A cloud in pants expressive means. "Cloud in pants" - Lesson. §2. Barbarisms, archaisms, neologisms

Main Department of Education Krasnoyarsk Territory

Krasnoyarsk State Pedagogical University

Department of Philological Sciences

COURSE

JOB

Figurative means of poetic language

(based on the poems of V.V. Mayakovsky).

Metaphorization in lyrics

V.V. Mayakovsky

Completed by: Tikhonova O.V.

Specialty 0302

Russian language and literature

Course 3 form of study distance learning

Checked:

Chapter I: Lexical means of figurative language (based on Mayakovsky's poems)

§ 1. Dialectisms

jargon

Vulgarisms

§2. barbarisms

Archaisms

Neologisms

Chapter II: Means of figurative expressiveness of language

§1. Paraphrase

Comparison

§2.Metaphor

Metaphorization in Mayakovsky's lyrics

§ 3. Personification

Personification

Allegory

Metonymy, synecdoche

Chapter III: Poetic syntax and elements of phonics.

§1. Figures of poetic speech

polyunion

Non-union, inversion

§2.- Break

Rhetorical appeal, question, statement, exclamation.

§3 Phonics

Alliteration, assonance.

Conclusion

Bibliography.

Chapter I : lexical means of figurative language.

§1. Dialecticisms, jargonisms, vulgarisms.

Language is the most important means of depicting life in literature. Poetry reveals its enormous pictorial possibilities.

“Poetry,” Belinsky noted, “is the highest kind of art. Every other art is more or less sedate and limited in its creative activity the material through which it manifests itself... Poetry is expressed in the free human word, which is language, and picture, and a definite, clearly articulated representation. Therefore, poetry contains all the elements of other means, as if using suddenly and inseparably all the means that are given separately to each of the other arts. Necessary for the figurative reproduction of life, the meaning and figurative-expressive accuracy and brightness of the language are associated with a particularly careful selection and artistic use of linguistic material in works of art. An artistic-figurative language is a language that is given the properties of a figurative reproduction of reality. This is a language that conveys the individual in people and life phenomena in a pictorial way, i.e. in direct life form. The creation of the imagery of the language is facilitated by special figurative and expressive means, such as, for example, tropes, figures of poetic speech. However, language becomes figurative only in an integral system of all means of revealing the content in a work (characters, conflicts, plot, composition).

The most important figurative means of language in the system of poetic speech are: lexical means of figurativeness of the language and means of figurative expressiveness of the language.

Lexical material is used to highlight, emphasize individual characteristic features of the depicted, to further enhance their configuration. For example, the social environment to which the actors belong is drawn through language.

This is how dialectisms are used in literature - specific words and expressions characteristic of local dialects, dialects.

Their use helps the writer to set off the originality of the local color. Additional means of emphasizing the characteristic in the life of the characters are professionalisms - words and expressions associated with a particular profession, a special occupation of a person. IN special occasions jargon can also be included in the language of a work of art - words and expressions of a conventional language used in small social groups, societies, circles (thieves' jargon, street "argot", etc.)

The so-called “vulgarisms” adjoin jargonisms, i.e. used in the literature of rough words of vernacular ("bastard", bitch, etc.)

For example:

Repeatedly attacked

Looking for speeches

And cheeky.

But poetry is

The weirdest thing

Exists-

And not in the tooth with a foot "

(V.V. Mayakovsky)

Dialetisms, professionalisms, jargon, vulgarisms are used in literature as means of additional detailing of the uniqueness of life that exists in the language, which is recreated in this work. So, Mayakovsky, in order to describe the characters of his poem “Good”, “twang”, continuing the “case of Stenka with Pugachev” in a warehouse of speech:

"Oh, apple,

clear colors.

Bay right white

Red on the left"

Mayakovsky called to hone the poetic language for the motley turbulent flow of life. A purely urban poet, although he exposed the vulgarity and filth of life, Mayakovsky boldly introduced the language of the street into poetry, including “street, even very rude words and expressions. For futurists, "all words are good ... Futurists ... once and for all broke with lexical purity: street jargon prevails among them," said M.M. Bakhtin.

1) "Unimportant honor,

So that from such roses

My sculptures rose

Through the squares

Where does tuberculosis spit

Where would ... with a bully

2) “The tramp grew and those

Thirteen

Scored, hurt, plugged ... "(" Good ")

3) “Today with a batman:

Shout out to him - Hey

Sour chibletin,

To see the snout in her! ("Fine")

4) Shafts

Or by car

But only

Arshin in the snow.

Bullet again swearing.

“Did you go blind from the NEP?!

What are the eyes for?

Your mother raznep!

Costumed!" ("About it")

It is in the area of ​​various "jargonisms" that the stylistic diversity of works lies, the author uses those forms of a living spoken language that have "settled" and are familiar in certain living conditions in separate layers.

§2. Barbarisms, archaisms, neologisms.

Barbarism is the introduction of the words of a foreign language into coherent speech. The functions of barbarisms are different. Sometimes they are used in search of an exact term that is absent in the Russian language. Sometimes, to free the concept from extraneous associations associated with the Russian language. Sometimes this is done to update the sound composition of speech. Often barbarisms are used to convey local color. This is how Mayakovsky draws the image of foreign interventionists who brought down their armies on the country of the Soviets:

"it's e long way tu Tipereri,

its a long way tu go!"...

Damn you

Rotten

Kingdoms and democracies

With their

Soaked

"fraternite" and "aralite"

(French "brotherhood" and "equality") ("Good")

He plays with someone else's word.

Archaisms are words that are obsolete, obsolete. Often archaisms are signs of a sublime style of poetic speech. The sharpness with which archaisms stand out against the background modern language, makes it possible to significantly enhance its emotional expressiveness with their help. So in Mayakovsky's poem "War and Peace" the solemn pathos of the poet's speech, angrily denouncing "the most monstrous of hyperbole" - the imperialist massacre, is emphasized by a number of archaisms ("Good for you. The dead have no shame"; I’ll wake up today ”; “Shy away in fear, the evening is different”; “Wrinkles of the trenches lay on the forehead”) Archaisms are also used in sharply satirical speech. In Mayakovsky, in the same poem from the dialogue between Madame Kuskova and Mimokov (“I used to keep in my memory a lot of old tales, fables about kings and queens”; “Let me sprinkle the burning rebellion with water”). One feels the deep irony of the author over the agonizing provisional government.

