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• Introduction
• 1. M.V.Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
• 2. G.R. Derzhavin "Felitsa"
• 3. A.N. Radishchev "Liberty"
• Conclusion
• Bibliography

Introduction

The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.

Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.

The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).

1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"

M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.

In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."

It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", setting out his own program of the world. 1. Joyful change ... - a palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... - Peter I. 3. Then the sciences are divine ... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate ... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681--1741) - Russian navigator.

8. Tops of the Rifey ... - Ural.

9. Plato (427 - 347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643--1727) - English physicist and mathematician. 11. Science feeds young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (r. in 120 BC).

Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the rest, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland. Lomonosov M.V. Full composition of writings. - M., 1955. - vol. 4, p. 165.

2. G.R. Derzhavin "Felitsa"

For the first time - “Interlocutor”, 1783, part 1, p.5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to publish it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good acquaintance of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to various people and in among other things, he introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the country's internal political life." P.N. Berkov. History of Russian journalism of the 18th century. M. - L., 1952, p. 332 One of the ideas that Catherine persistently pursued in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the protector of the right, if only he follows the promptings of his own heart. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on evil advisers, most often on the boyars and the clergy. ON THE. Dobrolyubov. Works, vol. 1. L., 1934, p. 49 Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where Murza describes himself, almost the same poetry will remain without poetry” (Poln. sobr. soch., vol. 2, 1941, p. 217) . “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. “Interlocutor”, 1784, part 16, p. 8 Derzhavin took the very name “Felitsa” from “The Tale of Tsarevich Chlor”, written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in in the vicinity of the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." Manuscript department of GPB, F. XIV. 16, p. 408 This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".

Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.

Not imitating your Murzas - that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks, as it were, about himself, then the murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activity of the Empress. Nala (obsolete, vernacular), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus. You don't go to the spirits in the assembly, You don't go from the throne to the East - that is, you don't attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." Khrapovitsky's diary. M., 1902, p. 31 "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century - members of organizations ("lodges") that professed mystical and moralistic teachings and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N.I. in publishing, I. V. Lopukhin, S. I. Gamaleya, and others) were especially hostile towards the empress. They considered her to be the invader of the throne and wanted to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, as long as it was to his advantage, was very sympathetic to the "Martinists" (according to some evidence, he even adhered to their teachings). Freemasons have become especially active since the mid-1780s, and Catherine composes three comedies: “The Siberian Shaman”, “Deceiver” and “Seduced”, writes “The Secret of the Anti-Absolute Society” - a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police action.

And I, having slept until noon, etc. “Relates to the whimsical disposition of Prince Potemkin, like all three of the following couplets, who either went to war or practiced dressing up, feasting and all kinds of luxuries.” Zug - a team of four or six horses in pairs. The right to drive in a train was a privilege of the highest nobility.

I'm flying on a fast runner. This also applies to Potemkin, but “more to c. Al. Gr. Orlov, who was a hunter before horse racing. At the Orlov stud farms, several new breeds of horses were bred, of which the breed of the famous "Orlov trotters" is the most famous.

Or fist fighters -- also refers to A.G. Orlov. And I amuse myself with the barking of dogs - refers to P.I. Panin, who loved dog hunting.

I amuse myself at night with horns, etc. “Refers to Semyon Kirillovich Naryshkin, who was then the Jägermeister, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be played from each horn, and all together are, as it were, one instrument. Walks of noblemen along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Ile, sitting at home, I will tell. “This couplet refers in general to the ancient customs and amusements of Russians,” I read Polkan and Bova. "Relates to the book. Vyazemsky, who loved to read novels (which the author, while serving in his team, often read in front of him, and it happened that both dozed off and did not understand anything) - Polkan and Bovu and famous old Russian stories "Derzhavin means translated novel about Bova, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.

Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Chlorus. “As far as is known, she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as mentioned above, led a lazy and luxurious life, and the second often grumbled when money was demanded from him, as a manager of the treasury.

Dividing Chaos into spheres harmoniously, etc., is an allusion to the establishment of provinces. In 1775, Catherine published the "Institution on the provinces", according to which all of Russia was divided into provinces.

What renounced and be reputed to be wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for the development of a draft new code; she did the same in 1779, when the St. Petersburg nobility offered her the title of "Great".

And you allow to know and think. In the “Instruction” of Catherine II, which she compiled for the Commission for the development of a draft new code and was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the 18th century, there are indeed a number of articles, a summary of which is this stanza. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: a huge number of “cases” of people arrested by the Secret Expedition have come down to us on charges of “speaking” “indecent”, “obscene”, etc. words addressed to the Empress, heir to the throne, Prince . Potemkin, etc. Almost all of these people were brutally tortured by the "whip fighter" Sheshkovsky and severely punished by secret courts.

There you can whisper in conversations, etc., and the next stanza is a depiction of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered malefactors against the empress or the state; who did not drink a large glass of wine, “offered for the health of the queen”, who accidentally dropped a coin with her image were suspected of malicious intent and ended up in the Secret Chancellery. A slip of the pen, an amendment, a scraping, a mistake in the imperial title entailed punishment with whips, as well as the transfer of the title from one line to another. Rude clownish "amusements" were widespread at court, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an "ice house" was built; titled jesters sat down in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorine", "The Tale of Tsarevich Fevey." Don't do anything bad. "Instruction" to Chlorus, transcribed by Derzhavin into verse, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools by the highest command", which was also composed by Catherine for her grandchildren. Lancet means - that is, bloodshed.

Tamerlane (Timur, Timurleng) is a Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.

Who pacified the battle, etc. “This couplet refers to the time of peace at that time, after the end of the first Turkish war (1768-1774 - V. Z.) flourished in Russia, when many philanthropic institutions were made empress, such as : educational house, hospitals and others. Who granted freedom, etc. Derzhavin lists some laws issued by Catherine II that were beneficial to the noble landlords and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the ban on logging on their lands without government control; “allowed free navigation on the seas and rivers for trade”, etc. G.R. Derzhavin. Complete collection of poems. Leningrad "Soviet writer" 1957. - S. 236.

3. A.N. Radishchev "Liberty"

Do you want to know who am I? what am I? where am i going?

I am the same as I was and will be all my life:

Not cattle, not a tree, not a slave, but a man!

To pave the way, where there was no trace

For greyhound daredevils both in prose and in verse,

Sensitive hearts and truth I fear

I'm going to the Ilim prison. January - July 1791

The ode "Liberty" by the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry from the end of the 18th century to the 1830s.

The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.

“The plot of Liberty is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. .26).

The ode summed up the evolution of Russian advanced political thought on the eve of the French bourgeois revolution. In the future, she had a huge impact on the formation of the ideology of the noble revolutionaries. Assessing Radishchev's influence, Herzen noted in 1858 that no matter what Radishchev wrote about, you still hear the familiar chord that we are accustomed to hearing in Pushkin's first poems, and in Ryleev's Thoughts, and in our own heart. "Liberty" did not lose its significance for the revolutionary democrats of the 1860s, but could only be mentioned in oblique terms. Herzen A. I. Preface to the book "On the Corruption of Morals in Russia" by Prince M. Shcherbatov and "Journey" by A. Radishchev // Collected works M., 1958. V. 13. S. 273. The tyrannical pathos and the call for revolution, which should sweep away the power of the kings, determined the constant, deep influence of the ode.

The word "freedom" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" - the title of Pushkin's ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode by Pushkin, called it "Freedom".

Seven lines “Do you want to know: who am I? what am I? where am I going...” is also often found in lists that have been circulating since the 1820s. Nekrasov N. A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. S. 21

Conclusion

Thus, in the literature of the 18th century there were two currents: classicism and sentimentalism. The ideal of classicist writers is a citizen and patriot, striving to work for the good of the fatherland. He must become an active creative person, fight against social vices, with all manifestations of "malice and tyranny." Such a person must give up the pursuit of personal happiness, subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. From the eighteenth century, the process of democratization of literature began.

And again, Russian reality invaded the world of literature and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin and other poets and writers of the 18th century took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed.

Bibliography

1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.

2. Herzen A.I. Preface to the book "On the Damage of Morals in Russia" by Prince M. Shcherbatov and "Journey" by A. Radishchev // Collected. op. M., 1958. T. 13. 296 p.

