The theme of the poet and the crowd in the lyrics. Lyrica A

www.a4format.ru We write compositions based on the lyrics of A.S. Pushkin. - M.: Gramotey, 2008. "The Poet and the Crowd" The idea of complete freedom of creativity expresses Pushkin's deepest conviction; he repeatedly repeated it both in his poems and in critical articles and notes. But this idea is especially clearly expressed in the poem "Mobile" ("The Poet and the Crowd"). Here we find a sharp contrast between the poet and the crowd. This opposition is often found among other poets of the romantic era, being one of the expressions of its inherent individualism. But for Pushkin, it still had a special, special meaning: the fact is that the society in which he had to live and work, obviously, had not matured to a real understanding of his poetry; that is why his later, most mature and perfect works met with a much colder and even negative reception than his first youthful poems. These rumors of criticism and the public, who even tried to influence the very work of the poet, setting him certain tasks, greatly irritated Pushkin, and in the poem "Mobile" he gave vent to his irritation, as a result of which his rebuke to uncalled-for critics and judges is somewhat harsh. This is reflected even in the title itself, because by the word "rabble" Pushkin, of course, did not mean ordinary people, but precisely that semi-educated society that undertook to judge the poet and indicate to him goals for creativity, without being, however, even able to understand him. , properly. At the same time, in the poem we find the expression of those views on poetry that are called the theory of "pure art" or "art for art's sake." Pushkin considered inadmissible in poetry narrow tendentiousness or the pursuit of any utilitarian and didactic goals that the “rabble” demands from the poet, dissatisfied with the fact that his song is free like the wind, But like the wind it is fruitless; What use is it to us? Pushkin believed that poetic work by no means can it be judged by the brand of direct utility, even moral and didactic. In his opinion, "the purpose of poetry is poetry itself"; Pushkin was quite clearly aware that in poetry itself, as in art in general, there is a great power that ennobles and elevates the soul, and therefore he could rightly take special credit for himself “that he aroused good feelings with his lyre” (“Monument”). According to V. Savodnik After the defeat of the Decembrists, when the autocracy tried to make Pushkin a court poet, he again spoke loudly about honor and independence. His lyrical poems dedicated to the preaching of pure art are connected with this. Such poems as "The Poet and the Crowd", "To the Poet" and others were considered by vulgar sociologists as evidence of the poet's contemptuous attitude towards the people. M. Gorky expressed the idea that Pushkin in the poems “The Poet and the Crowd” and “To the Poet” did not address the people, but the noble mob and an attempt to tame him, make him a singer the existing system answered in the negative, sharply and proudly: Go away - what does the peaceful Poet care about you! Despising the gloomy reality, separating himself from the life of the noble mob, Pushkin preferred to remain alone, he strictly taught the poet that he should be free and not obey the whims of the ignorant rulers of life: www.a4format.ru 2 You are the king: live alone. By the free road Go where the free mind leads you... A poet must have a free road and free inspiration; inspiration is not for sale. Dirty people, like Benckendorff, Bulgarin and the like, wanted to be Pushkin's judges, but he did not want to be judged by them and imperiously pointed out: go away! Pushkin's contemporary, the critic Shevyrev, narrates the following episode. Once, in one of the high-society salons, Pushkin, who did not like to read poetry in salons, was pestered with a request to read new poems. Enraged Pushkin got up and read the poem "The Poet and the Crowd". Turning to the seated nobility, he mercilessly smashed: You are disgusting to the soul, like coffins. For your stupidity and malice Until now you have had whips, dungeons, axes ... - and then he left, saying: "they will not ask another time." Thus, Pushkin considered "Mobile" ("The Poet and the Crowd") not only as a sermon of pure, that is, independent art, but also as a satire. According to M. Lednev

Writers and poets different eras reflected in their works the problem of the artist's relationship with different groups of readers, showing the difficulties of mutual understanding when the author needs to maintain dignity and honor. For example, the essence of the conflict between the poet and the crowd in the lyrics of A.S. Pushkin is shown in many ways.
IN youth Pushkin dreamed of serving the country and society, about which he wrote in the poem "To Chaadaev":

My friend, we will devote to the fatherland
Souls wonderful impulses!

But very soon he realized that “the minutes of the freedom of a saint” were unattainable, that it was dangerous to print his poems, since under the conditions of autocracy and tsarist censorship, the author would be persecuted. Awareness of the cruel reality sounds in the lines of the poems "F.N. Glinka" and "V.F. Raevsky". The poet, already in exile, writes:

I spoke before the cold crowd
The language of truth free,
But for the crowd, insignificant and deaf
The noble voice of the heart is ridiculous.

