Vladimir Mayakovsky. “They Kicked Me Out Of The 5th Grade. Let's Go To Throw Them Into Moscow Prisons. " Part 2

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Vladimir Mayakovsky. “They Kicked Me Out Of The 5th Grade. Let's Go To Throw Them Into Moscow Prisons. " Part 2
Vladimir Mayakovsky. “They Kicked Me Out Of The 5th Grade. Let's Go To Throw Them Into Moscow Prisons. " Part 2
Video: Vladimir Mayakovsky. “They Kicked Me Out Of The 5th Grade. Let's Go To Throw Them Into Moscow Prisons. " Part 2
Video: Чебатков – стендап для мозга (Eng subs) 2023, February

Vladimir Mayakovsky. “They kicked me out of the 5th grade. Let's go to throw them into Moscow prisons. " Part 2

The poet often had "wet eyes" and a runny nose characteristic of spectators - a constant "wet nose". Perhaps this was the reason that Vladimir Vladimirovich always felt like he had a cold and did not part with a thermometer, as well as, for hygienic reasons, with a portable soap dish.

Part 1

Mayakovsky, like many urethralists, who found himself in the grip of revolutionary ideas, is engaged in underground work. At the age of fourteen he joined the Bolshevik Party. The three times arrested teenager still ends up in jail for working in an underground printing house. In prison, he is elected headman and seeks some improvements in living conditions for his fellow isolationists. The prison community is always ranked according to its natural vector, and the urethral naturally takes its rightful place at the top of the hierarchy.


Life in a family where women - Volodya's mother and sisters - could barely make ends meet, a half-starved existence and 11 months spent in the Butyrka prison cell alone could not but leave their mark on his physical and mental health. Vladimir reads a lot in Butyrka, and his release from prison becomes a simultaneous exit from the Bolshevik party.

The poet often had "wet eyes" and a runny nose characteristic of spectators - a constantly "wet nose". Perhaps this was the reason that Vladimir Vladimirovich always felt like he had a cold and did not part with a thermometer, as well as, for hygienic reasons, with a portable soap dish.

Since childhood, he was very clean, at every opportunity he washed his hands, thoroughly wiped the dishes and cutlery before using them. Vladimir Konstantinovich Mayakovsky, the father of the future poet, while filing documents, pricked himself with a needle and died of blood poisoning. This event was a strong shock for little Volodya, traumatizing the child's visual vector. Later, already in adulthood, visual fears will manifest themselves in emotional blackmail of others with suicide. “He literally terrorized his loved ones with this,” recalled Lilya Brik, “he wrote farewell letters more than once.”

According to systemic knowledge, the owners of two vectors do not feel the value of their own body. The urethral person, without hesitation, is ready to sacrifice it for the sake of saving the flock, and the sound engineer is completely a burden - it prevents him from floating in high spheres with his physiological demands.

"The body is worn on the heart," complained Mayakovsky. Visually, he very much cared about the body, fearing any virus or small infection, and soundly - detached, but with urethral recklessness and excitement of a Russian roulette player, he spun the drum with a lonely cartridge lost in it, until he once found a cunning loophole and did not fall into the "burning heart" of the poet.

Mayakovsky, according to the recollections of Nora Polonskaya, his last passion and the only one who was with him a few minutes before his suicide, did not shy away from mysticism: “Vladimir Vladimirovich demanded glasses for wine. I gave him a dozen. The glasses turned out to be fragile and easily beat. Soon there were only two glasses left. Mayakovsky was very superstitious about them, saying that if at least one of them breaks, we will part. He always carefully washed and wiped them himself. " A few days before the suicide, he told Polonskaya that “in the morning one glass broke. This means that it is necessary. And he broke the second glass against the wall."

The urethral-sound-visual natural bunch of vectors determined the actions of Mayakovsky's entire life and work - a poet and a person.


The manifestations of vectors were clearly expressed in Vladimir Vladimirovich either by an urethral unrestrained desire to be in the thick of national and political events, to participate and certainly win in all discussions, disputes about contemporary art, read his own and other people's poems until the morning, or by an unexpected change of states caused by sound, leading into depression, pressing on everyone around Mayakovsky, then visual tearfulness and fears. The loudness of the poet himself, a magnificent reader who adores industrial noise, a flurry of applause, the roar of the old world falling to pieces, contrasted with his request, addressed to the woman next to him, to speak quietly.

Yellow jacket for a futurist

From the very beginning, Mayakovsky fell out of the general order of the futurists. He was unnerving, he annoyed, impudently sending streams of words from the stage into the hall, which are accepted among cabbies and bazaar people. Nevertheless, both the public and the creative intelligentsia understood that a new powerful talent had burst into art.

