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Mayakovsky's satire - features, description and interesting facts. Essay on literature on the topic: Satire by V.V. Mayakovsky A set of satirical means

No other works of Russian poets are so replete with irony and ridicule as the work of Vladimir Vladimirovich Mayakovsky. unusually sharp, topical and mostly socially directed.

Curriculum vitae

Mayakovsky was born in Georgia. It was there, in the village of Baghdadi, that the future poet was born on July 17, 1893. In 1906, after the death of his father, he moved to Moscow with his mother and sisters. For an active political position, he goes to prison several times. Ends Even in his student years, Mayakovsky's futuristic path begins. Satire - along with shocking and bravado - becomes a hallmark of his poetry.

However, futurism, with its nihilistic protest, could not fully contain the full force of Mayakovsky's literary word, and the themes of his poems quickly began to go beyond the chosen direction. More and more they heard the social overtones. The pre-revolutionary period in Mayakovsky's poetry has two pronounced directions: accusatory satirical, revealing all the shortcomings and vices, disastrous, behind which terrible reality destroys a person who embodies the ideal of democracy and humanism.

Thus, satire in the work of Mayakovsky at the earliest stages of his work became a hallmark of the poet among his comrades in the literary workshop.

What is futurism?

The word "futurism" is derived from the Latin futurum, meaning "future". This is the name of the avant-garde movement of the early 20th century, which is distinguished by the denial of past achievements and the desire to create something radically new in art.

Features of futurism:

Anarchy and rebellion.
Rejection of cultural heritage.
Cultivating progress and industry.
Epatage and pathos.
Rejection of established norms of versification.
Experiments in the field of versification with rhyme, rhythm, orientation to slogans.
Creation of new words.

All these principles are perfectly reflected in Mayakovsky's poetry. Satire organically merges into these innovations and creates a unique style inherent in the poet.

What is satire?

Satire is a way of artistic description of reality, the task of which is to denounce, ridicule, impartial criticism of social phenomena. Satire most often uses hyperbole and the grotesque to create a distorted conditional image that embodies the ugly side of reality. Her main characteristic- a pronounced negative attitude towards the depicted.

The aesthetic orientation of satire is the cultivation of the main humanistic values: kindness, justice, truth, beauty.

In Russian literature, satire has a deep history, its roots can already be found in folklore, later it migrated to the pages of books thanks to A.P. Sumarokov, D.I. Fonvizin and many others. In the 20th century, the power of Mayakovsky's satire in poetry knows no equal.

Satire in verse

Already in the early stages of his work, Vladimir Mayakovsky collaborated with the magazines New Satyricon and Satyricon. The satire of this period has a touch of romanticism and is directed against the bourgeoisie. The poet's early poems are often compared with Lermontov's because of the opposition of the author's "I" to the surrounding society, because of the pronounced rebellion of loneliness. Although Mayakovsky's satire is clearly present in them. The poems are close to futuristic settings, very original. Among these are: “Nate!”, “Hymn to the Scientist”, “Hymn to the Judge”, “Hymn to Dinner”, etc. Already in the titles of the works, especially the “hymns”, one can hear irony.

The post-revolutionary work of Mayakovsky dramatically changes its direction. Now his heroes are not well-fed bourgeois, but enemies of the revolution. Poems are complemented by slogans and reflecting the surrounding changes. Here the poet showed himself as an artist, since many works consisted of verse and drawing. These posters are part of the ROSTA window series. Their characters are irresponsible peasants and workers, White Guards and bourgeois. Many posters denounce the vices of modernity, which remained from past life, since post-revolutionary society seems to Mayakovsky an ideal, and everything bad in it is a relic of the past.

Among the most famous works, where Mayakovsky's satire reaches its apogee, are the poems "Seated", "About rubbish", "A poem about Myasnitskaya, about a woman and about the all-Russian scale." The poet uses the grotesque to create absurd situations and often speaks from a position of reason and a sound understanding of reality. All the power of Mayakovsky's satire is aimed at exposing the shortcomings and deformities of the world around him.

Satire in plays

Satire in the work of Mayakovsky is not limited to poems, it also manifested itself in plays, becoming a meaning-forming center for them. The most famous of them are "Klop" and "Bath".

