Vladimir Mayakovsky

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Vladimir Mayakovsky
Mayakovsky Vladimir.jpg
Born Vladimir Vladimirovich Mayakovsky
(1893-07-19)July 19, 1893
Baghdati, Kutaisi Governorate, [Georgia]
Died April 14, 1930(1930-04-14) (aged 36)
Moscow, Soviet Union
Nationality Russian
Citizenship Russian Empire, Soviet
Alma mater Stroganov Moscow State University of Arts and Industry, Moscow School of Painting, Sculpture and Architecture
Period 1912—1930
Literary movement Russian Futurism, Cubo-Futurism

Vladimir Vladimirovich Mayakovsky (/ˌmɑːjəˈkɔːfski, -ˈkɒf-/;[1] Russian: Влади́мир Влади́мирович Маяко́вский; July 19 [O.S. July 7] 1893 – April 14, 1930) was a Russian and Soviet poet, playwright, artist and stage and film actor.

1913-1917 saw Mayakovsky's rise to fame as a leader of the Russian Futurist movement, with poems like A Cloud in Trousers (1915) and Backbone Flute (1916) hailing the advent of the new wave of avant-garde poetry. Highly prolific, over the course of twenty years he turned from one art form to another, writing, directing his own plays and starring in films, collaborating with Eisenstein, Shostakovich, Meyerhold and Rodchenko, creating agitprop posters, editing the art journal LEF, giving readings in clubs, theaters and, after the 1917 Revolution (which he enthusiastically embraced), in factories, workers' clubs and Komsomol meetings. By the end of the 1920s, though, Mayakovsky has found himself engaged in confrontation with the Soviet literary nomenclature; his scathingly satirical plays The Bedbug (1929) and The Bathhouse (1930) outraging the Soviet critics.

In 1930 Mayakovsky committed suicide. A contradictory and controversial figure, he is considered a 20th-century Russian classic whose innovative works broke new grounds in Russian language, both in poetry and arts.[2][3]


Vladimir Vladimirovich Mayakovsky was born the last of three children in Baghdati, Kutaisi Governorate, Georgia, then part of the Russian Empire. His father Vladimir Konstantinovich Mayakovsky, a local forester, belonged to a noble family and was a distant relative of writer Grigory Danilevsky.[3] Mother Alexandra Alexeyevna (née Pavlenko), was a housewife, looking for children – a son and two daughters, Olga and Lyudmila (their brother Konstantin died at the age of three).[3]

The Mayakovskys in Kutaisi

They were of Russian and Zaporozhian Cossacks descent on their father's side and Ukrainian on their mother's.[4] At home the family spoke Russian. With his friends and at school Mayakovky used Georgian. "I was born in the Caucasus, my father is a Cossack, my mother is Ukrainian. My mother tongue is Georgian. Thus three cultures are united in me," he told the Prague newspaper Prager Presse in a 1927 interview.[5] Georgia for Mayakovsky remained the eternal symbol of beauty. "I know, it's nonsense, Eden and Paradise, but since people sang about them // It must have been Georgia, the joyful land, that those poets were having in mind," he wrote later.[3][6]

In 1902 Mayakovsky joined the Kutais gymnasium where, as a 14-year-old he took part in socialist demonstrations at the town of Kutaisi.[3] His mother was aware of that but apparently didn't mind. "People around warned us we were giving a young boy too much freedom. But I saw him developing according to the new trends, sympathized with him and pandered to his aspirations," she later remembered.[4] After the sudden and premature death of his father in 1906 ( he pricked his finger with a rusty pin while filing papers and died of blood poisoning) the family — Mayakovsky, his mother, and his two sisters — moved to Moscow after selling all their movable property.[7][3]

In July 1906 Mayakovsky joined the 4th form of the Moscow's 5th Classic gymnasium. In 1907 he developed a passion for Marxist literature and became a member of his gymnasium's underground Social Democrats' circle, taking part in numerous activities of the Russian Social Democratic Labour Party which he, given the nickname "Comrade Konstantin,"[8] joined the same year.[9][10] In 1908, the boy was dismissed from the gymnasium because his mother was no longer able to afford the tuition fees.[11] For two years he was studying at the Stroganov School of Industrial Arts, where his sister Lyudmila had started her studies a few years earlier.[7]

Mayakovsky in 1910

As a young Bolshevik activist, Mayakovsky distributed propaganda leaflets, possessed a pistol without a license, and in 1909 got involved in smuggling female political prisoners out of prison. This resulted in a series of arrests and finally an 11-month imprisonment.[8] It was in a solitary confinement of the Moscow Butyrka prison that Mayakovsky started writing verses for the first time.[12] "Revolution and poetry got entangled in my head and became one," he wrote in I, Myself autobiography.[3] As an underage, Mayakovsky avoided the serious prison sentence (with subsequent deportation) and in January 1910 was released.[11] The young man's notebook was confiscated by a warden, and years later Mayakovsky conceded that was all for the better, yet he always stated it was in 1909 that his literary career started.[3]

Upon his release from prison, Mayakovsky remained an ardent Socialist, but realized his own inadequacy as a serious revolutionary. Having left the Party (never to re-join it), he concentrated on education.[13] "I stopped my Party activities. Sat down and started to learn… Now my intention was to make the Socialist art," he later remembered.[14]

