Images of people's intercessors in the poem Koma. Images of people's intercessors in the poem “Who Lives Well in Rus'” by Nekrasov - essay

Satire in the works of Vladimir Mayakovsky

专业：俄语

班级：13 俄语

姓名：党振德

指导老师：袭静（讲师）

Acknowledgments

Kind parent , dear teachers, my friends and classmates!

Let me express my deep gratitude to all those who took part in the preparation of the thesis!

First of all, let me express my deep gratitude to my parents for their support.life and study. If without your support in life and study, then I cannot achieve great success. Thank you very much for everything you have done for me.

Secondly, I would like to express my sincere gratitude and gratitude to my supervisorTsayli for help at all stages of implementation dissertations.

Thirdly, allow me to express my deep gratitude and gratitude to my friends for their help at all stages of the dissertation. Because in difficult times you often help me.

Time flies so quickly, I have already studied for four years at Shenyang University at the Faculty of Russian Language. Now I will finish mine student life from the university. I also learned a lot useful experiences and knowledge. I assure that we will have a great future in the near future. Thanks for your attention!!

Vladimir Vladimirovich Mayakovsky is one of the famous poets Silver Age. Mayakovsky's outstanding satirical poems occupy an important place in the literature of Russia and the Soviet Union. He continuedand developed the satirical tradition of Gogli, Shchedrin and Nekrasov and formed a uniquesatirical style. His satirical works made a huge contribution to satirical artRussia and the Soviet Union.

The term "satire" comes from the Latin word satura. It was originally used to refer to a narrow genre of poetry used in ancient Rome. Later this word was usedin various languages, it occurs especially oftenin works of literature. From satirical works Mayakovsky we can see various satirical subjects in different century. In addition, we also learn that the October Revolution is the poet’s creative break.The poet believes before the revolution all dead the world, and therefore the whole world becomes an object of ridicule. Especially the bourgeoisie and the mixed race became the main object of ridicule for Mayakovsky.Mayakovsky's post-revolutionary work dramatically changes its direction. Now his heroes are satiresnot well-fed bourgeois, but enemies of the revolution. After the civil war,Mayakovsky is trying to attract public attention to existing problems, draw attention to social vices and somehow try to change this, especially the bureaucracy of the Soviet government.

D This work studied sarcastic art and the subject of irony in Mayakov’s work. At the same time, according to the text, the poet showed a great patriotic feeling for his Motherland.

The topic of this work is devoted to the analysis of the satyr in the works of Vladimir Mayakovsky.This work consists of an introduction, two parts, a conclusion and a bibliography. At the same time, the introduction gives a general description of the choice of topic, outlines the relevance, theoretical significance and practical value, object, as well as the purpose and objectives of the study. The first chapter, which is divided into four sections, examines the problemsatirical origin and development.The second chapter, which is divided into two sections, reveals the problemsatires in the works of Mayakovsky.In the conclusion, the main provisions and conclusions contained in the chapters and individual sections of the study are summarized.

The term "satire" comes from the Latin "lanx satura", which means "plate of fruit", "mixture".

Satire is:

1. Accusatory literary work, depicting the negative phenomena of reality in a funny, ugly way.

2. Mockery, reproach.

Satire appeared as a special poetic form in the civil culture of ancient Rome. It arose from folk art, which repeatedly and constantly turns to satire as a weapon of self-defense and self-comfort from the strong and powerful. Prominent representatives Roman satire were Ennius, Lucilius, Horace, Persia and especially Juvenal, who determined its form for later European classicism. In medieval and modern Europe, satire went beyond the framework of the old form and, developing as independent creativity, had complex and varied destinies, putting forward a number of famous names: in France - Rabelais, Boileau, Voltaire, and among the new ones - Courier, Beranger, Barbier, V. Hugo; in England - Swift; in Germany - Brant, Heine with "Atta Troll"; among the Italians - Ariosto, Gozzi, Alfieri; among the Spaniards - Cervantes.

Russian satire existed already in the 17th century and earlier in folk stories, the works of buffoons, etc. ("the parable of the Hawk Moth", satires on the court of Shemyaka and about Ersha Ershovich, Shchetinnikov's son, etc.).

In the 18th century, satire flourished in Russia. New genres appear: epigram, message, fable, comedy, epitaph, parody song, journalism. The creator of Russian satire as a small poetic genre focused on ancient and classic examples was A.D. Kantemir. Cantemir, imitating Latin verse, developed a new syntax, intensively used inversions and hyphenations, sought to bring the verse closer to “simple conversation,” and introduced vernaculars, proverbs and sayings.

However, Cantemir's stylistic innovations were not continued in Russian literature.

The next step in the development of domestic satire was taken by A.P. Sumarokov, the author of numerous books on satire, in which he outlined his theoretical views on the purpose of satire and its place in the hierarchy of classic genres.

In the second half of the 18th century, poetic satire in Russia gave way to magazine satire. In the 1760-1790s, new satirical magazines were opened one after another in Russia: “Useful Hobby”, “Free Hours”, “Mixture”, “Drone”, published by I.S. Krylov “Mail of Spirits”, “Spectator” and many other.

Magazine satire is increasingly gravitating towards the genre feuilleton. Elements of satire appear in novel and drama. The most striking images of satire in Russian literature are represented by the works of A.S. Griboedov, N.V. Gogol, A.V. Sukhovo-Kobylin, N.A. Nekrasov.

