History of creation
Ode "Felitsa" (1782) is the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a vivid example of a new style in Russian poetry. The subtitle of the poem states: "Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by the Tatarsskim Murza, who has long settled in Moscow, and lives on business of his ownthem in St. Petersburg. Translated from Arabic. This work received its unusual name from the name of the heroine of the “Tales of Tsarevich Chlorine”, the author of which was Catherine II herself. This name, which in Latin means happiness, she is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings.
It is known that at first Derzhavin did not want to publish this poem and even hid the authorship, fearing the revenge of the influential nobles, satirically depicted in it. But in 1783 it became widespread and, with the assistance of Princess Dashkova, close empress, was published in the journal Interlocutor of Lovers of the Russian Word, in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem so touched the empress that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she was depicted so accurately. In gratitude to the author, she sent him a golden snuffbox with five hundred chervonets and an expressive inscription on the package: "From Orenburg from the Kirghiz Princess to Murza Derzhavin." From that day on, Derzhavin gained literary fame, which no Russian poet had known before.
Main themes and ideas
The poem "Felitsa", written as a playful sketch of the life of the Empress and her entourage, at the same time raises very important issues. On the one hand, in the ode "Felitsa" a completely traditional image of a "god-like princess" is created, which embodies the poet's idea of the ideal of an enlightened monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted:
Come on Felicia! instruction:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?
On the other hand, in the poet's verses, the thought sounds not only about the wisdom of power, but also about the negligence of performers who are concerned about their own benefit:
Everywhere temptation and flattery lives,
Luxury oppresses all pashas. -
Where does virtue live?
Where does a rose without thorns grow?
In itself, this idea was not new, but behind the images of the nobles drawn in the ode, the features of real people clearly appeared:
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.
In these images, the poet's contemporaries easily recognized the favorite of the Empress Potemkin, her close associates Alexei Orlov, Panin, Naryshkin. Drawing their brightly satirical portraits, Derzhavin showed great courage - after all, any of the nobles offended by him could do away with the author for this. Only the favorable attitude of Catherine saved Derzhavin.
But even to the empress, he dares to give advice: to follow the law, which is subject to both kings and their subjects:
You alone are only decent,
Princess! create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
Out of disagreement, agreement
And from ferocious passions happiness
You can only create.
This favorite thought of Derzhavin sounded bold, and it was expressed in simple and understandable language.
The poem ends with the traditional praise of the Empress and wishing her all the best:
Heavenly I ask for strength,
Yes, stretching their sapphire 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.
Artistic originality
Classicism forbade the combination of high ode and satire, which belonged to low genres, in one work. But Derzhavin does not even just combine them in the characterization of different persons, bred in the ode, he does something completely unprecedented for that time. Violating the traditions of the genre of laudatory ode, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not draw a ceremonial portrait of the empress, but depicts her human appearance. That is why everyday scenes, a still life turn out to be in the ode:
Not imitating your Murzas,
Often you walk
And the food is the simplest
It happens at your table.
The “God-like” Felitsa, like other characters in his ode, is also shown in an ordinary way (“Not cherishing your peace, / You read, write under a veil ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from snature. Reading the poem "Felitsa", you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people boldly taken from life or created by the imagination, shown against the background of a colorfully depicted everyday environment. This makes his poems vivid, memorable and understandable. Thus, in Felitsa, Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing elements of low styles into the high genre of the ode. Subsequently, the poet himself defined the genre of "Felitsa" as mixed ode. Derzhavin argued that, in contrast to the traditional ode for classicism, where statesmen, military leaders were praised, solemn events were sung, in a "mixed ode" "a poet can talk about everything." Destroying the genre canons of classicism, with this poem he opens the way for a new poetry - "the poetry of reality", which received a brilliant development in Pushkin's work.
