Derzhavin's favorite genre. Creativity G.R.

Zaitseva Larisa Nikolaevna,

teacher of Russian language and literature.

MB OU Gas pipeline secondary school with. Pochinki, Pochinkovsky district, Nizhny Novgorod region.

Item: literature

Class: 9

Subject: Repetition of the studied literature of the 18th century.

Test for grade 9 "G. R. Derzhavin»

The literature of the 18th century is the basis of all our further literature, so it is very important to know how it developed, who was its founder.G. R. Derzhavin, D. I. Fonvizin, N. M. Karamzin brought something new to literature, they were representatives of different trends, but their goal was the same - to make our language accessible, beautiful, understandable to the common man. The proposed test will test both the theoretical knowledge of students and practical ones. Moreover, the test will not take much time in the lesson, so it is more expedient to conduct it at the end of the lesson at the stage of consolidating the material.

1. Writers of the 18th century were:

A) Fonvizin,

B) Derzhavin

B) Karamzin.

2. Derzhavin's favorite genre:

A) comedy

B) lyrics

D) story and short story.

A) Fonvizin,

B) Derzhavin,

B) Karamzin.

4. Who owns the lines?

I loved sincerity

I thought they only liked

Mind and human heart

They were my genius.

A) Karamzin

B) Derzhavin

B) Fonvizin.

5. Who was the representative of classicism as a literary movement?

A) Fonvizin,

B) Derzhavin,

B) Karamzin.

6. Who wrote the comedy "The Brigadier"?

A) Fonvizin

b) Karamzin,

c) Derzhavin.

7. Who in his works raises the theme of the Fatherland and serving him?

A) Fonvizin,

B) Karamzin,

B) Derzhavin.

8. Who in his works depicts the customs of the court nobility?

A) Fonvizin,

B) Karamzin,

B) Derzhavin.

9. Who was the governor of the Olonets province?:

A) Fonvizin,

B) Karamzin,

B) Derzhavin.

10. Which of them wrote satirical works?

A) Fonvizin,

B) Derzhavin,

B) Karamzin.

11. Whose pen do the Letters of a Russian Traveler belong to?

A) Fonvizina,

B) Derzhavin,

B) Karamzin.

12. Which of them brought the literary language closer to living, natural colloquial speech?

A) Fonvizin,

B) Derzhavin,

A) Derzhavin

B) Karamzin,

B) Fonvizin.

14. Select signs of sentimentalism:

A) the ability of the hero to feel and experience,

B) compliance with the theory of "three calms",

C) in the center of the work are heroic personalities,

D) heroes are ordinary people,

D) the image of the beauty of nature,

E) observance of the rule of "three unities" - place, time, action.

15. In the story "Poor Lisa" Karamzin states:

A) education should be good,

B) the Fatherland must be served faithfully,

C) and peasant women know how to love,

D) You can not oppress the serfs.

Answers

Ratings

Overall rating:

For 20 - 24 - "5"

For 15 - 20 - "4"

Derzhavin's favorite genre

Alternative descriptions

Pathetic, glorifying work

A poem in a solemn tone

Genre in poetry

solemn poem

Orchestral and choral work

Japanese commander (1534-1582)

. "...to Joy" by Schiller

. "Liberty"

. "Liberty" by genre

. "Song", which has become a genre of poetry

. "Mustache" by Pushkin (genre)

. "Felitsa" by Gavrila Derzhavin

. "Liberty" Radishchev

Genre of lyric poetry

Car IZH-2126

majestic verse

Type of poem

Uplifting verse

Praise

Praise in verse

Derzhavin

Dithyrambs in verse

G. solemn song (lyrical) poem praising glory, praise, greatness, victory, etc.

Genre "Mustache" by Pushkin

Genre Gavrila Derzhavin

Genre Horace

Genre Derzhavin

High lyric genre

Lyric genre

Genre of lyric poetry and music

Genre of lyric poetry and music; solemn, pathetic, glorifying works

Genre of poetry

Rhymed flattery

Rhymed toady

Renoir's painting "... to flowers"

Painting by the French artist Auguste Renoir "... to the flowers"

flattering verse

Flattery in rhyme

Flattery set to verse

Lyric genre

Lyric Poem for Singing in Choir

Flattering song

Any form of lyrics in Greece

Toadying in verse

Sneaky creation

Praise in rhyme

Praise in verse

Praise from a poet

Derzhavin's poetry

Poetry for glory (genre)

Poem by the English poet Percy Shelley "... to the west wind"

Poem of the English poet Percy Shelley "... freedom"

A poem like a dithyramb

Poetic praise

Poetic hymn

poetic genre

poetic work

upbeat poem

Glorifying poetry

Farewell at Brodsky

Rhyming flattery to the boss

rhymed praise

rhyming praise

Sister dithyramb

Collection of American poet Allen Ginsberg "Plutoniev ..."

glorious poem

glorious verse

doxology

Poem for a Hero

Poem for the occasion

Poem to the hero

Flatterer's verse

Verse from Lomonosov

Sneak Poem

Verse to the motherland

Poem dedicated to the motherland

Poems in a solemn tone

A poem in a solemn tone

Poetic praise

Poetic message

Poetic dithyramb

Poetic sycophancy

Poet's creation

solemn poetry

Solemnly sycophantic verse

solemn poem

Solemn poem dedicated to some historical event or hero

Solemn, glorifying poetic work

Solemn verses

solemn verse

Lyric form in ancient Greece

Praise in song

Praise in verse

Laudatory

laudatory poetry

laudatory, pompous

Laudatory genre of high lyrics

Verse of praise

Praise (poet.)

