Innovation in Russian literature. Innovation in poetry of R.

For the first time, G.R.Derzhavin's poems were published in 1773. But Derzhavin's formation as a poet took place much later. In his early youth, his poems were imitative, subsequent work already bears the imprint of mature reflections. Derzhavin was not only a poet, but also a literary theorist. A number of theoretical works belong to him. In work titled "Discourse on lyric poetry or ode" he shows his willingness to deviate from generally accepted norms of literary criticismboth in form and in content. Derzhavin renounces classical norms. He considers the main thing to be inspiration, impulses of feelings, lofty thoughts, and not strict compliance with linguistic and stylistic rules. Undoubtedly a striking feature of Derzhavin's poetry is a technique unusual for the poets of that time: combination of "high" and "low". Derzhavin decided to use “low” vocabulary, and this makes his works bright and original.

Derzhavin introduces new dimensions. for instance, in the poem "Swallow" previously "incongruous" dimensions are used together: three-syllable dactyl and three-syllable amphibrach ...

Dominant the theme in the work of Derzhavin is man, his life and inner world... The poet draws attention to the smallest details of human existence, which was also an innovation for poetry that time. In versewritten by Derzhavin, the position of the poet himself is clearly felt, the reader understands his worldview, has the opportunity to touch his inner peace. Derzhavin does not hide his thoughts and emotions; he generously shares them with the reader.This trend was a step towards the development of realism in poetry.

Very interesting in the work of Derzhavin is the image of the poet himself... This embodied Derzhavin's civil position. In his understanding, a poet must bravely fight for the truth, must speak the truth even to kings ...

Often in the work of Derzhavin, autobiographical motives slip through, the reader can form a certain idea of \u200b\u200bthe life of the poet himself.

Derzhavin belonged to a friendly literary circle in St. Petersburg, whose members were dissatisfied with the existing poetry. They strove to create original, distinctive poetry. In the late 70s of the 18th century, Derzhavin created works that arouse the sincere approval of his fellow circles. Derzhavin's work becomes more realistic. And it is no coincidence that the poet himself in 1805 wrote about his poetry as "a true picture of nature." (conversation of lovers of the Russian word?)

Of great importance in the work of Derzhavin is ode "Felitsa", Which was created in 1782. This piece marked a new stage in Russian poetry. If we talk about the genre of "Felitsa", then it was a real laudatory ode. But the originality of the work was that the poet deviated from the usual rules. ABOUThe expressed his feelings towards the empress in a different language, not the one that usually praised the powers that be. Empress Catherine II is shown as Felitsa.

In this piece the image of the empress is significantly different from the usual classic images of the monarch. Derzhavin portrays a real person, talks about her habits and occupations. Derzhavin uses satirical motives and everyday descriptions... And the laws of classicism did not allow the use of satire and everyday details when writing an ode. Derzhavin deliberately breaks the tradition, therefore, his innovation in writing an ode is undeniable.

It is very interesting to compare the work Lomonosov's "Ode to the Ascent ..." and Derzhavin's work "Felitsa".Lomonosov uses the invasion in his work ... "we meet such words as" beads "," porphyry "," marshmallow "," soul "," zrak "," paradise "...

Derzhavin uses low vocabulary widely... He says about himself: “I smoke tobacco”, “I drink coffee”, “I am amused by barking dogs”, “I play the fool with my wife”. Thus, the poet reveals to the reader the details of his private life.... Classicist traditions did not allow such descriptions.

Both Lomonosov and Derzhavin appeal to the powers that be. Lomonosov says: "It is decent for divine lips, monarch, this gentle voice"

Derzhavin turns to the Empress with the question: "Give, Felitsa, instructions on how to live magnificently and truthfully ..." In these words there is at the same time a reproach to the queen.

From the point of view of Lomonosov, the queen is a divine being, standing above everyone and everything:

Lomonosov sings the tsarina, showered her with praises, lifts the crowned person to that pedestal, which is far from mere mortals. Lomonosov does not allow even a shadow of irony when it comes to state power... The same cannot be said about Derzhavin, who uses the shooting range when talking about officials ...

Derzhavin's innovation manifests itself not only in Felitsa, but also in a number of other works. His main merit is that he significantly expanded the narrow boundaries of classicist traditions. Classicism was the dominant trend in 18th century literature. According to the canons of classicism, the creator should not depict a real person, but a certain type of hero. For example, if it was about portraying a positive hero, then it had to be a person without flaws, an ideal hero, strikingly different from living people. If it was a question of depicting a negative hero, then it had to be a person in the highest degree dishonorable, the personification of everything dark, infernal, that is in a person. Classicism did not take into account that both positive and negative traits could successfully coexist in one person. Also, the classicist traditions did not recognize any mention of everyday life or the manifestation of simple human feelings. Derzhavin's innovation was the beginning of the emergence of a new poetry, where there is a place for a real person and his truly human feelings, interests and qualities.

His original poetic style was vividly expressed in odes from the late 1770s - early 1790s: “ On the death of Prince Meshchersky "," Felitsa "," God "," Vision of Murza "," Waterfall " and etc.

Civil odes: addressed to persons endowed with great political power: monarchs, nobles. Their pathos is not only laudatory, but also accusatory. The ode "Felitsa" was written at the end of the 18th century and reflects a new stage of government in Russia. Enlighteners now see in the monarch a person who has been entrusted by society with the care of the welfare of citizens. The monarch has many responsibilities, including legislation, on which the fate of his subjects depends. Derzhavinskaya Felitsa acts as a gracious monarch - a legislator. Derzhavin's innovation was not only in the interpretation of the image of the enlightened monarch, but also in the bold combination of laudatory and accusatory principles, ode and satire. The previous literature did not know such works, since the rules of classicism strictly differentiated these phenomena. The combination of ode and satire in one work is one of the phenomena of educational literature. Enlighteners understood the life of society as a constant struggle between truth and error. Either approaching the ideal, or moving away from it. In the ode, Felitsa is the ideal, and the deviation from the norm is her careless murzas. Then he writes an ode to "Grandee" in it again, both the satirical and the laudatory are mixed, but if the positive principle prevailed in F., and the mockery of the nobles was distinguished by a joking character, then in the Noble the ratio of good and evil was already

otherwise, the laudatory part takes a more modest place. Derzhavin satire is full of anger, being introduced into an ode, it took on an odic art form. Satire has donned 4-foot iambics, and repetitions are borrowed from the ode, reinforcing its angry pathos.

Victory Patr. Lyrics: paying tribute to L., D. and in this lyrics managed to say a new word. The poets did not seek to depict the image of the commander they glorified; traditional assimilations to Mars and the Eagle erased the individual image of the one they glorified. In the poem Snegir D. set himself a fundamentally different task: he is trying to create a unique image of his deceased friend (Suvorov), setting out the details of his life. He is not embarrassed by the neighborhood in his poem of the words leader, hero with the words nag, straw, rusk.

The first poetic experiments of the poet have hardly reached us. There is evidence that in 1770 Derzhavin destroyed most of them, apparently feeling embarrassed either because of the frivolity of their content, or because of the awkwardness of the form. It is also known that a soldier of the Preobrazhensky regiment was carried away by "sprinkling poems". His "tricks" on fellow guardsmen and officers-chiefs were very popular. Pribaski, something like folklore ditties, testified to the fact that Derzhavin had a figurative and picturesque common speech.

At the request of colleagues, more recently peasant lads, he composed love letters to their brides in rhyme. He wrote congratulatory drinking verses. He tried to study poetry. The literary theory of that time appeared before him in the form of a doctrine that the language and style of a work must strictly correspond to its genre. The beginning poet strove to master different genres: ode, idyll, epigram, parable, fable, romance, song. And he imitated recognized poets. Later in his "Notes" he said that "in sprinkling poetry he tried to learn poetry from a book about poetry composed by Mr. Tredyakovsky, and from other authors, like Messrs. Lomonosov and Sumarokov. But more than others he liked, for the lightness of his style, Mr. Kozlovsky ".

Mr. Kozlovsky was far from the best poet of that time. But it would be unfair to say that Kozlovsky's poems attracted Derzhavin only because of the underdeveloped taste of the young soldier. The beginning poet felt a brother in Kozlovsky both in the "lightness of the syllable", and in the pictorial concreteness of the depicted detail, and in the natural simplicity of the sounding line. But more than others, of course, he admired Lomonosov! Imitating him, Derzhavin worked hard in the ode genre. And he could not understand why he could not cope with an odic syllable, so alluring, magnificent, solemn, magnificent. Derzhavin in poetry remained himself: a disputant and a rebel. It's time to prove that you can rebuild Lomonosov's high style... That the greatness of the empress does not have to be glorified by "piling up" one metaphor on top of another, as they put it - piling one mountain on top of another.

He even tried to express this daring thought that came to his mind in "Ode to Catherine II" (1767):

Why put mountains on the mountains

And step up like a giant?

I can add light to the sun,

Will I multiply at least one ray?

Your kindness, monarch,

Love, judgment, mercy and bounty

Shine without decoration!

Go away, Vitian thunder!

And I, that the Ross feel

Only then I sing in my verse.

This not particularly smooth-sounding stanza contains a direct allusion to an artistic problem, which Derzhavin will brilliantly solve in the ode To Felitsa a decade and a half later. Describe the reign of the monarch without unnecessary adornments: proceeding not from what is prescribed by the "Vitian thunder" (high odic syllable), but from what the author and his readers feel, "feel". The odic pomp and solemnity of the style was not Derzhavin's vocation. Later, he would explain to Ostolopov, the compiler of scholarly books on rhetoric, the reason for the failure of his first odes: “The author (the poet means himself - L.D.) did not approve of all these works because he wanted to imitate Mr. Lomonosov, but he felt that his talent was not inspired by the same genius as him: he wanted to soar and could not constantly withstand the splendor and splendor of the only Russian Pindar with a beautiful set of words.And for this, since 1779, he chose a very special path, being led by the instructions of Mr. Batte and advice from his friends NA Lvov, VV Kapnist and II Khemnitser, imitating most of Horace. "

As we can see, Derzhavin marked here the beginning of his "very special path" and his teachers. True, A.P. was not named. Sumarokov, and the above-mentioned poets (N. Lvov, Kapnist and Chemnitser) largely continued the literary tradition of this particular master of poetry. A student of the "Sumarokov school" A.A. Rzhevsky, a talented and prolific poet of the early 1760s, from whom, I think, Derzhavin adopted a lot, introducing colorful everyday descriptions and sharp satire into his lyric poems. The surviving early works of Derzhavin make one recall the manner in which A.P. Sumarokov. In the publication of Derzhavin's works, undertaken almost a century and a half ago by J. Groth, we find such examples of clear imitation. Here is a stanza from the young Derzhavin's "song":

You smolder with passion for me,

And I am burning with you;

You have life in me

I am alive with your soul.

The 1770s and the beginning of the 1780s are the period of active involvement of the poet in great literature. It coincided, and, possibly, was due to Derzhavin's withdrawal from military service, his transition to state service, the acquisition of a circle of acquaintances and friends, educated and progressive thinking people. It was during this period that he created philosophical odes. "Key" (1779), "On the death of Prince Meshchersky" (1779), "The God" (1784) and the one that defined the poet's triumph of the poet ode "To Felitsa" (1782).

GRDerzhavin began to publish in 1773 in the collection "Antiquity and Novelty".

His work can be divided into three stages. The first (early) period lasted from 1773 to 1779. At this time, the poet tried to follow traditions like M.V. Lomonosov (heroic poetry), and A.P. Sumarokova (intimate lyrics).

In the second period of creativity (1779-1791) Derzhavin created his own style, which found the most vivid expression in the poems "Ode to the death of Prince Meshchersky" (1779), "Ode to Felitsa" (1782, published in 1783), "God" (1784 ), "Autumn during the siege of Ochakov" (1788, published in 1798), "The Vision of Murza" (1789, published in 1791), "Waterfall" (1791-1794, published in 1798).

The main genre of this period is a solemn ode. Derzhavin's poetic innovation manifested itself in the destruction of the purity of the classical genre; he combined elements of ode and satire in one poem.

In the third period (90s), anacreontic lyrics predominate in Derzhavin. He declares the rejection of a solemn ode and glorifies rural life, intimate joys, wise moderation. Here one can note the poems "Philosophers drunk and sober" (1789, published in 1792), "Khrapovitsky" (1793, published in 1808), "To the lyre" (1794, published in 1798), "Praise of rural life" (1798 , published in 1808).

Since the beginning of the 19th century, Derzhavin's work tends to decline, although sometimes he succeeds in magnificent works: "Bullfinch" (1800, published in 1805), "Eugene. Zvanskaya Life" (1807). In the last years of his life, Derzhavin turned to drama. Beginning in 1804 he wrote a number of tragedies (Dobrynya, Pozharsky, Herod and Mariamna, Eupraxia, etc.).

