Original title poem - "The Thirteenth Apostle" - was replaced by censorship. Mayakovsky said: “When I came to the censorship with this work, they asked me: “What, did you want to go to hard labor?” I said that in no case, that this in no way suits me. Then they crossed out six pages for me, including the title. It's a question of where the title came from. I was asked how I could combine lyrics and great rudeness. Then I said: “Okay, if you want, I will be like crazy, if you want, I will be the most gentle, not a man, but a cloud in my pants.”
The first edition of the poem (1915) contained a large number of censored notes. The poem was published in its entirety, without cuts, at the beginning of 1918 in Moscow with a preface by V. Mayakovsky: ““Cloud in Pants”... I consider it a catechism for today’s art: “Down with your love!”, “Down with your art!”, “Down with your system.” !”, “Down with your religion” - four cries of four parts.”
Each part of the poem expresses a specific idea. But the poem itself cannot be strictly divided into chapters in which four cries of “Down!” are consistently expressed. The poem is not at all divided into sections with its “Down!”, but is a complete, passionate lyrical monologue, caused by the tragedy of unrequited love. The experiences of the lyrical hero are captivating different areas life, including those where loveless love, false art, criminal power reign, and Christian patience is preached. The movement of the lyrical plot of the poem is determined by the hero’s confession, which at times reaches high tragedy (the first publications of excerpts from “The Cloud” had the subtitle “tragedy”).
The first part of the poem is about the poet's tragic unrequited love. It contains jealousy and pain of unprecedented strength, the hero’s nerves rebelled: “like a sick person, a nerve jumped out of bed,” then the nerves “jumped madly, and the nerves’ legs began to give way.”
The author of the poem painfully asks: “Will there be love or not? Which one is big or tiny? The entire chapter is not a treatise on love, but the poet’s experiences spilled out. The chapter reflects the emotions of the lyrical hero: “Hello! Who's speaking? Mother? Mother! Your son is beautifully sick! Mother! His heart is on fire." The love of the lyrical hero of the poem was rejected (It was, it was in Odessa; “I’ll come at four,” said Maria 2. / Eight. / Nine. / Ten... The twelfth hour fell, / like the head of an executed man from the block; You entered, / sharp, like “here!”, / tormenting the suede gloves, / said: “You know - / I’m getting married”), and this leads him to deny love-sweet-voiced chant, because true love is difficult, it is love-suffering.
His ideas about love are defiant, polemically frank and shocking: “Mary! The poet of the sonnet sings Tiana 3, // and I / am all meat, a whole man - // I simply ask for your body, // as Christians ask - // “Our daily bread - / give us this day.” For the lyrical hero, love is equivalent to life itself. Lyricism and rudeness here outwardly contradict each other, but from a psychological point of view, the hero’s reaction is understandable: his rudeness is a reaction to the rejection of his love, it is a defensive reaction.
V. Kamensky, Mayakovsky’s companion on a trip to Odessa, wrote about Maria that she was a completely extraordinary girl, she “combined high quality captivating appearance and intellectual aspiration for everything new, modern, revolutionary...” “Excited, tossed up by a whirlwind of love experiences, after his first dates with Maria,” says V. Kamensky, “he flew into our hotel like a festive spring sea wind and enthusiastically repeated: “This is a girl, this is a girl!”... Mayakovsky, who had not yet known love, for the first time experienced this enormous feeling that he could not cope with. Engulfed in the “fire of love,” he did not know what to do, what to do, where to go.”
The hero's unsatisfied, tragic feelings cannot coexist with cold vanity, with refined, refined literature. To express authentic and strong feelings the street lacks words: “the street is writhing, tongueless - it has nothing to shout or talk with.” Therefore, the author denies everything that was previously created in the field of art:
I put “nihil” over everything that has been done.Of all types of art, Mayakovsky turns to poetry: it has become too detached from real life and from real language, to whom the street and the people speak. The poet exaggerates this gap:
and in the mouths of dead words corpses decompose.For Mayakovsky, the soul of the people is important, not theirs appearance(“We have smallpox from the soot. I know that the sun would darken if it saw the gold placers of our souls”). The third chapter is also devoted to the topic of poetry:
And from the cigarette smoke / the drunken face of the Northerner stretched out like a liqueur glass. How dare you call yourself a poet And, little gray one, chirp like a quail. Today / we must / use brass knuckles / to cut the world into the skull.The lyrical hero declares his break with previous poets, with “pure poetry”:
From you, who were wet with love, from whom / a tear flowed for a century, I will leave, / I will insert the sun with a monocle into my widely spread eye.Another “down” of the poem is “down with your system”, your “heroes”: “iron Bismarck”, billionaire Rothschild and the idol of many generations - Napoleon. “I will lead Napoleon on a chain like a pug,” the author declares.
