Genre of the work of Derzhavin Felitsa. Analysis of the ode "To Felice" (G. R. Derzhavin). Artistic value of the work
Derzhavin Gavrila Romanovich (1743-1816). Russian poet. Representative of Russian classicism. G.R. Derzhavin was born near Kazan into a family of small estate nobles. The Derzhavin family originated from the descendants of Murza Bagrim, who voluntarily went over to the side of the Grand Duke Vasily II (1425-1462), which is evidenced in the document personal archive G.R.Derzhavin.
Derzhavin's work is deeply contradictory. Revealing the possibilities of classicism, he at the same time destroyed it, paving the way for romantic and realistic poetry.
Derzhavin's poetic work is extensive and mainly represented by odes, among which one can distinguish civil, victorious-patriotic, philosophical and anacreontic.
A special place is occupied by civil odes addressed to persons endowed with great political power: monarchs, nobles. The best of this cycle is the ode "Felitsa" dedicated to Catherine II.
In 1762, Derzhavin received a call to military service Petersburg, in the Life Guards Preobrazhensky Regiment. From this time begins public service Derzhavin, to whom the poet dedicated over 40 years of his life. The time of service in the Preobrazhensky Regiment is also the beginning of Derzhavin's poetic activity, which undoubtedly played an exceptionally important role in his official biography. Fate threw Derzhavin to various military and civil posts: he was a member of a special secret commission whose main task was to capture E. Pugachev; for several years he was in the service of the all-powerful Prosecutor General Prince. A.A. Vyazemsky (1777-1783). It was at this time that he wrote his famous ode "Felitsa", published on May 20, 1873 in "The Interlocutor of Lovers of the Russian Word."
"Felitsa" brought Derzhavin a noisy literary fame. The poet was generously rewarded by the Empress with a golden snuff-box strewn with diamonds. The modest official of the department of the Senate became the most famous poet throughout Russia.
The struggle against the abuses of the nobles, the nobility and bureaucracy for the good of Russia was a defining feature of Derzhavin's activity both as a statesman and as a poet. And Derzhavin saw a force capable of adequately leading the state, leading Russia to glory, to prosperity, to "bliss", only in an enlightened monarchy. Hence the appearance in his work of the theme of Catherine II - Felitsa.
In the early 80s. Derzhavin was not yet intimately acquainted with the empress. Creating her image, the poet used stories about her, the dissemination of which Catherine herself took care of, a self-portrait drawn in her literary writings, ideas preached in her "Instruction" and decrees. At the same time, Derzhavin knew very well many prominent nobles of Catherine's court, under whose command he had to serve. Therefore, the idealization of the image of Catherine II in Derzhavin is combined with a critical attitude towards her nobles,
The very image of Felitsa, the wise and virtuous Kyrgyz princess, was taken by Derzhavin from The Tale of Tsarevich Chlor, written by Catherine II for her grandchildren. "Felitsa" continues the tradition of Lomonosov's laudatory odes and at the same time differs from them in a new interpretation of the image of an enlightened monarch. Enlighteners now see in the monarch a person to whom society has entrusted the care of the welfare of citizens; he has many responsibilities towards the people. And Derzhavin's Felitsa appears as a gracious legislator monarch:
Don't value your peace
Reading, writing before laying
And all from your pen
You pour blessings on mortals...
It is known that the source of the creation of the image of Felitsa was the document "Order of the commission on the drafting of a new Code" (1768), written by Catherine II herself. One of the main ideas of the "Nakaz" is the need to soften existing laws that allowed torture during interrogations, the death penalty for minor offenses, etc., so Derzhavin endowed his Felitsa with mercy and indulgence:
Are you ashamed to be known as the great one,
To be terrible, unloved;
Bear decently wild
Animals to tear and their blood to drink.
And is it nice to be that tyrant,
Great in atrocity Tamerlane,
There you can whisper in conversations
And, without fear of execution, at dinners
Do not drink for the health of kings.
There with the name of Felitsa you can
Scrape the typo in the line
Or a portrait carelessly
Drop her on the ground.
It was fundamentally new that from the very first lines of the ode, the poet draws the Russian Empress (and in Felitsa, readers easily guessed Catherine), primarily from the point of view of her human qualities:
Not imitating your Murzas,
Often you walk
And the food is the simplest
Happens at your table...