Since the 80s of the 18th century, Derzhavin headed a literary circle, which included his friends-writers N.A. Lvov, V.V. Kapnist, I.I. Khemnitser. Since 1811 Derzhavin was a member of the literary society "Conversation of lovers of the Russian word". Here he supported the literary conservatives with his authority, but at the same time, he was sympathetic to VA Zhukovsky and "noticed" the young Pushkin.

Derzhavin's work paved the way for the poetry of K.N.Batyushkov, A.S. Pushkin and other poets.

16. Russian educators in the age of Catherine II (Fonvizin, Radishchev, Novikov)

The heyday of early Russian P. dates back to the 1760s and 1880s, when the works of N.I. Novikov, D.I.Fonvizin, A.Ya. Polenov, Ya.P. Kozelsky, S.E.Desnitsky, and others appeared. The first Russian enlighteners pinned their hopes on the "enlightened monarch", fair laws based on natural law, softening of morals as a result of the spread of education and correct upbringing; advocated the awakening of national self-awareness and dignity of the individual, for patriotism, equally alien to national arrogance and "foreign rage". Novikov's satirical journals and Fonvizin's comedies condemned the landlord's "hardheartedness", ignorance, and the rudeness of manners as a result of the corrupting influence of serf relations. The ideal of the Russian educator of the 18th century - humane, educated, attentive to his peasants nobleman (Starodum, Pravdin in "Nedoroslya"). In the pedagogical works of Novikov, contrary to official pedagogy, permeated with the idea of \u200b\u200bsubordination of the individual to the state, the person, his personality, his happiness were in the first place.

The spread of P.'s ideas provoked opposition from the Russian government and the church. Catherine II, who was in correspondence with many Western European enlighteners and was known among them as the "sage on the throne", fought against Russian enlighteners in the press and through repression. D. S. Anichkov's dissertation on the origin of religion (1769) was censored and distorted, Fonvizin was forbidden to publish the magazine he had conceived (1788), Novikov was forbidden to continue publishing, he himself was imprisoned in a fortress (1792). I.A.Krylov (1793) and I.G. Rachmaninov, who undertook the publication of Voltaire's works (4 of 20 volumes were published), were forced to stop publishing. AN Radishchev found a way out of the impasse in which the educational thought found itself. He rejected hopes in the "enlightened monarch", in the beneficial power of enlightenment, put forward the idea of \u200b\u200ba popular revolution against the autocracy. His book A Journey from St. Petersburg to Moscow (1790) became the pinnacle of Russian P. in the 18th century, and its author was the founder of the revolutionary movement in Russian P.

A satirically accusatory beginning in Derzhavin's poetry,

Derzhavin's Anacreontic poetry

Gavrila Romanovich Derzhavin is the greatest poet of the 18th century, one of the last representatives of Russian classicism. Derzhavin's work is deeply contradictory. Revealing new possibilities of classicism, he at the same time destroyed it, paving the way for romantic and realistic poetry. Derzhavin's poetic work is extensive and mainly represented by odes, among which the following types can be distinguished: civil, victorious patriotic, philosophical and anacreotic. A special place is occupied by autobiographical poetry.

Anacreontic verses. The odes of Anacreon, real and attributed to him, were translated and "perelagali" by almost all Russian poets of the 18th century. Derzhavin published a collection called "Anacreontic songs". It contained translations of Anacreon's "Wealth", "Cupid", "Grasshopper", "Khmel" and others.
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At the same time, most of the poems included in the book represented the original works of Derzhavin, written in an anacreontic spirit. Anacreontic poems were created by Derzhavin mainly in the second half of the 1890s, when the poet, who had passed a long career, began to understand the uselessness and futility of his administrative zeal. More and more often came the thought of retirement from the tiresome and thankless state activities. A peculiar correlation of values \u200b\u200bis being established. Tiring service at the court is opposed by peace, dependence on the whims and whims of the court - freedom of a person, official hierarchy - friendly relations. These contrasts are most clearly observed in such poems as "Gift", "To lyre", "To oneself", "Desire", "Freedom". In the poem "To the Lyre" Derzhavin addresses the question raised by Lomonosov in "Talking Anacreon": what should be sung - love or glory of heroes? Lomonosov gave preference to heroic poetry. And Derzhavin, following Lomonosov, first glorified the heroes of his day. But then the poet decides to move from heroic poetry to love poetry. Derzhavin's appeal to anacreonticism was also dictated by the peculiarities of his character. He loved life and its joys, he knew how to admire female beauty. The image of a life-loving old man is characteristic of a number of works by Derzhavin's collection - "Offering to beauties", "Lucy", "Anacreon at the stove", "Crown of immortality". Derzhavin's anacreontic lyrics reflect events and facts from the poet's personal life. The heroes of his poems are people close to him - his wife Daria Alekseevna, whom he calls now Dasha, now Milena; her relatives, sisters Bakunina - Parasha and Varyusha, daughter of the poet Lvov - Liza. All this gives Derzhavin's poems intimacy and sincerity. The love praised by Derzhavin is frankly erotic.
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This is an earthly, carnal feeling, experienced easily, cheerfully, playfully, like pleasure, by a person by nature itself. Their form corresponds to the intimate, chamber content of the "Anacreontic songs". In contrast to the odic verbal abundance, brevity and laconicism prevail here. Some poems - "Desire", "Lucy", "Portrait of Varyusha" - consist of eight verses. Derzhavin's "songs" marked an important stage in the history of Russian poetry, when the transition from translations and transcriptions of Anacreon's odes to his own, domestic Anacreontic poetry was made. A further step in this direction was the "light poetry" of Batyushkov and the young Pushkin.

Gavrila Romanovich Derzhavin is the greatest poet of the 18th century, one of the last representatives of Russian classicism. Derzhavin's work is deeply contradictory. Revealing new possibilities of classicism, he at the same time destroyed it, paving the way for romantic and realistic poetry. Derzhavin's poetic work is extensive and is mainly represented by odes, among which the following types can be distinguished: civil, victorious patriotic, philosophical and anacreotic. A special place is occupied by autobiographical poetry. Derzhavin owed a lot in his poetic development. Derzhavin was the first Russian poet to approach the depiction of his own human appearance - external, portrait and internal - in his unique historical and everyday individuality. Due to their inherent autobiography, his poems often require historical commentary for posterity. The poet is interested in nature not as an excuse for expressing the feelings she arouses; she is interested in him in all the richness of its unique colors and sounds. The images of nature personified according to the tradition of classicism do not prevent the poet from reproducing the real features of the landscape. Derzhavin's innovation manifested itself not only in the development of poetic forms that existed before him, but also in the search for new ones. Derzhavin's verse is especially diverse and complex. In the field of metrics, he dares to "mix measures" - a combination of different poetic sizes within one work (for example, in the poem "Swallow"), which achieves rhythmic effects that seemed too daring to his friends and admirers. In the second half of his life, in the odes of Derzhavin, Horatian motives are often heard. The poet, with rare love and brilliance, glorifies the blessings of the happy, well-fed and free life of Catherine's grandee, his wealth, joy and joys. But in his poetry, the idea of \u200b\u200bthe transience of life with its joys and wealth in the face of eternity, inexorably obliterating both individual people and whole kingdoms and peoples, is constantly heard. Civil 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. Among the best of this cycle is the "Felitsa" dedicated to Catherine II. It reflects a new stage of enlightenment in Russia. Enlighteners now see the monarch as a person who has been entrusted by society with the care of the welfare of citizens. For this reason, 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, in the opinion of the educators, the fate of the subjects depends first of all. And Derzhavin Felitsa acts as a gracious monarch-legislator. Derzhavin's innovation manifested itself in Felitsa not only in the interpretation of the image of an enlightened monarch, but also in a bold combination of laudatory and accusatory principles, ode and satire. The previous literature did not know such works, since the rules of classicism clearly distinguished these phenomena. The ideal image of Felitsa is contrasted with careless nobles. Before Derzhavin, ordinary nobles were the object of satire. Victory-patriotic lyrics. One of these phenomena was his poem "Snegir" - a poetic response to the death of A. V. Suvorov. In the poem "Snegir" Derzhavin set himself a fundamentally different task. He tried to create a unique look for his late friend, setting out the details of his life. Philosophical odes. To this group of works by Derzhavin belong the ode "To the death of Prince Meshchersky", "Waterfall", "God". The peculiarity of philosophical odes lies in the fact that a person is considered in them not in social, civic activities, but in deep connections with the eternal laws of nature. One of the most powerful among them, according to the poet's thought, is the law of destruction - death. This is how the ode "To the death of Prince Meshchersky" is born. The immediate reason for its writing was the death of Derzhavin's friend, Prince A. I. Meshchersky. ode to God. It has been translated into a number of European ones. It talks about the beginning opposed to death. For Derzhavin, God is “the source of life”, the root cause of everything that exists on earth and in space, incl. and the person himself. Derzhavin's idea of \u200b\u200ba deity was influenced by the philosophical thought of the 18th century. Anacreontic verses. In the poem "To the Lyre" Derzhavin addresses the question raised by Lomonosov in his "Conversation with Anacreon": what should be sung - love or glory of heroes? Lomonosov preferred heroic poetry. And Derzhavin, following Lomon, at first glorified the heroes of his day among the tsars, but then decides to move better from heroic poetry to love poetry. The love praised by Derzhavin is frankly erotic.
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This earthly, carnal feeling, experienced easily, cheerfully, playfully, like pleasure, to a person by nature itself (poems ʼʼDesireʼʼ, ʼʼLucyʼʼ, ʼʼPortrait of Varyushaʼʼ)

31. Genre of Iroi-comic poem in Russian literature of the 18th century. Maikov's poem Elisha or the irritated Bacchus.

Iroi-comic poem is a genre based on the comic inconsistency of the style of the work with its events and heroes. In the heroic-comic poem, the “low” common characters and everyday incidents are described in a high syllable characteristic of a heroic poem, as a result of which a parody-comic effect arises. ”The famous master of this genre in Russia in the 18th century. was Vasily Maikov. "Elisha or the irritated Bacchus" is the "correct" heroic-comic poem, but deviations from the rules are evident in it: saturation with folklore elements, everyday sketches, common speech. Within the same genre - a clash of high and low. Poem in 5 songs. The beginning of the poem is the overpricing of vodka by tax farmers. M. is an opponent of the ransom system, which enriched the department. Faces at the cost of the people. The God of Wine Bacchus was angry with the tax farmers, because the number of drunken people decreased. In the drinking house Bacchus finds the coachman Elisha, whom he chooses as an instrument of revenge. Meanwhile, E. asks the Chumak for wine, and then hits him in the forehead, for which they take him under guard. Bacchus To Zeus with a request to release E. To which he replies that people drink too much, because of this, a bad harvest. In prison, Yermiy (god of existence) Elisha changes into a woman's dress and takes him to the Kalinka house, where dissolute women are sitting ... Love of the head of this house with E. Meeting of the gods on Olympus. Bored by the love of the hostess E. leaves. He went to the city. On the way I fell asleep in the forest. But I woke up from the scream of a woman, a cat. wanted to rob. This is his wife. He lets her go to the city. And he himself remains in the forest. Then Silenus comes down to him. He takes him to the house of a rich tax farmer, so that he can drink as much as he wants, and he goes to heaven. E., looking for the cellar, enters the bathhouse where the owners wash. He kicks them out. Steamed. Then he goes to his room. He takes the invisibility cap and hides under the tax farmer's bed. He lay there until the tax farmer, alarmed by the thunderstorm, got out of bed, and he, E., climbed onto the bed beside the hostess. The husband thinks that his wife is being strangled by the brownie. I decided to invite the witch. The driver (E.) was afraid of this, and in connection with this he went to the cellar to drink wine. Elisha ravages the farmers' cellars, rampages until Zeus, having gathered the council of the gods, decides to give him up as a soldier. In the poem, people act on a par with the gods. The poem contains a lot of rude words, everyday material, many naturalistic details. All this contributed to the collapse of classicist traditions and the development of realistic traditions.

Introduction

2. Landscape lyrics of Derzhavin

5. Anacreontic verses

6. Dramatic works

Conclusion

Introduction

In the last third of the 18th century, great advances took place in poetry, as well as in drama.

The stability of the poetic principles of classicism was protected by the existing genre system. Therefore, the further development of poetry could not be carried out without violations and then destruction of the canonical forms of genre formations. These violations began to be allowed, as noted, by the classicist writers themselves (Lomonosov, Sumarokov, Maikov, Kheraskov and young poets from his entourage). But the real revolt in the kingdom of genres was committed by Gabriel Romanovich Derzhavin.

The young poet learned from his eminent predecessors: the rules of versification from Trediakovsky, poetry from Lomonosov and Sumarokov. But the biography of Derzhavin so developed that from his very first steps in poetry life itself was his mentor.