The theme of the collapse of the old world runs through the entire third chapter. In revolution, Mayakovsky sees a way to put an end to this hated system and calls for revolution - for this bloody, tragic and festive action, which should burn out the vulgarity and dullness of life:
Go! / Let's paint Mondays and Tuesdays with blood during the holidays! Let the earth under the knives remember who it wanted to vulgarize! Earth, / fattened like the mistress whom Rothschild fell in love with! So that the flags flutter in the heat of gunfire, like every decent holiday, raise the lampposts higher, the bloody carcasses of the meadowsweet.The author of the poem sees the coming future, where there will be no loveless love, bourgeois refined poetry, bourgeois system and religion of patience. And he himself sees himself as the “thirteenth apostle”, “forerunner” and herald of the new world, calling for cleansing from colorless life:
I, ridiculed by today's tribe, like a long obscene joke, see time moving through the mountains, which no one sees. Where the eye of people breaks short, the head of the hungry hordes, the sixteenth year is coming in the crown of thorns of revolutions. And I am your forerunner!The hero strives to melt his unrelieved pain; he, as it were, rises to a new height in his personal experiences, trying to protect the future from the humiliations that befell him. And he begins to see how his grief and the grief of many will end - in the “sixteenth year.”
The hero goes through a painful path of ups and downs in the poem. This became possible because his heart is full of the deepest personal experiences. In the fourth chapter of the poem, hopeless longing for his beloved returns. "Maria! Maria! Maria!" - the name sounds hysterically as a refrain, in it - “a born word, equal in greatness to God.” The prayers and confessions are confusing and endless - there is no answer from Mary. And a daring rebellion against the Almighty begins - “a half-educated, tiny little god.” Rebellion against the imperfections of earthly relationships and feelings:
Why didn’t you come up with a way to kiss, kiss, kiss without pain?!The lyrical hero of the poem is a “handsome twenty-two-year-old.” Entering life with maximalism young man The poem expresses a dream about a time devoid of suffering, about a future existence where “millions of huge pure loves” will triumph. The theme of personal, unresolved turmoil develops into a glorification of future happiness.
The author is disappointed in the moral power of religion. The revolution, according to Mayakovsky, should bring not only social liberation, but also moral cleansing. The anti-religious pathos of the poem was sharply defiant, repelling some and attracting others. For example, M. Gorky was “struck by the atheistic current in the poem.” “He quoted verses from “A Cloud in Pants” and said that he had never read such a conversation with God... and that Mayakovsky had a great time with God” 4.
I thought - you are an all-powerful god, but you are a half-educated, tiny god. You see, I bend down, / from behind my boot I take out a shoe knife. Winged scoundrels! / Cuddle in paradise! Ruffle your feathers in frightened shaking! I will open you, smelling of incense, from here to Alaska! ...Hey you! Sky! / Take off your hat! I'm coming! Deaf. The universe sleeps with its huge ear resting on its paw with pincers of stars.Features of Mayakovsky's poetics
V. Mayakovsky's poem "A Cloud in Pants" (like his other works) is characterized by hyperbolism, originality, and planetary comparisons and metaphors. Their excessiveness sometimes creates difficulties for perception. M. Tsvetaeva, for example, who loved Mayakovsky’s poems, believed that “It is unbearable to read Mayakovsky for a long time due to purely physical waste. After Mayakovsky you need to eat a lot and for a long time.”
K.I. drew attention to the difficulty of reading and understanding Mayakovsky. Chukovsky: “Mayakovsky’s images surprise and amaze. But in art this is dangerous: in order to constantly amaze the reader, no amount of talent is enough. In one poem by Mayakovsky we read that the poet is licking a red-hot brazier, in another that he swallows a burning cobblestone, then he takes out the spine from his back and plays it like a flute. It's stunning. But when on other pages he pulls out his living nerves and makes a butterfly net out of them, when he makes himself a monocle out of the sun, we almost cease to be surprised. And when he then dresses the cloud in pants (the poem “Cloud in Pants”), he asks us:
Here, / do you want / to take out a whole blooming grove / from your right eye?!the reader doesn’t care anymore: if you want it, take it out; if you don’t want it, no. You won't get through to the reader anymore. He became numb" 5 . In his extravagance, Mayakovsky is sometimes monotonous and therefore few people love his poetry.