The play "Banya" was written in 1930, and already with the definition of its genre, the author's irony begins: "a drama in six acts with a circus and fireworks." Its conflict consists in the confrontation between the official Pobedonosikov and the inventor Chudakov. The work itself is perceived easily and funny, but it shows the struggle with a senseless and ruthless bureaucratic machine. The conflict of the play is resolved very simply: a “phosphoric woman” arrives from the future and takes the best representatives of humanity with her, to where communism reigns, and bureaucrats are left with nothing.

The play "The Bedbug" was written in 1929, and on its pages Mayakovsky is at war with the bourgeoisie. The main character, Pierre Skripkin, miraculously ends up in a communist future after a failed marriage. It is impossible to clearly understand Mayakovsky's attitude to this world. The poet's satire mercilessly ridicules his shortcomings: machines do the work, love is eradicated... Skripkin seems to be the most alive and real person here. Under his influence, society gradually begins to collapse.

Conclusion

Vladimir Vladimirovich Mayakovsky becomes a worthy successor to the traditions of M.E. Saltykov-Shchedrin and N.V. Gogol. In poems and plays, he manages to aptly identify all the "ulcers" and shortcomings of the contemporary writer's society. Satire in the works of Mayakovsky bears a pronounced focus on the fight against the bourgeoisie, the bourgeoisie, bureaucracy, the absurdity of the surrounding world and its laws.

In the early poetry of V. Mayakovsky, imbued with the pathos of anti-bourgeoisness, a conflict of the creative personality, the author’s “I”, traditional for romantic poetry, arises: rebellion, loneliness, the desire to tease, annoy the rich and well-fed, in other words, to shock them. For futurism, this was typical. The alien philistine environment was portrayed satirically. The poet draws her as soulless, immersed in the world of base interests, in the world of things:
Here you are, man, you have cabbage in your mustache Somewhere half-finished, half-eaten cabbage soup; Here you are, woman, whitewashed on you

Gusto, you look like an oyster from the shells of things.
Even in pre-revolutionary satirical poetry, V. Mayakovsky uses the entire arsenal of artistic means traditional for satirical literature, which is so rich in Russian culture. Thus, irony already sounds in the very titles of a number of works, which the poet designated as “hymns”: “Hymn to the Judge”, “Hymn to the Scientist”, “Hymn to Criticism”, “Hymn to Dinner”. As you know, the anthem is a solemn song, but Mayakovsky's hymns are an evil satire.

His heroes are judges, dull people who do not know how to enjoy life and bequeath it to others,

They strive to regulate everything, to make it colorless and dull. The poet names Peru as the scene of action, although the real address is quite transparent. A particularly vivid satirical pathos is heard in the “Hymn to Dinner”. The heroes of the poem are the very well-fed ones who acquire the meaning of a symbol of the bourgeoisie.

In a poem, the poet uses a synecdoche when a part is called instead of the whole. In the Hymn to Dinner, the stomach acts instead of a person:
Panama stomach! Will they infect you with the majesty of death For a new era?! Nothing can hurt the stomach, Except for appendicitis and cholera!
A peculiar turning point in the satirical work of V. Mayakovsky was the ditty composed by him in October 1917:
Eat pineapples, chew grouse, Your last day is coming, bourgeois.
There is also an early romantic poet, and V. Mayakovsky, who put his work at the service of the new government. These relations - the poet and the new government - were far from simple, this is a separate issue, but one thing is certain - the rebel and futurist V. Mayakovsky sincerely believed in the revolution. And the satirical orientation of V. Mayakovsky's poetry is changing.
First, the enemies of the revolution become its heroes. This topic became important for the poet for many years. In the first years after the revolution, these are the poems that made up the "Windows of ROSTA", that is, the Russian Telegraph Agency, which published campaign posters one day.

V. Mayakovsky took part in their creation both as a poet and as an illustrator. In "Windows of GROWTH" V. Mayakovsky uses such satirical devices as grotesque, hyperbole, parody. So, some inscriptions are created on the motives of famous songs: for example, “Two grenadiers to France” or “Bloch”, known from Shalyapin's performance.

