Derzhavin's favorite genre

Alternative descriptions

Pathetic, glorifying work

Poem in a solemn tone

Genre in poetry

Solemn poem

Orchestral-choral work

Japanese commander (1534-1582)

. "... to joy" by Schiller

. "Liberty"

. "Liberty" by genre

. "Song" that became a genre of poetry

. "Mustache" by Pushkin (genre)

. "Felitsa" by Gavrila Derzhavin

. Radishchev's "freedom"

Genre of lyric poetry

Car IZH-2126

Majestic verse

Type of poem

Uplifting verse

Praise

Praise in verse

Derzhavin

Dithyrambs in verse

G. a solemn song (lyric) poem singing glory, praise, greatness, victory, etc.

Genre "Mustache" by Pushkin

Genre of Gavrila Derzhavin

Genre Horace

Derzhavin's genre

Genre of high lyricism

Lyric genre

Genre of lyric poetry and music

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

Genre of poetry

Rhymed flattery

Rhymed sycophancy

Renoir's painting "...to the flowers"

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

Flattering verse

Flattery in rhyme

Flattery put on verses

Lyrical genre

Lyric poem for singing in chorus

Flattering Song

Any form of lyricism in Greece

Toadying in verse

A sycophantic creation

Praise in rhyme

Praise in verse

Praise from a poet

Poetry of Derzhavin

Poetry for glory (genre)

Poem by the English poet Percy Shelley "... to the West Wind"

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

A poem like a dithyramb

Poetic praise

Poetic hymn

Poetic genre

Poetic work

Upbeat Poem

Celebrating poetry

Farewell party at Brodsky's

Rhymed flattery to the boss

Rhyming Praise

Rhyming Praise

Dithyramb's sister

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

Nice poem

Glorious verse

Doxology

Poem in honor of the hero

Poem in honor of the event

Poem to the hero

Flatterer's Verse

Poem from Lomonosov

The sycophant's verse

Poem to the Motherland

Poem dedicated to the homeland

Poems in a solemn tone

Poem in a solemn tone

Poetic praise

Poetic message

Poetic dithyramb

Poetic toadying

The poet's creation

Solemn poetry

Solemnly sycophantic verse

Solemn poem

A ceremonial poem dedicated to some historical event or hero

Solemn, glorifying poetic work

Solemn verses

Solemn verse

Form of lyric poetry in ancient Greece

Praise in song

Praise in verse

Song of praise

Praise poetry

Laudatory, pompous

The laudatory genre of high lyricism

Poem of praise

Praise (poet.)

Praise from a poet

Song of Bread

Choral song

Japanese commander

Despite the fact that the basis of Gavrila Derzhavin’s work is Russian classicism, it significantly went beyond its limits. Derzhavin's poems are characterized by a combination of “high” and “low” elements, a mixture of solemn ode with satire, colloquial expressions along with Church Slavonic vocabulary. A romantic approach to reality also creeps into the poet’s works. In other words, Derzhavin’s work expressed the entire development path of Russian literature of this era - from classicism, through sentimentalism and romanticism to realism.

The poet considers truth to be the basis of art, which artists and poets are obliged to convey to the reader. The task of art is to imitate nature, that is, objective reality. But this does not apply to the base and rough sides of life - poetry, as Derzhavin believes, should be “pleasant.” It should also be useful - this explains the numerous moral teachings, satires and morals with which the poet’s work is replete.

Derzhavin, of course, could not lay claim to the role of a spiritual people's leader and encroach on the foundations of autocracy, but in many works he expresses precisely the people's point of view, which was already a breakthrough for Russian literature XVIII century. Thus, the impressions of Pugachev’s peasant war were reflected in all the poet’s most important poems - from “Chitalagai Odes” to “Nobleman” - in them he is on the side of the people, condemning their torment by landowners and nobles.

Since 1779, Derzhavin’s work has become more and more original - he follows his own path in poetry. Derzhavin’s merit to Russian poetry is the introduction of the “funny Russian style” into literature: a combination of high style with vernacular, satire and lyricism.

