Derzhavin
A deeper crisis in the aesthetics of classicism, which marked the transition to pre-romantic and realistic poetry, was reflected in the work of the greatest poet of the 18th century, Gavrila Romanovich Derzhavin. Emerging under the influence of Derzhavin’s poetry, it absorbed the best achievements of modern poets, whose work reflected new trends that ran counter to the conventions and normativity of the poetics of classicism. Derzhavin's poetry was distinguished by its originality and nationality, new poetic discoveries, which made him the greatest teacher of Russian poets of the early 19th century.
Derzhavin's innovation, first of all, consisted in turning poetry to life, to its earthly joys, in the ability to make everyday life, low pictures of nature, the property of poetry. In contrast to the poetics of classicism, Derzhavin introduces an autobiographical theme into poetry.
He destroys the genre and stylistic hierarchy of classicism.
Derzhavin studied with Sumarokov and Lomonosov, imitated the latter in his odes, but found a new path in poetry.
Derzhavin's recognition as a poet began with “Felitsa” (1782). The 90s were the heyday of Derzhavin’s creativity. (works in which accusatory tendencies and heroic-patriotic odes intensify).
Since the mid-90s, the poet has increasingly turned to themes of private life, to chanting the earthly joys of life. Derzhavin's Anacreontics acquires an autobiographical character.
1) Philosophical odes of Derzhavin. (“On the death of Prince Meshchersky”, “God”, “Waterfall”, “Felitsa”)
In 1794 Derzhavin wrote an ode "Waterfall", called by Belinsky “the most brilliant creation” of the poet. In it, Derzhavin is concerned that a person lives in society, and his duty is to serve the fatherland, to be the personification of civic virtues. Ode “Waterfall” is a deep philosophical reflection on the meaning of life, human existence, and the right to immortality. Life is fleeting. Derzhavin develops philosophical motives, motives of life and death, which sounded earlier in his poetry (“On the Death of Prince Meshchersky”):
O waterfall! In your mouth
The weight is drowning in the abyss, in darkness!
The ode was written on the death of Prince Potemkin. In Derzhavin’s poetry, commanders and statesmen often appear as heroes. The poet's attitude towards Potemkin is complex. The majestic figure of this darling of fate, who combined good and evil, the abilities of a statesman, a commander who carried out a number of useful reforms in the army, an extraordinary man, courageous and decisive and at the same time cruel, vindictive and power-hungry, more than once attracted the attention of Derzhavin. In “Waterfall,” the poet creates a titanic image of Potemkin, the most powerful nobleman who “shook the earth with thunder,” became famous for the capture of Ochakov and Izmail, and his death in the remote Moldavian steppe could not help but strike the poet’s imagination.
Life falls from the heights of happiness like a waterfall. The ode opens with an unusually visible and colorful picture: “A mountain of diamonds is pouring down from the heights like four rocks, an abyss of pearls and silver is boiling below...”. This is a description of the Kivach waterfall seen by Derzhavin in Karelia. However, in addition to its real sound, Derzhavin’s waterfall symbolizes eternity. And against the background of this eternal beauty of nature, the fragility of power and glory is especially noticeable, but the fragility of “false glory”, with which Derzhavin contrasts those who were faithful to the truth, to the common good: “Only truth gives crowns to Merits that will not fade; only the singers sing the truth...”
Thoughts about those who are worthy of immortality lead Derzhavin to create, along with Potemkin, the image of another commander, Rumyantsev, in whose activities the poet sees the ideal of true citizenship.
The deep philosophical thought underlying the ode and the majestic images created by Derzhavin made “Waterfall” one of the poet’s most remarkable creations. Gogol wrote about “Waterfall”: it is “as if a whole epic had merged into one rushing ode.”
Derzhavin's philosophical ode enjoyed great success among his contemporaries "God"(1784) is the first work of Russian poetry to gain European fame during the poet’s lifetime. As the researchers noted, the ode “God” in its artistic and stylistic structure and in the perception of the “nature of rank” was written according to the model of Lomonosov’s “spiritual” odes. The ode “God” was written over several years; it is dedicated to Derzhavin’s reasoning about the emergence of the universe and the origin of man and is distinguished by its depth of thought and rationalistic clarity of presentation.