Their characters - white generals, irresponsible workers and peasants, bourgeois - an indispensable top hat and with a fat stomach.
Mayakovsky makes maximalist demands on the new life, so many of his poems satirically denounce its vices. So, the satirical poems of V. Mayakovsky “On Rubbish”, “Protected” gained great fame. The latter creates a grotesque picture. The fact that “half of the people” are sitting is not only the realization of a metaphor: people are torn in half in order to do everything, but also the very price of such meetings.

In the poem “On rubbish”, V. Mayakovsky seems to return to the former anti-philistine pathos. Rather harmless details of everyday life, like a canary or a samovar, acquire the sound of sinister symbols of the new philistinism. In the finale, the image of a portrait coming to life, traditional for literature, appears: this time, the portrait of Marx, who makes a rather strange call to turn the heads of canaries.

This appeal is understandable only in the context of the entire poem, in which canaries have acquired such a generalizing meaning.
Less well known are the satirical works of V. Mayakovsky, in which he speaks not from the position of militant revolutionism, but from the standpoint of common sense. For example, in “A poem about Myasnitskaya, about a woman and about an all-Russian scale”, the revolutionary desire for a global reshaping of the world comes into direct conflict with the ordinary interests of an ordinary person. Baba, whose snout was “covered with mud” on the impassable Myasnitskaya Street, does not care about the global all-Russian scale. In this poem, one can hear a roll call with the speeches of Professor Preobrazhensky, full of common sense, from M. Bulgakov's story “The Heart of a Dog”.

The satirical poems of V. Mayakovsky about the passion of the Bolsheviks to give the names of heroes to everything and everyone are permeated with the same common sense. So, in the poem “Terrifying familiarity” there appear the completely authentic “Meyerhold Combs” or “The Dog named Polkan” invented by the poet. In 1926, V. Mayakovsky wrote the poem “Strictly Forbidden”:
You rejoice in everything: the porter, the ticket inspector. The pen itself raises the hand, And the heart boils with song gift. Ready to paint the platform of Krasnodar to heaven.

Here to sing the nightingale-trailer. Mood - Chinese teapot! And suddenly on the wall: -It is strictly forbidden to ask questions to the controller! - And immediately the Heart for the bit.

Solovyov with stones from a branch. And I want to ask: - Well, how are you? How is your health?

How are the kids? - I passed, eyes down to the ground, just giggled, looking for patronage, And I want to ask a question, but I can’t - The government will still be offended!
There is a conflict of natural human feeling with the bureaucracy, with the clerical system, in which everything is regulated, strictly subject to rules that complicate people's lives. It is no coincidence that the poem begins. a spring picture that gives rise to a joyful mood; the most mundane phenomena, such as the station platform, evoke poetic inspiration, a gift for song. V. Mayakovsky finds an amazing comparison:. “The mood is a Chinese teapot!” Immediately a feeling of something joyful, festive is born.

And all this is crossed out by senseless clericalism.
With amazing psychological accuracy, the poet conveys the feeling of a person who becomes the subject of strict control and prohibition - he becomes humiliated, no longer laughs, but “giggles, looking for patronage.” The poem is written in a tonic verse characteristic of V. Mayakovsky's work, and what is typical for the artist's poetic skill, rhymes “work” in it. So, the funniest word “caddy” rhymes with the verb “forbidden” from the wretched official vocabulary. Here the poet also uses neologisms dual to him: treleru, nizya - a gerund from the non-existent “lower”.

They are actively working to reveal the artistic meaning. The lyrical hero of this work is not a speaker, not a wrestler, but above all a person with his natural mood, inappropriate where everything is subject to strict regulations.
V. Mayakovsky created satirical works at all stages of his work. It is known that in his early years he collaborated in the magazines Satyricon and New Satyricoya, and in his autobiography “I myself” under the date “1928”, that is, two years before his death, he wrote: “I am writing the poem“ Bad ”in counterbalance to the 1927 poem "Good!". True, the poet never wrote “Bad”, but he paid tribute to satire both in poetry and in plays, which still sound very modern today.

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Writing

In the early 1920s, a satirical direction was clearly marked in Mayakovsky's poetry. Having printed two poems at the same time: "The Last Page of the Civil War" and "On Rubbish", the poet moves from glorifying the courage of the Red Army to denouncing the philistinism and bureaucracy in Soviet society. The pathetic line "The last page ..." becomes a kind of epigraph to the poem "About rubbish".