3. Derzhavin G.R. Complete collection of poems. Leningrad "Soviet Writer" 1957. - 480 p.

4. N.A. Dobrolyubov. Works, vol. 1. Leningrad. - 1934. - 600 p.

5. Zapadov V.A. Poetry A.H. Radishchev // Radishchev A. N. Poems. L., 1975. - 122 p.

6. History of Russian literature / ed. D.S. Likhachev, P. Makogonenko. - L., 1999. - 318 p.

7. Lomonosov M.V. Full composition of writings. - M., 1955. - vol. 4, p. 165.

8. Nekrasov N.A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. - 534 p.

9. Russian poets. Anthology of Russian poetry in 6 volumes. Moscow: Children's Literature, 1996. - 346 p.

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Derzhavin is an innovative poet. The evolution of the ode genre in the last third of the 18th century

Gavrila Romanovich Derzhavin (1743-1816) lived a long and difficult life, full of ups and downs, honorary appointments to high posts and violent quarrels with nobles and tsars. The son of a poor officer, he began his service as an ordinary soldier, and became one of the largest statesmen of Russia in the 18th century. But it was not Derzhavin who became immortal for centuries - an official, secretary of state, senator, minister, but Derzhavin the poet.

Derzhavin is great, first of all, as the first Russian realist poet and as a brilliant poet-artist in general. He was the first of the Russian writers to recognize himself as a Russian, national poet - Russian not only in language, but, most importantly, in thinking, "philosophy", as he himself said. The origins of the "Russian mentality" and creativity of Derzhavin are rooted in the conditions in which his formation as a person and artist took place. For poetry of the 1760s - early 1770s. characterized by a keen interest in national history and folklore. In the early poems of Derzhavin, one can notice the strong influence of the songs of A.P. Sumarokov, the most prominent lyric poet of the middle of the century, who created a number of talented literary stylizations for a folk song. On the other hand, the satirical writings of Sumarokov, as well as the satirical line of folk literature of the 17th-18th centuries, with which Derzhavin was well acquainted, had a great influence on the development of Derzhavin. A significant influence on the formation of Derzhavin as a poet was exerted by the work of M.V. Lomonosov, although in one of the early program poems, "Idyll", Derzhavin completely renounced "high" poetry:

I never think of chasing Pindar

And rise in a stormy whirlwind up to the sun,

fearing that "in the heat I would not burn out in my half century,

would not crack from the fire,

But, confirming this statement with his songs and other poems of "light" genres, and at the same time in a number of works he just rose "up to the sun" with a "stormy whirlwind". At the same time, in many odes, Derzhavin focused not on Lomonosov, but on Sumarokov with his open publicism. Such an orientation to the "sample" was necessary for the classicist poet, since one of the fundamental principles of the theory and practice of classicism was the principle of "imitation of models".

Following Lomonosov, the young Derzhavin diligently reproduces not only the programmatic "education", but also the very form of the "example" odes, introduces a huge number of borrowings and direct quotations from Lomonosov's poems. Imitating Sumarokov, Derzhavin writes sharply journalistic works, much more original in form, reproduces the civic style of the "model", but he has almost no direct borrowings from Sumarokov.

Derzhavin's different approach to the problem of imitation, made dependent on how the poet, whom Derzhavin was guided by in this work, solved this problem, such an approach definitely testifies to the meaningfulness and awareness of his searches, to his awareness of the essence of the literary and theoretical disputes of the era. However, the poems of the first period of Derzhavin's work are overwhelmingly not of high merit: they are imitatively traditional, sluggish and heavy.

Derzhavin was helped to "find himself" in poetry by rapprochement with the "Lvov circle" - a group of young poets, composers, and artists bound by friendly relations and a common search for new paths in literature and art. The circle included such well-known people as poets N.A. Lvov, M.N. Muravyov, I.I. Khemnitser, V.V. Kapnist, composers E.I. Fomin, D.S. Bortnyansky, V.A. Pashkevich, artists D.G. Levitsky, V.L. Borovikovsky and others. Close to the circle were Ya.B. Knyaznin and D.I. Fonvizin; some (until now not disclosed) relationship was associated with the circle of A.N. Radishchev. It was in the circle that the direction was formed, which in the history of Russian literature later received the name "pre-romanticism".

In the work of the pre-romantics, human individuality and the objectively real, concretely sensual world surrounding it come to the fore; rejecting the theory of "imitation of models", the pre-romantics came to the romantic concept of genius, inspiration as a source of poetic creativity. And from here a new poetic vision of the world inevitably followed; the idea of ​​the value of the individual, attention to ethical issues, moral issues of a private person and society; the private life of a private person and the complete breakdown of the existing genre and figurative systems associated with this; rejection of normativity, both classic and sentimental in general, and "rules" in particular; the image of the author, organically included in the works: attempts to create individual characteristics of people; an abundance of specific hints; attention to everyday details, the embodiment of everyday life in pictorial and plastic images: a bold combination of prosaism and vernacular with high archaic vocabulary; experiments going in the same direction in the field of metrics, strophics, rhyming; search for an individual form of the work; keen interest in the problem of national content and national form, that is, the recognition that in different eras and people of different nationalities there were different "tastes" - in other words, the rejection of the criterion of "elegant taste", the same for all times and peoples, and the exit to the idea of ​​historical and national conditioning of man, peoples, literatures.

Pre-romanticism put forward as central - the problems of historicism, the philosophy of history, the dependence of the national character on history, etc. Only realism was able to fully solve these problems, but an important step that the pre-romanticists took was the very formulation of these problems in philosophy and literature. Pre-romantic poets from different countries of Europe raised the issue of national forms of poetry, of national systems of versification with particular urgency, turning to folklore for help as a source, firstly, of specifically national rhythms, and secondly, of means of artistic expression peculiar only to this people, an arsenal of images, a spring of ancient mythology, and so on. The appeal to the mythologies of various peoples of the West and East had the same goal. So, for example, Derzhavin, in addition to ancient Russian ("Slavonic") and ancient, used images and motifs of "Varangian-Russian" (Scandinavian), Hebrew (Biblical), Chinese and Indian mythology.

In shaping the ideology and aesthetics of pre-romanticism, Rousseau, Jung, and especially Herder played the greatest role in Europe, and in Russian poetry, the Lvov circle, with which Derzhavin became close in early 1779. Apparently, it was N.A. Lvov, one of the most original poets of the century and an encyclopedically educated person, introduced him to the ideas of Rousseau and Jung about original creativity, and the poems of M. N. Muravyov, who since 1775 found his way in poetry, showed the practical possibility of individual realization of poetic talent .

Freed from the shackles of normativity, "rules" and "imitation of models", Derzhavin's rare individual talent unfolded with lightning speed and tremendous poetic power.

In September of the same 1779, "Ode on the Death of K. M. K ***" appeared in the journal "Sankt-Petersburg Vestnik" - that is, "On the Death of Prince Meshchersky", and then such magnificent works as "The Key", "Poems for the Birth of a Porphyrogenic Child in the North", "To the First Neighbor", "To Rulers and Judges", etc. Access to the pages of the journal Derzhavin was again thanks to the circle: one of the publishers of the "St. Petersburg Bulletin" was I WOULD. Knyazhnin.

Already in the ode "On the Death of Prince Meshchersky", which begins the second period of Derzhavin's work, new features of Derzhavin's poetry clearly appeared, many aspects of Derzhavin's mature talent were clearly manifested. It was also new that Derzhavin dedicated an ode to the death of not an all-powerful nobleman, not a statesman, not a commander, but a private person, his acquaintance; and the fact that the poet addressed the friend of the deceased S.V. Perfilyev, also not a noble person. In this poem, for the first time (Muravyov almost failed to publish his new poems), the image of a private person appeared before the Russian reader - the author, Derzhavin himself. When Lomonosov said “I” in his odes, this “I” did not mean the real M.V. Lomonosov, but "piita" in general, a kind of generalized voice of the nation. And Derzhavin's "I" is a completely concrete living person, Derzhavin himself, with his personal sorrows and joys, with his private life, thoughts and deeds.

Thanks to the inclusion of autobiographical motifs, a poem on a general philosophical theme acquired an unusually personal, individual character.

Like a dream, like a sweet dream

My youth is gone too;

Beauty is not very undead,

Not so much delights joy

Not so much a frivolous mind,

I'm not so lucky...

Such words could never be said by the conditional "piit". This is said by Gavrila Derzhavin himself, a man struck by the news of the sudden death of a friend, who thought about his own life and came to the conclusion:

Die this day or tomorrow

Perfiliev! we owe, of course,

Why torment and mourn,

That your mortal friend did not live forever?

Life is heaven's instant gift;

Set her to rest

And with your pure soul

Bless the fate of the blow.

The poem is written by the hand of a mature master. The image of the clock, symbolizing the inevitable passage of time, was created with the help of magnificent sound painting:

Verb of time! metal ringing!

