municipal educational institution

secondary school No. 13

Methodological development.

Lesson - workshop in 11th grade

Teacher of Russian language and literature (highest category)

Brusnitsyna L. G.

Tver region

Lesson - workshop in 11th grade

The image of a lyrical hero in V. Mayakovsky’s poetry “A Cloud in Pants.” (Analysis of Chapter I of the poem)

The purpose of the lesson:

Based on the text of Chapter I, conduct an analysis of the poetics of V. Mayakovsky’s early work;

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”;

Train students to competently analyze poetic texts;

develop students’ ability to make generalizations and conclusions by analyzing text, see the role of visual and expressive means, and compose their own coherent text.

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

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

Preparation for the lesson: The following tasks are offered as home preparation: individual messages: “Mayakovsky and the Futurists”, “The poetic world of early Mayakovsky”.

Group assignments:

Let's look at the plot and composition of the chapter of the poem:

Trace the plot as a chain of actions or experiences (states) of the lyrical hero. Create a storyline.

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

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

Draw a conclusion about the role of plot and composition in revealing the image of the lyrical hero.

Follow the text of the first chapter to see 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 the lyrical hero.

Pay special attention to the role of metaphors, comparisons, hyperboles, and 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:

Today's scream-lipped Zarathustra

The last cry -

About the fact that I'm burning in

Centuries

During the classes

I Teacher's opening speech

1. Expressive reading of the introduction to the poem.

2. Teacher's word:

“This is how V. Mayakovsky’s poem “Cloud in Pants” begins; Already from the first lines addressed to us, to all the quiet, calm, sleepy, lazy people, it sounds like a challenge from the poet to the whole world. Young (“there is not a single gray hair in my soul”), handsome, strong (“enormous the world with the power of his voice”), but at the same time gentle (“not a man, but a cloud in his pants”), the poet goes to meet the whole world.

What is his word to the world, to all of us? Who is he, this hero who twists himself “so that there are only solid lips?”

Today we will try, by examining 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 up 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's something else here? Maybe you will see in the lyrical hero not only a rebel - an anarchist challenging God himself, but also someone else - a person torn by contradictions, despairing and, out of powerlessness, challenging the whole world?

II But before we begin to study 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 student messages: “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, concepts are written on the board and in a notebook: architectotics, poetics, lyrical hero, “dignified” word, rhythm, metaphor, etc.)

III Student work in groups

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

Group 1 – Plot, composition, images.

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

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

Observation results (short note)

IV Final word from the teacher.

So, let's summarize our observations on part I of the poem. Of course, we were not able to see all the visual and linguistic means that help us 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 striking at first acquaintance, but shades and features that are essential for understanding the whole, which help, according to Pushkin, “to discover beauty... in works...”

What kind of hero did we see in Chapter I of the poem? - question for students.

In Chapter I we see the tragedy of love and the lyrical hero, suffering, rushing about, confused, looking for understanding in the world and not finding it, a hero challenging the world, where love turns into buying and selling. This challenge comes from the heart out of despair and hopelessness. The image of the lyrical hero is tragic; there is no outcome to his suffering.

How did our work today help you in understanding, 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 that it was possible to express my feelings so clearly...”

“It seems to me that no one has ever written about love like this, and never will.”

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

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

The first chapter of the poem “Cloud in Pants” tells how the beloved did not come to the lyrical hero. He suffers and suffers against the backdrop of an uncomfortable December landscape. Thanks to extravagant vocabulary and a cascade of bizarre metaphors, the poet could not have been more successful in conveying the power of human suffering, its impetuous dynamics. After all, real grief and despair are never exquisitely beautiful, as in sentimental novels of the eighteenth century. This is a scream, a howl, an uncontrollable intensity of emotions, only occasionally interrupted by bouts of silent despair.

With the help of succinct artistic details, V. Mayakovsky creates generalized portraits of characters. The lyrical hero is a “wiry hulk.” From the outside, he looks courageous and calm (“bronze”, “heart is a cold piece of iron”). In fact, his soul painfully asks for love and affection.

At night I want my own ringing

Hide in soft

In women's, -

He admits to sadness.

