poem “Vladikavkaz - Tiflis” Mayakovsky calls himself a “Georgian”.

One of his grandmothers, Efrosinya Osipovna Danilevskaya, is the cousin of the author of historical novels G. P. Danilevsky.

He had two sisters: Lyudmila (1884-1972) and Olga (1890-1949).

He had two brothers: Konstantin (died at the age of three from scarlet fever) and Alexander (died in infancy).

In 1902, Mayakovsky entered the gymnasium in Kutaisi. Like his parents, he was fluent in Georgian.

In his youth, he took part in revolutionary demonstrations and read propaganda brochures.

After the death of his father in 1906, Mayakovsky, along with his mother and sisters, moved to Moscow, where he entered the fourth grade of the 5th classical gymnasium (now Moscow school No. 91 on Povarskaya Street, the building has not survived), and studied in the same class with his brother Shura.

The family lived in poverty. In March 1908, he was expelled from the 5th grade due to non-payment of tuition.

Mayakovsky published his first “half-poem” in the illegal magazine “Rush,” which was published by the Third Gymnasium. According to him, “it turned out incredibly revolutionary and equally ugly.”

In Moscow, Mayakovsky met revolutionary-minded students, began to become interested in Marxist literature, and in 1908 joined the RSDLP. He was a propagandist in the commercial and industrial subdistrict, and in 1908-1909 he was arrested three times (in the case of an underground printing house, on suspicion of connections with a group of anarchist expropriators, on suspicion of aiding the escape of female political prisoners from Novinsky prison).

In the first case, he was released under the supervision of his parents by a court verdict as a minor who acted “without understanding”; in the second and third cases, he was released due to lack of evidence.

In prison, Mayakovsky was a “scandal,” so he was often transferred from unit to unit: Basmannaya, Meshchanskaya, Myasnitskaya and, finally, Butyrskaya prison, where he spent 11 months in solitary confinement No. 103. In prison in 1909, Mayakovsky again began writing poetry, but was dissatisfied with what was written.

After his third arrest, he was released from prison in January 1910. After his release, he left the party. In 1918 he wrote in his autobiography: “Why not in the party? Communists worked at the fronts. In art and education there are still compromisers. They would send me to fish in Astrakhan.”

In 1911, the poet’s friend, bohemian artist Eugenia Lang, inspired the poet to take up painting.

Mayakovsky studied in the preparatory class of the Stroganov School, in the studios of artists S. Yu. Zhukovsky and P. I. Kelin. In 1911, he entered the Moscow School of Painting, Sculpture and Architecture - the only place where he was admitted without a certificate of trustworthiness. Having met David Burliuk, the founder of the futurist group "Gilea", he entered the poetic circle and joined the Cubo-Futurists. The first published poem was called “Night” (1912), it was included in the futuristic collection “A Slap in the Face of Public Taste.”

On November 30, 1912, Mayakovsky’s first public performance took place in the artistic basement “Stray Dog”.

In 1913, Mayakovsky’s first collection “I” (a cycle of four poems) was published. It was written by hand, provided with drawings by Vasily Chekrygin and Lev Zhegin and reproduced lithographically in the amount of 300 copies. As the first section, this collection was included in the poet’s book of poems “Simple as Mooing” (1916). His poems also appeared on the pages of futurist almanacs “Mares’ Milk”, “Dead Moon”, “Roaring Parnassus”, etc., and began to be published in periodicals.

In the same year, the poet turned to drama. The program tragedy “Vladimir Mayakovsky” was written and staged. The scenery for it was written by artists from the Youth Union P. N. Filonov and I. S. Shkolnik, and the author himself acted as director and leading actor.

In February 1914, Mayakovsky and Burliuk were expelled from the school for public speaking.

In 1914-1915, Mayakovsky worked on the poem “A Cloud in Pants”. After the outbreak of the First World War, the poem “War Has Been Declared” was published. In August, Mayakovsky decided to sign up as a volunteer, but he was not allowed, explaining this as political unreliability. Soon Mayakovsky expressed his attitude towards serving in the tsarist army in the poem “To you!”, which later became a song.

On March 29, 1914, Mayakovsky, together with Burliuk and Kamensky, arrived on tour in Baku - as part of the “famous Moscow futurists.” That evening, at the Mailov Brothers Theater, Mayakovsky read a report on futurism, illustrating it with poetry.

In July 1915, the poet met Lilya Yuryevna and Osip Maksimovich Brik. In 1915-1917, under the patronage of Mayakovsky, he served in military service in Petrograd at the Automotive Training School.

Soldiers were not allowed to publish, but he was saved by Osip Brik, who bought the poems “Spine Flute” and “Cloud in Pants” for 50 kopecks per line and published them. His anti-war lyrics: “Mom and the evening killed by the Germans”, “Me and Napoleon”, the poem “War and Peace” (1915). Appeal to satire. The cycle “Hymns” for the magazine “New Satyricon” (1915). In 1916, the first large collection, “Simple as a Moo,” was published. 1917 - “Revolution. Poetochronika".

On March 3, 1917, Mayakovsky led a detachment of 7 soldiers who arrested the commander of the Automotive Training School, General P. I. Sekretev. It is curious that shortly before this, on January 31, Mayakovsky received a silver medal “For Diligence” from the hands of Sekretev. During the summer of 1917, Mayakovsky energetically worked to have him declared unfit for military service and was released from it in the fall.

In August 1917, he decided to write “Mystery Bouffe,” which was completed on October 25, 1918 and staged for the anniversary of the revolution (dir. Vs. Meyerhold, art director K. Malevich).

In 1918, Mayakovsky starred in three films based on his own scripts.

Vladimir Mayakovsky in the film "The Young Lady and the Hooligan"

In March 1919, he moved to Moscow, began actively collaborating with ROSTA (1919-1921), and designed (as a poet and as an artist) propaganda and satirical posters for ROSTA (“ROSTA Windows”).

In 1919, the first collection of the poet’s works was published - “Everything written by Vladimir Mayakovsky. 1909-1919".

In 1918-1919 he appeared in the newspaper “Art of the Commune”. Propaganda of world revolution and revolution of spirit.

In 1920, he finished writing the poem “150,000,000,” which reflects the theme of world revolution.

In 1918, Mayakovsky organized the group “Comfut” (communist futurism), and in 1922 - the publishing house MAF (Moscow Association of Futurists), which published several of his books.

In 1923 he organized the LEF group (Left Front of the Arts), the thick magazine LEF (seven issues were published in 1923-1925). Aseev, Pasternak, Osip Brik, B. Arvatov, N. Chuzhak, Tretyakov, Levidov, Shklovsky and others actively published. He promoted Lef’s theories of production art, social order, and literature of fact.

At this time, the poems “About This” (1923), “To the workers of Kursk who mined the first ore, a temporary monument to the work of Vladimir Mayakovsky” (1923) and “Vladimir Ilyich Lenin” (1924) were published. When the author read the poem about at the Bolshoi Theater, which was accompanied by a 20-minute ovation, he was present. Mayakovsky mentioned the “leader of the peoples” himself in his poems only twice.

Mayakovsky considers the years of the civil war to be the best time in his life; in the poem “Good!”, written in the prosperous year of 1927, there are nostalgic chapters.

In 1922-1923, in a number of works he continued to insist on the need for a world revolution and a revolution of the spirit - “The Fourth International”, “The Fifth International”, “My Speech at the Genoa Conference”, etc.

In 1922-1924, Mayakovsky made several trips abroad - Latvia, France, Germany; wrote essays and poems about European impressions: “How does a democratic republic work?” (1922); “Paris (Conversations with the Eiffel Tower)” (1923) and a number of others.

In 1925, his longest journey took place: a trip across America. Mayakovsky visited Havana, Mexico City and for three months spoke in various cities of the United States, reading poems and reports. Later, poems were written (the collection “Spain. - Ocean. - Havana. - Mexico. - America”) and the essay “My Discovery of America.”