But now, after the recent heated debate about Mayakovsky, the attempts of some critics to throw Mayakovsky himself off the ship of modernity, it is hardly worth proving that Mayakovsky is a unique, original poet. This is a poet of the street and at the same time a subtle, easily vulnerable lyricist. At one time (in 1921) K.I. Chukovsky wrote an article about the poetry of A. Akhmatova and V. Mayakovsky - the “quiet” poetry of one and the “loud” poetry of the other poet. It is quite obvious that the poems of these poets are not similar, even polar opposites. Who does K.I prefer? Chukovsky? The critic not only contrasts the poems of the two poets, but also brings them together, because they are united by the presence of poetry in them: “To my surprise, I love both equally: Akhmatova and Mayakovsky, for me they are both mine. For me there is no question: Akhmatova or Mayakovsky? I love both that cultured, quiet, old Rus' that Akhmatova embodies, and that plebeian, stormy, square, drum-bravura Russia that Mayakovsky embodies. For me, these two elements do not exclude, but complement one another, they are both equally necessary” 6.
VLADIMIR MAYAKOVSKY
A cloud in pants
(excerpt from the poem read by V. Zubarev)
The first edition of the poem “Cloud in Pants” (the original title “The Thirteenth Apostle” was crossed out by censorship) was published in 1915. In the preface to the second edition (1918), restoring “this book distorted and despised by pre-revolutionary censorship,” Mayakovsky wrote: “A Cloud in Pants”... I consider it a catechism of today’s art.
“Down with your love,” “down with your art,” “down with your system,” “down with your religion”—four cries of four parts.”
Mayakovsky conceived this poem in 1914: “I feel mastery. I can master the topic. Close. I pose a question about the topic. About revolutionary. I'm thinking about "A Cloud in My Pants."
In 1928, completing his autobiography “I Myself,” he again emphasized the significance of his first poem: “I consider “Good” to be a programmatic thing like “Clouds in Pants” for that time.”
In 1913, A. M. Gorky wrote: “Rus' needs a great poet... we need a democratic and romantic poet, for we, Rus', are a democratic and young country.”
In the same 1913 “A. A. Blok, who singled out Mayakovsky from among the futurists, when asked what he found remarkable in him, answered with his characteristic laconicism and accuracy with only one word: “democracy.”
In September 1915, a small book with a bright orange cover was published. Entire stanzas, even pages, were filled with dots replacing the lines erased by the censor. Gorky, to whom Mayakovsky read “A Cloud in Pants” even before publication, was shocked by its tragic power. The bourgeois newspapers hooted in unison. But a significant part of the youth saw in Mayakovsky “a poet who reveals the world in a new way.” This is how the poet S. D. Spassky recalls this: “The impact... was enormous. The “cloud” could not be canceled... The “cloud” radiated energy from itself, selected and rebuilt people. The poem was in all its elements a manifesto of a new art... At the same time, it was also a real example of it...
The poem was perceived... truly as the voice of a certain “thirteenth apostle”, preaching the fight on the barricades and the imminent inevitable revolution... Those who accepted Mayakovsky instantly became friends. People met! pronouncing quotes from “The Cloud” instead of last names.
Mayakovsky felt his first poem as a tragedy, he even called it “the second tragedy of the poet Mayakovsky” [the first was called “Vladimir Mayakovsky”), he was aware of its strength, tragic intensity, tension, temperament.
“The poetic shock that I experienced when reading Mayakovsky for the first time, I can only compare with the shock that I experienced when I heard and saw the sky torn apart by lightning. Rebellion, revolution, thunder, flames - everything is new, unprecedented, wonderful, amazing, revolutionary... and immediately - and forever - Mayakovsky merged for me with October Revolution“- wrote Julian Tuwim, a famous Polish poet, the first translator of the poem “A Cloud in Pants”.
In the poem “Cloud in Pants” we see a complex image of the poet, now “mad”, now “impeccably tender”, now ironic, sharp, now deeply lyrical, now daring, angry, teasing and striking, now defenseless, vulnerable, hiding his vulnerability , and this makes it even more tragic and heroic at the same time. “Spine Flute,” written in the same 1915, further reveals and emphasizes this image.