The history of Russian satire of the early 20th century is connected with the activities of the magazines "Satyricon" (1908-1914) and "New Satyricon" (1913-1918), which published the largest satirist writers of the era: A. Averchenko, Sasha Cherny (A. Glikberg), Teffi (N. Buchinskaya) and others. The magazines did not avoid bold political satire, turned to a wide range of poetic and prose genres, and attracted outstanding artists as illustrators (B. Kustodiev, K. Korovin, A. Benois, M. Dobuzhinsky, etc. )

Among the most notable phenomena of domestic satire of the 20th century are the lyrics and plays of V. Mayakovsky, the prose of M. Bulgakov, M. Zoshchenko, I. Ilf and E. Petrov, dramatic tales E. Shvarts. Satire of the Soviet period is the sphere ideology, is divided into “external”, which exposes capitalist reality (Black and White, 1926, V. Mayakovsky), and “internal”, in which the denial of particular flaws is combined with a general affirmative principle. Parallel to official satire there are folklore genres(anecdote, ditty) and not permitted for publication satirical literature. In unofficial satire, the grotesque and fantasy predominate, and utopian and dystopian elements are highly developed (" dog's heart" And " Fatal eggs" M. Bulgakov).

Satire occupies an important place in the works of representatives of the first wave of Russian literary emigration(A. Averchenko, Sasha Cherny, Teffi, V. Goryansky, Don-Aminado (A. Shpolyansky), etc.). Their heritage is dominated by the genres of satirical story and feuilleton. In 1931 in Paris, M. Kornfeld resumed the publication of Satyricon. In addition to previous authors, the published issues include I. Bunin, A. Remizov, A. Kuprin. A special place in the magazine is occupied by satire on Soviet reality and the customs of the emigration. Thus, we can conclude that satire as a literary genre is a criticism of reality with the aim of improving it. Satire appeared in ancient times and its appearance can be associated with the social system in human society. In its development, satire went through different stages of evolution: it arose from folk art, but developed as an independent work; was presented as a tool of self-defense and self-consolation, but became a tool for exposing problems and shortcomings in society. Having become an independent genre, satire gained special treatment to the leading people of society. Satirical genres of journalism began to be written in a special “handwriting”, which was characterized by the reliability of the description, the targeting of facts, the presence of the “severity” of the problem, and an “open visor” in its presentation. Unfortunately, the history of Russian satire, having many examples, has not yet been studied deeply and in detail, either in relation to its classical, now clearly and long-extinct, poetic form, much less in relation to the huge satirical content of the Russian story, novel and everyday comedy .

We call everyone
to the forehead,
and not backing away,
criticism
rubbish mowed...
V. Mayakovsky

One of the brightest sides poetic creativity Mayakovsky was a satire, of which he was rightfully considered a brilliant master. High, exciting pathos and soulful lyricism coexisted in him with satirical mercilessness, with Shchedrin's, Swift's mocking laughter. The higher and purer the poet pictured the shining ideal of the new man, the more furiously he attacked vulgarity, lack of culture, greed and predation. “What an evil, strong, “biting” enemy our philistinism, bureaucracy, degenerate sycophancy found in Mayakovsky! What magnificent thunder and lightning Mayakovsky brought down on spiritual callousness, ideological sclerosis, the mud and slush of lazy thought, “mental” lying on the stove, rendering way of life and morals, bureaucracy of big and small bureaucrats and squabbles!” - wrote N.I. Bukharin in a farewell article with the subtitle “Sorrowful Thoughts” on the eve of the funeral of the great poet.
“Terrible laughter” was what Mayakovsky called his angry satirical poems, since with them he helped burn “various rubbish and nonsense” out of our lives. The poet considered it his duty to “roar like a copper-throated siren in the fog of the philistine, near the boiling storms.” The poet saw in rhyme not only “a caress and a slogan” for friends, but also “a bayonet and a whip” for enemies. With sharp words he struck down lazy people, bureaucrats, plunderers of people's property and other “scoundrels.” The objects of Mayakovsky's satire are as diverse as reality itself. His satirical whip got at the enemy, under whatever guise he appeared: an interventionist or a killer from around the corner, a careerist sycophant or a Soviet “pompadour” with a party card. Back in 1921, in the poem “On Rubbish,” Mayakovsky boldly depicted the mug of a tradesman poking out “from behind the back of the RSFSR.” His “comrade Nadya” is inimitable:

And me with dress emblems.
Without a hammer and sickle you will not appear in the world!
In what
Today
I'll be featured
at a ball in the Revolutionary Military Council?!