Derzhavin also praises Catherine for the fact that from the first days of her stay in Russia she strove to follow the "customs" and "rites" of the country that sheltered her in everything. The empress succeeded in this and aroused sympathy for herself both at court and in the guard.
Derzhavin's innovation manifested itself in "Felitsa" not only in the interpretation of the image of an enlightened monarch, but also in the bold combination of laudatory and accusatory principles, ode and satire. The ideal image of Felitsa is opposed by negligent nobles (in the ode they are called "murzas"). The "Felitsa" depicts the most influential persons at court: Prince G. A. Potemkin, Counts Orlovs, Count P. I. Panin, Prince Vyazemsky. Their portraits were so expressively executed that the originals were easily guessed.
Criticizing the nobles spoiled by power, Derzhavin emphasizes their weaknesses, whims, petty interests, unworthy of a high dignitary. So, for example, Potemkin is presented as a gourmet and glutton, a lover of feasts and amusements; Orlovs "fist fighters and dancing" amuse "their spirit"; Panin, "leaving all his worries behind," goes hunting, and Vyazemsky enlightens his "mind and heart" - "Polkan and Bova" reads, "over the Bible, yawning, sleeping."
Enlighteners understood the life of society as a constant struggle between truth and error. In Derzhavin's ode, the ideal, the norm is Felitsa, the deviation from the norm is her negligent "Murzas". Derzhavin was the first to begin to depict the world as it appears to the artist.
Undoubted poetic courage was the appearance in the ode "Felitsa" of the image of the poet himself, shown in everyday situations, not distorted by a conditional pose, not constrained by classical canons. Derzhavin was the first Russian poet who managed and, most importantly, wanted to draw his portrait in a work alive and truthful:
Sitting at home, I will show
Playing fools with my wife...
The "eastern" flavor of the ode attracts attention: it is written on behalf of the Tatar murza, eastern cities are mentioned in it - Baghdad, Smyrna, Kashmir. The end of the ode is sustained in a laudatory, high style:
I ask the great prophet
I will touch your feet to the dust.
The image of Felitsa is repeated in subsequent poems by Derzhavin, caused by various events in the life of the poet: "Thanks to Felitsa", "Image of Felitsa", "Vision of Murza".
The high poetic merits of the ode "Felitsa" brought her wide fame for that time in the circles of the most advanced Russian people. A. N. Radishchev, for example, wrote: "If you add many stanzas from the ode to Felitsa, and especially where the murza describes himself, almost poetry will also remain without poetry." “Everyone who can read Russian has found herself in her hands,” testified O.P. Kozodavlev, editor of the magazine where the ode was published.
Derzhavin compares the reign of Catherine with the cruel customs that prevailed in Russia during the time of Bironism under Empress Anna Ioannovna, and praises Felitsa for a number of laws useful for the country.
The ode "Felitsa", in which Derzhavin combined opposite principles: positive and negative, pathos and satire, ideal and real, finally consolidated in Derzhavin's poetry what began in 1779 - mixing, breaking, liquidation of a strict genre system
Gabriel Romanovich Derzhavin is a real Genius, who, however, achieved success in the literary field, already being an adult, an accomplished person. With his impudent sincerity, he knew how to conquer and destroy peace. Amazing honesty elevated him to the pinnacle of fame, and then just as quickly "thrown" the poet from Olympus.
A poor and humble nobleman, he honestly and sincerely served, as A.S. would later say. Pushkin in " Captain's daughter"," honestly, to whom you swear allegiance. Derzhavin went through the difficult path of a simple soldier, having, however, achieved both recognition and an officer's rank without anyone's help. He participates in the suppression of the Pugachev uprising, and this brings him fame.
The intelligent officer, who had previously published entire collections of ambiguous poems written in an unusual language for that time, remained unnoticed as a writer until, subdued by the openness of Empress Catherine II, her deeds for the good of Russia, he creates a daring ode "Felitsa".
The names of the heroes were not chosen by chance: the young poet borrowed them from an instructive fairy tale, personally composed by the Empress for her grandson. This allusion will later lay the foundation for a whole cycle of odes dedicated to Felitsa, but it is with that one, the first and perhaps the most important in the poet's work, that a colossal breakthrough in the field of poetic art is connected.
As you know, G.R. Derzhavin lived at a time when greatest figures literature, the "Parnassian titans", adhered to the strict framework of classicism. Only in the second half of the 18th century did M. Lomonosov, A. Maikov, M. Kheraskov and other writers begin to depart from these traditions, but they do not do so on such a grand scale, with such ease that Derzhavin succeeds.