Neologisms are newly formed words that did not previously exist in the language. The use of neologisms, the so-called "word-creation", is widespread in poetry. Neologisms carry different function, are created in search of new words for new concepts. New formations for naming old concepts are used for verbal updates of the expressions of a banal formula in order to avoid a speech template. Neologisms flow like a stream in Mayakovsky's work: "I'll go wild"; “I won’t unload my face”, “Regularity in the brains” (“Good”), “Mnogopudva bronzes” (“Out loud”), “amorous-lyre hunting” (ibid.), “Ksishinskaya’s house, for jumping” (“In .I. Lenin), “I love our plans for a bunch” (“Good”), “having called the lyre” (“Proeto”), “I will smash the world with the power of my voice” (“Cloud”). With their help, the concrete becomes generalized, abstracted, spiritualized.

Mayakovsky demanded from poetry "skills and methods of words, infinitely individual". "Ways to make an image are endless" He creates extraordinary definitions:

“bull-faced”, “many-boomed”, “meat-mass”. Mayakovsky's neologisms amaze precisely with their unusualness and ingenuity.

Golden-eyed,

Whose each of the words

newborn soul,

name the body,

I’m telling you…” (“Cloud in Pants”)

Mayakovsky's neologisms do not pretend to enter everyday language, but in a poetic context they are always understandable. Failures are relatively rare. When the creation of neologisms becomes an end in itself for the author, they become a vicious phenomenon in literature.

Chapter II : Means of figurative expressiveness of the language.

§1.Periphrase, tropes, comparison.

The variety of figurative and expressive possibilities of the language is great. In poetry, these possibilities are clearly manifested in the use of synonyms (words that are close in meaning), antonyms (words that are opposite in meaning), paraphrase (a descriptive phrase is used instead of the name of an object). Periphrase gives the author the opportunity to characterize the phenomenon, point to that side of it, which in this case represents highest value and express your attitude towards it.

So in the poem “At the top of his voice” V. Mayakovsky replaces the word “monument” with such paraphrases as “multiple bronzes”, “marble slime”, in order to emphasize that it is not a monument erected in his honor that makes a person immortal, but his work.

Tropes are among the most important linguistic means of language figurativeness. A trope is a replacement for the name of a phenomenon with a word or expression that is used not literally, but figuratively. The trope makes it possible to briefly, but clearly and very expressively, characterize any feature or property of the object, the phenomenon we are talking about. This kind of expression gives a more convex and lively idea of ​​a certain property of an object than a more detailed explanation, direct descriptions. In literature, it is used not because the phenomenon does not have an exact name in the language, in order to make the verbal definition figurative. Trope explains the phenomenon visually, acting on the imagination. The methods of transferring the properties of one object to another, its characteristics may be different, therefore, the diverse types of paths differ.

The simplest type of trail is a comparison - an explanation of a particular feature, a phenomenon with the help of its indication of similarities with another.

The comparison can be as simple as Mayakovsky’s: “Time is a chameleon” (“War and Peace”), “The Bear is a communist” (“About this”), “like the stars of the edge of bayonets” (“Good”), “poetry” - capricious woman ("Out loud").

Yu. Karabchinsky believes that of all poetic tropes, it is Mayakovsky who succeeds best in the sense that the image built on comparison, although not beyond the scope of clarity, still has the greatest associative capacity:

“... The twelfth hour has fallen,

like the head of the executed from the chopping block ... "

A detailed comparison explains this or that feature of the depicted in a more multifaceted way and is called epic.

The sun was rushing

crazy painter,

Funge tint of dusty stains "...

("War and Peace")

"In the mounds of books,

buried the verse

iron strings accidentally discovering,

with pleasure

feel them,

like the old

The emotionality of perception is especially enhanced in negative comparisons. A classic example may serve as lines from Mayakovsky's poem "Out loud"

My verse will come

But he won't get there...

Not like an arrow

In amorous - lyre hunting,

But how does it come

To numismatists, a penny that has worn off

And not like the light of dead stars reaches.

My verse.

Labor will break through the mass of years

As in our days

Entered the plumbing

worked out

still slaves of Rome.

§2. Metaphor. Metarization in Mayakovsky's lyrics.

One of the active figurative and expressive means is a metaphor. This is a trope in which one phenomenon is presented completely likened to another, something similar to it. This trope, even more than comparison, enhances the figurative brightness of the reproduced material. Metaphor in some cases creates a whole, complete picture. The complete metaphor of Mayakovsky, which determines the power of the action of a poetic word, is very deep in content: “I know the power of words, I know the words of the alarm.” In this metaphor, the ability to understand the people is like an alarm, is presented as a property of the poetic word itself. Mayakovsky worked hard and hard on the expressiveness of his word; widely used different kinds allegorical. Many researchers of his work note precisely the metaphorical nature of his poetry L.A. Smirnova writes: “Mayakovsky’s metaphors and metonymies are straight from the legend: “there are still leaves in the holes”, “crumpling the lanterns of the blanket”, “A warring bouquet of boulevard prostitutes”, “the tram shot up the pupils from a running start”. And all this is “stacked” into a motley, confused conversation of the street or a monologue of its shocked observer” O. Resin notes unusually vivid metaphors in Mayakovsky's poem "A Cloud in Pants": "Solid lips", "solid heart". “They contain both the exorbitant love of the poet, and the colossal amplitude of feelings - from violin softness to thunderous laurels, and the cosmically huge sphere of influence of this love, capable of “talking”, it seems, the dumbness of the Universe itself, and, finally, they express the need of the poet to take full responsibility for the moral state of the world, having saved it from the "dirt" by the redeemed sacrifice.