The illusion of a measured, rhythmic chime of the clock is achieved by repeating the sonorous "l" and "n" at the end of each foot. To a certain extent, already in this poem one can see a mixture of "high", solemn thoughts and images with close to life, "reduced", everyday images, For example, a solemn appeal to the clock:

Verb of time! metal ringing!

Your terrible voice confuses me;

Calls me, calls your moan,

He calls - and brings him closer to the coffin -

is replaced by an image of death, drawn in somewhat reduced tones, by images taken from real everyday life:

As soon as I saw this light,

Death is already grinding its teeth.

Like lightning, oblique shines

And my days, like cereal, flog.

The figure of death (death!) is very concrete and visually tangible. The artistic images themselves are taken from everyday Russian life: death cuts a man with a scythe, like a peasant reaping rye. Further, this "vitality" is further reinforced:

And pale death looks at everyone ...

(The vast majority of poets, Derzhavin's contemporaries, would say; "sees")

And sharpens the blade of the scythe...

From here, it’s not far to a completely “everyday” image of death:

And death is looking at us through the fence...

("Invitation to Dinner")

“His style is so large,” wrote N.V. Gogol, noting one of the main features of Derzhavin’s poetry, “like none of our poets. Having opened it with an anatomical knife, you will see that this comes from an unusual combination of the highest words in themselves low and simple, which no one but Derzhavin would have dared to do. Who would have dared, except him, to express himself as he put it? Who, except Derzhavin, would have dared to combine such a thing as the expectation of death, with such an insignificant action, what a torsion mustache?"

The thought of the greatness of simple human feelings, as well as the frailty of everything earthly, permeates the ode "On the death of Prince Meshchersky." It is very typical for Derzhavin to dedicate an ode to one of his acquaintances, whose name would have sunk into history if the poet had not written about his death. The author seems to want to say: life divides people into rich and poor, well-fed and hungry, kings and subjects, and death equalizes everyone:

Looks at everyone - and at the kings,

To whom the worlds are cramped in the state;

Looks at the lush rich,

What are idols in gold and silver,

Looking at beauty and beauty

Looks at the sublime mind,

Looks at the tears boldly

And sharpens the blade of the scythe.

It is interesting that in the most different years, in the most different verses, the theme of death breaks through the poet.

And about the artistic impression that the poem made on the reader, V.G. Belinsky: “How terrible is his ode “On the death of Meshchersky”: the blood runs cold, the hair, in the words of Shakespeare, stands on the head in an alarmed army, when the prophetic battle of the verb of times is heard in your ears, when the terrible skeleton of death with a scythe in your eyes is seen in your eyes. hands!" Derzhavin was a brave man, he was not shy either before the tsar's or before the noble's wrath.

But his ability to fully live and feel, to passionately experience life in the word did not allow him to look away from death. In his amazing ode "God" he speaks about his understanding of life, death, immortality, referring to the Creator:

Your truth needed

To cross the abyss of death

My immortal being:

So that my spirit is clothed in mortality

And so that through death I return,

Father! Into your immortality.

Reflecting on life and death, the poet in his quest came to comprehend the truth through faith in the Savior. He leaves words of hope for himself and others as a consolation:

And your pure soul

Bless the fate of the blow.

And it is no coincidence that Derzhavin wrote a lot of works about earthly joys and sorrows, which are close to all people without exception. These are “Declaration of Love”, “Separation”, “Cupid”, “Different Wines” and others. Their style is very simple, bright and accessible even to the reader of the twentieth century, as experiences of sadness, love, the joy of friendship are accessible. It was very important for the poet to affirm in the minds of his readers these eternal values ​​of the human soul, as opposed to the already familiar priorities that subordinate the individual to the state.

Even more evident than in the ode "On the Death of Prince Meshchersky", the innovative elements in the poems "The Key" and "On the Birth of a Porphyrogenic Child in the North". In The Key, for the first time in Russian poetry, nature appeared as an independent object of representation, an independent aesthetic value, and at the same time as a source of poetic inspiration. True, "The Key" begins with an impersonation in the ancient spirit, but then the poet unfolded a series of magnificent pre-romantic paintings of the very real Grebenevsky Key in the form it looks at different times of the day. Particularly interesting is the 7th stanza, in which Derzhavin, according to the correct remark of the researcher A.V. Zapadova, "outlined not only the obligatory elements of the night landscape, which were then so common in sentimental and romantic poetry, but also a dictionary with the expressions" pleasant "," pale "," dormant "," hills "," groves "," silence. to tell the truth, little was added to this dictionary in the future.

The poems "On the Birth of a Porphyritic Child in the North" are dedicated to the birth of the grandson of Catherine II, the future Alexander I. The birth of a child in the royal family has always been the theme of only solemn odes, and Derzhavin took on a form characteristic of light, so-called "Anacreontic" poems. However, Derzhavin's work is not an anacreontic ode. This is an "allegorical composition" with elements of a fairy-tale plot, similar in content to the beginning of "Sleeping Beauty" by Charles Perrault. A new artistic unity arises that does not fall under any of the previously existing genre categories. Focused on French light poetry and a fairy tale, the plot required the introduction of new characters - geniuses, who in the future will become mandatory attributes of romanticism. Even more interesting and important are the changes that the traditional mythological characters underwent in the verses of 1779. Particularly curious is the metamorphosis that Borey underwent with Derzhavin.

D.D. Blagoi noted that Derzhavin undoubtedly drew on Lomonosov's image ("Where the frozen Boreas wings flutter your banners"), and some details were taken from the description of the south wind, translated from Ovid in Lomonosov's "Rhetoric". The image is updated by careful selection of specific details of the winter landscape. However, adding many details to the description of Boreas' actions and his "portrait", Derzhavin discarded one detail, and this loss is very characteristic: Derzhavin's Boreas has no wings. As a result, leaving his character an ancient name, the poet turns him into the "dashing old man" of Russian folk tales, into the direct predecessor of Nekrasov's "Moroz the Governor". And against the background of Boreas, turned into a fabulous Santa Claus, ancient satyrs, gathering "around the fires" to "warm their hands", are perceived as ordinary Russian peasants at the fires, and nymphs falling asleep "out of boredom among caves and reeds" - like peasant women in the snow hut. It is with these nymphs and satyrs that the second life of ancient images in Russian poetry begins.

Mythological characters in classical poetics always have a certain allegorical meaning and at the same time retain clear links with antiquity, contain an element of comparison with a specific myth. In the poetics of Derzhavin's type, the mythological image loses its allegorical quality and turns into a synonym for an abstract, generalized concept or a common noun for a Russian everyday phenomenon, for a given human type. At the same time, permanent, obligatory "literary" logical connections are destroyed, but the associative-emotional poetic meaning of the word-name, often determined by this context, expands. The poetic image becomes multi-valued from unambiguous, and at the same time more concrete, since it is built on the selection from numerous signs, connections, associations of one, sometimes unexpected, but decisive in this context, while maintaining other connections, other shades.

On a series of images of this kind, the ode "To the First Neighbor" written in 1780 is built, and not one of them has the slightest relation to antiquity, to mythology (in the literal sense of the word) and at the same time is not an allegory. For example, a "gentle nymph" is a kept woman, an Italian beauty is a singer, and a "parka" is just death. Or in "Velmozh": "muse" - Derzhavin's poetry) "nymphs" who "in the middle of winter" "sing in the groves" - singers, or maybe - a serf choir (a different, already third meaning of the word, compared with " Poems for Birth in the North" and "To the First Neighbor"); "Circe" - beauty, mistress. But, as in the previous examples, the poetic meaning of Derzhavin's images is much broader than the literal interpretation. The name of Circe is also needed in order to characterize the moral character of the nobleman, defining his bestial (morally) way of life. The desire for the individualization of the artistic whole, for the original development of the image quite naturally led Derzhavin to abandon figurative and verbal clichés. For the same theme, motive, situation, Derzhavin finds a different embodiment, even in works that are chronologically close.

Let us turn to the theme of the onset of winter in various poems by Derzhavin. "Poems for a Birth in the North" contained the first winter Russian landscape in Derzhavin's poetry, embodied in the image of the "dashing old man" Boreas. In 1787-1788. the poet creates three paintings of the same type in content, and at the same time absolutely different in emotional and artistic structure. In the poem "Winter's Desire", the change of seasons is depicted in frankly rude, "areal" tones. A similar picture, but expressed very succinctly and quite "seriously", appears under Derzhavin's pen in the following year, 1788, in the poem "To Euterpe". And in the same 1788, as if competing with himself, in "Autumn during the siege of Ochakov" the poet finds completely different words, different colors for the same picture; a laconic sketch, which occupied only 4 verses, unfolds into the widest canvas of 6 stanzas.