Indeed, the poet saw the true nature - the world is polyphonic and multicolored, in its eternal movement and changes, infinitely expanding the framework of the poetic (from the highest plots to the chanting of a beer mug). Derzhavin's main enemies were all those who forgot the "public good", the interests of the people, indulging in sybarism or courtesy at court.

1. Ode in the works of G.R. Derzhavin

In "Ode for the birthday of Her Majesty, composed during the war and revolt of 1774," the poet, referring to Catherine, asserted: "Enemies, monarch, those same people," and called her to mercy. In his biographical Notes, created at the end of his life, Derzhavin, recalling the Peasant War, noted the extreme irritation of the people against the government troops and the sympathy of ordinary soldiers for Pugachev.

Despite the fact that Derzhavin spent about three years in the places covered by the Pugachevism, his inability to get along with his superiors served him in disservice, he was completely bypassed by awards and in the end, against his will, "was released into the state office."

But the civil service was also full of turmoil. As an adviser to the expedition of income, Derzhavin, by his too honest and straightforward performance of his official duty, aroused the hatred of his boss, one of the most influential Catherine's nobles, Prince Vyazemsky.

Fondled by Catherine II after the appearance of "Felitsa" (1783) and sent by the governor to the Olonets province, he quarreled there with the governor Tutolmin when he distorted the situation of the peasants in his description of the region. The authorities also greeted the poet's governorship in Tambov (1786-1788) with hostility. Derzhavin did a lot to educate the noble youth, willingly providing his own house for studies. In the "Notes" we read: "The governor had meetings every Sunday, small balls, and on Thursdays, concerts, on solemn, and especially on public holidays - theatrical performances of hunters, noble young people of both sexes, composed. But not only. some amusements, but the very classes for young youth were instituted by the day in the governor's house. " The printing house opened by Derzhavin began publishing the first provincial newspaper in Russia - "Gubernskie vedomosti".

In 1791, Derzhavin became the personal secretary of Catherine II for accepting petitions. But closeness to the empress also did not contribute to the career of the poet, who "climbed" to the empress with business when she was not at all inclined to do them. Moreover, the poet and the monarch were deeply disappointed in each other: when he entered the palace, Derzhavin saw the inside of court life and “could not muster up the courage and could not write such subtle praises to her as in Felitz's ode and similar writings that he did not write. when he was still at court: for from afar those objects that seemed divine to him and set his spirit on fire, appeared to him, on approaching the court, very human and even low and unworthy great Catherine, then his spirit cooled so much that he could write almost nothing with a warm, pure heart in praise of her. "At the same time, Derzhavin notes with condemnation in the Notes that Catherine II ruled the state more" by her appearance than by holy truth. " , and he himself "often bored her with his truth."

Derzhavin got acquainted with the works of his literary mentors (Lomonosov, Sumarokov, Trediakovsky, Kheraskov) while still in the Kazan gymnasium. Lomonosov motifs sound in the poem "Monument to Peter the Great" (1776) - it even in its name echoes Lomonosov's "Inscription to the statue of Peter the Great". Derzhavin praises Peter as an enlightened monarch.

Derzhavin expressed his admiration for Lomonosov in 1779 in the "Inscription" to his portrait:

Se Pindar, Cicero, Virgil - the glory of the Ross,

The inimitable immortal Lomonosov,

In his delight, where he only scribbled with a pen,

Thunder is still heard from the fiery pictures.

In the ode "To the greatness" of them, referring to the "peoples" and "kings", the poet proclaims that true "greatness" lies in serving people. "Ode to nobility" sounded harshly, which later formed the basis of the famous poem "The Nobleman". Derzhavin, following Kantemir and Sumarokov, asserts the extra-class value of a person:

There is no that splendor of clothes here,

Kings and dolls that equal

Outwardly from the ignorant

That the name of the nobility gets.

I build a harp and a tympanum;

Not you sitting behind a crystal

In a kivot, shining with metal,

You will be honored here by me, you fool.

The turning point in Derzhavin's work was 1779. The poet later recalled: "He tried to imitate Mr. Lomonosov in expression and style, but, wanting to soar, he could not endure constantly, with a beautiful set of words, the grandeur and splendor characteristic of the only Russian Pindar. And for that, from 1779 he chose a completely different path." ... Derzhavin's main merit was to bring poetry closer to life. In his works, for the first time before the Russian reader, pictures of rural life, contemporary political events, the nature of the middle lane, court and manor house life appeared. The main subject of the image was the human personality - not a conventional, fictional hero, but a living contemporary, with a real destiny and only his inherent features. The poet spoke in verse about himself, opened the pages of his own biography - all this was new and completely unusual for Russian literature. The framework of classicism turned out to be tight for Derzhavin, and, while retaining the concept of the direct educational influence of art, which is characteristic of this trend, he completely rejected the doctrine of the genre hierarchy in his creative practice. Low and high, sad and funny combined in one and the same work, reflecting life in its unity of contrasts.

The features of novelty are found, first of all, in the poem "For the Birth of a Porphyry Child in the North" (1779). On the topic - this is a congratulatory ode written on the occasion of the birthday of the heir, the future emperor Alexander I. In form, a humorous song, which successfully uses a fairy tale motif about fairies presenting gifts to a royal baby. Unlike the usual iambic tetrameter for the ode, it was written by a chorea, which gives it a dance rhythm. In a reduced plan, the ancient deities traditional for the ode are depicted: Borey at Derzhavin is a "dashing old man", with "white hair and a gray beard," the nymphs "fall asleep ... out of boredom", satyrs warm their hands by the fire. Instead of a generalized picture of nature, the poem contains a specific landscape sketch of the Russian winter: "fluffy frost", "blizzards", "chains of ice" on fast waters. Derzhavin, to a certain extent, nevertheless follows Lomonosov here: the image of the baby tsar is given merged with the image of mother Russia:

Sim Russia is delighted

Currents shed tears,

Kneeling down

She took the boy into her hands.

The prince is a combination of all the perfections necessary for an earthly god. Geniuses bring him

That abundance, wealth,

That shine is porphyry;

That joy and pleasure.

That calm and peace ...

Be the owner of your passions,

Be a man on the throne! -

reflects the view of Derzhavin on the personality of the monarch: the king, first of all a man, and only a man. The poet here also expresses his creative principle - he is going to portray not a person in general, but a person with all his inherent qualities.

In the verse "For birth in the North ..." there is a direct polemic with Lomonosov. In addition to the chorea noted in them (instead of iambic tetrameter), a playful tone in the sketch of mythological characters (satire and nymphs), we note that Derzhavin begins his poems with a line (with a slight change) from the well-known ode of 1747 by Lomonosov ("With white Boreas with hair" - from Derzhavin, "Where with White Borey Vlasov" - from Lomonosov).

The philosophical ode To the Death of Prince Meshchersky (1779) gravitates towards the romantic genre of the elegy. The theme of the transience of being, the inevitability of death, the insignificance of man in the face of eternity has long been familiar to Russian literature (recall, for example, the 16th century monument "The Dispute of Belly and Death"). And the poet echoes these motives when he speaks of the tragic law of being:

Nothing of fatal claws

No creature runs away;

The monarch and the prisoner are the food of worms,

The anger of the elements consumes the tombs;

Time gapes to erase glory:

As the waters flow fast into the sea,

So days and years flow into eternity;

Swallows kingdoms greedy death

With great emotional force, Derzhavin writes about the sudden arrival of death, an arrival always unexpected for a person, again following medieval motives in this case:

Only a mortal does not dream of dying

And he wants to be himself eternal;

Death comes to him like a thief,

And life suddenly abducts.

"Like a dream, like a sweet dream," youth passes. All worldly joys, love, feasts end with death; "Where the table was of food, there is a coffin."

The fate of Prince Meshchersky, "son of luxury, cool off," is a concrete embodiment of this tragic collision of human existence. But in this poem, Derzhavin was able to combine two different levels of perception of the world and combine two different artistic manners. In the second part of the poem, epicurean-Horatian motives are heard, especially clearly expressed in the final stanza:

Life is an instant gift from heaven;

Arrange her for yourself

And with your pure soul

Bless the fate of the blow.

In contrast to the first part, which is close due to the abundance of rhetorical questions and rhetorical exclamations of oratorical speech, the second sounds elegiacally calm and resembles a friendly conversation with the reader. The innovative nature of the poem is also manifested in the fact that the author portrays himself as one of the heroes of the poem.

Derzhavin's programmatic work, which made readers immediately start talking about him as a great poet, was "Ode to the wise Kirghiz Kaisak princess Felitsa, written by some Murza, who has long lived in Moscow, but who lives on business in St. Petersburg." Ode was published in 1783 in the magazine "Interlocutor of the lovers of the Russian word". According to V.G. Belinsky, "Felitsa" is one of Derzhavin's "best creations. In it, the fullness of feeling was happily combined with the originality of the form in which the Russian mind is seen and the Russian speech is heard. Despite its considerable magnitude, this ode is imbued with an inner unity of thought, sustained from beginning to end. Embodying modern society, the poet subtly praises Felitsa, comparing himself to her and satirically depicting his vices. "

"Felitsa" - illustrative example violation of classicist normativity, primarily due to the combination of an ode with satire: the image of an enlightened monarch is contrasted with the collective image of a vicious murza; half-jokingly, half-seriously, they talk about Felitsa's merits; the author laughs merrily at himself. The syllable of the poem represents, according to Gogol, "the combination of the words of the highest with the lowest."

Derzhavin's image of Felitsa is versatile. Felitsa is an enlightened monarch and at the same time a private person. The author carefully writes out Catherine's personal habits, her lifestyle, character traits:

Without imitating your murzas,

You often walk on foot

And the food is the simplest

Happens at your table.

The novelty of the poem lies, however, not only in the fact that Derzhavin depicts the private life of Catherine II, the very principle of depicting a positive hero turns out to be new in comparison with Lomonosov. If, for example, Lomonosov's image of Elizaveta Petrovna is extremely generalized, then here the complimentary manner does not prevent the poet from showing the specific deeds of the ruler, her patronage of trade and industry, she is that "god", according to the poet,

Who granted freedom

To jump into foreign areas,

Let his people

Silver and gold seek;

Which allows water

And he does not prohibit cutting wood;

Orders and weaving, and spinning, and sewing;

Unleashing the mind and hands.

Orders to love trading, science

And find happiness at home.

Felitsa "enlightens morals", writes "teaching in fairy tales," but she looks at her "amiable" poetry as "delicious lemonade in the summer." Remaining within the framework of praise, Derzhavin follows the truth and, perhaps, without noticing it himself, shows the limitations of Catherine the writer, who strove to develop literature in the spirit of protective ideas.

Derzhavin, like his predecessors, opposes the modern reign to the previous one, but again he does it extremely concretely, with the help of several expressive everyday details:

There with the name of Felitsa you can

Scrape the slip of the line ...

In this ode, the poet combines praise for the empress with satire on her entourage, sharply violating the purity of the genre for which the classicists stood up. A new principle of typification appears in the ode: the collective image of the murza is not equal to the mechanical sum of several abstract "portraits" (such a typification principle was characteristic of the satire of Cantemir and even of Novikov's Recipes). Derzhavinsky Murza is the poet himself with his inherent frankness, and sometimes even slyness. And at the same time, many characteristic features of specific Catherine's nobles were reflected in it. Derzhavin's innovation was also the inclusion in the ode of a sample of still life - a genre that would later brilliantly appear in his other poems: There is a glorious Westphalian ham, There are links of Astrakhan fish, There are pilaf and pies ...

His contemporaries saw the innovative character of the work. Thus, the poet E.I. Kostrov, welcoming “the creator of the ode, composed in praise of Felitsa, the princess of Kirghizkaisatskaya,” noted that the “floating” ode no longer delivers aesthetic pleasure, and put the “simplicity” of his style as a special merit of Derzhavin:

Our ears were deafened by loud lyre tones ...

Frankly, it is clear that out of fashion

Soaring odes have already emerged.

You knew how to lift yourself up among us with simplicity!

Derzhavin himself was also fully aware of the novelty of "Felitsa", referring it to "a kind of work that has never happened in our language."

An important place in the work of Derzhavin is occupied by civil - accusatory poems, among which the "Grandee" (1794) and "For the Lords and Judges" (last edition - 1795) stand out.

Based on the early ode to "Nobility," Derzhavin made an attempt to paint a social portrait of a man standing close to the throne and assigned to carry out the will of the sovereign.

The ode is based on the antithesis: the collective portrait of the tsar's favorite plundering the country and the people is contrasted with the ideal image of an honest and incorruptible statesman. As a satirist and denouncer, Derzhavin is unusually inventive. The nobleman's theme begins with a short and caustic, aphoristic-sounding characteristic:

The donkey will remain a donkey

Though show it with stars;

Where the mind should act.

He just flaps his ears.