Praise from the poet

Song of praise

choral song

Japanese commander

Derzhavin's poetic work falls mainly on the last two decades of the 18th - the first decade of the 19th centuries. And it's not just chronological boundaries. Derzhavin in his work was a natural consequence of all the development of new Russian literature that preceded him, from Kantemir, Lomonosov, Sumarokov to Kheraskov, Vasily Petrov, Vasily Maikov, Bogdanovich. In Derzhavin's work, all the main poetic genres that were cultivated in the poetry of the 18th century are widely and sometimes with exceptional brilliance. But we also find something else in it. Derzhavin's innovation: 1- combination of high and low styles; 2- subjective beginning; 3 - expands the subject matter of poetry: political, philosophical, satire poetry.

Philosophical poetry refers to the ode “On the death of Prince Meshchersky”, building. death is depicted 1- in connection with life (to die - we will be born), 2- associated with personal spiritual losses, 3- depicted as an everyday concept. Der-n concludes that it is not death that is terrible, but the fact that a person believes that he controls his fate. Innovation: Mr. about a specific person, and this is not a state. a doer, but an ordinary person, Der-n offers an image of an individual, personal, the author speaks about himself, about his experiences.

Derzhavin's civil odes are addressed to persons endowed with great political power: monarchs, nobles. Their pathos is not only laudatory, but also accusatory. Bringing poetry closer to life, boldly violating the canons of classicism, Derzhavin paved new paths in Russian literature.

The theme of the poet and poetry: the task of the thin, according to Der-na, is to imitate nature, follow the national, historical features, poetry should be useful and pleasant. Therefore, Der-n calls the basis of the claim the truth of divine origin, which is not given to everyone to know, the poet conveys imtin to people, his role is great. "Monument", a free imitation of Horace's ode "To Melpomene". the thought of these verses is the thought of the right of poets to immortality.

Derzhavin in the "Monument" recalls that he was the first to risk abandoning the solemn, pompous style of laudatory odes and wrote "Felitsa" in a funny, playful "Russian style", and, possessing undoubted poetic courage and civic courage, was not afraid of "truth to kings with a smile speak".

In the verse "Swan", under the image of the poet, Der-n sees a bifurcated existence: earthly and heavenly. The most important thing for the poet is freedom, he is never misunderstood by his contemporaries.

The ode "Felitsa" is different in that Der-n portrays the empress and power in a new way, showing, first of all, a private person, her personal qualities directly interact with the life of the state.

In the ode, high and low interact: at the level of images (talking about the empress and about herself), at the level of style (combines a line from the Bible and colloquial expression). The nobles are depicted satirically, and Der-n also brings real life into the ode. Ch. the question of the ode - how to live magnificently and righteously - how to combine pleasure and conscience - is addressed to the authorities. From the Russian authorities, Der-n demands humanity, mercy, and compassion for people. Der-n does not draw parallels with Ekat-na, this is a kind of ideal image, from the cat Ekat is far away.

Derzhavin addressed Catherine II not directly, but indirectly - through her literary personality, using for the ode the plot of a fairy tale that Catherine wrote for her little grandson Alexander. The protagonists of the allegorical "Tale of Prince Chlor" - the daughter of the Kirghiz-Kaisak Khan Felitsa (from the Latin felix - happy) and the young prince Chlor are busy searching for a rose without thorns (an allegory of virtue), which they acquire, after many obstacles and overcoming temptations, on top of a high mountain, symbolizing spiritual self-improvement.

This indirect appeal to the empress through her artistic text gave Derzhavin the opportunity to avoid the protocol-odic, elevated tone of addressing the highest person. Picking up the plot of Catherine's fairy tale and slightly exacerbating the oriental flavor inherent in this plot, Derzhavin wrote his ode on behalf of "a certain Tatar murza", playing off the legend about the origin of his family from the Tatar murza Bagrim.

Derzhavin's solemn ode combines the ethical attitudes of the older genres - satire and ode, once absolutely contrasting and isolated, but in Felitsa merged into a single picture of the world. In itself, this combination literally explodes from within the canons of the established oratorical genre of odes and classicist ideas about the genre hierarchy of poetry and the purity of the genre.

In the ode "Felitsa" contemporaries, accustomed to the abstract-conceptual constructions of the odic images of the ideal monarch, were shocked precisely by the everyday concreteness and authenticity of the appearance of Catherine II in her daily activities and habits: Without imitating your Murzas, You often walk on foot, And the simplest food Happens at your table; Not cherishing your peace, You read, write in front of the alai, And you shed Bliss on mortals from your pen to all; Like me, you don’t play cards, Like me, from morning to morning.

The individualized and concrete personal image of virtue is opposed in the ode "Felitsa" by a generalized collective image of vice, but it is opposed only ethically: as an aesthetic essence, the image of vice is absolutely identical to the image of virtue, since it is the same synthesis of the odic and satirical typology of imagery, deployed in the same plot motif of the daily routine: And I, sleeping until noon, I smoke tobacco and drink coffee; Transforming into a weekday holiday, Circling in chimeras my thought: Now I steal captivity from the Persians, Now I turn arrows to the Turks; Then, having dreamed that I am a sultan, I frighten the universe with a look; , seduced by the outfit, I jump to the tailor on the caftan ...

And here it is impossible not to notice two things: firstly, the fact that the reception of a self-revealing characteristic of vice in his direct speech genetically goes directly to the genre model of Cantemir's satire, and secondly, that, creating his own collective image of Murza as a lyrical subject ode "Felitsa" and forcing him to speak "for the whole world, for the whole society of the nobility", Derzhavin, in essence, took advantage of Lomonosov's odic device for constructing the author's image. In Lomonosov's solemn ode, the author's personal pronoun "I" was nothing more than a form of expressing a common opinion, and the author's image was functional only insofar as it was able to embody the voice of the nation as a whole - that is, it was of a collective nature.

Thus, in Derzhavin's Felitsa, ode and satire, intersecting their ethical genre-forming attitudes and aesthetic features of the typology of artistic imagery, merge into one genre, which, strictly speaking, can no longer be called either satire or ode. And the fact that Derzhavin's "Felitsa" continues to be traditionally referred to as an "ode" should be attributed to the odic associations of the theme. In general, this is a lyrical poem, finally parting with the oratorical nature of a high solemn ode and only partially using some methods of satirical world-modelling.