Mayakovsky, like Gorky, hated philistinism, ridiculed and exposed it everywhere: in large and small things, in everyday life and art, among some of the youth of his day. These are his poems “Love”, “You Give an Elegant Life”, “Letter to My Beloved Molchanov”, “Beer and Socialism”, “Marusya Poisoned”, etc.
The themes of Mayakovsky’s satire are also developed in his comedies “The Bedbug” and “Bathhouse”. In “The Bedbug” a certain Prisypkin is depicted, who changed his last name “for grace” to Pierre Skripkin. “A former worker, now a groom,” he married the girl Elzevira Renaissance, a manicurist who “cut off Prysypkin’s former claws.” For the upcoming “red wedding” he purchases “red ham”, “red bottles and red stuff”. As a result of a series of fantastic events, Prisypkin manages to survive in a frozen state until the coming communist society. It is defrosted, and people of the future look at this “vodka-eating mammal” with surprise. However, he spreads around himself the pathogenic bacilli of alcoholism, sycophancy and guitar-romance sensitivity. And Prisypkin, as a rare specimen of “Phibitus vulgaris”, together with his constant companion “Clopus normalis”, is placed as an exhibit in the zoological garden.
Mayakovsky's second comedy is a sharp satire on bureaucracy. “The “Bathhouse” washes (simply erases) bureaucrats,” wrote Mayakovsky. Central hero plays - glavnachpups (chief manager for coordination management) Pobedonosikov. He is trying to travel in a “time machine” invented by Komsomol members into the future, into the “communist age.” He even prepared mandates and travel certificates and writes out daily allowances from the “average calculation for 100 years.” But “the time machine rushed forward in five years, in tenfold steps, carrying away workers and workers and spitting out Pobedonosikov and others like him.”
Mayakovsky's set of satirical means is exceptionally rich and varied. “Weapons of the most beloved kind” - this is how the poet called his brave “cavalry of witticisms”, whose heroic raids were truly irresistible.
Favorite satirical device Mayakovsky is extreme hyperbolism. An endlessly exaggerated phenomenon becomes already fantastic. Mayakovsky used these fantastic and grotesque hyperboles in his early “Hymns”. Thus, in the “Hymn to the Judge” we read:

.. The judge’s eyes are like a pair of tins flickering in a garbage pit.
An orange-blue peacock got under his stern eye,
like a post -
and the peacock’s magnificent tail instantly faded!

In general, Mayakovsky is inimitable in the art of caricature - satirical emphasis, condensation of exposed features. An excellent example in this regard is the poem “6 Nuns”:

Sober,
clean,
like a boric solution, together,
squadron, sit down to eat. After having lunch together
hiding in the restroom. One yawned -
six yawn... You'll come at night -
they sit and mutter. Dawn in roses -
bitches mutter! And during the day
and at night, and in the morning, and at noon they sit
and mutter
God's fools.

It is difficult to imagine a more damning caricature of religious bigotry.
Very important role Literary parodies play a role in Mayakovsky’s satirical arsenal. The parodied Pushkin text was excellently used in the poem “Good!” The most tender poetic duet between Tatiana and the nanny is played out by the old lady Kuskova, inflamed with passion for Kerensky (“Why is this girl drying up and withering? She’s silent... but the feeling, apparently, is great”) and the “mustachioed nanny,” “the seasoned Pe En Milyukov.” A witty parody unusually enhances the effect of satirical exposure. Such is Mayakovsky’s sharply stinging satire, always witty and original.
On March 5, 1922, Izvestia published the poem “The Satisfied.” Mayakovsky begins the story with calm irony about the beginning of the working day of the “over-sitting”: at first light they rush to the offices to surrender to the power of “paperwork.” Already at the beginning of the second stanza, the image of a petitioner appears, “since the time she” has been knocking on the thresholds of the institution in the hope of getting an “audience” with its leader - the elusive “Comrade Ivan Vanych,” who sits endlessly. Mocking the supposedly important matters that Ivan Vanych and his subordinates are dealing with, Mayakovsky resorts to hyperbole. Their concerns are the question of merging the Theater Department of the People's Commissariat for Education with the Main Directorate of Horse Breeding under the People's Commissariat of Land (TEO and GUKON), the question of “purchasing a bottle of ink by a gubong cooperative,” etc. Mayakovsky takes the hyperbole to the grotesque: a terrible picture: he sees “half the people” sitting there and decides that a terrible crime has occurred. The grotesque, that is, comically terrible nature of the picture, which depicts the sitting “half of the people,” is emphasized by the “calmest” attitude of the secretary, who considers such a situation, from which the poor petitioner’s mind “went crazy,” to be completely natural:

In a day
twenty meetings
We need to keep up.
Involuntarily you have to split into two.
Up to the waist here
but other
there.

From everyday use phraseological turn“I can’t be torn in two,” conveyed by the poet in the literal sense, it becomes clear how this comical terrible picture. The “calmest” voice of the secretary did not calm the poet-petitioner, so he cannot sleep and greets the dawn of the next day with the dream of such a meeting that would eradicate all meetings. And in this dream there is no irony, no hyperbole, no grotesque: like many of Mayakovsky’s satirical poems, “The Sitting Ones” ends with a call to put an end to the evil that is ridiculed in the main part of the poem. Thanks to Mayakovsky, the word “sitting” became a common noun for the senseless bustle of a meeting.
Lev Kassil talks about how Mayakovsky hated even “the slightest manifestation of bureaucratic arrogance,” and quotes the poet’s words about one bureaucrat: “I got hold of some piece of paper with a seal and was already intoxicated by its power... A special bureaucratic alcohol. Drunk from the paper. He already wants to kill a person with a piece of paper.” These words are topical, since you see the same bureaucrats on our television screens and on the pages of today’s magazines and newspapers. It is Mayakovsky’s satire that gives us weapons against such bureaucrats of today.

Antioch Dmitrievich Cantemir, the son of an active associate of Peter I, the Moldavian ruler Prince Dmitry Cantemir, is considered the first secular writer in the history of new Russian literature: “Russian literature begins with Lomonosov - and rightly so. Lomonosov truly was the founder of Russian literature. How man of genius, he gave her a form and direction that she held for a long time. ‹…› But, despite the general agreement that Russian literature begins with Lomonosov, everyone begins its history with Cantemir. This is also true. Kantemir began the history of Russian secular literature.”