This characteristic is replaced by the author's sorrowful reflection on the blindness of happiness, who raises to an unattainable height a fool who has no merits to the state:

ABOUT! vain hand of happiness,

Against the natural rank,

The madman looks like a lord

Or a fool's cracker.

The accusatory characterization of a nobleman who forgets about his public duty is further elaborated in two contrasting pictures anticipating "Reflections at the front entrance" by N. Nekrasov. Derzhavin depicts, on the one hand, the luxurious life of the "second Sardanapalus" who lives "amid games, amid idleness and bliss," on the other, the humiliation of people who depend on him. While the nobleman is still "sleeping peacefully," petitioners crowd in his reception room: "a wounded hero, like a harrier, turning gray in battle", a widow who "sheds bitter tears with a baby in her arms", "bent over on crutches, fearless old warrior. " And concludes an ode to satire with an angry appeal to the sybarite with the demand to wake up and heed the voice of conscience.

In his positive program, Derzhavin follows Kantemir and Sumarokov, asserting the extra-class value of a person:

I want to honor the dignity, Which they themselves were able to deserve the titles of meritorious deeds.

Speaking further that “neither a noble family nor a dignity” make a person better than he is, Derzhavin, however, remains within the framework of a noble worldview, when he introduces the reader to his concept of social structure:

Blessed are the people! - where the king is the head,

Nobles - members of the body are healthy,

Diligently they all do their duty,

Someone else's without touching the case.

The feudal estate monarchy remains the ideal form of government for the poet. Catherine II interpreted the poem "For the Lords and Judges" as Jacobin verses. Derzhavin rather accurately rearranges the text of the 81st psalm. This is how this biblical chant sounds in a modern translation: "God became in the host of the gods; among the gods he pronounced judgment: how long will you judge unrighteously and show discernment to the wicked? Give judgment to the poor and the orphan; render justice to the oppressed and the poor; deliver the poor and the beggar, pluck out him from the hands of the wicked. They do not know, they do not understand, they walk in darkness; all the foundations of the earth are trembling. I said: you are gods, and you are all sons of the Most High; but you will die like men and fall like any of the princes. , God, judge the earth, for you will inherit all the nations. " But what looks epic-calm in the psalm sounded in Derzhavin's angry denunciation. Here, "Derzhavin's views on the tasks of power were reflected and deep dissatisfaction with it was expressed. Derzhavin criticized the ruling Senate, condemned the" earthly gods "who breed covetousness and violence on earth. In the eyes of the reader, this poem had the most radical character."

The poem sounds like a direct, angry appeal of the poet to the "earthly gods". The tsar in the image of an "earthly god" has been glorified in Russian poetry since the time of Simeon of Polotsk. Derzhavin was the first not only to bring the "earthly gods" off their pedestals, but also to judge them impartially, reminding them of their duties to their subjects. The poem is perceived as a pathetic oratorical speech: They do not heed! see - and do not know! Covered in the bribery of fleece: Villainy shake the earth, Untruth ripples the heavens.

The insignificance of kings, their human weakness become especially noticeable thanks to the antithesis "king - slave":

And you will fall like that

How will a withered leaf fall from the tree!

And you will die like that,

How will your last slave die! ..

At the end of the arrangement, the poet calls on the Almighty to punish the "kings of the earth".

2. Landscape lyrics of Derzhavin

A small poem "The Key" (1779) opens the landscape lyrics of Derzhavin with its characteristic variety of colors and sounds.

You are pure and delight the eyes

You are quick - and you comfort the ear, -

the poet writes, referring to the source, and draws a waterfall in the morning, afternoon, night. Already here he resorts to alliteration, one of his favorite techniques later:

And the groves doze in silence:

And you alone, noisy, sparkle.

The introduction of personality into poetry was a bold but necessary step, prepared by the very logic of artistic development. Derzhavin's poems reveal in all their fullness and contradictions the image of his contemporary, a natural man, with his falls and ups.

Following Horace, G.R.Derzhavin called poetry "speaking painting". Derzhavin gave brilliant examples of landscapes, still life, and portraits in his works.

Individual details scattered in the poems help the reader to quite clearly imagine the appearance of the people about whom the poet writes. So, for the same Catherine II - "sky-blue eyes and a gentle shadow on the cheeks", "quiet tread", "cinnamon hair" ("Image of Felitsa"); Orlov has a "sinewy hand" with which he "immediately besieged six horses at the hippodrome" ("To the Athenian knight"). You can clearly imagine the cold beauty Milena,

Blond face

I will build a camp, I will elevate,

With a somewhat proud brow.

Or the serf girl Dasha: "stately, black-eyed and round-faced"

At the same time, Derzhavin does not abandon the classicist principle of depicting a person's appearance: many of his portraits are generalized and are not aimed at revealing the individual, and verbal cliches are used to describe them; such is, for example, the early poem "The Bride", addressed to Ekaterina Yakovlevna Bastidon, the poet's bride:

Lileys on the hills of your chest shine,

Zephyrs are meek in your disposition,

The valley on the cheeks is the smile of the dawn of spring;

Gardens are fragrant on the roses of your lips.

Derzhavin's landscape is multicolored and dynamic. An example of this is the beginning of the poem "Waterfall":

The mountain is falling down diamond

From the heights of four rocks,

Abyss and silver for pearls

Boils below, beats up with bumps;

The blue hill stands from the spray

Far away the roar thunders in the forest.

The landscape in the poems "Key;" Rainbow "," Cloud "," Autumn during the siege of Ochakov "," Morning "and many others is distinguished by the brightness of colors.

Derzhavin's interest in wildlife is expressed, in particular, in an accurate description of animals. The poet's observation was reflected in the £ the presence of a swallow ("Swallow") and a peacock ("Peacock"), a favorite pas (comic poem "To my lord, my poodle"):

Osanist, mature, you look like a lion,

Like a proud nobleman;

Washed, combed, whitewashed,

Also beautiful in furry face.

Great, curly, daring himself:

Like frost - with white eyebrows,

Like a falcon - with black eyes ...

The definition of Derzhavin's poetry as "speaking painting" is correct. He really attaches great importance not only to the coloristic, but also the sound side of his poems - their "sweetness" and onomatopoeia. In "Discourse on Lyric Poetry or Ode" he writes: "The expert will immediately notice whether poetry agrees with music in its concepts, in its feelings, in its paintings and, finally, in imitation of nature. For example, is the pronunciation of verse and the current of music when depicting a whistling or hissing serpent like him; whether thunder rumbles, whether a source murmurs, whether a forest is raging, a grove laughs - when describing the rumble of the first, the quietly muttering current of the second, the gloomy dull howl of the third and the cheerful echoes of the fourth. " This principle of imitation of nature by acoustics finds expression in many of the poet's works. So, for example, a picture of autumn nature in the ode "Autumn during the siege of Ochakov: comes to life thanks to the mention of rustling leaves:

Noisy red-yellow leaves

Spread out throughout the trails.

The selection of hissing and whistling sounds allows you to convey the walk of her dried leaves. We will find brilliant examples of onomatopoeia in the poems "Nightingale in a dream", "My idol" and others.

Among the pictorial means of Derzhavin, his epithetics is especially rich. "Derzhavin's epithets are diverse. The most common epithets are sensual, and among them the first place belongs to the visual epithet ... With the help of visual epithets Derzhavin draws pictures of nature, describes animals, makes everyday sketches, gives portraits of people. And he does not just list everything he saw, but, as an artist, he saturates his canvases with color ", - writes N. B. Rusanova. The poet's favorite epithet is "golden". “Sometimes, trying to convey the colors as accurately as possible,” the researcher points out, “the poet uses complex epithets composed of a combination of not only two (black and green), but also three (azure-gray-turquoise) colors. At the same time, combining colors, he carefully thought over their selection. As a rule, the second part of the epithet is brighter than the first and is aimed at enlivening the paint, thickening it and making it brighter: white - ruddy, black and purple, red and yellow, silver - pink, etc. " ...

The bright and varied palette of the epithetics of Derzhavin ("painter of nature", according to the apt definition of the poet II Dmitriev) was used to convey sharp contrasts and soft overflows of colors in pictures of nature, to reproduce in a concrete-sensual form both "horrors" and "beauty " her. The influence of color definitions in the above passage is enhanced by the presence of epithets that reveal the poet's mood.

With the help of visual, color epithets, Derzhavin manages to concretize the external appearance of a person. So, if his predecessor Lomonosov was able to notice in his heroes only heavenly eyes, bright and bright, as well as "a vision more beautiful than paradise", then Derzhavin saw the blue eyes of the goddess of beauty, the passionate gaze of Sappho, Dasha chernooku, the yacht gaze of Varyushka, the greedy eyes of the younger diamond and the falcon look of Russian girls full of sparks. He made out the black, like a falcon, eyes of Milord's poodle, yellow-eyed owl, sun-eyed sturgeon.

Derzhavin not only "saw" nature perfectly, but also "heard" it well. Therefore, it is not surprising that in his poetry the world of life turned out to be both multicolored and polyphonic. The predominantly optimistic mood of the poet's work led to the predominance of "loud" sound epithets over "quiet" (as well as "bright" over "pale"). Derzhavin hears a sharp trumpet sound, a cheerful voice, an ardent tone. But the noisy, thundering abusive sounds did not drown out for him the swarm of buzzing bees, the quiet accord of the magic sound of the harp, the mournful groan.

Derzhavin has quite a few metaphorical epithets: pale envy, gray thunder, fragile leaf, bitter and sweet tears, callous heart, sweet sleep, stinking shame.

3. Poems of the military-patriotic cycle

The heroic-patriotic theme occupies a significant place in Derzhavin's work. The poet glorified the military exploits of the Russian people, starting from the 80s, when the Russian-Turkish war was going on, and ending with victories over Napoleon. These are such poems as "Autumn during the siege of Ochakov" (1788), "On the capture of Izmail" (1790), "On the return of Count Zubov from Persia" (1797), "On victories in Italy" (1799), "On the transition Alpine Mountains "(1799)," Snigir "(1800)," Ataman and the Don Army "(1807)," Zdravny Eagle "(1791 - 1801), the inscription" Field Marshal Count Alexander Vasilyevich Suvorov "(1795), the tombstone" To death Count Suvorov "(1800) and others. The main character of this cycle is" Ross "- a generalized image of the Russian army. Initially following a largely Lomonosov tradition, Derzhavin, in an emotionally uplifted manner, using many Slavicisms, paints battle scenes in which Ross manifests miracles of courage - a "giant", "firm and loyal", whose "rock-hard chest" boldly confronts the enemy:

Fire, unquenchable in the waves,

Eating Ochakov walls

Before them, Ross is invincible

And in a filth of green laurels reaps;

He despises gray storms,

On the ice, on the ditches, on the thunder flies,

In the waters and in the flame he thinks:

Or he will die, or he will win.

At the same time, Derzhavin himself emphasizes the connection with the work of Lomonosov, taking as an epigraph to the poem "On the Taking of Ishmael" words from the ode of his predecessor. In it Derzhavin also depicts the exploits of Ross:

Your labors are fun for you;

Thy crowns - all around the glitter of thunder:

Is there a fight in the fields - you darken the starry vault,

Is there a battle in the seas - you foaming the abyss, -

Everywhere you are the fear of your enemies!

In revealing the military-patriotic theme, the poet, however, is not limited to using traditional means. The process of bringing creativity closer to life finds clear expression in these works of Derzhavin. So, the motives of the folk soldier's song help him to create in the poem "Zdravny Eagle" (1791) extremely vivid images of Russian soldiers: Oh! Use, guys, you Russian soldiers! That you are undaunted, Invincible by anyone: We drink to your health.

The poem "To the Ataman and the Don Army" (1807) is peculiar, in which the valor of Ataman Platov and his troops is sung in an epic spirit and the impact of the recently published "Lay of Igor's Host" is joked. Here is an excerpt close to the picture of the flight of Prince Igor from captivity:

You walk in the grass - it is equal to the grass,

In the forest - and the forest is equal with the head,

You jump on a horse - the horse is quiet, you don't like it,

But it rushes like a whirlwind under you.

On a stone I blacken a snake

You crawl into the night - and there is no trace

By moisture eh white goose white

You swim in the day - only trickles in the trail.

But Derzhavin was the most independent when portraying Suvorov, whom he deeply respected as a commander and was on friendly terms with him. The poet is not afraid to reduce the image of the commander, drawing his human features - simplicity, accessibility, respect for the soldier, and sometimes showing eccentricities. Suvorov's Spartan lifestyle is described in the poem "Field Marshal Count Alexander Vasilyevich Suvorov". It turns out that "what's in the royal magnificent house"

By the sonorous thunder

Mars rests on straw

That his helmet and sword turn green even in laurels,

But pride with luxury is thrown at the feet.

