Derzhavin is an innovative poet. The evolution of the ode genre in the last third of the 18th century
Oh yeah.
This is a laudable song, in which the principle of didacticism was preserved. The main thing in it is to express pathos.
- Commendable;
- Heroic;
- Philosophical;
- Anacreontic;
- Spiritual (arrangement of the psalms of David);
- Civil (addressed to persons endowed with great political power, their pathos is not so much laudatory, but also accusatory, Derzhavin).
The structure of the ode.
- The attack (bold or gradual), the theme or hero is indicated;
- Proof;
- Conclusion.
There are lyrical digressions in the ode. It was originally written as an oratorical genre.
The ode is characterized by: mutual words (direct speech), ancient images and heroes, inversions, many Old Slavonicisms, personifications, metaphors, hyperbole, etc.
The ode was written in odic stanza: 10 lines: abab, cc, gddg. Each line was written in iambic tetrameter.
Odes of Derzhavin.
Derzhavin's poetic work is extensive and mainly represented by odes, among which the following types can be distinguished: civil, victorious-patriotic, philosophical and anacreontic. A special place is occupied by autobiographical poetry.
Civic odes.
These works of Derzhavin are addressed to persons endowed with great political power: monarchs, nobles. Their pathos is not only laudatory, but also accusatory, as a result of which Belinsky calls some of them satirical.
The ode "Felitsa" was written at the end of the 18th century. It reflects a new stage of enlightenment in Russia. Enlighteners now see in the monarch a person to whom society has entrusted the care of the welfare of citizens. Therefore, the right to be a monarch imposes numerous duties on the ruler in relation to the people. In the first place among them is legislation, on which, according to the educators, the fate of subjects primarily depends. And Derzhavin's Felitsa acts as a gracious legislator monarch.
Lomonosov
entered the history of Russian literature primarily as an ode writer. Contemporaries called him the Russian Pindar. Oda is a lyric genre. She passed into European literature from ancient poetry. Russian literature of the 18th century the following varieties of the ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In most cases, the ode consists of stanzas with repeated rhymes. In Russian poetry, the ten-line stanza proposed by Lomonosov most often took place.
Lomonosov began with the victoriously patriotic Ode on the Capture of Khotin. For Lomonosov, a hyperbolic style is typical with a mass of detailed comparisons, metaphors and personifications. In his odes, the pathetic tone is enhanced by rhetorical questions and exclamations by the author. Lomonosov often refers to the past of Russia, historical parallels will become after Lomonosov one of the stable features of the odic genre.
Odes of Lomonosov belong to the first stage of Russian classicism. They bear the imprint of the ideology of the Petrine era, when the main task was to strengthen the military, economic and political power of Russia.
Most of the odes of Lomonosov were written in connection with the annually celebrated day of the accession to the throne of a particular monarch. Lomonosov wrote odes dedicated to Anna Ioannovna, Ivan Antonovich, Elizaveta Petrovna, Peter III and Catherine II. The odes were commissioned by the government and their reading was part of the festive ceremony. However, the content and significance of Lomonosov's commendable odes is immeasurably wider and more important than their official court role. In each of them, the poet developed his ideas and plans related to the fate of the Russian state.
eulogy seemed to Lomonosov the most convenient form of conversation with the tsars. Her complimentary style softened the instructions, made it possible to present them in a pleasant tone, not offensive to the vanity of the rulers.
As a rule, Lomonosov gave his advice in the form of praise for deeds that the monarch had not yet done, but which the poet himself considered important and useful for the state. So the desired was presented as real, praise obliged the ruler in the future to be worthy of it.
The artistic originality of Lomonosov's commendable odes is entirely determined by their ideological content. Each ode is an inspired monologue of the poet, clothed in poetic form. Typical oratorical devices are abundantly introduced into the author's speech - questions, exclamations, with which Lomonosov in a number of cases begins his odes.
Lomonosov also proved himself in the fieldspiritual ode.
Spiritual odes in the XVIII century. called poetic transcriptions of biblical texts with lyrical content. In the first place among them was the book of psalms. Turning to the Bible, the poets found in it topics close to their own thoughts and moods. As a result, spiritual odes could have the most diverse character - from purely personal, intimate to high, civil. In the latter case, the unquestioned authority of the Bible helped to pass their verses through censorship slingshots. In the XVIII century. in addition to Lomonosov, Trediakovsky, Sumarokov, Kheraskov, Derzhavin wrote spiritual odes, and in the 19th century, Decembrist poets. In the spiritual odes of Lomonosov, two themes are clearly traced: admiration for harmony, the beauty of the universe and an angry denunciation of the persecutors, the poet's ill-wishers. Both themes had their own biographical basis.