Mayakovsky makes extensive use of various types of allegory. Bakhtin notes: “Mayakovsky's metaphor is built not on nuances, but on basic tones ... Mayakovsky works in rough tones, but this is not a lack of metaphor. Such a metaphor suits Mayakovsky.

§3. Personification, personification, allegory.

One of his favorite tricks is the concretization of the abstract, when the features of natural phenomena and even abstract concepts are used by the properties of a living being - i.e. impersonation:

"dance of nerves", "rain ripped the sidewalks", in the poem "A cloud in pants". “The muzzle of the rain sucked all the pedestrians” (ibid.), “having riddled the rail across the bridge, the trams continued their race” (In the poem “Good”).

« Swinging

in stone alleys

the striped face of hanged boredom,

and by the rushing rivers

on swollen necks

bridges broken iron hands»

("V. Mayakovsky")

The figurative meanings of words, as well as direct ones, are constantly hyperbolized by Mayakovsky. Incompatible combinations are used.

It represents concepts and phenomena in the form of a living being, i.e. uses a special type of personification - personification:

“The old woman gave birth - time is a huge crooked rebellion” (“V. Mayakovsky”)

“The street is writhing without a tongue - it has nothing to shout, talk with. (" A cloud in pants")

An allegory is a complete development of a metaphor into a special compositional mood. This is such a reproduction of life, in which the whole image has not a direct, but a figurative meaning. The allegorical system of utterance, almost always developed and constructed, is also approached by a passed or developed metaphor. In extended metaphor, words are counted by their direct meaning, thanks to which the context, meaningful in its direct meaning, 0 and has separate words introduced into the context, shows that we are dealing with speech of a figurative meaning. In consciousness, two types of concepts and ideas are simultaneously similar in the direct and figurative meaning of words, between which a certain connection is established “Hyperbolic metaphorism, connecting the personal with the universal, the intimate with the everyday, the earthly with the heavenly, the natural with the social and spiritual, the national with the world-historical, the present with an ideal future is the main feature of Mayakovsky's poetic style.

“There has never been a fact in the history of Annakh:

Through the frost

Ringing in the international

Smolny

To the workers in Berlin.

Investigators -

All these regulars of bars and operas -

three storey

From the Russian side:

Got up.

Walking across Europe…”

Here the allegory (revolution - ghost) is borrowed from the opening lines of the Communist Manifesto: "A ghost haunts Europe, the ghost of communism." Expanded metaphor by developing a lyrical theme.

The second broad class of tropes is metonymy. In metonymy, one phenomenon is transferred to another due to similarity, due to their interdependence. Those. a variety of objects and phenomena, designated by direct and figurative meanings, are in a causal or objective relationship. The varieties of metonymy are extremely diverse. The most common is the synecdoche, where quantitative relations are used: a part is taken instead of the whole or vice versa, singular instead of the plural, etc. For example, Mayakovsky, describing in the poem “Good” the assault on the Winter Palace by revolutionary sailors, soldiers, workers and peasants, says: “And at the door - pea jackets, overcoats of sheepskin coats” and replaces the White Guards with: “Wrangel with large-caliber guns with Perekop". The difference between metonymy and synecdoche is arbitrary, there is no exact boundary between them.

The purpose of metonymy is always to highlight the main, most important in this case and present the highlighted in a vivid, objectively tangible form.

Metonymy helps not only to highlight the character, but also to create a certain mood.

4. Hyperbole, litote, irony, epithet.

The most important types of tropes include such as hyperbole and litotes - special verbal means of artistic exaggeration (as a kind of understatement), maximizing the disclosure of the essence of what the author is talking about.

The literal is replaced with a sharply exaggerated one, which helps to make the image more emotional. Indeed, when Mayakovsky writes “At a hundred and forty suns, the sunset burns,” this will give an idea not only of a hot day, but also makes this message especially excited, emotional, and expressive. In Mayakovsky, the phenomenon of hyperbolism is often achieved not by individual images, but by the scale of their selection: “the world’s drive belts”, “the sun will dance a thousand times ... The sun has thrown the Earth”, “the ocean has cast darkness on the world” (“Good”)

I. Zventov, characterizing the features of the pictorial system of the early Mayakovsky, calls it caricatured and hyperbolized Fleming.

In the remark to the tragedy "Vladimir Mayakovsky" one can meet the "stretched belly of the square",

In another poem, “the land fattened like a mistress that Rothschild fell in love with,” Hyperbole, irony turning into sarcasm helps Mayakovsky brighter, more figuratively present the face of the bourgeois crowd, philistinism, etc. What he did not accept.

Irony is a special kind of trope that expresses mockery. In irony, unlike all other tropes, transfer is determined by the fact that it implies a meaning that is directly opposite to the literal meaning of the word.

The most common type of trope is an epithet - an artistic definition that gives a vivid figurative idea of ​​the essence of an object or phenomenon and their assessment by the writer. The literature of later times is characterized by a sharply individualized epithet, which is created only in this work to describe the phenomenon in its unique originality. Karabchievsky notes Mayakovsky's "bright line, strong and precise epithet." “Wheelbarrow of bullets”, “textbook gloss”, “grinding the last millstones of thoughts” (“V.I. Lenin”), “Rinse the throat of an isohanous heart” (“Flute spine”), “thin and humpbacked ... working class” (“V .I. Lenin”). Many of his epithets have become aphorisms. They help to express the emotional description as much as possible. For example, in the 4th chapter of “It’s Good,” “the mustachioed nanny Pe En Milyukov” says “Madame Kusakova: “And I would, with my frail mind, crown Mikhail.”

“Sickly mind” - here the coloring of the epithet creates a sharply negative characterization of the character. The epithet is based on all the achievements in the field of the use of verbal and visual means of the language. Therefore, it can be close to comparison and metaphor, hyperbole and irony. Mayakovsky's most striking epithet is obtained by using neologisms in satirical epithets:

“old lyro-ringers”, “young dragonflies”, “chenovno-mouthed creatures”, “face-turning galaxy”, etc. While working on the word, Mayakovsky used all the variety of means to achieve figurative expressiveness. “This is a poet of powerful metaphor, precise and unexpected comparison. By means of these tropes, he unexpectedly introduced into the text whole blocks of what seemed to be an outsider, but in reality artistically required material"(Boyavsky). In his poetry, the world appears fortified, it is built on hyperbole. The torment of the poet, who is experiencing love and jealousy, is recreated in the poem "A Cloud in Pants" as follows:

Every word,

Even a joke

Which he vomits with his burning mouth,

Thrown out like a naked prostitute

From a burning brothel.