He owns the expression "funny Russian syllable." Indeed, he will announce “the virtues of Felitsa” in the genre of an ode - in a high style, resorting to the help of high spiritual matter. And at the same time, the poet will tear apart the usual canons, as if tearing a piece of paper.
The theme of the ode is socio-political. Derzhavin, who participated in the suppression of the uprising of Yemelyan Pugachev, learned firsthand what a "senseless and merciless" Russian revolt is; he saw with his own eyes and felt with what aversion the people were disposed towards the Russian nobility. But the poet did not call for the liberation of the peasantry - he understood that Russia would choke in blood, especially the nobles, as yesterday's slaves would begin to take revenge on their oppressors. That is why Derzhavin sees salvation in enlightened absolutism, where there is strict and strict observance of laws, a government in which there will be no arbitrariness of the authorities. This is the only way to protect the Empire from new rebellions, from new senseless victims. The poet finds the image of such a ruler in Catherine II. The ode "Felitsa" is not the creation of a haze of the God-chosen empress, but a lively and sincere enthusiastic response to the activities of the empress.
On the one hand, this work is plotless, since the action does not develop in it. And at the same time, there is a certain swiftness, instantaneity in it: thus, with an abundance of images of feelings, images of events are found in it; the poet in chronological order describes the amusements of Catherine's courtiers, however, as well as the life of the Empress.
The composition of the ode is inconsistent; it creates a central image, the embodiment of which is the "god-like princess", and develops throughout the story, is considered from all sides. At the same time, the antithesis technique is used: the virtues of Felitsa are opposed to the idleness and meanness of her “murz”.
"Felitsa" is written in iambic tetrameter with the replacement of iambic stops with pyrrhic. Derzhavin refers to the classic odic ten-line stanza with complex rhyme (first cross, then in pairs, then ring); the poet alternates male and female rhymes.
The expressive means of the ode are distinguished by a stunning variety of imagination. The main poetic device is the antithesis mentioned above, as well as allusions - to Count Orlov, P. Panin, etc. Derzhavin refers to the sublime style, and therefore in the ode a huge place is given to Church Slavonic words. "Felitsa" is not rich in metaphors ("fry in ice baths”), but it is replete with epithets (“sweet-voiced harp”, “safir wings”, “despicable liar”), comparisons (“meek angel”, comparison of the empress with a feeder, “like a wolf of sheep, you don’t crush people”), hyperbole (typical for poetic mood of the ode as a whole). Among the stylistic figures, inversion and gradation stand out especially (“pleasant, sweet, useful”). The reception of irony, turning into sarcasm, stands apart. They appear in stanzas where the lyrical hero describes his own amusements, indicating that he, the hero, is depraved, but “the whole world is like that.” This remark makes it possible to emphasize the greatness and virtue of the empress, whose subjects are unworthy to serve her.
In this ode, for the first time, a mixture of styles occurs: in a solemn work, features of a "low" style - sarcasm - are suddenly revealed. In addition, this is the first ode in the history of Russian literature, where the image of the author is so clearly manifested, where his personal opinion is expressed. Derzhavin portrays himself in the image of a lyrical hero, unworthy of the honor of serving an enlightened empress, who eschews high titles, magnificent festivities, amusements and luxury unworthy of a noble person; Felice is not characterized by cruelty and injustice. The poet portrays the empress as a God-fearing ruler who is interested in the well-being of her people - it is not for nothing that the ode appears in comparison with an angel sent down to earth to rule the Russian state.
The impudent, individual, bright praise, which Gavriil Romanovich himself defined as a "mixed ode", was enthusiastically received by the empress. Derzhavin's innovation made it possible to discard the strict framework of classicism that was inaccessible to a wide range of readers. The originality of the work, its richest and most attractive language, will in the future receive the widest circulation; the trend will be developed in the work of first V. Zhukovsky, and then the main "reformer" of the Russian literary language A.S. Pushkin. Thus, Derzhavin's "Felitsa" anticipates the emergence of a romantic trend in Russian literature.
godlike princess
Kirghiz-Kaisatsky hordes!
Whose wisdom is incomparable
Discovered the right tracks
Tsarevich young Chlor
Climb that high mountain
Where a rose without thorns grows
Where virtue dwells,
She captivates my spirit and mind,
Let me find her advice.