The place of satire in Cantemir’s works

The creative range of Kantemir the writer was very wide: he wrote several odes (or “songs”), poetic messages, fables, epigrams, transcriptions of psalms, experiences epic poem"Petrida" (canto 1). Cantemir translated the messages of Horace, the lyrics of Anacreon; in the enlightened circles of the Russian reading public of the 1740-1770s. His translation of the book by the French educator Bernard Fontenelle “Conversation on the Many Worlds,” which is a popular exposition of the heliocentric system of N. Copernicus, was very popular; Cantemir also penned the theoretical and literary work “Letter of Khariton Mackentin [an anagram of the name “Antioch Cantemir”] to a friend about the composition of Russian poetry,” which is a response to the publication of “A New and Brief Method for the Composition of Russian Poems” by V. K. Trediakovsky (1735) . However, Kantemir entered the history of Russian literature of modern times primarily with his satires: the name of the writer and the genre of satire are connected in the historical and literary perspective of Russian culture by an indissoluble associative connection, perhaps because the writer’s talent was sharply satirical, and he himself was well aware of this:

And I know that when I accept praise I write when, muso, I’m trying to break your temper, No matter how much I bite my nails and rub my sweaty forehead, It’s hard to weave two rhymes, and even those are unripe ‹…› And how harmful in morals I see, smarter Having become herself, the verse flows quickly under the pen. I feel like I’m melting in my water then And that I won’t force my readers to yawn.

Kantemir, who created the genre model of satire in Russian literature of modern times, relied on the European literary tradition from the ancient founders of the genre to its modern interpreters: the names of Horace, Juvenal and Boileau were named by him in Satire IV “On the danger of satirical writings. To his muse” as the names of literary predecessors:

If you [muse] dare to point out Juvenal, Persia, Horace, thinking that she got up For them there is no harm from satyrs, but much glory; Why, Boalo, the communicant was right, So it’s enough for me that I’m trampling their tracks Same happiness ‹…› (110).

However, despite the fact that the ancient and European classicist tradition is very relevant for Cantemir’s satires, they are distinguished by the noticeable originality of their genre model due to the fact that this model was formed on the basis of not only European, but also national literary tradition. Points of contact between satire and rhetorical genres emerged already in classical antiquity. But in Russian literature, the power of influence of oratorical genres and the panegyric style of the Petrine era created by them on the young secular culture was so great that it had a decisive significance for the poetics of older literary genres.

Genre varieties of satire.

Genetic characteristics of oratorical genres

Cantemir’s satire as a genre goes back directly to the sermon and secular oratorical Word of Feofan Prokopovich: “the very method, norm, speech principle was learned by him [Kantemir] from the Russian preaching tradition, especially from Feofan; ‹…› all his satire (especially the early one) was a kind of secularization of Theophan’s sermons, an emphasis on independence and the development of satirical-political elements.”

In total, Cantemir wrote eight satires: five in Russia, from 1729 to 1731, three abroad, in London and Paris, where he was in the diplomatic service since 1732. During the period of writing three late satires - 1738-1739. – Kantemir significantly revised the texts of the five earlier ones. There is also the so-called “Ninth Satire”, the question of the time of its creation and whether it was written by Cantemir is debatable. During Cantemir's lifetime, his satires were known only in handwritten copies - their first printed edition in Russia it was carried out in 1762.

Russian and foreign satires differ markedly in their genre characteristics. This difference was very accurately defined by the poet V. A. Zhukovsky, who in 1809 dedicated the article “On Satire and Satires of Cantemir” to the work of Cantemir, thereby reviving the memory of a forgotten early XIX V. writer: “Kantemirov’s satires can be divided into two classes: philosophical and pictorial; in some the satirist appears to us as a philosopher, and in others as a skillful painter of vicious people.” Satires written in Russia are “picturesque,” that is, they represent a gallery of portraits of bearers of vice; foreign satires are “philosophical”, since in them Kantemir is more inclined to talk about vice as such. However, with these fluctuations in the forms satirical image and the denial of vice, the genre of Cantemir’s satire as a whole is characterized by a number of stable features that are repeated in all eight texts. Taken together, these features constitute the category that we will call the genre model of satire, and which, as already noted, was formed under the strong influence of the oratorical genres of sermon and Word.

The first property that brings together the genres of sermon, Word and satire is the attachment of their thematic material to a specific “case”: for a sermon this is the interpreted biblical text, for Slovo Prokopovich - a major political event. In satire, this attachment is not so obvious, but, nevertheless, exists: as G. A. Gukovsky convincingly showed, Cantemir’s five Russian satires are closely connected with the political events of the turn of 1720-1730: an acute clash between the so-called “supreme leaders” - the clan Russian aristocracy and clergy, wishing to return the pre-Petrine order, with adherents and heirs of Peter’s reforms, among whom was Feofan, who accepted Active participation in the palace coup of 1730, as a result of which Empress Anna Ioannovna ascended to the Russian throne.