Talking at the end of his life about his work, Derzhavin saw one of the reasons for embarking on a new path in poetry in the failures of imitation of Lomonosov. The poet explained these failures by the fact that he could not constantly maintain a "beautiful set of words" characteristic only of Lomonosov's "magnificence and splendor." From Lomonosov, Derzhavin had only one thing left: the affirmation of a positive ideal by showing a positive example; moreover, Derzhavin initially seeks his ideal in the same place where almost all the writers of the 18th century searched - in the theory of enlightened absolutism.

The fact is that the struggle against the abuses of the nobles, the nobility and bureaucracy for the good of Russia was a defining feature of Derzhavin's activity both as a statesman and as a poet. Derzhavin saw only in an enlightened monarchy. Hence the appearance in his work of the theme of Catherine II - Felitsa. This theme, a red thread running through the work of Derzhavin in the 80s, united many of his works: "Felitsa", "Thanks to Felitsa", "Reshemysl", "Vision of Murza", etc.

As already noted, Derzhavin's odes are mostly dedicated to Empress Catherine the Great. But the heroine of the most famous of them is named by the poet Felice, which means "happy", and not great and "wise", as one might expect. The name itself is Felitsa, the author borrowed from The Tale of Tsarevich Chlor, written by Catherine for her grandchildren. In the early 80s. Derzhavin was not yet intimately acquainted with the empress. Creating her image in the odes of these years, the poet used stories about her, the dissemination of which Catherine herself took care of, a self-portrait drawn in her literary writings, ideas preached in her "Instruction" and decrees. At the same time, Derzhavin knew very well many prominent nobles of Catherine's court, under whose command he had to serve. Therefore, the idealization of the image of Catherine II in Derzhavin is combined with a critical attitude towards her nobles.

The high poetic merits of the ode "Felitsa", created in 1782, brought her wide fame for that time in the circles of the most advanced Russian people. A.N. Radishchev, for example, wrote: "If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost poetry will also remain without poetry." “Everyone who can read Russian has found herself in her hands,” O.P. testified. Kozodavlev, editor of the magazine where the ode was published.

And indeed, this “princess of the Kirghiz-Kaisatsky horde” is great precisely because she is happy and humane. Her dignity is that she walks and eats simple food, allows her to think independently and speak the truth. It seems that, as if in order to emphasize its simplicity, the author draws “his portrait” next to it, which, in his words, “the whole world looks like”:

Derzhavin ode humanistic mythological

And I, sleeping until noon,

I smoke tobacco and drink coffee;

Transforming weekdays into a holiday,

I circle my thought in chimeras….

It should be noted that in his odes G. Derzhavin largely departed from the rules of classicism. First of all, in the ode “Felitsa”, the writer mixed different genres in one work, combined the ode with satire, sharply contrasting the positive image of the queen with the negative images of her nobles. Under the pen of the great master, the ode approached the work, truthfully and simply depicting reality.

Violating the strict rules of classicism, Derzhavin rejected the theory of Lomonosov's three styles established in literature. Thus, he carried out a kind of "simplification", "decrease" of the high style, adapting it to the norms of the spoken language, far from the sophistication of the secular noble salon.

Very colorful N.V. Gogol characterizes this feature of Derzhavin’s style of mixing high style with low: “He (Derzhavin’s) style is as large as none of our poets, having been cut open with an anatomical knife, you will see that this comes from an unusual combination of the highest words with the lowest and simplest” .

Exposing the "light" and the court nobility, the poet notes that the representatives of this circle are mired in fuss, fun and entertainment, inertia and ignorance. With surprising frankness and sharpness, he ridicules the nobles who boast of their high position, having no merit to the country and people.

So, for example, in the ode "Nobleman" Derzhavin writes:

Donkey stays donkey

Though shower it with stars

Where should the mind act,

He just flaps his ears.

It was fundamentally new that from the very first lines of the ode, the poet draws the Russian Empress (and in Felitsa, readers easily guessed Catherine), primarily from the point of view of her human qualities:

Not imitating your Murzas,

Often you walk

And the food is the simplest

Happens at your table...

The virtuous Felitsa is opposed by a vicious nobleman, "Murza" - a collective satirical portrait of the greatest nobles: G.A. Potemkin, P.I. Panina, A.A. Vyazemsky, A.G. Orlova, S.K. Naryshkin and others.

It must be said that in Derzhavin's poetry the word "man", associated with the requirement of high morality and citizenship, was the highest praise and criterion. "Be on the throne man!" - called the poet of the future Tsar Alexander I ("To be born in the North ..."). "There was a man in the nobleman," wrote Derzhavin about the old patron of the arts and sciences, I. I. Shuvalov ("Epistol to I. I. Shuvalov", draft version, 1777).

Mind and human heart

They were my genius

The poet emphasized in the poem "Confession", which he considered "an explanation for all his writings."

This humanistic idea of ​​Derzhavin is fully shared by members of the Lvov circle and Fonvizin close to them, who wrote in The Undergrowth: "Have a heart, have a soul, and you will be a man at any time." The insufficiency of humanity alone was understood by the younger contemporary of Derzhavin and Fonvizin - A.N. Radishchev, who came to the idea of ​​the inevitability of the revolution.

But the demand for high morality, the call for humanity "at all times" led the next generation of nobles to open action against serfdom and autocracy. The fact is that when Derzhavin, for example, wrote about a wise and just executor of power ("Time", 1804):

They do not own time.

Below is gold or silver;

He keeps things in order

Loves the common good;

Fleeing the lush cheers

And shiny little things

He is in the rank of prosecutors,

All nobles, judges, kings

Honors only a person

And he wants to be one himself, -

then such thoughts raised the idea of ​​the human and man to a height that is absolutely alien to autocracy, since “the principle of monarchy in general is a despised, contemptible, dehumanized person. related to the revolution, but objectively contributed a lot to the spiritual and moral formation of the first, noble generation of Russian revolutionaries.

Another thing is also important: hope for the human heart and soul, tireless moral quest - this is what unites writers so distant in time and seemingly so different as Derzhavin and Fonvizin - and Gogol, Dostoevsky, Tolstoy (and otherwise Radishchev, Griboedov, Chernyshevsky, and Nekrasov are included in this search for their own) ...

Derzhavin's philosophical poems are connected with the other side of the problem of man - "man and the universe". The largest of them is the ode "God" completed in 1784 - an inspired hymn to the omnipotence of the human mind:

I am rotting in the ashes.

I command the thunders with my mind,

I am a king - I am a slave; I am a worm - I am a god! -

and at the same time, the recognition that man is only a link in the general chain of beings (and religion taught that man is a completely exceptional creation of a deity and God created everything else for man).

Derzhavin introduces into his poem the ideas of contemporary science about the plurality of worlds, God acquires from him the features characteristic of matter: "infinite space, uninterrupted life in the movement of matter and the endless flow of time." In essence, these provisions contradict religious ideas: the church taught that the Earth was the center of the universe and the Sun was created by God only one; the Christian religion denied continuous motion as the basic property of matter, for space and time allegedly had a "beginning" and will have an "end".

It is not surprising, therefore, that Derzhavin's ode provoked a strong protest from the zealots of Orthodoxy and churchmen. On the other hand, the poem became the first work of Russian literature that received truly worldwide fame ...

Standing up for "man", it was precisely the inhumanity of kings and nobles that Derzhavin denounced in his strongest satirical works - "To the Rulers and Judges", "To Treachery", "To Happiness", "The Nobleman".

The organizing center of Derzhavin's poetry is increasingly becoming the image of the author, which remains the same in all works. This is a concrete person with flesh and blood, who conveys his personal attitude to the world, things and people, regardless of their social status. And as a person, and not a conditionally abstract "piit", he sees the everyday shortcomings of nobles, "sky-blue eyes" and Catherine's "cursive pen". Together with the image of the author, Derzhavin's poetry includes vernacular, quite natural in the mouth of a person - a living colloquial language, what the poet himself later called "a funny Russian style."

The ode "Felitsa", in which Derzhavin combined opposite principles: positive and negative, pathos and satire, ideal and real, finally consolidated in Derzhavin's poetry what began in 1779 - mixing, breaking, liquidation of a strict genre system. In one work, he often combines satire and elegy, a pathetic ode and a friendly message. Not caring much about terminology, Derzhavin called the same poems either "odes", or "songs", or "lyrical poems". And at the end of his life, reflecting on his creative path, the poet directly declared the uselessness of genre gradations: “If the names do not give respect to things without their direct dignity, then I must agree with me that they, that is, those names, or special sections of songs, are more there is cleverness or arrogance of teachers in the knowledge of their antiquity, rather than a direct need. Speaking against "pedantic sections of lyrical poems" (that is, against their genre division), Derzhavin argued that a poet can talk about everything in a "communal ode." In another place, Derzhavin called this genre common to all lyrics "a mixed ode."