In comparison with laudable ones, Lomonosov's spiritual odes are distinguished by brevity and simplicity of presentation. Some of Lomonosov's spiritual odes became "cants", that is, folk songs, and were popular not only in the 18th, but also in the 19th centuries.
- Low genres of Russian classicism. The heroic comic poem "Elisha, or the irritated Bacchus" by V. Maikov.
Heroes of low genres are a local provincial nobleman, representatives of the third estate.
Low genres were written in a low style (prose).
Heroes-comic poem.
It was revived in the 17th century in France at the Burles school and had 2 variants.
- A low life was depicted, but a tall hero;
- Low hero and high style.
Heroes-comic poem - a historical genre of comic poetry in European literatures of the 18th century, examples of which are characterized by a contrast of thematic and stylistic plans.
Fables.
The fable is two-part, it has a narrative and moralizing. It is distinguished by the simplicity of speeches and low style, it always contains laughter.
Comedy.
There are private issues of public importance. It is didactic, the characters have speaking names and surnames. The hero is low, this is the bearer of one trait (positive and negative heroes are quantitatively balanced). The positive hero is a reasoner, that is, a broadcaster of truths.
Comedies are written in a low style, prose and colloquial words are allowed. The rule of three unities is obligatory for comedy.
Stages of development of comedy:
- The Formation of Comedy (Sumarokov), sitcom of the 50s. "empty quarrel", "monster", "tresotinius";
- 60-80s. The assertion of comedy as the leading genre of classicism, the comedy of characters;
- The statement of a comedy of high public importance.
Heroic-comic poem by V.I. Maykov Elisha, or the irritated Bacchus. Genre innovation of the poet.
French literature of the 17th century. two types of comic poems were distinguished: burlesque, from the Italian word burla - a joke, and hero-comic. The most striking representative of burlesque in France was the author of the Comic Novel, Paul Scarron, who wrote the poem Virgil Inside Out. As an ardent opponent of classic literature, he decided to ridicule Virgil's Aeneid. To this end, he coarsens the language and characters of the work. The poem was a resounding success and caused many imitations. This caused indignation at the head of French classicism, Boileau, who, in The Art of Poetry, condemned burlesque as a rough, square genre. He wrote the heroic-comic poem "Naloy", where low matter was expounded in a high style. The fight between two churchmen over the place where the nala should stand was described in high style and Alexandrian verses.
The appearance in Russia of burlesque and heroic-comic poems was not a sign of the destruction of classicism. This genre was legitimized by Sumarokov in his Epistle on Poetry. Sumarokov himself did not write a single comic poem, but this was done by his student, Vasily Ivanovich Maikov (1728-1778).
Maikov owns two heroic poems - "The Lomber Player" (1763) and "Elisha, or the Irritated Bacchus" (1771). In the first of them, the comic effect is created by the fact that the adventures of the card player are described in a high, solemn style. The game itself is compared to the Battle of Troy. The gods are played by card figures.
Elisha enjoyed immeasurably great success. The originality of the poem is primarily in the choice of the protagonist. This is not a mythological character, not a major historical figure, but a simple Russian peasant, the coachman Elisha. His adventures are emphatically rude and even scandalous. They begin in a tavern, where Elisha smashed the entire drinking house. Then they continue in the workhouse for depraved women, in which he starts an "affair" with the head of this institution. The last adventure of Elisha was participation in a fight between coachmen and merchants, after which he was arrested as a runaway peasant and handed over to the soldiers.
The poem was strongly influenced by folklore. In a household fairy tale, the image of a resourceful artisan who triumphs over rich and eminent offenders and enters into a love affair with their wives has long been popular. The famous cap of invisibility was transferred from the folk tale, helping the hero in difficult times. In the description of the “wall to wall” fights, an epic about Vasily Buslaev is heard, the Author even used her language. But Maykov created not an epic, not a heroic epic, but a funny, funny poem. To “wear out” the “gut readers” - this is how the poet himself formulated his task.
In numerous comic situations, the author showed truly inexhaustible ingenuity: the hero’s stay in the workhouse, which he first mistook for a convent, a love rivalry with an old corporal, the appearance of Elisha in an invisible cap in the farmer’s house, and much more. Comic effect in describing fights and love hero enhanced by the use of a solemn syllable drawn from the arsenal of the epic poem. Laughter causes a discrepancy between the "low" content of the poem and the "high" epic form in which it is clothed. Here Maikov is a worthy successor to Boileau. Thus, the first song begins with the traditional "I sing" and a summary of the object of chanting. The narrative itself, in the spirit of the Homeric poems, was repeatedly interrupted by a reminder of the change of day and night. Fisticuffs with flattened noses, bitten off ears, torn off sleeves, bursting ports are likened to ancient battles, and their participants are like the ancient heroes Ajax, Diomedes, etc.