Perhaps it is precisely this - the formation of a synthetic poetic genre belonging to the field of pure lyrics - that should be recognized as the main result of Derzhavin's work in 1779-1783.

2. Roman F.M. Dostoevsky "Crime and Punishment". Moral and philosophical concept of the novel. Psychological content. Monographs of modern scholars on the novel.

The novel by F. M. Dostoevsky "Crime and Punishment" is the greatest philosophical and psychological work. It's a crime novel, but the genre is not "detective" or "crime novel". The protagonist of the novel, Rodion Raskolnikov, cannot be called an ordinary criminal. This is a young man with a philosophical mindset, always ready to help, analyzing his thoughts and actions. Why did Raskolnikov commit a crime? The reasons for the crime are ambiguous.

Raskolnikov, a young, talented, proud, thinking person, is put face to face with all the injustice and filth of those social relations that are determined by the power of money, doom honest and noble people, poor workers, like the Marmeladov family, to suffering and death, and give wealth and power to the successful cynical businessmen Luzhin. Dostoevsky mercilessly exposes these flagrant social contradictions, shows the injustice of a possessive society, criminal in its essence.

Law and morality protect the life and "sacred property" of the usurer and deny the right to a decent existence to the young student Raskolnikov. The libertine Svidrigailov has the opportunity to commit violence against defenseless people with impunity, because he is rich, and the honest and pure girl Sonya Marmeladova must sell herself, destroy her youth and honor, so that her family does not starve to death.

Crushed by poverty, embittered by his impotence to help loved ones. Raskolnikov decides to commit a crime, to kill a disgusting old money-lender who profits from human suffering.

Raskolnikov longs for revenge for the desecrated and destitute humanity, for the humiliation and suffering of Sonya Marmeladova, for all those who are brought by the Luzhins and Svidrigailovs to the limit of humiliation, moral torment and poverty.

Raskolnikov's protest and indignation against public order is combined with the "strong personality" theory. Contempt for society, for its laws, moral concepts, for slavish obedience leads Raskolnikov to assert the inevitability of a strong, dominant personality, to whom "everything is permitted." The crime was supposed to prove to Raskolnikov himself that he was not a "trembling creature", but "a real ruler, to whom everything is allowed."

Raskolnikov's mistake is that he sees the causes of social evil not in the structure of society, but in the very nature of man, and he considers the law that gives the right to the powerful of this world to do evil, eternal, unshakable. Instead of fighting against the immoral system and its laws, he follows them and acts according to these laws. It seemed to Raskolnikov that he was responsible for his actions only to himself and that the court of others was indifferent to him. But after the murder, Raskolnikov experiences a heavy, painful feeling of "openness and disconnection from humanity."

It is very important to understand and imagine the moral suffering, doubts and horror of the impending murder, that intense struggle of reason and good nature through which Raskolnikov went through before picking up an ax. Against the exact, cold calculation, logical arguments of reason, the natural feeling of an honest person rises up, to whom the shedding of blood is alien and disgusting.

The reasons that made Raskolnikov "step over the blood" are revealed gradually, throughout the novel. The climactic scene, where the killer himself enumerates, reviews and ultimately rejects all the motives for the crime, is the scene of his confession to Sonya. Raskolnikov analyzes the reasons for his crime, and here his theory of "permission of blood according to conscience" for the first time collided with Sonya's denial of the right to kill a person. Both heroes, who transgressed the moral norms of the society in which they live, committed immoral acts from different motives, since each of them has his own understanding of the truth. Raskolnikov gives various explanations: “he wanted to become Napoleon”, to help his mother and sister; refers to madness, to bitterness, which drove him to madness; talking about

rebellion against everyone and everything, about the assertion of one's personality ("whether I'm a louse, like everyone else, or a person"). But all the arguments of reason, which seemed so convincing to him, fall away one by one. If before he believed in his

theory and did not find any objections to it, now, in front of Sonya's "truth", all his "arithmetic" crumbles to dust, since he feels the precariousness of these logical constructions, and, consequently, the absurdity of his monstrous experiment.

Sonya opposes Raskolnikov's theory with one simple argument, with which Rodion is forced to agree:

“I only killed a louse. Dormouse, useless, nasty, malicious.

This man is a louse!

Why, I know it's not a louse," he replied, looking at her strangely. “But by the way, I’m lying, Sonya,” he added, “I’ve been lying for a long time ...”

Raskolnikov himself inspires Sonya not with disgust, not with horror, but with compassion, because he suffers endlessly.

Sonya tells Raskolnikov to repent in accordance with popular ideas: to repent before the desecrated murder of mother earth and before all honest people. Not to the church, but to the crossroads - that is, to the most crowded place - Sonya sends him.

The idea that Dostoevsky preaches in the novel "Crime and Punishment" is that it is impossible to come to good through crime, even if good is many times greater than evil. Dostoevsky was against violence, and in his novel he argues with the revolutionaries, who argued that the only way to universal happiness was to "call Rus' to the ax." Dostoevsky was the first in world literature to show the profound fatality of the individualistic ideas of the "strong personality", to understand their antisocial, inhuman character.

Critics about Dostoevsky:

In the work of Dostoevsky, each hero solves his problems anew, he himself sets up boundary pillars of good and evil with bloodied hands, each himself transforms his chaos into the world. Each hero is his servant, herald of the new Christ, martyr and herald of the third kingdom. The primordial chaos also wanders in them, but the dawn of the first day, which gave light to the earth, and the foreboding of the sixth day, on which a new man will be created, also dawn. Its heroes pave the way for a new world, Dostoevsky's novel is a myth about a new man and his birth from the bosom of the Russian soul... (S. Zweig. From the essay "Dostoevsky".)

