Main Department of Education of the Krasnoyarsk Territory

Krasnoyarsk State Pedagogical University

Department of Philological Sciences

COURSE

JOB

Figurative means of poetic language

(based on the poems of V.V. Mayakovsky).

Metaphorization in lyrics

V.V. Mayakovsky

Completed by: Tikhonova O.V.

Specialty 0302

Russian language and literature

Course 3 form of study distance learning

Checked:

Introduction

Chapter I: Lexical means of figurative language (based on Mayakovsky's poems)

§ 1. Dialectisms

jargon

Vulgarisms

§2. barbarisms

Archaisms

Neologisms

Chapter II: Means of figurative expressiveness of language

§1. Paraphrase

Comparison

§2.Metaphor

Metaphorization in Mayakovsky's lyrics

§ 3. Personification

Personification

Allegory

Metonymy, synecdoche

Chapter III: Poetic syntax and elements of phonics.

§1. Figures of poetic speech

polyunion

Non-union, inversion

§2.- Break

Rhetorical appeal, question, statement, exclamation.

§3 Phonics

Alliteration, assonance.

Conclusion

Bibliography.

Chapter I : lexical means of figurative language.

§1. Dialecticisms, jargonisms, vulgarisms.

Language is the most important means of depicting life in literature. Poetry reveals its enormous pictorial possibilities.

“Poetry,” Belinsky noted, “is the highest kind of art. Any other art is more or less sedate and limited in its creative activity by the material by which it manifests itself... Poetry is expressed in the free human word, which is language, and picture, and a definite, clearly articulated representation. Therefore, poetry contains all the elements of other means, as if using suddenly and inseparably all the means that are given separately to each of the other arts. Necessary for the figurative reproduction of life, the meaning and figurative-expressive accuracy and brightness of the language are associated with a particularly careful selection and artistic use of linguistic material in works of art. An artistic-figurative language is a language that is given the properties of a figurative reproduction of reality. This is a language that conveys the individual in people and life phenomena in a pictorial way, i.e. in direct life form. The creation of the imagery of the language is facilitated by special figurative and expressive means, such as, for example, tropes, figures of poetic speech. However, language becomes figurative only in an integral system of all means of revealing the content in a work (characters, conflicts, plot, composition).

The most important figurative means of language in the system of poetic speech are: lexical means of figurativeness of the language and means of figurative expressiveness of the language.

Lexical material is used to highlight, emphasize individual characteristic features of the depicted, to further enhance their configuration. For example, the social environment to which the actors belong is drawn through language.

This is how dialectisms are used in literature - specific words and expressions characteristic of local dialects, dialects.

Their use helps the writer to set off the originality of the local color. Additional means of emphasizing the characteristic in the life of the characters are professionalisms - words and expressions associated with a particular profession, a special occupation of a person. In special cases, jargon can also be included in the language of a work of art - words and expressions of a conventional language used in small social groups, societies, circles (thieves' jargon, street "argot", etc.)

The so-called “vulgarisms” adjoin jargonisms, i.e. used in the literature of rough words of vernacular ("bastard", bitch, etc.)

For example:

Repeatedly attacked

Looking for speeches

And cheeky.

But poetry is

The weirdest thing

Exist-

And not in the tooth with a foot "

(V.V. Mayakovsky)

Dialetisms, professionalisms, jargonisms, vulgarisms are used in literature as means of additional detailing of the uniqueness of life that exists in the language, which is recreated in this work. So, Mayakovsky, in order to describe the characters of his poem “Good”, “twang”, continuing the “case of Stenka with Pugachev” in a warehouse of speech:

"Oh, apple,

clear colors.

Bay right white

Red on the left"

Mayakovsky called to hone the poetic language for the motley turbulent flow of life. A purely urban poet, although he exposed the vulgarity and filth of life, Mayakovsky boldly introduced the language of the street into poetry, including “street, even very rude words and expressions. For futurists, "all words are good ... Futurists ... once and for all broke with lexical purity: street jargon prevails among them," said M.M. Bakhtin.

1) "Unimportant honor,

So that from such roses

My sculptures rose

Through the squares

Where does tuberculosis spit

Where would ... with a bully

2) “The tramp grew and those

Thirteen

Scored, hurt, plugged ... "(" Good ")

3) “Today with a batman:

Shout out to him - Hey

Sour chibletin,

To see the snout in her! ("Good")

4) Shafts

Or by car

But only

Arshin in the snow.

Bullet again swearing.

“Did you go blind from the NEP?!

What are the eyes for?

Your mother raznep!

Costumed!" ("About it")

It is in the area of ​​various "jargonisms" that the stylistic diversity of works lies, the author uses those forms of a living spoken language that have "settled" and are familiar in certain living conditions in separate layers.

§2. Barbarisms, archaisms, neologisms.