Using all these means, as well as diaesthetization, Mayakovsky sought to show phenomena in a way that they had never been perceived before. Tried to make the familiar strange. "Remove" the phenomenon was considered the main thing in his verbal work.

Chapter III : Poetic syntax and elements of phonics.

§1. Figures of poetic speech: Multi-union, non-union, inversion.

In addition to tropes, lexical means of imagery and expressiveness of the language, poetic syntax and elements of phonics largely contribute.

Poetic syntax is a system of special means of constructing speech. Features of the structure of speech in a work are always associated with the originality of the characters and life situations depicted in it, from the author's point of view. Other important feature The syntax of poetic speech is determined by the fact that in a literary work people are depicted in motion, in the process of changing their internal state, relationships. All this is reflected in the construction of poetic speech.

Special means of syntax of figurative and expressive speech are called figures of poetic speech. Figures help to significantly enhance the completeness and expressiveness of the semantic and emotional shades of speech: polyunion creates some slowness of speech, non-union is most often used to enhance the feeling of a rapidly and tense development of events, abrupt transitions in a person’s internal state, inversion, in which one of the lines of a sentence becomes unusual for him a place that stands out. In inversion constructions, the redistribution of logical stress and intonational isolation of words, that is, words sound more expressive, higher.

“I will tease about the bloodied heart flap;

dreaming on a softened brain,

like a fat lackey

not greasy sash,

your thought

mocking me to my fill, sassy

This excerpt from Mayakovsky's poem "A Cloud in Pants" is a vivid example of inversions. His excited intonation is fixed in complex inversions “teeth hanging down to the sky”; "heart - with long-haired postcards, the noblest album"; "faceted lines barefoot diamond"; “a young man thinking about life ... I will say” and others.

§2. Break, rhetorical communication, question, denial, affirmation, exclamation.

The omission of one of the members of the sentence also serves to increase emotional expressiveness; Break - the inclusion of unsaid sentences in speech. In Mayakovsky's poem "V.I. Lenin" we read:

" What do you see?!

Only his forehead,

And hope Konstantinovna

In the fog for...

Maybe in the eyes without tears

You can see more.

I didn't look into those eyes.

Here the cliff serves to convey a deep inner shock. Syntactic figures, in which the author's attitude to the phenomenon and its assessment are expressed especially clearly, are called rhetorical appeals, questions, denials, assertions, exclamations.

In Mayakovsky, whose whole system of expressive means is extremely intense, aimed at the extremely dramatized speech expression of the lyrical hero, these figures are used to the maximum:

"Beat, drum!

Drum, drum!

There were slaves! No slave!

Drum!

Drum!

("150,000,000")

"Unit!

Thinner squeak.

Who hears it? -

Is it a wife!

("V.I. Lenin")

" Enough!

Talk to strangers!

("V.I. Lenin")

"End the war!

Enough!

("Fine")

"Close, time,

your mouth!"

("Fine")

This helps Mayakovsky to imitate a fictitious dialogue, under the guise of an arbitrary emotional response to an external phenomenon, to make an ordinary message about this phenomenon, to sharpen the emotional attention of the listener.

§3. Phonics, alliteration, assonance.

Phonics is the artistic use of sound possibilities in poetic speech. It includes general rules sound agreement of words in poetic speech, which contribute to its euphony, harmony, distinctness, and the use of special means of sound amplification and emotional highlighting of certain words and sentences.

With a special means of sound amplification, the selection of certain segments of speech is based on the use of sound repetitions.

Alliteration is the repetition of consonant sounds that is distinctly pronounced in speech. The repetition of vowels is called assonance.

Mayakovsky wrote: "I resort to alliteration for framing, for even greater emphasis on an important word for me"

Alliterations and assonances of Mayakovsky give an emotionally memorable sound to the poetic text: “And the horror of jokes pecking laughter”, tears come down from ...”;

"hand of the river"; “In your mustache”, “in the choirs of the Archangel’s chorus, God, robbed, goes to punish!” (“Cloud”), “not at all embarrassed by the integrity of the jaws, let’s go rattling about the jaw with the jaw” (“About this”), “I hunch over the globe of the hills” (“About this”), “The city robbed, rowed, grabbed” (“ V.I. Lenin), “The knife is rust. I cut. I rejoice. In the head, the heat raises the degree ("Good").

Through the use of phonetic means of verse, Mayakovsky's patterns become generalized, convex, the abstract is spiritualized.

Mayakovsky's word really sounds ("the words of the alarm", "the word raising thunder"). The whole system of expressive means of Mayakovsky makes the most of all the artistic resources of the Russian language, which is why he is called an innovator poet. But innovation would not have taken place if it were not for the passionate lyrical "I" of the poet, the one who saw it this way, survived the world and poured out his spiritual anguish in verse. It is under these conditions that all expressive and visual means become artistic, except when they organically enter the fabric of the work. Their choice depends on the efforts and tasks of the artist of the word.

Conclusion.

It is difficult for me to define my attitude to Mayakovsky's poetry. The fact is that they, in my opinion, are the opposite of "as simple as lowing." His very unusual wordy images are difficult to understand, not so much to understand as to read. I can’t understand some of them, I don’t like them, for example, “the muzzle of the room was carried out with horror”, “the street fell through like the nose of a syphilitic”, “our flabby fat will flow out through a person”, “a newborn cry moves from my mouth with my feet” and so on. others, on the contrary, are very interesting, and expressive, very strong, such as “I am lonely, like the last eye of a person going to the blind”, “the last love in the world was expressed in the blush of a consumptive”, “the butterfly of a poetic heart”, etc. Many of the images that are now very much to my liking, at first, at the first reading, caused me rejection, even some disgust, for example: “Earth! Let me heal your balding head with rags of my lips stained with other people's gilding”, “a skull filled with verses”, etc. Very often, for a few words, for one phrase, I can recognize a writer as a genius. Mayakovsky has this urgent “Listen!, After all, if the stars are lit, it means that someone needs it?”. This is one of my favorite stocks.