The originality of Maykov's poem is that he inherited the techniques not only of Boileau, but also of Scarron, whose name is repeatedly mentioned in the Elisha. Another type of comic contrast comes from Scarron's poem: exquisite heroes commit rude, ridiculous acts (Pluto, along with the priests, feasts at the wake, Venus debauches with Mars, Apollo chop wood with an ax, while maintaining the rhythm of iambic, then chorea).
Created in the era of classicism, Maykov's poem was perceived as an enrichment of this trend with another genre. The heroic-comic poem expanded the idea of the artistic possibilities of the genre of the poem and showed that it allows only historical high, but also modern, even comic content.
- Genre of fable in the literature of classicism.
Fables.
The goal is the affirmation of social and moral ideals through laughter.
Fables are fictitious narratives that have moralizing in them.
- Natural, the hero is a person;
- Mixed - the hero is a man and an animal;
- Unnatural - the hero is an animal.
The fable is two-part, it has a narrative and moralizing. It is distinguished by the simplicity of speeches and low style, it always contains laughter.
Signs (V.K. Trediakovsky):
Introduction
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Bibliography
Introduction
The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov - philologist, writer. His works in the field of literature, philology marked the rise national culture Russia. It is hard to imagine development in Russia literary language, poetry, grammar without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and prose theory are not just the most important scientific discoveries, and are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia in, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own peace program. 1. Joyful change ... - palace coup who brought Elizabeth to the throne. 2. He sent a Man to Russia ... - Peter I. 3. Then the sciences are divine ... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate ... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana - Latin name Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.
9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. Science feeds young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (born in 120 BC).
Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the others, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"
For the first time - “Interlocutor”, 1783, part 1, p. 5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782". To the last words, the editors gave a note: “Although we do not know the name of the writer, we know that this ode was accurately composed on Russian language". Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good acquaintance of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, a figure in the field public education, later to the minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show her to various people, including introducing her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of "Interlocutor" was due political events the beginning of the 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing minds, as an apparatus for disseminating favorable interpretations of the phenomena of the domestic political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian history”, was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own heart. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on the evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received as a gift from the Empress golden snuffbox with 500 chervonets and was personally presented to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where Murza describes himself, almost the same poetry will remain without poetry” (Poln. sobr. soch., vol. 2, 1941, p. 217) . “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess, because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in Orenburg province in the vicinity of the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".
Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.
Not imitating your Murzas, that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks as if about himself, then the murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activities of the empress. Naloy (obsolete, colloquial), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus. You don’t enter the meeting of the spirits, You don’t go from the throne to the East - that is, you don’t attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century - members of organizations ("lodges") that professed mystical and moralistic teachings and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, the Illuminati, belonged to a number of leaders French Revolution 1789 In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N. I. Novikov, a remarkable Russian educator, writer and book publisher, his assistants in publishing, I. V. Lopukhin, S. I. Gamaleya and others) were especially hostile towards the empress. They considered her an invader of the throne and wished to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, as long as it was to his advantage, was very sympathetic to the "Martinists" (according to some evidence, he even adhered to their teachings). Freemasons have become especially active since the mid-1780s, and Catherine composes three comedies: “The Siberian Shaman”, “The Deceiver” and “Seduced”, writes “The Secret of the Anti-Absolute Society” - a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police action.
And I, having slept until noon, etc. “Relates to the whimsical disposition of Prince Potemkin, like all three of the following couplets, who either went to war or practiced dressing up, feasting and all kinds of luxuries.” Zug - a team of four or six horses in pairs. The right to drive in a train was a privilege of the highest nobility.
I'm flying on a fast runner. This also applies to Potemkin, but “more to c. Al. Gr. Orlov, who was a hunter before horse racing. At the Orlov stud farms, several new breeds of horses were bred, of which the breed of the famous "Orlov trotters" is the most famous.
Or fist fighters - also refers to A.G. Orlov. And I amuse myself with the barking of dogs - refers to P.I. Panin, who loved dog hunting.
I amuse myself at night with horns, etc. “Refers to Semyon Kirillovich Naryshkin, who was then the Jägermeister, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be played from each horn, and all together are, as it were, one instrument. Walks of noblemen along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Ile, sitting at home, I will tell. “This couplet refers in general to the ancient customs and amusements of Russians,” I read Polkan and Bova. "Relates to the book. Vyazemsky, who loved to read novels (which the author, while serving in his team, often read in front of him, and it happened that both dozed off and did not understand anything) - Polkan and Bovu and the famous old Russian stories "Derzhavin means a translated novel about Beauvais, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.
Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Khlor. “As far as is known, she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as mentioned above, led a lazy and luxurious life, and the second often grumbled when money was demanded from him, as a manager of the treasury.
Dividing Chaos into spheres harmoniously, etc., is an allusion to the establishment of provinces. In 1775, Catherine published the "Institution on the provinces", according to which all of Russia was divided into provinces.
What renounced and be reputed to be wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for the development of a draft new code; she did the same in 1779, when the St. Petersburg nobility offered her the title of "Great".
And you allow to know and think. In the "Instruction" of Catherine II, compiled by her for the Commission for the development of a draft of a new code and which was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the XVIII century, there are indeed a number of articles summary which this stanza is. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: we have come to know great amount"cases" of people arrested by the Secret Expedition precisely on charges of "speaking" "indecent", "obscene", etc. words addressed to the empress, heir to the throne, Prince. Potemkin, etc. Almost all of these people were brutally tortured by the "whip fighter" Sheshkovsky and severely punished by secret courts.
There you can whisper in conversations, etc., and the next stanza is an image of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered malefactors against the empress or the state; who did not drink a large glass of wine, “offered for the health of the queen”, who accidentally dropped a coin with her image were suspected of malicious intent and fell into secret office. A slip of the pen, an amendment, a scraping, a mistake in the imperial title entailed punishment with whips, as well as the transfer of the title from one line to another. Rude clownish "amusements" were widespread at court, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an "ice house" was built; titled jesters sat down in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorine", "The Tale of Tsarevich Fevey." Don't do anything bad. "Instruction" to Chlorus, transcribed by Derzhavin into verse, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools by the highest command", which was also composed by Catherine for her grandchildren. Lancet means - i.e. bloodshed.
Tamerlane (Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.
Who pacified the battle, etc. “This couplet refers to the time of peace at that time, after the end of the first Turkish war (1768-1774 - V.Z.) flourished in Russia, when many philanthropic institutions were made by the empress, such as: educational home, hospitals, etc. Which granted freedom, etc. Derzhavin lists some laws issued by Catherine II, which were beneficial to the noble landowners and merchants: she confirmed this Peter III permission for nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the ban on logging on their lands without government control; “allowed free navigation on the seas and rivers for trade”, etc.
3. A.N. Radishchev "Liberty"
Do you want to know who am I? what am I? where am i going?
I am the same as I was and will be all my life:
Not cattle, not a tree, not a slave, but a man!
To pave the way, where there was no trace
For greyhound daredevils both in prose and in verse,
Sensitive hearts and truth I fear
I'm going to the Ilim prison. January - July 1791
The ode "Liberty" of the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry with late XVIII and until the 1830s.
The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.
“The plot of “Liberty” is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. .26).
The ode summed up the evolution of the Russian advanced political thought on the eve of the French bourgeois revolution. In the future, she had a huge impact on the formation of the ideology of the noble revolutionaries. Assessing Radishchev's influence, Herzen noted in 1858 that no matter what Radishchev wrote about, "you still hear the familiar chord that we are accustomed to hearing in Pushkin's first poems, and in Ryleev's Thoughts, and in our own heart." Ode "Liberty" did not lose its significance for the revolutionary democrats of the 1860s, but could only be mentioned in oblique terms.The tyrannical pathos and the call for a revolution that should sweep away the power of the tsars determined the constant, deep influence of the ode.
The word "freedom" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" - the title of Pushkin's ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode by Pushkin, called it "Freedom".
Seven lines “Do you want to know: who am I? what am I? where am I going...” is also often found in lists that have been circulating since the 1820s.
Conclusion
Thus, in the literature of the 18th century there were two currents: classicism and sentimentalism. The ideal of classicist writers is a citizen and patriot, striving to work for the good of the fatherland. He must be active. creative personality, fight against social vices, with all manifestations of "malice and tyranny" Such a person needs to abandon the desire for personal happiness, to subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. From the eighteenth century, the process of democratization of literature began.
And again, Russian reality invaded the world of literature and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin and other poets and writers of the 18th century took only the first step in understanding national character, showing the nobleman both in the service of the Fatherland and at home. Wholeness and completeness inner life humans have not yet been revealed.
Bibliography
1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.
2. Herzen A.I. Preface to the book "On the Damage of Morals in Russia" by Prince M. Shcherbatov and "Journey" by A. Radishchev // Collected. op. M., 1958. T. 13. 296 p.
3. Derzhavin G.R. complete collection poems. Leningrad "Soviet writer" 1957. - 480 p.
G.R. Derzhavin. Complete collection of poems. Leningrad "Soviet writer" 1957. - S. 236.