In 1925-1928, he traveled extensively throughout the Soviet Union and performed in a variety of audiences. During these years, the poet published such works as “To Comrade Nette, the Ship and the Man” (1926); “Through the Cities of the Union” (1927); “The story of the foundry worker Ivan Kozyrev...” (1928).

From February 17 to February 24, 1926, Mayakovsky visited Baku, performed at the opera and drama theaters, and before oil workers in Balakhany.

In 1922-1926 he actively collaborated with Izvestia, in 1926-1929 - with Komsomolskaya Pravda.

He was published in magazines: “New World”, “Young Guard”, “Ogonyok”, “Crocodile”, “Krasnaya Niva”, etc. He worked in agitation and advertising, for which he was criticized by Pasternak, Kataev, Svetlov.

In 1926-1927 he wrote nine film scripts.

In 1927, he restored the LEF magazine under the name “New LEF”. A total of 24 issues were published. In the summer of 1928, Mayakovsky became disillusioned with LEF and left the organization and the magazine. In the same year, he began writing his personal biography, “I Myself.” From October 8 to December 8 - a trip abroad, on the route Berlin - Paris. In November, volumes I and II of the collected works were published.

The satirical plays The Bedbug (1928) and Bathhouse (1929) were staged by Meyerhold. The poet’s satire, especially “Bath,” caused persecution from Rapp’s critics. In 1929, the poet organized the REF group, but already in February 1930 he left it, joining RAPP.

In 1928-1929 Mayakovsky took an active part in the anti-religious campaign. It was then that the NEP was collapsed, the collectivization of agriculture began, and materials from show trials of “pests” appeared in the newspapers.

In 1929, the All-Russian Central Executive Committee issued the Decree “On Religious Associations,” which worsened the situation of believers. In the same year, Art. 4 of the Constitution of the RSFSR: instead of “freedom of religious and anti-religious propaganda,” the republic recognized “freedom of religious confessions and anti-religious propaganda.”

As a result, a need arose in the state for anti-religious works of art that responded to ideological changes. A number of leading Soviet poets, writers, journalists and filmmakers responded to this need. Mayakovsky was among them. In 1929, he wrote the poem “We Must Fight,” in which he stigmatized believers and called for atheism.

Also in 1929, he, together with Maxim Gorky and Demyan Bedny, took part in the Second Congress of the Union of Militant Atheists. In his speech at the congress, Mayakovsky called on writers and poets to participate in the fight against religion: “We can already unmistakably discern a fascist Mauser behind the Catholic cassock. We can already unmistakably discern the edge of a fist behind the priest’s cassock, but thousands of other intricacies through art entangle us in the same damned mysticism. ...If it is still possible, one way or another, to understand the brainless ones from the flock, who have been hammering religious feelings into themselves for decades, the so-called believers, then we must classify a religious writer who works consciously and yet works as a religious person either as a charlatan, or like a fool. Comrades, usually their pre-revolutionary meetings and congresses ended with the call “to God”; today the congress will end with the words “to God.” This is the slogan of today’s writer,” he said.

Features of the style and creativity of Vladimir Mayakovsky

Many researchers of Mayakovsky's creative development liken his poetic life to a five-act action with a prologue and epilogue.

The role of a kind of prologue in the poet’s creative path was played by the tragedy “Vladimir Mayakovsky” (1913), the first act was the poem “Cloud in Pants” (1914-1915) and “Spine Flute” (1915), the second act was the poem “War and Peace” "(1915-1916) and "Man" (1916-1917), the third act - the play "Mystery-bouffe" (first version - 1918, second - 1920-1921) and the poem "150,000,000" (1919-1920), the fourth act - the poems “I Love” (1922), “About This” (1923) and “Vladimir Ilyich Lenin” (1924), the fifth act - the poem “Good!” (1927) and the plays “Bedbug” (1928-1929) and “Bathhouse” (1929-1930), the epilogue is the first and second introductions to the poem “At the top of my voice” (1928-1930) and the poet’s suicide letter “To everyone” (12 April 1930).

The rest of Mayakovsky's works, including numerous poems, gravitate towards one or another part of this general picture, the basis of which is the poet's major works.

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.

In 1930, he organized an exhibition dedicated to the 20th anniversary of his work, but he was interfered with in every possible way, and none of the writers or state leaders visited the exhibition itself.

In the spring of 1930, the Circus on Tsvetnoy Boulevard was preparing a grandiose performance of “Moscow is Burning” based on Mayakovsky’s play; the dress rehearsal was scheduled for April 21, but the poet did not live to see it.

Mayakovsky’s early work was expressive and metaphorical (“I’ll go sob that the policemen were crucified at the crossroads,” “Could you?”), combined the energy of a rally and demonstration with the most lyrical intimacy (“The violin twitched begging”), Nietzschean fight against God and carefully disguised in the soul religious feeling (“I, praising the machine and England / Perhaps simply / In the most ordinary Gospel / The Thirteenth Apostle”).

According to the poet, it all started with the line “I launched a pineapple into the sky.” David Burliuk introduced the young poet to the poetry of Rimbaud, Baudelaire, Verlaine, Verhaerne, but Whitman's free verse had a decisive influence.

Mayakovsky did not recognize traditional poetic meters; he invented rhythm for his poems; polymetric compositions are united by style and a single syntactic intonation, which is set by the graphic presentation of the verse: first by dividing the verse into several lines written in a column, and since 1923 by the famous “ladder”, which became Mayakovsky’s “calling card”. The ladder helped Mayakovsky force his poems to be read with the correct intonation, since commas were sometimes not enough.

After 1917, Mayakovsky began to write a lot; in five pre-revolutionary years he wrote one volume of poetry and prose, and in twelve post-revolutionary years - eleven volumes. For example, in 1928 he wrote 125 poems and a play. He spent a lot of time traveling around the Union and abroad. When traveling, I sometimes gave 2-3 speeches a day (not counting participation in debates, meetings, conferences, etc.).

However, subsequently, disturbing and restless thoughts began to appear in Mayakovsky’s works; he exposes the vices and shortcomings of the new system (from the poem “The Sitting Ones,” 1922, to the play “Bathhouse,” 1929).

It is believed that in the mid-1920s he began to become disillusioned with the socialist system; his so-called trips abroad are perceived as attempts to escape from himself; in the poem “At the Top of My Voice” there is the line “rummaging through today’s petrified shit” (in the censored version - "shit") Although he continued to create poems imbued with official cheerfulness, including those dedicated to collectivization, until his last days.

Another feature of the poet is the combination of pathos and lyricism with Shchedrin’s most poisonous satire.

Mayakovsky had a great influence on the poetry of the 20th century. Especially on Kirsanov, Voznesensky, Yevtushenko, Rozhdestvensky, Kedrov, and also made a significant contribution to children's poetry.

Mayakovsky addressed his descendants into the distant future, confident that he would be remembered hundreds of years from now:

My verse

labor

the vastness of years will break through

and will appear

weighty,

rough,

visibly

like these days

the water supply came in,

worked out

still slaves of Rome.

Vladimir Mayakovsky. Documentary

Suicide of Vladimir Mayakovsky

The year 1930 began poorly for Mayakovsky. He was sick a lot. In February, Lilya and Osip Brik left for Europe.

Mayakovsky was harshly treated in the newspapers as a “fellow traveler of the Soviet regime” - while he himself saw himself as a proletarian writer.

There was an embarrassment with his long-awaited exhibition “20 Years of Work”, which was not visited by any of the prominent writers and state leaders, as the poet had hoped for. The premiere of the play “Bathhouse” was unsuccessful in March, and the play “Bedbug” was also expected to fail.

At the beginning of April 1930, a greeting to “the great proletarian poet on the occasion of the 20th anniversary of work and social activity” was removed from the layout of the magazine “Print and Revolution.” There was talk in literary circles that Mayakovsky had written himself off. The poet was denied a visa to travel abroad.

Two days before his suicide, on April 12, Mayakovsky had a meeting with readers at the Polytechnic Institute, which was attended mainly by Komsomol members, and there were many boorish shouts from the seats. The poet was haunted by quarrels and scandals everywhere. His state of mind became more and more alarming and depressing.