In a special “explanation,” Derzhavin indicated that he meant not only the theological concept (God the father, God the spirit, God the son), but also the philosophical “infinite space, continuous life in the movement of matter and the endless flow of time, which God combines in the sky.” The theme itself required “floating” (which was achieved by the solemnity of iambic tetrameter), metaphorical imagery, and contrasting comparisons, which gave it the character of artistic expressiveness.
The picture of the world appears not so much in religious terms, but in terms of scientific ideas about the world. The ode is devoid of mysticism. By using expressive contrasts, Derzhavin achieves extreme clarity of thought: “I decay with my body in dust, I command thunder with my mind, I am a king - I am a slave - I am a worm - I am God!”
Like Lomonosov, Derzhavin amazed with the grandeur of the picture of the universe, in which man is only a small particle. But man is the pinnacle of nature’s creation, and his importance on earth is great.
1779 - “On the death of Prince Meshchersky.” The ode differs sharply from the usual laudatory ode to classicism. This is an ode-elegy. It talks about a specific person with whom the poet was familiar, whose house he visited. The unexpected death of the prosperous, carefree Prince Meshchersky, living in luxury and idleness, makes Derzhavin think about the eternal philosophical problem of life and death, which will last throughout his entire work. Derzhavin often paints the same picture: people fall, like a waterfall, from the heights of happiness. Hence the image of death, in all its terrifying concreteness. Hence the motif of the transience of life and the inevitability of the end, which evokes in Derzhavin the image of the “river of time.”
In the ode “On the Death of Prince Meshchersky” the idea of the transience of life and the inevitability of death is embodied in a specific figurative form. The ode begins with the words: “Verb of the times! Metal ringing! - the sound of a pendulum symbolizes the inexorable passage of time. The image of death is drawn with concrete features. Derzhavin's ode takes on a philosophical character: the poet reflects on death and life, on the mysteries of existence, on the inevitability of the future. The ode is deeply elegiac, it is permeated with a lyrical beginning, the poet is struck by the suddenness of what happened.
Gavrila Romanovich Derzhavin (1743-1816) - an outstanding Russian poet of the 18th - early 19th centuries. Derzhavin's work was innovative in many ways and left a significant mark on the history of literature in our country, influencing its further development.
Life and work of Derzhavin
Reading Derzhavin’s biography, it can be noted that the writer’s early years did not indicate in any way that he was destined to become a great man and a brilliant innovator.
Gavrila Romanovich was born in 1743 in the Kazan province. The family of the future writer was very poor, but belonged to the noble class.
Early years
As a child, Derzhavin had to endure the death of his father, which further worsened the family’s financial situation. The mother was forced to do anything to provide for her two sons and give them at least some kind of upbringing and education. There weren’t many good teachers in the province where the family lived; we had to put up with the ones we could hire. Despite the difficult situation, poor health, and unqualified teachers, Derzhavin, thanks to his abilities and perseverance, was still able to receive a decent education.
Military service
While still a student at the Kazan gymnasium, the poet wrote his first poems. However, he never managed to finish his studies at the gymnasium. The fact is that a clerical error made by some employee led to the fact that the young man was sent to military service in St. Petersburg a year earlier, as an ordinary soldier. Only ten years later he managed to achieve the rank of officer.
With his entry into military service, Derzhavin’s life and work changed greatly. His duty of service left little time for literary activity, but despite this, during the war years Derzhavin composed quite a lot of comic poems, and also studied the works of various authors, including Lomonosov, whom he especially revered and considered a role model. German poetry also attracted Derzhavin. He knew German very well and translated German poets into Russian and often relied on them in his own poems.
However, at that time Gavrila Romanovich did not yet see his main calling in poetry. He aspired to a military career, to serving his homeland and improving the financial situation of his family.
In 1773-1774 Derzhavin participated in the suppression of the uprising of Emelyan Pugachev, but never achieved promotion or recognition of his merits. Having received only three hundred souls as a reward, he was demobilized. For some time, circumstances forced him to earn a living in a not entirely honest way - by playing cards.