Suvorov as a unique human personality is revealed in the lyric poem "Snigir". Despite the peculiarities of the genre ("Snigir" is an epitaph), Derzhavin was not afraid to show a man who looked strange and even funny in the eyes of noble society

Suvorov - "leader", "hero", accustomed to "always be the first in strict courage" - is inseparable from the soldiers. Such is he in the named epitaph, such is he in the ode "To the passage of the Alps".

4. The cycle of religious and philosophical lyrics

A number of the poet's poems form a cycle of religious and philosophical lyrics. The amazing ability of the Russian person to "live on earth with eyes directed to the sky" largely determined the picture of the world of Russian literature. Therefore, a system of genres of spiritual poetry has always been developed in it: odes, poetic transcriptions of biblical psalms, prayers. The work of G.R.Derzhavin provides vivid examples of all these genres. It `s naturally. The poet grew up in a religious culture, was brought up on the values \u200b\u200bof the Eternal Book. There is an interesting episode in the memories of Derzhavin's childhood: when the poet was two years old, a comet appeared in the sky<.>seeing it and pointing with a finger, being in the nurse's arms, the first word said: "God" 3... Many years later, this is how the poet called the ode that made him world famous. According to D. Andreev, the great Russian literature began with Derzhavin's ode "God". This statement of the poet is undoubtedly true in the sense that it was here that the favorite questions of Russian literature were first clearly formulated: what is God? How are God and man related? What awaits a person after death? Now they seem completely natural, especially for a poet, a creator of the word. But the eighteenth century was in many ways a century of other questions: how will Russia develop? How to make people more enlightened? What should be the ideal monarch? As you know, Derzhavin was one of Catherine's associates both in the field of education and in the field of government. Moreover, during the reign of Catherine, these two areas were connected with each other more closely than ever before. As V. Khodasevich noted, any "cultural activity, including poetry, was a direct participation in the creation of the state." The eighteenth century cannot be called atheistic. But, according to religious figures, "Russia was revealed in its greatness so exaltedly - violently, so upliftedly, that there was no reason and time to think seriously about the soul - to feel soberly and repentantly as a lost brainchild of Holy Russia." The state poet Derzhavin spoke about the soul. Therefore, it is probably difficult to agree with the opinion of V. Sipovsky: “Cold blows also from his ode“ God. ”Having drawn, under the influence of the biblical outlook on the majestic image of God - Jehovah, an avenger and judge, far from people and creation, he, in his attempts to define its essence, he gave so many different philosophical interpretations of the essence of the Divine that there is no clarity of understanding; there is only a beautiful set of human ideas about God, ideas contradictory, mutually annihilated one after another. Perhaps this attraction of various hypotheses about God was made by Derzhavin consciously, with the aim of show the powerlessness of the human mind - but be that as it may, this famous work of his is more philosophical than poetic. It has more intelligence, far-fetched than feelings, moods. " The debate about how sincere this ode is has been going on for two centuries. Here are just a few statements by the researchers of the poet's work:

A. Mitskevich: "A poet, wishing to portray the Supreme Being, acts like Spinoza, begins to enumerate what it is not to show what it should be. Therefore, he repeats a thousand times that God never had a beginning and will never have end, draws a similar series of negations and, in search of the ideal of greatness, in geometric language depicts the boundlessness of space and time. "

A. Georgievsky: "If his morality is dim, then the energy of his fantasy is strong. And thanks to this unusual energy of fantasy, Derzhavin's poetry takes the path of mythologizing<...> through the wonderful nature, playing with colors; the poet and the Supreme Lord of the world comprehends through the sun and stars ... "

N. Sretensky: "Derzhavin's poetic inspiration and talent helped him emerge victorious from the difficult task of combining sincere feeling with rational didactism, this is the rare value of the odes" God "and" Immortality of the soul. "

J. Groth (about the ode "God"): "... the reasons for her unparalleled success should be sought in the strength of her lyrical flight, the depth of religious conviction and the greatness of the images inscribed in her."

In this context, two points are important. First, Derzhavin's recollections of how the famous ode was created: "The author received his first inspiration or idea to write this ode in 1780, being in the palace at the All-night Vigil on Bright Sunday, and then, having arrived home, put the first lines on paper but being occupied with a position and various secular vanities, no matter how much he was accepted, he could not finish it, however, at different times he wrote several verses.Then, from 1784, having received his resignation from the service, he was about to finish, but he also could not in city life; incessantly, however, he was impelled by an inner feeling, and in order to satisfy this, having told his first wife that he was going to his Polish villages to inspect them, he went and, having arrived in Narva, left his cart and people in the inn, hired a small peace in the city with an old German woman, so that she could cook for him; where he locked himself, he composed it for several days, but, without finishing the last verse of this ode, which was already at night, fell asleep in front of the light; and in a dream that the light was shining in his eyes, he woke up, and in fact, his imagination was so heated that it seemed to him that light was running around the walls, and with it streams of tears flowed from his eyes; he got up and that minute, with the illuminating lamp, wrote this last stanza, ending with the fact that, in fact, he shed grateful tears for the concepts that were entrusted to him ... ""

Secondly, the poet's reflections on the genre nature of the ode. In Discourse on Lyric Poetry or Ode, Derzhavin singles out the lyrical principle in the ode - “fire, heat, feeling”, which are especially important in creating a spiritual ode, in which “the poet is surprised at the wisdom of the Creator, in the feelings he sees in this magnificent world and in the invisible - by the spirit of faith discerned; praises providence, glorifies its goodness and power; confesses to it his insignificance and sin. "

It has been repeatedly noted that in the center of the ode "God" is the thought that the mysterious God, infinite in space and time, created in his own image and likeness of man, who, being mortal, having completion in space and time, is similar to the Creator and connects the world of God with the peace of the earth. Therefore, it is man, unlike other beings, who is given the right and the opportunity to comprehend God:

Only the thought to ascend to You dares ...

E. Etkind noted that in the ode "God" Derzhavin managed to express the least verbally expressible - the concepts of Infinity and Eternity, which is achieved by combining the "abstract with the concrete, the metaphysical with the physical, the spiritual with the material":

As sparks pour in, strive

So the suns will be born from You;

Like a frosty, clear day in winter

Motes of frost sparkle

Come back, fade, shine,

So the stars in the abyss under You ...

Thus, the idea is embodied in a style with rare adequacy. The composition of the ode is also "divinely" harmonious: it belongs to both God and man equally. The first part - five stanzas - is a story about God. Verse I attempts to define God in relation to space, time and motion. In stanza II, the process of comprehending God is described and the impossibility of this is revealed; stanza III tells about the Creator of the world, about His incomprehensible gift of the Word. Verse IV is the recognition that God is the beginning of all life on earth, the source of life. Finally, stanza V is admiration for the greatness of God, according to the laws of which all existing worlds live. The second part of the ode - five stanzas - belongs to man. In stanza I, the poet, as one of humanity, recognizes his complete insignificance before the greatness of the Creator; in II - realizes himself as the creation of God; in stanza III, he comprehends the truth that it was him that God entrusted to become a connecting link between himself and all living beings. Stanza IV is the joy of discovering that man is the beloved creation of the Lord and that he has been given eternal life. Verse V is a man's hymn to God. Derzhavin's "God" is both a song to the Creator, and man's attempt to penetrate the secrets of the universe, and the realization of the eternal dream of the possibility of seeing God.

From the ode "God" the logical step was to comprehend the link that connects God and man. The ode "Christ" tells about this, the main idea of \u200b\u200bwhich can be traced already in the epigraph: "No one will come to the Father, only by me." In the ode, Derzhavin turned to the image of Christ, which was not characteristic of the poetry of the 18th century and became the focus of attention of poets only starting with Pushkin. And in this sense, the ode "Christ" is very important, as it marked the path of Russian literature from an abstract, distant God to a living and near God.

The ode is built on rhetorical questions: "Who are you?", Which already contain a riddle, a mystery, upon opening of which "horror, darkness" runs through human "bones". Derzhavin in ode managed to merge the possibility with "impossibility", combining the divine and the earthly in the description of Christ:

You are God - but You suffered from torment!

You are a man - but revenge was alien!

In the ode "Christ" the main law of the creation of the ode was violated, in which all the "elements of the poetic word were<...> used, constructed from the angle of oratorical action. "The ode ends with an appeal to Christ, close to prayer and its melodious intonation:

About the All-Holy! Eternal Syi!

The quiet light of God's Glory!

Spill yours, Christ! beauty

On the spirit, on the heart and on the morals,

And do not stop living in me;

And if I shirk

From Thy eyes I will darken,

Shine again in my tears!

In the ode "Waterfall" Derzhavin turns to the theme of the transience of life and asks the question of what eternity is, which of people has the right to immortality. The magnificent picture of the waterfall, which opens the poem, contains an allegory: the waterfall is fast flowing time, and the wolf, deer and horse that come to it are signs of such human qualities as anger, meekness and pride.

Most of human destinies disappear without a trace in eternity, and only a few remain in the memory of posterity. To decide who is worthy of immortality, Derzhavin compares two types of figures - Potemkin and Rumyantsev. The powerful tsarist favorite Potemkin, whose power was unlimited during his lifetime, did not deserve the right to immortality in the people's memory, since he was looking for "false glory." Another thing is Rumyantsev, who

I kept the common good,

Was merciful in a bloody war

And he spared the very lives of his enemies.

Serving "the common good", observing the duty to humanity - this is the meaning of the life of an individual, such is Derzhavin's conclusion. Thus, the theme of the transience of life, first touched upon in the poem "On the Death of Prince Meshchersky", receives a new philosophical interpretation.

"Eternal" questions of being became the subject of comprehension of another genre of spiritual poetry by G.R. Derzhavin - prayers. The famous prayer of the poet "Incomprehensible God, Creator of All Creatures" appeared in the first edition under the title "Translation from the Prayer of Mr. Voltaire" and was a free translation of "Prayer", concluding Voltaire's "Poem of Natural Law". It resembled a Christian prayer in its structure, like other works of the poet in this genre: "Who can, Lord, know your statutes?", "God the Creator", "O God, the Creator of souls of immortals", "O God! I honor Thy limits of radiance ". All the poet's prayers are permeated with one deep feeling - gratitude to the Creator, admiration for him:

And heaven and earth, and air and seas,

And heart and destiny in

In your hands, King ...

ode derzhavin lyrics alliteration

Therefore, the structure of Derzhavin's prayers can be expressed in a simple scheme: the lyrical hero (I) - the Creator (He). The whole world of the lyric hero belongs to God, who is called "the Concentration, Consent, Love, the Source of life, good, happiness." A person must rely on the Creator's mercy, pray and cry, cry and desire one thing - "I will merge with the Creator!" The desire to merge with the Creator, to understand His plan determines the poetics of another genre of Derzhavin's spiritual poetry - poetic transcriptions of biblical psalms and imitations of psalms. As you know, the book of the psalms of Tsar David was very popular in Russia. "Hardly any other book was in such great use and had so much influence. It was used 1) as a liturgical book, 2) as an educational book, 3) as an edifying book for reading at home, 4) as a book of salvation in some special cases life ". For Derzhavin, the Psalter was not only a source for creating a poetic arrangement. In it he saw more - he was looking for an answer to the questions that tormented him, worried, rejoiced. Transcriptions of psalms, according to L.K. Ilyinsky, became a "chronicle of the mood" of the poet, who, on the basis of the biblical text, creates his own, unique and inimitable creation. The realities of the Derzhavin age penetrate into the arrangements of the ancient text, creating a unique artistic effect.

Thus, in the poetic arrangement of Psalm 90, the title "To the Winner" contains an appeal to a specific person. The text is based only on the idea of \u200b\u200bthe psalm - God helps the righteous: "He loved Me, I will deliver him, because he called My name." In the arrangement of the psalm, a specific person, Prince Potemkin, defeats not abstract, but concrete enemies of the Russian people

The specific historical content determines the title of the work "To Overcome the Enemy" (1811) and, of course, more, of course, corresponds to the text of the transcription than the psalm itself. Derzhavin also sings a song to God, but this time on the occasion of a specific historical event:

Our enemy of the rapids fell from a high,

The whole world sings to the Creator a face of praise:

Great! great! great!

The transposition "Sermon" in the image of the biblical kingdom of prosperity creates a picture of the life of the Russian state, as Derzhavin dreams of seeing it:

Planted in the home

God of Valor will rise from aphids:

Honesty, wisdom, faith is strict

They will flourish in the Russian kingdom.

In the meantime - "Villainy shake the earth, Untruth ripples the heavens." And the poet-citizen addresses the powerful with his political and human program:

Your duty is: to keep the laws,

Don't look at the faces of the strong

No help, no defense

Do not leave orphans and widows ...