“In the minds of everyone who knew Mayakovsky personally or even at least from his public appearances and works, Mayakovsky is life...” wrote A. V. Lunacharsky. - I easily identify the concept of “life” with this amazingly deep, bell-like voice. The rhythm of Mayakovsky's reading and even conversation was always calm and measured, and under this calm and measured nature he was powerful.
Yes, it was a spring of strength of inexhaustible vitality, and, moreover, in control of itself, grasped by a strong will. This was life in one of its extreme manifestations...
Now, when I open any book by Mayakovsky anywhere, life rushes forward and washes me in a stormy stream: a bright light, merciless for lovers of darkness, shoots out from there like a sheaf of spotlights...”
This plexus especially worries us...
Over time, my amazement does not fade, but intensifies, not at the strength of feelings expressed in Mayakovsky’s early poems—many feel this strongly in their youth—but at the fact that twenty-two-year-old Mayakovsky appears in them as an absolutely mature master of verse.”
The impression of the first shock and amazement at Mayakovsky’s impeccable poetic skill was carried by the artist through all the years of work on performing his poetry. A youthful hobby that spans school and student years turns into serious professional work.
Let's consider one of the sensational works of V.V. Mayakovsky's 1915 "Cloud in Pants". Analysis of this poem reveals a protest against the art, system, ideology and morality of bourgeois society. His reproach for a society alien to him, in which there is no true love, begins with his worries about Maria Alexandrovna Denisova. The poet denounces the falsity of the current system in the country and, with aggressive irony, declares: “Mayakovsky is a “cloud in his pants.” The analysis of each part will be marked by a specific phrase of the poet.
"Down with your love"
The theme of betrayal is fully revealed in the poem “Cloud in Pants.” helps to understand how this betrayal spreads from the situation with Maria to all other aspects of life: he sees life differently, she reveals her rotten grin to him, and he does not want to live in a world where everyone pleases the other for the sake of entourage.
It is very noticeable that Mayakovsky in his poems is always varied and generous with various new derivative words that he creates from simple and familiar expressions. The imagery and ambiguity of words help to create a colorful picture in the imagination, enlivened by the reader’s consciousness.
So, for example, in a triptych a word of a similar structure is used: I mock - this word expresses aggression towards the reader himself: a representative of the bourgeois stand.
"Down with your art"
In the second part, Mayakovsky overthrows the idols of art that were popular during the period of his work on the poem “A Cloud in Pants.” Analysis of the ideas in this part reveals to the reader that true art is born with pain, that every person is capable of becoming the main creator in his life. The author comes up with interesting compound adjectives: “cry-lipped” and “golden-mouthed”. The word “newborn” in Mayakovsky also consists of two simple words“new” and “give birth”, it is close in its meaning to the verb “renew” and means action.
"Down with your system"
Studying the work “Cloud in Pants” and analyzing it gives the reader a clear idea of Mayakovsky’s negative attitude towards political system, which developed during the heyday of his poetic activity. In the third part, the following words became appropriate: “teared”, “loved”, “cursed”. The word “things” he invented characterizes belonging to things. Instead of the word “break,” Mayakovsky uses “break,” because it has an emphasis on a more appropriate action, meaning not only “break,” but also “break a hole in something.”
"Down with your religion"
In the fourth part of the work there are almost no complex author's words. The poet wanted to convey a specific meaning to the reader: he calls on Mary for love and, rejected, angers God, wanting to cut him open. For Mayakovsky, religion is false: God does not save, but only teases people with his idleness and laziness. Here the author has become more important not the idea of revolution, which he calls for in previous parts poem, and his pain, his passion and experiences, expressed specifically and dynamically, like a cry after a blow. All these conclusions regarding the poem are indicated by semantic and lexical analysis. “A Cloud in Pants” is a truly historically valuable work that clearly and clearly expresses the revolutionary mood of that time.
Concept The poem “Cloud in Pants” (original title “The Thirteenth Apostle”) originated from Mayakovsky in 1914. The poet fell in love with Maria Alexandrovna Denisova. However, love turned out to be unhappy. Mayakovsky embodied the bitterness of his experiences in poetry. The poem was completely completed in the summer of 1915.
Genre - poem.
Composition
The poem “Cloud in Pants” consists of an introduction and four parts. Each of them implements a specific, so to speak, private idea. The essence of these ideas was defined by Mayakovsky himself in the preface to the second edition of the poem: “Down with your love,” “down with your art,” “down with your system,” “down with your religion” - “four cries of four parts.”