Barbarism is the introduction of the words of a foreign language into coherent speech. The functions of barbarisms are different. Sometimes they are used in search of an exact term that is absent in the Russian language. Sometimes, to free the concept from extraneous associations associated with the Russian language. Sometimes this is done to update the sound composition of speech. Often barbarisms are used to convey local color. This is how Mayakovsky draws the image of foreign interventionists who brought down their armies on the country of the Soviets:

"it's e long way tu Tipereri,

its a long way tu go!"...

Damn you

Rotten

Kingdoms and democracies

With their

Soaked

"fraternite" and "aralite"

(French "brotherhood" and "equality") ("Good")

He plays with someone else's word.

Archaisms are words that are obsolete, obsolete. Often archaisms are signs of a sublime style of poetic speech. The sharpness with which archaisms stand out against the background of the modern language makes it possible to significantly enhance its emotional expressiveness with their help. So in Mayakovsky's poem "War and Peace" the solemn pathos of the poet's speech, angrily denouncing "the most monstrous of hyperbole" - the imperialist massacre, is emphasized by a number of archaisms ("Good for you. The dead have no shame"; I will rise this day "; "Shy away frightened, the evening is different"; "Wrinkles of the trenches lay on the forehead") Archaisms are also used in sharply satirical speech. In Mayakovsky, in the same poem from the dialogue between Madame Kuskova and Mimokov (“I used to keep in my memory a lot of old tales, tales about kings and queens”; “Let me sprinkle the burning rebellion with water”). One feels the deep irony of the author over the agonizing provisional government.

Neologisms are newly formed words that did not previously exist in the language. The use of neologisms, the so-called "word-creation", is widespread in poetry. Neologisms have a different function, they are created in search of new words for new concepts. New formations for naming old concepts are used for verbal updates of the expressions of a banal formula in order to avoid a speech template. Neologisms flow like a stream in Mayakovsky's work: "I'll go wild"; “I won’t unload my face”, “Regularity in the brains” (“Good”), “Mnogopudva bronzes” (“Out loud”), “amorous-lyre hunting” (ibid.), “Ksishinskaya’s house, for jumping” (“In .I. Lenin), “I love our plans for the masses” (“Good”), “having called the lyre” (“Proto”), “I will smash the world with the power of my voice” (“Cloud”). With their help, the concrete becomes generalized, abstracted, spiritualized.

Mayakovsky demanded from poetry "skills and methods of words, infinitely individual". "Ways to make an image are endless" He creates extraordinary definitions:

“bull-faced”, “many-boomed”, “meat-mass”. Mayakovsky's neologisms amaze precisely with their unusualness and ingenuity.

Golden-eyed,

Whose each of the words

newborn soul,

name the body,

I’m telling you…” (“Cloud in Pants”)

Mayakovsky's neologisms do not pretend to enter everyday language, but in a poetic context they are always understandable. Failures are relatively rare. When the creation of neologisms becomes an end in itself for the author, they become a vicious phenomenon in literature.

Chapter II : Means of figurative expressiveness of the language.

§1.Periphrase, tropes, comparison.

The variety of figurative and expressive possibilities of the language is great. In poetry, these possibilities are clearly manifested in the use of synonyms (words that are close in meaning), antonyms (words that are opposite in meaning), paraphrase (a descriptive phrase is used instead of the name of an object). Periphrase gives the author the opportunity to characterize the phenomenon, point out that side of it, which in this case is of the greatest importance, and express his attitude towards it.

