Vitaly V. Goncharov This article analyzes the use of color in the poetic Candidate of Legal Sciences, Associate Professor of the works of as a symbolic Department of State and International Law of the Kuban State Agrarian University Named after I. T. Trubilin, 350004, actualization of the most important aspects of Krasnodar, Kalinina Street, 13, Russian Federation. both the reality surrounding the poet and the ORCID: https://orcid.org/0000-0003-3029-4727 world of his inner experiences. E-mail: [email protected] Marina R. Zheltukhina

Doctor of Philology, Professor of the Department of the English Philology, Scientific Research Laboratory “Discourse Linguistics” of the Institute of Foreign Languages, Volgograd State Socio-Pedagogical University, 400066, Volgograd, The work of Vladimir Vladimirovich Mayakovsky - Lenin Ave, 27, Russian Federation. one of the brightest and most famous Russian ORCID: https://orcid.org/0000-0001-7680-4003 poets of the twentieth century - is the object of E-mail: [email protected] close research in numerous works of philologists,

Gennady G. Slyshkin historians, linguists, in particular: V. Shevchenko

Dr. of Philology, professor, Head of the Departament of (2012, p. 33-37); S. Zainab (2015, p. 149-151); Yu. Law Methodology and Legal Communication, Law Institute, Russian University of Transport, 9b9 Obrazcova Str., Mineralova (2005, p. 3-16); A. Gorbachev (2010, 127994, Russian Federation. p. 17-27); M. Steinberg (2018, p. 83-91); O. ORCID: https://orcid.org/0000-0001-8121-0250 Kultysheva (2010, p. 57-62); O. Kuzovleva (2010, E-mail: [email protected] p. 48-56). The constant relevance of the study of

Zaineta R. Khachmafova Mayakovsky's literary poetic heritage is facilitated

Dr.Sc. (Phylology), Professor, Head of the German Philology by the individual inimitable style of the author's Department, Adyghe State University, 385000, Maikop, Pervomayskaya Street, 208, Russian Federation. poetic works, and the poet's subtle understanding of the rapidly changing events of the turbulent ORCID: https://orcid.org/0000-0003-4645-0683 E-mail: [email protected] early twentieth century, a wide range of his lyrical Susanna R. Makerova experiences. However, it seems that separate researches on the use of the color palette in the Dr.Sc. (Phylology), Professor, Head of the English Philology Department, Adyghe State University, 385000, Maikop, poetic works of Vladimir Mayakovsky are not Pervomayskaya Street, 208, Russian Federation. enough, although the of color is often ORCID: https://orcid.org/0000-0003-1604-0245 and consistently used by the poet both in his early E-mail: [email protected] Received in: Approved in: works and in the poetry of the Soviet period of his 2021-04-10 2021-05-11 work. This is the reason for the choice of the DOI: https://doi.org/10.24115/S2446-622020217Extra-B887p.88-96 research topic by the authors of this article.

This article in the process of cognition of state-legal phenomena were used: a) General scientific methods (formal-logical, systemic, structural-functional, concrete-historical); b) General logical methods of theoretical analysis (analysis, synthesis, generalization, comparison, abstraction, analogy, modeling, etc.); c) private scientific methods (technical and legal analysis, specification, interpretation, etc.) (KHACHMAFOVA et al. 2015, p. 115-120; OLYANITCH et al. 2020, p. 3-11; TAMERYAN et al. 2018, p. 377-384; ZHELTUKHINA et al. 2020, p. 104-115; GONCHAROV et al, 2020a, p. 78-90; GONCHAROV et al., 2020b, p. 93-106; GONCHAROV et al., 2021, p. 401-409).

Despite the fact that more than 90 years have passed since the death of the poet Vladimir Mayakovsky, his poetic talent is recognized and revered by a huge number of people in many countries of the world. At the same time, despite numerous attempts to classify the poetic works of Vladimir Mayakovsky in some conditional framework, for example, to attribute him exclusively to the futurist poets, they somewhat simplify the assessment of the greatness of his creative heritage. Mayakovsky is great in his work, which is not limited to poetry. He is undoubtedly a talented publicist. In particular, his "My Discovery of America" (MAYAKOVSKY, 2021a) impresses with a clear, sober assessment of American reality, a scrupulous analysis of social relations in the country, the inner spiritual world of ordinary Americans. In addition to