Mayakovsky in verse usually talks about himself, about the people around him, about God. Very often he draws people as disgusting gluttons who crawled into the shell of things, but at the same time he collects their tears, their pains, this becomes an unbearable burden for him, but he still “creeps further” to throw them to the “dark god of thunderstorms” the source of animal fans. But people are still grateful, and the tradition of “love-hate” continues in Mayakovsky’s work. God for the poet is not a sacrament, not the Existing, but a man, and quite an ordinary one, somewhat more interesting than the rest. A stunning verse reveals not only his attitude, but also the inconsistency of the poet's personality: "And when my voice obscenely hoots ... maybe Jesus Christ sniffs my forget-me-not soul."

Own "I" is the central theme of the pre-revolutionary work of the poet. His love, which can be called a passion, his observations of life are torn, overtaking one another, often expressed in simple exclamations ("Ha! Maria!"). They are boundless, everything acquires a universal shade with him, and a tear is really a “tear”, and a tragedy is a “tragedy”. The frenzy in his poems replaced harmony, that harmony that elevates our soul in the poems of Pushkin, Lermontov, Blok, Tyutchev, Bunin and many other poets. Describing even suffering and chaos, they seem to spiritualize it or, perhaps, take us out of it, elevating us, while Mayakovsky, on the contrary, screws us into the abyss of passion, the street, not only belittling it, but leaving it scattered, modest. I do not feel harmony in his post-revolutionary poems. Rhythm appears in them, these lines are a step, but for me the confusion of his pre-revolutionary poems and constant self-admiration ("I am the most beautiful in the human array"), which still bothers me, goes from poem to poem, from poem to poem. In the end, each person will always consider himself, if not better than the rest, then the most special, and this is not because of pride, but because of discovering something new and new in himself. An attempt to dissolve into “we” and be proud of this “we” does not attract me, and even more so “work is not a social order.” How Mayakovsky could not understand what is more dangerous for the “butterfly of a poetic heart” than without galoshes! All this led his poems to ordinary, average, and then simply boring. Even as a child, you may like the “History of Vlas” or “The Story of Kuznetskstroy”, then you are no longer interested in rhymes and edifications, you want to become involved in eternity, and what kind of eternity is it if “the last day is coming”, even if it’s the opposite “bourgeois”. When an artist responds to some "demands of society", "topics of the day", he stops the development of this society, keeps its level within limits, even if there is criticism of "individual aspects" in his poems. The artist is “human walkways”, they raise the society by this, talking about what people do not demand, but what they need most of all, which, perhaps, they forgot or did not notice.

Many of Mayakovsky's poems became for me a different view of the world, a different understanding, a feeling, in some ways even similar to mine sometimes, but a poet close to me, he did not become my favorite.

The poem "A Cloud in Pants" (1915) is the central work of Mayakovsky's pre-revolutionary work. In it, the poet tried to show the sad fate of a person in a bourgeois society. His lyrical hero does not want to put up with reality, so four protests arise in his mind: “Down with your love!”, “Down with your art!”, “Down with your system!”, “Down with your religion!” These four "Down with!", covering all the foundations of bourgeois society, are the global protest of Mayakovsky's lyrical hero.

The lyrical plot of the poem is the unrequited love of the hero for the girl Mary. This love is the real passion. The hero is "beautifully ill", "he has a fire of the heart." But the girl chooses not him, but a "fat wallet", security, stability. The hero is convinced that his beloved has been bought. Maria sold her love for money, luxury, position in society.

In a conversation with a girl, the lyrical hero is calm, “like the pulse of a dead man,” but his soul has died. She was trampled on by modern love, which is sold for money and relies only on calculation.

From the second part of the poem, we understand that the hero is a poet. The main opposition of this part is the poet and the crowd. The author speaks about the conflict between poetry and the surrounding world. The desire of the creators to sing about a young lady, "both love and a flower under the dew" does not meet the requirements of today. Lyrical hero rejects everything pseudo-romantic and sublime and chooses the fate of becoming a singer of the “convicts of the city-leper colony”, which, in his opinion, is cleaner than “Venetian azure, washed by the seas and suns at once!”

It is here, in this vulgar scary world, where the crush "spits out" into the square, and the street shouts: "Let's go eat!", live the true heroes of life.

In the last two parts of the poem, Mayakovsky acts as a rebel, protesting against the entire bourgeois system, its religion, denouncing them as the root cause of all human troubles and misfortunes. So, in religion, the lyrical hero of the poem sees only vulgarity and artificiality. Faith in God in the understanding of Mayakovsky's lyrical hero is something that was invented to make a person not free. In the poem, the hero becomes even higher than God and threatens him:

I thought - you are an almighty god,

And you're a half-educated, tiny god.

Thus, we can say that this work completely rejects the established foundations. The lyrical hero of Mayakovsky's poem "A Cloud in Pants" is a rebellious hero. He rebels against the religion, politics, art and love of the bourgeois world. The hero calls for decisive action. With his works, Mayakovsky claims that the role of the poet in the life of society is enormous and that he is able to influence the course of history.

In this poem, the main features of Mayakovsky's poetic style appeared:

1. A combination of verisimilitude and fantasy: "The twelfth hour has fallen, like the head of an executed man from the chopping block."

2. Using the reception of an expanded metaphor. So, the fire of love, the source of which is in the heart, gradually covers the body of the hero, likened to an architectural structure: “Mom! I can't sing. At the church of the heart, the choir is engaged!” The poet's heart is compared to a "church", in which the core - kliros - caught fire.

3. Using the reception of an expanded metaphor. For example, the phraseological unit “nerves diverged” expands with Mayakovsky into a whole picture:

Like a sick person out of bed

The nerve jumped.