The idea for the poem "A Cloud in Pants" (originally called "The Thirteenth Apostle") came from Mayakovsky in 1914. The poet fell in love with a certain Maria Alexandrovna, a seventeen-year-old beauty who captivated him not only with her appearance, but also with her intellectual aspiration for everything new, revolutionary. But love was unhappy. Mayakovsky embodied the bitterness of his experiences in poetry. The poem was completed in full in the summer of 1915. Poet was not only the author, but also its lyrical hero. The work consisted of an introduction and four parts. Each of them had a certain, so to speak, private idea.
“Down with your love”, “down with your art”, “down with your system”, “down with your religion” - “four cries of four parts” - the essence of these ideas is very correctly and accurately defined by the author himself in the preface to the second edition poems.
At the beginning of the second chapter, the author defines his positions:
Praise me!
In the following lines we catch a certain "nihilism":
I'm over everything that's done
I put: "nihil" (nothing).
Everything is denied and destroyed, everything is rebuilt and remade in a new way. The denial continues:
I never want to read anything.
And then - the knowledge of life:
And it turns out -
before it starts to sing
they walk for a long time, sore from fermentation ...
Further, the author in the thick of the crowd:
The street flour silently pearled ...
And again - a return to a personal theme, the poet sets his life principles.
In the second chapter, Mayakovsky expresses his protest openly, loudly and boldly. With exceptional clarity and inspiration, the hero’s purposefulness is expressed in it, when he, referring to the “street thousands” following the poets “soaked in weeping and sobbing”, says:
Lord!
Stop!
You are not a beggar
you dare not ask for handouts!
…
We healthy
with a sazhen step,
we must not listen, but tear them -
them,
sucked by a free app
for every double bed!
The poet addressed the working people with a solemn sermon, spoke about their greatness and power:
We
with a face like a sleepy sheet,
with lips hanging like a chandelier,
we,
convicts of the city-leper colony,
where gold and mud showed leprosy, -
we are cleaner than the Venetian azure,
washed by seas and suns at once.
…
I know,
the sun would dim when it saw
our souls are golden placers!
Listening attentively to the pulse of life, knowing that the feelings expressed by him would not today or tomorrow become the self-consciousness of millions, the poet proclaimed through his lyrical hero:
I,
ridiculed by today's tribe,
how long
dirty joke,
I see time going through the mountains,
which no one sees.
…
in the crown of thorns revolutions
the sixteenth year is coming.
And I'm your forerunner...
Mayakovsky is aware of himself as a singer of humanity, oppressed by the existing system, which rises to fight. He refers to himself as the "scream-lipped Za-rathustra". The poet speaks like a prophet on behalf of people crushed by the city, hard labor of stupid, senseless labor. He makes fun of sweet, chirping poets who "boil", "speak", rhymes, while the writhing street "has nothing to shout and talk with". With the tips of red-hot lines, like bayonets, he storms the whole old system of life.
Mayakovsky speaks loudly and penetratingly on behalf of those who hold “natural belts of the worlds” in their five. Great love for a person is in each line of the second chapter. Not a single calmly uttered, not a single indifferent phrase. Mayakovsky's verse turned out to be powerful enough to convey the movement of the worlds, to catch the subtlest movements of the heart and the deaf silence of the Universe.
The second chapter is full of thought, fire, contempt, pain and foresight of the future.
This foresight of the poet shortens the waiting period by a year. It seems to him that already in 1916 a revolution will break out.
As for the artistic features of the second chapter of the poem "A Cloud in Trousers", they are presented here very widely. The peculiarity of Mayakovsky's poetry is that it is very active, it is simply impossible not to perceive it in any way. We can say that his poems are poems of rallies, slogans. And in the second chapter we find examples of this: “Praise me!”, “Lord! Stop! You are not beggars, you do not dare to ask for handouts!
Mayakovsky's innovation is diverse. He completely changes the established stereotypes in working on the word, speech turns. For example, the author takes a word and "refreshes" its primary meaning, creating a bright, detailed metaphor on its basis. The result of this were such images as "bony cabs", "chubby taxis".
The world of metaphors is simply amazing with its fantasy and diversity: “scattering showers”, “eye breaks”, “I will pull out the soul, trample it”, “burned out the souls ...”. Comparisons are striking in their figurativeness: “a face like a washed-out sheet”, “with lips hanging like a chandelier”, and the poet compares himself with a “obscene anecdote”.
Introducing neologisms, Mayakovsky achieves a memorable figurative description of phenomena and events: “thawed”, “boiled”, “pedestrian dist”.
The poet is unusually creative with vocabulary: he “sifts”, “mixes” words, combining them in the most contrasting combinations. In the poem we will find combinations of "high" and "low" styles. “in the choirs of the Archangel’s choir-la”, “let’s go eat”, “Faust”, “nail”, “Venetian azure”, “hungry hordes”. And sometimes there are also deliberately rude, “reduced” images: “spit out”, “bastard” ...
In the second chapter of the poem, we will find phrases-images, when literally behind one line is the whole world, reproduced with amazing accuracy and diversity. For example, this is the image of the city:
bristling, stuck across the throat,
chubby taxis and bony cabs..
The rhythmic pattern of the second chapter is peculiar, very dynamic. Mayakovsky transforms and freely combines traditional poetic meters (iambic, trochaic, anapaest, etc.) with the tonic verse characteristic of folk poetry, creating a flexible, mobile structure of verse.
And when -
after all!
coughed up a crush on the square,
pushing the porch that has come on the throat ...
The rhythmic diversity and variance of the verse is not an end in itself, but a means of expressing the multifaceted content of the poem.
The features of the rhythmic structure of Mayakovsky's verse include the complex movement of rhythm, the breakdown of the poetic line, his famous "ladder":
Listen!
preaches,
tossing and groaning,
today scream-lipped Zarastustra.
One recollection of Comrade Mayakovsky V. Kamensky is known. He wrote: “The success of the poem “A Cloud in Trousers” was so enormous that from that moment he immediately rose to the height of brilliant skill. Even the enemies looked at this height with awe and amazement. I believe that this statement fully reflects the essence of this work, because Mayakovsky, imbued with a premonition of the coming revolution, spoke on behalf of enslaved humanity.