Herzen A.I. Preface to the book “On the Damage of Morals in Russia” by Prince M. Shcherbatov and “Journey” by A. Radishchev // Collected. op. M., 1958. T. 13. S. 273.
Nekrasov N. A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. S. 21
Introduction
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Bibliography
Introduction
The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode, the contradiction between its complimentary nature and real political content, was especially acute: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own program of peace. 1. Joyful is the change... the palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... Peter I. 3. Then the sciences are divine ... we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate... Peter I died in 1725. 5. Catherine I (16841727) wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Columbus Russian Vitus Bering (16811741) Russian navigator.
8. Tops of the Rifey... Ural.
9. Plato (427347 BC) Greek philosopher. 10. Newton Isaac Newton (16431727) English physicist and mathematician. 11. Science feeds young men... the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (10643 BC) in defense of the poet Archius (b. 120 BC).
The deep ideological content, ardent patriotism, the majestic and solemn style of the Lomonosov ode to a new, unlike the rest, type, its stable strophic organization, the correct size of iambic tetrameter, rich and varied rhyme, all this was new not only for Russian literature, but also for the history of this the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"
For the first time, “Interlocutor”, 1783, part 1, p.5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The friends of the poet N.A. were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s 1819), who began to show it to various people, including introduced her to Princess E. R. Dashkova, who had been appointed director of the Academy of Sciences since 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on the evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically her nobles, fell into the hands of the government, Catherine liked it. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the Empress Felice and the Kyrgyz princess because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood of Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" "happy", "felicitas" "happiness".
Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.
Not imitating your Murzas, that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks, as it were, about himself, then Murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activities of the empress. Naloy (obsolete, colloquial), more precisely "lectern" (church.) A high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her state secretaries Elagin, Khrapovitsky and others. The Parnassian horse Pegasus. You don’t enter the meeting of the spirits, You don’t go from the throne to the East, that is, you don’t attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century members of organizations ("lodges") that professed a mystical and moralistic doctrine and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N. I. Novikov, a remarkable Russian educator, writer and book publisher, and his assistants on publishing, I. V. Lopukhin, S. I.
Introduction
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Introduction
The main direction in the literature of the XVIII century. became classicism. This style developed as a result of the creative assimilation of forms, compositions and samples of art from the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language.
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own peace program. 1. Joyful change ... - a palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia ... - Peter I. 3. Then the sciences are divine ... - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate ... - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.
9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. Science feeds young men... - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (born in 120 BC).
Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the others, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"For the first time - “Interlocutor”, 1783, part 1, p. 5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to different people, including Among them, he introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on the evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess, because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood from the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".
Your son is accompanying me. In the tale of Ekaterina, Felitsa gave Tsarevich Chlor her son Reason as a guide.
Not imitating your Murzas, that is, courtiers, nobles. The word "Murza" is used by Derzhavin in two ways. When Murza speaks about Felitsa, then Murza means the author of the ode. When he speaks as if about himself, then the murza is a collective image of a nobleman-court. You read, you write before the tax. Derzhavin has in mind the legislative activities of the empress. Naloy (obsolete, colloquial), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk". You can't saddle a parnasca horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus. You don’t enter the meeting of the spirits, You don’t go from the throne to the East - that is, you don’t attend Masonic lodges, meetings. Catherine called the Freemasons "a sect of spirits." "Easts" were sometimes called Masonic lodges Masons in the 80s. 18th century - members of organizations ("lodges") that professed mystical and moralistic teachings and were in opposition to the Catherine's government. Freemasonry was divided into various currents. One of them, Illuminism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called “Moscow Martinists” (the largest of them in the 1780s were N. I. Novikov, a remarkable Russian educator, writer and book publisher, and his assistants in publishing, I. V. Lopukhin, S. I. Gamaleya, and others) were especially hostile towards the empress. They considered her an invader of the throne and wished to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, as long as it was to his advantage, was very sympathetic to the "Martinists" (according to some evidence, he even adhered to their teachings). Freemasons have become especially active since the mid-1780s, and Catherine composes three comedies: “The Siberian Shaman”, “The Deceiver” and “Seduced”, writes “The Secret of the Anti-Absolute Society” - a parody of the Masonic charter. But she managed to defeat Moscow Freemasonry only in 1789-1793. through police action.
And I, having slept until noon, etc. “Relates to the whimsical disposition of Prince Potemkin, like all three of the following couplets, who either went to war or practiced dressing up, feasting and all kinds of luxuries.” Zug - a team of four or six horses in pairs. The right to drive in a train was a privilege of the highest nobility.
I'm flying on a fast runner. This also applies to Potemkin, but “more to c. Al. Gr. Orlov, who was a hunter before horse racing. At the Orlov stud farms, several new breeds of horses were bred, of which the breed of the famous "Orlov trotters" is the most famous.
