In 1782, the still not very well-known poet Derzhavin wrote an ode dedicated to the "Kirghiz-Kaisak princess Felitsa." Oda was called "To Felice" . The difficult life taught the poet a lot, he knew how to be careful. The ode glorified the simplicity and humanity of the treatment of the people of Empress Catherine II and the wisdom of her reign. But at the same time ordinary, and even rude spoken language she told about luxurious amusements, about the idleness of Felitsa's servants and courtiers, about "murzas" who were by no means worthy of their ruler. In the murzas, Catherine's favorites were transparently guessed, and Derzhavin, wishing that the ode would fall into the hands of the empress as soon as possible, was at the same time afraid of this. How will the autocrat look at his bold trick: a mockery of her favorites! But in the end, the ode ended up on the table of Catherine, and she was delighted with her. Far-sighted and intelligent, she understood that courtiers should be put in their place from time to time and hints of an ode are a great reason for this. Catherine II herself was a writer (Felitsa is one of her literary pseudonyms), which is why she immediately appreciated the artistic merits of the work. Memoirists write that, having called the poet to her, the empress generously rewarded him: she presented him with a golden snuffbox filled with gold chervonets.
Fame came to Derzhavin. New literary magazine"Interlocutor of Lovers of the Russian Word", which was edited by a friend of the Empress, Princess Dashkova, and published in it by Catherine herself, opened with an ode to "To Felitsa". They started talking about Derzhavin, he became a celebrity. Was it only the successful and bold dedication of the ode to the empress? Of course not! The reading public and fellow writers were struck by the very form of the work. The poetic speech of the "high" odic genre sounded without exaltation and tension. Lively, figurative, mocking speech of a person who understands well how real life. The empress, of course, was spoken of commendably, but also not pompously. And, perhaps, for the first time in the history of Russian poetry as about a simple woman, not a celestial:
Not imitating your Murzas, You often walk on foot, And the simplest food Happens at your table.
Strengthening the impression of simplicity and naturalness, Derzhavin ventures on bold comparisons:
You don't play cards, like me, from morning to morning.
AND, Furthermore, frivolous, introducing into the ode obscene, according to the secular standards of that time, details and scenes. Here is how, for example, a Murza courtier, an idler and an atheist, spends his day:
Or, sitting at home, I'll play, Playing fools with my wife; Now I get along with her on the dovecote, Sometimes we frolic in blindfolds, Now I have fun in a pile with her, Now I look for her in my head; Then I like to rummage through books, I enlighten my mind and heart: I read Polkan and Bova, Over the Bible, yawning, I sleep.
The work was filled with cheerful, and often caustic allusions. To Potemkin, who loves to eat well and drink well ("I drink champagne waffles / And I forget everything in the world"). On Orlov, who boasts of magnificent departures ("a magnificent train in an English carriage, golden"). On Naryshkin, who is ready to give up all his affairs for the sake of hunting (“I take care of all matters / Leaving, I go hunting / And I amuse myself with the barking of dogs”), etc. In the genre of a solemn laudatory ode, this has never been written before. Poet E.I. Kostrov expressed a general opinion and at the same time slight annoyance about a successful opponent. In his poetic "Letter to the creator of an ode composed in praise of Felitsa, princess of Kirghizkaysatskaya" there are lines:
Frankly, it is clear that the soaring odes have gone out of fashion; You knew how to exalt yourself among us with simplicity.
The Empress drew Derzhavin close to her. Remembering the "fighting" qualities of his nature and incorruptible honesty, she sent him to various audits, ending, as a rule, with noisy indignation of those being checked. The poet was appointed governor of Olonets, then Tambov province. But he did not hold out for a long time: he dealt with local officials too zealously and imperiously. In Tambov, things went so far that in 1789 the governor of the region, Gudovich, filed a complaint with the empress against the "arbitrariness" of the governor, who did not consider anyone or anything. The case was referred to the Senate Court. Derzhavin was dismissed from his post and until the end of the trial he was ordered to live in Moscow, as they would say now, under a written undertaking not to leave the country.
