Verse Form and Meaning in the Poetry of Vladimir Maiakovskii 

Robin Aizlewood

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CC BY-NC 4.0
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MHRA Texts and Dissertations 26

Modern Humanities Research Association

1 January 1989

ISBN: 978-1-839546-63-1 (Hosted on this website)

Open Access with doi: 10.59860/td.b7c0aea

ModernRussianPoetryopen


Maiakovskii himself said that a rhythmical 'rumble' was the basis of his verse, and demonstrated the actual generation of his verse from the bare rhythmical gul through intermediate versions to its final verbal form. In this study Aizlewood examines the role played by meter in Maiakovskii's first major work Vladimir Maiakovskii. Tragediaa, and in five main love poems. These works can be interpreted as a composite whole, a single text in effect: the Tragedy serves as an introduction to an exploration in five parts of the theme of love.

This book, originally published in paperback in 1989 under the ISBN 978-0-947623-22-7, was made Open Access in 2024 as part of the MHRA Revivals programme.

Contents:

i-xi, 1-372

Verse Form and Meaning in the Poetry of Vladimir Maiakovskii
Robin Aizlewood
Complete volume as single PDF

The complete text of this book.

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i-xi

Verse Form and Meaning in the Poetry of Vladimir Maiakovskii: front matter
Robin Aizlewood
doi:10.59860/td.c8cd821

Contents, List of Abbreviations, and Preface.

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1-7

Introduction
Robin Aizlewood
doi:10.59860/td.c0535de

This study explores the role of verse form, as presented in 'Kak delat' stikhi', Maiakovskii's first major work Vladimir Maiakovski. Tragediia and five main love poems Oblako v shtanakh, Fleita-pozvonochnik, Chelovek, Liubliu, and Pro eto. These works can be interpreted as a composite whole, a single text in effect, an interpretation confirmed by the poet himself both within the texts and elsewhere: the Tragedy serves as an introduction to an exploration in five parts of the theme of love, with Oblako v shtanakh, Chelovek, and Pro eto as a central trilogy, the major explorations of the theme.

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8-25

Chapter I: 'Kak delat´ stikhi'
Robin Aizlewood
doi:10.59860/td.c162a25

In his major theoretical article 'Kak delat' stikhi' (1926) Maiakovskii identifies the basis of verse as a rhythmical 'rumble', and then, in a unique account of the creative process, he demonstrates the actual generation of verse from this bare rhythmical form to its final verbal form.

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26-80

Chapter II: Vladimir Maiakovskii. Tragediia
Robin Aizlewood
doi:10.59860/td.c271e6c

The composite title of Maiakovskii's first major work Vladimir Maiakovskii. Tragediia (1913) indicates both the central subject and the dominant mode of his lyric poetry, and also implies a shift in the relationship of the poet to his work.

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81-134

Chapter III: Oblako v shtanakh
Robin Aizlewood
doi:10.59860/td.c38124f

In Oblako v shtanakh (1914-15), his 'second tragedy' as he called it, Maiakovskii explores his role and place in the world through and in love.

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135-44

Chapter IV: Fleita-pozvonochnik
Robin Aizlewood
doi:10.59860/td.c490696

Fleita-pozvonochnik (1915) is devoted to the great love of Maiakovskii's life, Lily Brik. It is a poem of constant, but apparently unrequited, love, love as a personal hell, and it stays within this personal world without exploring the human condition more generally.

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145-215

Chapter V: Chelovek
Robin Aizlewood
doi:10.59860/td.c59fadd

In Chelovek Maiakovskii places the heart at the centre of the human condition, but, although the poet hero's heart can potentially transform the world and his love could lead to liberation, the human condition as he experiences it in the poem is not one of freedom but of chains.

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216-25

Chapter VI: Liubliu
Robin Aizlewood
doi:10.59860/td.c69649c

After lying dormant for some four to five years the theme of love is revived in Liubliu (1922). It is a poem of contented love, and like Fleita-pozvonochnik, the other minor exploration of the theme, it stays within this personal world without exploring the human condition more generally.

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226-306

Chapter VII: Pro eto
Robin Aizlewood
doi:10.59860/td.c6b16a3

Pro eto, Maiakovskii's last great love poem, was written between 28 December 1922 and 28 February 1923, a period of separation from Lily Brik which was agreed upon as a result of difficulties in their relationship. This separation is a renewed 'homelessness' for Maiakovskii. Maiakovskii's letters to Lily Brik from this period are invaluable as a background to the poem, but the separation from Lily Brik was probably only the final catalyst in the creation of the poem.

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307-19

Notes and References
Robin Aizlewood
doi:10.59860/td.c8cd820

Texts of the endnotes to the Preface, Introduction, and Chapters I to VII.

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320-72

Appendices and Bibliography
Robin Aizlewood
doi:10.59860/td.c0535e7

Appendix I. Vladimir Maiakovskii. Tragedia. Appendix II. Oblakovshtanakh. Appendix III. Fleita-pozvonochnik. Appendix IV. Chelovek. Appendix V. Liubliu. Appendix VI. Pro eto. Bibliography.

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Bibliography entry:

Aizlewood, Robin, Verse Form and Meaning in the Poetry of Vladimir Maiakovskii, MHRA Texts and Dissertations, 26 (MHRA, 1989)

First footnote reference: 35 Robin Aizlewood, Verse Form and Meaning in the Poetry of Vladimir Maiakovskii, MHRA Texts and Dissertations, 26 (MHRA, 1989), p. 21.

Subsequent footnote reference: 37 Aizlewood, p. 47.

(To see how these citations were worked out, follow this link.)

Bibliography entry:

Aizlewood, Robin. 1989. Verse Form and Meaning in the Poetry of Vladimir Maiakovskii, MHRA Texts and Dissertations, 26 (MHRA)

Example citation: ‘A quotation occurring on page 21 of this work’ (Aizlewood 1989: 21).

Example footnote reference: 35 Aizlewood 1989: 21.

(To see how these citations were worked out, follow this link.)


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