Dostoevsky so boldly brought pitiful and terrible figures onto the stage, spiritual ulcers of every year, because he knew how or recognized the ability to pronounce the highest judgment on them. He saw the spark of God in the most fallen and perverted man; he followed the slightest flash of this spark and saw the features of spiritual beauty in those phenomena to which we are accustomed to treat with contempt, mockery or disgust ... This gentle and high humanity can be called his muse, and it gave him a measure of goodness and evil with which he descended into the most terrible spiritual abysses. (N.N. Strakhov. From the memoirs of Dostoevsky.)

The great artist captures his reader from the first words, then leads him along the steps of all kinds of falls and, having forced him to suffer them in his soul, finally reconciles him with the fallen, in whom through the transient atmosphere of a vicious, criminal man, drawn with love and ardent faith, see through the eternal features of an unfortunate brother. The images created by Dostoevsky in the novel "Crime and Punishment" will not die, not only in terms of the artistic power of the image, but also as an example of the amazing ability to find the "living soul" under the most rude, gloomy, disfigured form - and, having opened it, show it with compassion and awe in it, now quietly smoldering, now spreading a bright, reconciling light, a spark of God.

Three kinds of patients, in the broad and technical sense of the word, life represents: in the form of patients with will, patients with reason, patients, so to speak, from unsatisfied spiritual hunger. About each of these patients, Dostoevsky said his human weighty word in highly artistic images. There are hardly many scientific depictions of mental disorders that could overshadow their deeply true pictures, scattered in such a multitude in his writings. In particular, he developed individual manifestations of elementary mental disorders - hallucinations and illusions. It is worth recalling Raskolnikov's hallucinations after the murder of the pawnbroker or Svidrigailov's painful illusions in the cold room of a dirty tavern in the park. The providence of the artist and the great power of Dostoevsky's creativity created paintings so confirmed by scientific observations that, probably, not a single psychiatrist would refuse to sign his name under them instead of the name of the poet of the mournful aspects of human life. (A.F. Koni. From the article "F.M. Dostoevsky".)

In the works of Dostoevsky we find one common feature, more or less noticeable in everything he wrote: this is the pain of a person who admits that he is not able, or, finally, does not even have the right to be a real, complete, independent person, on his own. . Each person must be a person and treats others as a person treats a person. (N.A. Dobrolyubov. From the memoirs of Dostoevsky.)

First of all, gentlemen, the significance of Dostoevsky lies in the fact that he was a true poet. This word, it seems to me, has already said a lot.

Dostoevsky's love for people is a living and active Christian love, inseparable from the desire to help and self-sacrifice... Dostoevsky's poetry is the poetry of a pure heart...

Sonya's heart is so completely given to other people's torments, she sees and foresees them so much, and her compassion is so insatiably greedy that her own torments and humiliations cannot but seem to her only a detail - there is no place for them in her heart anymore.

Sonya is followed by her father in the flesh and the child in spirit - old Marmeladov. And he is more difficult than Sonya in thought, for accepting the sacrifice, he also accepts suffering. He is also meek, but not with overshadowing meekness, but with meekness of fall and sin. He is one of those people for whose sake Christ gave himself to be crucified; this is not a martyr and not a victim, it may even be a monster, only not a selfish one - the main thing is that he does not grumble, on the contrary, he is glad to be reviled. And when she loves, she is ashamed of her love, and for this she, love, outlives Marmeladov in his wretched and afterlife offering. (I.F. Annensky. From the article "Dostoevsky in Artistic Ideology".)

The shadow of the Last Judgment completely changes reality in Dostoevsky's novels. Every thought, every action in our earthly life is reflected in another, eternal life. At the same time, Dostoevsky destroys the boundary between top and bottom. The world he depicts is one. It is both momentary and eternal. That is, the judgment and the Last Judgment are one and the same.

Only by overcoming this logical contradiction can we accept the particular realism of Crime and Punishment. (P. Weil, A. Genis. From the essay "The Last Judgment. Dostoevsky".)

Scientists: Yuri Iv Sokhryakov “F.I. Dostoevsky and Russian Literature of the 20th Century"

Gavrila Romanovich Derzhavin (1743-1816) - an outstanding Russian poet of the 18th - early 19th centuries. Derzhavin's work was innovative in many ways and left a significant mark on the history of the literature of our country, influencing its further development.

Life and work of Derzhavin

Reading Derzhavin's biography, it can be noted that the young years of the writer did not indicate in any way that he was destined to become a great man and a brilliant innovator.

Gavrila Romanovich was born in 1743 in the Kazan province. The family of the future writer was very poor, but belonged to the nobility.

Young years

As a child, Derzhavin had to endure the death of his father, which further worsened the financial situation of the family. The mother had to go to any lengths to provide for her two sons and give them at least some upbringing and education. There were not so many good teachers in the province where the family lived, they had to put up with those who could be hired. Despite the difficult situation, poor health, unqualified teachers, Derzhavin, thanks to his abilities and perseverance, was still able to get a decent education.

Military service

While still a student of the Kazan gymnasium, the poet wrote his first poems. However, he did not manage to finish his studies at the gymnasium. The fact is that a clerical error made by some employee led to the fact that the young man was sent to military service in St. Petersburg a year earlier, in the position of an ordinary soldier. Only ten years later he managed to achieve the rank of officer.

With the entry into military service, Derzhavin's life and work changed greatly. The duty of service left little time for literary activity, but despite this, during the war years, Derzhavin composed quite a lot of humorous poems, and also studied the works of various authors, including Lomonosov, whom he especially revered and considered a role model. German poetry also attracted Derzhavin. He knew the German language very well and was engaged in translations into Russian of German poets and often relied on them in his own poems.

However, at that time, Gavrila Romanovich did not yet see his main vocation in poetry. He aspired to a military career, to serve the motherland and improve the financial situation of the family.

In 1773-1774. Derzhavin participated in the suppression of the uprising of Emelyan Pugachev, but he did not achieve promotion and recognition of his merits. Having received only three hundred souls as a reward, he was demobilized. For some time, circumstances forced him to earn a living in a not entirely honest way - by playing cards.