("To Sovereigns and Judges")

Disappointed in earth godstired of the struggle with untruth, Derzhavin seeks refuge with the Heavenly Father. All his spiritual poetry is an invisible staircase, where at each new step the lyrical hero comprehends the idea of \u200b\u200bthe nature of the divine, is cleansed of sins and ascends: "Who can, Lord, know your statutes?" (1775), "Incomprehensible God, Creator of all creatures" (1776), "Reassured unbelief" (1779), "Lords and Judges" (1780), "God" (1784), "Christ" (1814). It rises so that there, at the top, to understand that it is impossible to comprehend God.

5. Anacreontic verses

A large section of Derzhavin's poetry is composed of anacreontic poems, on which he worked mainly in the 90s, and in 1804 he published as a separate book. The poet's appeal to anacreonticism reflected that new interest in antiquity that arose among Russian writers at the end of the 18th century.

The collection widely presents the favorite motives of anacreontika: the joy of love, table fun, feminine charm, the beauty of nature. With remarkable skill the poet portrays young maiden beauty in the graceful poem "Russian Girls" (1799):

Like through blue veins

Pink blood flows

On the lanits fire

Love cut holes;

Like their eyebrows are sable

Falcon eyes full of sparks

Their grin is a lion's soul

And eagles are smitten with hearts.

Derzhavin also begins the "gypsy" theme in Russian literature.

Traditionally, poems are considered anacreontic: "To Euterpe" (where the poet advises the beauty to enjoy life while young), "Sleeping Eros", "Anacreon by the stove", "Cupid", "Lucy", "To women". Others did not become only examples of intimate lyrics. For them, as well as for the poet's work in general, a civic orientation is characteristic. So, in the poems "Gift", "Clear", "To oneself", "Desire", "Tonchia", "Silence", "Freedom" Derzhavin told about his discord with the royal court. In the song Crown of Immortality (1798), he creates the image of a freedom-loving poet who prefers personal independence to royal favors.

In the poem "Clear", written based on the first ode of Anacreon, the question of the relationship between civil and personal motives in poetry is uniquely resolved. At first glance, Derzhavin, unlike Lomonosov, in "A Conversation with Anacreon" prefers love:

So there is no need for sonorous tunings.

Let's change the strings again;

We will refuse to sing the heroes

And we will begin to sing love.

But the poet refuses "sonorous tunes" not because his lyre is not capable of solemn praise ("thunder rang out from the lyre, and fire flew from the strings"), but because "the hero he wants to sing is in royal disgrace Reluctantly renouncing "sonorous lines", that is, from praising someone other than Rumyantsev and Suvorov, the poet remains independent, true to himself. " Derzhavin's anacreontic works are not literal translations or imitations of ancient originals, but their processing and alteration in the Russian way. For this, the poet turns to Russian songs and fairy tales, uses folk vocabulary. The names of ancient gods are often replaced by Slavic ones. Derzhavin warns his readers in the preface to "Anacreonticheskie songs": "I have mentioned Indies in them slavic deities, instead of foreign ones, for the note that we can decorate our poetry with our mythology: Lel (god of love), Zimstrela (spring), Lada (goddess of beauty), Delight (god of luxury). "

Images of folk poetry are present, for example, in the song "Cupid and Psisheya". The image of Cupid and Psisheya intertwined with flowers, connected by them, goes back to the round dance ("Braid, wattle ...") and wedding songs. In "Offering to the Beauties" the author presents "Lelia's golden songs" to girls who ride in sleighs in winter and walk along "meadows and ants" in summer. The folk song is reminiscent of the poem "Dasha's offering", although Apollo and other ancient deities are mentioned there.

You sat with me in the evening

Sweetheart, and sang a song:

"We need a garden, a garden, my light."

At least I thought: there is no money,

But, loving, how to refuse?

I began to walk and think,

How can I help you.

How would a garden be.

And the length of this song, and the vocabulary ("evening", "my light", etc.), and the inclusion of a proverb of sayings ("but like the morning of the evening is more cunning, tomorrow I'll be smarter") indicate Derzhavin's conscious orientation towards folklore. The garden that the hero dreams of is described in a fabulous manner:

Fish walk the ponds

Birds of paradise through the bushes

Doe are white, goldenhorns,

Through the yellow roads

They jump over the hills, slippery,

And the cats scream overseas.

The image of a fallow deer or deer with golden horns is also found in folk songs:

A white deer walks in that grass

White deer, golden antlers.

The song "Shooter" adjoins the folklore tradition, in which the plot situation of the Anacreontic works - the fight with Cupid - is replaced by a duel with the white swan. The influence of folk poetry is not doubtful in "Comic Desire", which is an imitation of the anacreon ode "To His Girlfriend", but rather resembles a joking folk song, not without reason this "ode from those plays that were published in songbooks." Fairy-tale motifs are used in Lyubushka: the author does not want to be a "werewolf" and "invisible or a serpent to fly to girls in a tower," but prefers to entwine "monstrous gold" around the white neck of his beloved. Creating Anacreontic Songs, Derzhavin set himself another important task: "For the love of the native word ... to show its abundance, flexibility, lightness and, in general, the ability to express the most tender feelings, which are hardly found in other languages." 1... He accomplished this task brilliantly.

6. Dramatic works

The successes of the Russian theater inspired Derzhavin to create dramatic works, which, however, in comparison with his poems, did not differ in high literary merits and did not have success. He wrote the tragedies: "Herod and Mariamne", "Eupraxia", "Dark", "Ataba ... or the Destruction of the Peruvian Empire" (the latter is not finished). The genre of one of his dramatic works - "Pozharsky, or the Liberation of Moscow" - he defines as "heroic performance". Derzhavin also created the comedy "Kuterma from Kondratyev". He also tried his hand at the fashionable genre of comic opera - "A fool is smarter than clever", "Miners", "Grozny, or the Conquest of Kazan", "Dobrynya".

The opera "Dobrynya" belongs to the genre of "drama with voices" that was popular in the second half of the 18th century. In it, spoken prosaic speech alternates with poetic arias, duets, ensembles and choirs, accompanied by an orchestra and often dances. Creating this work, Derzhavin posed a rather serious task: to write an opera that would not serve "only for the amusement of the courtyards and that only on solemn occasions", but would be "directly popular". "All actions," the poet points out, "are taken partly from history, partly from fairy tales, partly from folk songs"However, one can speak about the nationality and historicism of Dobrynya purely conditionally: referring to the times of Prince Vladimir, Derzhavin endowed his heroes with the features of medieval knights, and gave the play as a whole a sentimental flavor. This is understandable, since the source of Derzhavin's opera is not an epic, and the "heroic tale" from Levshin's collection "Russian fairy tales": "About Prince Vladimir, Tugarin Zmeevich and Dobryna Nikitich", which bore the character of a magical and adventurous tale. founded, as in Levshin's fairy tale, by the prince himself. "Iron, stone, unconquerable" prince unlike the epic Vladimir Red Sun has a gentle, sensitive heart. This sentimental hero "passionately kisses the hand" of his lady of the heart and even falls into The heroes act in a knightly atmosphere: tournaments are held, heralds are mentioned, the main heroine of the opera Limit lives in a "gothic golden-domed mansion" and on a harp plays melancholic melodies. At the same time, some particular details indicate that Derzhavin nevertheless turned directly to folk art.

Derzhavin's entry into the field of dramatic poetry was, of course, a delusion, but since in the last period of his life he was most interested in it and he discovered an amazing performance in it, then, as a biographer, we must consider at least in the main features this branch of his activity, together with the motives that turned him to her, and the degree of success he achieved.

We know that while he was still the governor of Tambov, and then settled again in St. Petersburg, he wrote several works on various occasions for performance at the theater. But he especially devoted himself to this kind of poetry since 1804. Success in lyrics seemed to him too easy and cheaply acquired. The miserable state in which the Russian theater was then could also contribute to a new direction. Recently, only one remarkable work has appeared on it, namely "Yabed" by Kapnist; but, forbidden after the first performances during the reign of Paul, this comedy even under Alexander for a long time could not be played and was only allowed for sale. Shakhovskoy has not yet begun his artistic career; the Russian stage, with rare exceptions owed to Ilyin and Krylov, was supplemented either by the old plays of Knyazhnin and Fonvizin, or by poor translations and alterations. Among the latter, I was especially lucky with the magic-comic opera "Mermaid", borrowed from the German play "Das Donauweibchen", which made a splash in Vienna and Berlin. One of the zealous translators for the then theater of ours, Krasnopolsky, translated it into Russian customs from the transformation of the Danube into Don. This rework first appeared on the stage in the fall of 1803 in a magnificent setting and with the participation of the best artists. Despite the absurdity of its content, "Mermaid" became for a long time the favorite play of the Petersburg public and was given every other day. Arias were heard everywhere, for example, "Men in the world, like flies, cling to us."

Shortly before that, Katerina Semyonovna Semenova, who made her debut, delighted the audience.

In July 1804 Derzhavin wrote to Kapnist: “Now the taste here for comic opera, which is decorated with magical decorations and more comforting to the eyes and ears of music than to the mind. Of these, one, called the“ Mermaid, ”was presented almost all winter without interruption and is now represented, but not as before, in the unity of time and never less than 5 acts, on the contrary in parts. The first part was given in winter, now the second was conceived, and there the third, fourth, and so on, until the trumpet of the Angel and the decoration of this light will sound, changing, will present us with another spectacle. You ask me how this is done? for where there is a connection, there must be a plan, a beginning and an end. But you are mistaken. Imagine dreaming. Without any consideration and consequences, what they see is raving. a short description of the current theater. "

Confident in the versatility of his poetic talent, having already tried it in the compositions of a dramatic form before, Derzhavin wanted to take part in the rise of the Russian stage with his own works. Six months before the letter, from where they were borrowed, only that the lines cited, precisely on January 30, 1804, he wrote to A.M. Bakunin: "Now I want to try in the dramatic field, and you would oblige me, if from Metastasis operas some extracts or plans of them were briefly reported, so that I, having met his disposition and spirit, could more reliably embark on this field, for such important lyrical plays, it seems, are more characteristic of me than others. "

From these words, it becomes clear to us under what influence Derzhavin wrote two large dramatic works with music, choruses and recitatives: Dobrynya (in five acts) and Pozharsky (in four). Hence, their similarity, in character and composition, with similar works of Catherine II, who at one time was equally diligent in reading Metastasio.

Borrowing by both her and Derzhavin plots from the fairy-tale world and Russian history was in accordance with the general direction, which then began to pass from Western literature to us. In the first of these plays Derzhavin can be seen an effort to use abundantly an element of folk poetry, although at the same time it is revealed at what low level the study of antiquity and ancient literature was still in our country. One of the main sources was Derzhavin's "Ancient Russian Poems" (epics) just published by Klyucharev, as well as collections of Popov and Chulkov's fairy tales, which he had known for a long time. Meanwhile, however, the play presents incongruities at every step: alongside borrowings from Russian epics, knights are constantly mentioned, and Dobrynya is consecrated to this title on the stage itself. The heroine of the opera, Prelepa, modeled on the French comedy, has a confidante to Mode, with whom the roguish servant Dobrynya Torop is courting. Prelepa grew up in Kholmograd, a place sacred to the entire North, where, according to Tatishchev, the northern kings went on pilgrimage. It was there that Prelepa was brought up together with Dobrynya in the school of the sorceress Dobrada. When Vladimir wanted to marry, she was brought to Kiev with many other girls, and the prince's choice fell on her. But in the person of Tugarin, the Serpent Gorynych appears and claims that he was in connection with her. Vladimir challenges him to a duel and defeats the slanderer, but Tugarin, with the help of some letter, manages to substantiate his accusation, and the court pronounces a verdict on Prelepa. Finally, however, her innocence is revealed, and Vladimir, having learned the story of her childhood, blesses her to marry Dobrynya; at the same time, Hurry, too, marries Mode. The action is incessantly interrupted by choirs, duets and dancing. In some places, only the author's talent manifests itself in successful poetry.

The same oddities are noticed in Pozharsky, the "heroic performance", completed in 1806, therefore, a year before the appearance on the stage of the famous tragedy of Kryukovsky on the same plot, which had a huge success. In the then situation of Russia, it was natural that writers considered it their task to incite a patriotic mood in society. We already know with what reverence Derzhavin looked at Pozharsky, "the great", in his words, "which history has little to offer." He chose the form of the opera because, in accordance with the view prevailing at that time, he saw in it the highest kind of dramatic creativity, combining all branches of art and therefore capable of acting on the audience more strongly than any other performance. Among the intrigues directed against Pozharsky by Trubetskoy and Zarutsky, Marina, similar to popular belief, is Derzhavin's sorceress and wants to lure Pozharsky into her networks, who really hesitates, but finally comes out victorious from the struggle with his passion. And here magic works before the eyes of the audience, cupids, sylphs, nymphs, satyrs appear.