Now he and newer two

They rush about in a desperate tap dance ...

4. Widespread use of neologisms: “small, meek darling”, “millions of huge, pure loves”, “December evening”, “languageless street”, “breasts hurried”.

5. In the field of verse - the use of a "ladder", dividing the line into semantic and intonational parts, focusing on certain meanings.

Analysis of Mayakovsky's poem "A Cloud in Pants"

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 do you want to go to hard labor?” I said that in no case, that this does not suit me in any way. Then they crossed out six pages to me, including the title. It's a question of where the title comes from. I was asked - how can I combine lyrics and a lot of rudeness. Then I said: "Well, I'll be, if you want, like a madman, if you want, I'll be the most tender, not a man, but a cloud in his pants" 1.

The first edition of the poem (1915) contained a large number of censored notes. In full, without cuts, the poem was published in early 1918 in Moscow with a preface by V. Mayakovsky: ““ A cloud in pants ”... I consider it a catechism of 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 certain idea. But the poem itself cannot be strictly divided into chapters, in which four cries of "Down with!" are consistently expressed. The poem is not at all divided into compartments with its “Down!”, but is a holistic, passionate lyrical monologue, caused by the tragedy of unrequited love. The experiences of the lyrical hero capture different spheres of life, including those where loveless love, false art, criminal power dominate, Christian patience is preached. The movement of the lyrical plot of the poem is due to 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 tragic unrequited love of the poet. It contains an unprecedented strength of jealousy, pain, the hero's nerves rebelled: "like a patient from the bed, a nerve jumped", then the nerves "jump furiously, and already the legs give way under the nerves."

The author of the poem painfully asks: “Will there be love or not? Which one is big or tiny? The whole chapter is not a treatise on love, but the experiences of the poet spilled out. The chapter reflects the emotions of the lyrical hero: “Hello! Who is speaking? Mother? Mother! Your son is very sick! Mother! He has a heart of 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 sharp as “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 defiantly, polemically frank and shocking: “Maria! The poet sings sonnets to Tiana 3, // and I / am all meat, all man - // I just ask your body, // as Christians ask - // “Our daily bread - / give us today.” For the lyrical hero, love is equivalent to life itself. Lyricism and rudeness outwardly contradict each other here, 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 an absolutely extraordinary girl, she "combined the high qualities of a captivating appearance and an intellectual aspiration for everything new, modern, revolutionary ..." "Excited, swept up by a whirlwind of love experiences, after the first dates with Maria, - says V. Kamensky, - he flew into our hotel with a sort of 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 tremendous feeling, which I could not cope with. Covered by the "fire of love", he did not know at all what to do, what to do, where to go.

The unsatisfied, tragic feelings of the hero cannot coexist with cold vanity, with refined, refined literature. To express genuine and strong feelings, the street lacks words: "the street is writhing without a language - it has nothing to shout and talk with." Therefore, the author denies everything that was previously created in the field of art:

I'm over everything that's doneI put "nihil".

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

and in the mouthcorpses of dead words decompose.

For Mayakovsky, the soul of the people is important, and not its appearance (“We are from soot in smallpox. I know that the sun would dim when it saw our souls with golden placers”). The third chapter is devoted to the theme of poetry:

And from cigarette smoke / liquor glassthe drunken face of the Severyanin was drawn out.How dare you be called a poetAnd, gray, tweet like a quail.Today / it is necessary / with brass knuckles / to cut the world in the skull.

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

From you, who were soaked in love,From which / a century a tear shed,I will leave, / the sun with a monocleI'll put it in a wide-open eye.

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

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! / Mondays and Tuesdayslet's paint with blood for the holidays!Let the earth under the knives rememberwho wanted to vulgarize!Earth, / fattened like a mistress,who fell in love with Rothschild!So that the flags flutter in the heat of firing,like every decent holiday -lift up, lampposts,bloody carcasses of meadowsweet.

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

I, ridiculed by today's tribe,like a long dirty joke,I see time going through the mountains,which no one sees.Where people's eyes break off stubby,head of the hungry hordes,in the crown of thorns revolutionsthe sixteenth year is coming.And I am his forerunner!

The hero seeks to melt away his unsatisfied pain, he seems to rise to a new height in his personal experiences, trying to save the future from the humiliations that have befallen him. And he sees how his grief and the grief of many will end - "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, the hopeless longing for the beloved returns. "Maria! Maria! Maria!" - the name sounds hysterically like a refrain, in it - "a born word, equal in majesty to God." Inconsistent and endless prayers, confessions - there is no answer from Mary. And a daring rebellion against the Almighty begins - "half-educated, tiny god." Rebellion against the imperfection of earthly relationships and feelings:

Why didn't you thinkto be pain-freekiss, kiss, kiss?!

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

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

I thought - you are an almighty god,and you are a half-educated, tiny god.You see, I bend down, / because of the topI take out a shoe knife.Winged scoundrels! / Hug in paradise!Ruffle your feathers in a frightened shake!I will open you, smelling of incensefrom here to Alaska!...Hey you! Sky! / Hats off! I'm coming!Deaf.The universe is sleepingput on pawwith pincer stars huge ear.

Literature lesson in grade 11

The image of the lyrical hero inpoem
V.V. Mayakovsky "Cloud in Pants"

Klishova Olga Gennadievna,
teacher of Russian language and literature
GBOU "Academic Gymnasium No. 56"
Petersburg

The purpose of the lesson:

Educational - develop the skills of a holistic analysis of a work of art.

Educational- develop analytical thinking in the discussion of a work of art.

Educational- develop an aesthetic sense, the ability to understand and appreciate the artistic word.

Lesson objectives:

1. Based on the text of the 1st chapter of the poem, analyze the poetics of early Mayakovsky.

2. Determine the function of figurative and expressive means in creating the image of a lyrical hero.

3. Determine the ideological meaning of the poem, the essence of Mayakovsky's lyrical "I".

4. Develop expressive reading skills.

Method: heuristic.

Receptions: teacher's word, analytical conversation, text analysis, commented reading.

Equipment: text of the poem, projector, presentation.