Glory, glory, glory to the heroes!!!

However, they have received enough tribute. Now let's talk about rubbish.

With these words, Mayakovsky begins a major conversation on the topic of shortcomings, which, in his opinion, are not compatible with socialist reality, but coexist perfectly in it. The poet's anxiety is caused by the dangerous tendency of introducing a tradesman into the state apparatus:

From all the vast Russian fields, from the first day of Soviet birth, they flocked, hastily changing plumage, and settled in all institutions.

Naked from a five-year sitting behinds, strong as washbasins, they still live - quieter than water. Cozy offices and bedrooms were built.

Satirical motifs were clearly heard in "Mystery-Buff" and in the poem "150,000,000". But if earlier Mayakovsky's satire was directed against external enemies, now the poet transfers "fire on himself", on our internal shortcomings. Excellent knowledge of the object of satire ensured the accuracy of its hit, whether it was about major negative phenomena of Soviet reality or about "little things." "A poem about Myasnitskaya, about a woman and about the all-Russian scale" already in the very title brings together seemingly incommensurable phenomena. The satirist needs this in order for the Soviet leaders to understand the political significance of "trifles."

And for us, if we roar at a rally, the limits of arithmetic, of course, are narrow - everything is resolved on a global scale. In the extreme case, the scale is all-Russian.

The humorously described adventure of a woman making her way with a cart to the Yaroslavsky railway station and falling into a pit at Myasnitskaya at night raises the problem of the disdainful attitude of local authorities towards the interests of ordinary citizens who suffer from the unimprovement of the streets and other similar "little things" that is relevant to this day. It is quite natural in this case, their attitude towards the leaders. Therefore, the author fully justifies the injured woman, who, "climbing from floor to floor, on top of me and the power of the wing." Here the satirist feels his responsibility for these shortcomings, without separating himself from the authorities. Thus, Mayakovsky's everyday satirical poem actually continues the theme outlined in the conversation "about rubbish", which dealt with those who, while holding a significant state post, covered up alien or hostile content with Soviet uniforms. Mayakovsky takes off the mask from the dangerous internal enemy of the young Soviet state - philistinism.

"The philistines have entangled the revolution with threads, The philistine life is more terrible than Wrangel. Hurry up the heads of the canaries, so that communism is not beaten by the canaries!"

Mayakovsky saw another terrible evil in modern life - bureaucracy, which grew into all spheres. state activity, hindering the development of the Soviet country. Thus, one of the themes was determined for the poet, which later passed through all his work. This topic is devoted to the poem "The Sitting Ones", which is a satirical generalization of a close-up. The story of a fantastic incident in a certain Soviet institution, where "half of the people are sitting," reveals the widest scale of bureaucratization of the state apparatus, causing horror, indignation and excitement of the lyrical hero. But the fantastic lies not even in this wild mystical picture, but in the fact that this does not at all surprise the secretary.

"Killed! Killed!" - I'm rushing, yelling. From the terrible picture went crazy mind. and I hear the calmest voice of the secretary: “They are at two meetings at once. On the day of meetings, we have to keep up with twenty.

The satirist was shocked by the Olympian calmness of the secretary, for whom, as well as for "comrade Ivan Vanych", such a life is familiar and acceptable. It was necessary to change what had become the usual "our way of life." Such a goal facing the Soviet satirist made him turn to drama in order to make evil more visible and concrete, embodied in a comedic stage action. Two of his most popular comedies - Bedbug and Bathhouse - are dedicated to the fight against bureaucracy.

Narrowness of outlook, wretched philistine taste, desire for material wealth characterizes the hero of Mayakovsky's play "The Bedbug". The "former worker, former party member" Pyotr Prisypkin, under the influence of the Nepman elements, is reborn into the bourgeois philistine Pierre Skripkin. The playwright invites the reader and viewer to look at this type of modern tradesman from the future. For the people of the communist tomorrow, Skripkin is as harmful an insect as a bug, which, by its very presence, poisons and energizes environment. Such fiddlers become even more dangerous, settling in public institutions because they use the power given to them for evil. If such a harmful insect as a bug can be swatted or put in a cage with the inscription "Obyvatelius vulgaris", then the Pobedonosikovs and the optimists from "The Bath" represent a real threat to society, because they have the power to prohibit an important and useful discovery, to leave people in need without help , sow around the seeds of flattery and discord, create the appearance of violent activity with complete idleness. Bureaucracy is dangerous because, without doing anything itself, it actively prevents people from working creatively, inventing, trying to improve their lives.