Come on Felicia! instruction:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?
Your voice excites me
Your son is escorting me;
But I am weak to follow them.
Reeling with the hustle and bustle of life,
Today I rule myself
And tomorrow I'm a slave to whims.
Not imitating your Murzas,
Often you walk
And the food is the simplest
Happens at your table;
Don't value your peace
Reading, writing before laying
And all from your pen
Bliss you pour out on mortals;
Like you don't play cards
Like me, from morning to morning.
Don't like masquerades too much
And you won't even set foot in the clob;
Keeping customs, rituals,
Don't be quixotic with yourself;
You can't saddle a Parnassian horse,
You don’t enter the assembly to the spirits,
You do not go from the throne to the East;
But meekness walking the path,
Benevolent soul,
Useful days spend the current.
And I, sleeping until noon,
I smoke tobacco and drink coffee;
Transforming everyday life into a holiday
I circle my thought in chimeras:
Then I steal captivity from the Persians,
I turn arrows to the Turks;
That, having dreamed that I am a sultan,
I frighten the universe with a look;
Then suddenly, seduced by the outfit,
I'm going to the tailor on the caftan.
Or in a feast I'm rich,
Where they give me a holiday
Where the table shines with silver and gold,
Where thousands of different dishes:
There is a glorious Westphalian ham,
There are links of Astrakhan fish,
There are pilaf and pies,
I drink champagne waffles;
And I forget everything in the world
Among wines, sweets and aroma.
Or in the midst of a beautiful grove
In the gazebo, where the fountain is noisy,
At the sound of a sweet-voiced harp,
Where the breeze barely breathes
Where everything represents luxury to me,
To the pleasures of thought catches,
Tomit and revitalizes the blood;
Lying on a velvet sofa
A young girl's feelings of tenderness,
I pour love into her heart.
Or a magnificent train
In an English carriage, golden,
With a dog, a jester or a friend,
Or with some beauty
I walk under the swings;
I stop in taverns to drink honey;
Or somehow bored me
According to my inclination to change,
With a hat on one side,
I'm flying on a fast runner.
Or music and singers
Organ and bagpipes suddenly
Or fist fighters
And dance amuse my spirit;
Or, about all matters care
Leaving, I go hunting
And amuse myself with the barking of dogs;
Or over the Neva banks
I amuse myself at night with horns
And rowing daring rowers.
Or, sitting at home, I'll show you
Playing fools with my wife;
Then I get along with her on the dovecote,
Sometimes we frolic in blindfolds;
Then I have fun in a pile with her,
I look for it in my head;
Then I like to rummage through books,
I enlighten my mind and heart,
I read Polkan and Bova;
Behind the Bible, yawning, I sleep.
Such, Felitsa, I am depraved!
But the whole world looks like me.
Who, no matter how wise,
But every man is a lie.
We do not walk the paths of light,
We run debauchery for dreams.
Between the lazy and the grouch,
Between vanity and vice
Did someone find it by chance
The path of virtue is straight.
Found - but lzya eh not be mistaken
We, weak mortals, in this way,
Where does the mind itself stumble
And he must follow the passions;
Where are the ignorant scientists to us,
How is the haze of travelers, darken their eyelids?
Everywhere temptation and flattery lives,
Pasha depresses all luxury.-
Where does virtue live?
Where does a rose without thorns grow?
You alone are only decent,
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
Out of disagreement, agreement
And from ferocious passions happiness
You can only create.
So the helmsman, floating through the show,
Catching the roaring wind under sail,
Knows how to steer a ship.
Only you will not offend,
Don't offend anyone
You see foolishness through your fingers,
Only evil cannot be tolerated alone;
You correct misdeeds with indulgence,
Like a wolf of sheep, you don't crush people,
You know exactly the price of them.
They are subject to the will of kings, -
But God is more just,
Living in their laws.
You think sensibly about merits,
You honor the worthy
You don't call him a prophet
Who can only weave rhymes,
And what is this crazy fun
Caliphs good honor and glory.
You condescend to the lyre way:
Poetry is kind to you
Pleasant, sweet, useful,
Like summer lemonade.
There are rumors about your actions
That you are not at all proud;
Kind in business and in jokes,
Pleasant in friendship and firm;
What are you indifferent to misfortunes,
And in glory so generous
What renounced and be reputed to be wise.
