Do you want to go to hard labor? A cloud in pants. I. Checking homework

“Cloud in Pants” is a bright, shocking and very frank poem by Vladimir Vladimirovich Mayakovsky. This is the author’s very first major work, on which he worked for a whole year. The work is of a sharp revolutionary nature and may interest the reader just by its ambiguous title. The poet put his whole soul into its creation and endowed lyrical hero traits that are also inherent in himself.

At the beginning of the work, Mayakovsky describes how painfully the hero waits for his beloved, he is so looking forward to this meeting that even “my nerves give way!” His thoughts do not obey him, and he is unable to control himself; it begins to seem to him that even the raindrops are grimacing, as if they are mocking him. An uncontrollable intensity of emotions rages inside him, time passes for an unimaginably long time, so long that he ceases to feel it, and he just wants to scream.

The twelfth hour has fallen,
like the head of an executed man from the scaffold

The long-awaited meeting with his beloved fleetingly devastates his heart, because the hero learns that Maria will soon get married. In one moment, the girl was able to extinguish the majestic fire of emotions in his chest. Outwardly, it seems that he does not feel anything, but a hole has formed in his soul, he calls it “the pulse of a dead man”

The young man in love does not want to forget Mary, he says that he is afraid to forget her name, just as the poet is afraid to forget a word equal in greatness to God. So he becomes disillusioned with love and turns to politics.

Further, historical figures, the political system and the mediocre driven crowd are ridiculed, the hero is convinced that all these pathetic people do not know how to truly love, they confuse love with dirt and lust. He wants to forget himself in the wrath of reproof, but he still steps on something that hurts.

In the end, the lyrical hero becomes disillusioned with God, the Creator is powerless for him, even he cannot understand him, see how his heart bleeds, how despair, disappointment and loneliness overtake him.

I thought you were an all-powerful little god, but you’re a dropout, a tiny little god

But thoughts of Mary still continue to poison his consciousness, he screams about his love, although he already understands that this is in vain, since along with his feelings, all the foundations of his worldview that restrained him have collapsed. The hero dreams of revolution in all spheres of life and is ready to devote himself entirely to the restructuring of all living things.

Meaning of the name

Mayakovsky gave the title “Cloud in Pants” to the poem after censorship rejected the original one. At first the work had the title “The Thirteenth Apostle,” but, not wanting to end up in hard labor, the author changed it. “A Cloud in Pants” is a combination of lightness and romance with rudeness and everyday aspects of life; the poet brilliantly combined incompatible characters and images.

Want to -
I'll be crazy about meat
- and, like the sky, changing tones -
want to -

I will be impeccably gentle,
not a man, but a cloud in his pants!

A strong and self-confident man, under the influence of painful emotions and a warm feeling of love, instantly becomes soft and weightless, light and shapeless. Outwardly, he is still stern and calm; Mayakovsky cites these qualities inherent in the male sex in comparison with rough pants. The cloud that they are wearing is a reflection of the inner world of the lyrical hero, who is in limbo. He is gentle and sensitive, he does not have the strength to change what happens around him.

Composition and genre

We have long determined the genre of the work “Cloud in Pants” and are convinced that it is a poem. But it will also be important to know that it has the shape of a tetraptych.
A tetraptych is a work of art that contains 4 parts, united by one plot and semantic line.

The poem consists of a preface, in which the author lays out the main ideological idea of the work, and four parts. Each part identifies the main topics that will be discussed. The main idea is the so-called four cries of the hero: “Down with your love, art, system, religion!” - this is precisely the slogan that the author places in the preface. The beginning of the poem is very lyrical, it tells us about the hero’s emotional experiences, it is from there that we learn about his real feelings for Mary.

In the second part of the poem we will talk about poetry and creativity, which is dying in bourgeois society, but the author believes that after the revolution, poets will be able to save art.
In the third and fourth parts, Mayakovsky expresses his protest against the entire old system; he finds it precisely as the cause of all human troubles.

The image of a lyrical hero

The hero in the poem “Cloud in Pants” is full of real feelings and experiences of the author himself. Mayakovsky allows him to adopt many of his features; it turns out that the poet is trying to express his own “I” in this way. The narrator is presented to us as romantic and sensitive, gentle and vulnerable, but at the same time he is a strong man who has his own personal and confident position. The image is built on a certain contrast that characterizes him as a bright and emotional person who is not going to tolerate human insignificance, he will persistently scream and fight for happiness and a better future not only for himself, but also for others. He intends to lead them with him, staining their hearts with the blood of his heart, which aches for the fate of the fatherland.

But his image cannot be called exclusively rebellious, because he is also driven by ardent feelings for his beloved girl, for life, he experiences a huge internal explosion that hurts him to the core. This means that the hero knows how to truly love, and loves like no one else around him.

Characteristics of the main characters

In the poem “Cloud in Pants” there are not many active characters, they are unique, the images of some of them can even be called dual. Mayakovsky calls the lyrical heroine Maria for a reason. In the fourth chapter, there is an unobtrusive comparison of her image with the biblical images of the Virgin Mary and Mary Magdalene, that is, the name of the narrator’s beloved personifies divine, unearthly love. But the girl rejects the hero, she makes his soul suffer, scream and beg for love, and, in fact, betrays him, sells him, like Judas. For her, money plays an important role, she understands that the hero will not be able to bestow wealth on her, therefore, she exchanges real feelings for material wealth.