Derzhavin expands the themes of poetry, bringing it closer to life. He begins to look at the world and nature through the eyes of an ordinary earthly person. The poet depicts nature not abstractly, as was done before him, but as a living reality. If before Derzhavin nature was described in the most general terms: streams, birds, flowers, sheep, then in the poet’s poems details, colors, sounds already appear - he works with words, like an artist with a brush.

In depicting a person, the poet approaches a living portrait, which was the first step on the path to realism.

Derzhavin expands the boundaries of ode. In “Felitsa” the scheme established by Lomonosov is violated - this is already a plot poem, and not a set of statements by the author in connection with a solemn event. Derzhavin's most famous odes - “Felitsa”, “God”, “Vision of Murza”, “Image of Felitsa”, “Waterfall” - are plot works into which the poet introduces his thoughts and feelings.

Derzhavin's poems introduce the image of the author into poetry, introduce the reader to the personality of the poet - this is another of his discoveries. The works represent not an abstract, but a concrete person. The poet in Derzhavin's works is an incorruptible fighter for the truth.

Derzhavin’s poetic language is of great importance for the subsequent development of Russian literature. The poet had an excellent sense of folk speech. The poet's poems always contain rhetoric and oratorical intonations - he teaches, demands, instructs, and is indignant. Many of Derzhavin’s expressions became popular:

“Where there was a table of food, there is a coffin,” “I am a king, I am a slave, I am a worm, I am a god,” “The smoke of the Fatherland is sweet and pleasant to us,” etc.

The poet’s main merit was the introduction of “ordinary human words” into poetry, which was incredibly unexpected and new. The subject of poetry becomes ordinary human affairs and concerns.

Derzhavin's works had an influence on almost all poets of the late 18th - early XIX century, contributing to the advent of a new milestone in the development of Russian poetry.

Classicism is characterized by a general style. He demanded to portray the ideal, corresponding to the norm. The division of poetry into genres, decreed by classicism, determined the law of unity of style. Each genre was assigned its own theme, each theme required its own language, a precisely defined figurative system.

The binding nature of these decisions for each poet was written down in the poetic codes of Boileau and Sumarokov in the form of rules. Here, for example, are the stylistic problems that should have been solved in the ode (A. Sumarokov, “Epistole on Poetry”):

The sound thundering in the ode, like a whirlwind, pierces the ear,

The ridge of the Riphean Mountains far exceeds,

In it, lightning divides the horizon in half,

Then the top of the high mountains hides a stormy show-off.

The loftiness of the topic, according to Sumarokov, who followed Boileau, required “thundering sounds,” and the rules recommended ways to solve this problem. Allegory is a decisive feature of the odic style. Mythology is called upon in order to free the poet from connections with real, “low” reality and allow him to “soar” in the high sphere of ideas. Sumarokov taught poets to follow the rules he formulated:

This verse is full of pretense, in it virtue boldly

Transforms into a deity, accepts spirit and body.

Minerva is wisdom in him, Diana is purity,

Love is Cupid, Venus is beauty...

Compliance with the rules gave rise to the unity of style of odes of different poets (as well as all other genres, written according to their own rules). But the poetics of classicism also put forward the principle of imitation of models.

Thus, the poetry of the introduced material and each word turned out to be given, ensured by a stable tradition, constant use in a certain stylistically given system. The word appeared in a stable and constant meaning. Such a task from a new perspective determined the unity of style.

Derzhavin, destroying the canons of classicism, deviating from the rules, was able to abandon a single style. But while destroying, he also created a new style- individual - and thereby developed a new artistic system. The object of Derzhavin’s image was real world in all its uniqueness and diversity. Ideality is alien to reality.

Her image required the discovery of the individual characteristics that are inherent in her. Derzhavin, for example, writes an ode in honor of the Russian troops besieging the Ochakov fortress. Events take place in autumn. The subject of the image is autumn. Refusing allegory, the poet does not want to replace the “low” reality—Russian autumn—with the image of Ceres; he strives to depict it with all its specific characteristics:

Autumn is already wearing blush

Golden sheaves on the threshing floor,

And the grapes ask for luxury

With a greedy hand for wine.

The flocks of birds are already crowding,

The feather grass will spread across the steppes...

Derzhavin depicts the winter that followed autumn in a way that it has never before been depicted in Russian poetry:

The gray-haired sorceress is coming,

He waves his shaggy sleeve,

And snow, and scum, and frost is falling,

And turns water into ice...