They also say it's easy
What seems to be always possible
You and tell the truth.
Also unheard of
Worthy of you alone
What if you boldly people
About everything, both awake and at hand,
And let you know and think,
And you don't forbid yourself
And the truth and fiction to speak;
As if to the most crocodiles,
Your all graces to zoila,
You always tend to forgive.
Aspire to tears of pleasant rivers
From the depths of my soul.
O! as long as people are happy
There must be their own destiny,
Where is the meek angel, the peaceful angel,
Hidden in porphyry lordship,
A scepter was sent down from heaven to carry!
There you can whisper in conversations
And, without fear of execution, at dinners
Do not drink for the health of kings.
There with the name of Felitsa you can
Scrape the typo in the line,
Or a portrait carelessly
Drop her on the ground.
There are no clownish weddings,
They are not fried in ice baths,
Do not click in the mustache of the nobles;
Princes don't cackle with hens,
Lovers in reality they do not laugh
And they don't stain their faces with soot.
You know, Felitsa! right
And men and kings;
When you enlighten morals,
You don't fool people like that;
In your rest from work
You write teachings in fairy tales
And Chlorine in the alphabet you repeat:
"Don't do anything wrong
And the evil satyr himself
You will make a despicable liar."
You are ashamed to be known as that great
To be terrible, unloved;
Bear decently wild
Animals to tear and their blood to pour.
Without extreme distress in a fever
That lancet needs funds,
Who could do without them?
And is it nice to be that tyrant,
Great in atrocity Tamerlane,
Who is great in goodness, like God?
Felitsa glory, glory to God,
Who pacified the battles;
Which is orphaned and wretched
Covered, clothed and fed;
Who with a radiant eye
Jesters, cowards, ungrateful
And gives his light to the righteous;
Equally enlightens all mortals,
The sick rests, heals,
Doing good only for good.
who gave freedom
Jump into foreign areas
Allowed his people
Look for silver and gold;
Who allows water
And the forest does not prohibit cutting;
Orders and weave, and spin, and sew;
Untying the mind and hands,
Commands to love trades, science
And find happiness at home;
Whose law, right hand
They give both mercy and judgment.-
Tell me, wise Felitsa!
Where is the rogue different from the honest?
Where does old age not roam the world?
Does he find bread for himself?
Where revenge does not drive anyone?
Where do conscience and truth dwell?
Where do virtues shine?
Is it your throne!
But where does your throne shine in the world?
Where, heavenly branch, do you bloom?
In Baghdad? Smyrna? Cashmere? —
Listen, where do you live, -
Accepting my praises to you,
Don't think that hats or beshmetya
For them I wished from you.
Feel the goodness
Such is the wealth of the soul,
Which Croesus did not collect.
I ask the great prophet
Let me touch the dust of your feet,
Yes, your sweetest current words
And enjoy the sight!
Heavenly I ask for strength,
Yes, their outstretched safir wings,
Invisibly you are kept
From all diseases, evils and boredom;
Yes, your deeds in the offspring sounds,
Like stars in the sky, they will shine.
Analysis of the ode "Felitsa" by Derzhavin
The news has reached our days that Gavriil Romanovich Derzhavin became famous thanks to a work that at first he did not even want to print. The ode "Felitsa", written in 1782 in honor of the great Empress Catherine II, brought love and glory to the poet. However, it cannot be said that it was the praise of the Most Serene Empress that ensured the devotion of readers to the work, because its content, a verified set of expressive means, helped to maintain the reputation of a classic and artistically valuable work of the ode.
The main idea of the ode
The poetic ode is an ironic biography of the empress and her subjects. However, Derzhavin managed between the lines to highlight and reveal important problems for the state and people. We see that Derzhavin literally takes Catherine II for a luminary, a deity. He idolizes her, believing that all the features necessary for a reasonable and worthy absolute monarch were embodied in her:
You alone are only decent,
Princess! create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
On the other hand, Gavriila Romanovich shows that even such an incomparable ruler can have dishonest people involved in best case parasitism, and at worst - embezzlement and slander:
But every man is a lie.
We do not walk the paths of light,
We run debauchery for dreams.
Between the lazy and the grouch.