Since the spring of 1919, Mayakovsky, despite the fact that he constantly lived with the Briks, had for work a small boat-like room on the fourth floor of a communal apartment on Lubyanka (now this is the State Museum of V.V. Mayakovsky, Lubyansky proezd, 3/6 p.4). The suicide took place in this room.

On the morning of April 14, Mayakovsky had an appointment with Veronica (Nora) Polonskaya. The poet had been dating Polonskaya for the second year, insisted on her divorce, and even signed up for a writers’ cooperative in the passage of the Art Theater, where he planned to move to live with Nora.

As 82-year-old Polonskaya recalled in 1990 in an interview with the magazine “Soviet Screen” (No. 13 - 1990), on that fateful morning the poet picked her up at eight o’clock, because at 10.30 she had a rehearsal scheduled at the theater with Nemirovich -Danchenko.

“I couldn’t be late, it angered Vladimir Vladimirovich. He locked the doors, hid the key in his pocket, began to demand that I not go to the theater, and left from there altogether. I cried... I asked if he would see me out. “No.” ", he said, but promised to call. And he also asked if I had money for a taxi. I didn’t have money, he gave me twenty rubles... I managed to get to the front door and heard a shot. I was running around, afraid to return. Then I entered and saw the smoke from the shot that had not yet cleared. There was a small bloody stain on Mayakovsky’s chest. I rushed to him, I repeated: “What did you do?..” Then his head fell, and he began to turn terribly pale... People appeared, someone told me: “Run, meet the ambulance.” I ran out and met him. I returned, and on the stairs someone said to me: “It’s late. He died...", recalled Veronica Polonskaya.

The suicide note, prepared two days earlier, is very detailed (which, according to researchers, excludes the version of the spontaneity of the shot), begins with the words: “Don’t blame anyone for the fact that I’m dying, and please don’t gossip, the deceased really didn’t like it.” ...".

The poet calls Lilya Brik (as well as Veronica Polonskaya), mother and sisters members of his family and asks to transfer all the poems and archives to the Briks.

Suicide letter from Vladimir Mayakovsky:

"Everyone

Don’t blame anyone for the fact that I’m dying and please don’t gossip. The deceased did not like this terribly.

Mom, sisters and comrades, I’m sorry - this is not the way (I don’t recommend it to others), but I have no choice.

Lilya - love me.

Comrade government, my family is Lilya Brik, mother, sisters and Veronica Vitoldovna Polonskaya.

If you give them a tolerable life, thank you.

Give the poems you started to the Briks, they will figure it out.

As they say -

"the incident is ruined"

love boat

crashed into everyday life.

I'm even with life

and there is no need for a list

mutual pain,

and resentment.

Happy stay.

12/IV -30

Comrades Vappovtsy, do not consider me cowardly.

Seriously - nothing can be done.

Hello.

Tell Ermilov that it’s a pity - he removed the slogan, we should have a fight.

I have 2000 rubles in my table. - contribute to the tax. You will receive the rest from Giza.

The Briks managed to arrive at the funeral, urgently interrupting their European tour. Polonskaya, on the contrary, did not dare to attend, since Mayakovsky’s mother and sisters considered her to be the culprit in the death of the poet.

For three days, with an endless stream of people, farewell took place in the House of Writers. Tens of thousands of admirers of his talent escorted the poet to the Donskoye Cemetery in an iron coffin, accompanied by the singing of the Internationale. Ironically, Mayakovsky’s “futuristic” iron coffin was made by avant-garde sculptor Anton Lavinsky, the husband of the artist Lily Lavinskaya, who gave birth to a son from her relationship with Mayakovsky.

The poet was cremated in the first Moscow crematorium opened three years earlier near the Donskoy Monastery. The brain was removed for research by the Brain Institute. Initially, the ashes were located there, in the columbarium of the New Donskoye Cemetery, but as a result of the persistent actions of Lilia Brik and the poet’s elder sister Lyudmila, the urn with Mayakovsky’s ashes was moved on May 22, 1952 and buried at the Novodevichy Cemetery.

Mayakovsky. Last love, last shot

Vladimir Mayakovsky's height: 189 centimeters.

Personal life of Vladimir Mayakovsky:

Was not married. Two children from extramarital affairs.

The poet had many different novels, a number of which went down in history.

He was in a relationship with Elsa Triolet, thanks to whom she appeared in his life.

- “muse of the Russian avant-garde”, hostess of one of the most famous literary and artistic salons in the 20th century. Author of memoirs, recipient of Vladimir Mayakovsky's works, who played a big role in the poet's life. Sister of Elsa Triolet. She was married to Osip Brik, Vitaly Primakov, Vasily Katanyan.

For a long period of Mayakovsky's creative life, Lilya Brik was his muse. They met in July 1915 at her parents' dacha in Malakhovka near Moscow. At the end of July, Lily's sister Elsa Triole brought Mayakovsky, who had recently arrived from Finland, to Brikov's Petrograd apartment on the street. Zhukovsky, 7.

The Briks, people far from literature, were engaged in business, having inherited a small but profitable coral business from their parents. Mayakovsky read the yet unpublished poem “A Cloud in Pants” at their home and, after an enthusiastic reception, dedicated it to the hostess - “To you, Lilya.” The poet later called this day “the most joyful date.”

Osip Brik, Lily's husband, published the poem in a small edition in September 1915. Infatuated with Lily, the poet settled in the Palais Royal hotel on Pushkinskaya Street in Petrograd, never returning to Finland.

In November, the futurist moved even closer to the Brikovs' apartment - to Nadezhdinskaya Street, 52. Soon Mayakovsky introduced new friends to his friends, futurist poets - D. Burliuk, V. Kamensky, B. Pasternak, V. Khlebnikov and others. Brikov's apartment on the street . Zhukovsky became a bohemian salon, which was visited not only by futurists, but also by M. Kuzmin, M. Gorky, V. Shklovsky, R. Yakobson, as well as other writers, philologists and artists.

Soon, a stormy romance broke out between Mayakovsky and Lilya Brik, with the obvious connivance of Osip. This novel was reflected in the poems “Spine Flute” (1915) and “Man” (1916) and in the poems “To Everything” (1916), “Lilichka! Instead of a letter" (1916). After this, Mayakovsky began to devote all his works (except for the poem “Vladimir Ilyich Lenin”) to Lilya Brik.

In 1918, Lilya and Vladimir starred in the film “Chained by Film” based on Mayakovsky’s script. To date, the film has survived in fragments. Photographs and a large poster depicting Lilya, entangled in film, also survived.

Vladimir Mayakovsky and Lilya Brik in the film "Chained by Film"

Since the summer of 1918, Mayakovsky and Briki lived together, the three of them, which fit well into the popular after the revolution marriage and love concept, known as the “Glass of Water Theory.” At this time, all three finally switched to Bolshevik positions. At the beginning of March 1919, they moved from Petrograd to Moscow to a communal apartment in Poluektovy Lane, 5, and then, from September 1920, they settled in two rooms in a house on the corner of Myasnitskaya Street in Vodopyanoy Lane, 3. Then all three moved to an apartment in Gendrikov Lane on Taganka. Mayakovsky and Lilya worked at Windows of ROSTA, and Osip served for some time in the Cheka and was a member of the Bolshevik Party.

Bibliography of Vladimir Mayakovsky:

Autobiography:

1928 - “I myself”

Poems:

1914-15 - “Cloud in Pants”
1915 - “Spine Flute”
1916-17 - "Man"
1921-22 - “I Love”
1923 - “About This”
1924 - “Vladimir Ilyich Lenin”
1925 - “The Flying Proletarian”
1927 - “Okay!”