In 1911 Mayakovsky enrolled into the Moscow Art School. In September 1911 a brief encounter with fellow student David Burlyuk (which nearly ended with a fight) led to a lasting friendship and had historic consequences for the nascent Russian Futurist movement.[9][12] Mayakovsky became an active member (and soon a spokesman) for the group Gileas (Гилея) which sought to free the arts from academic traditions, its members reading poetry on street corners, throwing tea at their audiences, and making their public appearances an annoyance for the art establishment.[7]

Burlyuk, on having heard Mayakovsky's verses declared him "a genius poet."[11][15] Later Soviet researchers tried to downplay the significance of the fact, but even after their friendship ended and ways parted, Mayakovsky continued to give credit to his mentor, referring to him as "my wonderful friend." "It was Burlyuk who turned me into a poet. He read the French and the Germans to me. He pressed books on me. He would come and talk endlessly. He didn't let me get away. He would subside me with 50 kopeks each day so as I’d write and not be hungry," Mayakovsky wrote in "I, Myself".[8]

Literary career[edit]

Mayakovsky (center) with the fellow Futurist group members

On November 17, 1912, Mayakovsky made his first public performance on stage of the Stray Dog artistic basement in Saint Petersburg.[9] In December of that year his first published poems, "Night" (Ночь) and "Morning" (Утро) appeared in the Futurists' almanac A Slap in the Face of Public Taste (Пощёчина общественному вкусу)[16] It also featured the group's Manifesto, signed by Mayakovsky, as well as Velemir Khlebnikov, David Burlyuk and Alexey Kruchenykh, calling among other things for… "throwing Pushkin, Dostoyevsky, Tolstoy, etc, etc, off the steamboat of the modernity."[9][11]

In October 1913 Mayakovsky gave the performance at the Pink Lantern café, reciting his new poem "Take That!" (Нате!) for the first time. The concert at the Petersburg's Luna-Park saw the premiere of the poetic monodrama Vladimir Mayakovsky, with the author in a leading role, stage decorations designed by Pavel Filonov and Iosif Shkolnik.[9][12] In 1913 Mayakovsky's first poetry collection called I (Я) came out (its original limited edition 300 copies lithographically printed). This four-poem cycle, handwritten and illustrated by Vasily Tchekrygin and Leo Shektel, later formed Part One of the 1916 compilation Simple as Mooing.[11]

In December 1913 year Mayakovsky along with his fellow Futurist group members embarked on the Russian tour, which took them to 17 cities, including Simferopol, Sevastopol, Kerch, Odessa and Kishinev.[3] It was a riotous affair. The audiences would go wild and often the police stopped the readings. The poets dressed outlandishly, and Mayakovsky, "a regular scandal-maker" in his own words, used to appear on stage in a self-made yellow shirt which became the token of his early stage persona.[8] The tour ended on 13 April 1914 in Kaluga[9] and cost Mayakovsky and Burlyuk their education: both were expelled from the Art school for their public appearances deemed incompatible with the school's academic principles.[9][11] They learned of it while in Poltava, from the local police chief who chose the occasion as a pretext to ban the Futurists from performing on stage.[4]

As the World War I broke out, Mayakovsky volunteered but was rejected as a "politically unreliable element." For a while he was working for the Lubok Today company which produced patriotic lubok pictures, and in the Nov (Virgin Land) newspaper which published several of his anti-war poems ("Mother and an Evening Killed by the Germans", "The War is Declared", "Me and Napoleon" among others).[13]

In summer 1915 Mayakovsky moved to Petrograd where he started contributing to the New Satyrikon magazine, writing mostly the humorous verse, in the vein of Sasha Tchorny, one of the journal's stalwarts.[13] Spotting a young performer poet, openly critical of the social system, Maxim Gorky invited him to work for his journal, Letopis.[3][14]

It was in June that year that he fell in love with a married woman, Lilya Brik, who eagerly took upon herself the role of a "muse". Her husband Osip Brik seemed not to mind and became the poet's close friend; later he published several books by Mayakovsky and used his entrepreneurial talents to support the Futurist movement. This love affair, as well as his impressions of World War I and Socialism, strongly influenced Mayakovsky's best known works: A Cloud in Trousers (1915),[17] his first major poem of appreciable length, followed by Backbone Flute (1915), The War and the World (1916) and The Man (1917).[9]

As the mobilization form finally arrived in 1915, Mayakovsky suddenly found himself unwilling to fight in the war. Assisted by Gorky, he joined the Petrograd Military Driving school as a draftsman and was studying there until early 1917.[5][9] In 1916 Parus (The Sail) Publishers (again led by Gorky), published Mayakovsky's poetry compilation called Simple As Mooing.[3][9]


Photo, 1917 (caption: "Futurist Vladimir Mayakovsky")

Mayakovsky embraced the Bolshevik Russian Revolution wholeheartedly and for a while even worked in Smolny, Petrograd, where he saw Vladimir Lenin and was rubbing shoulders with the revolutionary soldiers.[9] "To accept or not to accept, there was no such question… [That was] my Revolution," he wrote in I, Myself autobiography.[5] In November 1917 he took part in the Communist Party's Central committee-sanctioned assembly of writers, painters and theater directors who expressed their allegiance to the new political regime.[9] In December that year "The Left March" (Левый марш, 1918) was premiered at the The Navy Theater, with sailors as an audience.[14]

In 1918 Mayakovsky started the short-lived Futurist Paper. He also starred in three silent films made at the Neptun Studios in Petrograd he'd written scripts for. The only surviving one, The Young Lady and the Hooligan, was based on the La maestrina degli operai (The Workers' Young Schoolmistress) published in 1895 by Edmondo De Amicis, and directed by Evgeny Slavinsky. The other two, Born Not for the Money and Shackled by Film were directed by Nikandr Turkin and are presumed lost.[9][18]