The meaning of the work
Derzhavin himself subsequently noted that one of his main merits was that he "dared to proclaim Felitsa's virtues in a funny Russian syllable." As rightly pointed out by the researcher of the poet V.F. Khodasevich, Derzhavin was proud "not that he had discovered the virtues of Catherine, but that he was the first to speak in a "funny Russian style." He understood that his ode was the first artistic embodiment of Russian life, that it was the germ of our novel. And, perhaps, - Khodasevich develops his thought, - had "old Derzhavin" lived at least until the first chapter of Onegin, he would have heard echoes of his ode in it.
"Felitsa" (its original full name: "Ode to the wise Kirghiz-Kaisatskaya princess Felitsa, written by some Murza, who has long lived in Moscow, and lives on business in St. Petersburg. Translated from Arabic in 1782") was written with the installation on the usual laudatory ode. In its external form, it even seems to be a step back from "Poems for Birth ..."; it is written in iambic ten-line stanzas, traditional for a solemn ode ("Poems for birth ..." are not divided into stanzas at all). However, in fact, "Felitsa" is an artistic synthesis of an even broader order.
The name of Catherine Felice (from the Latin felicitas - happiness) was suggested by one of her own literary works - a fairy tale written for her little grandson, the future Alexander I, and shortly before published in a very limited number of copies. The Kyiv prince Khlor is visited by the Kirghiz Khan, who, in order to check the rumor about the exceptional abilities of the boy, orders him to find a rare flower - "a rose without thorns". On the way, Murza Lentyag invites the prince to him, trying to divert him from too difficult an enterprise by the temptations of luxury. However, with the help of the Khan's daughter Felitsa, who gives her son Reason as a guide to Chlor, Chlor reaches a steep rocky mountain; having climbed with great difficulty to its top, he finds there the sought-for "rose without thorns", i.e. virtue. Using this simple allegory, Derzhavin begins his ode:
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.
So conventionally allegorical images of a children's fairy tale are travesty replaced by traditional images of the canonical beginning of the ode - the ascent to Parnassus, the appeal to the muses. The very portrait of Felitsa - Catherine - is given in a completely new manner, which differs sharply from the traditionally laudatory odes. Instead of the solemnly heavy, long-stamped and therefore little expressive image of the "earth goddess", the poet, with great enthusiasm and hitherto unprecedented poetic skill, portrayed Catherine in the face of an active, intelligent and simple "Kyrgyz-Kaisatskaya princess":
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
You shed blessings on mortals,
Like you don't play cards
Like me, from morning to morning.
A similar opposition to the "virtuous" image of Felitsa and the contrasting image of the vicious "Murza" is then carried out through the entire poem. This determines the exceptional, hitherto unheard-of genre originality of Felitsa. The laudatory ode in honor of the empress turns out to be at the same time a political satire - a pamphlet against a number of people in her inner circle. Even sharper than in "Poems for the Birth of a Porphyrogenic Child in the North", here the singer's posture changes in relation to the subject of his chanting. Lomonosov signed his odes to the empresses - "the most loyal slave." Derzhavin's attitude to Ekaterina Felitsa, whom he traditionally endows at times with "god-like" attributes, with all respect, is not without, at the same time, as we see, a certain playful shortness, almost familiarity.
The image opposed to Felitsa is characteristically doubled throughout the ode. In satirical places, this is a kind of collective image, which includes the vicious features of all the Catherine nobles ridiculed here by the poet; to a certain extent, Derzhavin, who is generally prone to auto-irony, introduces himself into this circle. In lofty pathetic places, this is the lyrical author's "I", again endowed with specific autobiographical features: Murza is, in fact, the real descendant of Murza Bagrim, the poet Derzhavin. The appearance in "Felitsa" of the author's "I", the living, concrete personality of the poet, was a fact of great artistic, historical and literary significance. Lomonosov's laudatory odes also sometimes begin in the first person:
Do I see Pind under my feet?
I hear pure sisters music.
I burn with Permesian heat,
I flow hastily to their face.