And although the poet was acquitted, he was left without a position and without the favor of the empress. Once again, one could count only on oneself: on enterprise, talent and luck. And don't be discouraged. In the autobiographical “Notes” compiled at the end of his life, in which the poet speaks of himself in the third person, he admits: “There was no other way but to resort to his talent; as a result, he wrote the ode “Image of Felitsa” and to the 22nd on the date of September, that is, on the day of the coronation of the empress, handed her over to the court<…>The Empress, having read it, ordered her favorite (meaning Zubov, Catherine's favorite, - L.D.) the next day to invite the author to dine with him and always take him into her conversation.
Read also the other topics of Chapter VI.
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 turned into good example 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". author this work- 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 real before. historical figures were not 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 in the text rise important issues 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 bring into poetry the individual characteristics of real historical characters, taken from life or created by his 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 is opened for the poem to new poetry. 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.
The updated odes of 1779, printed anonymously, were seen only by lovers of poetry. In 1782 Derzhavin wrote an ode to Felitsa. Published at the beginning of the next year in the magazine Interlocutor of Lovers of the Russian Word, it became a literary sensation, a milestone not only in the history of the ode, but also in Russian poetry.
In terms of genre, it was, as it were, a typical laudatory ode. Another, unknown poet praised Catherine II, but the “praise” was unheard of bold, not traditional, and not she, but something else turned out to be the content of the ode, and this other resulted in a completely new form.
The innovation and freshness of the form of the ode "Felitsa" were perceived with particular acuteness in that literary atmosphere, when the laudable ode, through the efforts of Petrov, Kostrov and other ode writers, reached an extreme degree of fall and satisfied only the tastes of the crowned customer. General dissatisfaction with the commendable ode of classicism is perfectly expressed by Knyaznin:
I know that odes are bold,
that are out of fashion,
Very capable of annoying.
They are always Catherine,
Chasing rhyme crazy
Likened to paradise krin;
And, becoming the rank of prophets,
Speaking with God, as if with a brother,
Without fear pen
In your borrowed delight,
Turning the universe upside down
Retire to countries rich in gold,
They let out their paper thunder.
The reason for the exhaustion of odes, according to Knyazhnin, is that their authors followed the rules and canons of classicism: they demanded imitation of models - and now the ode became dull-imitative and epigone. Moreover, these rules did not allow the manifestation of the poet's personality in poetry, which is why odes are written by those who take "on loan delight." The success of Derzhavin's ode is in deviating from the rules, from following patterns; he does not "borrow" delight, but expresses his feelings in an ode dedicated to the empress.
Under the name of Felitsa, Derzhavin portrayed Catherine II. The poet uses the name Felitsa, mentioned in the “Tale of Tsarevich Chlorus”, composed by the Empress for her grandson Alexander, which was published in 1781. The content of the tale is didactic. The Kirghiz Khan kidnapped the Russian prince Chlor.
Wanting to test his abilities, the khan gives the prince a task: to find a rose without thorns (a symbol of virtue). Thanks to the help of the Khan's daughter Felitsa (from the Latin felicitos - happiness) and her son Reason, Chlor finds a rose without thorns on the top of a high mountain. The image of the Tatar nobleman Murza has a double meaning: where the ode turns to a high tone, this is the author's self; in satirical places - a collective image of Catherine's nobles.
Derzhavin in "Felitsa" does not create an official, conventional and abstractly ceremonial image of the "monarch", but draws a warm and cordial portrait real person- Empress Ekaterina Alekseevna, with her habits, occupations, and way of life peculiar to her as a person; he praises Catherine, but his praise is not traditional.
The image of the author (Tatar Murza) appears in the ode - in fact, he portrayed not so much Catherine as his attitude towards her, his feeling of admiration for her personality, his hopes for her as an enlightened monarch. This personal attitude is also manifested in her courtiers: he does not like them very much, he laughs at their vices and weaknesses - satire invades the ode.