On 7 November 1918 Mayakovsky's play Mystery-Bouffe was premiered in the Petrograd Musical Drama Theatre.[9] Representing a universal flood and the subsequent joyful triumph of the "Unclean" (the proletariat) over the "Clean" (the bourgeoisie), this satirical drama was re-worked in 1921 to even greater popular acclaim.[12][14] The author's attempt to make a film of the play, failed, though, the Moscow Soviet finding its language "incomprehensible for the masses."[7]

In March 1919 Mayakovsky moved back to Moscow where Vladimir Mayakovsky's Collected Works 1909-1919 was released. The same month he started working for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters, aimed mostly at informing the country’s largely illiterate population of the current events.[5][9] In the cultural climate of the early Soviet Union, his popularity grew rapidly, even if among the members of the first Bolshevik government, only Anatoly Lunacharsky supported him; others treated the Futurist art more skeptically.[5][13] Mayakovsky’s 1921 poem, 150 000 000 failed to impress Lenin, who apparently saw in it little more than a formal futuristic experiment.[5][14] More favourably received by the Soviet leader was his next one, "Re Conferences" which came out in April.[9]

A vigorous spokesman for the Communist Party, Mayakovsky expressed himself in many ways. Contributing simultaneously to numerous Soviet newspapers, he poured out topical propagandistic verses and wrote didactic booklets for children while lecturing and reciting all over Russia.[12][13]

In May 1922, after a performance at the House of Publishing at the charity auction collecting money for the victims of Povolzhye famine, he went abroad for the first time, visiting Riga, Berlin and Paris where he visited the studios of Léger and Picasso.[7] Several books, including The West cycle (1922-1924) and the poem "Paris. Talking With the Eiffel Tower" (1923), came out as a result.[9]

Mayakovsky (third from right) with friends including Lilya Brik, Eisenstein (third from left) and Boris Pasternak (second from left).

From 1922 to 1928, Mayakovsky was a prominent member of the Left Art Front (LEF) he helped to found (and coin its "literature of fact, not fiction" credo)[13] and for a while went on to define his work as Communist Futurism (комфут).[11] He edited, along with Sergei Tretyakov and Osip Brik, the journal LEF, its stated objective being "re-examining the ideology and practices of the so-called leftist art, rejecting individualism and increasing Art's value for the developing Communism."[10] The journal's first, March 1923, issue featured Mayakovsky's poem About This (Про это).[9] Regarded as a LEF manifesto, it soon came out as a book illustrated by Alexander Rodchenko who also used some photographs made by Mayakovsky and Lilya Brik.[13]

In May 1923 Mayakovsky spoke at a massive protest rally in Moscow, in the wake of Vatslav Vorovsky's assassination. In summer 1924 he recited the 3,000-line elegy Vladimir Ilyich Lenin written on the death of the Soviet Communist leader; its reading at the Bolshoi Theater ended with the 20 minutes ovation. Next February it came out as a book and soon, in fragments, started to make its way into the Soviet schoolchildren's textbooks.[5][9][12] In May 1925 Mayakovsky's second trip took him to several European cities, then to the United States, Mexico and Cuba. The book of essays My Discovery of America came out later that year.[9][11]

In January 1927 the first issue of the New LEF magazine came out, again under Mayakovsky's supervision, now focusing on the documentary art. In all, 24 issues of it came out.[15] In October 1927 Mayakovsky recited his new poem All Right! (Хорошо!) for the audience of the Moscow Party conference activists in the Moscow's Red Hall.[9] In November 1927 a theatre production called The 25th (and based upon the All Right! poem) was premiered in the Leningrad Maly Opera Theatre. In summer 1928, disillusioned with LEF, he left both the organization and its magazine.[9]


Mayakovsky at his 20 Years of Work exhibition, 1930

In 1929 Goslitizdat released The Works by V.V. Mayakovsky in 4 volumes. In September 1929 the first assembly of the newly formed REF group gathered with Mayakovsky as a chairman.[9] But behind this façade the poet's relationship with the Soviet literary nomenclature was quickly deteriorating. Both the REF-organized exhibition of Mayakovsky's work, celebrating the 20th anniversary of his literary career and the parallel event in the Writers' Club, "20 Years of Work" in February 1930, were ignored by the RAPP members and, more importantly, the Party leadership, particularly Stalin whose attendance he was greatly anticipating.[13] It was becoming evident that the experimental art was no longer welcomed by the regime, and the country's most famous poet irritated a lot of people.[5]

Two of Mayakovsky's satirical plays, written specifically for Meyerkhold Theatre,[13] The Bedbug (1929) and (in particular) The Bathhouse (1930) evoked stormy criticism from the Russian Association of Proletarian Writers.[5][10] In February 1930 Mayakovsky joined RAPP, only to find himself labeled poputchik which from the days of Lenin amounted to a potentially deadly political accusation.[9][13] The smear campaign was started in the Soviet press, sporting slogans like "Down with Mayakovshchina!"[13] On 9 April 1930 Mayakovsky, reading his new poem "At the Top of My Voice", was shouted down by the student audience, for being "too obscure." Besides, according to the poet's American mistress Elli Jones (as related by their daughter, Patricia Thompson) Mayakovsky, a romantic Communist who greeted the 1917 Revolution enthusiastically, by the end of the decade has got totally disgusted with its practical results.[8] All this, coupled with health scare (he was on the verge of losing his voice which would mean the end of his performing artist career) and problems in his confusing love life (for the first time ever he was rejected a visa and failed to visit Paris to meet Tatyana Yakovleva, a woman he was going to marry), apparently combined to drive him to suicide.[5]