Nothing if for now
you instead of the chic Parisian dresses
dressed in tobacco smoke

This feature of the image presentation also concerns the image of God in the poem. At the very beginning, the hero asks him for help, he considers him majestic, capable of giving him the right to mutual love. But it turns out that the heavens betray him, and the hero becomes disappointed in their powers. The Creator is no longer as powerful and omnipotent as before.

Religious allusions

Probably, by ironizing biblical names and heroes, the author expresses his anti-clerical protest, which was characteristic of him. He skillfully introduces political trends of the new time into his love experiences, showing the futility of hopes for heavenly powers. Alas, says the poet, let’s be realistic: in matters of the heart, and in any other matters, God is not our helper, and all the stories about him are fairy tales. For example, Mayakovsky uses the biblical name Maria, but does not speak about the feat of the mother and beloved of Christ, not about devotion, not about sorrow, but turns our established associations upside down. Now Maria is a corrupt girl who is ready to sell her lover for a French dress. This is the essence of a fatal and vicious woman in life, and the author does not believe in the correction of Magdalene on the pages of the book.

Subjects

Of course, the first and most main theme Mayakovsky's poem "A Cloud in Pants" is the theme of unrequited and painful love. It directly intersects with other themes that the author examines in the work: loneliness, rejection of morality and politics, and even atheism. The lyrical hero suffers from unrequited love, and this torment leads him to renounce his own thoughts and beliefs.

In the third part of the poem the theme of disagreement with political structure, the hero literally shouts “down with your system!” The narrator acutely feels how a mass of gray and very similar people with their own hands gives rise to wars and violence, but he is opposed to this world, in his mind there is a struggle with everything that surrounds him.

The crisis of religion at the beginning of the 20th century also took its place of honor in the lyrics of the Russian modernist. He ironically reduces the image of God, reducing his fictitious power to the point of absurdity. The hero now believes only in his own strength and is not going to humble himself.

The poet also raises the topic of art, declaring his aesthetic position: he wants to become the voice of the street, and not the elites with their roses and nightingales. There are more important problems in the new century. He glorifies the people and their proletarian essence, but refuses to recognize the classics (Homer, Goethe) as authority: their time has passed. “I know - the nail in my boot is more nightmarish than Goethe’s fantasy” - the author wants to say that the pressing, real problems of hard workers on the streets are much more important than abstract philosophical questions. He will describe them.

The theme of revolution cannot go unnoticed; the author calls himself its forerunner. He “crucified himself on the cross” in order to cleanse his soul with the blood of suffering and take it in his hands as a banner. He intends to do the same with the readers of the poem, so that they meet the revolution with purified thoughts.

It can be noted that in each part of the poem the leading theme is love, but it is also complemented by other thoughts. First, the lyrical hero is disappointed in his beloved, then in the art around him, then he loses faith in power and, finally, in religion. Thus, the main theme of the poem “Cloud in Pants” is still disappointment. The poet is tired of his surroundings and protests against it, criticizing all spheres of existence. Perhaps the love line was generally invented to divert the eyes of the censors.

What is the meaning of the work?

Vladimir Vladimirovich Mayakovsky calls on disadvantaged and poor people to persistently and persistently demand and achieve their happiness right here and now. He is ready to sing and support protest, renouncing bourgeois classical poetry. The author completely rejects the old foundations, which cannot allow a person to live with dignity and freedom, he opposes the bureaucracy and the bourgeoisie, anticipates the onset of the revolution and is ready to bring its ideas to the masses. The feelings and experiences of the lyrical hero are comparable to the experiences of the people, and all of them are summarized in one image. Love, art, political system and religion must be completely different, the poet does not accept what is happening now (happened then), he is sure that the proletarians are degrading and humiliating themselves before life due to the fault of incorrect art, false religion and an unjust state regime. However, Mayakovsky does not lose faith and hope for a bright future; he is a supporter of the revolution in all areas and directions. The author is convinced that if you mercilessly destroy the wretched old, you can create a bright and completely new one.

The originality of the poem

We can trace the originality and originality of the poem “Cloud in Pants” at the very beginning, when we find out what it is called. Few people will be able to immediately and absolutely accurately guess what will be discussed without reading the text, but simply by looking at its title. Of course, this gives the work a certain elegance and sets it apart from others; one might say that it itself makes one pay attention to itself.

The size and composition of the poem were not typical for Russian literature. The famous “ladder” was invented in Italy by the founder of futurism, Filippo Marinetti. He also developed the ideological and thematic content of the new movement, its manifesto and aesthetic principles. It is known that Mayakovsky was an ardent admirer of his talent, so he adopted his literary style. However, Marinetti was more of a theorist rather than a practitioner, and it was the Russian poet who managed to bring his ideas to perfection. Thus, in the poem “Cloud in Pants” the author embodied the revolutionary spirit of modernism and opened a new page in Russian art, using a new size, innovative rhythm, and many occasionalisms. We have a whole one.