Poems:

1912 - “Night”
1912 - “Morning”
1912 - “Port”
1913 - “From street to street”
1913 - “Could you?”
1913 - “Signs”
1913 - “I”: Along the pavement; A few words about my wife; A few words about my mother; A few words about myself
1913 - “From fatigue”
1913 - “Hell of the City”
1913 - “Here!”
1913 - “They don’t understand anything”
1914 - “Blouse Veil”
1914 - “Listen”
1914 - “But still”
1914 - “War is declared.” July 20
1914 - “Mom and the evening killed by the Germans”
1914 - “Violin and a little nervously”
1915 - “Me and Napoleon”
1915 - “To you”
1915 - “Hymn to the Judge”
1915 - “Hymn to the Scientist”
1915 - “Naval Love”
1915 - “Hymn to Health”
1915 - “Hymn to the Critic”
1915 - “Hymn to Lunch”
1915 - “That’s how I became a dog”
1915 - “Magnificent absurdities”
1915 - “Hymn to the Bribe”
1915 - “Attentive attitude towards bribe takers”
1915 - “Monstrous Funeral”
1916 - “Hey!”
1916 - "Giveaway"
1916 - “Tired”
1916 - “Needles”
1916 - “The Last St. Petersburg Fairy Tale”
1916 - “Russia”
1916 - “Lilichka!”
1916 - “To Everything”
1916 - “The author dedicates these lines to himself, his beloved”
1917 - “Writer Brothers”
1917 - "Revolution". April 19
1917 - “The Tale of Little Red Riding Hood”
1917 - “To the Answer”
1917 - “Our March”
1918 - “Good Treatment for Horses”
1918 - “Ode to the Revolution”
1918 - “Order for the Army of Art”
1918 - “Working Poet”
1918 - “That Side”
1918 - “Left March”
1919 - “Amazing Facts”
1919 - “We Are Coming”
1919 - “Soviet ABC”
1919 - “Worker! Throw out the non-party nonsense..." October
1919 - “Song of the Ryazan peasant.” October
1920 - “The weapon of the Entente is money...”. July
1920 - “If you live in disarray, as the Makhnovists want...” July
1920 - “A story about bagels and a woman who does not recognize the republic.” August
1920 - “Red Hedgehog”
1920 - “Attitude towards the young lady”
1920 - “Vladimir Ilyich”
1920 - “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha”
1920 - “The story about how the godfather talked about Wrangel without any intelligence”
1920 - “Heine-shaped”
1920 - “A third of the cigarette case went into the grass...”
1920 - “The Last Page of the Civil War”
1920 - “About rubbish”
1921 - “Two not quite ordinary cases”
1921 - “A poem about Myasnitskaya, about a woman and about an all-Russian scale”
1921 - “Order No. 2 of the Army of Arts”
1922 - “The Satisfied Ones”
1922 - “Bastards!”
1922 - “Bureaucracy”
1922 - “My speech at the Genoa conference”
1922 - “Germany”
1923 - “About poets”
1923 - “On “fiascoes”, “apogees” and other unknown things”
1923 - “Paris”
1923 - “Newspaper Day”
1923 - “We don’t believe!”
1923 - “Trusts”
1923 - “April 17”
1923 - “Spring Question”
1923 - “Universal Answer”
1923 - “Vorovsky”
1923 - “Baku”
1923 - “Young Guard”
1923 - “Norderney”
1923 - “Moscow-Koenigsberg”. September 6
1923 - “Kyiv”
1924 - “January 9th”
1924 - “Be ready!”
1924 - “Bourgeois, - say goodbye to pleasant days - we’ll finally finish with hard money”
1924 - “Vladikavkaz - Tiflis”
1924 - “Two Berlins”
1924 - “Diplomatic”
1924 - “The roar of uprisings, multiplied by echoes”
1924 - “Hello!”
1924 - “Kyiv”
1924 - “Komsomolskaya”
1924 - “Little Difference” (“In Europe...”)
1924 - “To the Rescue”
1924 - “Every little thing is accounted for”
1924 - “Let's laugh!”
1924 - “Proletarian, nip the war in the bud!”
1924 - “I protest!”
1924 - “Keep your hands off China!”
1924 - “Sevastopol - Yalta”
1924 - “Selkor”
1924 - “Tamara and the Demon”
1924 - “Sound money is solid ground for the bond between the peasant and the worker”
1924 - “Wow, and fun!”
1924 - “Hooliganism”
1924 - “Jubilee”
1925 - “That’s what a man needs a plane for”
1925 - “Drag out the future!”
1925 - “Give me the engine!”
1925 - “Two Mays”
1925 - “Red Envy”
1925 - "May"
1925 - “A little utopia about how the metro will go”
1925 - “O. D.V.F.”
1925 - “Rabkor” (“He will write “The Keys of Happiness” ...”)
1925 - “Rabkor (“Having broken through the mountains of illiteracy with my forehead...”)
1925 - “Third Front”
1925 - “Flag”
1925 - “Yalta - Novorossiysk”
1926 - “To Sergei Yesenin”
1926 - “Marxism is a weapon...” April 19
1926 - “Four-story hack”
1926 - “Conversation with the financial inspector about poetry”
1926 - “Advanced Front”
1926 - “Bribery takers”
1926 - “On the Agenda”
1926 - “Protection”
1926 - “Love”
1926 - “Message to proletarian poets”
1926 - “Factory of Bureaucrats”
1926 - “To Comrade Nette” July 15
1926 - “Terrifying Familiarity”
1926 - “Office Habits”
1926 - “Hooligan”
1926 - “Conversation at the Odessa landing craft raid”
1926 - “Letter from the writer Mayakovsky to the writer Gorky”
1926 - “Debt to Ukraine”
1926 - “October”
1927 - “Stabilization of life”
1927 - “Paper Horrors”
1927 - “To Our Youth”
1927 - “Through the Cities of the Union”
1927 - “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengeli”
1927 - “What did they fight for?”
1927 - “You Give an Elegant Life”
1927 - “Instead of an Ode”
1927 - “Best verse”
1927 - “Lenin is with us!”
1927 - “Spring”
1927 - “Careful March”
1927 - “Venus de Milo and Vyacheslav Polonsky”
1927 - “Mr. People’s Artist”
1927 - “Well, well!”
1927 - “A General Guide for Beginning Sneaks”
1927 - “Crimea”
1927 - “Comrade Ivanov”
1927 - “We’ll see for ourselves, we’ll show them”
1927 - “Ivan Ivan Honorarchikov”
1927 - “Miracles”
1927 - “Marusya got poisoned”
1927 - “Letter to Molchanov’s beloved, abandoned by him”
1927 - “The masses do not understand”
1928 - “Without a rudder and without a twirl”
1928 - “Ekaterinburg-Sverdlovsk”
1928 - “The story of foundry worker Ivan Kozyrev about moving into a new painting”
1928 - “Emperor”
1928 - “Letter to Tatyana Yakovleva”
1929 - “Conversation with Comrade Lenin”
1929 - “Perekop enthusiasm”
1929 - “Gloomy about humorists”
1929 - “Harvest March”
1929 - “Soul of Society”
1929 - “Party Candidate”
1929 - “Stab Self-Criticism”
1929 - “Everything is calm in the West”
1929 - “Parisian”
1929 - “Beauties”
1929 - “Poems about the Soviet passport”
1929 - “The Americans Are Surprised”
1929 - “An example not worthy of imitation”
1929 - “Bird of God”
1929 - “Poems about Thomas”
1929 - “I'm happy”
1929 - “Khrenov’s story about Kuznetskstroy and the people of Kuznetsk”
1929 - “Minority Report”
1929 - “Give me the material base”
1929 - "The Trouble Lovers"
1930 - “Already the second. You must have gone to bed..."
1930 - “March of Shock Brigades”
1930 - “Leninists”

Vladimir Vladimirovich Mayakovsky (1893 - 1930) - famous Soviet poet of the 20th century, publicist, playwright, artist. In addition, he is a talented film actor, director and screenwriter.

Parents

Vladimir Vladimirovich Mayakovsky was born in Georgia on July 7 (19), 1893 in the village of Baghdadi, Kutaisi province.