A witty definition for Derzhavin's poems was found by M.N. Ants - "confusion". Having, in essence, the same content as Derzhavin's term "mixed ode", Muravyov's "confusion" is perhaps more accurate, because it quite correctly deduces Derzhavin's work from the mainstream of any kind of odes, on the one hand, and on the other hand, it covers only a mixture of genres proper, but also a mixture of emotional-thematic, stylistic, figurative, etc.

Derzhavin did not admire Catherine the Human for long. Already in the late 80s. Felitsa turns into the image of a statesman - and only ("Image of Felitsa"). And when the poet found himself at court, when he "saw a human original with great weaknesses up close," the theme of Felitsa in his poetry completely died out. Disappointment in Catherine, which came in the early 90s, could not but be reflected in the self-esteem of the poet. It confronted Derzhavin with the question of the significance of his own poetic activity, of his right to immortality. From that moment on, the theme of poetry and the poet, the evaluation of one's own work becomes one of the leading ones in Derzhavin's work.

Derzhavin always spoke about the great role of poetry and the poet in the life of society, seeing his right to immortality precisely in poetic activity. But the idea of ​​exactly what aspects of his poetry would make his name immortal changed. Previously, Derzhavin saw the right to immortality in the very pursuit of poetry, then for some time he believed that he would live in the memory of posterity as a singer of the affairs of Catherine II.

He most fully outlined a new look at the meaning of his work in the ode "My idol". It is in the form of a conversation-monologue addressed to the sculptor Rashett, who worked on the bust of Derzhavin. The idea of ​​fame for "ordinary deeds" - "my trifle" - the poet immediately rejects. Highly appreciating his odes dedicated to Felitsa, Derzhavin believes that he is worthy of fame for them. But will his descendants honor him for this? And, prophetically guessing the future, the poet gives a negative answer. Rejecting the right to immortality for glorifying Felitsa, Derzhavin claims that posterity will honor his memory as a singer of Russia, the Russian people, its leaders and heroes, because he has always been a champion of truth and truth, defended virtue. According to Derzhavin, a great poet-patriot, a poet-citizen is worthy of immortality no less than a great commander. He carries out this idea by putting his name next to the name of Field Marshal Rumyantsev ("The idols of your chisel" are the busts of Rumyantsev and Derzhavin, sculpted by Rashette).

However, in real life it was not so easy to tell the kings the truth. In his second letter to Khrapovitsky (1797), Derzhavin pointed directly to the oppressive power of the autocracy, which fetters the poetic word. Therefore, he had to either speak the truth "with a smile", in a joking manner, then cover it up with references to the authority of the monarch, then mask it with hints, allegories, allegories - and the poet himself wrote about this more than once.

The themes of "personal good" are closely related to the struggle for the "common good", which is possible only under the condition of the common: a clear conscience, contentment with little, moderation, "peace", etc. A person can be happy only when he "desires the common good and is actively fighting for it. One cannot be truly happy who cares only about himself, not caring about Russia, Derzhavin argued.

In the work of 1790 - early 1800s. Derzhavin takes a new step in the image of man. In poems dedicated to G.A. Potemkin ("Anacreon in the Assembly", "Waterfall"), L.A. Naryshkin ("On the Birth of Empress Gremislava"), A.G. Orlov ("The Athenian Knight"), A.V. Suvorov ("On Suvorov's Stay in the Tauride Palace", "On the Crossing of the Alpine Mountains", etc.; especially - "Bullfinch"), Derzhavin tries to draw people in all their complexity, depicting both their positive and negative sides (especially Potemkin and Naryshkin).

Derzhavin divided all poetry into two parts: "ode" and "song". If for a lyrical poem - an "ode" - Derzhavin put forward inspiration as a defining feature and believed that "errors" are excusable for him, "like spots on the Sun", then the hallmark of a "song", according to Derzhavin, is poetic skill. And, it must be said, Derzhavin's skill as a poet in anacreontics is manifested with particular clarity, because in these small poems there is absolutely no place for either extended journalism or rhetoric associated with it. The extraordinary economy of artistic means, the utmost precision and clarity, the refinement of language and verse make many of the poems of this cycle small masterpieces. But it would be wrong to believe that Derzhavin composed these poems only to demonstrate his poetic skills - no, he set himself much more serious goals. “Out of love for the native word,” the poet emphasized, releasing a collection of “Anacreontic Songs” as a separate edition in 1804, “I wanted to show its abundance, flexibility, lightness and, in general, the ability to express the most tender feelings, which are hardly found in other languages ". Readers who are already well acquainted with Derzhavin's lyrical hero - a poet-citizen, a fighter for truth - now saw in all its versatility the same image from the side of his private life, his personal predilections, inclinations, even "pranks".

And, finally, both hypostases of Derzhavin's lyrical hero fully merged into one full-blooded realistic character in the largest work of the last period of Derzhavin's work - the poem "Eugene. Life of Zvanskaya" (1807).

This poem is a kind of response to the romantic elegy of V.A. Zhukovsky "Evening". Derzhavin entered into an extensive dispute with Zhukovsky about what a poet should depict, who should be the hero of a poetic work, how life should be treated in general, and how nature and human characters should be depicted. It was a dispute about the development of modern poetry.

Derzhavin felt that the new direction could lead poets and readers away from active participation in life to an exceptional deepening into their own experiences. For him, a man of a turbulent and complex biography, the very principle of escaping from real life was unacceptable. He decided to answer Zhukovsky - and answer in the same form that the young poet had chosen. "Life of Zvanskaya" is written in the same meter, the same stanza as Zhukovsky's poem. Derzhavin has the same composition, the same hero-poet.

Derzhavin contrasts the melancholic and largely conditional landscape of Zhukovsky with a concrete, real landscape, characteristic of central Russia. The hero of Zhukovsky - a dull young man, disappointed and suffering, completely immersed in memories and thoughts of imminent death - is opposed by Derzhavin's cheerful old man. Although by age he is already close "to the edge of the coffin", he perceives everything vividly and is interested in everything without exception: from food and objects of peasant labor to events of a European scale, questions of history, philosophical reflections. In contrast to the romantic "poetry of suffering," Derzhavin put forward the poetry of "real life." Before Pushkin's Eugene Onegin, Derzhavin's Life of Zvanskaya is the most striking work that elevates everyday life into poetry. Derzhavin showed that poetry exists not only in nature or in lofty experiences: it can also be found in everyday "dishes", and in reading newspapers and magazines, and in tea by the evening fire, and in distributing pretzels to peasant children.

The protagonist of the poem is both a type and a bright personality: in the final analysis, this is Derzhavin himself, but at the same time a typical landowner of a certain type, living in typical circumstances, with his sharply expressed individual interests, inclinations, habits, way of thinking, assessments, attitude to the world, etc. This combination of the individual and the typical, given in certain typical circumstances, is evidence that realism was born in Russian Pozli, and it was born as a result of a long evolution of Derzhavin's creativity.

It is very important that Derzhavin tried to learn from Zhukovsky's creative method the most valuable thing - attention to the inner world of a person. True, the image of the inner world for Zhukovsky is a deepening into complex emotional experiences isolated from the outside world, connected with memories. The inner world of the hero in Derzhavin is the experiences of a person, born from constant communication with the outside world. But the very principle of depicting the inner world of a person Derzhavin took from Zhukovsky, just as Zhukovsky himself learned from him attention to a private person and colorful painting of nature.

References

• 1. Gogol N.V. Full coll. cit., vol. VIII. M. - L., 1952, p. 374.
• 2. Belinsky V.G. Full coll. soch., vol. 1. M, 1953, p. fifty.
• 3. Zapadov A.V. Derzhavin's skill. M., 1958, p. 122.
• 4. See: Blagoy D.D. Literature and reality. Questions of theory and history of literature. M., 1959, p. 136.
• 5. Marx K. and Engels F. Soch., 2nd ed., vol. 1, p. 374.
• 6. Chernyshevsky N.G. Full coll. soch., vol. 3. M., 1947, p. 137.
• 7. Zapadov A.V. Mastery of Derzhavin, p. 146.