However, the “I” that is being referred to here is not the individual personality of the author, but a certain conventional image of an abstract “singer” in general, an image that acts as an invariable attribute of any ode of any poet. We encounter a similar phenomenon in satires - also a widespread and significant genre of poetry of the 18th century. The difference in this respect between odes and satyrs lies only in the fact that in odes the singer all the time plays on one single string - "sacred delight", while in satires one single, but indignantly accusatory string also sounds. The love songs of the Sumarokov school were just as "one-stringed" - a genre that, from the point of view of contemporaries, was generally considered semi-legal and, in any case, doubtful.
In Derzhavin's "Felitsa", instead of this conditional "I", the true living personality of the poet appears in all the concreteness of his individual being, in all the real diversity of his feelings and experiences, with a complex, "multi-stringed" attitude to reality. The poet here is not only delighted, but also angry; praises and at the same time blasphemes, denounces, slyly ironizes, and it is extremely important that this for the first time declaring itself in the odic poetry of the 18th century. individual personality bears in itself the undoubted features of nationality.
Pushkin said about Krylov's fables that they reflect a certain "distinctive feature in our morals - a cheerful cunning of the mind, mockery and a picturesque way of expressing ourselves." From under the conditionally "Tatar" guise of "Murza", for the first time this feature appears in Derzhavin's ode to Felitsa. These glimpses of nationality are also reflected in the language of "Felitsa". In accordance with the new character of this work is also its "funny Russian style", as Derzhavin himself defines it, - borrowing its content from real everyday life, light, simple, playfully colloquial speech, directly opposite to the magnificently decorated, deliberately elevated style of Lomonosov's ode .
Odami continues to traditionally call his poems and Derzhavin, theoretically connecting them with an antique model that is obligatory for classicism - the odes of Horace. But in fact he makes them a true genre revolution. In the poetics of Russian classicism there were no verses "in general". Poetry was divided into sharply demarcated, in no case mixed with each other, isolated and closed poetic types: ode, elegy, satire, etc. Derzhavin, starting with "Poems for the birth of a porphyry child in the north" and, in particular, from "Felitsa", completely breaks the boundaries of the traditional genre categories of classicism, merges ode and satire into one organic whole, in his other works, like "On the death of Prince Meshchersky", - an ode and elegy.
In contrast to the monotonous genres of classicism, the poet creates complex and full-life, polyphonic genre formations, anticipating not only the "variegated chapters" of Pushkin's "Eugene Onegin" or the highly complex genre of his own "The Bronze Horseman", but also the tone of many of Mayakovsky's works.
"Felitsa" was a colossal success when it appeared ("everyone who could read Russian found herself in her hands," a contemporary testifies) and generally became one of the most popular works of Russian literature of the 18th century. This tremendous success clearly proves that Derzhavin's ode, which made a kind of revolution in relation to Lomonosov's poetics, fully corresponded to the main literary trends of the era.
In "Felice" are united two opposite beginnings of Derzhavin's poetry- positive, affirming, and revealing, - critical. The chanting of the wise monarchine - Felitsa - is one of the central themes of Derzhavin's work, to which both contemporaries and later critics have appropriated the nickname "Felitsa Singer". "Felitsa" was followed by the poems "Thanks to Felitsa", "The Image of Felitsa", and finally, the ode "Vision of Murza" (begun in 1783, completed in 1790) almost as famous as "Felitsa".
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IN ANZHERO-SUDZHENSK
FACULTY OF PEDAGOGICAL EDUCATION
Department of Russian Language and Literature
TASKS OF THE SECOND UNIVERSITY TOURNAMENT IN LITERATURE
(grades 8-9)
I. Give short answers to the questions:
1) What artistic device was used by the author of The Tale of Igor's Campaign in the following passage: “From early morning to evening, from evening to dawn, red-hot arrows fly, sabers rattle on helmets, damask spears crackle in the unknown steppe, among the Polovtsian land. The earth under the hooves is black, it was sown with bones, and it was watered with blood: they ascended the Russian land with grief.?