His father, forester Vladimir Konstantinovich Mayakovsky (1857–1906) came from Zaporozhye Cossacks. He knew countless cases and anecdotes and conveyed them in Russian, Georgian, Armenian, Tatar, which he knew perfectly.
The poet’s mother, Alexandra Alekseevna Mayakovskaya (1867–1954), is the daughter of captain of the Kuban Infantry Regiment Alexei Ivanovich Pavlenko, a participant in the Russian-Turkish War of 1877-1878, holder of the St. George Medal “For Service and Bravery,” as well as other military awards.
My father's great-grandfather Kirill Mayakovsky was a regimental captain of the Black Sea troops, which gave him the right to receive the title of nobleman. Subsequently, the poet wrote in the poem “To Our Youth”: “Pillar’s father is my nobleman.”
On the paternal side, grandmother Efrosinya Osipovna was a cousin of the famous writer and historian G.P. Danilevsky.

Children of Mayakovsky

While working at Windows of ROST (1920), Vladimir Mayakovsky met the artist Lilia (Elizaveta) Lavinskaya. And although at that time she was a married young lady, this did not stop her from being carried away by the stately and charismatic poet. The fruit of this relationship was their son, who received a double name Gleb-Nikita. He was born on August 21, 1921 and was recorded in documents under the name of Anton Lavinsky, his mother’s official husband. The boy Gleb-Nikita himself always knew who his biological father was. Moreover, despite the lack of fatherly attention (Vladimir Mayakovsky’s children did not interest him, he was even afraid of them), he deeply loved the poet and read his poems from a young age.

Mayakovsky's son received a double name due to parental disagreements in choosing a name for the boy. He received the first part - Gleb - from his stepfather, the second part - Nikita - from his mother. Mayakovsky himself did not take part in raising his son, although he was a frequent guest of the family in the first few years.

Nikita-Gleb's life was not easy. With living parents, the boy grew up in an orphanage until he was three years old. According to those social views, this was the most suitable place to raise children and accustom them to the team. Gleb-Nikita has few memories of his own father. Much later, he would tell his youngest daughter Elizaveta about one special meeting they had, when Mayakovsky took him on his shoulders, went out onto the balcony and read his poems to him.

Mayakovsky's son had a subtle artistic taste and an absolute ear for music. At the age of 20, Gleb-Nikita was called up to the front. He spent the entire Great Patriotic War as an ordinary soldier. Then he got married for the first time.

American daughter

In the mid-1920s, a radical change occurred in the relationship between Mayakovsky and Liliya Brik, and the political situation in Russia at that time was difficult for the revolutionary poet. This became the reason for his trip to the USA, where he actively toured and visited his friend David Burliuk. There he met Russian emigrant Ellie Jones (real name Elizaveta Siebert). She was a reliable comrade, a charming companion and translator for him in a foreign country.

This novel became very significant for the poet. He even seriously wanted to get married and create a calm family haven. However, his old love (Lilia Brik) did not let him go, all impulses quickly cooled down. And on June 15, 1926, Ellie Jones gave birth to a daughter from the poet - Patricia Thompson.

At birth, the girl received the name Helen-Patricia Jones. The surname came from the emigrant mother's husband, George Jones. This was necessary so that the child could be considered legitimate and remain in the United States. In addition, the secret of birth saved the girl. Possible children of Mayakovsky could then come under persecution by the NKVD and Liliya Brik herself.

Childhood

From the age of four, Volodya loved to be read to, especially poetry. And his mother read to him Krylov, Pushkin, Lermontov, Nekrasov. And when she could not respond to his request, he cried. He easily remembered what he liked and then recited it expressively from memory. When he grew up, he began to climb into empty churi (large clay jugs for wine) and read poetry from there. The jugs resonated and the voice sounded loud and booming.

In 1898, for his birthday, which coincided with his father’s birthday, he learned Lermontov’s poem “Dispute” and performed in front of numerous guests. His first impromptu statement related to the purchase of a camera dates back to this time: “Mom is glad, dad is glad that we bought the camera.”

At the age of six, Mayakovsky learned to read on his own, without the help of adults. I didn’t like the first book “Agafya the Birdkeeper” by children’s writer Klavdia Lukashevich. “Fortunately, the second one is Don Quixote.” What a book! He made a wooden sword and armor, smashed the surroundings” (V. Mayakovsky. “I Myself”). Usually the boy took a book, filled his pockets with fruit, grabbed something for his dog friends and went into the garden. There he lay down on his stomach under a tree, and two or three dogs lovingly guarded him. And I read it for so long.

Volodya Mayakovsky - 1st grade student

Fun games and a wide range of children's imagination were facilitated by the fact that Ananov's house, into which the Mayakovsky family moved in the fall of 1899, was located on the site of an ancient Georgian fortress. The poet’s first artistic and visual impressions also date back to the Baghdad period. In the summer, many guests came to the Mayakovskys, including young people. Among those who came was a student of St. Petersburg University B.P. Glushkovsky, the son of Yulia Feliksovna Glushkovskaya, a Kutaisi acquaintance of the Mayakovskys, who also studied at the school for “encouragement of the arts.” The future poet watched as he sketched the figure of the main character of Pushkin’s “Eugene Onegin” into an album. In 1900, when Volodya was seven years old, Alexandra Alekseevna took him to the city of Kutais to prepare him for entering the gymnasium. Mother and son settled in the house of Yulia Feliksovna Glushkovskaya, who began to give Volodya lessons.

And already in 1902, Mayakovsky passed the exams for the senior preparatory class of the Kutaisi classical gymnasium, and began studying there in the fall. At this time, the older sister was preparing to enter the Moscow Stroganov School and took drawing lessons from the artist S.P. Rubella, who graduated from the St. Petersburg Academy of Arts. She showed him her brother’s drawings, and he began to study with Mayakovsky for free.

In 1906, after the death of his father, the family moved to Moscow. Mayakovsky studied at the Moscow gymnasium. He communicated with Bolshevik students, joined the party, and was co-opted into the Moscow Committee of the RSDLP(b) (1908). He was arrested three times. And in 1909 he was imprisoned in solitary confinement in the Butyrka prison. After leaving prison, where he began writing poetry, Mayakovsky decides to “make socialist art”: “I interrupted party work. I sat down to study."

The beginning of a creative journey

In 1911, after several attempts to enter an art school, Mayakovsky became a student at the School of Painting, Sculpture and Architecture in Moscow. Through David Burliuk, one of the leaders of the futurist group “Gilea,” who studied there, Mayakovsky became acquainted with the world of the Moscow literary and artistic avant-garde. Burliuk, whom Mayakovsky introduced to his poems, highly appreciated them and recommended continuing his studies in poetry. From the end of 1912 to the beginning of 1923, Mayakovsky took part in art exhibitions of contemporary art, performed readings of his poems, and participated in public performances together with Burliuk and other members of the Gileya group. Mayakovsky’s first publications (poems Night, Morning) appeared at the end of 1912 in the publication “Gilea”.

Mayakovsky also participated in the writing of the manifesto of the same name, from which the statement, often quoted by the artistic opponents of the Futurists, was taken - “throw Tolstoy, Dostoevsky, Pushkin off the Steamboat of modernity.” The authors of numerous memoirs emphasize Mayakovsky’s love for the classics, brilliant knowledge of Pushkin’s poetry, etc., trying to balance declarations of this kind. They were typical of many leftist movements in art at the beginning of the 20th century. In May 1913, 300 copies of Mayakovsky's first collection with illustrations by the author and his comrades in the School of Painting were printed by lithographic method in the amount of 300 copies.

Features of poetry

In the first poems, Mayakovsky’s imagery is quite traditional compared to other futurists, and in them the anti-aestheticism common to the group of cubo-futurists, an appeal to shocking themes and, along with them, features of originality gradually appear: urban imagery; dynamism and sudden changes in intonation; widespread use of motifs, the source of which was fine art, primarily modernist painting. Somewhat later, features appeared that were preserved in Mayakovsky’s poetry into the 1920s: the use of occasionalisms (words associated with a specific occasion, occasion, and not registered as a linguistic norm) and the use of compound rhyme, common to most futurists.