Artistic value of the work
In "Felitsa" the poet managed to combine the incongruous: satire and the high genre of ode, related to different calms. This was forbidden, but such contrasts in the work only enhanced the liveliness and majesty of the image of Catherine. The fact that she “often walked on foot” makes her not only alive and real in the eyes of the people (because she is not afraid to be closer to her subjects), but also shows that even ordinary activities cannot detract from the majesty of the empress.
“Magnificent” and “festive” epithets coexist with the words of the spoken language, which makes the poem unusual, and, therefore, memorable.
Poetic speech is replete with appeals, allegorical images, understandable to Derzhavin's contemporaries.
Derzhavin's style impresses with its harmony, monumentality, harmonious rhythm of iambic tetrameter. Syntactic parallelisms (“where-where-where”) give the poem a melody.
The meaning of the ode in the history of literature
Derzhavin himself admitted that thanks to the combination of biographical, realistic and, at the same time, poetic perception, he managed to create a work that is the progenitor of the Russian classical novel.
Gavriil Romanovich Derzhavin is a Russian poet of the 18th century. In his works, he adhered to such a direction as classicism, and often turned to the ode genre. At first, his work was influenced by the works of his predecessors, in particular, A. P. Sumarokov and M. V. Lomonosov. Somewhere in the early 80s of the 18th century, Derzhavin's independent poetic path began. He, as it were, reforms the classicist traditions, using in his odes a more sonorous and emotional language and a mixture of a high style of speech with a colloquial one.
Ode "To Felitsa" became one of Derzhavin's most iconic works. The history of the publication of this work is very interesting. Initially, the poet did not want to print it, since in the text he boldly and satirically portrays the favorites of Catherine II. He even wanted to publish under a pseudonym, because he was afraid of the revenge of the nobles. But in 1783, the ode quickly spread among aristocratic circles and reached the empress. Surprisingly, she appreciated the content and innovative methods of Derzhavin. With her assistance, the work "To Felitsa" was published in the new literary magazine of Princess E. R. Dashkova "Interlocutor of lovers of the Russian word." Catherine II herself granted a golden snuffbox with five hundred chervonets and a rather sarcastic inscription: "From Orenburg from the Kyrgyz Princess to Murza Derzhavin."
To whom is the ode "To Felice" dedicated? The work has a subtitle:
“An ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsky Murza, who has long settled in Moscow, and lives on business in St. Petersburg. Translated from Arabic.
The general public learns about the poet in 1782 after the publication of the ode "To Felitsa". Derzhavin receives imperial recognition for his talent. After that, he deals with more patriotic odes, and “On the Capture of Ishmael”, “Waterfall”, “On the Death of Prince Meshchersky” and others are published. In addition, he is fond of translations of ancient poetry. Subsequently, he began to write his own poems based on the works of ancient authors, but he added national flavor to it - Russian life and native landscapes.
One of the most famous works of Derzhavin's late lyrics is the poem "Monument", written in 1795. Here he expresses his vision of one of the eternal problems - the memory of man and the memory of man.
Genre, direction, size
The genre in which the work “To Felitsa” is written is an ode - a laudatory, solemn song dedicated to any hero or event of national significance.
And although Derzhavin did not adhere to strictly classical canons, "To Felitsa" belongs precisely to this direction. The poet praises the empress and recognizes her merits, but he draws attention to her harshness towards the subjects. Such themes could not be in a laudatory song.
In addition, the satirical tone of the work brings it closer to such a literary genre as travesty - this is a parody of various genres, where high vocabulary is mixed with everyday, colloquial, and heroic characters become simpler, baser. The poet himself considered this his main merit and called it "a funny Russian style." Derzhavin also expands the thematic content of genres. Previously, the state thought, the praise of the ruler, the interests of the fatherland always sounded in the odes. Derzhavin brings something personal, intimate, sensual, everyday. Perhaps his work is to some extent at the intersection of classicism and sentimentalism.
The size in which the ode is written is iambic tetrameter with pyrrhic. This helps the author to maintain the general intonation of the work - enthusiasm and solemnity.
Composition
The composition of the ode is heterogeneous and inconsistent: the text contains the central image of the “god-like princess”, which develops throughout the entire work; he is opposed by her "Murzas" and the lyrical hero himself. Therefore, the conclusion follows from this, the composition is based on such a technique as antithesis.
Hero Skins
The system of images in the ode "To Felitsa" is very multifaceted.
The themes and problems of the work deserve a separate article, and in order not to drag out this one, the Wise Litrecon asks you, if necessary, to ask about a topic that is not mentioned in the comments. It will definitely add to the above.