The poet, by means of satire, fought against the "web of nepotism, patronage, red tape", sycophants, flatterers who, in a silent manner, serve "not the cause, but the persons." Mayakovsky ridiculed the cowardly, narrow-minded leaders who could not take a step without instructions from their superiors. Mayakovsky's satire "mowed down" "rubbish", helped the reader to see more clearly the numerous shortcomings in society and in himself, and to the best of his ability to deal with them, being critical of his actions.

Thus, with satirical works, the poet educated the reader, teaching him to be principled and active. Mayakovsky's satire helps us today to fight against bureaucrats and sycophants, philistines and reinsurers. Without getting rid of these shortcomings, we will never come to a free democratic society, to a life worthy of a person.

October 1917. "To accept or not to accept? There was no such question for me. My revolution." Mayakovsky wrote in his autobiography. The affirmation of a new life, its social and moral order, becomes the main pathos of his work, the affirmation of socialist realism in literature is connected with his poetry. But one should not be mistaken in thinking that Mayakovsky accepted the new system unconditionally, not noticing its shortcomings. No, accepting the revolution, the poet also assumed a new role, the role of a denouncer of the vices of contemporary society. His sharply sharpened pen of satire described many phenomena that had to be fought and which had to be eradicated. His satire is often poisonous and ruthless, we will not meet Aesop's language in his poems, he does not try to smooth sharp corners and speak softer about this or that "sin". He always "beats" in the very heart, in the very essence of the problem, in the most painful place, and his words are also clear and painful for those who fell under his pen. This satire is everywhere. But I would especially like to single out such poems as “Seated”, “About Rubbish” and “Bureaucratiad”, where the paintings written with the brush of Mayakovsky's satire come through especially clearly.

The very titles of these verses are already offensive. It seems that the poet deliberately uses such words in order to “hit” the bureaucrats more painfully (recall that in all three works we are talking about the bureaucracy). And, I think, he really succeeds, because you will not find such accusatory exclamations and such caustic laughter from more than one author:

The storms of revolutionary bosoms have calmed down.

The Soviet hodgepodge turned into mud.

And got out

behind the back of the RSFSR

tradesman,

Mayakovsky's satire always calls a spade a spade, no matter what happens, and no matter what readers think of it. There is no "honey" in Mayakovsky's poems, they are all one big barrel of tar. Therefore, there is so much grotesque in poetry. Mayakovsky increases vices to gigantic proportions, but the voice of his accusatory satire also increases its power, because if we see vice within the framework of the whole society, then we need a huge shovel to clear all this "rubbish". And it is no coincidence that Marx “yells with his mouth open” at such unfortunate townsfolk:

"The philistine revolution was entangled

More terrible than Wrangel is the philistine way of life.

turn the heads of the canaries -

so that communism

was not beaten by canaries!"

Often Mayakovsky is also a writer of everyday life, and this is another sign of the innovation of his satire. His words are always addressed also to the descendants, we hear these appeals in every line. The poet, as it were, tells us, grinning: “Look, we lived in such a time, and we ridiculed it! Do you live better? Probably the answer to this question will be negative. We cannot say with certainty that in our society there are no such "comrades Nadya" and such a "philistine". Therefore, the works of Mayakovsky still remain relevant and timeless.

It is also interesting to observe how Mayakovsky's satire invents new definitions for the newly born vices of the young Soviet republic. These are such neologisms as: “philistine”, “nepists” and many others, which, however, characterize one and the same phenomenon, or rather, an estate, the so-called middle class. And although the revolution proclaimed the abolition of all estates, it could not completely get rid of the estate system. And it was Mayakovsky, together with his constant satire companion, who undertook to eradicate it. It is interesting to see that the poet not only denounces, but he also gives specific advice, shows ways out, tries not to be unfounded. Here, for example, what recommendations we see in the poem “The Sitting Ones”:

You won't fall asleep with excitement.