Talent Discovery

It is worth noting that it was at this time, by the seventies, that his talent first revealed itself for real. "Chatalagay odes" (1776) aroused the interest of readers, although in a creative sense this and other works of the seventies were not yet completely independent. Derzhavin's work was somewhat imitative, in particular to Sumarokov, Lomonosov and others. The strict rules of versification, which, following the classic tradition, were subject to his poems, did not allow the author's unique talent to be fully revealed.

In 1778, a joyful event happened in the writer's personal life - he passionately fell in love and married Ekaterina Yakovlevna Bastidon, who became his poetic muse for many years (under the name Plenira).

Own path in literature

Since 1779, the writer has chosen his own path in literature. Until 1791, he worked in the genre of an ode, which brought him the greatest fame. However, the poet does not simply follow the classicistic patterns of this strict genre. He reforms it, completely changing the language, which becomes unusually sonorous, emotional, not at all the same as it was in measured, rational classicism. Derzhavin completely changed the ideological content of the ode. If earlier state interests were above all, now personal, intimate revelations are also being introduced into Derzhavin's work. In this regard, he foreshadowed sentimentalism with its emphasis on emotionality, sensuality.

Last years

In the last decades of his life, Derzhavin stopped writing odes, love lyrics, friendly messages, and comic poems began to predominate in his work.

Derzhavin's work briefly

The poet himself considered his main merit to be the introduction of the “funny Russian style” into fiction, in which elements of high and colloquial style were mixed, lyricism and satire were combined. Derzhavin's innovation was also in the fact that he expanded the list of topics of Russian poetry, including plots and motifs from everyday life.

Solemn odes

Derzhavin's work is briefly characterized by his most famous odes. In them, everyday and heroic, civil and personal beginnings often coexist. Derzhavin's work thus combines previously incompatible elements. For example, "Poems for the Birth of a Porphyrogenic Child in the North" can no longer be called a solemn ode in the classic sense of the word. The birth of Alexander Pavlovich in 1779 was described as a great event, all geniuses bring him various gifts - intelligence, wealth, beauty, etc. However, the wish of the last of them ("Be a man on the throne") indicates that the king is a man, which was not characteristic of classicism. Innovation in the work of Derzhavin manifested itself here in a mixture of civil and personal status of a person.

"Felitsa"

In this ode, Derzhavin dared to turn to the empress herself and argue with her. Felitsa is Catherine II. Gavrila Romanovich presents the reigning person as something that violates the strict classicist tradition that existed at that time. The poet admires Catherine II not as a statesman, but as a wise person who knows her own path in life and follows it. The poet then describes his life. Self-irony in describing the passions that owned the poet serves to emphasize the dignity of Felitsa.

"On the Capture of Ishmael"

This ode depicts the majestic image of the Russian people conquering the Turkish fortress. Its strength is likened to the forces of nature: an earthquake, a sea storm, a volcanic eruption. However, it is not spontaneous, but obeys the will of the Russian sovereign, driven by a sense of devotion to the motherland. The extraordinary strength of the Russian warrior and the Russian people as a whole, his power and greatness were depicted in this work.

"Waterfall"

In this ode, written in 1791, the image of a stream becomes mainly, symbolizing the frailty of being, earthly glory and human greatness. The prototype of the waterfall was Kivach, located in Karelia. The color palette of the work is rich in various shades and colors. Initially, it was just a description of the waterfall, but after the death of Prince Potemkin (who died unexpectedly on the way home, returning with a victory in the Russian-Turkish war), Gavrila Romanovich supplemented the picture with semantic content, and the waterfall began to personify the frailty of life and lead to philosophical reflections on various values. Derzhavin was personally acquainted with Prince Potemkin and could not but respond to his sudden death.

However, Gavrila Romanovich was far from admiring Potemkin. In the ode, Rumyantsev is opposed to him - this is who, according to the author, is the true hero. Rumyantsev was a true patriot, caring about the common good, and not personal glory and well-being. This hero in the ode figuratively corresponds to a quiet stream. The noisy waterfall is contrasted with the unprepossessing beauty of the Suna River with its majestic and calm flow, clear waters. People like Rumyantsev, who live their lives calmly, without fuss and boiling of passions, can reflect the beauty of the sky.

Philosophical odes

The themes of Derzhavin's work continue the philosophical "On the Death of Prince Meshchersky" (1779) was written after the death of the heir Pavel. Reading this ode, at first it even seems that this is a kind of "hymn" to death. However, it ends with the opposite conclusion - Derzhavin calls on us to appreciate life as "heaven's instant gift" and live it in such a way as to die with a pure heart.

Anacreon lyrics

Imitating ancient authors, creating translations of their poems, Derzhavin created his own miniatures, in which one can feel the national Russian flavor, life, and describe Russian nature. Classicism in Derzhavin's work underwent a transformation here as well.

The translation of Anacreon for Gavrila Romanovich is an opportunity to go into the realm of nature, man and life, which had no place in strict classic poetry. The image of this ancient poet, who despises the world and loves life, attracted Derzhavin very much.

In 1804, the Anacreontic Songs were published as a separate edition. In the preface, he explains why he decided to write "light poetry": the poet wrote such poems in his youth, and published now because he left the service, became a private person and is now free to publish whatever he wants.

Late lyrics

The peculiarity of Derzhavin's work in the later period is that at this time he practically ceases to write odes and creates mainly lyrical works. The poem "Eugene. Life of Zvanskaya", written in 1807, describes the daily home life of an old nobleman who lives in a luxurious rural family estate. Researchers note that this work was written in response to Zhukovsky's elegy "Evening" and was polemical to the emerging romanticism.

Derzhavin's late lyrics also include the work "Monument", filled with faith in the dignity of man despite adversity, life's ups and downs and historical changes.

The significance of Derzhavin's work was very great. The transformation of classic forms begun by Gavrila Sergeevich was continued by Pushkin, and later by other Russian poets.

Derzhavin develops the traditions of Russian classicism, continuing the traditions of Lomonosov and Sumarokov.