Derzhavin’s style depends not only on the object of the image, but also on the personality of the poet, who looks at the world from his individual positions, conditioned by life experience, artistic vigilance, psychological make-up, and skill. “The Vision of Murza,” for example, begins with a description of the night in Derzhavin’s apartment.

In the picture he painted, everything is real and individual. home furnishings the twilit poet, individually and his vision of surrounding things, individual, purely Derzhavinsky manner of painting:

On the dark blue ether

The golden moon floated;

In its silver porphyry

Shining from the heights, she

Through the windows my house was illuminated

And with your fawn ray

I painted golden glasses

On my varnish floor.

In one poem, Derzhavin, speaking about himself, admitted that he was “hot and truly the devil.” This verse is possible only in Derzhavin’s artistic system. He is an example of the internal unity of the theme (the character of the hero-author) and its stylistic expression ( we're talking about not about abstract virtue - truthfulness, but about the property of Derzhavin’s character - hence its expression in an individual poetic form - “the devil in truth,” which carries accurate information about the spiritual appearance of the poet).

In "The Nobleman" the style is also meaningful. By putting to shame state dignitaries unworthy of their title, Derzhavin does not hide his indignation. While denouncing, he could not be dispassionate and calm: after all, the poet is “hot and in truth the devil.” This “ardor” determined both the choice of certain words and not others, as well as the general emotional tone of the ode. This is how purely Derzhavin poems appeared:

A donkey will remain a donkey

Although shower him with stars;

Where should one act with the mind,

He just flaps his ears.

The individuality of the style gave rise to the amazing boldness of many of Derzhavin’s images, which so attracted poets of the 19th and 20th centuries. The poetry of the word in Derzhavin arose anew each time, depending on the object of the image and the personality of the poet.

Gogol, highly appreciating Derzhavin’s original syllable, called it “large,” since it contained an extraordinary combination of high words with the lowest ones (which is prohibited by classicism). As an example, he quoted from the poem “Aristippus’s Bath” the lines about the “great man” who, having fulfilled everything he needed on earth, -

And death, like a guest, awaits

Twisting his mustache, lost in thought.

The poem “Winter” is written in the form of a dialogue between the poet and the muse. And this is how the muse appears before the reader:

Why are you, Muse, so sad?

Are you sitting sadly?

Through the crystal window,

You comb your hair and look...

Derzhavin achieved his greatest success in creating an objective image of a specific historical personality in the poem dedicated to the memory of Suvorov - “Snigir”. Suvorov is depicted in the unity of the traits and properties of a great man and an original personality.

The general and the particular merge into one, a brilliant commander and the charming character of an original Russian man - this is what Derzhavin’s Suvorov is, written according to the laws of an individual “large syllable”, based on a mixture of high and low words:

Who will be in front of the army, blazing,

Ride a nag, eat crackers;

Tempering the sword in cold and heat,

Sleep on straw, watch until dawn.

The theme of Suvorov, his life and his exploits - high topic. Derzhavin puts it into lofty vocabulary: “Who will be in front of the army, blazing,” “tempering the sword in the cold and heat,” “watch until dawn.” Here the poet seemed to follow a long-standing odic tradition. But, on the other hand, for the poet Suvorov is not only a commander, not only a “husband,” but also a real personality, a dear and dear friend to his heart, with his own original character.

This character is created on the basis of accurate biographical facts. But, also in accordance with tradition, this theme - “empirical man”, which was allowed in satire, fable, comedy - is embodied in low words. Hence - “ride a nag”, “eat crackers”, “sleep on straw”, etc.

But in “Snigir” the mixture of high and low words gave a new quality, a new synthesis, primarily because for Derzhavin high and low words ceased to exist in their genre fixation. For Derzhavin, all words are equal.

They differ from each other only in their expressiveness and ability to convey the poet’s intention, this or that action, to capture an object, its color and quality, the peculiarity and originality of the depicted phenomenon, emotions, thoughts. Given in unity, these words in “Snigir” were subordinated to the task of recreating the living image of Suvorov.