2) In The Lay of Igor's Campaign there are two inserted episodes that are not connected with the main plot (Igor's campaign). One episode is Yaroslavna's Lament. Name the second episode.
3) Comedy D.I. Fonvizin is called "Undergrowth". Who were called undergrowths in the 18th century?
4) To whom does G.R. Derzhavin in the work "Felitsa"?
Murzas do not imitate their own
Often you walk
And the food is the simplest
Happens at your table...
5) About what work N.M. Karamzina A.S. Pushkin wrote: “Ancient Russia seemed to be found by N.M. Karamzin, like America - Columbus"?
6) How long did the hero’s journey from St. Petersburg to Moscow last (A.N. Radishchev “Journey from St. Petersburg to Moscow”)?
7) What work was created by N.M. Karamzin during a trip to Europe?
8) Determine the poetic size. From what work V.A. Zhukovsky taken this passage?
In the foggy twilight, the neighborhood disappears...
Silence everywhere; dead sleep everywhere.
Only occasionally, buzzing, the evening beetle flickers,
Only a dull ringing of horns is heard in the distance.
9) On what historical occasion was the poem written by V.A. Zhukovsky "A Singer in the Camp of Russian Warriors"?
10) What conflict is the main, leading, plot-forming in the comedy of A.S. Griboyedov "Woe from Wit"
11) In the comedy A.S. Griboyedov "Woe from Wit" two hero-reasoners. One of them is Chatsky. Name another.
12) What is the name of the stanza, which consists of 14 verses, with an original rhyme: cross, pair, encircling, rhyming couplet? Each such stanza paints a complete picture.
13) What poem was written by A.S. Pushkin on the occasion of the upcoming exam at the Lyceum?
14) What form did A.S. choose for his novel The Captain's Daughter? Pushkin?
15) To which poem A.S. Pushkin was prefaced by the following epigraph: “Why doesn’t my dormant mind then enter?” (G.R. Derzhavin)?
16) What is the addressee of the poem by A.S. Pushkin "Madonna".
17) Which part of the novel by M.Yu. Lermontov's "Hero of Our Time" is central and gives the work the character of a psychological novel?
18) Which episode is the culmination of the plot in the poem by M.Yu. Lermontov "Mtsyri"
19) What anniversary date was the poem by M.Yu. Lermontov "Borodino"
20) What is the work of N.V. Gogol ends with the phrase: "It's boring in this world, gentlemen"?
21) About which of the heroes of the comedy N.V. Gogol's The Inspector General says that “... as a child, his mother hurt him, and since then he has been giving away a little vodka”?
22) In most works of fiction, the division of heroes into positive and negative is accepted. Name the positive hero of the comedy "The Inspector General".
23) Who in the work of N.V. Gogol's "Dead Souls" tells "The Tale of Captain Kopeikin"?
24) Which of the landowners of the "Dead Souls" had a "temple of solitary reflection" in the estate?
25) On the grave of which writer of the 19th century are the words carved: “Your name and deeds are immortal, but why did my love survive you”?