The poem "A Cloud in Pants" (1915) is the central work of Mayakovsky's pre-revolutionary work. In it, the poet tried to show the sad fate of a person in a bourgeois society. His lyrical hero does not want to put up with reality, so four protests arise in the mind: “Down with your love!”, “Down with your art!”, “Down with your system!”, “Down with your religion!” These four "Down with!", covering all the foundations of bourgeois society, are the global protest of Mayakovsky's lyrical hero.

The lyrical plot of the poem is the unrequited love of the hero for the girl Mary. This love is the real passion. The hero is "beautifully ill", "he has a fire of the heart." But the girl chooses not him, but a "fat wallet", security, stability. The hero is convinced that his beloved has been bought. Maria sold her love for money, luxury, position in society.

In a conversation with a girl, the lyrical hero is calm, “like the pulse of a dead man,” but his soul has died. She was trampled on by modern love, which is sold for money and relies only on calculation.

From the second part of the poem, we understand that the hero is a poet. The main opposition of this part is the poet and the crowd. The author speaks about the conflict between poetry and the surrounding world. The desire of the creators to sing about a young lady, "both love and a flower under the dew" does not meet the requirements of today. The lyrical hero rejects everything pseudo-romantic and sublime and chooses the fate of becoming a singer of the "convicts of the city-leper colony", which, in his opinion, is purer than "the Venetian azure, washed by the seas and suns at once!"

It is here, in this vulgar, terrible world, where the crush “spits out” into the square, and the street shouts: “Let's go eat!”, The true heroes of life live.

In the last two parts of the poem, Mayakovsky acts as a rebel, protesting against the entire bourgeois system, its religion, denouncing them as the root cause of all human troubles and misfortunes. So, in religion, the lyrical hero of the poem sees only vulgarity and artificiality. Faith in God in the understanding of Mayakovsky's lyrical hero is something that was invented to make a person not free. In the poem, the hero becomes even higher than God and threatens him:

I thought you were an almighty god

And you are a half-educated, tiny god.

Thus, we can say that this work completely rejects the established foundations. The lyrical hero of Mayakovsky's poem "A Cloud in Pants" is a rebellious hero. He rebels against the religion, politics, art and love of the bourgeois world. The hero calls for decisive action. In his works, Mayakovsky claims that the role of the poet in the life of society is enormous and that he is able to influence the course of history.

In this poem, the main features of Mayakovsky's poetic style appeared:

1. A combination of verisimilitude and fantasy: "The twelfth hour has fallen, like the head of an executed man from the chopping block."

2. Using the reception of an expanded metaphor. So, the fire of love, the source of which is in the heart, gradually covers the body of the hero, likened to an architectural structure: “Mom! I can't sing. At the church of the heart, the choir is engaged!” The poet's heart is compared to a "church", in which the core - kliros - caught fire.

3. Using the reception of an expanded metaphor. For example, the phraseological unit “nerves diverged” expands with Mayakovsky into a whole picture:

Like a sick person out of bed

The nerve jumped.

Now he and newer two

They rush about in a desperate tap dance ...

4. Widespread use of neologisms: “small, meek darling”, “millions of huge, pure loves”, “December evening”, “languageless street”, “breasts hurried”.

5. In the field of verse - the use of a "ladder", dividing the line into semantic and intonational parts, focusing on certain meanings.

Literature lesson in grade 11

The image of the lyrical hero inpoem
V.V. Mayakovsky "Cloud in Pants"

Klishova Olga Gennadievna,
teacher of Russian language and literature
GBOU "Academic Gymnasium No. 56"
Petersburg

The purpose of the lesson:

Educational - develop the skills of a holistic analysis of a work of art.

Educational- develop analytical thinking in the discussion of a work of art.

Educational- develop an aesthetic sense, the ability to understand and appreciate the artistic word.

Lesson objectives:

1. Based on the text of the 1st chapter of the poem, analyze the poetics of early Mayakovsky.

2. Determine the function of figurative and expressive means in creating the image of a lyrical hero.

3. Determine the ideological meaning of the poem, the essence of Mayakovsky's lyrical "I".

4. Develop expressive reading skills.

Method: heuristic.

Receptions: teacher's word, analytical conversation, text analysis, commented reading.

Equipment: text of the poem, projector, presentation.

During the classes

(Slide 1)

Teacher: Your task today is to try to name the lesson, give it a "name".

(Slide 2)

Formulation of the problem.

Teacher: Dedication: the poem was written by V.V. Mayakovsky to Maria Denisova, and is dedicated to Lila Brik ("To You, Lily")

(Slide 3)

Why did he write alone (Slide 3a) and dedicated another? (answer at the end of the lesson)

Introduction to the lesson.

Prologue _______________

one) ??? What images, already familiar from Mayakovsky's poems, do we see in the Prologue? How is the conflict characteristic of Mayakovsky's entire work already declared here?