Only a very talented writer can talk so poetically and at the same time frankly about intimate things. These metaphorical lines embody all the inhuman pain of loneliness. The lyrical hero feels that he has been betrayed, without even knowing it for sure. He is hurt and helpless. The suffering of unrequited love is intensified by the agonizing expectation of the chosen one. The impatience of the lyrical hero is clearly and expressively conveyed by a progressive series of numerals:

“I’ll come at four,” said Maria.

Verbs are also expressive in this regard (“moaning”, “writhing”, “hunching in the window”).

V. Mayakovsky does not write: “It was a December evening.” He tells it like this:

It's evening

Into the horror of the night

Left the windows

December.

And this gloomy description deepens the picture even more. The sound composition of the selected words is interesting: almost all of them contain hissing consonants. They are associated with the sound of rain and wind and convey the state of bad weather. Thus, the reader guesses what is happening outside the window long before V. Mayakovsky directly writes about it:

There are gray raindrops in the glass

Come down,

The grimace was huge,

It's like chimeras howling

Notre Dame Cathedral.

Notre Dame Cathedral is a majestic religious building in the heart of Paris. The poem contains many religious motifs that frame the confessional monologue of the “thirteenth apostle.” But in this case, the mention of the cathedral not only enhances the atheistic sound of the poem, but also works as an aesthetically successful means of visual expression. The cathedral itself has a complex and interesting architectural design. On one of its tiers, the chimeras or gargoyles mentioned by V. Mayakovsky rise eerily. Their greedily and predatorily open wolf's mouths are reminiscent of heavenly punishment. And the Gothic architectural style itself, in which the famous Notre Dame is made, calls for severe asceticism and patience.

No less harsh lines make us remember the gloomy atmosphere of the Middle Ages:

The twelfth hour has fallen,

Like the head of an executed man falling off the block.

The lyrical hero, having lost his beloved, feels on the verge of life and death. He looks for sympathy from the rain, but the gray raindrops only howl in response, “as if the chimeras of Notre Dame Cathedral are howling.” A poetic comparison only enhances the depth of the lyrical hero’s suffering and gives it a universal scale. Metaphors (“soon your mouth will tear apart with a scream”) and comparisons (“like a sick person jumping out of bed, your nerve jumped”) emphasize the physical nature of this unbearable pain - the pain of a broken heart. The picture of jumping, frenzied nerves is expressively complemented by the interior of the room (“the doors suddenly began to chatter, as if the hotel had lost teeth”).

Finally, the beloved returns, “sharp, like “here!” Informing the lyrical hero about her upcoming marriage, she all embodies challenge and rejection. He remains outwardly calm. But his immeasurable grief is expressed by metaphors (“you are Gioconda, who must be stolen”) and comparisons (“Pompeia perished when Vesuvius was teased”), which are based on an appeal to well-known cultural and historical facts. “Mona Lisa” (“La Gioconda”) is a painting by the Italian artist Raphael, an unrivaled ideal of mystery and femininity.

The scene depicted in K. Bryullov’s painting “The Last Day of Pompeii” is terrible and tragic, in which the mighty volcano Vesuvius throws its disastrous lava flows onto the unfortunate city.

The contrast of big and small, used at the beginning of the chapter, is replaced in this scene by the contrast of external peace and internal, spiritual storm.

At the end of the chapter, the lyrical hero tells his mother that he has “a fire in his heart.” Further, this metaphor becomes expanded, and a picture of extinguishing this fire flashes before my eyes. This technique is intended to express a touch of light irony with which the lyrical hero relates to his suffering. Indeed, is it worth worrying so much about a beloved who exchanged a pure, sincere feeling for a profitable marriage?

The passage of artistic time plays a large role in the first chapter of the poem. Its flow is successfully conveyed by expressive metaphors. Each of them is deeply thought out by the author: the evening is passing, midnight is rushing about with a knife, and the night “tinkers and creeps around the room, the heavy eye cannot stretch out of the mud.” These fragmentary descriptions convey the change in the mental state of the lyrical hero. At first he is worried, then he is indignant and suffers, and then his eyes begin to stick together from fatigue.

Artistic time and space in the poem are interconnected. The painfully slow wait for the lyrical hero is aggravated by the closed artistic space.

Lesson - workshop in 11th grade.