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Vitaly V. Goncharov; Marina R. Zheltukhina; Gennady G. Slyshkin; Zaineta R. Khachmafova; Susanna R. Makerova • 89 poetry, Mayakovsky brightly showed himself as a playwright, screenwriter, film director, film actor, artist, editor of the magazines "Left Front", "New Left Front". However, it was his poetic works that brought world fame to Vladimir Mayakovsky. In recent years, modern researchers have made an attempt to primitivize Vladimir Mayakovsky, (PLEKHANOVA, 2014, p. 72-83) ridiculing his love for of labor. He is accused of the fact that his poetic works were written to please the new Bolshevik regime, having an openly agitation and propaganda character. (KOZLENKOV, 2013, p. 116-119) Although, in our opinion, such an assessment is subjective. The poet foresaw a possible critical and even negative assessment of his work by some descendants, due to their political, class and social tastes and preferences. Therefore, in a number of his works, he himself entered into an intertemporal dialogue with readers of the future. In particular, in" In full voice", Mayakovsky writes:

« My most respected comrades of posterity! Rummaging among these days’ petrified crap, exploring the twilight of our times, you, possibly, will inquire about me too. And, possibly, your scholars will declare, with their erudition overwhelming a swarm of problems; once there lived a certain champion of boiled water, and inveterate enemy of raw water. Professor, take off your bicycle glasses! I myself will expound those times and myself». (MAYAKOVSKY, 2021j, p. 1-2).

The analysis of a number of works by Vladimir Mayakovsky (both the pre-revolutionary period of his work and the Soviet period) shows the entire path of his formation as a proletarian writer. (MAYAKOVSKY, 2021h; 2021i; 2021j) In the above-mentioned poem "The Cloud in the Pants", he summarizes the main reason why his fate and his work are inextricably linked with the interests of the working people, their hopes, aspirations, experiences, achievements and dreams:

«The enemy and days of hunger of the massed working class ordered us is my enemy too to march inveterate and of long standing. under the red flag». (MAYAKOVSKY, 2021j, p. Years of trial 10).

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• 90 Semantic of color in the poetics of Vladimir Mayakovsky

Thus, Vladimir Mayakovsky appears before us at the end of his literary work as a proletarian writer, called upon by his literary talent and creativity, on the one hand, to describe the social reality surrounding him, justly castigating the vices and shortcomings of Soviet society, and on the other hand, as an agitator , a propagandist, a futurist of those goals and tasks that had to be achieved and realized by the working people in the name of the bright ideals of social justice, equality, brotherhood, which the poet himself adhered to. However, it should be noted that the analysis of the poetic works of Vladimir Mayakovsky shows the fact that social injustice, wars, and the suffering of the common people were always alien to him. (MAYAKOVSKY, 2021d; 2021g). It was the poet's emotional sensitivity to the sufferings and aspirations of the people, the fate of the country, its complex historical vicissitudes of the early 20th century, as well as Vladimir Mayakovsky's penchant for love experiences, that largely determined the means of expressing his thoughts that he used in his poetic work. The most important place in the poetics of Vladimir Mayakovsky is occupied by the use of the semantics of color as a way of expressing in the text the shades of the poet's perception of the surrounding reality and his own attitude to it. The poet's use of various colors, often in a metaphorical sense, and also as an hyperbolization of the perception of the surrounding reality and his sensual comprehension of it, we can observe both in the early works of Vladimir Mayakovsky, relating to his pre-revolutionary work, and in the later poetic works of the Soviet post-revolutionary period his life. However, the color palette used by the author is not the same in relation to individual historical periods of his life and work. On the one hand, its changes are largely coherent with the rapidly changing historical events in : The First World War; The Great October Revolution of 1917; the civil war of 1918-1922; the period of the birth and flowering of the in 1921- 1930 (up to the death of the author in 1930). On the other hand, the richness and peculiarities of the color palette used by the poet were largely influenced by the poet's personal sensory experiences: his numerous love stories; protracted love experiences with Lilia Brick; certain failures in building a family and personal happiness in the traditional sense (creating a family, having and raising children, etc.). Therefore, conditionally, the use of color semantics by Vladimir Mayakovsky in his poetic works can be conditionally divided into several historical periods:

1. Stage of his pre-war works (1912-1914). (BURLIUK et al., 2021) 2. The pre-revolutionary stage of his work (1914-1917). (MAYAKOVSKY, 2021b; 2021с) 3. The stage of his work in the stormy year of two revolutions of 1917 - the February bourgeois and the October socialist (February-November 1917). (MAYAKOVSKY, 2021k) 4. The stage of his work during the Civil War (1918-1922). (MAYAKOVSKY, 2021e) 5. The last years of his life and work (1923-1930). (MAYAKOVSKY, 2021i; 2021j)

The pre-war stage of Vladimir Mayakovsky's work is characterized by a riot of different color shades. In particular, this is clearly visible in his early poems "Morning" and "Night", published in the collection "Slap in the Face of Public Taste»:

«Red and white dropped, crumpled, in the green threw handfuls of ducats … Before fleeing, like the yellow wounds, the lights обручали bracelets to his feet». [BURLIUK et al., 2021]

The poet seems to be sorting through individual colors, looking for those shades of them that most accurately convey both the surrounding reality and sensory experiences. This rainbow of colors is mesmerizing, it is unusual, not typical of Russian poetry of that period of time, really being a kind of slap in the face, a challenge to public taste.