Derzhavin’s individual style of lyricism, his “large syllable” marked the beginning of a new and important era in literature - the emergence of realism in lyricism. It did not develop immediately, constantly developing and enriching itself, freeing itself from the influence of classicist traditions. Derzhavin opened a new page in the history of Russian poetry at the time of the emerging crisis of classicism and the dominance of epigones.

Back in the 1930s. A study of the innovative nature of Derzhavin’s artistic system led the famous scientist G. A. Gukovsky to the conclusion that it was necessary to define his artistic method from the standpoint of historicism. It was clear to the researcher that “the poetic system of classicism was radically destroyed by Derzhavin.”

But, destroying the old system, Derzhavin created a new one. “In the very essence of his poetic method, Derzhavin gravitates towards realism. For the first time in Russian poetry, he perceives and expresses in words the visible, audible, carnal world of individual, unique things. The joy of finding the outside world sounds in his poems... It is difficult now to assess the significance of the revolution carried out in this regard by Derzhavin.”

Derzhavin’s artistic innovation in depicting a real person surrounded by genuine events and circumstances of life, everyday life, nature and things created the conditions for discovering the “secret of a person’s nationality” and made the poet able to reveal the national conditioning of the character of his hero.

Belinsky already emphasized both the nationality of Derzhavin’s poetry and his ability to reveal the “Russian mind.” “Derzhavin’s mind,” the critic wrote, “was a Russian mind, positive, alien to mysticism and mystery... his element and triumph was external nature, and his dominant feeling was patriotism.”

In his poetic messages and satirical odes “one can see practical philosophy Russian mind; therefore, their main distinguishing property is nationality, nationality, which does not consist in the selection of peasant words or forced counterfeiting to the tune of songs and fairy tales, but in the bend of the Russian mind, in the Russian way of looking at things. And in this respect, Derzhavin is people’s person to the highest degree.”

In Derzhavin, according to Belinsky, “we have... a great, brilliant Russian poet, who was a true echo of the life of the Russian people, a true echo of the century of Catherine II.”

History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.