Soon, however, Derzhavin wanted to test his strength and tragedy. Ozerov's success attracted him to this field: he considered it possible for himself to achieve superiority in all branches of poetry. On November 23, 1804, the tragedy "Oedipus in Athens" was presented for the first time, and the public, unaccustomed to attending the Russian theater, received it with such enthusiasm that had not been an example for a long time. Here is Ekat. Sem. Semenova made her debut in the tragedy. At the end of the play, the audience unanimously demanded the author, but he shied away from this honor. High society began to go to the performances of "Oedipus". Having printed the play, Ozerov dedicated it to Derzhavin with a letter written in excessively laudatory terms; no one has ever praised Derzhavin as much as Ozerov, "wishing to bring a tribute of surprise and delight to that great genius who showed himself to be Lomonosov's only rival." "To the inspirational songs of your muse," says the tragedian, "I owe the liveliest pleasures in life." This dedication evoked an equally pompous message from Derzhavin; in the attached letter it is explained that he slowed down in reply, because he wanted to add to it the remarks of "a certain society of friends, which, having undertaken to examine this creation, thought to notice its incomparable beauty and some errors." The society of friends mentioned here consisted, of course, of Shishkov's followers, who became members of the famous Beseda several years later. Naturally, they could not like much of Ozerov. They found even more flaws in his "Dmitry Donskoy", presented for the first time in early 1807. Derzhavin openly expressed his remarks about this tragedy at court. He found, among other things, that this tragedy lacked historical fidelity, and was dissatisfied with the fact that here, without any reason, Dmitry Donskoy was exhibited in love with an unprecedented princess, who arrived alone in the camp and, contrary to all the customs of that time, staggered around the tents of the prince Yes, he talks about his love for Dmitry. It reached Ozerov. Already before, offended by the attacks on "Oedipus," he loudly ascribed criticism of the poet to envy, talked about it even to the empress and stopped meeting Derzhavin. It was then that the lyricist decided to teach the young tragedian a lesson and he himself began to compose tragedies. The first of them bore the title "Herod and Mariamne". It was undertaken as a result of the challenge with which the Russian Academy at the end of 1806 turned to Russian writers, inviting those wishing to write the tragedy in verse. The prize was 500 rubles. sent to the academy by unknown persons. She was awarded to Kheraskov for the tragedy "Zoreida and Rostislav". As for Derzhavin, he did not submit his work to the competition, but printed it on his own with a dedication to the Russian Academy. Previously, he reported his tragedy to A.S. Khvostov for review, to whom he addressed a message on this matter.

Voltaire, when publishing his "Mariamne", noticed that the rich plot of this tragedy would deserve to be worked out according to a more extensive plan, and this is what guided Derzhavin in choosing the subject for his work. We do not consider it necessary to go into the analysis of both this and the rest of his dramatic works; the judgment about them has already been pronounced by both contemporaries and posterity. Merzlyakov wittily called them "the ruins of Derzhavin." Of course, in each of them there are separate passages, remarkable either by their lyrical strength, or by their happy thought, but in general they suffer from a lack of liveliness of action, they are tailored to the measure of the so-called pseudo-classical drama; moreover, the language of dialogue in them is for the most part heavy and incorrect.

Ever since the tragedy of Herod and Mariamne appeared, Derzhavin's dramatic performance has become astonishing. Following this, he wrote the tragedies "Eupraxia", "The Dark" and "Atabalibo, or the Destruction of the Peruvian Empire". Eupraxia's action revolves around heroic deed Ryazan princess, who rushed out of the tower with a child in her arms at the sight of the approaching Batu troops. Probably, the reason for writing this tragedy was also the invitation of the Russian Academy, published in early 1808, during which it was written. His Grace Eugene, having received it for viewing and intending to rewrite it for himself, gave such a response about it in a letter to the poet: "The monologues of Eupraxia are very characteristic, and patriotism is spread throughout the tragedy with striking features that can shame us at the present time." During the tragedy, "Dark" Derzhavin sets out the conditions that he recognized as necessary in this kind of writing; such are the observance of unity, a curious setting, naturalness in the course of action, an unexpected and startling end. He attached particular importance to the preservation of historical truth. "All the characters," he says, "are not fictional, but genuine historical ones and each have properties that are decent to them." In general, he boasted of maintaining historical fidelity in his tragedies. "Atabalibo", probably the fruit of the reading of "Incas" by Marmontel and "Gishpants in Peru" by Kotzebue, was written in the last time of Derzhavin's life and remained unfinished. According to Aksakov, who read it aloud in his house, "this tragedy with choruses and a magnificent, unrealizable performance on the stage was Derzhavin's favorite work."

After the four named tragedies, he managed in a few years to write more operas: "John the Terrible, or the Conquest of Kazan", "A fool is smarter than clever" and "Miners", the last two in the national taste. His return from tragedies to opera is explained by the lofty concept that he had about this last genus as the crown of art. He dreamed of the opportunity to give a historical opera the same meaning as the ancient Greeks had a tragedy with choirs, and to act through it to arouse patriotism. Catherine II, in his opinion, fully understood the superiority of opera and its educational significance. “We have seen and heard,” he says, “what effect the heroic musical performance, composed by her in the wartime under the title“ The Initial Reign of Oleg ”, had. In these thoughts he n wrote the opera "Grozny" in 1814. The spectacle of the conquest of the Kazan kingdom seemed to him to fit the circumstances of Russia after the triumph over Napoleon; He compared the French to the bloodthirsty Tatar hordes, and likened their leader to a magician who, more by deception and charm than true art, wanted to frighten his rivals.

But this also did not limit Derzhavin's activities in the field of dramatic poetry; at the same time he managed to translate Racine's "Phaedra" in verse, also several operas from Metastasio, one of de Bellois, and so on. In conclusion, let us also mention the little comedy-joke "Trouble from the Kondratyevs", written by him for his home theater and based on the fact that he had three ministers of this name, which often led to funny misunderstandings. Many suspected in this play a hidden allusion to the then ministers, who, according to Derzhavin, did not know their positions and who was the first.

As an example of outstanding thoughts and apt observations scattered in the dramas of our poet, let us cite several verses from Eupraxia, showing how correctly he already understood one feature of the Russian folk character that was recognized by everyone in our time. Batu says to his close friend, Burunday:

For Russian bravery, your praise is in vain to me.

Their stone chest is visible to all the peoples;

Russians cannot be defeated with weapons,

And by cunning, - and I do not take it falsely:

I could tell many examples.

And Svyatoslav himself died in the camp by surprise.

Only a formidable abuse will pass, - joy is their property,

Elemental carelessness, feasts and hospitality.

In the midst of the world, scolding and forging they have no concern.

How many times an ally suddenly hurt them!

Unfortunately, this same passage can serve as an example of bad language and the monotonous size of Derzhavin's tragedies. How he himself, meanwhile, highly appreciated his dramatic works, we know enough from the stories of S. T. Aksakov. We also know from the poet's correspondence that he liked to send them in manuscripts to his friends and admirers: Dmitriev, Karamzin, Kapnist, A. S. Khvostov, Evgeny Bolkhovitinov. Especially cherishing the advice of the famous actor I. A. Dmitrevsky, he told him to view his notebooks. When he read them, he marked places in the margins that required an explanation. These notes greatly disturbed Derzhavin, and when Dmitrevsky, returning the manuscript to him, turned the sheet over in his presence, the poet looked ahead with concern and ran his eyes through the pages. Seeing this, the evasive old man said to him: "Your Excellency, be absolutely calm: I am not making these remarks for you, but, you know, there are always rogues at the theater who are ready to find fault with the authors: I want to warn you against them." Among the writers to whom Derzhavin turned with his dramatic works were people who were still young at that time, Gnedich and PA Korsakov (later publisher of Mayak and translator from Dutch). The first in 1810 read Derzhavin's translation of Phaedra before a meeting of guests, and the latter, on his behalf, later (1813) compared this translation with the original and pointed out to him the places that required changes. Soon after the publication of four volumes of his poems, Derzhavin was already thinking about publishing the tragedies Herod and Mariamna, Eupraxia and Phaedra. We saw above that the first was actually published during the poet's lifetime; others remained unpublished. In 1809 he corresponded about their publication with the well-known Moscow publisher Beketov, who replied that "it would be an honor and pleasure to print them in his printing house" and asked to order good drawings for engraving the title pages. The matter, however, stopped there.

Derzhavin's desire to see his tragedies put on the stage was far from fulfilled. His only play, played at the St. Petersburg theater, was Herod and Mariamne. Doubting that she could be successful, Prince Shakhovskoy, the then director of the theater, refused to accept her for a long time, responding to the author with a lack of money to stage his work with the proper brilliance. Finally, however, he agreed, and on November 23, 1808, Derzhavin's tragedy was presented with choirs set to music by Davydov. The main roles, Herod and Mariamne, were played by Yakovlev and Karatygin. Thanks to these two talents, the success exceeded all expectations and the performance was repeated several times. Book. Shakhovskoy was all the more pleased that his student Walberkhova, who played Solomiya, was well received by the public. According to Zhikharev's story, Derzhavin really wanted to see "Eupraxia" on the stage; in order to force Prince Shakhovsky to accept the play, he even volunteered to bear the costs of staging it. Shakhovskoy, fearing failure, persisted, but finally yielded to Dmitrevsky's convictions, so that, however, some changes and reductions were made in the tragedy. Derzhavin agreed to this; but Dmitrevsky, fearing that the play would still not be successful at the theater, explained to the author that it would be more profitable for him to stage it at home, since then the scenery and costumes would remain in his hands. Derzhavin obeyed this advice.

7. Derzhavin's epigrams and fables

In 1805, Count Khvostov, who published laudatory verses in honor of Derzhavin in his "Friend of Enlightenment", asked him to provide this magazine with some of his works.

Shying away from appearing in a magazine that was published very carelessly and did not enjoy the respect of the public, the poet replied that since he was preparing a complete edition of his "sprinkles", he was afraid to make the readers sore. At the same time, he mentioned that he could not get rid of one St. Petersburg journalist and gave him "some trifle that had been scattered about in pieces", that is, inscriptions on various occasions and several fables; in a letter to gr. He added to Khvostov that he considered himself to be very unskilful and difficult in this way.

Although, in fact, this section of his poems does not present, generally speaking, any special merits, but since it is quite extensive and, moreover, not devoid of historical interest, we must dwell on it somewhat. In its place it was already noted that from the very beginning of his literary career, Derzhavin sometimes wrote epigrams and fables. At a later time, preparing a complete collection of his works, he intended to assign a whole volume to this kind of poetry, but did not manage to fulfill his plan. Between his manuscripts, we found two notebooks, one of which contained up to 25 fables, and the other about 200 different small works, such as epigrams, inscriptions for portraits, epitaphs, etc. They introduce us to various details of the literature of that time, as well as with the views of the poet on some modern persons and events. From his early poems of this kind, we already had the opportunity to learn his relationship to Sumarokov. He also has several epigrams on other contemporary writers. He especially liked to make fun of Nikolayev, Struisky, Count Khvostov and his former colleague Emin. He once competed with the latter in Anacreon poetry. Emin began one of these plays with verses:

Recently on a dark night

Having finished the day decently,

Chasing worries away

I slept peacefully.

On this occasion, Derzhavin, later composing an epigram to Emin's comedy, ended in verse:

Only one day in your age

He knew how to conduct decently.

Corresponding with Count Khvostov, Derzhavin first spoke to him about his indefatigable and prolific muse, but soon, as we saw, he found it necessary to restrain him with Pegasus, and later even wrote several epigrams on him. Suvorov's nephew, and thanks to this kinship, a chamber junker, and then a count, Khvostov, since the 90s of the last century, began to indulge in metromania, publishing his poems in Princess Dashkova's New Monthly Works. In his odes, he strove and, as it seemed to him, managed to keep up with the famous lyrics. By the way, he also wrote the ode "God" and asked Derzhavin:

How do you like my ode to God?

In the epigram that answered this question, Samokhvalov boasts that although he did not copy the horse described by Horace, but still, -

Where would the head be, I painted the tail there.

How Derzhavin looked at the magazine Friend of Education, where they smoked incense so zealously for him, can be seen from his epigram on the occasion of the change in the color of the wrapper on the books of this edition in 1806:

Last year this magazine was in red clothes,

And our enlightenment shone with red lead;

But now he has become blue:

Is it really more pleasant for us to lie?

The epigram on Skryplev (Khvostov), \u200b\u200bwhich begins like this, is especially picturesque and resourceful in describing various inelegant images and sounds:

The unmazed cart creaks

In a sandy steppe without a shore

And they carry manure with gold ...

Next to this epigram, another epigram can be put, "On the Rhymelette", also remarkable for the plasticity of expressions:

Have you seen, rhyme-maker, in the market you are pancakes

Buckwheat flour, cold, dry,

No salt, no yeast, no oil baked,

And, in a word, callous and tough,

That the throat can only be pushed into the throat?

It’s not difficult - judge - to eat such pancakes,

Isn't it a death penalty for grave sins?

Alas! your poems.

