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.
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.
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.
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.
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.
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.
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.
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.
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.
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