Unlocking talent
It is worth noting that it was at this time, by the seventies, that his talent was truly revealed for the first time. "Chatalagai Odes" (1776) aroused the interest of readers, although creatively this and other works of the seventies were not yet completely independent. Derzhavin's work was somewhat imitative, in particular, of Sumarokov, Lomonosov and others. The strict rules of versification, to which, following the classicist tradition, his poems were subject, did not allow the author’s unique talent to fully reveal itself.
In 1778, a joyful event happened in the writer’s personal life - he fell passionately in love and married Ekaterina Yakovlevna Bastidon, who became his poetic muse for many years (under the name Plenira).
Own path in literature
Since 1779, the writer has chosen his own path in literature. Until 1791, he worked in the genre of odes, which brought him the greatest fame. However, the poet does not simply follow the classicist models of this strict genre. He reforms it, completely changing the language, which becomes unusually sonorous, emotional, completely different from what it was in measured, rational classicism. Derzhavin also completely changed the ideological content of the ode. If earlier state interests were above all, now personal, intimate revelations are also introduced into Derzhavin’s work. In this respect, he foreshadowed sentimentalism with its emphasis on emotionality and sensuality.
Last years
In the last decades of his life, Derzhavin stopped writing odes; love lyrics, friendly messages, and comic poems began to predominate in his work.
Derzhavin's work in brief
The poet himself considered his main merit to be the introduction of the “funny Russian style” into fiction, which mixed elements of high and colloquial style and combined lyricism and satire. Derzhavin’s innovation was also in the fact that he expanded the list of themes of Russian poetry, including plots and motifs from everyday life.
Solemn odes
Derzhavin's work is briefly characterized by his most famous odes. They often contain the everyday and the heroic, the civil and the personal. Derzhavin's work thus combines previously incompatible elements. For example, “Poems for the birth of a porphyry-born youth in the North” can no longer be called a solemn ode in the classic sense of the word. The birth of Alexander Pavlovich in 1779 was described as a great event, all geniuses bring him various gifts - intelligence, wealth, beauty, etc. However, the wish of the last of them (“Be a man on the throne”) indicates that the king is a man, which was not typical for classicism. Innovation in Derzhavin's work manifested itself here in the mixture of civil and personal status of a person.
"Felitsa"
In this ode, Derzhavin dared to address the empress herself and argue with her. Felitsa is Catherine II. Gavrila Romanovich presents the reigning person as something that violates the strict classicist tradition that existed at that time. The poet admires Catherine II not as a statesman, but as a wise person who knows her path in life and follows it. The poet then describes his life. Self-irony when describing the passions that possessed the poet serves to emphasize Felitsa’s merits.
"To take Ishmael"
This ode depicts a majestic image of the Russian people conquering a Turkish fortress. Its power is likened to the forces of nature: an earthquake, a sea storm, a volcanic eruption. However, she is not spontaneous, but submits to the will of the Russian sovereign, driven by a feeling of devotion to her homeland. The extraordinary strength of the Russian warrior and the Russian people in general, his power and greatness were depicted in this work.
"Waterfall"
In this ode, written in 1791, the main image is of a stream, symbolizing the frailty of existence, earthly glory and human greatness. The prototype of the waterfall was Kivach, located in Karelia. The color palette of the work is rich in various shades and colors. Initially, this was just a description of the waterfall, but after the death of Prince Potemkin (who died unexpectedly on the way home, returning with victory in the Russian-Turkish war), Gavrila Romanovich added semantic content to the picture, and the waterfall began to personify the frailty of life and lead to philosophical thoughts about various values. Derzhavin was personally acquainted with Prince Potemkin and could not help but respond to his sudden death.
However, Gavrila Romanovich was far from admiring Potemkin. In the ode, Rumyantsev is contrasted with him - that’s who, according to the author, is the true hero. Rumyantsev was a true patriot, caring about the common good, and not about personal glory and well-being. This hero in the ode figuratively corresponds to a quiet stream. The noisy waterfall is contrasted with the inconspicuous beauty of the Suna River with its majestic and calm flow, waters full of clarity. People like Rumyantsev, who live their lives calmly, without fuss or boiling passions, can reflect all the beauty of the sky.