During his friendly relations with Derzhavin, Khvostov even managed to involve him in a poetic correspondence with himself, in which the lyrics represent Volkhov, and his interlocutor appears under the name of the Kubra River, which washed his estate in the Vladimir province. In response to the greetings of the brilliant poet, "The Message of Volkhov to Kubrz" was published in "Friend of Enlightenment":

In vain, dear Kubra,

Sing about my glory;

A lovely young girl!

I would sing about your beauty.

Thus, we see that Derzhavin's literary relationship to Gr. Khvostov were not the same at different times; due to the mutual personal affection of both, these relations were rather difficult for the former, and therefore from his side they are not always sincere. His epigrams for a mediocre friend remained, of course, in the manuscript. Much more direct was his relationship to the cousin of the singer Kubra, Alexander Semenovich Khvostov, once a colleague of Derzhavin under Prince Vyazemsky. He belonged to the same literary circle with Lvov and Chemnitzer, wrote very little himself, but was known as a man of talent and taste and was known as a wit and an epicurean. When once gr. Khvostov reproached him for his laziness, then he answered:

Lazy is my lot, and the lot is inevitable:

Tell me, dear friend, what is it that you are diligent?

Sometimes namesakes quarreled in earnest, as we will see below when it comes to the Conversation; now we will only mention another less serious case. Once a dispute ensued between them about whether it was permissible in Russian verses to insert pyrrhic, a foot consisting of two syllables without stress, next to iambic and chorea. Count Khvostov, accused of using it, rightly cited that pyrrhic was inevitable and often found among all our poets, starting with Lomonosov. Finding that he was right, Derzhavin wrote several comic poems to his opponent, in which he noticed that the count

Proud of his victory, Pirrichiem again sounds like a creaky cart.

Aleksandr Semenovich Khvostov responded with poems, albeit bad ones, but curious in terms of the view expressed in them on the poem of his relative; they end like this:

I only wish that a count for a hundred beauties

And Lomonosov, and your

One at least worthy gave a turn to thoughts

Throughout our years and our years.

Derzhavin treasured the advice of Alexander Semyonovich and, by the way, informed him of his tragedy "Herod and Mariamne" for viewing in 1808 with a special message to which he replied:

Derzhavin accepting the command,

From now on I am a critic and a poet;

Singer Felitsa endorsement

Who, who will not be proud of?

Another time he defended our poet from the attacks of critics in this way:

Are the shocks of the waves terrible?

The Pygmies' designs are not dangerous for Irakl;

Etna's smoke, fiery Olympus, gazes nonchalantly;

Zoilov is not afraid of Omir's weak cry.

Singer Felitsa laurel amid the audacious vranov voice

It grows and rises in honor of the Russian Parnassus.

Derzhavin, by the way, has epigrams to Kostrov ("Khmelnina") as a translator of Homer, not Kachenovsky ("an inflated and lame historian") and on Voeikov. The latter was guilty by the fact that, together with Kachenovsky, he very sharply attacked in Vestnik Evropy the work of Stanevich, one of Shishkov's most ardent admirers. It is also impossible to disregard Derzhavin's epigrams against Karamzin (which has already been mentioned) and Zhukovsky (about the quarrel, which we will speak later), and next to them - and his sarcastic response to the next review by Sergei Glinka, published in the "Russian Bulletin" in 1809 about the new edition of the works of our poet: "In the third part there are anacreontic odes that were already in print, with the addition of some new, of this kind, compositions. Anacreon and Sappho would undoubtedly have admired many of these songs. However, it must be confessed that there are some among them, on which the Graces would like to throw a veil ...

In his response to this review, Derzhavin addresses the defense of the Russian Graces:

Tells you Graces to pull on the veil

On my humorous songs, sage.

To know he was not attracted by the apple of Eden,

his mother is not of Adam's rib, his father is not of clay:

He is not curious how his grandfathers were.

But you, Graces, are, of course, following in the footsteps of your great-grandmother:

Through the haze you closed those songs

And smiled at the forbidden fruit.

This, therefore, is the poet's own justification against the accusation which, as we have seen, more than one Glinka has raised against him for some of his Anacreontic songs.

Derzhavin's poems in which he expresses his reflections on life lessons learned by him or disappointments, for example, "Proof of talents", can be attributed to one kind of poetry with epigrams.

The thought of his merits and failures deeply occupied the aged poet. This is evidenced by his two epitaphs to himself:

Silver and gold did not give in excess

And he did not take bribes from the innocent,

By deceit did not enter into lovitva

And he did not forge anyone's trouble;

But, faithfully holding the malice,

He left three kings in debt.

Come breathe, passer-by, to the coffin,

I will rest his bones.

Here lies Derzhavin, who supported justice;

But, suppressed by falsities, he fell, defending the laws.

Get up from the curial chairs,

Inexperienced boyar son,

And a lush tree of distant ancestors

Do not dmis, casual lord!

Here the poet refers, of course, to the young collaborators of Alexander I, and mainly to Kochubei. In the last verse of the passage, they are called young patricians.

These same persons, with the addition of Arakcheev, Speransky and the young commander Kamensky, brought food to Derzhavin's later fables. In the first epoch of his literary activity, the poems of this kind that he encountered do not yet have any application to modern circumstances and persons, and their plots are borrowed simply from the Aesopian and Fedorov apologet. Later, and especially during the reign of Paul, in Derzhavin's fables, a historical basis is already noticeable, the intention to allegorically present some feature of the time or a feature of the face. Such are, for example, the fables "The Ship and the Needle", "The Stream and the House", "The Mistress". All the fables he wrote during the reign of Alexander I have a satirical meaning: "The Stork" represents Arakcheev; "Zhmurki" - the young sovereign with his staff; here the morality is also clear: "you must not allow yourself to be bandaged"; the fable "Lashmana" proves the necessity of the unity of power; "The choice of ministers" - to have the subject of the election, albeit noisy, but ardent in caring for the common welfare of the industrious bee (Derzhavin himself), in addition to the spider and the ant; The "Spider" targets Kochubei or Speransky. In the fable "Old and Young Pigeons", the general unreliability of young leaders is exhibited and, in particular, the censure of the young military leaders is pronounced, it seems, on the occasion of the Battle of Austerlitz or the failures in the Turkish campaign of 1810. This is indicated by the moral teaching of the fable:

Without the old leaders, but without recognizing and ford

To meddle in the water, -

It is dangerous to fight according to one theory.

In the fable "Boynitsa and the Waterfall" Russian soldiers, under the command of the old commander, although " common man, not a sage and not a hero ", show miracles of courage:

What advice can we take from the parable?

The experienced mind only sees and averts harm.

With his fables during the reign of Alexander, Derzhavin justified the saying: "what hurts someone, he talks about it." Literally, they all lack finishing; although in them a striving for simplicity and nationality is noticeable, the language of Derzhavin's fables is generally careless and incorrect. Krylov had not yet appeared on the stage at that time.

Conclusion

Like no other poet of the 18th century, Derzhavin was able to enrich the rhyme, metrics, stanza of Russian verse. Before Derzhavin, Russian poetry used a limited range of rhymes. "Actually active stock rhymes of the 40-60s are determined by only a few hundred consonances, and the rhyme repertoire of high genres is especially narrow, where several dozen combinations can be distinguished, passing from work to work from one poet to another. "

Derzhavin abandoned the rhyme standards. He significantly expanded the number of combinations in the endings of poetry and destroyed genre gradations in the use of rhyme. “Destroying the old artistic genre style, Derzhavin introduces assonances, truncations, approximate rhymes, and percussive dissonances into one poem ... truly "slave" of the content. Depending on the context, the same type of rhyme can acquire different functions - but always definitely expressive. "

Derzhavin is original in the area of \u200b\u200bmetrics. He uses a wide variety of sizes, often allows "mixing of measures".

The historical merit of Derzhavin was the introduction of "an ordinary poetic word" into poetry. Derzhavin became narrower in the framework of three styles established by Lomonosov. He took them off and opened a wide path for common speech. "Thus Derzhavin introduced the Russian spoken language into poetry and energetically contributed to the strengthening of the national democratic foundations of our literary language."

Gogol wrote about Derzhavin's syllable: "Everything is large for him. His syllable is as large as that of any of our poets. Having broken it apart with an anatomical knife, you will see that this comes from the extraordinary combination of the highest words with the lowest and simplest, for whatever no one dared, except Derzhavin. Who would dare, besides him, to express himself as he put it in one place about the same majestic husband, at the moment when he had already fulfilled everything that was needed on earth.

Derzhavin willingly uses folk forms of verbs - to frighten, to let go; gerunds - shining, winning, smiling; Sometimes he uses the past participle in an abbreviated form: bend over, come down; he has folk words - bucket, mockery, ratabars, help, taz, tricks, shlendat.

Derzhavin often places Slavicisms alongside popular sayings, and, according to Ya.K. Grota, "often the Church Slavonic word appears in Derzhavin's folk form and, on the contrary, the folk is clothed in the Church Slavonic form." Derzhavin uses the words howl (warriors), exclamation, belly (life), mirror, class (ear), cathedral (assembly), thousand, etc., as well as such archaisms already for his time as contagion (temptations), shame ( spectacle), coolness (pleasure, bliss), right (laws), etc. Foreign words Derzhavin has few, and only those that in his time were included in the main vocabulary of the Russian language: aroma, gloss, masquerade, monument, obelisk, echo, etc.

Derzhavin created new words, not all of them took root, but some entered the Russian language. So, in "Felitsa" he formed a verb on behalf of the hero of the novel by Cervantes "Don Quixote": "you don’t quixot yourself", after which the word "quixotism" appeared and firmly entered our speech.

Word formation occupies a significant place in Derzhavin's linguistic innovation. He is especially eager to create complex adjectives (most often epithets for color) and complex participles, forming them with the help of various suffixes: a ship-deadly shame, a fire-feathered helmet, tasty ripe fruits, a merry-cutting Erata, a sun-eyed sturgeon, etc.

A special merit of the poet should be recognized his artistic study of the dialectics of being macro- and microcosm. Hence the poet's favorite poetic device is the antithesis. He sometimes manages to reveal the dialectical connection of contradictions in their unity.

Derzhavin's "funny Russian style" contributed to the renewal of poetry. Combining the words "high" and "low", he freed Russian poetry from the fettered theory of the "three calm", opened the way for the development of a realistic language.

Expanding the object of poetry (from a beer mug to cosmic phenomena), Derzhavin more and more brought her to life, became, according to Belinsky, "the first living verb of our Russian poetry."

Reproducing in poetry a multicolored world (in some of the poet's poems we encounter a real feast of colors, for example, in the poem "Peacock") and a polyphonic world (the poet heard the roar of cannons, and the murmur of pearl jets, and the rustle of dry leaves), G.R. Derzhavin blazed new paths for its development.

The place of the poet in Russian literature was precisely defined by Belinsky: "A new period of Russian poetry begins with Derzhavin, and as Lomonosov was her first name, so Derzhavin was the second. In Derzhavin, Russian poetry made a great step forward."

List of used literature

1. Babkin D.S. A.N. Radishchev: Literary and social activities

2.Baevsky B.C. History of Russian poetry. 1730-1980. Smolensk, 1994.

Yak grotto. Derzhavin's life. M., 1997.

Gukovsky GA. Russian literature of the 18th century. M., 1999.

Demin A.S. Russian literature second half of the 17th - the beginning of the XVIII century: New artistic ideas about the world, nature, man. M., 1977.

A.V. Zapadov Gavrila Romanovich Derzhavin. M., 1958.

7.Zapadov A.V. Derzhavin's skill. M., 1958.S. 207.

8. History of Russian Literature: In 10 volumes. M .; L., 1941.T. 3-5.

9. The history of Russian literature: In 3 volumes. M .; L., 1958.Vol. 1.

History of Russian Literature: In 4 volumes. L., 1980.Vol. 1.

Kalacheva SV. Evolution of Russian verse. M., 1986.

Levitsky A. Odes "God" of Kheraskov and Derzhavin // Gavrila Derzhavin

Moskvicheva G.V. Russian classicism. M., 1978.

Orlov P.A. History of Russian Literature of the 18th Century. M., 1991.

Panchenko A.M. The origins of Russian poetry // Russian syllabic poetry of the XVII-XVIII centuries. L., 1970.

Rozanov E. Spiritual poems of Derzhavin // Derzhavin G.R.

Serman IZ. Russian Classicism: Poetry, Drama, Satire. L., 1973.

Smirnov A.A. Literary theory of Russian classicism. M., 1981.

Tynyanov Yu.N. Oda as an oratorical genre // Tynyanov Yu.N. Poetics. Literary history. Cinema. M., 1977.

V.F. Khodasevich Derzhavin. M., 1988.

Etkind E. Derzhavin's two dilogies // Gavrila Derzhavin. 1743-1816. Norwich Symposia on Russian Literature and Culture. T. IV. Vermont

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