The image of a lyrical hero in V. Mayakovsky’s poetry “A Cloud in Pants.” (Analysis of Chapter I of the poem)

The purpose of the lesson:

Based on the text of Chapter I, conduct an analysis of the poetics of V. Mayakovsky’s early work;

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”;

Train students to competently analyze poetic texts; develop students’ ability to make generalizations and conclusions by analyzing text, see the role of visual and expressive means, and compose their own coherent text.

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

Lesson equipment: text of the poem, portrait of V.

Mayakovsky, a literary dictionary (of certain literary concepts), an exhibition - a review of critical articles, cards with tasks for groups and individual tasks.

Preparation for the lesson: The following tasks are offered as home preparation: individual messages: “Mayakovsky and the Futurists”, “The poetic world of early Mayakovsky”.

Group assignments:

Let's look at the plot and composition of the chapter of the poem:

Trace the plot as a chain of actions or experiences (states) of the lyrical hero. Create a storyline.

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

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

Draw a conclusion about the role of plot and composition in revealing the image of the lyrical hero.

Follow the text of the first chapter to see 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 the lyrical hero. Pay special attention to the role of metaphors, comparisons, hyperboles, and 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:

Try to graphically depict the rhythm of Chapter I.

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

Thrashing and groaning,

Today's scream-lipped Zarathustra

The last cry -

About the fact that I'm burning in

Centuries

During the classes

I Teacher's opening speech

1. Expressive reading of the introduction to the poem.

2. Teacher's word:

“This is how V. Mayakovsky’s poem “Cloud in Pants” begins; Already from the first lines addressed to us, to all the quiet, calm, sleepy, lazy people, it sounds like a challenge from the poet to the whole world. Young (“there is not a single gray hair in my soul”), handsome, strong (“enormous the world with the power of his voice”), but at the same time gentle (“not a man, but a cloud in his pants”), the poet goes to meet the whole world.

What is his word to the world, to all of us? Who is he - this hero, turning himself inside out “so that there are only continuous lips?”

Today we will try, by examining 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 up 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's something else here? Maybe you will see in the lyrical hero not only a rebel - an anarchist challenging God himself, but also someone else - a person torn by contradictions, despairing and, out of powerlessness, challenging the whole world?

II But before we begin to study 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 student messages: “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, concepts are written on the board and in a notebook: architectotics, poetics, lyrical hero, “dignified” word, rhythm, metaphor, etc.)

III Student work in groups

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

Group 1 - Plot, composition, images.

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

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

Observation results (short note)

Plot, composition, images.

There is no plot - there is no action, there is a plot - a state, experiences. The plot of the story is a drama of love, it is unusual, since the third character in the love story 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: “the sinewy bulk of the plot, writhing” - “Like a patient, a nerve jumped out of bed.” - “Nerves... jumping like crazy...” - “... So calm! Like the pulse of a dead man...” - “...The worst thing we 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’m burning.” The composition conveys the state of mind of the lyrical hero. The premise is the anticipation of a date (“nerves are jumping like crazy”). 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’re talking about the fact that I’m burning...”). There is no end to the hero’s suffering (“.. throw it out into 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 the lyrical hero. Passion spills out in a desperate cry, reaching 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 just the tragedy of love.

The functional role of visual media.

The image of the beloved is “La Giaconda”, which must be stolen; the image of the enemy is unclear, this is the whole world - lovers of sacrilege, crime and slaughter.”

The main visual means are associative metaphor, hyperbolization, reaching the point of grotesque, phantasmagoria, vivid comparisons. The main role is to show the hero’s state of mind.

The suffering of the tormented soul is expressed in paradoxical and catchy metaphors:

“Midnight, rushing with a knife, caught up, || stabbed, || there it is…” - paints an image of ruthless time destroying a person.

“On a burning face || from cracked lips || the charred kiss to rush has grown...” - the touching defenselessness of a person before the power of love and suffering is shown.

Comparisons that convey the suffering of the lyrical hero are unusually interesting:

The twelfth hour has fallen,

Like the head of an executed man falling off the block...

This is how the poet conveys the tension of the hero waiting for his beloved.

The experiences of the lyrical hero are conveyed with the help of personifications that are unusually vivid. The poet gives the gift of feelings, the ability to think and suffer nerves: “I hear: || quiet, || like a sick person out of bed, || the nerve went away...