On April 12, 1930, Mayakovsky was for the last time seen in public: he took part in the discussion at the Sovnarkom meeting concerning the proposed copyright law.[9] On April 14, 1930, his new flame, actress Veronika Polonskaya, upon leaving his flat, heard a shot behind the closed door. She rushed in and found the poet lying on the floor; he apparently shot himself through the heart.[9][19] The handwritten death note read: "To all of you. I die, but don't blame anyone for it, and please do not gossip. The deceased terribly disliked this sort of thing. Mother, sisters, comrades, forgive me—this is not a good method (I do not recommend it to others), but there is no other way out for me. Lily - love me. Comrade Government, my family consists of Lily Brik, mama, my sisters, and Veronika Vitoldovna Polonskaya. If you can provide a decent life for them, thank you. Give the poem I started to the Briks. They’ll understand."[5] The "unfinished poem" in his suicide note read, in part: "And so they say - "the incident dissolved" / the love boat smashed up / on the dreary routine. / I'm through with life / and [we] should absolve /from mutual hurts, afflictions and spleen."[20] Mayakovsky's body lay in state for three days; some 150,000 mourners came to say the last farewell.[5] He was interred at the Moscow Novodevichy Cemetery.[10]

Controversy surrounding death[edit]

According to the officially approved version of Mayakovsky's death, he pulled the trigger after some minor row with Polonskaya, with whom he had a brief but stormy romance. Polonskaya was in love with the poet, but unwilling to leave her husband. She was the last one who saw Mayakovsky alive.[5] Lily Brik never doubted it. "The idea of suicide was like a chronic disease inside him, and like any chronic disease it worsened under circumstances that, for him, were undesirable," she wrote in her memoirs.[8] According to Polonskaya, Mayakovsky mentioned suicide on April 13, when the two were at Valentin Katayev's place, but thought he was trying to emotionally blackmail her and "refused to believe for a second [he] could do such a thing."[19]

Yet several facts remained unexplained. It appeared that the famously ironic suicide note was written two days before his death. Soon after the poet's death Lilya and Osip Briks, were hastily sent abroad. The bullet removed from his body didn't match the model of his pistol, and his neighbors were later reported to say they'd heard two shots.[8] Ten days later, the officer investigating the poet's suicide was himself killed, fueling the speculation about the nature of Mayakovsky's death.[10] Among those who disputed the official version, was the poet's American daughter Yelena Vladimirovna Mayakovskaya (a.k.a. Patricia Thompson), a professor of Philosophy and Women's Studies at Lehman College in New York City.[5] In her book of memoirs she mentioned David Burlyuk telling her mother Elli Jones that Mayakovsky received "a pistol in a shoe box," which "among the Russian aristocracy... meant death or humiliation: either you commit suicide or you will lose your good name."[8]

Private life[edit]

Lilya Brik and Vladimir Mayakovsky.

Mayakovsky met husband and wife Osip and Lilya Briks in July 1915 at their dacha in Malakhovka nearby Moscow. Soon after that Lilya's sister Elsa who'd had a brief affair with the poet before, invited him to the Briks' Petrograd flat. The couple at the time showed no interest in literature and were successful corals traders.[21] That evening Mayakovsky recited the yet unpublished poem A Cloud in Trousers and announced it as dedicated to the hostess ("For you, Lilya"). "That was the happiest day in my life," was how he referred to the episode in his autobiography years later.[3] According to Lilya Brik's memoirs, her husband too fell in love with the poet ("How could I have possibly failed to fell for him, if Osya loved him so?" – she once argued),[22] whereas "Volodya did not merely fall in love with me; he attacked me, it was an assault. For two and a half years I didn't have a moment's peace. I understood right away that Volodya was a genius, but I didn't like him. I didn't like clamorous people ... I didn't like the fact that he was so tall and people in the street would stare at him; I was annoyed that he enjoyed listening to his own voice, I couldn't even stand the name Mayakovsky... sounding so much like a cheap pen name."[8] Both Mayakovsky's persistent adoration and rough appearance irritated her. It was, allegedly, to please her, that Mayakovsky attended a dentist, started to wear a bow tie and use a walking stick.[7]

Soon after Osip Brik published The Cloud in Trousers in September 1915, Mayakovsky settled in the Palace Royal hotel at the Pushkinskaya Street, Petrograd, not far from where they lived. He introduced the couple to his Futurist friends and the Briks' flat quickly evolved into a modern literary salon. From then on Mayakovsky was dedicating every one of his large poems (with the obvious exception of Vladimir Ilyich Lenin) to Lilya; such dedications later started to appear even in the texts he'd written before they met, much to her displeasure.[8] In summer 1918, soon after Lilya and Vladimir starred in the film Encased in a Film (only fragments of which survived), Mayakovsky and the Briks moved in together. In March 1919 all three came to Moscow and in 1920 settled in a flat at the Gondrikov Lane, Taganka.

In 1920 Mayakovsky had a brief romance with Lilya Lavinskaya, an artist who also contributed to ROSTA. She gave birth to a son, Gleb-Nikita Lavinsky (1921—1986), later a Soviet sculptor.[23] In 1922 Lilya Brik fell in love with Alexander Krasnoshchokov, the head of the Soviet Prombank. This affair resulted in the three months rift, which was to some extent reflected in the poem About This (1923). Brik and Mayakovsky's relationships ended in 1923, but they never parted. "Now I am free from placards and love," he confessed in the poem called "For the Jubilee" (1924). Still, when in 1926 Mayakovsky was granted a state-owned flat at the Gendrikov Lane in Moscow, all three of them moved in and lived there until 1930, having turned the place into the LEF headquarters.