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Vitaly V. Goncharov; Marina R. Zheltukhina; Gennady G. Slyshkin; Zaineta R. Khachmafova; Susanna R. Makerova • 91

In these poems, the color preferences of Vladimir Mayakovsky are also visible (for example, he likes bright colors - gold, yellow, glowing, with which he conveys expressive vivid experiences - but white is not alien too):

«The sullen rain cast a glance askance. Beyond the still clear grille - the iron reasoning of wires strung overhead — a featherbed. And on it rested lightly the legs of rising stars. But as the streetlamps - tsars in crowns of gas - began to die, they made more painful for the eye the petty wars of the bouquet of boulevard whores. And horrid, the lurid peeking laughter that jokes leave after arose from the yellow roses' poisoned rows in a zig-zag. But at the back of all the wrack - ing horror and the squalor the eye rejoiced, at last; the slave of crosses sufferingly-placidly-indifferent, the coffins of the brothels full of riff-raff were flung into one flaming vase by the dawning East». (BURLIUK et al., 2021)

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• 92 Semantic of color in the poetics of Vladimir Mayakovsky

It is clear that the young man (and the poet was not even 20 years old in 1912) has a fine mental organization, he is able to empathize, contemplate, penetrate into the essence of things, relationships. At the same time, it is clear that he does not have a certain stamina, the ability to hold a punch, he is overly emotional, perhaps somehow tearful for a woman (that he cried in public, did not hesitate to express his emotions, people who knew him closely wrote), which, possibly, in the future will lead to his fatal shot in 1930.

The First World War, which began in 1914, undoubtedly had a great influence on Mayakovsky (as, indeed, on many of his contemporaries of a similar age). The poet intuitively feels with the intuition of a genius a storm impending on all countries and continents, which will sweep away the existing borders, the established course of time, and change the direction of development of Russia and the poet himself:

«And the sky, in fumes has forgotten, that blue, and fight, ragged refugees accurately, vyzaryu my last love, bright, as the glow of a consumptive… But I was not up to the pink flesh, that century vyzhuyut. Today, the new legs lie! you sing, painted, redhead». (MAYAKOVSKY, 2021b)

This stage of the poet's work is characterized by both his great uplift and a certain literary fertility of Mayakovsky. At the same time, his deep love experiences are superimposed on the author's comprehension of global historical changes - since it was during the First World War that he met the Brikov couple (Lilia and Osip). And love for Lilia Brik now becomes his personal drama, pain, and pleasure, which can be seen in bright shades in his work of that period of time. For example, in the poem "The flute-spine". (MAYAKOVSKY, 2021b) However, as the euphoria of the first months and even years of wartime is replaced by disappointment, a sense of the senselessness of such a large-scale bloodshed, the poet is seized by doubts. This is reflected in the color palette used in his poetic creations. In some his works, on the one hand, the diversity of colors and shades riots. For example, in the poem "War and Peace". (MAYAKOVSKY, 2021c). This splash of color (in the poem "War and Peace"), it seems from the lines of the poet, covers all nations, peoples, countries, continents, uniting them into one whirlwind of emotions, events, changes, expectations. (MAYAKOVSKY, 2021c). On the other hand, this riot of colors is opposed by the growing grayness, hopelessness, dullness, blurring of colors and shades, the author constantly asks whether time, history has enough colors and shades to convey the horror of that time:

«Or maybe more in the time-chameleon and there are no colors left». (MAYAKOVSKY, 2021c) And, when it already seemed to the poet that there was no way out of this hopelessness and horror of the bloody war, it seemed to be reborn into another element - a revolution that began to sweep away everything in its path, especially on the European continent. The rapidity of the change in historical events was so great that in 1917, two whole revolutions took place in Russia. The first - the February one - swept aside the centuries-old monarchy, establishing, albeit for a short time, bourgeois orders in the country, which the poet did not accept, despite the fact that he, often, was not alien to smartness, bourgeois polish, and the taste of money.