One of the most significant phenomena in the literature of the last third of the 18th century. was the work of Derzhavin, the greatest Russian poet of the second half of the XVIII V. Derzhavin played a huge role in the development of Russian poetry from classicism to the preparation of those elements from which realistic Russian poetry of the 19th century was formed. Derzhavin began writing poetry during his military service, but he burned his early works in 1770. Derzhavin published his first collection anonymously: “Odes translated and composed at Mount Chitalagai.” In these poems the author imitates Lomonosov. New friends helped Derzhavin to embark on an independent path of creativity: Kapnist, Lvov and Khemnitser, who sought to give Russian poetry simplicity and nationality. The poet willingly learned from his friends and soon he published a number of outstanding works in the “St. Petersburg Bulletin” (“The Key”, “On the Death of Prince Meshchersky”, “The Birth of a Porphyroborn Youth”, etc.). The most important point in Derzhavin’s life there was the appearance in 1783 of “Felitsa”, in which the poet glorified Catherine II. Printed without the knowledge and without the author’s signature on the first page of the “Interlocutor,” “Felitsa” was read by the empress and she liked it extremely. She found out the name of the author and sent him 500 ducats in a gold snuff box as a reward. In response to reproaches of flattery and sycophancy caused by the success of Felitsa among the court, Derzhavin wrote the equally vivid Vision of Murza. The ode “God” finally established the glory of Derzhavin the poet. Derzhavin's poetry is predominantly lyrical in nature. Its originality lies in the enthusiasm of feelings and the sublimity of general ideas. Derzhavin called most of his poems “odes.” But in essence, his lyrics do not have that sharp distinction between genres that was established by the theory of classicism: his odes often merged with satire, then with idyll, then with philosophical reflection. Conventionally, according to the prevailing elements in them, Derzhavin’s poems can be divided into: laudatory (“Felitsa”), heroic (“Song of the Capture of Ishmael”), satirical (“To Rulers and Judges”), philosophical (“On the Death of Prince Meshchersky,” “ Waterfall"), anthologies (friendly messages and other genres of the so-called light poetry) (“Invitation to dinner”). The greatness of the human personality in general and, above all, the greatness of the Russian person constitutes the main pathos of Derzhavin’s poetry. Gogol wrote: “One can say about Derzhavin that he is a singer of greatness. Everything about him is majestic: majestic is the image of Catherine, majestic is Russia; his commanders are eagles..." Derzhavin's poetry sounds sometimes solemnly joyful, sometimes solemnly gloomy. The singer of Catherine and her “eagles” reflected all the splendor of the life of the ruling class at the time of its power and prosperity, all the luxury and wealth of noble life. A living reflection of the era when the Russian people, according to Belinsky, “were deafened by the thunder of victories, blinded by the brilliance of glory,” are Derzhavin’s heroic (victory) odes. The poet glorifies in them the heroism of the Russian people, the glory of its commanders and the victories of its weapons. But both in Derzhavin’s laudatory and heroic odes the class-historical limitations of the poet’s worldview could not be reflected. Only the greatness and glory of the people creates the greatness and glory of the kings - this is the main idea of ​​the “Song of the Taking of Ishmael.” Derzhavin’s satirical verses do not represent, so to speak, “pure” satire: the accusatory element, which penetrated into his laudatory odes, predominates in satirical verses, but is not the only one, since it is combined with instructive and laudatory. The best of these odes are: “To Rulers and Judges” and “Nobleman”. The Ode to Rulers and Judges is a bold poetic elaboration of Psalm 81 and is addressed to a higher authority. The poet is outraged by the evil and untruth reigning on earth, ruled by “earthly gods” - kings. In the ode “Nobleman,” the poet denounces the “noblety” who received exorbitant great importance precisely under Catherine II. It talks about what an ideal nobleman should be like. A nobleman who has risen to the nobility not on merit is only an idol placed in disgrace, “a lump of gilded dirt.” No amount of brilliance can cover up the lack of intelligence and talent. Peter is given as an example of true greatness, who “shone with majesty in his work.” Philosophical odes occupy one of the first places in Derzhavin’s lyrics. The solemn tone and majestic images of the ode corresponded here to sublime thoughts about life and death, about man and deity. “Waterfall” (at Kivach on the Suna River) is Derzhavin’s greatest ode. In its complex content, philosophical reflections, political ideas and enthusiastic praise are intertwined with picturesque paintings. Derzhavin sharply violated Lomonosov's theory of the “three calms”. He was not afraid of the juxtaposition of words of different stylistic colors. Derzhavin took new paths - a free, sincere expression of feelings (a harbinger of romanticism) and a truthful depiction of reality (a harbinger of realism).

13. “Journey from St. Petersburg to Moscow” A.N. Radishchev. Genre, composition, ideological content works. Disputes about Radishchev.