Mayakovsky continued to profess his devotion to Lilya whom he considered a family member. It was Brik who in the mid-1930s famously addressed Stalin with a personal letter which made all the difference in the way poet's legacy hase been treated since in the USSR. Still, she had many detractors (among them Lyudmila Mayakovskaya, the poet's sister) who regarded her insensitive femme-fatale and cynical manipulator, who'd never been really interested in either Mayakovsky or his poetry.[5] "To me, she was a kind of monster. But Mayakovsky apparently loved her that way, armed with a whip," remembered poet Andrey Voznesensky who knew Lilya Brik personally.[24] Literary critic and historian Viktor Shklovsky who resented what he saw as the Briks' exploitation of Mayakovsky both when he lived and after his death, once called them "a family of corpse-mongers."[22]

In summer 1925 Mayakovsky traveled to New York, where he met Russian émigré Elli Jones, born Yelizaveta Petrovna Zibert, an interpreter who spoke Russian, French, German and English fluently. They fell in love, for three months were inseparable but decided to keep their affair secret. Soon after the poet's return to the Soviet Union, Elli gave birth to daughter Patricia. Mayakovsky saw the girl just once, in Nice, France, in 1928, when she was three.[8]

Tatyana Yakovleva

Patricia Thompson, a professor of philosophy and women's studies at Lehman College in New York City, is the author of the book "Mayakovsky in Manhattan," in which she told the story of her parents' love affair, relying on her mother's unpublished memoirs and their private conversations prior to the latter’s death in 1985. Thompson traveled to Russia after the collapse of the Soviet Union, looking for her roots, was welcomed there with respect and since then started to use her Russian name, Yelena Vladimirovna Mayakovskaya. [8]

In 1928 in Paris Mayakovsky met Russian émigré Tatyana Yakovleva,[9] a 22-year-old model working for the Chanel fashion house. He fell in love madly and wrote two poems dedicated to her, "Letter to Comrade Kostrov on the Essence of Love" and "Letter to Tatiana Yakovleva." Some argued that, since it was Elsa Triolet (Lilya's sister) who acquainted them, the liaison might have been the result of Brik's intrigue, aimed at stopping the poet from getting closer to Elli Jones and especially daughter Patricia, but the power of this passion apparently caught her by surprise.[5]

Mayakovsky tried to persuade Tatyana to return to Russia but she refused. In the late 1929 he made an attempt to travel to Paris in order to marry her lover but was refused a visa for the first time, again, as many believed, due to Lilya's making full use of her numerous "connections". It became known that she "accidentally" read Mayakovsky out a letter from Paris alleging that Tatiana was getting married, while, as it turned out soon, the latter's wedding wasn't on the agenda at that very moment.[5] Lydia Chukovskaya insisted it was the "ever-powerful Yakov Agranov, another one of Lilya's lovers" who prevented Mayakovsky's getting a visa, upon her request.[25]

In the late 1920s Mayakovsky had two more affairs, with student (later Goslitizdat editor) Natalya Bryukhanenko (1905-1984) and Veronika Polonskaya (1908—1994), a young MAT actress, then a wife of actor Mikhail Yanshin.[26] It was Veronika's unwillingness to divorce the latter that resulted in her rows with Mayakovsky, the last of which preceded the poet's suicide.[27] Yet, according to Natalya Bryukhanenko, it was not Polonskaya but Yakovleva whom he was pining for. "In January 1929 Mayakovsky [told me] he… would put a bullet to his brain if he didn't see that woman any time soon," she later remembered. Which, on 14 April 1930, he did.[5]


Image from Mayakovsky's Как делать стихи ("How to Make Poems").

Though immature, Mayakovsky's early poems established him as one of the more original poets to come out of the Russian Futurism, a movement rejecting the traditional poetry in favour of formal experimentation, and welcoming the social change promised by modern technology. His 1913 verses, surreal, seemingly disjointed and nonsensical, relying on forceful rhythms and exaggerated imagery with the words split into pieces and staggered across the page, were peppered with street language, considered unpoetic in literary circles at the time.[10][2] While the confrontational aesthetics of his fellow Futurist group members' poetry were mostly confined to formal experiments, Mayakovsky's idea was creating the new, "democratic language of the streets" (as proclaimed in 1915's A Cloud in Trousers: "The street squirms, tongueless – it has nothing to yell and speak with…")[14]

In 1914 his first large work, an avant-garde tragedy Vladimir Mayakovsky came out. The fierce critique of the city life and capitalism in general was, at the same time, a paean to the modern industrial power, featuring the protagonist sacrificing himself for the sake of the people's happiness in the future.[3][11]

In September 1915 A Cloud in Trousers came out,[17] Mayakovsky's first major poem of appreciable length; it depicted the heated subjects of love, revolution, religion and art, written from the vantage point of a spurned lover. The language of the work was the language of the streets, and Mayakovsky went to considerable lengths to debunk idealistic and romanticized notions of poetry and poets.

Your thoughts,
dreaming on a softened brain,
like an over-fed lackey on a greasy settee,
with my heart's bloody tatters I'll mock again;
impudent and caustic, I'll jeer to superfluity.