II. Write a fantasy essay on the topic:
"Dream on a winter night»
Read also:
|
1. "Felitsa"
3. "Frol Silin"
4. "To your mind"
142. The main character of "Journey from St. Petersburg to Moscow":
1. officers
2. merchants
4. nobility
5. officialdom
143. The features of these literary trends appeared in the "Journey from St. Petersburg to Moscow":
1. classicism and sentimentalism
2. romanticism and sentimentalism
3. realism and classicism
4. classicism and modernism
5. socialist realism
144. In this chapter of "Traveling ..." A.N. Radishchev brings his reader to the thought of the revolutionary action of the people:
1. "Zaitsovo"
2. "Sacrums"
3. Spasskaya Polest
4. "Lubani"
5. "Edrovo"
145. About this work by A. Radishchev, Catherine II said: “A rebel, worse than Pugachev”:
1. "Liberty"
2. "Journey from St. Petersburg to Moscow"
3. "An excerpt from a trip"
4. "Letter to a friend"
5. "Letters to Falaley"
146. In this work of A. Radishnva, the ode "Liberty" is placed:
1. "Foreman"
2. "Journey from Pererburg to Moscow"
3. "Undergrowth"
5. "Waterfall"
147. For his book, he was arrested, sentenced to death, which was later replaced by exile in Siberia:
1. A. Sumarokov
2. A. Kantemir
3. G. Derzhavin
4. A. Radishchev
5. M. Lomonosov
148. In this book of the XVIII century. the words are taken as an epigraph: “The monster is oblo, mischievous, huge, staring and barking”:
1. "Poor Lisa"
2. "Undergrowth"
3. "Inspector"
5. "Sneaky"
“I looked around me - my soul became wounded by human suffering”:
1. "Poor Lisa"
2. "Undergrowth"
3. "Inspector"
4. "Journey from St. Petersburg to Moscow"
5. "Sneaky"
150. They say about him that his life is a feat in the name of the liberation of the Russian peasant:
1. A. Sumarokov
2. A. Radishchev
3. G. Derzhavin
4. I. Krylov
1. A. Radishchev
2. M. Lomonosov
3. G. Derzhavin
4. I. Krylov
5. F. Prokopovich
152. The theme of the ode "Liberty":
3. revolution
4. happiness
1. M. Lomonosov
2. I. Krylov
3. F. Prokopovich
4. A. Kantemir
5. A. Radishchev
154. He is considered the founder of the national revolutionary aesthetics:
1. I. Krylov
2. A. Radishchev
3. N. Karamzin
4. I. Dmitriev
5. I. Krylov
155. This line in the literature was headed by A. Radishchev:
3. romantic-heroic
4. historical and patriotic
5. romantic-historical
156. Liza belonged to this estate (“Poor Liza” by N. Karamzin):
1. to the peasantry
2. to the merchants
3. to philistinism
4. to the nobility
5. to the pillar nobility
157. N.M. Karamzin adhered to these political views:
1. was a democrat
2. was a supporter of an enlightened monarchy
3. was a supporter of liberal views
4. supported autocracy
5. was an opponent of autocracy.
158. A bright representative of Russian sentimentalism:
1. M. Lomonosov
2. G.Derzhavin
3. D. Fonvizin
4. V. Kapnist
1. A. Radishchev
2. M. Lomonosov
3. N. Karamzin
4. D. Fonvizin
5. G. Derzhavin
160. Historical essay by N. Karamzin:
1. Bornholm Island
2. Sierra Morena
4. Brigadier
5. Undergrowth
161. The work of N. Karamzin:
1. Message to my servants Shumilov, Vanka and Petrushka
2. Dmitry Pretender
3. History of the Russian state
4. Brigadier
5. Undergrowth
162. Famous almanac published by N. Karamzin:
1. "Aglaya"
2. "Vladlena"
3. "Tatiana"
4. "Elena"
5. "Marina"
163. In these works of N. Karamzin, pre-romantic tendencies are visible:
1. "Poor Lisa", "Marfa Posadnitsa"
2. "Bornholm Island", "Sierra Morena"
3. "Frol Silin", "Knight of our time"
4. "Letters from a Russian Traveler", "Felitsa"
5. "History of the Russian State", "Brigadier"
164. The name of the main character of "Poor Liza":
165. The problem of the story "Marfa Posadnitsa":
2. enlightenment
3. love and friendship
4. war and peace
5. monarchy or republic
166. The main theorist of the 18th century:
1. M. Lomonosov