Several examples of Mayakovsky’s occasionalisms:

Yellow-eyed (from yellow-eyed)

Capital (from capital)

Sun-faced (sun, face)

See you (had a chance to see)

Sozvenenny (from link)

Sklyan (from glass)

Winged (from wing)

Mayakovsky, together with Burliuk, V. Kamensky and other members of the Cubo-Futurist group, actively participates in “futurist tours” around Russia - collective performances with lectures and poetry readings. The performances had strong elements of theatricality and shocking (provocative behavior, unusual clothes, makeup). In subsequent positive reviews, Mayakovsky was considered outside the context of the futurist group.

In 1914, in the St. Petersburg Luna Park Theater, with the participation of the author, Mayakovsky’s tragedy “Vladimir Mayakovsky” was staged, in which the poet played the main role - the poet Vladimir Mayakovsky. According to Chukovsky’s recollections, “the play should have had a different title, but the censor, to whom Mayakovsky handed the play over, without having yet come up with the title, mistook the author’s name for it and subsequently did not allow it to be changed, but this only made the poet happy.” The original names of the tragedy are The Railway, The Rise of Things; the motif of the rebellion of things connects it with the poetics of other Russian futurists (Khlebnikov). The allegorical characters of the play (Old Man with Dry Black Cats, Man without an Eye and Leg, Man without a Head, etc.) are also comparable to the characters in Khlebnikov's plays. The play in verse is not well suited for stage production. Its first edition develops the traditions of the futuristic book in the field of playing with fonts of various styles and sizes.

Travel and social activities

In 1915, Mayakovsky’s famous poem “A Cloud in Pants” was completed. Further poetry of Mayakovsky, in addition to anti-war themes, also contains satirical ones. Film scripts occupy a due place in Mayakovsky's work. He starred in three of his films in 1918.

The great poet met the October Revolution at the headquarters of the uprising in Smolny. He immediately began to cooperate with the new government and participated in the first meetings of cultural figures. Let us note that Mayakovsky led a detachment of soldiers who arrested General P. Sekretev, who ran the automobile school, although he had previously received the medal “For Diligence” from his hands. The years 1917–1918 were marked by the release of several works by Mayakovsky dedicated to revolutionary events (for example, “Ode to the Revolution,” “Our March”). On the first anniversary of the revolution, the play “Mystery-bouffe” was presented.

Mayakovsky was also interested in filmmaking. In 1919, three films were released, in which Vladimir acted as an actor, screenwriter and director. At the same time, the poet began collaborating with ROSTA and worked on propaganda and satirical posters. At the same time, Mayakovsky worked for the newspaper “Art of the Commune”.

At this time, several bright and memorable works of the brilliant poet were created: “About This” (1923), “Sevastopol - Yalta” (1924), “Vladimir Ilyich Lenin” (1924). We emphasize that during the reading of the last poem at the Bolshoi Theater, I. Stalin himself was present. No less important and eventful was the period of frequent travel for Mayakovsky. During 1922 - 1924 he visited France, Latvia and Germany, to which he dedicated several works. In 1925, Vladimir went to America, visiting Mexico City, Havana and many US cities. The beginning of the 20s was marked by heated controversy between Vladimir Mayakovsky and Sergei Yesenin. The latter at that time joined the Imagists - irreconcilable opponents of the Futurists. In addition, Mayakovsky was a poet of the revolution and the city, and Yesenin extolled the countryside in his work.

During 1926-1927, Mayakovsky created 9 film scripts. In addition, in 1927, the poet resumed the activities of the LEF magazine. But a year later he left the magazine and the corresponding organization, completely disillusioned with them. In 1929, Vladimir founded the REF group, but the following year he left it and became a member of RAPP. At the end of the 20s, Mayakovsky again turned to drama. He is preparing two plays: “The Bedbug” (1928) and “Bathhouse” (1929), intended specifically for Meyerhold’s theater stage. They thoughtfully combine a satirical presentation of the reality of the 20s with a look into the future.

Meyerhold compared Mayakovsky's talent with the genius of Moliere, but critics greeted his new works with devastating comments. In “The Bedbug” they found only artistic shortcomings, but even accusations of an ideological nature were brought against “Bath”. Many newspapers carried extremely offensive articles, and some of them had the headlines “Down with Mayakovism!”

Lilia Brik

Brik was two years older than Mayakovsky, and this, albeit formal, difference was noticeably felt: in their relationship it was she who led, while the poet played the role of a follower, a subordinate. Brik and Mayakovsky met in the summer of 1915; the poet’s future muse had already been married to Osip Brik for three years at that time. Lilya “stole” Mayakovsky from her sister Elsa, with whom he was dating at the time. Actually, it was Elsa who brought Mayakovsky to the Brikovs’ St. Petersburg apartment on Zhukovsky Street. The poet read the latest poem “A Cloud in Pants”, received an enthusiastic reception, was charmed by the hostess, the feeling turned out to be mutual. Osip helped publish “The Cloud,” all three became friends, and Mayakovsky, not wanting to part with his new hobby, stayed in Petrograd. Gradually, the Briks' house turned into a fashionable literary salon, and soon a romance began between the poet and the new muse, which was calmly accepted by Lily's husband.

“Elzochka, don’t make such scary eyes. I told Osya that my feelings for Volodya were verified, strong, and that I was now his wife. And Osya agrees,” these words, which struck Elsa to the core, turned out to be true. In 1918, Briki and Mayakovsky began to live as a threesome, and in the spring of the following year they moved to Moscow, where they did not hide their progressive relationship at all. Lilya worked with the poet at Windows of ROSTA, Osip worked at the Cheka.

Mayakovsky's love for Brik (to whom he dedicated all his poems) was emotional; his character required constant shocks, which increasingly tired Lilya. Regular scenes, departures and returns - the relationship in the couple was not cloudless. Brik allowed herself to speak disparagingly about Mayakovsky, calling him boring, and eventually stopped being faithful to him. This, however, did not stop Lila from keeping the poet on a short leash, making sure that Mayakovsky did not leave her anywhere. In his will, he indicated Brik as one of the heirs, and she received half of the rights to his works.

Veronica Polonskaya

Mayakovsky's last strong passion, the Moscow Art Theater actress Veronika Polonskaya, was 15 years younger than the poet. Polonskaya, a married woman (her husband was the actor Mikhail Yanshin), could hardly stand the scenes that Mayakovsky arranged for her. He demanded that Veronica leave her husband and became furious when he did not get what he wanted. The relationship was constantly in a state of rupture, and in the end it all ended on April 14, 1930, when the poet committed suicide.

Death and legacy

The fateful year of 1930 began for the greatest poet with numerous accusations from his colleagues. Mayakovsky was told that he was not a true “proletarian writer”, but only a “fellow traveler”. But, despite the criticism, in the spring of that year Vladimir decided to take stock of his activities, for which he organized an exhibition called “20 years of work.” The exhibition reflected all of Mayakovsky's many-sided achievements, but brought complete disappointment. Neither the poet’s former colleagues at LEF nor the top party leadership visited her. It was a cruel blow, after which a deep wound remained in the poet’s soul.

There was talk in literary circles that Mayakovsky had written himself off. The poet was denied a visa to travel abroad. Two days before his suicide, on April 12, Mayakovsky had a meeting with readers at the Polytechnic Institute, which was attended mainly by Komsomol members; There were a lot of boorish shouts from the seats. The poet was haunted by quarrels and scandals everywhere. His state of mind became more and more alarming and depressing.

Since the spring of 1919, Mayakovsky, despite the fact that he constantly lived with the Briks, had a small boat room for work on the fourth floor of a communal apartment on Lubyanka. The suicide took place in this room.