Of Grandfatherly gentleness I'm devoid,
there's not a single grey hair in my soul!
Thundering the world with the might of my voice,
I go by – handsome,

Вашу мысль
мечтающую на размягченном мозгу,
как выжиревший лакей на засаленной кушетке,
буду дразнить об окровавленный сердца лоскут:
досыта изъиздеваюсь, нахальный и едкий.

У меня в душе ни одного седого волоса,
и старческой нежности нет в ней!
Мир огромив мощью голоса,
иду – красивый,

(From the prologue of A Cloud in Trousers.)

It was followed by the Backbone Flute (1916) which again outraged contemporary critics who described the author as talentless charlatan, spurning "empty words of a malaria sufferer"; some even recommended that he'd "be hospitalized immediately."[8] In retrospect it is seen as a groundbreaking piece, introducing the new forms of expressing social anger and personal frustrations.[14]

1917-1921 was a fruitful period for the poet, who greeted the Bolshevik Revolution with a number of poetic and dramatic works, starting with "Ode to the Revolution" (1918) and "Left March" (1918), a hymn to the proletarian might, calling for the fight against the "enemies of the revolution."[14] Mistery-Bouffe (1918, second version – 1921), the first Soviet play, told the story of a new Noah's Ark, built by the "unclean" (workers and peasants) sporting "moral cleanness" and "united by the class solidarity."[10][14]

Agitprop poster by Mayakovsky

In 1919-1921 Mayakovsky worked for the Russian Telegraph Agency (ROSTA). Painting posters and cartoons, he provided them with apt rhymes and slogans (mixing rhythm patterns, different typesetting styles, and using neologisms) which were describing the currents events in dynamics.[12][7] In three years he produced some 1100 pieces he called "ROSTA Windows".[14]

In 1921 Mayakovsky's poem 150 000 000 arrived, hailing the Russian people's mission in igniting the world revolution. It failed to impress Lenin. The latter praised the 1922 poem "Re Conferences" (Прозаседавшиеся), a scathing satire on the nascent Soviet bureaucracy starting to eat up the apparently flawed state system.[5][14][14]

Mayakovsky's poetry was saturated with politics, but no amount of social propaganda could stifle his personal need for love. It came out most strongly in two poems, I Love (1922) and About This (1923), both dedicated to Lilya Brik. Even after Mayakovsky's relationship with this woman ended (circa 1923), he considered her one of the people closest to him and a member of his family.[12]

In summer 1924 Mayakovsky recited the 3,000-line elegy Vladimir Ilyich Lenin written on the death of the Soviet Communist leader. In retrospect as one of the first in the vast, officially-endorsed Leniniana cycle starting the cult of "the most human of all humans."[9][12][14]

Mayakovsky's extensive foreign trips resulted in the books of poetry (Paris, 1924-1925: Poems About America, 1925-1926), as well as a set of analytical satirical essays.

In 1926 Mayakovsky wrote and published Talking with the Taxman about Poetry, the first in a series of works criticizing the new Soviet philistinism, the result of the New Economic Policy.[15] His 1927 epic, All Right! (1927) sought to unite heroic pathos with lyricism and irony. Extoling the new Bolshevik Russia as "the springtime of the human kind" it was praised by Lunacharsky as "the October Revolution set in bronze."[12][14]

In his last three years Mayakovsky completed two satirical plays: The Bedbug (1929), and The Bathhouse (the latter performed in Leningrad on January 30, 1930), both lampooning bureaucratic stupidity and opportunism.[12] The fierce criticism both plays have been met with was obviously overstated and politically charged, but still, in retrospect Mayakovsky's work in the 1920s is regarded as patched, even his most famous poems, Vladimir Ilyich Lenin and All Right! looking inferior to his passionate and innovative 1910s work.[13]

Several authors, among them Valentin Katayev and close friend Boris Pasternak, reproached him for squandering enormous potential on petty propaganda. The harsh assessment of the poet's later efforts came from Marina Tsvetayeva, who in her 1932 essay "The Art in the Light of Conscience" commented this way on his death: "For twelve years Mayakovsky the man was destroying Mayakovsky the poet. On the thirteenth year the Poet rose up and killed the man… His suicide lasted twelve years, not for a moment he pulled the trigger."[28]


Mayakovsky's grave at Novodevichy

After Mayakovsky's death the Association of the Proletarian Writers' leadership made sure the publications of the poet's work were cancelled and his very name stopped being mentioned in the Soviet press. In her 1935 letter to Yosif Stalin, Lilya Brik challenged her opponents, asking personally the Soviet leader for help.[13] Stalin's resolution inscribed upon this message, read:

"Comrade Yezhov, please take charge of Brik's letter. Mayakovsky is the best and the most talented poet of our Soviet epoch. Indifference to his cultural heritage amounts to a crime. Brik's complaints are, in my opinion, justified..."[29]

The effect of this letter was startling. Mayakovsky was instantly hailed a Soviet classic, proving to be the only member of the artistic avant-garde of the early 20th century to enter the Soviet mainstream. His birthplace of Baghdati in Georgia was renamed Mayakovsky in his honour. In 1937 the Mayakovsky Museum (and library) were opened in Moscow.[14] Triumphal Square in Moscow became Mayakovsky Square.[15] In 1938 the Mayakovskaya Metro Station was opened to the public. Nikolay Aseyev received a Stalin prize in 1941 for his poem "Mayakovsky Starts Here", which celebrated him as a poet of the revolution.[7] In 1974 the Russian State Museum of Mayakovsky opened in the center of Moscow in the building where Mayakovsky resided from 1919 to 1930.[30]