(1749-1802). Along with official activities in the 70-80s, literary activity Radishcheva. “Journey from St. Petersburg to Moscow” is Radishchev’s most remarkable work and one of the most outstanding creations not only of Russia, but of the entire European literature. The story is narrated in the first person, by a traveler who records his travel impressions. In “Journey from St. Petersburg to Moscow” there are elements of both classicism (the pathos of lyrical digressions) and sentimentalism (the experiences of the “traveler”). In composition, Radishchev allowed “free” constructions, a seemingly random change of images and paintings, reflections, etc. The author chose a verse from Trediakovsky’s “Tilemakhida” as the book’s epigraph: “The monster is loud, mischievous, huge, yawning and barking.” This expression is given a symbolic meaning: “monster” is the socio-political system of that time. Radishchev openly opposed serfdom and autocracy. There are many contrasts in the work: the idleness, luxury and debauchery of the landowners feed on the hard work, poverty and virtue of the peasants. Serfdom is the first appearance of the terrible “monster” that Radishchev dared to look at “straight”. R.'s book is full of descriptions of the terrible poverty of the peasants, their complete lack of rights under the pressure of the cruelest landlord exploitation. From a conversation with a peasant he met in the field, the traveler learns that he can work for himself only on Sundays and on moonlit nights, and all other days he works for the master (chapter “Lyuban”). One retired collegiate assessor, the owner of several hundred serfs, “regarded the peasants as cattle.” He forced the men to work for him all week, and fed them in his yard once a day. He was a greedy despot who beat the peasants. His wife and children took part in these tortures. After the master's son took away a peasant's bride, the people's patience ran out: the peasants rebelled and killed all the monsters (chapter “Zaitsovo”). The nobleman Someone, a failure in his career, acquired a village of 100-200 souls and, to enrich himself, forced all the peasants, wives and their children to work for himself all day of the year (chapter “Vyshny Volochok”). In the chapter “Pawns,” the traveler describes a peasant hut: the walls and ceiling are all covered in soot, the table was cut down with an ax. The poverty of the people is not their only disaster. In order to rob the peasants, the landowners deprive them of everything civil rights, insult, humiliate, trample in every possible way everything human in them - the feeling of kinship and love, the sense of self-dignity and honor. Here, for example, is the usual official announcement for the era about the sale of the estate and “six souls, male and female.” An old servant who once saved a gentleman in the war is for sale; old woman, nurse of the mother of a young landowner, etc. The chapter “Gordnya” tells the tragic story of a serf intellectual: Vanyusha rejoices in military service as a deliverance from slavery. Radishchev passionately denounces the exploiters of the people - the landowners. Landowners and peasants in “The Journey” are sharply opposed to each other in moral terms. Radishchev shows that the right of “soul ownership” corrupts, first of all, the serf owners themselves. Freeing the nobles from labor, it develops in them only brutal instincts. The images of landowners are deeply typical - the author depicts the most ordinary representatives of this class (robbers, torturers, rapists and libertines. Gentlemen are the source of moral decay in society. Peasants, in contrast to the depraved nobility, are physically and morally healthy people. The author's heroes are simple people; this is a modest but persistent plowman (chap. “Lyubani”); the hero-sailor saving those dying on the lake (chapter “Miracle”); a peasant guy defending the honor of his bride (chapter “Zaitsovo”). In the chapter “Edrovo”, Radishchev contrasts the empty and dissolute “boyars”-coquettes with a simple, mentally healthy peasant woman, capable of loving passionately and deeply. Last chapter "Travel" is "The Tale of Lomonosov". R. blames Lomonosov for flattering Elizabeth. But at the same time, R. highly appreciates Lomonosov’s genius. Autocracy is the second face of the terrible “monster”. It was clear to Radishchev that the monarchy of Ek. II is the organization of the domination of landowners over serfs. In the allegorical dream from ch. “Spasskaya Polest” autocracy is exposed especially mercilessly. The author depicts a ruler from whose eyes the Straight Look (truth) removed the “thorn.” Instead of luxury and splendor, the ruler saw the following: “my shiny clothes seemed stained with blood and soaked with tears. Those around me were even more stingy. They cast distorted glances at me and at each other, dominated by predation, envy and hatred. It is not difficult to guess that it is from Catherine’s reign that he tears off the mask. The call for revolution and the conviction of its inevitability are the main ideas of Radishchev, raising him to a height among other writers and thinkers of the 19th century. The call to revolt is heard in ch. “Vyshny Volochok and in the chapter “Zaitsovo”. The inevitability of the revolution is justified by the national character of the Russian people. Ek. II read the book in extreme irritation, and said about the author himself that he was a rebel worse than Pugachev.” Soon Radishchev found himself in the Peter and Paul Fortress, and the book was banned.

Derzhavin's poetic creativity falls mainly on the last two decades of the 18th - the first decade of the 19th centuries. And these are not only chronological boundaries. Derzhavin appeared in his work as a natural consequence of the entire development of new Russian literature that preceded him, from Kantemir, Lomonosov, Sumarokov to Kheraskov, Vasily Petrov, Vasily Maykov, Bogdanovich. In Derzhavin’s work, all the main poetic genres, cultivated in the poetry of the 18th century. But we also find something else in it. Derzhavin's innovation: 1- combination of high and low styles; 2- subjective beginning; 3 – expands the themes of poetry: political, philosophical, satirical poetry.

Philosophical poetry includes the ode “On the death of Prince Meshchersky”, building. death is depicted 1- in connection with life (in order to die, we are 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 own destiny. Innovation: Gov. about a specific person, and this is not the state. a figure, but an ordinary person, Der-n offers an individual, personal image, 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 art, according to Der-n, is to imitate nature, to follow national and historical characteristics, poetry should be useful and pleasant. Therefore, Der-n calls the basis of the art the truth of divine origin, which not everyone is given to know, the poet conveys the imtina to people, his role is great. "Monument", a free imitation of Horace's ode "To Melpomene". the thought of these poems is the thought of the right of poets to immortality.