For him, the purpose of the poet is the glorification of great deeds and the condemnation of bad ones. In the ode "Felitsa" he glorifies the enlightened monarchy, which personifies the reign of Catherine II. The smart, fair empress is opposed to the greedy and mercenary court nobles:

Only you will not offend,

Don't offend anyone

You see foolishness through your fingers,

Only evil cannot be tolerated alone ...

The main object of Derzhavin's poetics is a person as a unique individuality in all the richness of personal tastes and predilections. Many of his odes are philosophical in nature, they discuss the place and purpose of man on earth, the problems of life and death:

I am the connection of the worlds everywhere,

I am the extreme degree of matter;

I am the center of the living

The trait of the initial deity;

I'm rotting in the ashes,

I command the thunders with my mind,

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

But being so wonderful

Where did it happen? - unknown:

And I couldn't be myself.

Ode "God", (1784)

Derzhavin creates a number of samples of lyrical poems in which the philosophical intensity of his odes is combined with an emotional attitude to the events described. In the poem "Snigir" (1800), Derzhavin mourns the death of Suvorov:

What are you starting a war song

Like a flute, dear snigir?

With whom shall we go to war against the Hyena?

Who is our leader now? Who is the rich man?

Where is strong, brave, fast Suvorov?

Severn thunders lie in a coffin.

Before his death, Derzhavin begins to write an ode to the RUIN OF CHORT, from which only the beginning has come down to us:

R eka of time in its striving

At wears all the affairs of people

AND drowns in the abyss of oblivion

H nations, kingdoms and kings.

A if anything remains

H cutting the sounds of the lyre and trumpet,

T about eternity will be devoured by the mouth

AND the common fate will not go away!

Derzhavin develops the traditions of Russian classicism, being a successor to the traditions of Lomonosov and Sumarokov.

For him, the purpose of the poet is the glorification of great deeds and the condemnation of bad ones. In the ode "Felitsa" he glorifies the enlightened monarchy, which personifies the reign of Catherine II. The smart, fair empress is opposed to the greedy and mercenary nobles of the court: You only don’t offend, You don’t offend anyone, You see foolishness through your fingers, Only you don’t tolerate evil alone ...

The main object of Derzhavin's poetics is a person as a unique individuality in all the richness of personal tastes and predilections. Many of his odes are philosophical in nature, they discuss the place and purpose of man on earth, the problems of life and death: I am the connection of the worlds that exist everywhere, I am the extreme degree of matter; I am the center of the living, The trait of the initial deity; I decay in the dust with my body, I command thunder with my mind, I am a king - I am a slave - I am a worm - I am a god! But, being so wonderful, Where did I come from? - unknown: I couldn't be myself. Ode "God", (1784)

Derzhavin creates a number of samples of lyrical poems in which the philosophical intensity of his odes is combined with an emotional attitude to the events described. In the poem "Snigir" (1800), Derzhavin mourns the death of Suvorov: Why are you starting a song like a military flute, like a sweet snigir? With whom shall we go to war against the Hyena? Who is our leader now? Who is the rich man? Where is strong, brave, fast Suvorov? Severn thunders lie in a coffin.

Before his death, Derzhavin begins to write an ode to the RUIN OF HORROR, from which only the beginning has come down to us: The river of time in its aspiration Carries away all the deeds of people And drowns peoples, kingdoms and kings in the abyss of oblivion. And if anything remains Through the sounds of the lyre and the trumpet, Then eternity will be devoured by the mouth And the common fate will not go away!

Variety of creativity: Derzhavin did not limit himself to just one new type of ode. He transformed, sometimes beyond recognition, the odic genre in a variety of ways. Particularly interesting are his experiments in odes, which combine directly opposite principles: praiseworthy and satirical. This is exactly what his famous ode to Felice, discussed above, was like. The combination of "high" and "low" in it turned out to be quite natural precisely because the poet had already found the right artistic move before. It was not an abstractly lofty state idea that was brought to the fore in the work, but the living thought of a particular person. A person who understands reality well, observant, ironic, democratic in his views, judgments and assessments. G.A. said this very well. Gukovsky: “But here comes the praise of the Empress, written in the lively speech of a simple person, talking about a simple and genuine life, lyrical without artificial tension, at the same time interspersed with jokes, satirical images, features of everyday life. It was like a laudable ode, and at the same time at the same time, a significant part of it was occupied, as it were, by a satire on courtiers; but in general it was neither an ode nor satire, but a free poetic speech of a person showing life in its diversity, with high and low, lyrical and satirical features intertwined - as they intertwine really, really."

Derzhavin's small lyrical poems are also imbued with an innovative spirit. In epistles, elegies, idylls and eclogues, in songs and romances, in these lyrical genres smaller than an ode, the poet feels even more freed from the strict classicistic canons. However, Derzhavin did not adhere to a strict division into genres at all. His lyric poetry is a kind of unified whole. It is no longer held by the same genre logic, not by those strict norms that were prescribed to comply with: high topic - high genre - high vocabulary; low topic - low genre - low vocabulary. Until recently, such correspondences were necessary for young Russian poetry. Norms and models were required, in opposition to which there is always an impetus for the further development of poetry. In other words, more than ever, a starting point was needed, from which a great artist repelled, looking for his own path.

The lyrical hero, uniting Derzhavin's poems into one whole, is for the first time himself, a specific person and poet recognizable by readers. The distance between the author and the lyrical hero in Derzhavin's "small" poetic genres is minimal. Recall that in the ode "To Felitsa" such a distance turned out to be much more significant. A courtier-murza, a sybarite and an idler, is not the worker Gavrila Romanovich Derzhavin. Although an optimistic view of the world, their cheerfulness and complacency are very related. With great accuracy, the poet's lyrical poems are described in the book by G.A. Gukovsky: "With Derzhavin, poetry entered life, and life entered poetry. Life, a true fact, a political event, walking gossip invaded the world of poetry and settled in it, changing and displacing all the usual, respectable and legitimate correlations of things in it. Theme poems received a fundamentally new existence<…>The reader must first of all believe, must realize that it is the poet himself who speaks about himself, that the poet is the same person as those who walk in front of his windows on the street, that he is not woven from words, but from real flesh and blood. . Derzhavin's lyrical hero is inseparable from the idea of ​​a real author.