But the flip side of this achievement was catastrophic. For the Soviet readership Mayakovsky ceased being anything other than "the poet of the Revolution," his legacy censored, more intimate or controversial pieces ignored, lines taken out of contexts and turned into slogans (like the omnipresent "Lenin lived, Lenin lives, Lenin shall live forever"). The major rebel of his generation was turned into a symbol of the repressive state. The Stalin-sanctioned canonization has dealt Mayakovsky, according to Boris Pasternak, the second death, as the communist authorities "started to impose him forcibly, like Catherine the Great did the potatoes."[31]

In the late 1950s and early 1960s Mayakovsky's popularity in the soviet Union started to rise again, with the new generation of writers recognizing him as a purveyor of artistic freedom and daring experimentation.[13] Young poets, drawn to avant-garde art and activism that often clashed with communist dogma, chose Mayakovsky's statue in Moscow for their organized poetry readings.[12]

Among the Soviet authors he influenced were Valentin Kataev, Andrey Voznesensky (who called Mayakovsky a teacher and favorite poet and dedicated a poem to him entitled Mayakovsky in Paris)[32][33] and Yevgeny Yevtushenko.[34] In 1967 the Taganka Theater staged the poetical performance Listen Here! (Послушайте!), based on Mayakovsky's works with the leading role given to Vladimir Vysotsky, who was also much inspired by Mayakovsky's poetry.[35]

Mayakovsky became well-known and thoroughly studied abroad. Such diverse poets as Nâzım Hikmet, Louis Aragon and Pablo Neruda acknowledged having being influenced by his work.[14] He was the most influential futurist in Lithuania and his poetry helped to form the Four Winds movement there.[36]

The house on Gendrikov Lane, Moscow, where Mayakovsky lived in the 1920s, now a museum

Frank O'Hara wrote a poem named after him, "Mayakovsky", in which the speaker is standing in a bathtub, a probable reference to his play The Bathhouse. In 1986 English singer and songwriter Billy Bragg recorded the album Talking with the Taxman about Poetry, named after Mayakovsky's poem of the same name. In 2007 Craig Volk's stage bio-drama Mayakovsky Takes the Stage (based on his screenplay At the Top of My Voice) won the PEN-USA Literary Award for Best Stage Drama.[37]

In the Soviet Union's final years there was a strong tendency to view Mayakovsky's work as dated and insignificant; there were even calls for banishing his poems from school textbooks. Yet on the basis of his best works, Mayakovsky’s reputation was revived[12] and (by authors like Yuri Karabchiyevsky) attempts have been made to recreate an objective picture of his life and legacy. Mayakovsky was credited as a radical reformer of the Russian poetic language who created his own linguistic system charged with the new kind of expressionism, which in many ways influence the development of the Soviet and world poetry.[14] The "raging bull of Russian poetry," "the wizard of rhyming," "an individualist and a rebel against established taste and standards," Mayakovsky is seen by many in Russia as a truly revolutionary force and the greatest rebel in the 20th century Russian literature.[5]

"Mayakovsky's face is etched on the altar of the century," Boris Pasternak wrote in the 1950s.[8] "When speaking of Mayakovsky even our grandchildren will have to look forwards, not backwards," Marina Tsvetayeva predicted in the early 1930s.[13]

Selected bibliography[edit]


  • A Cloud in Trousers (Облако в штанах, 1915)
  • Backbone Flute (Флейта-позвоночник, 1915)
  • The War and the World (Война и мир, 1917)
  • The Man (Человек, 1918)
  • 150 000 000 (1921)
  • About That (Про это, 1923)
  • Vladimir Ilyich Lenin (Владимир Ильич Ленин, 1924)
  • Paris (Париж, 1924-1925)
  • A Flying Proletarian (Летающий пролетарий, 1925)
  • All Right! (Хорошо!, 1927)
  • On the Top of My Voice (Во весь голос!, 1930, unfinished)

Poem cycles and collections[edit]

  • The Early Ones (Первое, 1912-1924, 22 poems)
  • I (Я, 1914, 4 poems)
  • Satires. 1913-1927 (23 poems, including "Take That!", 1914)
  • The War (Война, 1914-1916, 8 poems)
  • Lyrics (Лирика, 1916, Лирика, 1916, 3 poems)
  • Revolution (Революция, 1917-1928, 22 poems, including "Ode to Revolution", 1918; "The Left March", 1919)
  • Everyday Life (Быт, 1921-1924, 11 poems, including "On Rubbish", 1921, "Re Conferences", 1922)
  • The Art of the Commune (Искусство коммуны, 1918-1923, 11 poems, including "An Order to the Art Army", 1918)
  • Agitpoems (Агитпоэмы, 1923, 6 poems, including "The Mayakovsky Gallery")
  • The West (Запад, 1922-1924, 10 poems, including "How Does the Democratic Republic Works")
  • The American Poems (Стихи об Америке, 1925-1926, 21 poems, including "The Brooklyn Bridge")
  • On Poetry (О поэзии, 1926, 7 poems, including "Talking with the Taxman About Poetry", "For Sergey Yesenin")
  • The Satires. 1926 (Сатира, 1926. 14 poems)
  • Lyrics. 1918-1924 (Лирика. 12 poems, including "I Love", 1922)
  • Publicism (Публицистика, 1926, 12 poems, including "To Comrade Nette, a Steamboat and a Man", 1926)
  • The Children's Room (Детская, 1925-1929. 9 poems for children, including "What Is Good and What Is Bad")
  • Poems. 1927-1928 (56 poems, including "Lenin With Us!")
  • Satires. 1928 (Сатира. 1928, 9 poems)
  • Cultural Revolution (Культурная революция, 1927-1928, 20 poems, including "Beer and Socialism")
  • Agit…(Агит…, 1928, 44 poems, including "'Yid'")
  • Roads (Дороги, 1928, 11 poems)
  • The First of Five (Первый из пяти, 1925, 26 poems)
  • Back and Forth (Туда и обратно, 1928-1930, 19 poems, including "The Poem of the Soviet Passport")
  • Formidable Laughter (Грозный смех, 1922-1930; more than 100 poems, published posthumously, 1932-1936)
  • Poems. 1924-1930 (Стихотворения. 1924-1930, including "A Letter to Comrade Kostrov on the Essence of Love", 1929)