Or fist fighters - also refers to A.G. Orlov. And I amuse myself with the barking of dogs - refers to P.I. Panin, who loved dog hunting.
I amuse myself at night with horns, etc. “Refers to Semyon Kirillovich Naryshkin, who was then the Jägermeister, who was the first to start horn music.” Horn music is an orchestra consisting of serf musicians, in which only one note can be played from each horn, and all together are, as it were, one instrument. Walks of noblemen along the Neva, accompanied by a horn orchestra, were a common occurrence in the 18th century. Ile, sitting at home, I will tell. “This couplet refers in general to the ancient customs and amusements of Russians,” I read Polkan and Bova. "Relates to the book. Vyazemsky, who loved to read novels (which the author, while serving in his team, often read in front of him, and it happened that both dozed off and did not understand anything) - Polkan and Bovu and the famous old Russian stories "Derzhavin means a translated novel about Beauvais, which later turned into a Russian fairy tale. But every person is a lie - a quote from the Psalter, from Psalm 115.
Between the lazy and the grouch. Lentyag and Grumpy are the characters of the fairy tale about Tsarevich Khlor. “As far as is known, she meant by the first book. Potemkin, and under another book. Vyazemsky, because the first, as mentioned above, led a lazy and luxurious life, and the second often grumbled when money was demanded from him, as a manager of the treasury.
Dividing Chaos into spheres harmoniously, etc., is an allusion to the establishment of provinces. In 1775, Catherine published the "Institution on the provinces", according to which all of Russia was divided into provinces.
What renounced and be reputed to be wise. Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for the development of a draft new code; she did the same in 1779, when the St. Petersburg nobility offered her the title of "Great".
And you allow to know and think. In the “Instruction” of Catherine II, which she compiled for the Commission for the development of a draft new code and was a compilation of the works of Montesquieu and other philosophers of the Enlightenment of the 18th century, there are indeed a number of articles, a summary of which is this stanza. However, it was not for nothing that Pushkin called the “Instruction” “hypocritical”: we have heard a huge number of “cases” of people arrested by the Secret Expedition precisely on charges of “speaking” “indecent”, “obscene” and other words addressed to the Empress, heir to the throne, Prince . Potemkin, etc. Almost all of these people were brutally tortured by the "whip fighter" Sheshkovsky and severely punished by secret courts.
There you can whisper in conversations, etc., and the next stanza is an image of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes, there were laws according to which two people whispering to each other were considered malefactors against the empress or the state; who did not drink a large glass of wine, “offered for the health of the queen”, who accidentally dropped a coin with her image were suspected of malicious intent and ended up in the Secret Chancellery. A slip of the pen, an amendment, a scraping, a mistake in the imperial title entailed punishment with whips, as well as the transfer of the title from one line to another. Rude clownish "amusements" were widespread at court, such as the famous wedding of Prince Golitsyn, who was a jester at court, for which an "ice house" was built; titled jesters sat down in baskets and clucked chickens, etc. You write teachings in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorine", "The Tale of Tsarevich Fevey." Don't do anything bad. "Instruction" to Chlorus, transcribed by Derzhavin into verse, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools by the highest command", which was also composed by Catherine for her grandchildren. Lancet means - i.e. bloodshed.
Tamerlane (Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.
Who pacified the battle, etc. “This couplet refers to the time of peace at that time, after the end of the first Turkish war (1768-1774 - V.Z.) flourished in Russia, when many philanthropic institutions were made by the empress, such as: educational home, hospitals, etc. Who granted freedom, etc. Derzhavin lists some laws issued by Catherine II that were beneficial to the noble landowners and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the ban on logging on their lands without government control; “allowed free navigation on the seas and rivers for trade”, etc.
3. A.N. Radishchev "Liberty"Do you want to know who am I? what am I? where am i going?
I am the same as I was and will be all my life:
Not cattle, not a tree, not a slave, but a man!
To pave the way, where there was no trace
For greyhound daredevils both in prose and in verse,
Sensitive hearts and truth I fear
I'm going to the Ilim prison. January - July 1791
The ode "Liberty" by the great Russian revolutionary enlightener is one of the works most often found in the lists of free poetry from the end of the 18th century to the 1830s.
The ode was persecuted with particular fury by the censorship: its discovery by the authorities, even under random circumstances, promised serious reprisals.
“The plot of “Liberty” is based on general educational theories of natural law and social contract, rethought by Radishchev in a revolutionary spirit.” (Zapadov V.A. Poetry A.N. .26).