(- the conflict of the poet and the world; - the figure of the poet - the lyrical "I" of Mayakovsky: the youth of the soul, impudence, the ability to love with all one's being - the lot of the elect; - the desire to transform into a superman, become a giant, etc.)

(Slide 4)

2) ??? It is the Prologue that makes us return to the title - "Cloud in Pants".

(Slide 5)

What is the meaning of this metaphor?

(- duality, ambiguity of the artistic image: a rude Hun, a barbarian, calling for destruction, but at the same time a defenseless, gentle creature.)

3) ??? What is the main technique here (and this is already indicated in the title)?

(- antithesis)

4) ??? Where to find the roots of those contradictions that literally clashed in the poetic space of the poem?

(- early lyrics;

- the manifesto of the futurists "A slap in the face of public taste";

- the teachings of Friedrich Nietzsche;

- the conflict of God and man: a man sees the imperfection of the world but does not agree with this state of affairs and wants to take the place of the creator.)

Teacher: The lyrical hero (who is this?) already feels like an adult, but not yet needed. Hence the adolescent resentment against God, against the imperfection of the whole world.

(Slide 5a)

No wonder the original title of the poem is “The Thirteenth Apostle, tetraptych” (tetra - 4)

5) ??? How do you understand the meaning of this name?

(- associations with the Gospel: the personality of the poet enters into a dispute with the divine order, with the universe, proclaiming to the world a new truth;

- the discrepancy between the ordinary life of people - life and their philosophical attitude - being.)

6) ??? Think, what is the best name? Which name best reflects Mayakovsky's idea?

(- of course, the final name is better, because "cloud" is a poetic image.)

Teacher: Censorship did not miss the original title, and the offended poet made concessions:

“When I came to censorship with this work, they asked me: “What do you want to go to hard labor?” I said that in no case, that this does not suit me in any way. Then they crossed out six pages to me, including the title. It's a question of where the title came from. I was asked - how can I combine lyrics and a lot of rudeness. Then I said: “Well, I will be, if you want, like a madman, if you want, I will be the most gentle, not a man, but a cloud in my pants.”

It turns out that even after changing the name, Mayakovsky did not abandon his main idea - to portray the hero ...

What?

(- consisting of beautiful opposites,;

- an unprecedentedly powerful figure, capable of not only arguing, but challenging the entire society at the beginning of the poem, and even the entire universe at the end.)

Teacher: The poem was published in its entirety in Moscow in 1915, and the second edition of 1918 was accompanied by a preface by Mayakovsky (“4 screams down”). (Slide 6)

Each part expresses a certain idea. The poem, however, is a holistic passionate lyrical monologue, the experiences of the lyrical hero capture different areas of life ...

(- love,

- art,

- power,

- religion.)

7) ??? What image unites all parts of the poem?

(- lyrical "I" of the hero and poet.)

Analysis of the work.

??? Who is he - a hero, turning himself inside out? What is his word to the world, to all of us? Is it just the bravado of the challenge? Maybe there is something else here? All these questions will need to be answered by referring to the poem. We will analyze the first part together, but here is how the remaining three parts are related to Mayakovsky's main idea - you will have to think at home on your own.

Part 1________________

one) ??? So what is the main theme of the piece? How is the rebellious element of the poem manifested?

(- through the image of the elemental feeling of love)

2) ??? How is love depicted in the poem?

(- with the help of artistic means,

- through the image of the lyrical hero, his state, his experiences.)

3) ??? The hero is waiting for a meeting with his beloved... By what means is the increase in the tension of expectation in which the lyrical hero finds himself conveyed?

(Slide 7)

(- in the waiting scene, the reality of everything that happens is absolutely palpable;

- love both transforms and distorts a lump-man;

- the lyrical "I" of the hero reaches colossal proportions, but still remains a human "I";

- the artistic means by which the picture of a painful evening is depicted convey a feeling of tension, anxiety;

- the image of the objective, material world as a way of conveying the state of the lyrical hero;

- memories of a beloved give birth in the soul of a lyrical hero both happiness and suffering;

- the throwing of the lyrical hero leads to doubts about the existence and strength of love: the litote "darling";

- the nervous state of the hero is conveyed through numerous metaphors;

- the result of the expectations of the lyrical hero - the image of the executed, etc.)

4) ??? And why all this? Why all these artistic means, all these crazy metaphors, hyperbole and epithets? Does he live like this? Why this cry about yourself?

(- Mayakovsky's time is the time of the Personality, it is the personality that is the center of the universe.)

5) ??? Finally the heroine appears. How is she depicted? What happens to the hero?

(Slide 8)

(- sharp movements (comparison with the poem “Nate”) and at the same time embarrassed (pulling gloves);

- tense because she is embarrassed or suffers too;

- terrible news.

