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На различных литературных диспутах, в разговоре с молодыми работниками различных производственных словесных ассоциаций (рап, тап, пап и др.), в расправе с критиками — мне часто приходилось если не разбивать, то хотя бы дискредитировать старую поэтику. Самую, ни в чём не повинную, старую поэзию, конечно, трогали мало. Ей попадало только, если ретивые защитники старья прятались от нового искусства за памятниковые зады.
Наоборот — снимая, громя и ворочая памятниками, мы показывали читателям Великих с совершенно неизвестной, неизученной стороны.
На различных литературных диспутах, в разговоре с молодыми работниками различных производственных словесных ассоциаций (рап, тап, пап и др.), в расправе с критиками — мне часто приходилось если не разбивать, то хотя бы дискредитировать старую поэтику. Самую, ни в чём не повинную, старую поэзию, конечно, трогали мало. Ей попадало только, если ретивые защитники старья прятались от нового искусства за памятниковые зады.
Наоборот — снимая, громя и ворочая памятниками, мы показывали читателям Великих с совершенно неизвестной, неизученной стороны.
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First published January 1, 1926
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About the author
Vladimir Mayakovsky
505 books629 followersVladimir Mayakovsky (Владимир Владимирович Маяковский) was born the last of three children in Baghdati, Russian Empire (now in Georgia) where his father worked as a forest ranger. His father was of Ukrainian Cossack descent and his mother was of Ukrainian descent. Although Mayakovsky spoke Georgian at school and with friends, his family spoke primarily Russian at home. At the age of 14 Mayakovsky took part in socialist demonstrations at the town of Kutaisi, where he attended the local grammar school. After the sudden and premature death of his father in 1906, the family — Mayakovsky, his mother, and his two sisters — moved to Moscow, where he attended School No. 5.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
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Displaying 1 - 8 of 8 reviews
March 9, 2025
"...umrijeti nije ništa na ovom svijetu nova,
al ni živjeti baš nije novije." - S. Jesenjin
"Treba otimati radost danima što bježe.
Na svijetu umirati nije teško.
Stvoriti život daleko je teže." - V. Majakovski
U ovom eseju Majakovski piše: »Nakon što sam izmjerio i razmislio odlučujem: isprva treba zainteresirati sve slušaoce dvosmislenošću zbog koje nije jasno na čijoj sam strani, zatim treba preoteti Jesenjina od onih koji njegovu smrt iskorištavaju radi svojih interesa, treba ga pohvaliti i rehabilitirati onako kako to nisu mogli njegovi štovatelji. Osvojivši auditorij i zgrabivši pravo da govorim o postignućima Jesenjina i njegova kruga neočekivano usmjeravam čitatelja prema uvjerenju u bezvrijednost, beznačajnost i nezanimljivost Jesenjinovog kraja: preformulirao sam njegove posljednje riječi pridajući im obratni smisao.«
Na kraju ovog eseja, kao svojevrsna (o)poruka svima koji žele ući u tajne »pjesničke proizvodnje«, Majakovski u 12 točaka na primjeru Jesenjina sumira, zašto je poezija tako zahtjevna i značajna »stvaralačka djelatnost« i zašto »u paramparčad treba razbiti bajku o apolitičnoj umjetnosti«, zaključujući zašto on osobno i njegovi »lefovci« nikada ne govore kako su jedini vlasnici tajni pjesničkog zanata, ali kako jedini žele otkriti te tajne,» jedini koji ne žele stvaralaštvo spekulantski okružiti umjetničko-religijskom aurom svetosti«.
al ni živjeti baš nije novije." - S. Jesenjin
"Treba otimati radost danima što bježe.
Na svijetu umirati nije teško.