Philosophical odes
The themes of Derzhavin’s work continue with the philosophical “On the Death of Prince Meshchersky” (1779) was written after the death of the heir Paul. Moreover, death is depicted figuratively, it “sharpens the blade of the scythe” and “grinds its teeth.” Reading this ode, at first it even seems that this is a kind of “hymn” to death. However, it ends with the opposite conclusion - Derzhavin calls on us to value life as “an instant gift from heaven” and to live it in such a way as to die with a pure heart.
Anacreontic lyrics
Imitating ancient authors, creating translations of their poems, Derzhavin created his miniatures, in which one can feel the national Russian flavor, life, and describe Russian nature. Classicism in Derzhavin’s work underwent its transformation here too.
Translating Anacreon for Gavrila Romanovich is an opportunity to escape into the realm of nature, man and everyday life, which had no place in strict classicist poetry. The image of this ancient poet, despising light and loving life, was very attractive to Derzhavin.
In 1804, Anacreontic Songs were published as a separate edition. In the preface, he explains why he decided to write “light poetry”: the poet wrote such poems in his youth, and published them now because he left the service, became a private person and is now free to publish whatever he wants.
Late lyrics
A feature of Derzhavin’s creativity in the late period is that at this time he practically stopped writing odes and created mainly lyrical works. The poem "Eugene. Life of Zvanskaya", written in 1807, describes the daily home life of an old nobleman living in a luxurious rural family estate. Researchers note that this work was written in response to Zhukovsky’s elegy “Evening” and was polemical to the emerging romanticism.
Derzhavin’s late lyricism also includes the work “Monument”, filled with faith in the dignity of man despite adversity, life’s vicissitudes and historical changes.
The significance of Derzhavin's work was very great. The transformation of classicist forms begun by Gavrila Sergeevich was continued by Pushkin, and later by other Russian poets.
Poetic destiny Gavrila Romanovich Derzhavin unusual, as, indeed, his entire life path is unusual and extraordinary. A gallant but penniless soldier of the Preobrazhensky Regiment, who pulled the soldier's burden until he was twenty-nine years old. A loyal servant, however, daring to interrupt the empress herself in mid-sentence. Minister of Justice, an important dignitary and nobleman, owning one and a half thousand serf souls. Nothing seemed to foretell that this man with a simple, rough face, a democratic manner of communication, decisive gestures, and sharp but expressive speech would become a generally recognized great poet of Russia at the turn of the 18th-19th centuries. That his lyrical poems will amaze his contemporaries with the sincerity of their sound and the picturesque colorfulness of the syllable. But the main thing is that they will see in them unexpectedly true reality and themselves. The work of Derzhavin, according to V.G. Belinsky, was “the first step towards the transition of Russian poetry in general from rhetoric to life.”
Derzhavin comes from a small noble community of the former Tatar lands of the Kazan province. Probably, in ancient times, the Derzhavin family was considered noble. But by the time of Gavrila’s birth, his father, a low-ranking soldier, as the poet himself says, “had only ten souls of peasants, divided between five brothers.” The boy was eleven years old when his father died. Poverty accompanied Derzhavin's childhood. He was taught the basics of grammar and arithmetic by his father’s garrison colleagues or by random people, for example, the bayonet cadet Poletaev. Our own Kuteikin and Tsyfirkin from the comedy “The Minor” by D.I. Fonvizin seems to be copying Gavrila’s teachers. Only at the age of sixteen Derzhavin managed to enter the Kazan gymnasium, where he distinguished himself with his ability to draw with a pen and make drawings. For his academic success, he would be “enlisted,” as they said then, in the Preobrazhensky Guards Regiment. A nineteen-year-old boy will become a soldier and only ten years later he will rise to the junior officer rank of ensign (“first officer rank, 14th category”).