Also, what is unusual and unexpected for Mayakovsky’s contemporaries and for us is the way the author speaks about God and religion. Few people would have dared to speak about it like that at that time, calling the Creator a “dropout” and a “tiny little god.”

Initially, the poem was published with losses; the censor removed several pages from it. Only in Moscow at the beginning of 1918, “The Cloud in Pants” was completely restored and released under Mayakovsky’s own publishing house, and at the very beginning he indicated that the first title, “The Thirteenth Apostle,” had been crossed out by censorship, but he would not return it. Such an adventurous creation story also gives the work revolutionary romance.

Issues

In the poem “A Cloud in Pants” the main problem is the suffering of the people in the world created by the capitalists. Throughout the entire work, Mayakovsky is surprised by the lifestyle of his contemporaries. All images seem low and faceless against the background of the lyrical hero. The feelings that boil within him confidently summarize the severity of the social conflict.

The poem also deals with the problem of dealing with personal internal experiences. The torment of the soul is associated with unrealistic lyrical dreams, the clash of tenderness that was brought up in the heart, and the wretched, unfair reality, where no one values tenderness. The hero is lost in a second last hope on mutual feelings, and this is nothing more than complete devastation, which means inner death.

Against the backdrop of such acute experiences, new, no less exciting problems arise. The catastrophe that happened to the hero pushes him to think about the problem of the immorality of society and subsequently he rejects morality.

The problem of fake art also worries him. Creators do not care about how their works will influence people; they care about canons and grace. The poet cannot understand the hypocritical rules; questions about the poet's purpose torment and torment him. He finds a solution in complete frankness, all that remains is “only solid lips.”

The author also does not ignore political stagnation. An unjust government focused only on own profit, cannot be useful for society, cannot serve its development.

And, of course, he is concerned about the problem of a religious nature. He believes that the fairy tale about God only stupefies the people, leads them to regression, but does not help them at all on the path to self-improvement and development.

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The original title of the poem - "The Thirteenth Apostle" - was replaced by censorship. Mayakovsky said: “When I came to the censorship with this work, they asked me: “What, did you want to go to hard labor?” I said that in no case, that this in no way suits me. Then they crossed out six pages for me, including the title. It's a question of where the title came from. I was asked how I could combine lyrics and great rawness. Then I said: “Okay, if you want, I’ll be like crazy, if you want, I’ll be the most gentle, not a man, but a cloud in my pants.”1

The first edition of the poem (1915) contained a large number of censored notes. The poem was published in its entirety, without cuts, at the beginning of 1918 in Moscow with a preface by V. Mayakovsky: ““Cloud in Pants”... I consider it a catechism for today’s art: “Down with your love!”, “Down with your art!”, “Down with your system.” !”, “Down with your religion” - four cries of four parts.”

Each part of the poem expresses a specific idea. But the poem itself cannot be strictly divided into chapters in which four cries of “Down!” are consistently expressed. The poem is not at all divided into sections with its “Down!”, but is a complete, passionate lyrical monologue, caused by the tragedy of unrequited love. The experiences of the lyrical hero are captivating different areas life, including those where loveless love, false art, criminal power reign, and Christian patience is preached. The movement of the lyrical plot of the poem is determined by the hero’s confession, which at times reaches high tragedy (the first publications of excerpts from “The Cloud” had the subtitle “tragedy”).

The first part of the poem is about the poet's tragic unrequited love. It contains jealousy and pain of unprecedented strength, the hero’s nerves rebelled: “like a sick person, a nerve jumped out of bed,” then the nerves “jumped madly, and the nerves’ legs began to give way.”

The author of the poem painfully asks: “Will there be love or not? Which one is big or tiny? The entire chapter is not a treatise on love, but the poet’s experiences spilled out. The chapter reflects the emotions of the lyrical hero: “Hello! Who's speaking? Mother? Mother! Your son is beautifully sick! Mother! His heart is on fire." The love of the lyrical hero of the poem was rejected (It was, it was in Odessa; “I’ll come at four,” said Maria 2. / Eight. / Nine. / Ten... The twelfth hour fell, / like the head of an executed man from the block; You entered, / sharp, like “here!”, / tormenting the suede gloves, / said: “You know - / I’m getting married”), and this leads him to deny love-sweet-voiced chant, because true love is difficult, it is love-suffering.

His ideas about love are defiant, polemically frank and shocking: “Mary! The poet of the sonnet sings Tiana 3, // and I / am all meat, a whole man - // I simply ask for your body, // as Christians ask - // “Our daily bread - / give us this day.” For the lyrical hero, love is equivalent to life itself. Lyricism and rudeness here outwardly contradict each other, but from a psychological point of view, the hero’s reaction is understandable: his rudeness is a reaction to the rejection of his love, it is a defensive reaction.