Main idea
The meaning of the ode "To Felitsa" is a description of the image of the ideal ruler of the Enlightenment. Felitsa is a wise, fair, intelligent empress who aims to develop her state and help her people. At the same time, Felitsa is not a faceless goddess, but a person, a person who has her own habits and interests. According to the author, Catherine II is very close to this image. He praises her both as a person and as a sovereign. At the end of the work, he wishes her good health and even greater greatness. However, he reminds her that she is separated from perfection by a bad environment, which is not touched by justice. Derzhavin focuses on the injustice of class division in Russia, which is contrary to what Catherine II wants to achieve. Torture and torture, censorship and lack of freedom, laziness, stupidity and impunity of the elite - all this is a thorn in the eye of the empire that must be eliminated.
Derzhavin's main idea is not in condemnation, but in edification. He humbly bows before the Empress, recognizes her virtues and serves her by denouncing vices at court. That is why Catherine the Second not only did not take offense at the poet, but also exalted him. In the satirist, she saw a patriot who sincerely wishes the good of Russia. In the ode "To Felitsa" Derzhavin glorified the queen and pointed out to her that it harmed her rule.
means of expression
Derzhavin uses different means of artistic expression for a deeper study of images:
- metaphors (“to shed bliss”, “the path of meekness”, “thoughts in chimeras”);
- comparisons (“Like a wolf of sheep, you don’t crush people”, “Who is great in goodness, like a god?”);
- epithets (“god-like queen”, “incomparable wisdom”, “radiant eye”, “righteous light”);
- rhetorical appeals ("Give it, Felitsa!");
- rhetorical questions (“Where does virtue live? / Where does a rose grow without thorns?”);
- phraseological units (“captivate the spirit and mind”, “tame the passions”);
- anaphoras (“Where they give me a holiday, / Where the table shines with silver and gold, / Where there are thousands of different dishes ...”).
In addition, he uses the technique of antithesis, opposing the image of the wise Felitsa to the depraved and lazy murzas and the idle lyrical hero. Thanks to this, he sort of divides his work into two parts: in the first he glorifies Felitsa, in the second he draws attention to the existing problems. The contrast emphasizes the contrast between what the empress sees in her favorites and who they really are.
Derzhavin's creative heritage is still of research interest. It retains both its relevance and aesthetics. Many poets have returned and are returning to him, who highly appreciate the poetic and stylistic features of the ode “To Felitsa”. Without a doubt, Derzhavin was able to erect a literary monument for himself that would not be broken by "neither a whirlwind, nor a storm, nor time flying."
Ode "Felitsa" Derzhavin, summary which is given in this article - one of the most famous works of this Russian poet of the XVIII century. He wrote it in 1782. After the publication, Derzhavin's name became known. In addition, the ode has become a clear example of a new style in Russian poetry.
The name of the ode "Felitsa" by Derzhavin, the summary of which you are reading, received on behalf of the heroine "Tales of Tsarevich Chlor". The author of this work is Empress Catherine II.
In his work, this name Derzhavin calls the ruler of Russia herself. By the way, it translates as "happiness". The essence of the ode is reduced to the glorification of Catherine (her habits, modesty) and the caricature, even mocking depiction of her pompous surroundings.
In the images that Derzhavin describes in the ode "Felitsa" (a brief summary of the "Brifli" cannot be found, but it is in this article), one can easily recognize some persons close to the empress. For example, Potemkin, who was considered her favorite. As well as Counts Panin, Orlov, Naryshkin. The poet skillfully depicts their mocking portraits, while demonstrating a certain courage. After all, if one of them would be very offended, he could easily deal with Derzhavin.
He was saved only by the fact that Catherine II liked this ode very much and the empress began to treat Derzhavin favorably.
Moreover, even in the very ode "Felitsa", a brief summary of which is given in this article, Derzhavin decides to give advice to the empress. In particular, the poet advises that she obey the law, the same for all. The ode ends with the praise of the empress.
The uniqueness of the work
After reviewing the summary of the Felitsa ode, one can come to the conclusion that the author violates all the traditions in which such works were usually written.
The poet actively introduces colloquial vocabulary, does not shy away from non-literary statements. But the most important difference is that he creates the empress in human form, refusing her official image. It is noteworthy that the text confused and disturbed many, but Catherine II herself was delighted with it.