What was the reason for the slow advancement up the career ladder of a young man who was smart, energetic, and who knew his worth? Last but not least - poverty, ignorance and lack of protection. And yet, not only that! Derzhavin has always been distinguished by a “restless” character: straightforward and quarrelsome. In this man, heterogeneous principles were united in an amazing way. Careerism and uncompromising behavior. Devotion to superiors and furious, “arbitrary” attacks on the boss if it seemed to Derzhavin that he was dishonest in his actions. Natural strength of character, enterprise and rare talent helped the Transfiguration soldier to become, over time, the most distinguished nobleman and the first poet. While remaining himself: a democratic and decent person who has not lost either self-esteem or respect for worthy people.
When you look at the monumental monument to Catherine II, built in the very center of St. Petersburg in front of the former Alexandrinsky Theater more than a hundred years ago, you are once again confirmed in this thought. The figure of Derzhavin in the upper tier of the monument was made by sculptor A. Opekushin. She is perhaps the only one among the figures of other courtiers surrounding Catherine who is depicted standing and looking proudly in a completely different direction from the Empress. Was it the sculptor’s intention to emphasize the poet’s isolation, his independent position at court? Maybe. Opekushin, a native of peasants, first self-taught, and only then a graduate of the Academy of Arts, managed to preserve both democracy and freedom of judgment, independent of the opinions of the powers that be. The Derzhavin spirit could be very close to him.
In 1773, a peasant uprising led by Pugachev seized the Volga lands. Derzhavin and a detachment were sent to the southern regions of the Saratov province to suppress the riot. He never encountered the famous leader of the rebels, but he did not receive any special awards or privileges from the command. In 1777 he retired and began civilian service. Derzhavin's track record is rich and varied. Position in the Senate; Olonetsky, then Tambov governor; secretary of Empress Catherine II herself; President of the Commerce Board; Minister of Justice. He quarreled and fought with his colleagues and superiors at every place he was assigned. He looked for the truth everywhere and established fair orders. They persistently got rid of him, and at the same time he was needed. His energy was indomitable, his honesty was genuine. He made mistakes, but more often he made successful life moves.
In 1782, the not yet very famous poet Derzhavin wrote an ode dedicated to the “Kirghiz-Kaisak princess Felitsa.” That's what the ode was called "To Felitsa". Fame came to Derzhavin. The new literary magazine "Interlocutor of Lovers of the Russian Word", which was edited by the Empress's friend Princess Dashkova, and Catherine herself published in it, opened with the ode "To Felitsa". They started talking about Derzhavin, he became a celebrity.
Derzhavin's career took off again. More than once, as he climbs the career ladder, he will “resort to his talent.” But he will still remain straightforward and daring even with the most supreme power. Already during the reign of Paul I (Catherine II died in 1796), he, a high-ranking official, was rude to the emperor, who was hardly predictable in his actions. He will be angry and send an order to the Senate to remove Derzhavin from his post: “For the obscene answer he committed before us, he is sent to his former place.” I had to write an ode again, this time glorifying Paul. Paul I was replaced on the throne by his son and Catherine's beloved grandson Alexander I. He treated the poet quite favorably and in 1802 appointed him Minister of Justice. There were, however, no clashes with the new tsar, and Derzhavin did not serve for long. In 1803 he finally retired with the highest government rank. He had orders, honorary titles, a beautiful house in St. Petersburg and an estate on the banks of the Volkhov. But, most importantly, this dignitary was the recognized “first poet” of Russia, an indisputable judge and authority in all literary affairs of that time.
In 1815, the poet was invited as an honorary guest to a public examination at the Tsarskoye Selo Lyceum. Not a single important cultural event was complete without the presence of “old man Derzhavin.” The poet was old and decrepit. He knew that he did not have long to live and, having never suffered from modesty, was tormented by the fact that “there was no one to give the lyre to.” There is no poet in Russia who would worthily continue his work. Derzhavin dozed while sitting at the table of examiners and noble guests. And I didn’t immediately understand where the magnificent lines of poetry heard in the main hall came from. The curly-haired young man read them loudly and excitedly. What did the old poet think about then? That someone has appeared who is not afraid or ashamed to hand over his primacy in Russian poetry? That you can finally calmly leave the light here?