The second common feature of a sermon, the oratorical Word and satire is a typical rhetorical mirror-cumulative composition: like an oratorical speech, each Cantemir satire begins and ends with an appeal to its addressee (the genre form of satire is similar to the form of a poetic message); the second compositional ring consists, as in an oratorical speech, of the formulation of the main thesis at the beginning and the conclusion, repeating this formulation at the end. The central compositional part of the satire varies depending on what genre variety this satire belongs. In “picturesque” satires, this is a gallery of portrait sketches different types carriers of the same vice, and these portraits are connected to each other by a simple enumerative intonation (a type of cumulative stringing). In “philosophical” satires, the central part is occupied by logical discourse - that is, reasoning about a specific vice in its abstract conceptual embodiment, only occasionally illustrated by specific portrait descriptions. This close connection between Cantemir’s satires and the laws of oratory, despite all the literary nature of the satire genre, determined the peculiarities of the poetics of satire at all levels.

Already the typology of the names of Cantemir’s satires: “On those who blaspheme the teachings. To your mind" (Satire I), "To the envy and pride of the evil nobles. Filaret and Eugene" (Satire II), "On the difference in human passions. To the Archbishop of Novgorod" (Satire III), "On the danger of satirical writings. To his muse" (Satire IV), "On education. Nikita Yuryevich Trubetskoy" (Satire VII), in which, as an indispensable content element, there is an appeal to an imaginary listener and interlocutor, demonstrates the main property of the genre on Russian soil - its dialogism, inherited from oratorical speech. Thus, the satirical word is immediately given signs of appeal and direction, which make it potentially dialogical. The texts of Kantemirov's satires are literally oversaturated with rhetorical figures of exclamation, questioning and appeal, which support the feeling of oral, sounding speech generated by the text of the satire. They are especially diverse in their circulation functions.

Appeals certainly open and end each satire: “The mind is immature, the fruit of short-lived science! // Rest in peace, do not force my hands to write” - “Such are hearing words and seeing examples, // Be silent, mind, do not be bored, sitting in ignorance” (P. 57, 61). In addition to such compositionally obligatory addresses, it is also necessary to note the question-and-answer intonation, universal especially for “picturesque” satires, which turns their texts, preserving the formal monologism of the author’s narrative, or into a dialogue with an imaginary interlocutor: “Wonderful high priest, to whom the power // of the Highest wisdom she revealed all her secrets, // ‹…› Tell me ‹…›” (P. 89); “Nicky, friend! Maybe the word is reasonable” (p. 163), or into an internal dialogue, where the second subject is one of the properties of the author’s personality, his mind or creative inspiration: “Muso, my light! Your syllable to me, // the Creator, is poisonous!”; “But I see, muso, you grumble, cower and blush, // Revealing that you don’t dare to praise the worthy, // And you don’t want to waste time in false praises” (pp. 110, 112).

It is not surprising that the extensive system rhetorical appeals turns out to be able to transfer the potential dialogism of satire from a substantive plane to a formal one. Two of Cantemir’s satires – II (“Filaret and Eugene”) and V (“Satyr and Perierg”) have a dialogical form. At the same time, it turns out to be important that the narrative about vice and its exposure is transmitted from the author to the character, and the author’s opinion, directly declaratively expressed in formal monologue satire, is hidden behind the character’s opinion in dialogic satire. Thus, long before its practical implementation, another aspect of genre continuity in Russian literature of the 18th century is outlined: sermon - satire - drama (comedy).

The independence of satire characters, their well-known independence from the author’s origin, is best noticeable at the highest level of implementation of the potentially dialogic word of satire - in the character’s word, which diversifies the text of satire in different forms direct, improperly direct and stylized to resemble a conversational manner of speech. V. A. Zhukovsky also noted that Kantemir often “brings actors onto the stage,” endowing the characters with independent verbal action, indistinguishable in form from the author’s. If the author’s word is focused on the interlocutor and is potentially dialogical, then the character’s word has all these same properties both in dialogical satire, where the character replaces the author with his own word, and in monologue, where the character’s speech is included in the author’s narration: Ruddy, having burped three times, Luka sings along:

“Science destroys the commonwealth of people; ‹…› We should spend our lives in fun and feasts: And so it doesn’t last long - what’s the use of it? Crashing over a book and damaging your eyes? Isn’t it better to walk your days and nights with a cup?” (59)

As a rule, the character's word, which is in principle indistinguishable from the author's in its formal characteristics, is capable of replacing the author's word functionally. Such self-exposing judgments so clearly characterize their bearer that the need for an author’s revealing characterization completely disappears. The deep meaningful difference between the formally close verbal actions of the author and the character can be detected only at the highest level - from the point of view of the 18th century. not literary, but ethical and social - the level of functioning of satire.

One of the most striking stylistic features of Kantemirova’s satire is the imitation of its text to the spoken word, the spoken word. As a result, both the author’s word and the character’s word reveal their oratorical genesis in the very verbal motive of speaking, which is incredibly productive in Cantemir’s satires. Moreover, speaking is far from aimless: the oratorical genres and panegyric style of the Peter the Great era were powerful tool direct moral and social impact; speaking had to bear fruit, and depending on the quality of these fruits it was determined whether a given word belonged to a higher, spiritual, or lower, material reality. This ultimately shaped the moral and literary status of the genre.

The true semantic center of Cantemir’s satires is Satire III “On the difference in human passions. To the Archbishop of Novgorod”, addressed to Feofan Prokopovich. According to the orientation towards the cultural personality of Theophan - an orator and preacher - the main content of satire is connected with speaking as a full-fledged action. Word and deed, as interconnected and equivalent categories, frame satire with a mirrored compositional ring: “What’s in the houses, what’s in the street, in the courtyard and the order // They say and do” - “Write poetry against indecent // Actions and words” (92-99. Italics are mine. – O. L.).