2. F. Prokopovich
3. A. Pushkin
4. M. Lermontov
5. A. Kantemir
167. Fabulist of the XVIII-XIX centuries:
1. V. Trediakovsky
2. M. Lomonosov
3. N. Karamzin
4. I. Krylov
5. D. Fonvizin
168. For his book he was arrested, sentenced to death, which was later replaced by exile to Siberia:
1. A. Sumarokov
2. A. Kantemir
3. G. Derzhavin
4. A. Radishchev
1. D. Fonvizin
2. N. Karamzin
4. A. Radishchev
5. I. Krylov
170. Theme of "Letters of Ernest and Doravra":
1. about the love of an aristocrat and a poor nobleman
2. about friendship between people
3. about fairness
4. about the peasantry
5. about freedom
171. "Letters of Ernest and Doravra" - sample:
1. classic novel
2. historical novel
3. adventure novel
4. household romance
172. He managed to show the world of love experiences:
1. K.Istomin
2. A. Kantemir
3. M. Lomonosov
4. F. Prokopovich
1. M. Chulkov
2. D. Fonvizin
3. M. Lomonosov
4. V. Trediakovsky
5. A. Radishchev
174. The novel "The Pretty Cook" should be attributed to:
1. historical
2. picaresque
3. documentary
4. adventurous
1. A. Kantemir
2. D. Fonvizin
3. I. Bogdanovich
4. I. Krylov
5. G. Derzhavin
| | | | | 6 |
(for 9th grade students)
Option I
In the thirties of the 18th century, the main trend in Russian art was becoming ...
The classicists began to turn to the images and forms of ancient art, since ...
The representative of Russian classicism in literature was not ...
The central aesthetic category of sentimentalism is...
| 1) high genres | A) comedy |
| 2) low genres | B) satire |
| B) tragedy |
|
| D) epic |
|
| D) a fable |
|
| E) ode |
Which public figure and educator achieved the opening of the first Russian university in Moscow?
To whom is the ode of G.R. Derzhavin "Felitsa"?
What artistic technique does the author use in this passage? There may be several correct answers.
Who are the main characters of the story N.M. Karamzin "Poor Lisa"
What moment in the story can be considered the beginning of the action?
Test on Russian literature of the XVIII century
(for 9th grade students)
Option II
Complete the sentence by choosing the correct answer.
The origins of world classicism - ...
The main slogan of classicism of the XVII - XVIII centuries. - ...
Exemplary classic comedy is not typical ...
The heroes of classic odes usually became ...
The first children's magazine in Russia was called ...
The subject of the works of N.M. Karamzin became ...
II. Set a match. Each number on the left can have multiple answers on the right.
III. Choose the correct answer.
Which of the authors of the 18th century entered the history of literature as a reformer of Russian versification?
| A) M.V. Lomonosov | C) A.N. Radishchev |
| B) G.R. Derzhavin | D) N.M. Karamzin |
Specify the definition of the genre of ode.
What story is the following passage taken from?
What literary device does the author use in this passage? There can only be one answer.
Specify the genre of N.M. Karamzin "Poor Liza".
What does the author see as the reason for the tragic end of the story "Poor Lisa"?
What tree was a "witness" to the development and completion of the relationship between Lisa and Erast?
The key to the test in the section "Russian literature of the XVIII century"
(for 9th grade students)
Option I
I.
| 1 | 2 | 3 | 4 | 5 | 6 |
| BUT | AT | B | B | G | B |
II.
| 1 | 2 |
| C, D, E | A, B, D |
III.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| BUT | AT | BUT | G | A B C | BUT | G |
Option II
I.
| 1 | 2 | 3 | 4 | 5 | 6 |
| AT | BUT | G | G | AT | G |
II.
| 1 | 2 | 3 | 4 |
| E | A, B, F | B, G | D |
III.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| BUT | AT | BUT | BUT | B | AT | G |
Criteria for evaluation
Option I
Maximum number - 21 points
Option II
The maximum number is 20 points