This is how the curly-haired lyceum student himself, A.S. Pushkin later recalled this exam: “When we found out that Derzhavin would be visiting us, we all became excited. Delvig went out onto the stairs to wait for him and kiss his hand, the hand that wrote “Waterfall.” Derzhavin was very old. He was in uniform and in velvet boots. Our exam tired him very much. He sat with his head in his hand. His face was meaningless, his eyes were dull, his lips drooped: his portrait (where he is shown in a cap and robe) is very similar. He dozed until then, until the exam in Russian literature began. Then he became animated, his eyes sparkled; he was completely transformed. Of course, his poems were read, his poems were analyzed, his poems were constantly praised. He listened with extraordinary liveliness. Finally they called me. I read my “Memoirs” in Tsarskoe Selo", standing two steps from Derzhavin. I am unable to describe the state of my soul: when I reached the verse where I mention Derzhavin’s name, my adolescent voice rang, and my heart beat with rapturous delight... I don’t remember how I finished my reading, I don’t remember where I ran away to. Derzhavin was delighted; he demanded me, wanted to hug me. They looked for me, but they didn’t find me.”
This is Derzhavin’s life path. It is no coincidence that we have followed it with such care: it explains a lot in the creative fate of the poet and in his innovative approach to poetic creativity. Isn’t it true that Derzhavin’s very involvement in literature is unusual? Kantemir, Trediakovsky, Lomonosov, Sumarokov, who were discussed in previous chapters, studied a lot and thoroughly. For many years they studied the theory and practice of poetry. Then they left their own literary theories and teachings to their descendants. Derzhavin took a different path. Through the layers of everyday life, official troubles and victories, he made his way for a long time to the basics of the literary craft and, as a fully mature man, began to comprehend its fundamentals. This happened spontaneously and disorderly.
In this article we will tell you briefly about the life and work of Gabriel Romanovich Derzhavin, an educator and representative of Russian classicism.
G.R. Derzhavin (1743-1816) - Russian poet and playwright, as well as a statesman of the 18th century under Catherine II.
Life
Gabriel was born on July 3 (14), 1743 in a family of nobles who suffered poverty in the Kazan province. Derzhavin began his studies at home, on an estate in the village of Sokuru, and at the age of 16 he entered the local gymnasium. In 1762, Gabriel became an ordinary guardsman in the Preobrazhensky Regiment, and 10 years later received his first officer rank. A year later, as part of the Preobrazhensky Regiment, he began suppressing the Pugachev uprising, which lasted until 1775.
At the age of 34, Gabriel Romanovich became a state councilor, and in 1784-1788 he served as governor: first of Olonetsok, then of Tambov. Derzhavin was an active official - he was involved in improving the economy of the region and contributed to the formation of the necessary government institutions.
In 1791, at the age of 48, Derzhavin became the cabinet secretary of Catherine the Second, and 2 years later he was appointed her privy councilor, and two years later - president of the Commerce Collegium. For about a year, already at the beginning of the 19th century, he served as Minister of Justice.
The career of the official Derzhavin can be called outstanding, and if we take into account the fact that at that time he was also engaged in literature, then it can even be called mind-blowing.
In 1803, Gavriil Romanovich ended his service, resigning in order to concentrate entirely on literary activity. At the same time, Derzhavin traveled a lot in the last years of his life. Gabriel Romanovich Derzhavin died on his estate on July 8 (20), 1816.
Creation
Derzhavin devoted a lot of time to work and made an impressive career. At the same time, he is considered the largest representative of Russian classicism.
Gabriel Romanovich began writing during his military service. The debut took place in 1773 - then a translation of an excerpt from the works of Ovid appeared. And a year later, “Ode on Greatness” and “Ode on Nobility” by Derzhavin himself were published. The first collection of poems did not take long to appear - it appeared in 1776.
The poet’s ode “Felitsa,” which he dedicated to the empress, brought him wide literary fame. It is worth noting that this happened 9 years before Derzhavin’s appointment as Cabinet Secretary of Catherine II.