6) ??? How does the hero perceive what his beloved tells him? Why is he upset, shocked?

(- the news of the hero killed: external calm and internal death.)

(Slide 9)

7) ??? Why Mayakovsky in a frenzy shouts "...Down with your love!"?

(- such love, prudent, bourgeois, based on self-interest, love that can be stolen - he does not understand and does not accept, his personality, his nature is looking for another love - “huge-love”.)

eight) ??? In the world of the townsfolk, in the world of "fat", the fate of the beloved is the fate of beauty in the bourgeois world, where beauty, art are valued for money - that's why she was stolen. How does the lyrical hero see love?

(- love is a "mass" - a comprehensive, all-consuming feeling;

- true love is difficult, because love is suffering;

- love is an unattainable ideal, to which the soul of a suffering hero aspires - touching and tender, but also hot, rushing about and embittered.)

nine) ??? And what is the lyrical hero himself? What is left for him?

(Slide 10)

(- “beautiful disease”, “fire of the heart.”)

ten) ??? Why does Mayakovsky describe the “fire of the heart” to convey the state of the lyrical hero? How do you understand the meaning of this metaphor?

(- “fire of the heart” burns the hero from the inside, turns him inside out;

- this is an element beyond the control of man, therefore it is impossible to put out the fire on your own;

- the catastrophe that befell the hero is comparable to world catastrophes and cataclysms.)

eleven) ??? Who is the lyrical hero of the poem? What is the lyrical "I" of Mayakovsky?

(- a suffering rebel, a gentle giant, striving with all his heart for true love.)

Reflection.

And now something has changed in your attitude to what you saw and read? What title of the poem do you prefer? Which name more fully reflects the inner world, the state of the hero?

Teacher: Let's go back to the beginning...

(Slide 11)

Why do you think, nevertheless, Mayakovsky first wrote the poem alone, (Slide 11a)

and then dedicated another?

(- the point is not in the addressee, but in the very feeling of love, which Mayakovsky curses and sings: if there were no addressees for the poem, he would certainly have invented them;

- more important is love as such, love that brings suffering, torment, burning in the fire of passion;

- where there is love, there is always suffering: there is no suffering - there is no art.)

Conclusion.

So, love, whatever it may be, is a way of mutual understanding, interaction, relationship of a person with the world. Other spheres of human life, other ways of dealing with the world - art, power and religion (primarily Christian patience) - are depicted in other parts of the poem. How they help to create, complement the image of a lyrical hero - you will have to think about this yourself.

(Slide 12)

What "name" would you give today's lesson? Why? Who is he, the hero of the poem by V.V. Mayakovsky?

Homework.

Independently analyze the rest of the poem "A Cloud in Pants" and answer the question: how do other areas of human life help to complement the image of the lyrical hero of the poem?

municipal educational institution

secondary school №13

Methodical development.

Lesson - workshop in grade 11

Teacher of Russian language and literature (highest category)

Brusnitsyna L. G.

Tver region

Lesson - workshop in grade 11

The image of a lyrical hero in the poetry of V. Mayakovsky "A Cloud in Pants". (Analysis of the first chapter of the poem)

The purpose of the lesson:

On the basis of the text of Chapter I, to analyze the poetics of the early works of V. Mayakovsky;

Determine the ideological meaning of the poem, the essence of the lyrical "I", understand the function of visual means in creating the image of the lyrical "I";

To teach students the competent analysis of a poetic text; to develop the ability of students to make generalizations and conclusions by analyzing the text, to see the role of visual and expressive means, to compose their own coherent text.

Develop an aesthetic sense, the ability to understand and appreciate poetry.

Lesson equipment: the text of the poem, a portrait of V. Mayakovsky, a literary dictionary (of certain literary concepts), an exhibition - a review of critical articles, cards with assignments for groups and individual assignments.

Preparation for the lesson: The following tasks are offered as home preparation: individual messages: “Mayakovsky and the Futurists”, “The Poetic World of Early Mayakovsky”.

Tasks by groups:

Consider the plot and composition of the chapter of the poem:

Follow the plot as a chain of actions or experiences (states) of the lyrical hero. Make up a story line.

How is the chapter structured? Determine its exposition, plot, climax, denouement.

Consideration of images, pay special attention to the leading image of the lyrical hero.

Make a conclusion about the role of the plot, composition in revealing the image of the lyrical hero.

Follow the text of the first chapter, what visual means V. Mayakovsky uses to show the state of the lyrical hero. Reveal their originality and functional role in depicting the image of a lyrical hero. Pay special attention to the role of metaphors, comparisons, hyperbole, landscape sketches.

Observe the rhythm of the poem, the features of the rhyme. Try to graphically depict the rhythm of Chapter I.

Explore the vocabulary, syntax, phonetics of the poem, show their role.