Using comparisons, the image of the beloved is depicted: “You entered, || sharp, like “here”!

"You are Mona Lisa..."

“Nate” is Mayakovsky’s poem that shocks the public, challenges the modern world, sharp, uncompromising. So it is here: the comparison conveys the end of love. Comparing the beloved with Gioconda, the beautiful creation of Leonardo da Vinci, elevates this image.

Rhythm and rhyme.

Features of vocabulary, phonetics, syntax.

The role of hyperbole in characterizing the image of the lyrical hero is great: “What could such a block want?”, “After all, it doesn’t matter to yourself that it’s bronze or that the heart is cold iron...”, “... the plaster collapsed on the lower floor...” - The hyperbole emphasizes the defenselessness and powerlessness of a person before the feeling of love and conveys the contradictory nature of the image: strength, power - and defenselessness.

The landscape in Chapter I of the poem is also significant. It also reflects the state of mind of the lyrical hero. The hero tries to find protection: “Again and again, || rain || face to face with his pockmarked face, || I’m waiting..." - and he sees that the natural elements are against him: "...|| gray raindrops in glass || curled up and grimaced..."

And at the very beginning of the poem, the “gloomy, December” evening exactly harmonizes with the hero’s soul.

Rhythm is the main force of verse; rhythm, like all elements of verse, is subordinated to a semantic task: to convey the suffering of the soul of the lyrical hero, his confusion, tossing.

Mayakovsky’s accented verse makes it possible to highlight a key word that accurately conveys the hero’s state:

More and more,

Buried in the rain

Face to face with his pockmarked face,

Splashed by the noise of the city surf.

The short word “waiting” on one line, surrounded by long lines, logically stands out, conveying all the agony of the waiting person.

Splashed by the noise of the city surf.

The short word “waiting” on one line, surrounded by long lines, logically stands out, conveying all the agony of the waiting person.

Lovers

And the worst thing is

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 contrasted with the world around him.

The rhythm is uneven, pulsating, sometimes slow (“And the night is in the room....”), sometimes fast, nervous (Hello! !) If you graphically depict the rhythm of the poem, it will probably look like a cardiogram of a diseased heart, working intermittently.

A remarkable feature of Mayakovsky's poetics is unexpected, sonorous rhyme. The poet uses assonant (imprecise) rhymes and compounds. Rhyme chains you to the word, makes you understand and accept it:

See how calm he is!

Like the pulse of a dead man... (composite)

“Clear - tap dance” (assonant)

The poet uses colloquial style vocabulary, colloquial words (“the mouth is torn, the doors are “cluttered,” “belching,” “I’ll roll out my eyes”)

In conveying a feeling of love, colloquial vocabulary is also often used, 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 - “liubenochka”, “stand up”, “church of the heart”), and accurately reflect the thoughts and feelings of the hero.

Phonetic and syntactic means also convey the mental state of the lyrical hero (“And the night in the room is shady and shady, A heavy eye cannot stretch out of the mud...” - the assonance of sound [i] + alliteration [ts] gives rise to a vivid image of dragging time, constant repetitions, complex syntactic constructions combined with incomplete sentences of conversational style reflect the uneven rhythm of a racing heart.)

IV Final word from the teacher.

So, let's summarize our observations on part I of the poem. Of course, we were not able to see all the visual and linguistic means that help us 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 striking at first acquaintance, but shades and features that are essential for understanding the whole, which help, according to Pushkin, “to discover beauty... in works...”

What kind of hero did we see in Chapter I of the poem? - question for students.

In Chapter I we see the tragedy of love and the lyrical hero, suffering, rushing about, confused, looking for understanding in the world and not finding it, a hero challenging the world, where love turns into buying and selling. This challenge comes from the heart out of despair and hopelessness. The image of the lyrical hero is tragic; there is no outcome to his suffering.

How did our work today help you in understanding, 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 that it was possible to express my feelings so clearly...”

“It seems to me that no one has ever written about love like this, and never will.”