According to the laws of classicism, the mixing of genres is unacceptable: everyday details and satirical portraits could not appear in the high genre of the ode. But Derzhavin does not combine satire and ode - he overcomes the genre. And his renewed ode can only be purely formally attributed to this genre: the poet simply writes poems in which he freely speaks about everything that prompts him to personal experience that excites his mind and soul.
The tragic failure of Derzhavin's plan to become an adviser to Catherine II is connected with the ode "Felitsa". A sincere feeling of respect and love for the Empress was warmed by the warmth of the living heart of an intelligent and talented poet. Catherine not only loved praise, but also knew how rare it is to hear sincere praise. That is why she immediately, after meeting with the ode, thanked the poet by sending him a golden snuff-box, strewn with diamonds, with five hundred gold coins.
Success excited Derzhavin. Catherine liked the ode, which means that the courage to address her was approved. Moreover, Derzhavin learned that she had decided to get to know him. We had to get ready for the show. The opportunity to approach the Empress opened up.
Derzhavin decided to immediately explain himself to her - he could not, had no right to miss the opportunity to take the place of adviser to the monarch. The presentation of his program was to be the ode "Vision of Murza". The reception was scheduled for May 9, 1783. The poet did not have time to write the program ode, but a prosaic detailed plan of this ode was preserved in his papers.
The poet begins by interpreting the promises of Catherine II to be an enlightened monarch: “Your enlightened mind and great heart remove the bonds of slavery from us, elevate our souls, make us understand the preciousness of freedom, which is only characteristic of a rational being, such as a person is.” He recalls the lessons of the Pugachev uprising.
If they listen to him and change their policy, then the monarchs “will be disgusted by tyranny and in their possession human blood will not be shed like a river, corpses will not stick out on stakes and heads on scaffolds, and the gallows will not float in rivers.” This was already a direct allusion to the royal reprisal against the participants in the Pugachev uprising.
Inspired by the concept of enlightened absolutism, Derzhavin explained in detail the need to establish contractual relations between the poet and the empress. He claimed that caressing was alien to him, that he undertook to always tell only the truth. Using his favorite legend about Alexander the Great, who, trusting his doctor, boldly drank the medicine he offered, rejecting the slander of the courtiers who assured that the doctor poured poison into his cup, the poet boldly expressed his desire to be such a “doctor” under Catherine.
He urged her to believe him. The “drink” offered by him will be healing, it will alleviate suffering, help to see everything in its true light. And then he will sing the merits of the empress: believe that my song “will encourage you to the exploits of virtues and aggravate your jealousy towards them,” he says to Catherine.
The plan of the ode contains a list of political, public and social events to be carried out by the Russian Empress. They constitute the essence of the program outlined by Derzhavin of Russian enlightened absolutism.
"Vision of Murza" could become one of the best works Russian civil poetry. But it didn't. The outlined plan did not receive a poetic embodiment. All hopes of Derzhavin to become an adviser under Catherine collapsed. Presented to the Empress, the poet hoped that they would remain together and that he would have the opportunity to tell her about his plans ... Everything turned out differently: Catherine coldly greeted him in front of everyone.
With her arrogant and majestic appearance, she emphasized dissatisfaction with the impudent poet, who dared to satirically depict people close to her. The poet was stunned. All plans and hopes collapsed. There was nothing to think about Catherine agreeing to bring him closer to her as a "doctor". Moreover, anxiety crept in - whether he was threatened with disgrace.
Apparently, Fonvizin was right, who in his "Undergrowth" (was presented in the past, 1782) portrayed the wise Starodum. His friend Pravdin expressed the wish that he be called to the court, "for what a doctor is called to the sick." To this, Starodum sternly and firmly replied: “It is in vain to call a doctor to the sick is incurable. The doctor won't help here."