Early morning.

I dream of meeting the early dawn:

"Oh, at least

one meeting

concerning the eradication of all meetings!"

Or, for example, in Bureaucratiad:

as known,

not a clerk.

I don't have office skills.

But in my opinion

without any trick

take office by the pipe

and shake out.

over shaken

sit in silence

pick one and say:

Just ask him:

"For God's sake,

write, comrade, not very much!"

Such is Mayakovsky's satire, she not only laughs, but also gives practical advice, not only puts all the abomination and dirt on public display, but also takes a broom and sweeps this dirt out of the corners. There is in Mayakovsky's satire and just humor. Therefore, perhaps, his poems are read easily and interestingly. But this humor in no way absolves the “guilty” of responsibility. The functions of humor here are somewhat different. If his pictures of the "philistine" that unfold before our mind's eye were not permeated with this humor, they would be too black and gloomy. Then we would read not poems, but accusatory manifestos, and they should not be published in satirical magazines, but only sent as complaints to the appropriate authorities. Then we would have isolated cases of bribery, bureaucracy and irresponsibility. But Mayakovsky's satire allows us to look at these cases against the backdrop of a general picture of such vices:

I'm dreaming, yell.

From the terrible picture went crazy mind.

"She's in two meetings at once.

meetings for twenty

we need to hurry up.

Inevitably, you have to split up.

To the waist here

but other

In order to avoid such a bifurcation into individual cases and the overall picture, and Mayakovsky uses his satire. For this, there are also names when the satirist tries to describe the phenomenon in full, for example, such as “Bureaucratiad”, “Trusts”, “About poets”. He not only denounces these phenomena, but also gives his resolutions:

To my mind,

from another barrel -

famous fairy tale white bull.

And there are many such tales about the “white bull”. After all, as they say later: "A poet in Russia is more than a poet." And it is to Mayakovsky that these words are most applicable. He was indeed more than a poet, more than a writer, more than a citizen, more than a patriot. And this is largely the merit of his satire, sharp and caustic, special, not like the others. After all, Mayakovsky's poems can be recognized immediately, and this is only due to that special style and that special satire that is unique to him:

Naked from a five-year sitting ass,

strong as washbasins,

are still living

quieter than water.

Weave cozy offices and bedrooms

Sometimes even now we really lack this satire of the poet to fight all the same phenomena that he denounced during his lifetime.

Speaking about the features that determine the nature of satire, M.E. Saltykov-Shchedrin wrote: “In order for satire to be truly satire and achieve its goal, it is necessary, firstly, that it makes the reader feel the ideal from which its creator and , secondly, so that she is quite clearly aware of the object against which her sting is directed. Mayakovsky's satire fully satisfies these requirements: it always feels the social ideal for which the poet is fighting, and clearly defines the evil against which it is directed.

Her edge.

Mayakovsky's satire is diverse in terms of genre. From a very peculiar satirical "anthem" in pre-revolutionary poetry, he came to a cheerful witty caricature with its inherent tendency to a satirical image-mask, the widespread use of hyperbole in post-revolutionary poetry. In the 1920s, in poems about foreign countries, Mayakovsky turned to the genre of lyrical-epic, narrative poem, in which satire is often present.

The poet works a lot and persistently in the genre of poetic satirical feuilleton. This genre, emerging in the poetry of Mayakovsky already in the early 1920s, was the most

Development reaches in the last period of his career. This genre can be attributed to his satirical poems "About rubbish" and "Seated". Central themes satirical creativity of the poet - philistinism and bureaucracy.

If in the poem “About Rubbish” philistinism is denounced, then in the poem “Seated”, written a year later, for the first time satire is directed against bureaucracy. And although the problem of "bureaucracy" was subsequently reflected in many of Mayakovsky's works, the poem "Seated" remained one of the best examples of Mayakovsky's satire on this topic.