V. Kamensky, Mayakovsky’s companion on a trip to Odessa, wrote about Maria that she was a completely extraordinary girl, she “combined the high qualities of a captivating appearance and an intellectual aspiration for everything new, modern, revolutionary...” “Excited, tossed up by a whirlwind of love experiences, after the first dates with Maria, - says V. Kamensky, - he flew into our hotel like a festive spring sea wind and enthusiastically repeated: “This is a girl, this is a girl!”... Mayakovsky, who had not yet known love, for the first time I experienced this enormous feeling that I could not cope with. Engulfed in the “fire of love,” he did not know what to do, what to do, where to go.”

The hero's unsatisfied, tragic feelings cannot coexist with cold vanity, with refined, refined literature. To express authentic and strong feelings the street lacks words: “the street is writhing, tongueless - it has nothing to shout or talk with.” Therefore, the author denies everything that was previously created in the field of art:

I put “nihil” over everything that has been done.

Of all types of art, Mayakovsky turns to poetry: it has become too detached from real life and from the real language spoken by the street, the people. The poet exaggerates this gap:

and in the mouths of dead words corpses decompose.

For Mayakovsky, the soul of the people is important, and not its external appearance (“We have smallpox from the soot. I know that the sun would darken if it saw the gold placers of our souls”). The third chapter is also devoted to the topic of poetry:

And from the cigarette smoke / the drunken face of the Northerner stretched out like a liqueur glass. How dare you call yourself a poet And, little gray one, chirp like a quail. Today / we must / use brass knuckles / to cut the world into the skull.

The lyrical hero declares his break with previous poets, with “pure poetry”:

From you, who were wet with love, from whom / a tear flowed for a century, I will leave, / I will insert the sun with a monocle into my widely spread eye.

Another “down” of the poem is “down with your system”, your “heroes”: “iron Bismarck”, billionaire Rothschild and the idol of many generations - Napoleon. “I will lead Napoleon on a chain like a pug,” the author declares.

The theme of the collapse of the old world runs through the entire third chapter. In revolution, Mayakovsky sees a way to put an end to this hated system and calls for revolution - for this bloody, tragic and festive action, which should burn out the vulgarity and dullness of life:

Go! / Let's paint Mondays and Tuesdays with blood during the holidays! Let the earth under the knives remember who it wanted to vulgarize! Earth, / fattened like the mistress whom Rothschild fell in love with! So that the flags flutter in the heat of gunfire, like every decent holiday, raise the lampposts higher, the bloody carcasses of the meadowsweet.

The author of the poem sees the coming future, where there will be no loveless love, bourgeois refined poetry, bourgeois system and religion of patience. And he himself sees himself as the “thirteenth apostle”, “forerunner” and herald of the new world, calling for cleansing from colorless life:

I, ridiculed by today's tribe, like a long obscene joke, see time moving through the mountains, which no one sees. Where the eye of people breaks short, the head of the hungry hordes, the sixteenth year is coming in the crown of thorns of revolutions. And I am your forerunner!

The hero strives to melt his unrelieved pain; he, as it were, rises to a new height in his personal experiences, trying to protect the future from the humiliations that befell him. And he begins to see how his grief and the grief of many will end - in the “sixteenth year.”

The hero goes through a painful path of ups and downs in the poem. This became possible because his heart is full of the deepest personal experiences. In the fourth chapter of the poem, hopeless longing for his beloved returns. "Maria! Maria! Maria!" - the name sounds hysterically as a refrain, in it - “a born word, equal in greatness to God.” The prayers and confessions are confusing and endless - there is no answer from Mary. And a daring rebellion against the Almighty begins - “a half-educated, tiny little god.” Rebellion against the imperfections of earthly relationships and feelings:

Why didn’t you come up with a way to kiss, kiss, kiss without pain?!

The lyrical hero of the poem is a “handsome twenty-two-year-old.” With the maximalism of a young man entering life, the poem expresses the dream of a time devoid of suffering, of a future existence where “millions of huge pure loves” will triumph. The theme of personal, unresolved turmoil develops into a glorification of future happiness.

The author is disappointed in the moral power of religion. The revolution, according to Mayakovsky, should bring not only social liberation, but also moral cleansing. The anti-religious pathos of the poem was sharply defiant, repelling some and attracting others. For example, M. Gorky was “struck by the atheistic current in the poem.” “He quoted verses from “A Cloud in Pants” and said that he had never read such a conversation with God... and that Mayakovsky had a great time with God” 4.

I thought - you are an all-powerful god, but you are a half-educated, tiny god. You see, I bend down, / from behind my boot I take out a shoe knife. Winged scoundrels! / Cuddle in paradise! Ruffle your feathers in frightened shaking! I will open you, smelling of incense, from here to Alaska! ...Hey you! Sky! / Take off your hat! I'm coming! Deaf. The universe sleeps with its huge ear resting on its paw with pincers of stars.

Features of Mayakovsky's poetics

V. Mayakovsky's poem "A Cloud in Pants" (like his other works) is characterized by hyperbolism, originality, and planetary comparisons and metaphors. Their excessiveness sometimes creates difficulties for perception. M. Tsvetaeva, for example, who loved Mayakovsky’s poems, believed that “It is unbearable to read Mayakovsky for a long time due to purely physical waste. After Mayakovsky you need to eat a lot and for a long time.”