Epigraphs for the lesson:

Listen!

preaches,

Tossing and groaning

Today's cry-lipped Zarathustra

The last cry -

About what I'm burning

Centuries

During the classes

I Introductory speech of the teacher

1. Expressive reading of the introduction to the poem.

2. Teacher's word:

“This is how V. Mayakovsky’s poem “A Cloud in Pants” begins; already from the first lines addressed to us, to all the quiet, calm, sleepy, lazy, it sounds like a poet's challenge to the whole world. Young (“I don’t have a single gray hair in my soul”), beautiful, strong (“the world is overwhelming with the power of his voice”), but at that time gentle (“not a man, but a cloud in his pants”), the poet goes towards the whole world.

What is his word to the world, to all of us? Who is he - this hero, twisting himself, "so that there are only solid lips?"

Today we will try, exploring the first chapter of the poem, to find answers to these questions, to figure out who he is - the lyrical hero of Mayakovsky's entire early work. We have already talked about the history of the creation of the poem, its ideological meaning: in the words of V. Mayakovsky himself, the poem “Cloud in Pants” is “four cries of four parts: 1) give your love, 2) down with your art, 3) down with your system, 4) down with your religion."

But is it only the bravado of challenge that can be seen in the poem? Maybe there is something else here? Maybe you will see in the lyrical hero not only a rebel - an anarchist who challenges God himself, but also someone else - a person torn apart by contradictions, desperate and from impotence challenging the whole world?

II But before proceeding to the study of the first chapter of the poem, let's take a closer look at 2 questions, the answers to which will help you in working with the text. (Followed by 2 messages from students: “Mayakovsky and the Futurists”, “The Poetic World of Early Mayakovsky”, in which attention is drawn to the features of the poetics of the Futurists and early Mayakovsky, the concepts are written on the board and in the notebook: architectotics, poetics, lyrical hero, “dignified” word, rhythm, metaphor, etc.)

III Work of students in groups

Students work on the questions received in advance, once again summarize the observations on the first chapter of the poem and make reports on the topics:

Group 1 - Plot, composition, images.

Group 2 - The role of visual means in revealing the image of a lyrical hero.

Group 3 - Features of vocabulary, syntax, phonetics and rhythm in revealing the image of a lyrical hero.

Observation results (short record)

The plot, composition, images. The functional role of visual means. Rhythm and rhyme. Features of vocabulary, phonetics, syntax.