Pushkin reports his attitude to censorship in his “Message to the Censor”, considering the censor a persecutor, a fool and a coward who calls white black, and “the voice of truth” a rebellion. Censorship hinders publication literary works hinders the enlightenment of the people. Although the poet is sure that “the destructive time has passed when Russia was carrying the burden of Ignorance”, but in the “Second Epistle to the Censor” he also states:

Deprived of the last rights without mercy,
Persecuted together with all the brethren...

The persecution of the authorities and censorship affected the attitude of society towards the poet and the mood of Pushkin himself, who believed that his work and poetic talent were being driven into frames. Life itself is changed, if deprived of freedom in everything:

A gift in vain, a gift random,
Life, why are you given to me?
Ile why the fate of the mystery
Are you sentenced to death?

In the poem "The Poet and the Crowd" Pushkin calls that part Russian society, which did not recognize his freedom-loving lyrics and condemned the purpose and meaning of some of the poems:

Like the wind his song is free,
But like the wind and barren:
What use is it to us?

The mob (crowd) demands to “use” talent “for good”, so that it serves to correct morals in society, and the poet asks: “Do priests take a broom from you?” The poet, according to Pushkin, "was born for inspiration, for sweet sounds and prayers." He cannot be ordered: today let him write moralizing verses, and tomorrow he sings of nature. If the poet submits to the crowd, he will cease to be a creator. This means that there is no need to strive to win people's love, if for this you have to sacrifice freedom of choice:

By the road of the free
Go where your free mind takes you...

In the poem "To the Poet" Pushkin advises his "fellow writers" not to expect rewards for their hard work. Lyrical hero The poem calls "not to cherish the love of the people", which means "not to seek recognition, flattering assessments and praises." Pushkin wrote that it is difficult to achieve sincerity in assessing creativity from contemporaries, and to please the “crowd” is completely unsuitable for a person with a feeling dignity. Indeed, is it possible to maintain one's right to freedom of expression in accordance with one's convictions if one listens to what critics or authorities have to say about this? Especially if the poet is an educated person, creative personality. He will not be able to "write to order", catering to certain people. And the scolding of the crowd should not affect creativity if a "magic gift" burns in the artist's soul, which allows him to give the fruits of his work to true connoisseurs of poetry.

In the presence of such qualities as self-criticism and exactingness, the poet is his own judge. The main reward will be one's own satisfaction from the fruits of labor, a high appreciation of the creations by the "exacting artist" himself - then the scolding of the crowd is not terrible. And true connoisseurs of art will certainly note the poet's merits to society and the country, his responsible attitude to creativity. In the poem "Monument" Pushkin expresses hope for mutual understanding with people who will appreciate his poems, created by "the command of God." After all, his muse has learned, “without fear of resentment, without demanding a crown,” to accept praise and slander indifferently and not to argue with fools. And the descendants, Pushkin hoped, would see the main thing in his work, note those spiritual values to which he devoted his work.

Many Russian classics addressed the topic of the poet's high appointment. For example, about the high role civil lyrics said N.A. Nekrasov in the work “The Poet and the Citizen”. M.V. Lomonosov in his “Conversation with Anacreon” convinced that poetry is called upon to serve for the good of the world, and the poet should sing the exploits of the glorious sons of the Fatherland, their love for the Motherland.

N.V. Gogol continued the reflections of Russian classics about the attitude of the "crowd" to the work of writers and poets. For example, in the poem "Dead Souls" in one of digressions he talks about the ways of creativity. With irony, he writes about the "happiness" of the artist, who chose to display in his works the characters "representing the high dignity of a person" and "never changed the sublime order of his lyre." Such an artist, having risen above his “insignificant fellows,” achieved fame by “fumigating human eyes.” Indeed, Gogol is right that people are greedy for flattery, since the truth irritates some, they want to pass off what they want as truth, and therefore “young ardent hearts” applaud the flatterer-artist.

A completely different fate awaits the one who decides to display the reality without embellishment, to show everything “what indifferent eyes do not see”, all the mire of daily trifles and terrible everyday life. human relations, characters, events. In this case, the “exacting artist” will not wait for applause from the public, he will be ridiculed by the crowd, and his works will be condemned by critics and sent to the category of insignificant. Moreover, the writer can be accused of portraying HIMSELF in a character that is worthy of the condemnation of society. N.V. Gogol in this reflection defends his fellow writers, saying that "a lot of spiritual depth is needed in order to illuminate a picture taken from a despicable life." And very often an unrecognized writer or poet is waiting for loneliness if he has chosen a "harsh career".