K.I. drew attention to the difficulty of reading and understanding Mayakovsky. Chukovsky: “Mayakovsky’s images surprise and amaze. But in art this is dangerous: in order to constantly amaze the reader, no amount of talent is enough. In one poem by Mayakovsky we read that the poet is licking a red-hot brazier, in another that he swallows a burning cobblestone, then he takes out the spine from his back and plays it like a flute. It's stunning. But when on other pages he pulls out his living nerves and makes a butterfly net out of them, when he makes himself a monocle out of the sun, we almost cease to be surprised. And when he then dresses the cloud in pants (the poem “Cloud in Pants”), he asks us:

Here, / do you want / to take out a whole blooming grove / from your right eye?!

the reader doesn’t care anymore: if you want it, take it out; if you don’t want it, no. You won't get through to the reader anymore. He became numb" 5 . In his extravagance, Mayakovsky is sometimes monotonous and therefore few people love his poetry.

But now, after the recent heated debate about Mayakovsky, the attempts of some critics to throw Mayakovsky himself off the ship of modernity, it is hardly worth proving that Mayakovsky is a unique, original poet. This is a poet of the street and at the same time a subtle, easily vulnerable lyricist. At one time (in 1921) K.I. Chukovsky wrote an article about the poetry of A. Akhmatova and V. Mayakovsky - the “quiet” poetry of one and the “loud” poetry of the other poet. It is quite obvious that the poems of these poets are not similar, even polar opposites. Who does K.I prefer? Chukovsky? The critic not only contrasts the poems of the two poets, but also brings them together, because they are united by the presence of poetry in them: “To my surprise, I love both equally: Akhmatova and Mayakovsky, for me they are both mine. For me there is no question: Akhmatova or Mayakovsky? I love both that cultured, quiet, old Rus' that Akhmatova embodies, and that plebeian, stormy, square, drum-bravura Russia that Mayakovsky embodies. For me, these two elements do not exclude, but complement one another, they are both equally necessary” 6.

Eleventh grade students gain valuable knowledge by getting acquainted with the works of classics of world and domestic literature, and the solution olympiad assignments- This is a great way to organize and systematize the material you have covered.

On this page we have collected examples of Olympiad tasks for grade 11 with answers. The presented tasks are compiled taking into account school curriculum and are dedicated to the main program works, as well as to the personalities of the writers. We suggest using our website as a simulator for preparing for the real Olympiad.

Literature Olympiad 11th grade

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Test tasks

1. The main character of the novel by M. Bulgakov, the Master endured many trials. At some point, unable to bear it, he burned his manuscript. What the Master deserves for his creativity:

A) light
B) bliss
B) peace, silence
D) wealth

2. When Mayakovsky gave this work to the censor, he was asked: “Do you want to go to hard labor?” This poem expresses the character of the author. Which?
A) “Cloud in pants”
B) “At the top of my voice”
B) "Man"
D) "Okay"

3. The image of Eugene Onegin is ambiguous, as the critic defined it, “a suffering egoist.” What disease overcame E. Onegin in his youth:
A) headache
B) blues
B) cold
D) diphtheria

4. Marina Tsvetaeva – great poet, an original poetess. One of the features of her lyrics:
A) understatement, ellipses
B) many pauses expressed with dashes
B) enthusiasm and exclamation marks
D) interrogative sentences

5. One of the techniques that F.M. uses in his novel “Crime and Punishment” Dostoevsky used dreams to express the character of the main character. What is the last dream of Rodion Raskolnikov described in the novel about:
A) About the death of the horse
B) About the pestilence
C) About “trembling creatures” and “having the right”
D) About Porfiry Petrovich

6. Pavel Petrovich, Bazarov’s opponent in Turgenev’s novel “Fathers and Sons,” was a sybarite. What is the meaning of this word:
A) a person who constantly argues with someone
B) a person in love
C) one who loves everything foreign
D) a spoiled person

7. In Griboyedov’s immortal comedy “Woe from Wit” there are a lot of aphorisms, catchphrases. What is the continuation of one of them: “Went into the room...
A) went into the wards
B) hit another
B) went to the ball
D) he entered the hall

8. In Pasternak’s novel “Doctor Zhivago” main character was not only a doctor, but also a poet. Which poem, according to the author, belongs to the main character:
A) “The candle was burning on the table, the candle was burning...”
B) “Loving others is a heavy cross...”
B) “A ghost is wandering around the house...”
D) “No one will be in the house...”

9. In Goncharov’s novel “Oblomov,” Ilya Ilyich spends most of his life on the couch. His way of life and worldview are from childhood, from Oblomovka. The Oblomovites loved to sleep and eat. They “agreed to endure all sorts of inconveniences rather than...”
A) offend someone
B) live in comfort
B) spend money
D) refuse lunch

10. The fourth act of Ostrovsky’s “The Thunderstorm” takes place in the gallery of a dilapidated building with the remains of a fresco. What does it show?
A) the image of the Madonna
B) fiery Gehenna
B) nine circles of hell
D) Petrovskaya battle

Open questions

Question 1
Using the definition below, determine what literary concept we are talking about.