5. Ode of the 18th century: from Lomonosov to Derzhavin

1. Oh yeah(from the Greek "song") - a literary genre, genetically ascending to the choral lyrics of the ancient Greeks. In antiquity there were odes Pindaric(Pindar is an ancient Greek poet of the 5th century BC, the author of solemn choral chants and laudatory songs in honor of the winners at the Olympic, Delphic and other sports games), anacreontic(Anacreon is an ancient Greek poet of the 6th-5th centuries BC, whose poetry is dominated by motives for enjoying the sensual joys of life) and Horatian(Horace is a Roman poet of the 1st century BC, the author of philosophical odes in the spirit of stoicism). In other words, in antiquity, the ode is the formal designation of the genre, and different themes are assigned to its different varieties. The Renaissance, with its orientation towards antiquity, revives the genre of the ode (the first half of the 16th century - Neo-Latin odes) precisely in this sense: the strophic principle of construction is called its main feature, and it is divided into Horacianskuto and Pindaric (which differed from each other in form (type stanzas), style (moderate and clear in the Horatian odes and high, often dark in the Pindaric ones) and subject matter).

2. In addition to the European odic tradition (which, in turn, goes back to the ancient one), the Russian ode was also influenced by the tradition of “eulogies” and panegyrics that existed in ancient Russian literature and survived in the time of Peter the Great (the influence was first identified by Sobolevsky). Closest in their creations to the modern understanding of the ode came Simeon Polotsky(1, author of the collections “Multicolored Vertograd” and “Rhymologion”, which include cycles of panegyric poems, as well as “Rhyming Psalter” - a complete poetic and NB! Feofan Prokopovich(1, the court poet of Peter I, the author of the “Word of praise for the glorious victory over the Sveian troops” (1709) - a sermon, conceived as a panigyric, to the publication of which he added “rhythms” - a poetic description of the victory under the title “Epinikion, siesta song of victory about same glorious victory.” After Peter's death, he wrote odes to Catherine I, Peter II, and Anna Ioannovna.

3. The first ode in Russia with this genre designation appeared in "Notes on St. Petersburg Gazette" 1732, its German original belongs to Juncker(who developed scenarios for court illuminations), a Russian poetic translation, probably to Schwanwitz. It was a completely classic ode, based on the doctrine of the Boileau ode and the sample of the “correct ode” created by him, “On the Capture of Namur” (1693), it belonged to the subgenre of the pindaric ode, invented by Ronsard, picked up by Malherbe, and then legalized by the ode of Boileau stanza of ten lines dizen). Subsequently, Juncker placed the odes at the beginning of the descriptions of illuminations he compiled, Juncker's "Descriptions", and with them the odes, he translated.

4. Lomonosov's immediate predecessors were: in the subgenre Pindaric odes - Tredyakovsky(the song “We are starting the New Year ...” (1732), “Ode of greeting ...” (1733), as well as the first actually Russian Pindaric ode “To surrender the city of Gdansk” (1734) and the accompanying treatise “Discourse on the ode in general” (arrangements, respectively, of "Ode on the Capture of Namur" and "Discours sur l'ode" Boileau), translations of the annual panegyrics presented to the tsar from the yen of the Academy of Sciences. In the treatise, Tredyakovsky shares Pindaric an ode associated with "high enthusiasm", "red disorder" and "presumptuous dithyrambicism", and middle ode, or stanza); in a subgenre Horatian odes - Cantemir(in London, where he was sent as an ambassador, he wrote 4 "songs", which were originally called "odes" - "Against the godless", "On the hope of God", "On an evil man", "In praise of the sciences"; he also created several Pindaric odes, but did not consider them suitable for printing and destroyed them).

5. Odes Lomonosov.

a) Lomonosov focuses not only on the panegyric tradition of Polotsky-Prokopovich and the classicist studies of Boileau-Tredyakovsky (by the way, here is Pseudo-Longin's treatise "On the High", which served as a source for Boileau), but also on the tradition of German baroque (especially - on Johann Günther, according to Pumpyansky), hence many embellishments that even Pindar could not dream of.

b) And finally, in 1739 he writes "Ode on the Capture of Khotin" - the first Russian syllabic-tonic ode. The style of Lomonosov's solemn odes is already manifested in it. But most characteristically, he expressed himself in the program "Ode on the day of the ascension ... 1747."

c) In form, this is the 4th, 10-line stanza with a stable rhyming system (mandatory alternation of m / f endings in the first 4 lines, then fj, the last 4 alternate again - the so-called rule alternations), which is a closed period with a complex hierarchy of subordinate elements

d) Oda is characterized lofty style(an obligatory condition for the success of a solemn ode for Lomonosov, since one must speak about sublime things in an exalted style, “Rhetoric”, 1748) using “decorations” - sound writing (“grads of the fence”), Church Slavonicisms, metaphors, paraphrases (“the great luminary world" instead of "sun"), hyperbole, so-called. word-topics(i.e., some generalized concepts that create a certain semantic halo around themselves. For example, the word-theme "silence" from the first stanza includes in its halo almost the entire vocabulary of this stanza - joy, bliss, fence, benefit, beauty, flowers, treasures, generosity, wealth. Thus, the dictionary meaning of the word is blurred, and the mind soars!), inversions, an abundance of ancient symbolism (“In the fields of bloody Mars was afraid, His sword in Peter’s hands in vain, And Neptune marveled with trepidation, Looking at the Russian flag ”), mixing it with the symbolism of a Christian, enthusiastic intonation (every third sentence is an exclamation), etc. The main emotion of the poet is lyrical delight.

e) The theme of solemn odes - glorification sovereign, but lesson him. Ideal - enlightened monarch(a la Voltaire), he is embodied in Petre, therefore, each next (in this case, Elizaveta Petrovna) must be “legitimized” by proximity to the body - she is the daughter of Peter, and the comparability of her deeds with his. In this case, the desired is often presented as reality. This phenomenon has two sources: the first is the need for a “lesson” to the monarch from an enlightened court poet (this is a sign of a kind of “good tone” in court poetry vs the tradition of the so-called. servile poetry); the second is the theory common places"- an image not of a specific monarch, but of an ideal one, who has such and such exemplary (that is, inherent in all ideal monarchs) merits. The most important “lesson” is the need for enlightenment (“Sciences nourish young men ...”).

f) The creation of a solemn ode laid the foundations of Lomonosov's literary reputation, which Pumpyansky compares with " the Malherbo myth”, which Lomonosov was probably guided by. At the same time, it is important that the notorious “highness” (of language, style, genre) correlates in Lomonosov’s mind with the greatness of the poet, hence the absolute dominance of solemn odes in his poetic system, providing him with a high place in the literary hierarchy.

g) In addition, Lomonosov also has Horatian odes - scientific and didactic - “Evening Reflection in the Case of the Great Northern Lights”, “Letter on the Usefulness of Glass”; spiritual - "Morning (and evening) reflections on God's majesty", "Ode chosen from Job." They are characterized by less strict formal laws and a more restrained tone.

6. An attempt to reform the solemn ode is made by Sumarokov, the creator of the so-called. dry ode, the model of which can be considered "Ode to Empress Catherine II on her birthday in 1768 ...". He, appealing to Pseudo-Longinus, says that Pindar's merit is not in the sublimity of the syllable, but in naturalness, and therefore condemns the deviation from the usual meaning of words, demanding clarity and clarity, words-themes are unacceptable for him, he himself uses rather words-terms: "Damn such splendor, in which there is no clarity!" His solemn odes are shorter and more didactic. And in general, he himself understands that in this genre he is not a competitor to Lomonosov. But he develops more philosophical (and near-philosophical) odes.

7. This is picked up by the poets of his school - Maykov and Kheraskov, author of the collections "New Odes", 1762 and "Philosophical Odes or Songs", 1769. Kheraskov's style of od-reflection is a style of friendly conversations, restrained, but not devoid of signs of a spoken language, striving for grace and fine decoration of the elements of verse ("Satisfied that one, When I am a simple syllable, I can sing on the lyre ”- an ode“ To my lyre ”).

8. The period of the second heyday of the solemn Pindaric ode is the middle of the 60s, when Catherine thought: Elizabeth had Lomonosov, and why was I worse? and brought closer Petrova, declaring him after the release of “Ode on a Magnificent Carousel” in 1766 “the second Lomonosov”, however, he was mediocre and pretentious, focused on the difficulty of style, pomp and bulkiness (“They are covered with expensive dressing, Give the horses a swing of their manes into the wind; Reins with their foam doused, Dust rises like a whirlwind from under the thighs ”-“ Ode to the carousel ”). And the entire literary fraternity was not slow to start fighting with him.