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In his poem "150,000,000" Vladimir Mayakovsky revels in the ongoing changes. And the riot of colors in this poem is visibly transformed into a rivalry between red and white, who clashed in a mortal battle for the fate of Russia (MAYAKOVSKY, 2021e).The enthusiasm for the revolutionary changes in the country is so great in the poetics of Vladimir Mayakovsky during the years of the revolution and the civil war that it spills out even in his love lyric poetic works, seeps into them irresistibly:

«In a kiss the hands of Lee, lips do, in the throes of the body close to me red color my republics also must flame… In the black sky lightning tread, thunder swears in the drama, is not a storm, and this just jealousy can move mountains». (MAYAKOVSKY, 2021f) The last stage of Vladimir Mayakovsky's work was marked by a number of his works, in which he clearly typified himself as a revolutionary writer, agitator, bawler-leader, mobilized and called upon by the revolution (in particular, in the poem "At the Top of his Voice"). These works, in part, can be considered both the poetic testament of the poet, and his appeal to descendants, so that they remember him as he was:

«I, a latrine cleaner and water carrier, by the revolution mobilized and drafted, went off to the front from the aristocratic gardens of poetry - the capricious wench.... Listen, comrades of posterity, to the agitator the rabble-rouser». (MAYAKOVSKY, 2021j, p. 1-2).

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• 94 Semantic of color in the poetics of Vladimir Mayakovsky

Summarizing the above, it should be noted that in the poetics of Vladimir Mayakovsky, the semantics of color acts as the most vivid, consistent and successful tool that impulsively and figuratively, but clearly and reverently reflects the surrounding reality that is rapidly changing around the poet, as well as his attitude to it. The poet, although he constantly talks about the riot of colors and the flower in the world around him, and also uses their shades in his poetic works, over time he tends to use a limited number of them in his work, simplifying them to two groups of colors, personifying good and evil (truth and untruth, justice and injustice, etc.). However, Russia in the poetic works of Vladimir Mayakovsky is always bright, pure, glows with gold, crimson. The poet believes in it, believes in the future of his people, who have suffered their right to be happy...

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Este artigo analisa o uso da cor nas This article analyzes the use of color Este artículo analiza el uso del color obras poéticas de Vladimir in the poetic works of Vladimir en las obras poéticas de Vladimir Mayakovsky como uma atualização Mayakovsky as a symbolic Mayakovsky como una simbólica dos aspectos mais actualization of the most important actualización simbólica de los importantes da realidade que cerca aspects of both the reality aspectos más importantes tanto de o poeta e do mundo de suas surrounding the poet and the world la realidad que rodea al poeta experiências internas. Os autores of his inner experienceshe authors como del mundo de sus observam que a escolha do poeta note that the poet's choice of a experiencias internas. Las obras por uma determinada paleta de particular color palette in his literarias suelen estar determinadas cores em seu as obras literárias são literary works is often determined por una serie de factores objetivos freqüentemente determinadas por by a number of objective and y subjetivos: experiencias amorosas uma série de fatores objetivos e subjective factors: personal sensual sensuales personales, incluidas subjetivos: experiências pessoais de love experiences, including relaciones complicadas y bastante amor sensual, incluindo complicated and fairly long largas dentro del triángulo relacionamentos complicados e relationships within the love amoroso "Lilya Brik - - razoavelmente longos dentro do triangle "Lilya Brik - Osip Brik - Vladimir Mayakovsky"; triângulo amoroso "Lilya Brik - Osip Vladimir Mayakovsky"; events of the acontecimientos de principios del Brik - Vladimir Mayakovsky"; early twentieth century, rapidly siglo XX, que se reemplazan acontecimentos do início do século replacing each other, in which not rápidamente entre sí, en los que no XX, substituindo-se rapidamente, only Russia, but the whole world solo Rusia, sino el mundo entero nos quais não só a Rússia, mas todo were immersed (, estaban inmersos (Primera Guerra o mundo estavam imersos (Primeira revolution, civil war in Russia, new Mundial, revolución, guerra civil en Guerra Mundial, revolução, guerra economic policy, etc.). And, Rusia, nueva política económica, civil na Rússia, nova política although the poet constantly etc.). Y, aunque el poeta menciona econômica, etc.). E, embora o poeta mentions in his works about the constantemente en sus obras sobre mencione constantemente em suas rich color palette of the la rica paleta de colores del mundo obras sobre a rica paleta de cores do surrounding world, including circundante, incluidos miles de mundo circundante, incluindo thousands of colors, the authors of colores, los autores del artículo milhares de cores, os autores do the article substantiate the position corroboran la posición de que, en artigo fundamentam a posição de that in reality Vladimir Mayakovsky realidad, Vladimir Mayakovsky usa que, na realidade, Vladimir uses a rather limited number of un número bastante limitado de Maiakovski usa um número bastante colors and shades (the most colores y matices (el más populares limitado de cores e tons (a maioria popular with him are gold, red, entre él son el oro, el rojo, el negro populares com ele são ouro, black and white). y el blanco). vermelho, preto e branco).

Vladimir Vladimir Mayakovsky. Vladimir Mayakovsky. Poético. Simbolismo. Poetics. Symbolism. Society. Russia. Mayakovsky. Poética. Simbolismo. Sociedade. Rússia. Sociedad. Rusia.

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