A)… - one of the tropes, a type of metonymy, transferring the meaning of one word to another based on the replacement of quantitative relations: a part instead of the whole (“A lonely sail turns white” - M.Yu. Lermontov - instead of a boat - a sail); singular instead of plural (“And the slave blessed fate” - “Eugene Onegin” by A.S. Pushkin; “But old age walks carefully / And looks suspiciously.” - A.S. Pushkin, “Poltava”, canto 1; “From here We will threaten the Swede” - A.S. Pushkin, “The Bronze Horseman”); the whole is taken instead of the part (“They buried him in the globe, / And he was only a soldier” - S. Orlov).

B)… - a fictional picture of an ideal life arrangement. The term is associated with the title of the work of the English writer Thomas More (1478-1535), who, criticizing the exploitative society in his work, painted a world where everyone works and is happy. His follower is the great Italian humanist T. Campanella. (“City of the Sun”), English socialist writer W. Morris (“News from Nowhere”) and others.

Question 2
Determine the size of the poem:
And the proud Demon will not lag behind,
As long as I live, from me,
And my mind will not illuminate
A ray of wonderful fire.
Shows an image of perfection
And suddenly it will be taken away forever.
And giving a premonition of bliss,
Will never give me happiness.
M. Yu. Lermontov

Question 3
Determine the artistic means of expression used by the poet S. A. Yesenin to create the image:
A) Dawn with a hand of coolness exactly
Knocks down the apples of dawn.
B) Xin alternately dozes and sighs.
B) Like earrings, a girl’s laughter will ring.
D) In the false waters there is a ringing furrow
D) The poplars are withering loudly

Question 4
We brought it to the Smolensk Intercessor,
Brought to the Blessed Virgin Mary
In your arms in a silver coffin
Our sun, extinguished in agony, -
Alexandra, the pure swan.

For whom is this lamentation and why is the Smolensk Mother of God mentioned?

Question 5
What is the name of the introductory part of a literary work, which depicts the events that begin the unfolding of the plot narrative, and also sets the arrangement and relationships of the characters.

Answers to tests

Test	№ 1	№ 2	№ 3	№ 4	№ 5
Answer	IN	A	B	B	B

Test	№ 6	№ 7	№ 8	№ 9	№ 10
Answer	G	B	A	IN	B

Answers to discovery questions

Answer to question 1: A - Synecdoche, B - utopia
Answer to question 2: Iambic
Answer to question 3: A) Personification, B) Metaphor, C) Simile, D) Epithet, E) Sound recording.
Answer to question 4: A. Blok, Smolensk Cemetery
Answer to question 5: Exposition

The purpose of the lesson: show the logic of development of the idea of the work.

Methodical techniques: analytical reading of the poem.

During the classes.

I. Verification homework.

Reading and discussion of selected poems.

II. Teacher's word

From his earliest poems, Mayakovsky was characterized by excessive lyrical openness, reckless inner openness. There is practically no distance between the specific lyrical “I” of the poet and his lyrical hero. The lyrical experiences are so intense that, no matter what he writes about, a sharp lyrical, individual intonation permeates the fabric of his poetry. This is also his first poem with the mysterious and shocking title “A Cloud in Pants” (1915). Mayakovsky himself defined it as a “tetraptych”, the meaning of the four parts of which is “down with your love”, “down with your art”, “down with your system”, “down with your religion”.

III. Analytical conversation

What associations reminiscences does this definition of Mayakovsky evoke?

(The categorical nature of the lyrical hero’s judgments and statements recalls the uncompromising nihilism, rebellion of Bazarov. Let us remember the subject of disputes between Bazarov and Kirsanov - it practically coincides with what Mayakovsky writes about.)

What image unites the parts of the poem?

(The parts of the poem are connected by the leading image - the lyrical “I”.)

In what ways is he portrayed?

(The main image technique is antithesis . The opposition to the entire society in the prologue of the poem grows to the opposition to the entire universe at the end. This is not just a dispute, it is a daring challenge, so characteristic of the work of early Mayakovsky (remember the poems “Here!”, "To you!"):

Your thought
dreaming on a softened brain,
like an overweight lackey on a greasy couch,
I will tease about the bloody flap of the heart,
I mock him to my heart's content, impudent and caustic. ("Cloud in Pants", intro)

Only an incredibly powerful personality can resist anything and everything and not break. Hence the next trick - hyperbolization image: “Having enlarged the world with the power of my voice, / I walk, handsome, / twenty-two years old”; hyperbole can be combined with a comparison: “like the sky, changing tones.” The range of this personality is poles: “mad” - “impeccably gentle, / not a man, but a cloud in his pants!” This is how the meaning of the title of the poem manifests itself. This is self-irony, but the main feeling that captured the hero is indicated: “tenderness.” How does it fit in with the rebellious element of the poem?

How is love portrayed in the poem?

First part- an extremely frank story about love. The reality of what is happening is consciously emphasized: “It was, / was in Odessa.” Love does not transform, but distorts the “block” of a person: “They couldn’t recognize me now: / the sinewy hulk / groans, / writhes.” It turns out that this “block” “wants a lot.” “Much” is actually very simple and human:

After all, it doesn’t matter to yourself
and the fact that it is bronze,
and that the heart is a cold piece of iron.
At night I want my own ringing
hide in something soft
into women's.