Instead of "Vision of Murza" Derzhavin wrote "Thanks to Felitsa". In the ode, he tried to explain that his “courage” was generated by sincerity, that his “heart is grateful” to the Empress and “burns with zeal.” "Explanatory" verses have lost their strength, energy, and the heat of feeling. The main thing in them is obsequious humility. True, at the end of the ode, the poet cautiously and delicately, but nevertheless hinted that he would hardly soon be able to sing the “god-like princess” again.
Derzhavin was not mistaken in his assumption: "heavenly fire" did not kindle in his soul, and he did not write more poems like "Felitsa". The desire to be a singer of Felitsa-Catherine meant for Derzhavin the establishment of a contractual relationship between the poet and the empress.
He would continue to sing selflessly to Felitsa, sincerely glorify her name through the ages, if she, acting as an enlightened monarch, boldly updated legislation, carried out the reforms necessary for the country and people. The idea collapsed. Ode "Felitsa" remained alone.
True, two more odes were dedicated to Catherine: “The Image of Felitsa” (1789) and “The Vision of Murza” (a new edition of 1791, which differs sharply from the prosaic plan of 1783). "Image of Felitsa" - in fact laudatory ode. Derzhavin betrayed himself. It is written in the traditional plan. Unrestrainedly extolling the virtues of Catherine in a very long, needlessly stretched ode, he defiantly catered to Felitsa's taste.
She needed praise, not Derzhavin's personal feeling. Flattery was part of Derzhavin's plan - removed from the post of Tambov governor, he was put on trial. I had to go to St. Petersburg to seek protection from Catherine. In the autobiographical Notes, the poet explains the reason for writing the ode in this way: “There was no other way but to resort to your talent.
As a result, he wrote ... the ode "The Image of Felitsa". The ode was delivered to the empress, she liked it, the persecution of Derzhavin was stopped. In this ode, Derzhavin the poet was defeated by Derzhavin the official associated with the court.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983
Derzhavin's civil odes 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. Among the best of this cycle is "Felitsa", dedicated to Catherine II. 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. The ode was published in 1783 in the magazine Interlocutor of Lovers of the Russian Word and was a resounding success. Previously known only to a narrow circle of friends, Derzhavin became the most popular poet in Russia. "Felitsa" continues the tradition of Lomonosov's commendable odes and at the same time differs sharply from them in a new interpretation of the image of an enlightened monarch. Ode "Felitsa" written in late XVIII in. She reflects new stage 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. The question arises what facts Derzhavin had at his disposal, what he relied on when creating the image of his Felitsa - Catherine, whom he personally did not know in those years. The main source of this image was an extensive document written by Catherine II herself - "The order of the commission on the drafting of a new Code." 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. Previous literature did not know such works, since the rules of classicism clearly delineated these phenomena. The ideal image of Felitsa is opposed by negligent nobles (in the ode they are called "murzas"). Felitsa depicts the most influential persons at court: Prince G. A. Potemkin, Counts Orlovs, Count P. I. Panin, Prince A. A. Vyazemsky. Later, in "Explanations" to "Felitsa", Derzhavin would name each of the nobles by name, but for contemporaries there was no need for these comments. The portraits are made so expressively that the originals were easily guessed. Catherine sent separate copies of the ode to each of the nobles named above, emphasizing those lines that related to the addressee.
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 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
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 is 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,
Luxury oppresses all pashas. -
Where does virtue live?
Where does a rose without thorns grow?
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.
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! one
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 zoila
You always tend to forgive.
Aspire to tears of pleasant rivers
From the depths of my soul.
ABOUT! 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! Rights
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."
Are you ashamed to hear so great,
To be terrible, unloved;
Bear decently wild
Animals to tear and their blood to drink.
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, thank 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, wherever 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.
Gavriila Romanovich Derzhavin is a real Genius, who, however, achieved success in the literary field, being already 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 The 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 the greatest figures in 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 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; 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 of the 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, pointing out 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 as lyrical hero, unworthy of the honor to serve an enlightened empress, who shuns high titles, magnificent festivities, unworthy of a noble person of amusement, luxury; 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.