Derzhavin in “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 to “truth to the kings with a smile speak".

In the poem “Swan”, under the image of the poet, Der-n sees a bifurcated being: earthly and heavenly. The most important thing for a poet is freedom; he is never understood by his contemporaries.

The ode “Felitsa” is distinguished by the fact 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 himself), at the level of style (combines a line from the Bible and a 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. Der-n demands humanity, mercy, and compassion for people from the Russian authorities. Der-n does not draw parallels with Ekat-na, this is some kind of ideal image, from which Ekat-na is far from.

Derzhavin addressed Catherine II not directly, but indirectly - through her literary personality, using for an ode the plot of a fairy tale that Catherine wrote for her little grandson Alexander. Characters in the allegorical “Tale of Prince Chlorus” - the daughter of the Kyrgyz-Kaisak khan Felitsa (from the Latin felix - happy) and the young prince Chlorus are busy searching for a rose without thorns (an allegory of virtue), which they find, after many obstacles and overcoming temptations, at the top of a high mountains, symbolizing spiritual self-improvement.

This is an indirect appeal to the empress through her artistic text gave Derzhavin the opportunity to avoid the protocol-odic, sublime tone of addressing the highest person. Taking up the plot of Catherine’s fairy tale and slightly aggravating the oriental flavor inherent in this plot, Derzhavin wrote his ode on behalf of “a certain Tatar Murza,” playing on the legend about the origin of his family from the Tatar Murza Bagrim.

Derzhavin’s solemn ode combines the ethical principles of older genres - satire and ode, which were once absolutely contrasting and isolated, but in “Felitsa” they were united into a single picture of the world. This combination in itself literally explodes from within the canons of the established oratorical genre of ode and classicist ideas about the genre hierarchy of poetry and the purity of the genre.

In the ode “Felitsa”, contemporaries, accustomed to abstract conceptual constructions of odic images of the ideal monarch, were shocked by the everyday concreteness and authenticity of the appearance of Catherine II in her everyday activities and habits: Without imitating your Murzas, you often walk on foot, and the simplest food happens at your table; Not valuing your peace, You read, write in front of the levy And from your pen you pour out Bliss to mortals; You don’t play cards like me, from morning to morning.

The individualized and specific 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 odic and satirical typology of imagery, deployed in the same plot motive of the daily routine: And I, having slept until noon, I smoke tobacco and drink coffee; Transforming everyday life into a holiday, I spin my thoughts in chimeras: Then I steal captivity from the Persians, Then I turn arrows towards the Turks; Then, dreaming that I am a sultan, I frighten the Universe with my gaze; Then suddenly , seduced by the outfit, I gallop to the tailor wearing a caftan...

And here it is impossible not to notice two things: firstly, that the technique of self-exposing characterization of vice in his direct speech genetically goes back 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 entire noble society,” Derzhavin, in essence, took advantage of the Lomonosov odic technique of constructing the image of the author. In Lomonosov’s solemn ode, the author’s personal pronoun “I” was nothing more than a form of expressing a general opinion, and the image of the author was functional only insofar as it was capable of embodying the voice of the nation as a whole - that is, it had a collective character.

Thus, in Derzhavin’s “Felitsa,” ode and satire, intersecting with their ethical genre-forming guidelines 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 called an “ode” should be attributed to the odic associations of the theme. In general, this is a lyrical poem that has finally parted with the oratorical nature of the high solemn ode and only partially uses some methods of satirical world modeling.

Perhaps this is precisely this - the formation of a synthetic poetic genre belonging to the field of pure lyricism - 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 scientists about the novel.

F. M. Dostoevsky’s novel “Crime and Punishment” is the greatest philosophical and psychological work. This is a novel about a crime, but the genre is not a “detective” or a “crime novel.” The main character of the novel, Rodion Raskolnikov, cannot be called a common 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 man, is brought 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 glaring social contradictions and shows the injustice of a proprietary society, which is criminal at its core.