Stvoriti život daleko je teže." - V. Majakovski
U ovom eseju Majakovski piše: »Nakon što sam izmjerio i razmislio odlučujem: isprva treba zainteresirati sve slušaoce dvosmislenošću zbog koje nije jasno na čijoj sam strani, zatim treba preoteti Jesenjina od onih koji njegovu smrt iskorištavaju radi svojih interesa, treba ga pohvaliti i rehabilitirati onako kako to nisu mogli njegovi štovatelji. Osvojivši auditorij i zgrabivši pravo da govorim o postignućima Jesenjina i njegova kruga neočekivano usmjeravam čitatelja prema uvjerenju u bezvrijednost, beznačajnost i nezanimljivost Jesenjinovog kraja: preformulirao sam njegove posljednje riječi pridajući im obratni smisao.«
Na kraju ovog eseja, kao svojevrsna (o)poruka svima koji žele ući u tajne »pjesničke proizvodnje«, Majakovski u 12 točaka na primjeru Jesenjina sumira, zašto je poezija tako zahtjevna i značajna »stvaralačka djelatnost« i zašto »u paramparčad treba razbiti bajku o apolitičnoj umjetnosti«, zaključujući zašto on osobno i njegovi »lefovci« nikada ne govore kako su jedini vlasnici tajni pjesničkog zanata, ali kako jedini žele otkriti te tajne,» jedini koji ne žele stvaralaštvo spekulantski okružiti umjetničko-religijskom aurom svetosti«.
May 2, 2020
بخش اول کتاب بسیار جذابتر بود ، قسمت دوم که به شکلی تخصصیتر به آرایهها و اصول شعری مد نظر شاعر پرداخته کمی گنگ بود به احتمال زیاد با توجه به تفاوت زبانی و ترجمه غیرمستقیم معانی بیشماری در پروسهی ترجمه از دست رفته و فرمهای بسیاری تغییر کرده. هر چند تلاش مترجمان شایستهی تقدیره.
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October 9, 2015
حقیقت امر اینکه کتاب بدی نبود، اما به نظرم بهتره که ترجیح بدیم «دربارهی هنر و شعر و شاعری» نیما رو بخونیم تا این، یا لااقل ترجمهی درجه یکی رو از این کتاب ارائه بدیم. ترجمه و متن صرفا «خوب» بودند.
January 23, 2015
کمی عجیب و غریب بود.
با اینکه ترجمه ی بسیار خوبی و داشت ، اما بنظرم باید آن را زبان اصلی خواند.
و اینکه، داشت از اصول شعر نویسی نوین می گفت. و هرچند که بستر اجتماعی حرف زده است و از احساس نیاز به شعر، اما بتظرم خیلی فرمالیته برخورد کرده ست و روح شاعر و شعر را در نظر نگرفته.
که بنظر من مهم ترین موضوع همین روح شعر است.
ولی ممنون از خانم شریفی.
و بسیـــــار هم شرمنده، به دلیلی که دوشنبه می بینند.. :(
با اینکه ترجمه ی بسیار خوبی و داشت ، اما بنظرم باید آن را زبان اصلی خواند.
و اینکه، داشت از اصول شعر نویسی نوین می گفت. و هرچند که بستر اجتماعی حرف زده است و از احساس نیاز به شعر، اما بتظرم خیلی فرمالیته برخورد کرده ست و روح شاعر و شعر را در نظر نگرفته.
که بنظر من مهم ترین موضوع همین روح شعر است.
ولی ممنون از خانم شریفی.
و بسیـــــار هم شرمنده، به دلیلی که دوشنبه می بینند.. :(
July 11, 2017
3 or 3.5 stars really-- a study of poetry from a revolutionary marxist-leninist perspective. lots of interesting and important stuff in here, especially about the poet's social responsibility, but i don't know if i agree with tons of it. still was an interesting and quick read-- mayakovsky was definitely a sharp guy
April 23, 2024
La prosa de Maiakovsky se plantea como un desafío para el lector. Me parece muchas veces enrevesada y algo compleja para leer de una forma distendida. Es un texto denso, pero tremendamente interesante. Lo que Maiakovsky proponía hace casi 100 años (o quizá más, no recuerdo ahora la fecha de publicación) me descubre un mundo nuevo a la hora de afrontar la poesía. No soy poeta y, si lo fuera, sería malísimo, pero este pequeño ensayo es muy recomendable para aquel que haya escrito verso alguna vez y quiera afrontar perspectivas refrescantes.
August 2, 2024
En una visión poética de la política, Maiakovski intenta explicar la esencia de su poesía.
December 19, 2014
کتاب خوبی بود ولی ترجمه چیز زیادی ازآهنگ و وزن شعر باقی نگذاشته ترجیحا باید لاتین خونده بشه
Displaying 1 - 8 of 8 reviews