Topics and problems
“Cloud in Pants” is a multi-themed and multi-problem work. Already in the introduction the theme of the poet and the crowd is stated. Main character the poet is contrasted with the crowd: the ideal image of the lyrical hero (“handsome, twenty-two years old”) contrasts sharply with the world of base things and images (“men, stored up like a hospital, / and women, tattered, like a proverb”). But if the crowd remains unchanged, then the lyrical hero changes before our eyes. He is either rude and harsh, “mad for meat,” “impudent and caustic,” or “impeccably gentle,” relaxed, vulnerable: “not a man, but a cloud in his pants.” This clarifies the meaning of the unusual title of the poem.
The first part, according to the poet’s plan, contains the first cry of discontent: “Down with your love.” The theme of love can be called central; the entire first and part of the fourth section is devoted to it.
The poem opens with tense anticipation: the lyrical hero is waiting to meet Mary. The waiting is so painful and intense that it seems to the hero that the candelabra are “laughing and neighing” in the back, “caressing” the doors, midnight is “cutting” with a knife, the raindrops are grimacing, “as if the chimeras of Notre Dame Cathedral are howling,” etc. Painful the wait lasts forever. The depth of the lyrical hero’s suffering is conveyed by an extended metaphor about the passing of the twelfth hour:
Midnight, rushing with a knife,
caught up
stabbed -
there he is!
The twelfth hour has fallen,
like the head of an executed man falling off the block.
Time, likened to a head falling from the block, is not just a fresh trope. It is filled with great internal content: the intensity of passions in the hero’s soul is so high that the usual but hopeless passage of time is perceived as his physical death. The hero “moans, writhes,” “soon he will tear his mouth out with a scream.” And finally, Maria comes and announces that she is getting married. The poet compares the harshness and deafeningness of the news with his own poem “Nate”. The theft of a loved one - with the theft of Leonardo da Vinci's "La Gioconda" from the Louvre. And himself - with the dead Pompeii. But at the same time, one is struck by the almost inhuman composure and calm with which the hero greets Maria’s message:
Well, come out.
Nothing.
I'll strengthen myself.
See how calm he is!
Like the pulse
dead man!
“Pulse of a Dead Man” is the finally, irretrievably dead hope for mutual feeling.
In the second part of the poem, the theme of love receives a new solution: we're talking about about the love lyrics that prevail in Mayakovsky’s contemporary poetry. This poetry is concerned with glorifying “the young lady, and love, and the flower under the dew.” These themes are petty and vulgar, and the poets “boil, squealing in rhymes, some kind of brew from love and nightingales.” They are not concerned about people's suffering. Moreover, poets consciously flee from the street, they are afraid of the street crowd, its “pranks.” Meanwhile, the people of the city, according to the hero, are “purer than the Venetian blue sky, washed at once by the seas and the sun!”:
I know -
the sun would darken if it saw
our souls are rich in gold.
The poet contrasts the unviable art with the authentic, the screeching “poetics” with himself: “I am where the pain is, everywhere.”
In one of his articles, Mayakovsky stated: “Today’s poetry is the poetry of struggle.” And this journalistic formula found its poetic embodiment in the poem:
Take your hands out of your trousers -
take a stone, a knife or a bomb,
and if he has no hands -
come and fight with your forehead!
develops in the third part. Mayakovsky considered Severyanin’s work to be poetry that did not meet the requirements of the time, therefore the poem displays an impartial portrait of the poet:
And from cigar smoke
liqueur glass
Severyanin’s drunken face stretched out.
How dare you call yourself a poet
and, little gray one, chirp like a quail!
The poet, according to the lyrical hero, should be concerned not with the elegance of his poems, but with the power of their impact on readers:
Today
necessary
brass knuckles
cut into the world's skull!
In the third part of the poem, Mayakovsky rises to the denial of the entire ruling system, inhuman and cruel. The whole life of “fat” people is unacceptable for the lyrical hero. Here the theme of love takes on a new facet. Mayakovsky reproduces a parody of love, lust, debauchery, perversion. The whole earth appears as a woman who is depicted as “fat, like the mistress whom Rothschild fell in love with.” The lust of the “masters of life” is contrasted with true love.