  • Vladimir Mayakovsky (Владимир Маяковский. Subtitled: Tragedy, 1914)
  • Mystery-Bouffe (Мистерия-Буфф, 1918)
  • The Bedbug (Клоп, 1929)
  • The Bathhouse (Баня. 1930)
  • Moscow Burns. 1905 (Москва горит. 1905, 1930)

Essays and sketches[edit]

  • My Discovery of America (Мое открытие Америки, 1926), in four parts
  • How to Make Verses (Как делать стихи, 1926)


  • Aizlewood, Robin. Verse form and meaning in the poetry of Vladimir Maiakovsky: Tragediia, Oblako v shtanakh, Fleita-pozvonochnik, Chelovek, Liubliu, Pro eto (Modern Humanities Research Association, London, 1989).
  • Brown, E. J. Mayakovsky: a poet in the revolution (Princeton Univ. Press, 1973).
  • Charters, Ann & Samuel. I love : the story of Vladimir Mayakovsky and Lili Brik (Farrar Straus Giroux, NY, 1979).
  • Humesky, Assya. Majakovskiy and his neologisms (Rausen Publishers, NY, 1964).
  • Jangfeldt, Bengt. Majakovsky and futurism 1917-1921 (Almqvist & Wiksell International, Stockholm, 1976).
  • Lavrin, Janko. From Pushkin to Mayakovsky, a study in the evolution of a literature. (Sylvan Press, London, 1948).
  • Mayakovsky, Vladimir (Patricia Blake ed., trans. Max Hayward and George Reavey). The bedbug and selected poetry. (Meridian Books, Cleveland, 1960).
  • Mayakovsky, Vladimir. Mayakovsky: Plays. Trans. Guy Daniels. (Northwestern University Press, Evanston, Il, 1995). ISBN 0-8101-1339-2.
  • Mayakovsky, Vladimir. For the voice (The British Library, London, 2000).
  • Mayakovsky, Vladimir (ed. Bengt Jangfeldt, trans. Julian Graffy). Love is the heart of everything : correspondence between Vladimir Mayakovsky and Lili Brik 1915-1930 (Polygon Books, Edinburgh, 1986).
  • Mayakovsky, Vladimir (comp. and trans. Herbert Marshall). Mayakovsky and his poetry (Current Book House, Bombay, 1955).
  • Mayakovsky, Vladimir. Selected works in three volumes (Raduga, Moscow, 1985).
  • Mayakovsky, Vladimir. Selected poetry. (Foreign Languages, Moscow, 1975).
  • Mayakovsky, Vladimir (ed. Bengt Jangfeldt and Nils Ake Nilsson). Vladimir Majakovsky: Memoirs and essays (Almqvist & Wiksell Int., Stockholm 1975).
  • Novatorskoe iskusstvo Vladimira Maiakovskogo (trans. Alex Miller). Vladimir Mayakovsky: Innovator (Progress Publishers, Moscow, 1976).
  • Noyes, George R. Masterpieces of the Russian drama (Dover Pub., NY, 1960).
  • Nyka-Niliūnas, Alfonsas. Keturi vėjai ir keturvėjinikai (The Four Winds literary movement and its members), Aidai, 1949, No. 24. (Lithuanian)
  • Rougle, Charles. Three Russians consider America : America in the works of Maksim Gorkij, Aleksandr Blok, and Vladimir Majakovsky (Almqvist & Wiksell International, Stockholm, 1976).
  • Shklovskii, Viktor Borisovich. (ed. and trans. Lily Feiler). Mayakovsky and his circle (Dodd, Mead, NY, 1972).
  • Stapanian, Juliette. Mayakovsky's cubo-futurist vision (Rice University Press, 1986).
  • Terras, Victor. Vladimir Mayakovsky (Twayne, Boston, 1983).
  • Vallejo, César (trans. Richard Schaaf) The Mayakovsky case (Curbstone Press, Willimantic, CT, 1982).
  • Volk, Craig, "Mayakovsky Takes The Stage" (full-length stage drama), 2006 and "At The Top Of My Voice" (feature-length screenplay), 2002.
  • Wachtel, Michael. The development of Russian verse : meter and its meanings (Cambridge University Press, 1998).


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  6. ^ Я знаю: / глупость -- эдемы и рай! / Но если / пелось про это, // должно быть, / Грузию, радостный край, / подразумевали поэты.
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  18. ^ Petrić, Vlada. Constructivism in Film: The Man With the Movie Camera:A Cinematic Analysis. Cambridge University Press. 1987. Page 32. ISBN 0-521-32174-3
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  37. ^ PEN Center USA Literary Awards Winners

External links[edit]