The ode summed up the evolution of Russian advanced political thought on the eve of the French bourgeois revolution. In the future, she had a huge impact on the formation of the ideology of the noble revolutionaries. Assessing Radishchev's influence, Herzen noted in 1858 that no matter what Radishchev wrote about, "you still hear the familiar chord that we are accustomed to hearing in Pushkin's first poems, and in Ryleev's Thoughts, and in our own heart." Ode "Liberty" did not lose its significance for the revolutionary democrats of the 1860s, but could only be mentioned in oblique terms.The tyrannical pathos and the call for a revolution that should sweep away the power of the tsars determined the constant, deep influence of the ode.
The word "freedom" in the lexicon of the XVIII century meant independence, political freedom and had some semantic difference from the word "freedom": it was "Liberty" - the title of Pushkin's ode of 1817. Later, this shade was erased, and Nekrasov in 1877, referring to this ode by Pushkin, called it "Freedom".
Seven lines “Do you want to know: who am I? what am I? where am I going...” is also often found in lists that have been circulating since the 1820s.
Conclusion
Thus, in the literature of the 18th century there were two currents: classicism and sentimentalism. The ideal of classicist writers is a citizen and patriot, striving to work for the good of the fatherland. He must become an active creative person, fight against social vices, with all manifestations of "malice and tyranny." Such a person must give up the pursuit of personal happiness, subordinate his feelings to duty. Sentimentalists subordinated everything to feelings, to all sorts of shades of mood. The language of their works becomes emphatically emotional. The heroes of the works are representatives of the middle and lower classes. From the eighteenth century, the process of democratization of literature began.
And again, Russian reality invaded the world of literature and showed that only in the unity of the general and the personal, and in the subordination of the personal to the general, can a citizen and a person take place. But in the poetry of the end of the 18th century, the concept of "Russian man" was identified only with the concept of "Russian nobleman". Derzhavin and other poets and writers of the 18th century took only the first step in understanding the national character, showing the nobleman both in the service of the Fatherland and at home. The wholeness and fullness of man's inner life has not yet been revealed.
Bibliography
1. Berkov P.N. History of Russian journalism of the 18th century. M. - L., 1952. - 656 p.
2. Herzen A.I. Preface to the book "On the Damage of Morals in Russia" by Prince M. Shcherbatov and "Journey" by A. Radishchev // Collected. op. M., 1958. T. 13. 296 p.
3. Derzhavin G.R. Complete collection of poems. Leningrad "Soviet writer" 1957. - 480 p.
4. N.A. Dobrolyubov. Works, vol. 1. Leningrad. - 1934. - 600 p.
5. Zapadov V.A. Poetry A.H. Radishchev // Radishchev A. N. Poems. L., 1975. - 122 p.
6. History of Russian literature / ed. D.S. Likhachev, P. Makogonenko. - L., 1999. - 318 p.
7. Lomonosov M.V. Full composition of writings. - M., 1955. - t 4, p. 165.
8. Nekrasov N.A. Autobiographical notes, From the diary // Full. coll. op. and letters. M., 1953. T. 12. - 534 p.
9. Russian poets. Anthology of Russian poetry in 6 volumes. Moscow: Children's Literature, 1996. - 346 p.
Introduction
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
2. G.R. Derzhavin "Felitsa"
3. A.N. Radishchev "Liberty"
Conclusion
Bibliography
Introduction
The main direction in the literature of the XVIII century. became classicism. This style has developed as a result of the creative development of forms, compositions and patterns of art.
va of the ancient world and the Renaissance. The artist, according to the founders of classicism, comprehends reality in order to then display in his work not a specific person with his passions, but a type of person, a myth, in a word, the eternal in the temporal, the ideal in the real. If this is a hero, then without flaws, if the character is satirical, then it is base to the end. Classicism did not allow the mixing of “high” and “low”, and therefore between genres (for example, tragedy and comedy) boundaries were established that were not violated.
Russian classicism attached particular importance to “high” genres: epic poem, tragedy, solemn ode. The creator of the ode genre in Russian literature was M.V. Lomonosov.
The purpose of this essay is to review and study the evolution of the ode in Russian literature of the 18th century (from the ode of Lomonosov to the ode of Derzhavin and Radishchev).