Law and morality protect the life and “sacred property” of the moneylender and deny the right to a dignified 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, ruin her youth and honor, so that her family does not starve.

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

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

Raskolnikov's protest and indignation against public order are combined with the theory of " strong personality" Contempt for society, for its laws, moral concepts, for slavish obedience leads Raskolnikov to the assertion of the inevitability of a strong, ruling 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 permitted.”

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 the law that gives the right strong of the world He considers this 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 judgment 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, doubt and horror of the upcoming murder, that intense struggle of reason and good nature that Raskolnikov went through before picking up an ax. The natural feeling of an honest person, to whom the shedding of blood is alien and disgusting, rebels against precise, cold calculation and logical arguments of reason.

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

rebellion against everyone and everything, about asserting one’s personality (“Am I a louse like everyone else, or a human being”). But all the arguments of reason, which seemed so convincing to him, fall away one after another. 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 instability of these logical constructions, and therefore the absurdity of his monstrous experiment.

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

“I just killed a louse. Sonya, useless, nasty, malicious.

This man is a louse!

“But I know I’m not a louse,” he answered, looking at her strangely. “But 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 orders Raskolnikov to repent in accordance with popular ideas: to repent before Mother Earth, desecrated by murder, 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 one cannot achieve good through crime, even if good is many times greater than evil. Dostoevsky was against violence, and with his novel he polemicizes with revolutionaries who argued that the only path to universal happiness is to “call Rus' to the axe.” Dostoevsky was the first in world literature to show the profound disastrousness of the individualistic ideas of the “strong personality” and to understand their antisocial, inhuman nature.

Critics about Dostoevsky:

In Dostoevsky’s work, each hero solves his problems anew, with bloody hands he himself sets the boundaries of good and evil, each one himself transforms his own chaos into the world. Each hero is a servant, a herald of the new Christ, a martyr and a herald of the third kingdom. The primordial chaos also wanders within them, but the dawn of the first day, which gave light to the earth, and the premonition of the sixth day on which the creation will be dawned. new person. His heroes pave the way for a new world, Dostoevsky’s novel is a myth about a new man and his birth from the womb of the Russian soul... (S. Zweig. From the essay “Dostoevsky.”)

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

The great artist captivates his reader from the first words, then leads him along the steps of all kinds of falls and, forcing him to suffer them in his soul, finally reconciles him with the fallen, in which, through the transitory environment of the vicious, criminal person the eternal features of the unfortunate brother, drawn with love and ardent faith, shine through. The images created by Dostoevsky in the novel “Crime and Punishment” will not die, not only because of the artistic power of the image, but also as an example of the amazing ability to find the “living soul” under the most coarse, gloomy, disfigured form - and, having revealed it, show it with compassion and awe in it, either quietly smoldering or spreading a bright, reconciling light, is the spark of God.

Life represents three kinds of sick people, in the broad and technical sense of the word: sick of will, sick of mind, sick, 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 eclipse their deeply faithful pictures, scattered in such abundance 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. Providence of the artist and great power Dostoevsky's creativity created pictures 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 sorrowful aspects of human life. (A.F. Koni. From the article “F.M. Dostoevsky.”)

In Dostoevsky's works we find one common feature, more or less noticeable in everything he wrote: this is pain about a person who recognizes himself as unable, or finally, not even entitled, to be a real, complete person, an independent person, by themselves. Every person should be a person and treat others as a person treats a person. (N.A. Dobrolyubov. From memories 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... (I. F. Annensky. From the essay “Speech about Dostoevsky.”)

Sonya’s heart is so completely given over to the torments of others, she sees and foresees so much of them, and her compassion is so insatiably greedy that her own torments and humiliations cannot help but seem to her only as a detail - there is no longer room for them in her heart.

Sonya is followed by her father in the flesh and her child in spirit - old Marmeladov. And he is more complex than Sonya in thought, because by accepting sacrifice, he also accepts suffering. He is also meek, but not with the overshadowing meekness, but with the 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 or a victim, he may even be a monster, but not a selfish person - most importantly, he does not complain, on the contrary, he is glad to be reproached. And loving, he is ashamed of his love, and for this she, love, experiences 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 border 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 still one and the same.

Only by overcoming this logical contradiction can we accept the special 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 twentieth century"