“I couldn’t be late, it angered Vladimir Vladimirovich. He locked the doors, hid the key in his pocket, began to demand that I not go to the theater, and generally left there. I cried... I asked if he would accompany me. “No,” he said, but promised to call. And he also asked if I had money for a taxi. I didn’t have any money, he gave me twenty rubles... I managed to get to the front door and heard a shot. I rushed about, afraid to return. Then she walked in and saw the smoke from the shot that had not yet cleared. There was a small bloody stain on Mayakovsky's chest. I rushed to him, I repeated: “What did you do?..” He tried to raise his head. Then his head fell, and he began to turn terribly pale... People appeared, someone said to me: “Run, meet the ambulance... I ran out and met him. I returned, and on the stairs someone said to me: “It’s late. Died…"

The suicide letter, prepared two days earlier, is clear and detailed (which, according to the researchers, excludes the version of the spontaneity of the shot), begins with the words: “Don’t blame anyone for the fact that I’m dying, and please don’t gossip, the dead man doesn’t do this terribly.” loved..." The poet calls Lilya Brik (as well as Veronica Polonskaya), mother and sisters members of his family and asks to transfer all the poems and archives to the Briks. The Briks managed to arrive at the funeral, urgently interrupting their European tour; Polonskaya, on the contrary, did not dare to attend, since Mayakovsky’s mother and sisters considered her to be the culprit in the death of the poet. For three days, with an endless stream of people, farewell took place in the House of Writers. Tens of thousands of admirers of his talent escorted the poet to the Donskoye Cemetery in an iron coffin, accompanied by the singing of the Internationale.

The greatest love in the poet’s life and his muse was Lilya Yuryevna Brik. Mayakovsky became friends with her and her husband, Osip, and then moved to live in their apartment. Lily and Vladimir began a whirlwind romance, and her husband actually gave in to her friend.
Mayakovsky was popular with women. However, the poet did not officially register any of his relationships. It is known that in addition to his daughter Patricia, Mayakovsky also has a son from his relationship with the artist Lilya Lavinskaya - Gleb-Nikita, a Soviet sculptor.
After the death of his father from blood poisoning (he injected himself while sewing papers), Mayakovsky was haunted throughout his life by the phobia of dying from infection.
The poetic “ladder”, invented by Mayakovsky and which became his calling card, caused indignation among his colleagues. After all, editors at that time paid not for the number of characters in a work, but for the number of lines.
After Mayakovsky read a poem about Lenin at the Bolshoi Theater, the audience applauded for 20 minutes; Stalin was present at this performance.
Mayakovsky stood at the origins of Soviet advertising; the poet was criticized by some of his contemporaries for his advertising activities.

Video

Sources

https://ru.wikipedia.org/wiki/Mayakovsky,_Vladimir_Vladimirovich http://v-mayakovsky.com/biography.html

Vladimir Vladimirovich Mayakovsky is the most famous Russian futurist poet. The time of his creative heyday occurred during a dramatic period in the history of Russia, the time of revolutions and.

Childhood and youth of the poet Mayakovsky

Vladimir Mayakovsky was born on July 7 (19), 1893 in the town of Baghdati (now in the territory of the Imereti region, Georgia). His father served as a forester, and his mother came from the Kuban Cossacks. In 1902, Vladimir was sent to the gymnasium of the city of Kutaisi. There he first became acquainted with the propaganda materials of Russian and Georgian revolutionaries. Four years later, Mayakovsky's father died, and the family moved to Moscow. Vladimir transferred to Moscow gymnasium No. 5, but studied there for only about a year and was expelled for non-payment. In 1908, Mayakovsky joined the RSDLP. That same year, he was arrested for the first time for illegal activities. In subsequent years, the young man was arrested several more times.

The beginning of Mayakovsky's poetic activity

While still in high school, Mayakovsky began writing poetry. But the lines he wrote in his early youth have not survived. The poet himself later admitted that he considered his early works bad. In 1910, after 11 months of arrest, Mayakovsky left the party to devote himself entirely to poetry. Soon Mayakovsky's friend Evgenia Lang encouraged him to also take up painting. For some time, Mayakovsky studied at the MUZHVZ school, but did not complete the course.

In 1912, Mayakovsky’s first publication, the poem “Night,” was published in the collection “A Slap in the Face of Public Taste.” The following year, the poet’s own collection “I” was published. Makovsky's manuscript was provided with several drawings and reproduced lithographically. In 1913, the tragedy Mayakovsky was also staged, in which the young poet played himself.

In 1914, Vladimir Mayakovsky clearly expressed his anti-war position. When the poet was drafted into the army, he helped ensure that he was sent not to the front, but to a unit located in St. Petersburg at the Automotive Training School. Despite government restrictions, Mayakovsky continued to publish. In 1915, he met the Brik couple and soon began to live with them. In the summer of 1917, Mayakovsky was commissioned.

Perception of the revolution by V. Mayakovsky

Mayakovsky accepted with delight. Mayakovsky later said that the years of the Civil War were the best in his life. On the occasion of the anniversary of the Revolution, based on Mayakovsky’s text, the premiere of the play “Mystery Bouffe” took place in Petrograd, directed by Meyerhold and with costumes by Kazimir Malevich. In the post-revolutionary years, recognition came to Mayakovsky. His new poems were published in large numbers. The poet's admiration for the Soviet regime is manifested in “Poems about the Soviet Passport,” the poem “Vladimir Ilyich Lenin” and in “The Soviet ABC.” In 1919-1921, Mayakovsky collaborated with the ROSTA agency (now the TASS agency) and produced propaganda posters “Windows of ROSTA”, accompanying the satirical images with his own poems.

Specifics of V. Mayakovsky's creativity

It is generally accepted that Mayakovsky is the most outstanding of the Russian futurists. His works are distinguished by the following features: the use of short verse and line breaks (“ladders”); mixing lyrical and satirical elements; use of emotionally charged, including obscene, language; autobiography and identification of the author and the lyrical hero.

Last years and death of Myakovsky

In the twenties, Mayakovsky’s poem “Good” was published, as well as the plays “The Bedbug” and “Bathhouse”. From 1922 to 1928, he headed the LEF association, which included former futurists. At the end of the twenties, sharp criticism of futurism in general and Mayakovsky’s work in particular appeared more and more often on the pages of the government press. In 1928, Mayakovsky finally broke up with Lilya Brik. The poet's other love affairs were also unsuccessful. By 1930, Mayakovsky was suffering from deep depression. At the beginning of April 1930, the poet began planning suicide.

On April 14, 1930, Mayakovsky shot himself in the heart. Over time, speculation arose more than once that Mayakovsky was killed. This version is allegedly supported by Vladimir Vladimirovich’s conflict with. However, the poet’s biographers are sure that he took his own life. Tens of thousands of people attended the poet's funeral. Over time, Mayakovsky became the most recognizable poet of the early years of Soviet power, and his works were included in the required Russian literature curriculum for decades.

Vladimir Vladimirovich Mayakovsky was born July 7(19), 1893 in the village Baghdadi (now the village of Mayakovski) near Kutaisi, Georgia. Father - forester, Vladimir Konstantinovich Mayakovsky ( 1857-1906 ), mother - Alexandra Alekseevna, nee Pavlenko ( 1867-1954 ).

In 1902-1906. Mayakovsky studies at the Kutaisi gymnasium. In 1905 participates in demonstrations and a school strike. In July 1906, after the sudden death of his father, the family moves to Moscow. Mayakovsky enters the 4th grade of the 5th classical gymnasium. Meets Bolshevik students; is interested in Marxist literature; entrusts the first party assignments. In 1908 joins the Bolshevik Party. Was arrested three times - in 1908 and twice in 1909; the last arrest in connection with the escape of political prisoners from Novinskaya prison. Imprisonment in Butyrka prison. A notebook of poems written in prison ( 1909 ), selected by the guards and not yet found, Mayakovsky considered the beginning of literary work. Released from prison due to being a minor ( 1910 ), he decides to devote himself to art and continue his studies. In 1911 Mayakovsky was admitted to the Moscow School of Painting, Sculpture and Architecture. Autumn 1911 he meets D. Burliuk, the organizer of a group of Russian futurists, and becomes close to him in a common sense of dissatisfaction with the academic routine. At the end December 1912- Mayakovsky’s poetic debut: the poems “Night” and “Morning” in the almanac “A Slap in the Face of Public Taste” (where Mayakovsky signed the collective manifesto of the Cubo-Futurists of the same name).

Mayakovsky goes on the attack on the aesthetics and poetics of symbolism and acmeism, but in his quest he critically masters the artistic world of such masters as A. Bely, “breaks out” from the “fascinating lines” of A. Blok, whose work for Mayakovsky is “an entire poetic era” .