1. M.V. Lomonosov "On the day of the accession to the throne of Empress Elizabeth ... 1747"
M.V. Lomonosov - philologist, writer. His works in the field of literature and philology marked the rise of the national culture of Russia. It is difficult to imagine the development of the literary language, poetry, and grammar in Russia without the fundamental works of Lomonosov. Under his influence, a whole generation of Russian people grew up, which accepted his advanced ideas and sought to develop them further. Lomonosov was convinced of the need for a synthesis in poetry of the Russian and Church Slavonic languages, created a Russian ode, and was the first to write poetry in a language accessible to a wide range of readers. His undoubted merit in the field of the Russian language can be considered the creation of the first Russian grammar and the compilation of the first textbook of the Russian language. AAAAAAAAAAAAAAAAAAAAAAAAAAA
In this work, we aim to show that Lomonosov's achievements in poetry, philosophy and the theory of prose are not just the most important scientific discoveries, but are rightfully considered fundamental works in the field of literature, which marked a new rise in the national culture of Russia. V.G. Belinsky noted that he was her "father and tutor", "he was her Peter the Great", for he gave direction to "our language and our literature."
It was written in the year when Elizaveta Petrovna approved the new charter and staff of the Academy of Sciences, doubling the amount of funds for its needs. Here the poet glorifies the world, fearing a new war, in which Austria, England and Holland, who fought with France and Prussia, drew Russia, demanding that Russian troops be sent to the banks of the Rhine. In this ode, the contradiction of the entire genre of laudatory ode was especially acute - the contradiction between its complementarity and real political content: the poet, on behalf of Elizabeth, glorifies "silence", outlining his own peace program. 1. Joyful change. - Palace coup that brought Elizabeth to the throne. 2. He sent a Man to Russia. - Peter I. 3. Then sciences are divine. - we are talking about the Academy of Sciences founded by Peter I, opened after his death in 1725. 4. Jealously rejected by fate. - Peter I died in 1725. 5. Catherine I (1684-1727) - wife of Peter I, Russian empress. 6. Sequana is the Latin name for the Seine, an allusion to the Paris Academy of Sciences. 7. Russian Columbus - Vitus Bering (1681-1741) - Russian navigator.
8. The tops of the Riphean. - Ural.
9. Plato (427-347 BC) - Greek philosopher. 10. Newton - Isaac Newton (1643-1727) - English physicist and mathematician. 11. Science feeds young men. - the stanza is a poetic translation of a fragment from the speech of the Roman orator and politician Mark (106-43 BC) in defense of the poet Archius (born in 120 BC).
Deep ideological content, ardent patriotism, the majestic and solemn style of Lomonosov's ode to a new, unlike the others, type, its stable strophic organization, the correct size - iambic tetrameter, rich and varied rhyme - all this was new not only for Russian literature, but also for history of the genre as a whole. Pushing the boundaries of the genre, introducing patriotic pathos, Lomonosov turned the ode into a multi-volume work that served the highest ideals of the poet, his ardent interest in the fate of the Motherland.
2. G.R. Derzhavin "Felitsa"
For the first time - “Interlocutor”, 1783, part 1, p. 5, without a signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782. To the last words, the editors gave a note: "Although we do not know the name of the writer, we know that this ode was definitely composed in Russian." Having written the ode in 1782, Derzhavin did not dare to print it, fearing the revenge of noble nobles, depicted in a satirical way. The poet's friends, N.A., were of the same opinion. Lvov and V.V. Kapnist. By chance, the ode fell into the hands of a good friend of Derzhavin, an adviser to the director of the Academy of Sciences, a writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to different people, including Among them, he introduced her to Princess E. R. Dashkova, who was appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when the publication of The Interlocutor was undertaken in May 1783 (Kozodavlev became the editor of the journal), it was decided to open the first issue of Felice. The publication of the "Interlocutor" was due to the political events of the early 1780s, the intensification of Catherine's struggle with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating favorable interpretations of the phenomena of the internal political life of the country." One of the ideas persistently pursued by Catherine in the huge “Notes on Russian History” was the idea noted by Dobrolyubov that the sovereign “is never the fault of civil strife, but always the resolver of strife, the peacemaker of princes, the defender of the right, if only he follows the suggestions of his own hearts. As soon as he does an injustice that cannot be hidden or justified, then all the blame falls on the evil advisers, most often on the boyars and the clergy. Therefore, "Felitsa", panegyric portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a golden snuffbox containing 500 chervonets as a gift from the Empress and was personally introduced to her. The high merits of the ode brought her success in the circles of the most advanced contemporaries, wide popularity at that time. A.N. Radishchev, for example, wrote: “If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost the same poetry will remain without poetry” (Poln. coll. cit., vol. 2, 1941, p. 217). “Everyone who can read Russian has found herself in her hands,” Kozodavlev testified. The very name "Felitsa" Derzhavin took from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because he came from a Tatar tribe; and the empress - Felice and the Kyrgyz princess, because the late empress composed a fairy tale under the name of Tsarevich Chlor, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where a rose without thorns blooms, and that the author had his villages in the Orenburg province in the neighborhood from the Kyrgyz horde, which was not listed as a citizen. In the manuscript of 1795, the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue." This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".