The love of this “hulk” should be a “small, humble darling.” Why? The community is exceptional, there is no other. The affectionate neologism “liubenochek,” reminiscent of “baby,” emphasizes the strength of feeling and touching tenderness. The hero is at the limit of feeling, every minute, hour of waiting for his beloved is agony. And as a result of suffering - execution: “The twelfth hour fell, / like the head of an executed man falling from the block.” Nerves are exposed and frayed. The metaphor is realized “Nerves / big, / small, / many! - / they are jumping madly, / and already / their legs are giving way from their nerves!”

Finally, the heroine appears. The conversation is not about love and dislike. The effect on the lyrical hero of the words of his beloved is conveyed by the grinding sound recording:

You came in
sharp, like “here!”
mucha suede gloves,
said:
"You know -
I'm getting married".

What techniques are used to convey the hero’s psychological state?

The psychological state of the hero is conveyed very strongly - through his external calm: “See - how calm he is! / Like the pulse of a dead man”; “and the worst thing / you saw was my face / when / I was absolutely calm?” Internal suffering, the tornness of the soul are emphasized by transference (enzhanbeman): you need to restrain yourself, and therefore speak clearly, slowly, measuredly.

“The fire of the heart” burns the hero: “I’ll jump out! I'll jump out! I'll jump out! I'll jump out! / Collapsed. / You won’t jump out of your heart!” Here the phraseology “the heart jumps out of the chest” is turned inside out. The catastrophe that befell the hero is comparable to world catastrophes: “The last cry, / even / that I’m burning, will groan for centuries!”

What is the logic of development of the poem in the second part?

The tragedy of love is experienced by the poet. It's logical that The second part- about the relationship between the hero and art. The part begins with the hero’s decisive statement: “I put “nihil” (“nothing”, lat.) over everything that has been done. The hero denies the “tormented”, sluggish art, which is done like this: “before it begins to sing, / they walk for a long time, limp from fermentation, / and quietly flounder in the mud of the heart / the stupid roach of the imagination.” “Boiling” “some kind of brew out of love and nightingales” is not for him. These “loves” - “nightingales” - are not for the street, which “writhes tongueless.” Bourgeoisism and philistinism filled the city, crushing living words with their carcasses. The hero shouts, calling for a rebellion against “those sucked with a free app / to every double bed”: “We ourselves are the creators in the burning hymn!” This is a hymn to living life, which is placed above the “I”:

I,
golden-mouthed,
whose every word
newborn soul,
birthday body
I tell you:
the smallest speck of living dust
more valuable than anything I will do and have done!
(Please note neologisms Mayakovsky).

His role as “cry-lipped Zarathustra” ( Nietzschean motifs are generally strong in early Mayakovsky), speaking about the coming “in the crown of thorns of revolutions” “sixteenth year,” he clearly defines:

And I am your forerunner!
I am where the pain is, everywhere;
on every tear drop
crucified himself on the cross.

How do you understand these words?

Here the hero already identifies himself with God himself. He is ready for self-sacrifice: “I will pull out the soul, / trample it, / so that it’s big! - / and I will give the bloody one as a banner.” This is the goal and purpose of poetry and the poet, worthy of the “hulk” of the hero’s personality.

How is this goal illustrated in Part Three?

The thought of the poem logically moves to those who are to be led under this “banner” made from the hero’s “trampled soul”:

From you,
who were wet with love,
from which
for centuries a tear has flowed,
I'll leave
sun monocle
I’ll insert it into the wide open eye.

There is vulgarity, mediocrity, ugliness all around. The hero is sure: “Today / we must / use brass knuckles / to cut the world into the skull!” Where are the “geniuses” recognized by humanity? The following fate is destined for them: “I will lead Napoleon on a chain like a pug.” This vulgar world must be destroyed at all costs:

Take your hands out of your trousers -
take a stone, a knife or a bomb,
and if he has no hands -
come and fight with your forehead!
Go, you hungry ones,

Sweaty,
humble,
soured in flea-filled dirt!
Go!
Mondays and Tuesdays
Let's paint it with blood for the holidays!

The lyrical hero himself takes on the role of the “thirteenth apostle.” With God he is already easily: “maybe Jesus Christ is sniffing / my soul’s forget-me-nots.” -

How does the lyrical love theme manifest itself in the fourth movement? How does it change?

From global plans to remake the world, the hero returns to thoughts about his beloved. However, he did not escape these thoughts; they were only sublimated in a powerful creative attempt to challenge the entire universe. The name "Maria" is shouted repeatedly. This is a plea for love. And the hero becomes submissive, almost humiliated, “just a man”: “and I am all meat, / I am all man - I simply ask for your body, / as Christians ask - “give us this day our daily bread.” The beloved replaces everything, she is necessary, like “daily bread.” The poet speaks of his “word born in agony”: it is “equal in greatness to God.” This, of course, is blasphemy, gradually developing into rebellion against God.

The refusal of his beloved provokes this rebellion of the suffering and desperate hero. At first he is simply familiar:

Listen, Mister God!
Aren't you bored?
Into the cloudy jelly
Soak your sore eyes every day?