The revolutionary coup that swept across the empire brought the new Mayakovsky to the rostrum, who not only agreed with the actions of the Bolsheviks, but also loudly, like a helmsman, like a leader, asked: "Who is walking right there?"

The calls of the "Left March" to protect the commune from the "bared British lion" sounded the order of the urethral leader to the muscular army - the soldiers, sailors, the workers and the urban poor who joined them:

Turn around on the march! Verbal is not a place for slander. Hush, speakers! Your word, comrade Mauser. It is enough to live by the law given by Adam and Eve. We will drive the history nag. Left! Left! Left!

The soldiers, leaving for the front, sewed Mayakovsky's poems into their tunics, and the youth, who adored the poet, walked hand in hand through the streets of the city, chanting "Left March".

The cult of the word, to which the poets of the late XIX - early XX centuries were accustomed to treat with care, is ruthlessly outdated. Just as the aestheticism that they worshiped is outdated. And this was well felt by the Futurists, in every possible way izgalyatsya over the language of Pushkin, Tolstoy and Dostoevsky. The time has come to move away from all traditional forms in poetry to the podium, because the stage does not match the scale of the grand Hyde Park at the beginning of the century, into which the art of the word began to turn.

Any rituals, traditions that play the role of cultural restrictions, are introduced in order to define and keep within the framework of the animal nature of man. It is possible that those who tried to destroy the old world - this refers to politics, art or literature - walking in the vanguard of humanity, through their creativity and way of life, turned to the peoples, trying to awaken their consciousness. Who knows if the call “Stop living the law given by Adam and Eve” did not become a call to reconsider the dependence of man on religious and cultural dogmas?


On the other hand, it is always easier to reject what was created by past generations than to create. It is easy to abandon the cultural values ​​that have been developed over the millennia, on which humanity was brought up. It is much more difficult to create something new that will be a worthy replacement, acceptable and accepted by all.

The aim of the avant-garde is to create something new. While in search of new words, rhythms and sizes of verse, Mayakovsky still felt his own shortcomings. The inability to fill them only through poetry leads him to drama, theater, cinema, fine arts. In a word, he tries himself in other forms of creative realization as an author, director, actor and artist.

Often, the desire to correct, change, lead a motley flock, whose interests are still very far from spiritual and boil down only to the call of "bread and circuses", breaks down on reality, provoking suicide in the reorganizer with a shot in the temple or heart.

Treating horses well and beyond

The law of similarity was deduced by the ancients and is built on natural altruism, but if a person refuses it, then he necessarily loses balance with nature. Altruism is the trump card of the urethral vector. But if the visual vector is mixed here, a lot can look different.

To give due to shortages is characteristic of the urethral person. He, keeping the flock, feeling his responsibility for its integrity, is able to give everything that he has: take off his last shirt, and if necessary, sacrifice his life. It is in the process of bestowal that the urethral individual receives the highest pleasure.

Vladimir Vladimirovich was especially kind to animals. He could not pass by homeless and stray dogs and cats, picked them up and put them up with friends and acquaintances. Mayakovsky himself always had some kind of pet. Filling his visual vector with “animal” compassion, he wrote: “I love animals. You will see a little dog - here at the bakery there is one - a solid bald patch - from himself and then he is ready to get a liver. I'm not sorry, dear, eat!"


It is said that Mayakovsky, being a famous poet and receiving high royalties while abroad, financially supported some of his fellow writers who eked out a miserable emigre lot and had no means of subsistence.

Mayakovsky carefully concealed the fact that he distributed money to those in need. He found miserable poor old people and helped them, never giving his name. Help for the weak, mercy are in the properties of the urethral vector, and compassion is in the visual. Why the Soviet biographers of the poet were silent about this fact is not difficult to guess.

The image of the ruthless herald of the revolution, skillfully tailored by the founders of social realism, did not allow any compassion. Relations between people were built according to the classic Gorky formulation: "Pity humiliates a person …" At the same time, the second part of the phrase was deliberately kept silent: "… we must not spare people, but help them." Mercy was declared "intellectual softness", a conciliatory position, absolutely unacceptable in the conditions of a class clash of two enemy systems and, according to biographers, did not suit the poet-tribune at all.

Read more:

Part 1. The star discovered by Lily Brik

Part 3. The Queen of Spades of Soviet Literature and the Patroness of Talents

Part 4. The love boat crashed …

Part 5. American daughter of the poet

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