Mayakovsky entered the circle of Cube-Futurists with a rapidly growing tragic-protesting theme in him, essentially going back to the humanistic tradition of Russian classics, contrary to the nihilistic declarations of the Futurists. From urban sketches to catastrophic insights the poet’s thoughts about the madness of the possessive world grow (“From street to street,” 1912 ; “Hell of the City”, “Here!”, 1913 ). "I!" - the title of Mayakovsky's first book ( 1913 ) - was synonymous with the poet’s pain and indignation. For participation in public performances Mayakovsky in 1914 was expelled from the School.

The First World War was met by Mayakovsky controversially. The poet cannot help but feel disgust for war (“War has been declared”, “Mother and the evening killed by the Germans”, 1914 ), but for some time he was characterized by the illusion of the renewal of humanity, art through war. Soon Mayakovsky comes to the realization of war as an element of senseless destruction.

In 1914 Mayakovsky met M. Gorky for the first time. In 1915-1919 lives in Petrograd. In 1915 Mayakovsky meets L.Yu. and O.M. Bricks. Many of Mayakovsky’s works are dedicated to Lilia Brik. With renewed vigor he writes about love, which, the more enormous it is, the more incompatible with the horror of wars, violence and petty feelings (the poem “Spine Flute”, 1915 etc.).

Gorky invites Mayakovsky to collaborate in the “Chronicle” magazine and the “New Life” newspaper; helps the poet in the publication of the second collection of his poems, “Simple as Mooing,” published by the Parus publishing house ( 1916 ). The dream of a harmonious person in a world without wars and oppression found a unique expression in Mayakovsky’s poem “War and Peace” (written in 1915-1916 ; separate edition - 1917 ). The writer creates a gigantic anti-war panorama; in his imagination a utopian extravaganza of universal happiness unfolds.

In 1915-1917 Mayakovsky is serving his military service at the Petrograd driving school. Takes part in the February Revolution 1917 year. In August he leaves Novaya Zhizn.

The October Revolution opened up new horizons for V. Mayakovsky. She became the second birth of the poet. For the first anniversary of the October Revolution, it was staged at the Musical Drama Theater, conceived back in August 1917 the play “Mystery-bouffe” (production by V. Meyerhold, with whom Mayakovsky until the end of his life was associated with the creative search for a theater in tune with the revolution).

Mayakovsky associates his innovative ideas with “leftist art”; he strives to unite the futurists in the name of democratization of art (speeches in the “Futurist Newspaper”, “Order for the Army of Art”, 1918 ; is a member of the group of futurist communists (“comfuts”) who published the newspaper “Art of the Commune”).

In March 1919 Mayakovsky moves to Moscow, where his collaboration with ROSTA began in October. Mayakovsky’s inherent need for mass propaganda activity found satisfaction in the artistic and poetic work on the “Windows of GROWTH” posters.

In 1922-1924. Mayakovsky makes his first trips abroad (Riga, Berlin, Paris, etc.). His series of essays about Paris is “Paris. (Notes of Ludogus)”, “Seven-day review of French painting”, etc. ( 1922-1923 ), which captured Mayakovsky’s artistic sympathies (in particular, he notes the world significance of P. Picasso), and poetry (“How does a democratic republic work?”, 1922 ; "Germany", 1922-1923 ; "Paris. (Conversations with the Eiffel Tower)", 1923 ) were Mayakovsky’s approach to a foreign theme.

The transition to peaceful life is interpreted by Mayakovsky as an internally significant event that makes one think about the spiritual values of the future person (the unfinished utopia “The Fifth International”, 1922 ). The poem “About This” becomes a poetic catharsis ( December 1922 – February 1923) with its theme of purification of the lyrical hero, who, through the phantasmagoria of philistinism, carries the indestructible ideal of the human and breaks through into the future. The poem was first published in the first issue of the magazine "LEF" ( 1923-1925 ), the editor-in-chief of which is Mayakovsky, who headed the literary group LEF ( 1922-1928 ) and decided to rally “leftist forces” around the magazine (articles “What is Lef fighting for?”, “Who is Lef biting into?”, “Who is Lef warning?”, 1923 ).

In November 1924 Mayakovsky goes to Paris (later he visited Paris 1925, 1927, 1928 and 1929). He visited Latvia, Germany, France, Czechoslovakia, America, Poland. By discovering new countries, he enriched his own poetic “continent”. In the lyrical cycle "Paris" ( 1924-1925 ) Lef's irony of Mayakovsky is defeated by the beauty of Paris. The contrast of beauty with emptiness, humiliation, and ruthless exploitation is the naked nerve of poems about Paris (“Beauties,” “Parisian Woman,” 1929 , etc.). The image of Paris bears a reflection of Mayakovsky’s “community-love” (“Letter to Comrade Kostrov from Paris about the essence of love”, “Letter to Tatyana Yakovleva”, 1928 ). The central theme of Mayakovsky’s foreign theme is the American cycle of poems and essays ( 1925-1926 ), written during and shortly after a trip to America (Mexico, Cuba, USA, 2nd half 1925 ).

In verse 1926-1927. and later ones (up to the poem “At the top of my voice”) Mayakovsky’s position in art was revealed at a new stage. Ridiculing Rapp's vulgarizers with their claim to a literary monopoly, Mayakovsky convinces proletarian writers to unite in poetic work in the name of the future (“Message to Proletarian Poets,” 1926; previously article “Lef and MAPP”, 1923 ). News of S. Yesenin's suicide ( December 27, 1925) sharpens thoughts about the fate and calling of true poetry, evokes grief over the death of a “ringing” talent, anger against rotten decadence and invigorating dogmatism (“To Sergei Yesenin,” 1926 ).

Late 1920s Mayakovsky again turns to drama. His plays "The Bedbug" ( 1928 , 1st post. – 1929 ) and "Bath" ( 1929 , 1st post. – 1930 ) written for the Meyerhold Theater. They combine a satirical depiction of reality 1920s with the development of Mayakovsky’s favorite motif - resurrection and travel to the future. Meyerhold very highly appreciated the satirical talent of Mayakovsky the playwright, comparing him in the power of irony with Moliere. However, critics received the plays, especially “Bath,” extremely unkindly. And, if in “The Bedbug” people, as a rule, saw artistic shortcomings and artificiality, then in “Bath” they made claims of an ideological nature - they talked about exaggerating the danger of bureaucracy, the problem of which does not exist in the USSR, etc. Harsh articles against Mayakovsky appeared in newspapers, even under the heading “Down with Mayakovism!” In February 1930 Having left the Ref (Revolutionary Front [of the Arts], a group formed from the remnants of Lef), Mayakovsky joined RAPP (Russian Association of Proletarian Writers), where he was immediately attacked for his “fellow travelerism.” In March 1930 Mayakovsky organized a retrospective exhibition “20 Years of Work”, which presented all areas of his activity. (The 20-year sentence was apparently counted from the writing of the first poems in prison.) The exhibition was ignored by both the party leadership and former colleagues from Lef/Ref. One of many circumstances: the failure of the exhibition “20 years of work”; the failure of the performance of the play “Bath” at the Meyerhold Theater, prepared by devastating articles in the press; friction with other members of RAPP; the danger of losing your voice, which would make public speaking impossible; failures in personal life (the love boat crashed into everyday life - “Unfinished”, 1930 ), or their confluence, became the reason that April 14, 1930 year Mayakovsky committed suicide. In many works (“Spine Flute”, “Man”, “About This”) Mayakovsky touches on the topic of suicide of the lyrical hero or his double; After his death, these themes were appropriately reinterpreted by readers. Soon after Mayakovsky's death, with the active participation of RAPP members, his work was under an unspoken ban, his works were practically not published. The situation has changed in 1936, when Stalin, in a resolution to L. Brik’s letter asking for assistance in preserving the memory of Mayakovsky, publishing the poet’s works, organizing his museum, called Mayakovsky “the best talented poet of our Soviet era.” Mayakovsky was practically the only representative of the artistic avant-garde of the early 20th century, whose works remained accessible to a wide audience throughout the Soviet period.