M.Yu. Lermontov is one of those poets whom we classify as "exacting artists", so he had the right to reproach not only the "crowd", but also representatives of the poetic guild for being wrong. In the poem “The Poet”, he points out the problem associated with the dependence of “fellow writers” on money and power, when the creator loses freedom and “his purpose”, like a dagger that has become a “golden toy”, an ornament if it is hung on the wall in owner's house. It is very important, Lermontov believes, that the poet does not exchange for gold the power of talent that has power over the hearts and minds of his contemporaries, so that, as before, "a measured sound ... mighty words ignited the fighter for battle.
In the poem "The Prophet" Lermontov writes that a real poet, despite the difficulties of his vocation, remains true to his destiny, is not able to retreat, cowardly obey the crowd for the sake of petty passions. And in this, the thoughts of M.Yu. Lermontov coincide with the convictions of A.S. Pushkin, consonant with his statements in the poem “To the Poet”.

Most often, the fate of a person with a high sense of duty, who is aware of the responsibility for his work, understands that it is important for a writer and poet to foresee "how our word will respond" is not easy. Poet with active life position should be ready for non-recognition and, possibly, for condemnation.
In the work "Journalist, Reader and Writer" in the form of a dialogue, the reasoning of "workers of the pen" and those who are destined to evaluate their work, that is, readers, is presented. IN this work Lermontov is on the side of those who do not accept the position of a "cautious" writer who does not want to incur the anger and hatred of the crowd with his "prophetic speeches." Such a writer or poet is not really a prophet.

M.Yu. Lermontov's poem "Monologue" has a sad tone, which is explained by an understanding of the real situation: the poet, persecuted by the authorities and persecuted by society, is forced to be isolated. The lyrical hero realizes that "deep knowledge", "talent and ardent love for freedom" are unnecessary, because they are not in demand by a society where the insignificance lives safely and where it is not easy for the artist. The poet yearns away from the "sweet north", he believes that he is destined for a quick withering. His sadness is understandable, because life turned to him with a gloomy side:

And it seems stuffy at home,
And the heart is heavy, and the soul yearns ...

It so happened that there is no one to support the poet in difficult times, and if there is no love and friendship, then “the cup of a cold life becomes bitter”. Indeed, fate turned out to be unfavorable to M.Yu. Lermontov, and therefore the motives of sadness and loneliness are present in many of his works.

In the reflection of the conflict between the individual and society, in the thoughts of poets of different eras, we will find many consonant thoughts. For example, the monologues of Chatsky, the hero of the comedy A.S. Griboyedov's "Woe from Wit" are comparable to Lermontov's "Monologue".
Chatsky is alone in the crowd, where “empty, slavish, blind imitation” of everything foreign reigns and “a mixture of languages: French with Nizhny Novgorod” is heard. Nobody cares about his opinion, so Famusov's guests turn away from him and go to listen to the "Frenchman from Bordeaux", who reports important news about the fashions of France.
The main character has no like-minded people, they do not want to listen to him. And the crowd will definitely unite to eliminate Chatsky as a dissident, since he challenged the "past century." And so it happens: he is declared insane, he is forced to flee to "where there is a corner for the offended feeling." Chatsky takes active position in life, so he will always get "in the inheritance" ... "a million torments", as he said in critical article I.A. Goncharov.

Chatsky's monologues, written by Griboyedov, echo Lermontov's Monologue in that the same thought is expressed: “The silent ones are blissful in the world” - “insignificance is good in this world”, that is, it is much easier, easier and more profitable to be an insignificance, than a true patriot and worthy citizen.

“Stuffy ... at home” was also the hero of the poem by N.A. Nekrasov. The poet dedicated posthumous words to the fighter and thinker, ranking V. G. Belinsky among the noble and faithful sons of the Fatherland, who often remained unrecognized. Belinsky also got a share of being marked "as an enemy of the fatherland."

Many classics of different eras did not receive recognition for their work during their lifetime, and therefore they had reason at one time to state with sadness, and sometimes with anger, difficult relations with the authorities and society, as M.Yu. Lermontov did in the poem "The Death of a Poet" :

You, greedy crowd standing by the throne
Freedom, Genius and Glory executioners!
You hide under the shadow of the law,
Before you is the court and the truth - everything is silent! ..