9. Odes Derzhavin.

a) And finally, the reformation of the solemn ode reaches its logical finale in the work Derzhavin. Here, the program should be considered the ode "Felitsa", 1783 (Felitsa is the allegorical name of Catherine II, prompted by her own "Tale of Tsarevich Chlorus", written for the grandson of Alexander Pavlovich). It is not the form or content (praise and lesson to the empress) of the solemn ode that is being reformed, but the style. The sublime style of the Lomonosov ode, which deprived the poet of human features and transferred him to transcendental spheres, from which he communicated with an equally unattainable ideal ruler, is replaced by a simple human (even autobiographical) image of the author, who is in conversation with an equally human-like monarch:

Not imitating your Murzas,

Often you walk

And the food is the simplest

Happens at your table;

Don't value your peace

Reading, writing before laying

And all from your pen

Bliss you pour out on mortals;

Like you don't play cards

Like me, from morning to morning.

b) The reverse process - with philosophical odes. Derzhavin removes the Horatian ode from the circle of everyday lyrical genres (such as songs), where Sumarokov's followers placed it, filling it with the problems of life / death ("Where the table was food, there the coffin stands" - "On the death of Prince Meshchersky", 1779) and the ambivalence of the human being ("I am a slave, I am a king, I am a worm, I am God" - "God", 1780-84).

Oh yeah.

This is a laudable song, in which the principle of didacticism was preserved. The main thing in it is to express pathos.

• Commendable;
• Heroic;
• Philosophical;
• Anacreontic;
• Spiritual (arrangement of the psalms of David);
• Civil (addressed to persons endowed with great political power, their pathos is not so much laudatory, but also accusatory, Derzhavin).

The structure of the ode.

• The attack (bold or gradual), the theme or hero is indicated;
• Proof;
• Conclusion.

There are lyrical digressions in the ode. It was originally written as an oratorical genre.

The ode is characterized by: mutual words (direct speech), ancient images and heroes, inversions, many Old Slavonicisms, personifications, metaphors, hyperbole, etc.

The ode was written in odic stanza: 10 lines: abab, cc, gddg. Each line was written in iambic tetrameter.

Odes of Derzhavin.
Derzhavin's poetic work is extensive and mainly represented by odes, among which the following types can be distinguished: civil, victorious-patriotic, philosophical and anacreontic. A special place is occupied by autobiographical poetry.
Civic odes.

These works of Derzhavin are addressed to persons endowed with great political power: monarchs, nobles. Their pathos is not only laudatory, but also accusatory, as a result of which Belinsky calls some of them satirical.
The ode "Felitsa" was written at the end of the 18th century. It reflects a new stage of enlightenment in Russia. Enlighteners now see in the monarch a person to whom society has entrusted the care of the welfare of citizens. Therefore, the right to be a monarch imposes numerous duties on the ruler in relation to the people. In the first place among them is legislation, on which, according to the educators, the fate of subjects primarily depends. And Derzhavin's Felitsa acts as a gracious legislator monarch.

Lomonosov entered the history of Russian literature primarily as an ode writer. Contemporaries called him the Russian Pindar. Oda is a lyric genre. She passed into European literature from ancient poetry. Russian literature of the 18th century the following varieties of the ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In most cases, the ode consists of stanzas with repeated rhymes. In Russian poetry, the ten-line stanza proposed by Lomonosov most often took place.
Lomonosov began with the victoriously patriotic Ode on the Capture of Khotin. For Lomonosov, a hyperbolic style is typical with a mass of detailed comparisons, metaphors and personifications. In his odes, the pathetic tone is enhanced by rhetorical questions and exclamations by the author. Lomonosov often refers to the past of Russia, historical parallels will become after Lomonosov one of the stable features of the odic genre.
Odes of Lomonosov belong to the first stage of Russian classicism. They bear the imprint of the ideology of the Petrine era, when the main task was to strengthen the military, economic and political power of Russia.
Most of the odes of Lomonosov were written in connection with the annually celebrated day of the accession to the throne of a particular monarch. Lomonosov wrote odes dedicated to Anna Ioannovna, Ivan Antonovich, Elizaveta Petrovna, Peter III and Catherine II. The odes were commissioned by the government and their reading was part of the festive ceremony. However, the content and significance of Lomonosov's commendable odes is immeasurably wider and more important than their official court role. In each of them, the poet developed his ideas and plans related to the fate of the Russian state.

eulogy seemed to Lomonosov the most convenient form of conversation with the tsars. Her complimentary style softened the instructions, made it possible to present them in a pleasant tone, not offensive to the vanity of the rulers.

As a rule, Lomonosov gave his advice in the form of praise for deeds that the monarch had not yet done, but which the poet himself considered important and useful for the state. So the desired was presented as real, praise obliged the ruler in the future to be worthy of it.
The artistic originality of Lomonosov's commendable odes is entirely determined by their ideological content. Each ode is an inspired monologue of the poet, clothed in poetic form. Typical oratorical devices are abundantly introduced into the author's speech - questions, exclamations, with which Lomonosov in a number of cases begins his odes.
Lomonosov also proved himself in the fieldspiritual ode. Spiritual odes in the XVIII century. called poetic transcriptions of biblical texts with lyrical content. In the first place among them was the book of psalms. Turning to the Bible, the poets found in it topics close to their own thoughts and moods. As a result, spiritual odes could have the most diverse character - from purely personal, intimate to high, civil. In the latter case, the unquestioned authority of the Bible helped to pass their verses through censorship slingshots. In the XVIII century. in addition to Lomonosov, Trediakovsky, Sumarokov, Kheraskov, Derzhavin wrote spiritual odes, and in the 19th century, Decembrist poets. In the spiritual odes of Lomonosov, two themes are clearly traced: admiration for harmony, the beauty of the universe and the angry denunciation of the persecutors, the poet's ill-wishers. Both themes had their own biographical basis.
In comparison with laudable ones, Lomonosov's spiritual odes are distinguished by brevity and simplicity of presentation. Some of Lomonosov's spiritual odes became "cants", that is, folk songs, and were popular not only in the 18th, but also in the 19th centuries.

1. Low genres of Russian classicism. The heroic comic poem "Elisha, or the irritated Bacchus" by V. Maikov.

Heroes of low genres are a local provincial nobleman, representatives of the third estate.

Low genres were written in a low style (prose).

Heroes-comic poem.

It was revived in the 17th century in France at the Burles school and had 2 variants.

• A low life was depicted, but a tall hero;
• Low hero and high style.

Heroes-comic poem - a historical genre of comic poetry in European literatures of the 18th century, examples of which are characterized by a contrast of thematic and stylistic plans.

Fables.

The fable is two-part, it has a narrative and moralizing. It is distinguished by the simplicity of speeches and low style, it always contains laughter.

Comedy.

There are private issues of public importance. It is didactic, the characters have speaking names and surnames. The hero is low, this is the bearer of one trait (positive and negative heroes are quantitatively balanced). The positive hero is a reasoner, that is, a broadcaster of truths.

Comedies are written in a low style, prose and colloquial words are allowed. The rule of three unities is obligatory for comedy.

Stages of development of comedy:

• The Formation of Comedy (Sumarokov), sitcom of the 50s. "empty quarrel", "monster", "tresotinius";
• 60-80s. The assertion of comedy as the leading genre of classicism, the comedy of characters;
• The statement of a comedy of high public importance.

Heroic-comic poem by V.I. Maykov Elisha, or the irritated Bacchus. Genre innovation of the poet.

French literature of the 17th century. two types of comic poems were distinguished: burlesque, from the Italian word burla - a joke, and hero-comic. The most striking representative of burlesque in France was the author of the Comic Novel, Paul Scarron, who wrote the poem Virgil Inside Out. As an ardent opponent of classic literature, he decided to ridicule Virgil's Aeneid. To this end, he coarsens the language and characters of the work. The poem was a resounding success and caused many imitations. This caused indignation at the head of French classicism, Boileau, who, in The Art of Poetry, condemned burlesque as a rough, square genre. He wrote the heroic-comic poem "Naloy", where low matter was expounded in a high style. The fight between two churchmen over the place where the nala should stand was described in high style and Alexandrian verses.

The appearance in Russia of burlesque and heroic-comic poems was not a sign of the destruction of classicism. This genre was legitimized by Sumarokov in his Epistle on Poetry. Sumarokov himself did not write a single comic poem, but this was done by his student, Vasily Ivanovich Maikov (1728-1778).

Maikov owns two heroic poems - "The Lomber Player" (1763) and "Elisha, or the Irritated Bacchus" (1771). In the first of them, the comic effect is created by the fact that the adventures of the card player are described in a high, solemn style. The game itself is compared to the Battle of Troy. The gods are played by card figures.