In the last two decades of his life, the poet creates a number of lyrical poems in the Anacreontic spirit. He is gradually moving away from the genre of ode. However, Derzhavin's "Anacreontic" bears little resemblance to the one we encountered in Lomonosov's lyrics. Lomonosov argued with the ancient Greek poet, opposing the cult of earthly joys and fun with his ideal of serving the fatherland, civic virtues and the beauty of female selflessness in the name of duty. Derzhavin is not like that! He sets himself the task of expressing in verse "the most tender feelings" of a person.

Let's not forget that the last decades of the century are coming. Almost along the entire literary front, classicism, with its priority of civil themes, is losing ground to sentimentalism, the artistic method and direction, in which personal, moral, and psychological themes are paramount. It is hardly worth linking Derzhavin's lyrics directly with sentimentalism. This question is very controversial. Literary scholars solve it in different ways. Some insist on the poet's greater proximity to classicism, others to sentimentalism. The author of many works on the history of Russian literature G.P. Makogonenko in Derzhavin's poetry reveals clear signs of realism. It is only quite obvious that the works of the poet are so distinctive and original that it is hardly possible to attach them to a strictly defined artistic method.

In addition, the poet's work is dynamic: it has changed within even one decade. In his lyrics of the 1790s, Derzhavin mastered new and new layers of poetic language. He admired the flexibility and richness of Russian speech, so well, in his opinion, adapted to convey the most diverse shades of feeling. Preparing for publication in 1804 a collection of his "Anacreontic poems", the poet stated in the preface about the new stylistic and linguistic tasks facing him: "Out of love for the native word, I wanted to show its abundance, flexibility, lightness and, in general, the ability to express the most tender feelings, which are scarcely found in other languages.

Freely altering Anacreon's or Horace's poems into Russian, Derzhavin did not at all care about the accuracy of the translation. "Anacreontics" he understood and used in his own way. He needed it in order to show Russian life more freely, more colorfully and in more detail, to individualize and emphasize the peculiarities of the character ("temper") of a Russian person. In a poem "Praise of rural life" the city dweller draws in his imagination pictures of a simple and healthy peasant life:

A pot of hot, good cabbage soup,

A bottle of good wine

For future use, Russian beer is brewed.

Derzhavin's experiments were not always successful. He sought to cover in a single poetic concept two heterogeneous beginnings: state policy and the private life of a person with its everyday interests and concerns. It was difficult to do so. The poet is looking for what can unite the two poles of the existence of society: the prescriptions of the authorities and the private, personal interests of people. It would seem that he finds the answer - Art and Beauty. Translating in the poem "The Birth of Beauty" the ancient Greek myth about the emergence of the goddess of beauty Aphrodite from the sea foam (a myth in the version of Hesiod - L.D.), Derzhavin describes Beauty as an eternal reconciling principle:

…Beauty

Instantly from the waves of the sea was born.

And she only looked

Immediately the storm subsided

And there was silence.

But the poet knew too well how real life works. A sober view of things and uncompromisingness were the hallmarks of his nature. And therefore, in the next poem "To the Sea", he already questions that in the current "Iron Age" Poetry and Beauty will be able to prevail over the victoriously spreading thirst for wealth and profit. In order to survive, man in this "Iron Age" is forced to become "harder than flint." Where is there to "know" with Poetry, with Lyra! And love for a beautiful modern man is more and more alien:

Now iron eyelids?

Are men harder than flint?

Without knowing you,

Light is not captivated by the game,

The beauties of kindness are alien.

In the last period of his work, the poet's lyrics are increasingly filled with national themes, folk poetic motifs and techniques. The "profoundly artistic element of the poet's nature," to which Belinsky pointed out, comes out more and more clearly in it. During these years, Derzhavin created wonderful and very different in terms of genre characteristics, style, and emotional mood of the poem. "Swallow" (1792), "My idol" (1794), "Nobleman" (1794), "Invitation to dinner" (1795), "Monument" (1796), "Khrapovitsky" (1797), "Russian girls" ( 1799), "Bullfinch" (1800), "Swan" (1804), "Recognition" (1807), "Eugene. Life of Zvanskaya" (1807), "The River of Times ..." (1816). And also "Mug", "Nightingale", "For happiness" and many others.

Let us analyze some of them, paying attention first of all to their poetics, that is, to the words of the critic, the "deeply artistic element" of Derzhavin's creations. Let's start with a feature that immediately attracts attention: the poet's poems affect the reader with colorful and visible concreteness. Derzhavin is a master of picturesque paintings and descriptions. Let's give some examples. Here is the beginning of the poem "Vision of Murza":

On dark blue air

The golden moon swam;

In her silver porphyry

Shining from the heights, she

Illuminated my house through the windows

And with its fawn ray

Golden glass painted

On my varnished floor.

Before us is a magnificent painting with a word. In the frame of the window, as if in a frame bordering the picture, we see a wonderful landscape: in the dark blue velvet sky, in the "silver porphyry", the moon slowly and solemnly floats. Filling the room with a mysterious radiance, it draws golden reflection patterns with its rays. What a subtle and whimsical color scheme! The reflection of the lacquered floor combines with the pale-yellow beam and creates the illusion of "golden glasses".

Here is the first stanza "Dinner Invitations":

Sheksninskaya golden sterlet,

Kaimak and borscht are already standing;

In decanters of wine, punch, shining

Now with ice, now with sparks, they beckon;

Incense pours from the censers,

The fruits among the baskets are laughing,

The servants do not dare to die,

Waiting for you around the table;

The hostess is stately, young

Ready to lend a hand.

Well, how can you not accept such an invitation!