The dominant system gives rise to wars, murders, executions, and “massacres.” Such a structure of the world is accompanied by robberies, betrayals, devastation, and “human mess.” It creates leper colonies-prisons and wards of insane asylums where prisoners languish. This society is corrupt and dirty. Therefore, “down with your system!” But the poet not only throws out this slogan-cry, but also calls the people of the city to open struggle, “to cut the world into the skull with brass knuckles,” raising “the bloody carcasses of meadowsweet farmers.” The hero confronts strong of the world this, “the masters of life, becoming the “thirteenth apostle.”
In the fourth part, the theme of God becomes the leading one. This topic has already been prepared by the previous parts, which indicate a hostile relationship with God, who indifferently observes human suffering. The poet enters into open war with God, he denies his omnipotence and omnipotence, his omniscience. The hero even resorts to insult (“tiny little god”) and grabs a shoe knife to cut open the “smelling of incense.”
The main accusation thrown at God is that he did not take care of happy love, “so that it would be possible to kiss, kiss, kiss without pain.” And again, as at the beginning of the poem, the lyrical hero turns to his Mary. Here there are prayers, and reproaches, and groans, and powerful demands, and tenderness, and oaths. But the poet hopes in vain for reciprocity. He is left with only a bleeding heart, which he carries, “like a dog... carries a paw that has been run over by a train.”
The finale of the poem is a picture of endless spaces, cosmic heights and scales. Ominous stars are shining, a hostile sky is rising. The poet is waiting for heaven to take off its hat to him in response to his challenge! But the universe is sleeping, with its huge ear resting on its paw with the pincers of the stars.
During a tour of Russia, a group of futurists visited Odessa. V. Mayakovsky met Masha Denisova, fell in love, but the love remained unrequited. The poet had a hard time experiencing his unrequited love. On the train, leaving Odessa, Mayakovsky read fragments of the poem “A Cloud in Pants” to his friends.
The poem was completed with a dedication to Lilya Brik “To you, Lilya.” The original title of the poem, “The Thirteenth Apostle,” was perceived by censors as blasphemy against Christianity; in addition, it was indicated that in the poem Mayakovsky combined “lyricism and great rudeness.” In response, the poet promised to be “impeccably gentle, not a man, but a cloud in his pants.” This phrase served as the basis for the new name. The 1915 edition had a subtitle - tetraptych (a work in 4 parts). Each part expressed denial: “Down with your love!”, “Down with your art!”, “Down with your system!”, “Down with your religion!”
Researchers call the poem “Cloud in Pants” the pinnacle of V.V. Mayakovsky’s pre-revolutionary creativity, in which the theme of love is combined with themes of the importance of the poet and poetry in society, attitudes to art, and religion. The poem contains lyrical and satirical notes, which gives the work a dramatic sound. Overall, this is a love poem. The introduction emphasizes the motives of the lyrics and the reasons for the tragedy of V.V. Mayakovsky (the opposition of the lyrical hero to the crowd, the “fat”).
The first part of the poem is a cry of discontent: “Down with your love!” What lies behind this denial? The lyrical hero is waiting to meet Maria, but she is not there. The heart of the lyrical hero is in melancholy and anxiety, this is expressed through his vision of the world around him: the evening “passes away”, giving way to the darkness of the night; candelabra “laugh and neigh” at the back of the passing evening, etc. All this is presented in enlarged sizes, and the lyrical hero is a “wiry bulk”, a “block”. Maria comes and says: “You know, I’m getting married.” The poet compares the theft of his beloved with the theft of La Gioconda from the Louvre.
In the second part of the poem, Mayakovsky moves on to the theme of art, which does not want to see people suffering. Beggars and cripples (heroes of early lyrics) demand attention to themselves. Poets shun them, and Mayakovsky believes that they are “purer than the Venetian blue sky.”
The theme of the poet and poetry sounds more and more strongly. V. Mayakovsky opposes himself to the “poetics” - “...I am where the pain is, everywhere”; Addressing the “screaming poets,” he declares: “Down with your art!”
In the third part, the author denies the dominant system, which gives rise to distorted love and pseudo-art. The inhuman structure of the world gives rise to cruelty among people, as a result of which prisons, gallows, and insane asylums arise. A lyrical hero comes out to meet the strong with the slogan “Down with your system!”
In the fourth part - “Down with your religion!” - the poet clearly blasphemes and introduces atheistic motives. And again, as at the beginning of the poem, he turns to Mary. These are both pleas and reproaches; the poet is left with a bleeding heart.
Book materials used: Literature: textbook. for students avg. prof. textbook institutions / ed. G.A. Obernikhina. M.: "Academy", 2010