When a Relationship Problem Is Considered prominent personalities and crowds, we must remember that we are not talking about the whole of society, but about part of it. Sometimes this part is called the high society or the elite, or (in our time) the oligarchs and a bunch of ambitious people striving for power. But it's NOT THE PEOPLE! Something should be clarified in connection with modern realities.
Very interesting thoughts were expressed by Vladimir Putin not so long ago at a meeting with journalists.

Representatives of the modern opposition suddenly decided to ennoble their activities and compared their impulses with Lermontov's rebelliousness. In my opinion, their attempts are ridiculous, and therefore I agree with the president's opinion that one must not forget how great the poet's love was for the Russian land: for nature, for the peasant village, for his people. Lermontov could not even imagine that one could look at Europe with admiration, scolding everything in his homeland, and wait for the decision of everyone Russian problems with the help of the West.

Yes, in relation to autocracy and serfdom, Lermontov, like other classics, was in opposition, but he was proud of the peasant workers, their talents, songs and traditions, the ability to preserve the Russian language and Russian culture. This means that he was a true patriot who did not cooperate with foreign intelligence services and would never go against the interests of the Motherland. That is why he glorified the feat of the people in the war of 1812, as the soldiers defended their Fatherland: children, families, houses and fields, that is, their native land.
We can say the same about our other classics: this faithful sons Fatherland, great figures and patriots of the Russian land.

Thus, great artists may not be in opposition to society, but in complete unity with it, if there is a common goal - the interests of the Motherland and the people. Then this path, which the real sons of Russia choose, we call the path of honor and courage.

The poem "The Poet and the Crowd" was written in 1828. It was originally called "Chern" and was renamed by Pushkin for a second edition in 1836.

The end of the 1920s was a difficult period for the poet. He is oppressed by the consequences December uprising, worries about the attacks of censorship and is unsettled in his personal life.

Literary direction, genre

The poem "The Poet and the Crowd" is written in the form of a dialogue, so some researchers even call it a dramatized poem. The work has signs dramatic kind, Pushkin himself focuses on them, giving an epigraph in Latin, which in translation means: "Away, uninitiated." The scene of the poet's conversation with the crowd is borrowed from Euripides. The text will accept a lot of the fact that the conversation takes place in the ancient era: the statue of Apollo Belvedere, the lyre, the altar, the sacrifice, the priests. The poem refers to philosophical lyrics and is reminiscent of the debate of ancient philosophers.

Unlike the ancient tragedy, there is no choir in the poem, which will explain to the audience who is to blame and for what he is punished. The poem belongs to the realist direction. As in dramatic work, the conflict between different types consciousness: sublimely poetic and pragmatic. The conflict itself is romantic. Neither side agrees with the other (unlike the poem "The Poet and the Bookseller"). This is realism: the conflict is unresolvable, which is explained psychologically. It is not possible to continue the dialogue.

Theme, main idea and composition

The theme of the poem is the role of the creator in history, his influence on ordinary people.

The main idea is the irreconcilability of two positions: those who seek benefit in art, and those who are "born for inspiration."

The poem begins with the reasoning of the lyrical hero. The poet sings, and people who do not understand anything ask each other for what purpose he does this, what he wants to say.

In the first remark, the poet accuses the mob of not appreciating art (the statue), although it is divine (the statue is the personification of God), but appreciates only that which benefits and saturates the body, and not the soul (stove pot).

In its remark, the mob aggressively demands that the poet be useful, giving lessons to the people, burdened with various vices. The poet, who believes that everyone has their own path, does not want to spend efforts to change mundane people.

Size and rhyme

The poem is written in iambic tetrameter. Feminine and masculine rhymes alternate. The rhyme in the poem is complex. Randomly alternates cross, steam room and ring. The replica of the black rhymes with a pair rhyme, except for the last four lines of the output with a cross rhyme.

Paths and images

The introductory part contains positive epithets related to the poet (lyre inspired, hand scattered). The people are characterized by seemingly negative, but in fact objective epithets ( cold, haughty, stupid, uninitiated, senseless). The people are senseless, stupid and uninitiated in the sense of “not understanding”, therefore they are cold, that is, indifferent to what is happening and arrogant (detached).

Pushkin immediately shows the difference between the relationship between the lyrical hero and the people through a verb that conveys the poet's play in high and low style: rattling (lyrical hero) - strumming (black).

In the first line, the mob admires the poet, comparing him with a sorcerer, his song with the wind. Contrasting epithets free and barren(song) - negative conclusion people about the benefits of the poet.