Then familiarity goes beyond all boundaries: the hero is already on first name terms with God, openly rude to him:

Shaking your head, curly?
Will you raise your gray eyebrow?
You think -
this,
behind you, winged one,
knows what love is?

The main accusation against God is not the incorrect structure of the world, not social injustice. The imperfection of the world is “why didn’t you invent / so that it would be painless / to kiss, kiss, kiss?!” The hero’s despair reaches the point of frenzy, rage, almost madness, he shouts out terrible blasphemies, the elements overwhelm him:

I thought you were an all-powerful god,
And you are a dropout, tiny god.
You see I'm bending over
Because of the boot
I take out a shoe knife.
Winged scoundrels!
Hang out in paradise!
Ruffle your feathers in frightened shaking!
I will open you, smelling of incense
From here to Alaska!
Let me in!
Can't stop me.

And suddenly he humbles himself: “Hey, you! / Sky! / Take off your hat! / I'm coming! (he is already speaking with the sky again, although his pride has not yet been strangled). Nothing listens to the hero: “Deaf. / The universe sleeps, / with its huge ear resting on its paw / with the pincers of the stars.”

IV. Teacher's final words

Violently conflicting with the world, the hero reveals his rebellious essence. The hero’s inconsistency, the combination in him of extreme “looseness” and extreme tenderness, aggravate the conflict. The inconsistency that tears apart the hero dooms him to tragic loneliness.

V. Workshop on the poem by V.V. Mayakovsky “Cloud in Pants”

1. Poet Nikolay Aseev wrote: “A Cloud in Pants” is a mocking title that replaced the original one, prohibited by censorship, and was the first experience of a large theme built on the opposition of existing routines, institutions, institutions to what is replacing them, what is felt in the air, felt in the verse - the future revolution."

Why, according to Aseev, is the title of the poem “Cloud in Pants” “mocking”?

What did Aseev mean by “experiment on a big topic”?

What is the “contrast with existing routines”? Give examples from the text.

2. V. Mayakovsky said in March 1930: “It (“Cloud in Pants”) began as a letter in 1913/14 and was first called “The Thirteenth Apostle.” When I came to the censorship with this work, they asked me: “What, do you want to go to hard labor?” I said that in no case, that this did not suit me in any way. Then they crossed out six pages for me, including the title. It's a question of where the title came from. I was asked how I could combine lyrics and great rawness. Then I said: “Okay, if you want, I will be like crazy, if you want, I will be the most gentle, not a man, but a cloud in my pants.”

Why did the original title of the poem “The Thirteenth Apostle” evoke the idea of hard labor among the censors?

What is the combination of “lyricism and great rudeness” in the poem “Cloud in Pants”? Give examples from the text.

What is the meaning of the new title of the poem? How does the poet himself explain it? Does the title “Cloud in Pants” reflect the character of the lyrical hero of the work?

3. “Poems and poems created in 1915.(“Clouds in Pants”, “Flute and Spine”), they said that a major humanist poet and soulful lyricist had come to literature. In a poem about love robbed modern life(“Cloud in Pants”), the voice of the author himself sounds loudly, the facts of his biography acquire a high poetic generalization here...” (K. D. Muratova).

What are the “facts... biography” of V. Mayakovsky that can be recognized in his poem?

According to Muratova, in the poem “the voice of the author himself sounds loudly,” is this true? Justify your answer, give examples from the text.

4. K.D. Muratova writes about “Cloud in Pants”: “The poem is given great originality by its metaphorical richness; almost every line in it is metaphorical. An example of a materialized metaphor is the line “the fire of the heart” of the poet, which is extinguished by firefighters, or “sick nerves” that “thrash around in a desperate tap dance,” causing the plaster on the ground floor to collapse.”

What gives grounds to say that in the poem “almost every line is metaphorical”? Do you agree with the critic's statement?

What do you think is meant by the term “materialized metaphor”? Give examples of such metaphors in the text of the poem.

5. “One of the main features is visible in “The Cloud...” Mayakovsky's thinking: the ability for powerful associative condensations of themes, images, plots that are very far from each other. What do they have in common? Severyanin, Bismarck and “meadowsweet carcasses”? And what do they have to do with the suffering rejected lover - the “thirteenth apostle”, now offering God to have “girls” in heaven, now threatening him with a knife? (S. Bovin).

What, according to Bovin, is main feature"Mayakovsky's thinking"? Find examples of this type of thinking in the text.

The researcher poses certain questions to the reader regarding Mayakovsky's work. Try to answer them yourself. Are there any answers to them in the poem itself?

6. A.A. Mikhailov writes about “A Cloud in Pants”: “Blasphemy, aggressive language, street rudeness and deliberate anti-aestheticism reveal anarchic tendencies, the rebellious element of the poem. And although Mayakovsky, blaspheming, exalts a person, the elements overwhelm him: “Take your hands out of your trousers, you walkers, take a stone, a knife or a bomb...”

What does the critic say about the “anarchic tendencies” and the “rebellious element of the poem”? Do you agree with this?

How, in your opinion, does Mayakovsky “elevate man” by “blaspheming”? Give examples from the text.