The image of the empress
In the ode "Felitsa" by Derzhavin, the brief content of which contains the semantic quintessence of the work, the empress at first appears before us in the usual god-like image. For a writer, she is a model of an enlightened monarch. At the same time, he embellishes her appearance, firmly believing in the depicted image.
At the same time, in the poet's poems, thoughts slip through not only about the wisdom of power, but also about the dishonesty and low level of education of its performers. Many of them are only interested in their own benefit. It is worth recognizing that these ideas have appeared before, but never before have real historical figures been so recognizable.
In the ode "Felitsa" by Derzhavin (he cannot yet offer a summary of the "Brifli") the poet appears before us as a bold and courageous discoverer. He makes an amazing symbiosis, complementing the laudatory ode with individual character traits and witty satire.
History of creation
It was the ode "Felitsa" by Derzhavin, the summary of which is convenient for a general acquaintance with the work, that made a name for the poet. Initially, the author did not think about publishing this poem. He did not advertise it and hid the authorship. He seriously feared the revenge of influential nobles, whom he did not portray in the best light in the text.
Only in 1783 did the work become widespread thanks to Princess Dashkova. A close colleague of the Empress published it in the journal Interlocutor of Lovers of the Russian Word. By the way, the ruler of Russia herself gave her texts to it. According to Derzhavin, Catherine II was so moved when she first read the ode that she even began to cry. It was in such touched feelings that Dashkova herself discovered her.
The Empress certainly wanted to know who the author of this poem was. It seemed to her that everything was depicted in the text as accurately as possible. In gratitude for the ode "Felitsa" by Derzhavin, a summary and analysis of which is given in this article, she sent a golden snuffbox to the poet. It contained 500 chervonets.
After such a generous royal gift, literary fame and success came to Derzhavin. Not a single poet knew such popularity before him.
Thematic diversity of Derzhavin's work
Describing Derzhavin's Felitsa ode, it should be noted that the performance itself is a playful sketch of the life of a Russian ruler, as well as nobles especially close to her. At the same time, the text raises important issues at the state level. This is corruption, the responsibility of officials, their concern for statehood.
Artistic features of the ode "Felitsa"
Derzhavin worked in the genre of classicism. This direction strictly forbade the combination of several genres, for example, high ode and satire. But the poet decided on such a bold experiment. Moreover, he not only combined them in his text, but also did something unprecedented for the literature of that very conservative time.
Derzhavin simply destroys the traditions of a laudatory ode, actively using reduced, colloquial vocabulary in his text. He even uses frank vernacular, which, in principle, were not welcomed in the literature in those years. Most importantly, draws Empress Catherine II ordinary person, abandoning her classic ceremonial description, which was actively used in such works.
That is why in the ode you can find a description of everyday scenes and even a literary still life.
Derzhavin's innovation
The ordinary, everyday image of Felicia, behind which the empress is easily guessed, is one of the main innovations of Derzhavin. At the same time, he manages to create the text so as not to reduce her image. On the contrary, the poet makes him real and human. Sometimes it seems that the poet writes it from nature.
While reading the poem "Felitsa", you can be sure that the author managed to introduce into poetry the individual characteristics of real historical characters taken from life or created by imagination. All this was shown against the backdrop of a domestic environment, which was depicted as colorfully as possible. All this made the ode understandable and memorable.
As a result, in the ode "Felitsa" Derzhavin skillfully combines the style of a laudatory ode with the individualization of real heroes, and also introduces an element of satire. Ultimately, in the ode, which belongs to the high style, there are many elements of low styles.
Derzhavin himself defined its genre as a mixed ode. He argued that it differs from the classical ode in that in a mixed genre the author has a unique opportunity to talk about everything in the world. So the poet destroys the canons of classicism, the way for a new poetry is opened to the poem. This literature is being developed in the work of the next generation of author - Alexander Pushkin.
Meanings of the ode "Felitsa"
Derzhavin himself admitted that it was a great merit that he decided on such an experiment. The well-known researcher of his work, Khodasevich, notes that Derzhavin was most proud of the fact that he was the first Russian poet to speak in a "funny Russian style," as he himself called it.
But the poet was aware that his ode would be, in fact, the first artistic embodiment of Russian life, would become the germ of a realistic novel. Khodasevich also believed that if Derzhavin had lived to see the publication of Eugene Onegin, he would undoubtedly have found echoes of his work in it.