The peculiarity of the poem “Seated” is that it does not display a specific image of a bureaucrat, but there is a generalized picture of sitting bureaucrats. The satirical effect in the poem is created gradually. At the beginning of the poem, little foreshadows its satirical sound:

A little night will turn into dawn,
I see every day
who's in charge
who's in whom
who is in politics
who is in the light
the people disperse into institutions.

But the satirical sound of the second stanza is no longer in doubt:

Rain on paper things
as soon as you enter the building:
having selected from fifty -
The most important! -
employees disperse to the meeting.

For Mayakovsky, bureaucracy will always mean the blind power of a piece of paper, a circular, an instruction that is used to the detriment of a living cause. It is no coincidence that “In poems about the Soviet passport” the poet will express himself so sharply about a bureaucratic piece of paper. The image of “paper rain”, outlined in “The Sitting Ones”, is very remarkable in this respect and will be continued in a number of subsequent works of the poet.

However, in this poem this image is not developed, because Mayakovsky is interested in something else here - the sitting rage of bureaucrats. It would be wrong to believe that Mayakovsky takes meetings in general under satirical fire. We are talking about bureaucratic meetings, which, in full accordance with the essence of bureaucracy, replace live business with conversations, decisions, resolutions, and the very topic of these meetings, meetings, conferences is far-fetched. Throughout the poem, the poet emphasizes the clearly bureaucratic, archiformal nature of the meetings held:

Comrade Ivan Vanych left to sit -
the union of Theo and Gukon ...
... They are sitting:
buying a bottle of ink
Sponge cooperative…

The petitioner, who has been knocking around the thresholds of this institution “from the time she is”, in order to take an audience with one of its employees, can in no way find him on the spot, for the elusive Ivan Vanych is constantly at some kind of meetings. Mayakovsky himself had to face bureaucratic red tape when he tried to publish the play Mystery Buff in the State Publishing House. In his statements to the commissions, to departments, in some letters of that time, Mayakovsky tells how he had to deal with “pure bureaucracy”, with “bureaucracy mixed with mockery”, he writes that he “knocked the thresholds of the head”.

Of course, these biographical facts are maximally generalized in "Protsessed", but they cannot be ignored.

Four times a day the unfortunate petitioner climbs up to the "top floor of a seven-story building," but he still cannot find Ivan Vanych. Each time he hears the same answer: "They are sitting." But the main thing is not that Ivan Vanych is in session, but in what meetings he spends his official time, since it is precisely in this that the bureaucratic essence of the “sitting” is revealed. Already after the first attempt to meet with Ivan Vanych, the petitioner hears that Ivan Vanych "gone to sit" on the "unification of Theo and Gukon."

Only in the brain of a notorious bureaucrat could the idea of uniting institutions so different in character, such as the Theater Department of the Main Political Education and the Main Department of Horse Breeding under the People's Commissariat of Land, be born. And Mayakovsky, relying on real facts, goes further, forcing the bureaucrats to raise the question of uniting these incompatible institutions in general, and thereby achieving an acutely satirical effect.

For the fourth time, already “looking at night”, the petitioner comes to the institution and finds out that this time the mysterious Ivan Vanych is “at a meeting a-be-ve-ge-de-ee-ze-coma”. In this abracadabra - a mockery of the love of complex abbreviations, characteristic of the twenties.
In the end, the “enraged” visitor, “spewing wild curses on the road”, bursts into the meeting, brought to a white heat, and sees a “terrible picture” - sitting halves of people, because “involuntarily one has to split in two. Down to the waist here, and the rest there.” The fantastic picture of a meeting of bureaucrats, where “half people” are sitting, is, of course, the same grotesque, built on a literal understanding of the expression “split in half”, “split in two”.

No matter how fantastic the picture drawn by the poet, it only emphasizes the reality - the sitting bustle of the bureaucrats. The satirical effect is further enhanced by the fact that the “furious”, rushing from the “terrible picture” hero is opposed by the “calmest voice” of the secretary:

They are in two meetings at once.
In a day
meetings for twenty
we need to hurry up.
Inevitably, you have to split...

The final stanza sums up the entire poem. “Oh, at least one more meeting regarding the eradication of all meetings” - these lines have gained truly national fame, they are applicable to all kinds of bureaucratic meetings. Firmly entered into the Russian colloquial speech and Mayakovsky's neologism “they sat in session”.