The poet's speech is more chaotic and emotional. It contains offensive epithets ( senseless, cheeky), metaphors ( worm of the earth, turn to stone in debauchery, insane slaves), comparisons ( you are disgusting to the soul, like coffins). The poet emphasizes the traits of stupidity and malice among the people.

In the second remark, the rabble, using epithets, lists its shortcomings ( cowardly, insidious, shameless, evil, ungrateful). Never once does the mob offend the poet. She gives his work the highest rating: she sings sonorously, strikes the ear, leads to the goal, excites and torments the hearts, the chosen one of heaven, the divine messenger, loves her neighbor, gives lessons. This Objective assessment, coinciding with the opinion of the lyrical hero. The poet's answer is just as objective: his lyre cannot correct human vices. The poet ends the remark with a metaphor-inference about his own role on earth. These are the words not only of the poet, but also of the lyrical hero and the author.

"The Captain's Daughter", a summary of the chapters of Pushkin's story
"The daylight went out", analysis of Pushkin's poem

As a poet, V. Mayakovsky sees his main task as the creation of a new art - the art of the masses. For this, he is ready to “throw Pushkin and others off the ship of modernity,” as stated in the futurist manifesto of 1912, published in the collection A Slap in the Face of Public Taste. A major role in this conviction was played by the protest against contemporary poet bourgeois society, one of the four cries of "Down with!" in the poem "A cloud in pants" by the poet himself was defined as "Down with your art!".

While they are boiling, chirping in rhymes, some kind of brew of love and nightingales, the street writhes without a tongue - it has nothing to shout and talk with.

V. Mayakovsky denies the traditional attributes of poetry, which have become clichés "pages, palaces, love, lilac bush" ("Brothers Writers").

People like you

Creators -

I don't care about any art.

I'd better open a shop ... -

so categorically he does not accept the exquisite beauties of fashionable salon poets of the beginning of the century - his contemporaries. No wonder the name Severyanin for Mayakovsky becomes synonymous with vulgarity and pretentiousness, beloved by the townspeople. Poetry should serve the people, the crowd. These beliefs of the poet acquire even greater significance after the October Revolution.

Enough penny truths.

Wipe the old out of your heart.

The streets are our brushes.

Squares are our palettes...

To the streets, futurists

Drummers and poets! -

the poet calls on his fellow writers (“Order on the army of art”).

A similar call is made in "Order No. 2 of the Army of the Arts":

Comrades,

Give new art -

Such

To drag the republic out of the mud.

Hard everyday work in the "ROSTA Windows", agitation, propaganda rhymes - this is not always poetry in the high sense of the meaning of the word. But duty tells the poet to do what the revolution needs, young Soviet power. Of particular importance in this regard is the poem Extraordinary Adventure, who was with Vladimir Mayakovsky in the summer at the dacha. The juxtaposition of the poet and the sun, familiar to world culture, acquires a new, democratic sound: the sun, visiting the poet, talks to him in a friendly way. The fantastic, conditional beginning is combined in the poem with the colloquial, everyday, everyday. The lyrical hero - a poet-worker - finds complete understanding with another great worker - the sun. They have common problems, common goals, they are united in their attitude to the house:

Always shine

Shine everywhere

Until the days of the last bottom,

Shine -

and no nails!

Here is my slogan

and the sun!

V. Mayakovsky considered one of his program poems about the appointment of a poet and poetry to be “A Conversation with the Financial Inspector about Poetry”,

Speaking of hard work poet, V. Mayakovsky compares poetry with the extraction of rare metals: "In a gram of extraction, in a year of work." For what? So that the words set "thousands of years of millions of hearts in motion" Of course, contrary to the poet's own declarations, these are transformed Pushkin's lines about the poet's appointment "to burn people's hearts with the verb." But the appointment of a poet by Mayakovsky is, first of all, a house, the greatest responsibility to the people:

Our duty is

roar

copper mountain siren

in the fog of the townsfolk,

the storms are boiling

Poet

Always

debtor of the universe..

The poet voluntarily renounces creative freedom, putting a sense of duty above all, considering his work to be a service to the people. Is he right? Reflections on this topic are heard in the introduction to the poem "Out loud" - Mayakovsky's unfulfilled plan. The poem was supposed to be a kind of summing up long period his life, a story "about time and about himself." Predicting long life and a great future with his verse, the poet talks about what prompted him to such creativity, such hard rough work in the name of the revolution:

myself

humbled

becoming

on the throat

own song.