In a big poem "Eugene. Life Zvanskaya" Derzhavin will bring the reception of picturesque brilliance of the image to perfection. The lyrical hero is "at rest", he has retired from service, from the bustle of the capital, from ambitious aspirations:

Blessed is he who is less dependent on people,

Free from debts and from the hassle of clerks,

Does not seek gold or honor at court

And alien to various vanities!

So it seems that Pushkin's verse from "Eugene Onegin" was breathed in: "Blessed is he who was young from his youth ..." Pushkin knew Derzhavin's poems well, studied with the older poet. We find many parallels in their works.

The brilliance and visibility of the details of "Eugene. Life of Zvanskaya" are amazing. The description of the table set for dinner with "homemade, fresh, healthy supplies" is so concrete and natural that it seems to reach out and touch them:

Crimson ham, green cabbage soup with yolk,

Blush-yellow cake, white cheese, red crayfish,

What is pitch, amber-caviar, and with a blue feather

There is a motley pike - beautiful!

In the research literature about the poet, there is even a definition of "Derzhavin's still life". And yet, it would be wrong to reduce the conversation only to naturalness, the naturalness of everyday scenes and natural landscapes depicted by the poet. Derzhavin often resorted to such artistic techniques as impersonation, personification of abstract concepts and phenomena (that is, giving them material features). Thus, he achieved a high mastery of artistic convention. A poet cannot do without it! It enlarges the image, makes it especially expressive. In "Invitation to Dinner" we find such a personified image - goosebumps run from it: "And Death is looking at us through the fence." And how humanized and recognizable Derzhavin's Muse is. She "peeps through the crystal window, messing up her hair."

Colorful personifications are already found in Lomonosov. Let's remember his lines:

There is Death between the Goth regiments

Runs, furious, from rank to rank

And greedy jaw opens,

And stretches cold hands ...

However, it is impossible not to notice that the content of the personified image here is completely different. The image of Death in Lomonosov is majestic, monumental, its lexical design is solemn and grandiloquent ("opens", "extends"). Death is omnipotent over the formation of warriors, over entire regiments of troops. In Derzhavin, Death is likened to a peasant woman waiting for her neighbor behind the fence. But it is precisely because of this simplicity and ordinariness that a feeling of tragic contrast arises. The drama of the situation is achieved without lofty words.

Derzhavin is different in his poems. His poetic palette is multicolored and multidimensional. N.V. Gogol stubbornly searched for the origins of the "hyperbolic scope" of Derzhavin's creativity. In the thirty-first chapter of "Selected passages from correspondence with friends", which is called "What, finally, is the essence of Russian poetry and what is its peculiarity," he writes: "Everything is large with him. His style is as large as one of our poets. If you cut it open with an anatomical knife, you will see that this comes from an unusual combination of the highest words with the lowest and simplest, which no one would have dared to do except Derzhavin. Who would dare, except him, to express himself as he put it in in one place about his same majestic husband, at that moment when he had already fulfilled everything that was needed on earth:

And death awaits as a guest

Twisting, thinking, mustache.

Who, except Derzhavin, would have dared to combine such a matter as the expectation of death with such an insignificant action as the twirling of a mustache? But how through this the visibility of the husband himself is more palpable, and what a melancholy-deep feeling remains in the soul!

Gogol is undoubtedly right. The essence of Derzhavin's innovative manner lies precisely in the fact that the poet introduces into his works the truth of life, as he understands it. In life, the high is adjacent to the low, pride - to arrogance, sincerity - to hypocrisy, intelligence - to stupidity, and virtue - to meanness. Life itself coexists with death.

The collision of opposite principles forms the conflict of the poem "Nobleman". This is a great lyrical work of odic form. It has twenty-five stanzas of eight lines each. A clear rhythmic pattern, formed by iambic tetrameter and a special rhyme (ababvggv), is sustained in the genre tradition of the ode. But the resolution of the poetic conflict is not at all in the tradition of the ode. The plot lines in the ode, as a rule, do not contradict one another. With Derzhavin, they are conflicting, opposite. One line - nobles, a man worthy of both his title and his destiny:

The nobleman should be

The mind is sound, the heart is enlightened;

He must set an example

That his title is sacred,

That he is an instrument of power,

Support of the royal building.

All his thought, words, deeds

Should be - benefit, glory, honor.

Another line is the donkey nobles, who will not be decorated with either titles or orders ("stars"): The donkey will remain a donkey, Although shower it with stars; Where it is necessary to act with the mind, He only flaps his ears. ABOUT! in vain is the hand of happiness, Against the natural rank, The madman dresses in a master Or in a fool's cracker.

It would be in vain to expect from the poet a psychological deepening of the declared conflict or the author's reflection (that is, analytical reflections). This will come to Russian poetry, but somewhat later. In the meantime, Derzhavin, perhaps the first of the Russian poets, is paving the way for depicting the feelings and actions of people in their daily lives.

On this path, the very “Russian fold of the mind” that Belinsky spoke of helped the poet a lot. The dearly beloved friend and wife of the poet died. In order to get rid of longing at least a little, Derzhavin in a poem "On the death of Katerina Yakovlevna" appeals, as if for support, to the rhythm of folk lamentations:

No longer a sweet-voiced swallow

Domovitaya from zastrahi -

Oh! my dear, beautiful,

She flew away - joy with her.

Not the glow of the moon is pale

Shines from a cloud in terrible darkness -

Oh! lies her dead body,

Like a bright angel in a deep sleep.

The swallow is a favorite image in folk songs and lamentations. And no wonder! She builds a nest near human habitation, and even under the jam. She is next to the peasant, touches him and amuses him. With its homeliness, neatness and affectionate chirping, the "sweet-voiced swallow" reminds the poet of his dear friend. But the swallow is cheerful and busy. And nothing can awaken the sweetheart from a "strong sleep." The "contrite heart" of the poet can only cry out the bitterest sadness in verses that are so similar to folk lamentations. AND concurrency trick with the world of nature in this poem is as impressive and expressive as possible.