Associated with the effectiveness of the word is a set of vices exposed in satire: upon closer examination, various human passions turn out to be a perversion of the proper high nature of the word. Of the twelve vicious characters of Satire III, five are carriers of vices associated with the distortion of the word in its communicative, social and ethical functions: Menander is a gossip (“Immediately in the ears of two hundred news // Whistles...” - P. 92); Longinus is a talker (“All in foam, in sweat, he doesn’t know how to stop his mouth” - P. 94); Varlam is a liar (“You can hardly hear how he speaks, you can barely hear how he walks or steps” - P. 94); Sozim - slanderous (“And poisonous lips whisper in my ear” - P. 96); Trofim is a flatterer (“Having had enough, he praises everything indiscriminately” - P. 97).

This review of everyday distortions of the proper essence of the word is contrasted, like a reflection in a distorting mirror, with the true, world-creating dignity of the word - let us not forget that the satire is addressed to Theophanes, the bearer of the existential, spiritual and creative word:

Feofan, to whom everything was given to the nobility, A person's mind is healthy and can understand! Tell me (can you!) ‹…› A diligent shepherd cares for his flock And he leads by example as much as he strives by words (89, 99).

These appeals to Theophan, arranged in a ring at the beginning and end of the satire, also equate the statement with deed and action, but this action is not of a material, but of a spiritual nature, since Theophan’s oratorical word educates the soul and enlightens the mind. It is here – in terms of the quality of action that is associated with sounding word, lies the divide between vice and virtue. And this division, or rather, the forms of its expression, are also associated with the attitude inherited by satire from the oratorical Word and sermon, but this time it is no longer an orientation towards oral speech, but forms of expression of the moral meaning of satire and the method of social impact of the satirical text.

Peculiarities of word usage: words with objective meaning and abstract concepts

Satire as rebuke and negation deals with the distortion of the ideal, which quite realistically exists in the material, physical appearance of a vicious person and a vicious way of life. It is no coincidence that “personalities” or “originals”—verbal caricatures of specific, recognizable contemporaries—are so productive in satire. And Kantemir’s satires in this sense are by no means an exception: the writer himself attested to one such original: a satirical portrait of Bishop Georgy Dashkov of Rostov in Satire I (pp. 445, 447). Very frequent and less detailed allusions to famous politicians era. Wed. an allusion to the biography of Alexander Menshikov, a friend and associate of Peter I, in Satire II: “Whoever wears his shoulders with a pot of hearth [pies] // He jumps to a high degree and shines” (p. 69). From this attachment of satire to the concrete everyday and historically reliable realities of our time, its special quality is born. artistic imagery oriented towards material appearance physically existing person and peace.

It is extremely characteristic that Cantemir is never satisfied with an abstract concept, which, in principle, is capable of exhaustively defining the exposed vice or identifying the depicted phenomenon. He always strives to personify this concept or reify it with the help of a concrete everyday comparison, for example: “Science is torn, trimmed in rags, // From almost all the houses it is knocked down with a curse” (P. 61). It is clear that we are talking about the deplorable situation of Peter’s educational reforms after his death, but the picture painted by Cantemir is of a vivid, concrete everyday nature: abstract concept"science" appears in verbal image a ragged beggar who is driven from every doorstep. Or such a poetic allegory of inspiration as the image of a muse, which, under the pen of Kantemir, acquires the features of everyday human behavior: “But I see, muso, you grumble, huddle and blush” (p. 112).

Perhaps the most striking embodiment of this typical artistic technique of Kantemirov’s satires is the identification of actions with phenomena of the material world. Thus, in Satire III, drawing a portrait of the gossip Menander, Cantemir compares the state of the character, oversaturated with information, to the bubbling of new wine in a corked barrel:

When Menander gains plenty of novelties, The recently poured new wine into the vessel It boils, hisses, the hoop tears, the boards blow, It will knock out the sleeve, flowing out fiercely (92).

And vice as such is not simply named as an abstract word-concept in Cantemir’s satires: it is embodied in the human figure and deployed as a physical action in everyday situations and the material environment. It has long been noted in critical literature that each character in Cantemir’s satire becomes the center of a special pictorial episode with an embryonic plot and conflict. It is worth adding to this observation that each such episode, as a rule, is attached to a closed and concrete domestic space: at home, noble estate, city street. This everyday space is densely filled with things and objects of everyday use - and all this gives both the space and the character acting in it the character of extreme physical vitality. Here is how, for example, the denunciation of the vice of stinginess in Satire III was deployed in an everyday episode:

Chrysippus spends the whole evening without candles, he spends the whole winter, Sparing wood, he knows how to do without a servant Often in the house; wears a shirt for two weeks, And the sheets are completely rotting on the bed. One caftan, and the lint is already worn out on it I left the thread behind, and it was already broken; And the food is served on two dishes, He shouts: “Where has the extravagance gotten in people!” ‹…› the chests can’t hold the bags, And they are already rusty and almost rotting Money ‹…› (90).