Elisha enjoyed immeasurably great success. The originality of the poem is primarily in the choice of the protagonist. This is not a mythological character, not a major historical figure, but a simple Russian peasant, the coachman Elisha. His adventures are emphatically rude and even scandalous. They begin in a tavern, where Elisha smashed the entire drinking house. Then they continue in the workhouse for depraved women, in which he starts an "affair" with the head of this institution. The last adventure of Elisha was participation in a fight between coachmen and merchants, after which he was arrested as a runaway peasant and handed over to the soldiers.

The poem was strongly influenced by folklore. In a household fairy tale, the image of a resourceful artisan who triumphs over rich and eminent offenders and enters into a love affair with their wives has long been popular. The famous cap of invisibility was transferred from the folk tale, helping the hero in difficult times. In the description of the “wall to wall” fights, an epic about Vasily Buslaev is heard, the Author even used her language. But Maykov created not an epic, not a heroic epic, but a funny, funny poem. To “wear out” the “gut readers” - this is how the poet himself formulated his task.

In numerous comic situations, the author showed truly inexhaustible ingenuity: the hero’s stay in the workhouse, which he first mistook for a convent, a love rivalry with an old corporal, the appearance of Elisha in an invisible cap in the farmer’s house, and much more. The comic effect in the description of fights and love heroes is enhanced by the use of a solemn syllable drawn from the arsenal of the epic poem. Laughter causes a discrepancy between the "low" content of the poem and the "high" epic form in which it is clothed. Here Maikov is a worthy successor to Boileau. Thus, the first song begins with the traditional "I sing" and a summary of the object of chanting. The narrative itself, in the spirit of the Homeric poems, was repeatedly interrupted by a reminder of the change of day and night. Fisticuffs with flattened noses, bitten off ears, torn off sleeves, bursting ports are likened to ancient battles, and their participants are like the ancient heroes Ajax, Diomedes, etc.

The originality of Maikov's poem is that he inherited the techniques not only of Boileau, but also of Scarron, whose name is repeatedly mentioned in the Elisha. Another type of comic contrast comes from Scarron's poem: exquisite heroes commit rude, ridiculous acts (Pluto, along with the priests, feasts at the wake, Venus debauches with Mars, Apollo chop wood with an ax, while maintaining the rhythm of iambic, then chorea).

Created in the era of classicism, Maikov's poem was perceived as an enrichment of this trend with another genre. The heroic-comic poem expanded the idea of ​​the artistic possibilities of the genre of the poem and showed that it allows only historical high, but also modern, even comic content.

1. Genre of fable in the literature of classicism.

Fables.

The goal is the affirmation of social and moral ideals through laughter.

Fables are fictitious narratives that have moralizing in them.

• Natural, the hero is a person;
• Mixed - the hero is a man and an animal;
• Unnatural - the hero is an animal.

The fable is two-part, it has a narrative and moralizing. It is distinguished by the simplicity of speeches and low style, it always contains laughter.

Signs (V.K. Trediakovsky):

The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.

Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.

The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).

1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"

M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.

In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."

It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own peace program. 1. Joyful change ... - a palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... - Peter I. 3. Then the sciences are divine ... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate ... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.

9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. Science feeds young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (born in 120 BC).

Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the others, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.

2. G.R. Derzhavin "Felitsa"

For the first time - “Interlocutor”, 1783, part 1, p. 5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to publish it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to different people, including Among them, he introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the country's internal political life." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked it. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood from the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".

Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.

Not imitating your Murzas, that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks as if about himself, then the murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activity of the Empress. Naloy (obsolete, colloquial), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus. You don't go to the spirits in the assembly, You don't go from the throne to the East - that is, you don't attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century - members of organizations ("lodges") that professed mystical and moralistic teachings and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N.I. in publishing, I. V. Lopukhin, S. I. Gamaleya, and others) were especially hostile towards the empress. They considered her an invader of the throne and wished to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, as long as it was to his advantage, was very sympathetic to the "Martinists" (according to some evidence, he even adhered to their teachings). Freemasons have become especially active since the mid-1780s, and Catherine composes three comedies: “The Siberian Shaman”, “The Deceiver” and “Seduced”, writes “The Secret of the Anti-Absolute Society” - a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police action.

I'm flying on a fast runner. This also applies to Potemkin, but “more to c. Al. Gr. Orlov, who was a hunter before horse racing. At the Orlov stud farms, several new breeds of horses were bred, of which the breed of the famous "Orlov trotters" is the most famous.

Or fist fighters - also refers to A.G. Orlov. And I amuse myself with the barking of dogs - refers to P.I. Panin, who loved dog hunting.

I amuse myself at night with horns, etc. “Refers to Semyon Kirillovich Naryshkin, who was then the Jägermeister, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be played from each horn, and all together are, as it were, one instrument. Walks of noblemen along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Ile, sitting at home, I will tell. “This couplet refers in general to the ancient customs and amusements of Russians,” I read Polkan and Bova. "Relates to the book. Vyazemsky, who loved to read novels (which the author, while serving in his team, often read in front of him, and it happened that both dozed off and did not understand anything) - Polkan and Bovu and the famous old Russian stories "Derzhavin means a translated novel about Beauvais, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.

Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Khlor. “As far as is known, she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as mentioned above, led a lazy and luxurious life, and the second often grumbled when money was demanded from him, as a manager of the treasury.

Dividing Chaos into spheres harmoniously, etc., is an allusion to the establishment of provinces. In 1775, Catherine published the "Institution on the provinces", according to which all of Russia was divided into provinces.

What renounced and be reputed to be wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for the development of a draft new code; she did the same in 1779, when the St. Petersburg nobility offered her the title of "Great".

And you allow to know and think. In the “Instruction” of Catherine II, which she compiled for the Commission for the development of a draft new code and was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the 18th century, there are indeed a number of articles, a summary of which is this stanza. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: a huge number of “cases” of people arrested by the Secret Expedition have come down to us on charges of “speaking” “indecent”, “obscene”, etc. words addressed to the Empress, heir to the throne, Prince . Potemkin, etc. Almost all of these people were brutally tortured by the "whip fighter" Sheshkovsky and severely punished by secret courts.

There you can whisper in conversations, etc., and the next stanza is an image of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered malefactors against the empress or the state; who did not drink a large glass of wine, “offered for the health of the queen”, who accidentally dropped a coin with her image were suspected of malicious intent and ended up in the Secret Chancellery. A slip of the pen, an amendment, a scraping, a mistake in the imperial title entailed punishment with whips, as well as the transfer of the title from one line to another. Rude clownish "amusements" were widespread at court, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an "ice house" was built; titled jesters sat down in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorine", "The Tale of Tsarevich Fevey." Don't do anything bad. "Instruction" to Chlorus, transcribed by Derzhavin into verse, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools by the highest command", which was also composed by Catherine for her grandchildren. Lancet means - i.e. bloodshed.

Tamerlane (Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.

Who pacified the battle, etc. “This couplet refers to the time of peace at that time, after the end of the first Turkish war (1768-1774 - V.Z.) flourished in Russia, when many philanthropic institutions were made by the empress, such as: educational home, hospitals, etc. Who granted freedom, etc. Derzhavin lists some laws issued by Catherine II that were beneficial to the noble landlords and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the ban on logging on their lands without government control; “allowed free navigation on the seas and rivers for trade”, etc.

3. A.N. Radishchev "Liberty"

Do you want to know who am I? what am I? where am i going?

I am the same as I was and will be all my life:

Not cattle, not a tree, not a slave, but a man!

To pave the way, where there was no trace

For greyhound daredevils both in prose and in verse,

Sensitive hearts and truth I fear

I'm going to the Ilim prison. January - July 1791

The ode "Liberty" by the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry from the end of the 18th century to the 1830s.

The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.

“The plot of Liberty is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. .26).

The word "liberty" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" that was the title of Pushkin's ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode by Pushkin, called it "Freedom".

Seven lines “Do you want to know: who am I? what am I? where am I going...” is also often found in lists that have been circulating since the 1820s.

Conclusion

Thus, in the literature of the 18th century there were two currents: classicism and sentimentalism. The ideal of classicist writers is a citizen and patriot, striving to work for the good of the fatherland. He must become an active creative person, fight against social vices, with all manifestations of "malice and tyranny." Such a person must give up the pursuit of personal happiness, subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. From the eighteenth century, the process of democratization of literature began.

And again, Russian reality invaded the world of literature and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin and other poets and writers of the 18th century took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed.

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