As a poet, V. Mayakovsky sees his main task as the creation of a new art - the art of the masses. For this, he is ready to “throw Pushkin and others out of the passage of modernity,” as stated in the futurist manifesto of 1912, published in the collection Slap in the Face of Public Taste. A major role in this conviction was played by the protest against contemporary bourgeois society: one of the four cries of “Down with!” in the poem "A Cloud in Pants" by the poet himself was defined as "Down with your art."

While they are boiling, chirping in rhymes, some kind of brew of love and nightingales, the street is writhing without a language - it has nothing to shout and talk with.

V. Mayakovsky denies the traditional attributes of poetry, which have become clichés "pages, palaces, love, lilac bush" ("Brothers Writers").

People like you

Creators -

I don't care about any art.

I'd better open a shop...

So categorically he does not accept the exquisite beauties of fashionable salon poets of the beginning of the century - his contemporaries. No wonder the name Severyanin for Mayakovsky becomes synonymous with vulgarity and pretentiousness, beloved by the townspeople. Poetry should serve the people, the crowd. These beliefs of the poet acquire even greater significance after the October Revolution.

Enough penny truths.

Wipe the old out of your heart.

The streets are our brushes.

Squares are our palettes...

To the streets, futurists

Drummers and poets! -

The poet calls on his fellow writers (“Order on the army of art”).

A similar call is made in "Order No. 2 of the Army of the Arts":

Comrades,

Give new art -

To drag the republic out of the mud.

Hard everyday work in the "Windows of ROSTA", agitation, propaganda rhymes - this is not always poetry in the high sense of the meaning of the word. But duty tells the poet to do what the revolution, the young Soviet government needs. Particularly important in this regard is the poem “An Extraordinary Adventure That Was with Vladimir Mayakovsky in the Summer at the Dacha”. The juxtaposition of the poet and the sun, which is familiar to world culture, acquires a new, democratic sound: the sun is visiting the poet in a friendly conversation with him. The fantastic, conditional beginning is combined in the poem with the colloquial, everyday, everyday. The lyrical hero - a poet-worker - finds complete understanding with another great worker - the sun. They have common problems, common goals, they are united in their attitude to the house:

Always shine

Shine everywhere

Until the days of the last bottom,

Shine -

And no nails!

Here is my slogan

And the sun!

One of his "program" poems about the appointment of the poet and poetry, V. Mayakovsky considered "A Conversation with the Financial Inspector about Poetry."

Speaking about the poet's hard work, V. Mayakovsky compares poetry with the extraction of rare metals: "Production per gram, labor per year." For what? So that the words would set "thousands of years of millions of hearts in motion." Of course, contrary to the poet's own declarations, these are transformed Pushkin's lines about the poet's appointment "to burn people's hearts with the verb." But the appointment of a poet by Mayakovsky is, first of all, a house, the greatest responsibility to the people:

Our duty is

Copper Mountain Siren

In the mist of the townsfolk,

The storms are boiling.

Debtor of the Universe...

The poet voluntarily renounces creative freedom, putting a sense of duty above all, considering his work to be a service to the people. Is he right? Reflections on this topic are heard in the introduction to the poem "Out loud", Mayakovsky's unfulfilled plan. The poem was supposed to be a kind of summing up the results of a large period of his life, a story "about time and about himself." Predicting a long life and a great future with his verse, the poet talks about what prompted him to such creativity, such hard rough work in the name of the revolution:

Becoming

on the throat

Own song.

Calling himself an "agitator", "a bawling leader", the poet sees in his poems, first of all, an ideological weapon, drawing a "parade" of his pages. The “cavalry of witticisms” with “sharpened peaks” of rhymes, the “linear front”, the vents of the “fastened gaping titles” of poems - all these “armed troops over the teeth” are dedicated by the poet to the proletariat. His work cannot be free from politics, in this Mayakovsky sees the historical dialectics of his time:

We opened

Each volume

Like at home

own

We open the shutters

But without reading

We figured out

Which one to go

In what way do you fight?

All this - self-denial, the rejection of a personal understanding of life, of one's own creative freedom - was for the sake of great purpose, for the sake of a "common monument" - "built in the battles of socialism." But the socialism that was built, after all, was not what the poet dreamed of. The question of whether it was necessary to “step on the throat of one’s own song” for the sake of a goal that turned out to be false remains open, and the tragedy of the cut short life of the poet proved that other mistakes cannot be corrected, just as it is impossible to turn back time and go all the way from the beginning ...