During the classes

(Slide 1)

Teacher: Your task today is to try to name the lesson, give it a "name".

(Slide 2)

Formulation of the problem.

Teacher: Dedication: the poem was written by V.V. Mayakovsky to Maria Denisova, and is dedicated to Lila Brik ("To You, Lily")

(Slide 3)

Why did he write alone (Slide 3a) and dedicated another? (answer at the end of the lesson)

Introduction to the lesson.

Prologue _______________

1) ??? What images, already familiar from Mayakovsky's poems, do we see in the Prologue? How is the conflict characteristic of Mayakovsky's entire work already declared here?

(- the conflict of the poet and the world; - the figure of the poet - the lyrical "I" of Mayakovsky: the youth of the soul, impudence, the ability to love with all one's being - the lot of the elect; - the desire to transform into a superman, become a giant, etc.)

(Slide 4)

2) ??? It is the Prologue that makes us return to the title - "Cloud in Pants".

(Slide 5)

What is the meaning of this metaphor?

(- duality, ambiguity of the artistic image: a rude Hun, a barbarian, calling for destruction, but at the same time a defenseless, gentle creature.)

3) ??? What is the main technique here (and this is already indicated in the title)?

(- antithesis)

4) ??? Where to find the roots of those contradictions that literally clashed in the poetic space of the poem?

(- early lyrics;

- Manifesto of the futurists "A slap in the face of public taste";

- the teachings of Friedrich Nietzsche;

- the conflict of God and man: a man sees the imperfection of the world but does not agree with this state of affairs and wants to take the place of the creator.)

Teacher: The lyrical hero (who is this?) already feels like an adult, but not yet needed. Hence the adolescent resentment against God, against the imperfection of the whole world.

(Slide 5a)

No wonder the original title of the poem is “The Thirteenth Apostle, tetraptych” (tetra - 4)

5) ??? How do you understand the meaning of this name?

(- associations with the Gospel: the personality of the poet enters into a dispute with the divine order, with the universe, proclaiming to the world a new truth;

- the discrepancy between the ordinary life of people - life and their philosophical attitude - being.)

6) ??? Think, what is the best name? What is the name in more reflects Mayakovsky's idea?

(- of course, the final name is better, because "cloud" is a poetic image.)

Teacher: Censorship did not miss the original title, and the offended poet made concessions:

“When I came to censorship with this work, they asked me: “What do you want to go to hard labor?” I said that in no case, that this does not suit me in any way. Then they crossed out six pages to me, including the title. It's a question of where the title came from. I was asked - how can I combine lyrics and a lot of rudeness. Then I said: “Well, I will be, if you want, like a madman, if you want, I will be the most gentle, not a man, but a cloud in my pants.”

It turns out that even after changing the name, Mayakovsky did not abandon his main idea - to portray the hero ...

What?

(- consisting of beautiful opposites,;

- an unprecedentedly powerful figure, capable of not only arguing, but challenging the entire society at the beginning of the poem, and even the entire universe at the end.)

Teacher: The poem was published in its entirety in Moscow in 1915, and the second edition of 1918 was accompanied by a preface by Mayakovsky (“4 screams down”). (Slide 6)

Each part expresses a certain idea. The poem, however, is a holistic passionate lyrical monologue, the experiences of the lyrical hero capture different areas of life ...

(- Love,

- art,

- power,

- religion.)

7) ??? What image unites all parts of the poem?

(- lyrical "I" of the hero and poet.)

Analysis of the work.

??? Who is he - a hero, turning himself inside out? What is his word to the world, to all of us? Is it just the bravado of the challenge? Maybe there is something else here? All these questions will need to be answered by referring to the poem. We will analyze the first part together, but here is how the remaining three parts are related to Mayakovsky's main idea - you will have to think at home on your own.

Part 1________________

1) ??? So what is the main theme of the piece? How is the rebellious element of the poem manifested?

(- through the image of the elemental feeling of love)

2) ??? How is love depicted in the poem?

(- with the help of artistic means,

- through the image of the lyrical hero, his state, his experiences.)

3) ??? The hero is waiting for a meeting with his beloved... By what means is the increase in the tension of expectation in which the lyrical hero finds himself conveyed?

(Slide 7)

(- in the waiting scene, the reality of everything that happens is absolutely palpable;

- love both transforms and distorts a lump-man;

- the lyrical "I" of the hero reaches colossal proportions, but still remains a human "I";

- artistic means, with the help of which a picture of a painful evening is depicted, convey a feeling of tension, anxiety;

- the image of the objective, material world as a way of conveying the state of the lyrical hero;

- memories of a beloved give birth in the soul of a lyrical hero both happiness and suffering;

- the throwing of the lyrical hero leads to doubts about the existence and strength of love: the litote "darling";

- the nervous state of the hero is conveyed through numerous metaphors;

- the result of the expectations of the lyrical hero - the image of the executed, etc.)

4) ??? And why all this? Why all these artistic means, all these crazy metaphors, hyperbole and epithets? Does he live like this? Why this cry about yourself?

(- Mayakovsky's time is the time of the Personality, it is the personality that is the center of the universe.)

5) ??? Finally the heroine appears. How is she depicted? What happens to the hero?

(Slide 8)

(- sharp movements (comparison with the poem “Nate”) and at the same time embarrassed (pulling gloves);

- tense because she is embarrassed or suffers too;

- terrible news.

6) ??? How does the hero perceive what his beloved tells him? Why is he upset, shocked?

(- the news of the hero killed: external calm and internal death.)

(Slide 9)

7) ??? Why Mayakovsky in a frenzy shouts "...Down with your love!"?

(- such love, prudent, bourgeois, based on self-interest, love that can be stolen - he does not understand and does not accept, his personality, his nature is looking for another love - “huge-love”.)

8) ??? In the world of the townsfolk, in the world of "fat", the fate of the beloved is the fate of beauty in the bourgeois world, where beauty, art are valued for money - that's why she was stolen. How does the lyrical hero see love?

(- love is a "mass" - a comprehensive, all-consuming feeling;

- true love is difficult, because love is suffering;

- love is an unattainable ideal, to which the soul of a suffering hero aspires - touching and tender, but also hot, rushing about and embittered.)