As a rule, the things that fill the microcosm of plastic episodes of satire are grouped around three large semantic centers: food, clothing and money. These three everyday descriptive motifs are the basis of the plastic imagery of satire: it is they who impart the appearance of creatures of flesh and blood to Kantemirov’s conditional personifications of vice. In this life-like material everyday environment, the characters of satyrs are very dynamic: they move, eat, do housework and trade, drink, fight, play cards, spin in front of mirrors, etc. The reliability of their everyday plastic appearance is complemented, therefore, by the reliability of the physical action, facial expressions and gestures:

Chrysippus, even though the mud is up to your ears, even though the sky shines It pours like lights and rivers, it runs around Moscow Every day from region to region; from the auction of all later ‹…› Does Chrysippus trade anything - sheds more Tears, he bows more than he counts money (89).

Thus, the characters of satire, generated genetically by the oratorical word, acquire features of an almost stage type of behavior: their own direct speech is complemented by their posture, facial expressions and gestures. Therefore, it is far from accidental that Cantemir himself traced the genesis of his genre not to satire (a mixed lyric-prose genre), but to satyr drama:

Satire began its work at the disgrace, where between the acts of the tragedy, funny phenomena were introduced to amuse the caretakers, in which the actors, in the form of satyrs, with rude and almost rustic jokes, sullied the citizens with evil morals and customs (442).

This is a rapprochement literary text With dramatic action significantly increases the modeling abilities of the text. Due to the fact that the methods of creating artistic images remain the same in each of Cantemir’s eight satires, their complete set realizes the main property of the category literary genre- namely, the ability to create a picture of the world seen under certain angle vision - world image.

In the totality of Kantemir’s eight satires, the world image, which serves as a constant attribute of the satirical genre, acquires a plastic character fine painting the real, material world, in which an absolutely life-like character—right down to the original—carries out everyday actions. And due to the fact that for the first time in Russian literature of modern times such a world image was formed precisely in satire, for all subsequent Russian literature the artistic method of verbal painting, creating a reliable and material picture of the world, turned out to be inseparable from the satirical attitude of negation, ridicule and exposure.

Typology of artistic imagery and features of the material world image of satire

However, the world of vicious characters is not the entire world of Cantemir’s satire, and despite the fact that the material world image is universal in satire, it does not exhaust its entire potential genre scope. Along with personifications of vice in satires, there are also embodiments of virtue, images goodies: author, Feofan, Filaret, Prince Trubetskoy, Satyr and Perierg. And the only criterion that makes it possible to distinguish a vicious character from a virtuous one is again his word: for all the unification of the style of satire, focused on oral colloquial speech, the functions of the word in the mouths of vice and virtue are very different.

The word given to the vicious character is clearly used by him for other purposes. By its nature, a word, which can denote both a material object and an abstract concept, belongs to the world of ideas, since it is not a thing or a meaning, but a sign of a thing or meaning. But in the mouth of a vicious character in satire, the word tends to become like a thing, since it is used in its only objective meaning: the consciousness of the vicious character rejects the categories spiritual and immaterial:

We lived before this, not knowing Latin, Much more abundantly than we live now; Much more bread was harvested in ignorance; Having adopted a foreign language, they lost their bread (58).

Thus, the function of the word in the mouth of a vicious character is pictorial: it (the word) is intended to describe in verbal plastic painting its materially existing, but not supposed to exist, vicious carrier.

The situation is completely different with images of virtue, which are fundamentally different from all others in their complete isolation from the material everyday space in which the vicious characters are immersed. This is especially noticeable in two dialogical satires, the second and fifth, where the functions of the narrator-accuser are transferred by the author to the character. Filaret, whose direct speech recreated in detail, in the smallest detail, the material world surrounding Evgeniy, and the physical actions performed by Evgeniy in this everyday sphere (sleeping, toilet, entertainment, trying on clothes, eating, playing cards, etc.), himself characterized only by the moral position with which he denounces Eugene and which is completely exhausted by him meaningful name: Filaret is a lover of virtue (or Dobrolyubov).

Therefore, it can be argued that artistic device, with the help of which Cantemir creates an image of virtue, becomes the ideologization of the human appearance, in which an exhaustively expressed way of thinking is fundamentally important, but it is not at all important what he looks like, what he wears, what he dines with, where he lives and what his bearer does. Thus, the function of the word of a virtuous character is expressive - it first of all expresses the meaning and moral idea. And despite the fact that the speech of virtue is filled with words with objective meaning to the same extent as the speech of vice, the function of these words is also completely different.

Perhaps we can say that, in functional terms, the speech of virtue has a double ultimate goal. Firstly, both the author’s word and the word of a virtuous character are effective, since they recreate a reliable plastic image of the world. The world-creating ability of such a word likens it to the Word of God as a direct act of creation (“In the beginning was the Word ‹…› and through him all things came into being that were made…” - John, 1; 1). Secondly, in the sphere of virtue, speaking is by no means aimless: it is through it that the main goal of satire is achieved - improving the spiritual nature of man, eradicating vice and inculcating virtue through education and enlightenment.

At least the equal importance of the images of vice and virtue in Cantemir’s satires has an extremely important consequence due to the different functionality of the word in the mouths of morally opposed characters. This consequence is a completely original transformation of the category of laughter as the main way of social impact of satire. We can say that laughter in its creative function of education, combined with laughter in its destructive function of denying vice, gave birth to a completely original, nationally unique variety of Russian satirical laughter, the so-called “laughter through tears”:

I know that I’m writing the truth and I don’t mean names, I laugh in poetry, but in my heart I cry for the evil ones (110).

