Эссе на английском, тема: «Обсудите общие объеденяющие особенности раннего стиля (поэзии) Маяковского и его совокупность произведений в Советский период»

Answering to his own manifest on free word creation, Mayakovsky in 1913 starts to apply widely designing of new words, for example, «Shumiki, shumy i shumishchi», «the windows have broken the adishche of the city // into tiny, light-sucking adki». It is interesting that Mayakovsky does not construct a verbal reality, i.e. doesn’t fill the language lacunas, but completely re-thinks the lexical system of the language, creating the antitheses unknown till now:

I thought — you were an omnipotent bozhishche,

And you are a half-educated, tiny bozhik.

The value of such neologisms is very high in Mayakovsky’s poetry. He himself, realizing the role of these «completions» of the language system consistently changed the initial text of the poem as much as possible to increase the effect. For example, an initial variant «You sit, // with your tiny eyes into chai having sunk» was specified into «You sit, // with your tiny eyes into chaishko having sunk». Putting a diminutively-pejorative suffix to a word «tea» («chai») Mayakovsky gets a special semantic effect. As a result, the whole poetic line bears in itself a negative emotion, and it is set fully by the second word since the word «eyes» may have just a caressing connotation.

An interesting stylistic feature of Mayakovsky’s texts is his love to generalized characters. We have already noticed in the analysis of «The Left march» that the initial image passes by Mayakovsky several stages of typification, generalization and then — personification. On the language level it is interesting to observe how the specific neologisms are formed by the means of a suffixje-, having in Russian collective value.

In modern Russian this suffix is unproductive, and collective names even if they exist, are forced out by usual forms of plural. However for Mayakovsky negative emotional coloring of this suffix which is transferred to the neogenic words is very important. Usually this provides a meaning of neglection:

Damje from me jumped aside as a rocket…

… but since the childhood ludje was brought up in works.

Gostje goes on a ladder.

Let djadje whine.

Will // broom // the steps of ladders // by shaggy borodje.

In these examples the generalized character is supported on the language level by a collective noun that strengthens the poetic picture.

The sociopolitical value of Mayakovsky’s oeuvre, especially in days of the beginning of the Soviet republic, is impossible to overestimate. The power of the talent and the scope of literary activity makes «Mayakovsky a titanic figure of Russian art». Within that short time which the poet devoted to the poetic art, he created a lot of poems promoting the formation of ideologically correct mood of citizens. But Mayakovsky’s role in the literature isn’t restricted by the subject of his oeuvre.

The new topic (civil pathos, appeal to struggle) has demanded also a new form of poetry. It is due to the poetic and language innovations Mayakovsky could staticize the subject of his poems.

Perhaps, Mayakovsky’s main innovation is his essentially new system of poem construction: «With surprising boldness of the innovator Mayakovsky has intruded into the traditional, sillabo-tonic system of poem construction which was still since XVIII century. Mayakovsky’s poems lean not on rhythm music, but on semantic accent, on intonation. The quantity of syllables in one line has lost its crucial importance in Mayakovsky’s poetry, the organizing role of a rhyme has increased and was qualitatively changed, the colloquial character of the poetry perceived by ear, in wide audience was presented sharply».

The rhythm of Mayakovsky’s poems met the mood of his time — the world scale epoch-making events. Novelty of the events was reflected also in another feature of Mayakovsky’s poetics — in its modern language.

Mayakovsky’s language creativity has been caused by his aspiration to reflect novelty of the world surrounding him. The new phenomena demanded a new nomination, therefore a strong neologism building occurs in the language. It is necessary to notice that character of the neologism building by Mayakovsky is purely poetic. The building of new words is caused not by the extralinguistic reasons (new reality, new shade of value), but by the poet’s own dissatisfaction with the available lexicon.

In the article «Vladimir Mayakovsky — the innovator» A.V. Lunacharsky specified that he considers indisputable the fact that «no writer except for Pushkin, Lermontov and Nekrasov has achieved such creative gains in modernization and enrichment of Russian language as Mayakovsky».

Bibliography

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 21−26.

Erenburg I. Portrety sovremennykh poetov. — SPb.: Zhurnal «Neva», 1999. — 480p.

Karabchijevsky J. Voskresenije Majakovskogo. — M.: Russkije slovari, 2000. — 384p.

Literaturnyje manifesty ot simvolizma do nashikh dnej / S.D. Dzhimbinov. — M.: XXI vek — Soglasije 2000. — P. 528−540.

Mayakovsky V. Navek lubovju ranen / Al. Mikhailov. — M.: Eksmo-Press, 1998. — 414p.

Mayakovsky V. Navek lubovju ranen / Al. Mikhailov. — M.: Eksmo-Press, 1998. — P. 6.

Erenburg I. Portrety sovremennykh poetov. — SPb.: Zhurnal «Neva», 1999. — P. 69.

Ibid. — P. 70.

Ibid. — P. 69.

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 23.

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 24.

Karabchijevsky J. Voskresenije Majakovskogo. — M.: Russkije slovari, 2000. — P. 200.

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 24.

Literaturnyje manifesty ot simvolizma do nashikh dnej / S.D. Dzhimbinov. — M.: XXI vek — Soglasije 2000. — P. 528.

Literaturnyje manifesty ot simvolizma do nashikh dnej / S.D. Dzhimbinov. — M.: XXI vek — Soglasije 2000. — P. 528.

Ibid. — P. 529.

Literaturnyje manifesty ot simvolizma do nashikh dnej / S.D. Dzhimbinov. — M.: XXI vek — Soglasije 2000. — P. 530.

Erenburg I. Portrety sovremennykh poetov. — SPb.: Zhurnal «Neva», 1999. — P. 70.

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 23.

Bannikov N.V. Mayakovsky // Tri veka russkoj poezii. V. 2 / N.V. Bannikov. — M.: Prosveshchenije, 1968. — P. 24.