Поэт нового времени, новой образной системы, новых рифм и ритмов Владимир Маяковский занимает особое место в литературе XX века. По словам Валентина Катаева, он "возвышается над Парижем поэзии Эйфелевой башней". В его произведениях органически сливается трубный голос оратора с доверительными нотами лирика. Творчество Маяковского - это яростный протест, едкая сатира, ирония над собой и окружающим миром и, без сомнения, любовь, отчаянная, на грани сумасшествия. Его уникальные строки-лестницы современные российские рок-музыканты сумели положить на музыку, в 2005-2008 годах выпустив интереснейший альбом "Живой Маяковский", где по-новому, актуально и свежо, зазвучали бессмертные стихи. В эту книгу вошли знаменитые поэмы Маяковского - "Облако в штанах", "Флейта-позвоночник", "Люблю", "Про это" и "Во весь голос", а также его лучшие стихотворения.
Vladimir 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.
J’avais déjà lu un peu le recueil après l’avoir acheté, il y a quelques années. Direct j’étais tombée love des pulsions lyriques pour dire l’idéologique. Mais j’avais feuilleté, et lu au hasard quelques-uns des poèmes. Cette fois-ci j’ai eu à le lire intégralement pour un devoir et merci Isadora F. parce que sans ta consigne je serai passé à côté de la vision complète de l’oeuvre. La lecture a été totalement différente de ma première. C’est peut-être le recueil le plus linéaire et cyclique que j’ai lu. Peut-être parce que Vladimir construit des poèmes très longs. Peut-être parce qu’ils suivent les événements historiques vécus. Ou bien parce que la forme du vers fixe évolue peu à peu en bazar fragmentaire.
J’ai adoré l’audace de À Lénine. Et La flûte de vertèbres. Et De ceci. Et la vision de l’amoureux tragique.
Petit kiff : « C’est déjà la folie.
Il ne se passera rien du tout.
La nuit viendra, mordillera, croquera tout d’une traite.
Vous voyez, le ciel nous agace à nouveau avec son lot d’étoiles éclaboussées par les traitres. »
Bref, finalement j’ai jamais rendu mon devoir, mais j’ai adoré relire Maïakovski.
incroyable il est trop fort!!!!! quand il raconte la mort de Lénine j'avais des frissons de partout. Ça faisait longtemps que je voulais le lire et je suis pas déçue. A lire avec connaissance du contexte historique (révolution soviétique, URSS, internationale communiste). Poète qui a mis fin a des jours très jeune (37 ans), dont la vie a été marquée par son amour pour Lili Brick (sœur d'Elsa Triolet - compagne d'Aragon). C'est Elsa qui a participé à le faire connaître en France à l'époque.
Un fumo di tabacco ha divorato l' aria La stanza e' un capitolo dell'inferno di Krucennych. Ricordati - Proprio a questa finestra per la prima volta Estasiato accarezzavo le tue mani. Eccoti oggi seduta, Il cuore chiuso dentro una corazza. Ancora un giorno e poi mi scaccerai Magari anche imprecando alle mie spalle. Nella buia anticamera la mano nella manica Pi� non stenter� a entrare disfatta dal tremore. Correr� via E getter� il mio corpo sulla strada. Selvatico animale Impazzir� Sotto una sferza di disperazione. Ma cos� non si deve, Mia cara, Mia diletta, Meglio lasciarci ora. Non importa - Il mio amore E' un pesante macigno Che incombe su di te Ovunque tu possa fuggirmi. Lascia in un grido estremo che si sfoghi L'amarezza dei lamenti e del rancore. Quando anche un bue � disfatto di fatica Lui pure andr� a gettarsi In fredde acque in cerca di ristoro. Ma altro mare non c'� per me Tranne il tuo amore, N� tregua c'� in amore anche nel pianto. Se un elefante stanco vorr� pace Si stender� maestoso sull' infuocata sabbia. Ma altro sole non c'� per me Tranne il tuo amore, Bench� io non so tu dove o con chi sei. Se cos� se ne fosse tormentato Dell' amore - un poeta In soldi e gloria l'avrebbe mutato, Ma altro suono non c'� Che mi dia gioia Tranne che il suono del tuo nome beato. E non mi getter� gi� nella tromba delle scale E non berr� il veleno N� premer� il grilletto dell'arma sulla tempia. E non c'� lama di coltello che Abbia su me potere Tranne che sia la lama del tuo sguardo. Tu scorderai domani Che io t'incoronavo, Che d'un ardente amore l'anima ti bruciavo, E un carnevale effimero di frenetici giorni Disperder� le pagine dei miei piccoli libri... Le secche foglie delle mie parole Potranno mai indurre uno a sostare, A respirare con avidit�? Almeno lascia che un'estrema tenerezza Copra l'allontanarsi Dei tuoi passi. 26 Maggio 1916 Pietrogrado
Pur essendo la poesia russa molto diversa dalle caratteristiche solite di quella occidentale, i versi di Majakovskij si affermano in tutta la loro potenza