Thus, at the very earliest sources of new Russian literature, a tradition of satirical laughter visible to the world through invisible tears, invisible to the world, is born, which is to reach its full flowering in Gogol’s work. Kantemir was born almost exactly one century before Gogol. And almost a century before title page the comedy “The Inspector General” will be based on the words of the famous epigraph “There is no point in blaming the mirror if your face is crooked”, the Russian satire from the pen of Kantemir recognizes itself as a mirror of the vicious morals of life:

In a word, satire, which is sincere I wrote, it stings the eyes of many, of course - For everyone looks in this mirror, He imagines, knowing himself, to see his face clearly (109).

Thus, the formal-compositional principle of mirroring, reflecting the method of text construction, already becomes in Cantemir’s satires a deeply meaningful category that determines the relationship between the real world and literature - its secondary verbal model.

Satire as a genre and as an aesthetic tendency of Russian literature XVIII V.

Cantemir's satire, which by the time of its origin is the oldest genre of Russian literature of modern times, at its very origins outlines techniques and methods for a purely aesthetic dissociation of the ethical opposite ideas of vice and virtue, embodied in artistic images. If vice, embodied in a life-like human figure of flesh and blood, resides in the world of things and leads the life of sinful flesh in it, then a virtuous character is completely isolated from plastic everyday life and is revealed only in one series of properties: thinking, speaking and writing. verbal creativity form an exclusively spiritual and intellectual image of virtue.

The word of the vicious character has an objective meaning and performs a figurative function; the word of a virtuous character gravitates towards the ideological conceptual sphere and appears in constructive and expressive functions. How art structures images of vicious characters can be likened to a material body, homogeneous with the entire material world surrounding them (people are things); images of virtue are an ethereal way of thinking, only allegorically embodied in a completely conventional human figure (people are ideas).

And since both types of artistic imagery are a constant feature of the satire genre in any of its eight textual incarnations, we can say that satire as a genre already in the work of Kantemir lays the foundation for satire as a semantic trend in Russian literature. From now on, the satirical attitude of denial, exposure and ridicule strictly evokes everyday motifs and a life-like plastic appearance in literature. This is how one of the facets of the aesthetic paradox of 18th-century literature is born: the more negative the character, the brighter and more plastic he is as an artistic image.

Different types of artistic imagery in Cantemir’s satire are still difficult to distinguish at first glance and coexist quite without conflict, since they are not distinguished stylistically: all spheres of speech - the author, vicious and virtuous characters - are focused on living language, oral colloquial speech. In order for the bifurcation to become obvious, and to reveal the conflict that lies deeply at the heart of satire between vice and virtue, a stylistic differentiation of different speech spheres and different types of artistic imagery was needed. Oral colloquial speech, shaping the stylistic sphere of vice, had to be opposed by abstract, conceptual book language virtues. Russian satire has not developed such a stylistic tradition within its genre model. But it was created by the genre of solemn ode, which is simultaneously opposite and related to satire in its settings, associated in the historical and literary perspective with the name of M. V. Lomonosov.

Satire in the lyrics of V. V. Mayakovsky

1. Pre-revolutionary creativity.

In the poem “To you!” the poet touches on the theme of war and peace, denounces false patriotism. The poet widely uses the grotesque technique in the poem “Hymn to the Judge” (“peacock tail”, “non-smoking valley”):

Angrily huddled under the arches of the law,

There are sad judges...

The judges interfere with both the bird and the dance,

And for me, and for you, and for Peru.

The poet also uses the grotesque in the poem “Hymn to the Scientist”: the hero has no human quality, this is “not a person, but a two-legged impotence” with a head “bitten clean off by a treatise.”

2. ROSTA windows.

Who is to blame that I met Wrangel again?

Hey, comrade, what should you do if a new sovereign comes in?

If we finish off Wrangel and the lord,

Will there be peace then?

The poet widely used the technique of inversion (violation of the usual word order in a sentence), as can be seen from the examples given above.

3. Poem “About rubbish” (1921).

The pathos of the poem is directed against philistinism and vulgarity: “The philistine life is more terrible than Wrangel.” When describing the speech and appearance of ordinary people, the poet widely uses the grotesque technique: “And I would like a dress with emblems. Without a hammer and sickle you will not appear in the world. What will I wear at the ball at the Revolutionary Military Council today?” The description of everyday life is full of irony and sarcasm: “Lying on the Izvestia, the kitten warms itself.” The poem ends with a symbolic appeal: “Quickly turn the heads of the canaries so that communism is not beaten by the canaries!”

4. Poem “The Sitting Ones” (1922).

V.I. Lenin: “I don’t know what about poetry, but about politics, I guarantee that this is absolutely correct.”

Mayakovsky castigates bureaucracy, red tape, and the replacement of real business with endless meetings. In a grotesque form, the poet describes the petitioner’s walk through the authorities. There is no strict verse meter in the work, but on the contrary, the lively intonations of colloquial speech can be heard in it. As the action progresses, the comedy of the situation increases, resulting in fantastic picture divided people, which best exposes the absurdity and unreasonableness of the bureaucratic and bureaucratic order. Using the technique of hyperbole, the poet ridicules the “diversity of meetings” (“An hour later they told you to come. They are meeting: buying a bottle of ink by the Gubkooperative”, “Everyone under twenty-two at a meeting of the Komsomol”, “At a meeting of A-B-C-D-D- Z-Z-coma”). The poem ends with an appeal, a catchphrase that has become a kind of proverb: “Oh, at least one more meeting regarding the eradication of all meetings.”

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Satire in the lyrics of V. V. Mayakovsky