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Маяковский как имплицитный герой пьесы Н. Эрдмана "Самоубийца"
The article is devoted to the analysis of Mayakovsky’s personal discourse in the structure of N. Erdman’s play The Suicide (1928). Erdman's play can be comprehended in the circle of artistic texts created in the second half of the 1920s — early 1930s, which critically comprehend the worldview, artistic attitude and life strategy of Mayakovsky against the backdrop of the declared acceptance by the authorities and recognition by the mass reader of Mayakovsky as one of the most significant figures of the literary process of that time. As a research hypothesis, the authors believe that Mayakovsky becomes a provoking figure for Erdman - first for the creation of texts in general, then for the creation of a specific text, the play The Suicide, where a situation of unnaming, but possible recognition, of the presence of Mayakovsky’s figure in the space of the work is created.
The very topic of suicide, associated with a large range of works of Russian literature, was simultaneously perceived by contemporaries as both socially relevant and as close to the attitudes creatively declared by Mayakovsky himself, enlarged by him in the treatise How to Make Poems?, the second part of which is devoted to the dissection of the mortal text Sergei Yesenin.
Obviously in the play The Suicide Erdman is interested in how the ideas declared by Mayakovsky as part of a positive creative program, conceptualized in the key of the ideology of avant-garde life-building, are appropriated and metabolized by mass consciousness.
The presence of the figure of Mayakovsky is revealed strictly within the functioning of three specific characters in the play: Semyon Semenovich Podsekalnikov, who tries on the role of a hero, but turns out to be a provocateur and a false hero; Viktor Viktorovich, a professional writer prone to sophistry and Dostoevism; Egorushka (Egor Timofeevich), who realized himself as a writer, whose muse becomes Alexander Petrovich Kalabushkin - an anti-hero, a tradesman, an anti-muse, the praise of which generates the creative impulse of Egorushka.
Within the limits of existence within the space of the play of this particular triad, the key themes of Mayakovsky’s work, as well as individual well-recognized facts of the poet’s biography, are embedded in a discrete form.
As a result, Mayakovsky’s poetic discourse is not assigned to any medium, it becomes part of the poetics of the text, many semantic lines converge in it, and Mayakovsky becomes a kind of semantic key.