There is no plot - there is no action, there is a plot - a state, experiences. The outset of the plot is a drama of love, it is unusual, since the third character in the love ∆ is the bourgeois world order. The main conflict is the confrontation between man and the world. The plot conveys the suffering of the lyrical hero: "a sinewy bulk of the plot, writhing" - "Like a sick person from a bed, a nerve jumped off." - “Nerves ... are jumping mad ...” - “... How calm! Like the pulse of a dead man…” – “…The worst thing they saw… was my face when I was absolutely calm…” – “…your son is very sick…” – “I'll jump out! I'll jump out! I'll jump out! I'll jump out! - the last cry that I am burning. The composition conveys the state of mind of the lyrical hero. The plot is the expectation of a date (“nerves jump wildly”). The climax is the arrival of Mary (“calm as ...”). The denouement is the last cry of the lyrical hero (“the last cry, at least you are talking about the fact that I am burning ..”). There is no end to the suffering of the hero (“.. throw it out into the centuries.” - this is nowhere) The leading image is the image of "I". The lyrical hero is close to the poet in terms of worldview and specific life circumstances. But this is a generalized image of a person suffering from the imperfection of the world. The poem is a passionate monologue of a lyrical hero. Passion spills out in a desperate cry, reaches the heights of tragedy: the world does not hear the hero. The lyrical hero is a suffering, tormented soul, waiting, not finding understanding with the world. And this is her tragedy, and not only the tragedy of love. The image of the beloved is the Gioconda, which must be stolen, the image of the enemy is unclear, this is the whole world - lovers of sacrilege, crimes and slaughterhouses. The main visual means are associative metaphor, hyperbolization, reaching the grotesque, phantasmagoria, vivid comparisons. The main role is to show the state of mind of the hero. The suffering of a tormented soul is expressed in paradoxical and catchy metaphors: “Midnight, rushing with a knife, caught up, ││ stabbed, ││get him out ...” - draws an image of ruthless time that destroys a person. “On a burning face ││ from a crack in the lips ││ a charred kiss has grown to rush ..” - a touching defenselessness of a person in front of the power of love and suffering is shown. Comparisons that convey the suffering of a lyrical hero are unusually interesting: The twelfth hour has fallen Like the head of the executed from the chopping block .. This is how the poet conveys the tension of the hero waiting for his beloved. The experiences of the lyrical hero are also conveyed with the help of personifications, which are unusually vivid. The poet endows the gift of feelings, the ability to think and suffer nerves: “I hear: ││quietly, ││like a sick person from a bed, ││ a nerve jumped off ... With the help of comparisons, the image of the beloved is depicted: “You entered, ││sharp, like “nate”! "You are Gioconda ..." "Nate" is Mayakovsky's poem, shocking the public, challenging the modern world, sharp, uncompromising. So it is here: the comparison conveys the end of love. Comparison of the beloved with Gioconda, the beautiful creation of Leonardo da Vinci, elevates this image. The role of hyperbole in characterizing the image of a lyrical hero is great: “What can such a block want?”, “After all, it doesn’t matter for oneself that it’s bronze, and that the heart is cold iron ...”, “... plaster collapsed in the lower floor ...” - hyperbole emphasizes the defenselessness, powerlessness of a person in front of a feeling of love and conveys the inconsistency of the image: strength, power - and defenselessness. The landscape in the first chapter of the poem is also significant. It also reflects the state of mind of the lyrical hero. The hero is trying to find protection: “More and more, ││ rain ││ face in his pockmarked face, ││ I’m waiting ...” - and sees that the natural element is against him: “...││ gray raindrops in the glasses ││ twisted, grimace huddled…” And at the very beginning of the poem, the “gloomy, December” evening is exactly in harmony with the soul of the hero. Rhythm is the main force of verse, rhythm, like all elements of verse, is repaired by a semantic task: to convey the suffering of the soul of a lyrical hero, his confusion, throwing. Mayakovsky's accent verse allows us to highlight a key word that accurately betrays the state of the hero: More and more, Buried in the rain Face in his pockmarked face, Splashed by the noise of the city surf. The short word “waiting” on one line, surrounded by long lines, stands out logically, conveying all the torment of the waiting person. lovers Sacrilege crimes And the worst Seen - my face when Absolutely calm. The poet highlights each word, and in this structure of the verse, the antithesis is clearly visible: the “I” of the lyrical hero is opposed to the world around him. The rhythm is uneven, pulsating, then slow (“And the night is around the room ....”), then fast, nervous (Hello! ││Who says? ││Mom!), then exploding on repetitions, gasping (“I’ll jump out! I’ll jump out! I’ll jump out! I’ll jump out !) If you graphically depict the rhythm of the poem, then it will probably turn out to be a cardiogram of a sick heart that works intermittently. A remarkable feature of Mayakovsky's poetics is an unexpected, sonorous rhyme. The poet uses assonant (inexact) rhymes and compound ones. Rhyme chains to the word, makes you understand and accept it: See how calm! Like the pulse of a dead man ... (composite) "Clear - tap dance" (assonant) The poet uses colloquial vocabulary, colloquial words (“the mouth will scold, the doors will slap”, “spew”, “I will poke out my eyes”) Colloquial vocabulary is also often used in conveying a love feeling, but low words become poetic (“Masha! Your son is very sick ..”) There are many neologisms in the poem, but they are always motivated, serve to enhance the expression of the poetic word (evening “December”, love - “lyubenochka”, “stand out”, “church of the heart”), accurately reflect the thoughts and feelings of the hero. Phonetic and syntactic means also convey the state of mind of the lyrical hero (“And the night oozes and oozes around the room, A heavy eye cannot stretch out of the mud ...” - the assonance of the sound [i] + alliteration [ts] gives rise to a vivid image of the dragging time, constant repetitions, complex syntactic constructions combined with incomplete sentences of conversational style reflects the uneven rhythm of a rushing heart.)

IV Final word of the teacher.

So, let's sum up our observations on the first part of the poem. Of course, we were not able to see all the visual and linguistic means that help to understand the poetic idea of ​​the work, its images, but what we were able to notice, plunging into the living soul of the poem, revealed to us some that were not conspicuous at first acquaintance, but shades, essential for understanding the whole, features that help, according to Pushkin, “to discover beauty ... in works ...”

What hero did we see in the first chapter of the poem? - a question for the students.

In Chapter I, we see the tragedy of love and the lyrical hero, suffering, rushing about, confused, seeking understanding in the world and not finding it, the hero challenging the world, where love turns into buying and selling. This challenge breaks out of the heart from despair and hopelessness. The image of the lyrical hero is tragic, his suffering has no end.

How did our today's work help you in understanding, in accepting or rejecting Mayakovsky's poetry?

“I discovered a poet. Previously, he seemed rude to me, but now I saw a wounded soul ... "

“I never thought it was possible to express your feelings so vividly…”

“It seems to me that no one has ever written about love like that, and they won’t write it.”

“I really liked the rhythm of the poem. How accurately the state of the soul of a loving and suffering person is conveyed!”

Homework: analyze chapters 2,3, 4 of the poem in groups on your own, use questions and notes made in class, textbook - pp. 175 - 176, answer to the question: What is the lyrical hero of early Mayakovsky.