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

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

Updated: 2012-02-07

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Useful material on the topic

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Annotated Resource Directory

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Paths in V. Mayakovsky’s poem “Cloud in Pants”

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State budgetary educational institution of additional professional education, center for advanced training of specialists in St. Petersburg “Regional Center for Assessing the Quality of Education and Information Technologies” Graduate work on the curriculum “Teacher Standard: Information and Communication Technologies in Professional Activities” Electronic teaching materials on the topic: “Paths in poem by V. Mayakovsky “A Cloud in Pants”" Completed by: Stepanova Tatyana Nikolaevna group listener: 16.41.22 Teacher of Russian language and literature Teacher Yulia Alekseevna Vasilyeva St. Petersburg 2017

Project goals: To develop students’ knowledge of trails as a means of artistic expression. Determine the role of tropes in V. Mayakovsky’s poem.

Personal: cultivate interest in words, attentive attitude to one’s speech, the ability to appreciate beautiful and correct speech. Meta-subject: develop intellectual (the ability to highlight the main thing, compare, generalize, logically express your thoughts) and communication abilities. Subject: give students knowledge about the types of tropes.

Expected results Conducting linguistic analysis of the text and identifying means of artistic expression. Students create a table of tropes used in the poem. Students identify the various functions of tropes in the text.

Collection of information. The highest score is given if the student correctly identified the paths in the text, the project contains a sufficient amount of information and links to various sources. Organization of written work. Adequate methods of presenting the material (diagrams, tables) were used. Analysis of the process and result. The student consistently and fully analyzes the results of the analysis, draws conclusions about the use of means of artistic expression in the text. Personal participation. The child showed enthusiasm and discovered his own opinion during the project.

Assignments for students Table for initial collection of information Table for processing results Example diagram Annotated catalog of resources Materials for the project

Stepanova Tatyana Nikolaevna Teacher of Russian language and literature GBOU boarding school No. 289

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State budgetary educational institution of additional professional education, center for advanced training of specialists in St. Petersburg “Regional Center for Assessment of the Quality of Education and Information Technologies” Graduate work on the curriculum “Teacher Standard: Information and Communication Technologies in Professional Activities” Electronic teaching materials

The poem is impulsive and quite bright, dating back to the period of the poet’s early work. The poet worked on the work for a long time, and only after 17 months of work did the author present the poem for the first time in 1915 in St. Petersburg. The lines are dedicated to Lilya Brik, and, given the poet’s tender feelings for the girl, they are filled with a kind of romanticism.

main topic

The plot is based on the story of a character whom the author identifies with himself. The hero is 22 years old, and in his life he had to face various difficulties in romantic relationships. His personal tragedy lies in the fact that his beloved does not come to him on a date, and the soul of the young man is tormented by worries.

As a result of his experiences, the poet emphasizes how the hero is aging in soul and body, standing hunched and leaning against the glass, peering incessantly into the emptiness. The thoughts of the main character boil down to thinking about whether there will be love in his life or not.

However, the girl Maria still comes to his room and informs him that she plans to marry someone else. However, by this moment a man can no longer feel anything other than blind hatred, as well as anger at the unfair world of greedy and calculating people.

Structural analysis

A special feature of Mayakovsky’s works is his unique style, which is characterized by a combination of contrasting emotions and feelings, generously seasoned with rudeness and aggression with inflated self-esteem. With such techniques, the author draws attention to himself and his poems, thereby evoking response emotions in readers.

The poem seems to be divided into two parts, and if the first is full of severe mental suffering, then the second is addressed to the social problems that exist in modern society. At the same time, the author also draws the attention of readers to the fact that “heaven” does not care what happens on the sinful earth among people.

In fact, there is a clear division into 4 parts. The rhythm, which is typical for Mayakovsky’s works, gets confused in places in order to draw the reader’s attention to the most basic words and phrases. The dimensions of the lines are also different, and to express emotions even more clearly, the author used rather harsh, vivid words and epithets.

In this case, cross rhyme is used, the work is quite easy to read and does not have complex, overly elaborate word structures. Many metaphors also add a unique beauty to the poem, and at the same time allow for additional emphasis. Every line is thought out, and the author spent a lot of time creating the perfect poem!

Conclusion

For modern society, despite the fact that many years have passed since this poem was written, the theme of values ​​is still relevant. Although today women are already free and free to make their own choices, many people still think in terms of profit and wealth, forgetting about feelings. The author of the work encourages people to be more attentive to others, and to the emotions of people around them in society.