9) ??? And what is the lyrical hero himself? What is left for him?

(Slide 10)

(- “beautiful disease”, “fire of the heart.”)

10) ??? Why does Mayakovsky describe the “fire of the heart” to convey the state of the lyrical hero? How do you understand the meaning of this metaphor?

(- “fire of the heart” burns the hero from the inside, turns him inside out;

- this is an element beyond the control of man, therefore it is impossible to put out the fire on your own;

- the catastrophe that befell the hero is comparable to world catastrophes and cataclysms.)

eleven) ??? Who is the lyrical hero of the poem? What is the lyrical "I" of Mayakovsky?

(- a suffering rebel, a gentle giant, striving with all his heart for true love.)

Reflection.

And now something has changed in your attitude to what you saw and read? What title of the poem do you prefer? Which name best describes inner world, the state of the hero?

Teacher: Let's go back to the beginning...

(Slide 11)

Why do you think, nevertheless, Mayakovsky first wrote the poem alone, (Slide 11a)

and then dedicated another?

(- the point is not in the addressee, but in the very feeling of love, which Mayakovsky curses and sings: if there were no addressees for the poem, he would certainly have invented them;

- more important is love as such, love that brings suffering, torment, burning in the fire of passion;

- where there is love, there is always suffering: there is no suffering - there is no art.)

Conclusion.

So, love, whatever it may be, is a way of mutual understanding, interaction, relationship of a person with the world. Other areas human life, other ways of dealing with the world - art, power and religion (primarily Christian patience) - are depicted in other parts of the poem. How they help to create, complement the image of a lyrical hero - you will have to think about this yourself.

(Slide 12)

What "name" would you give today's lesson? Why? Who is he, the hero of the poem by V.V. Mayakovsky?

Homework.

Independently analyze the rest of the poem "A Cloud in Pants" and answer the question: how do other areas of human life help to complement the image of the lyrical hero of the poem?

The poem "A Cloud in Pants" occupies a special place in Mayakovsky's work. If you study a brief analysis of "Cloud in Pants" according to the plan, it becomes clear why. This analysis can be used to conduct a literature lesson in grade 11.

Brief analysis

History of creation- the work was written in 1914, during this period the poet was in love with Maria Denisova, but his feelings did not receive an answer and were embodied in poetry. It was first published in 1915.

The theme of the poem- the theme of love can be called the central one, but the theme of the poet and the crowd, the new art, the denial of the ruling system and, finally, the denial of God are also added to it.

Composition- the poem is divided into parts, each of which has its own theme, and if in the first part the lyrical hero is waiting for a meeting with his love, and then denies this feeling itself, then in the last he accuses God of not taking care of the person, not giving happy love to him. There are four in total.

Genre- Tetraptich poem.

Poetic size- free verse, in which Mayakovsky's innovation as a poet was manifested.

epithets – “bloodied heart flap“, “fat footman“, “greasy couch“, “softened brain".

Metaphors – “and a cambric living room, a dignified official of the angelic league“.

Hyperbola – “you can’t turn it out so that only solid lips“.

Comparison – “men stale like a hospital“, “women, tattered as the proverb“.

Oxymoron – “dead man's pulse“.

History of creation

Vladimir Mayakovsky conceived his poem even before meeting Maria Denisova, it was originally supposed to be called The Thirteenth Apostle. But in fact, the history of its creation begins during the trip of the futurists to Russia. Acquaintance with the beauty, who refused to enter into a close relationship with him, deeply wounded Mayakovsky and at the same time gave him a great creative impetus: he finished the poem, begun in 1914, in July 1915. In the same year, the work, already titled “A Cloud in Pants”, was published by Osip Brik. The second edition was in 1916, and both were severely curtailed by the censors.

Subject

Mayakovsky's poem is also interesting in that, despite the presence of a central theme, it is multi-dark, and the rest can be traced by chapter.

So, in the first chapter, the lyrical hero is waiting for his beloved (Mayakovsky never hid who his work is dedicated to), and this waiting for him is more painful than pleasant. He understands that there is no hope for a reciprocal feeling, but he is still ready to listen to the words of Mary. The theme of the second part is poetry, which, according to Mayakovsky, should be the poetry of struggle - but not all works and creators correspond to this image. The third part is the denial of the entire political system, which is cruel and inhuman. Here appears the image of the thirteenth apostle from the original title of the poem - this is a man who opposes the masters of life.

Finally, in the fourth part, Mayakovsky again returns to the theme of love, which this time is closely connected with the theme of God - the poet not only denies religion, he also mocks the Creator himself, who did not give people the opportunity for happy love. The lyrical hero tries to convey his feelings to his beloved - but remains with a bloody heart.

Composition

The work consists of four parts. The four-part composition of the poem allows the poet to consider all the facets of his feelings and express his views on life, which can be expressed with a simple slogan “Down with!” - and love, and modern society and God himself. This is the main meaning and message of the whole work.

Genre

The genre of this work is a poem. Mayakovsky himself said that these are “four screams from four parts”. He considered "A cloud in his pants" a catechism contemporary art– it is truly innovative in its form and rebellious in content.

means of expression

Mayakovsky's poetry from the very beginning was as sharp as possible - he used numerous means of expression in order to most clearly convey his idea to the reader. “A Cloud in Pants”, referring to the pre-revolutionary period of his work, already looks like a manifesto. It uses:

• epithets- “bloody heart flap”, “fat footman”, “greasy couch”, “softened brain”;
• metaphors- “and a cambric drawing room, a decorous official of the angelic league”;
• hyperbole- “you can’t turn it out so that only solid lips”;
• comparisons- “men, stale, like a hospital”, “women, frayed, like a proverb”;
• oxymoron- “pulse of the dead”.

The rhythm of the poem is innovative - a modernist approach is used, when the marching rhythm and pulse beat are taken as a guide. All expressive means in it are used not for the beauty of the syllable, but in order to more accurately and succinctly convey the thought that the poet put into his lines.

Poem test

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