After this, other now famous works by Derzhavin appeared: “The Nobleman,” “On the Death of Prince Meshchersky,” “God,” “Dobrynya,” “Waterfall” and others.
Derzhavin's creative path.
| Parameter name | Meaning |
| Article topic: | Derzhavin's creative path. |
| Rubric (thematic category) | Literature |
Short biography:
Born in 1743 ᴦ. in the family of a poor nobleman. My father died early.
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D. studied with a sexton in a village church, then at a gymnasium. He was enlisted in the guards regiment. From 1762 he pulled the soldier's strap. Participated in the suppression of Pugachev's rebellion. Sharp, direct, independent, he antagonized his superiors, was fired and transferred to the Senate. Without any connections he worked his way up to minister. His career and nomination as one of the first Russian poets was influenced by the ode “Felitsa”. D. was a monarchist. He believed that the monarch should be enlightened and therefore idealized Catherine 2. When he became her secretary (1791), he realized that she was hypocritical and pseudo-liberal. Under Paul he was a state. treasurer. Under Alexander 1, he was the Minister of Justice, but he was soon removed from his post - he “served very zealously.” He spent his last years on an estate near St. Petersburg.
Creation:
D.'s poetry was different identity and nationality. His innovation lies in turning poetry to life, in the ability to make everyday life the property of poetry. D. also contributes autobiographical theme into poetry. He refuses mandatory imitation, recognizing the right to poetic individuality. In his poems one can always see the image of a poet - hot-tempered, independent, quarreling with the empress, fighting untruth, etc. Studied with Sumarokov and Lomonosov.
80s: Appeared in print in 1773 with an ode ʼʼHe led to the wedding. book Pavel Petrovich with Natalia Alekseevna. In many ways, at first he followed Lomonosov. More interesting is his cycle of odes dedicated to Pugachev uprising. He hoped for an enlightened monarch, on whom everything depended. Odes ʼʼFor greatnessʼʼ, ʼʼFor nobilityʼʼ- the theme of the natural equality of people + the extreme importance of a person’s personal merits to the state. D.'s early odes are characterized by imitation. But in 1779, with the help of friends (Lvov, Kapnist, Khemnitser), he found his way, writing poetry ʼʼKeyʼʼ, ʼʼPoems for the birth of a porphyry-born youth in the Northʼʼ and ode ʼʼOn the death of Prince Meshcherskyʼʼ- here sounds a new word from a poet who perceives nature through the eyes of a common man. His special path was clearly demonstrated in his ode ʼʼFelitsaʼʼ(see ticket 20 for details). IN satirical poems the concreteness of the everyday picture appeared, low, everyday sayings - ϶ᴛᴏ led to bringing poetry closer to life. D.'s brilliant discovery - there is nothing in nature that is not worthy of depiction in poetry. Oh yeah Vision of Murzaʼʼ - colorfulness, picturesqueness, vivid imagery in the perception of the world; his poetry of that time was “talking painting”. D.'s poetry depicts the real situation, objects, and people of that time. The philosophical ode was very popular God- reasoning about the emergence of the universe and the origin of man. One of the most important themes of D.’s poetry is preaching civil service to the fatherland. He sought to reflect his views on the role of the poet in his work ʼʼDiscourse on lyric poetryʼʼ. At the same time, D. - an incorruptible, honest person - begins to write satire. ʼʼTo rulers and judgesʼʼ (see ticket 20 for details)
90s: satirical ode ʼʼ Noblemanʼʼ - imbued with the pathos of public duty, service to the fatherland and passionate denunciation of dishonest nobles (see ticket 20 for details). In 94 D. writes a philosophical ode ʼʼ Waterfallʼʼ - reflection on the meaning of life, on its transience. Written for the death of Prince Potemnik. In general, the 90s were the heyday of the poet’s work: they also created “Invitation to dinner”, “To take Izmail”, “Bullfinch” Satirical tendencies are increasing, but D. also creates a number of heroic and patriotic odes to the glory of the Russians. Heroic-patriotic odes - “On the capture of Izmail”, “On the crossing of the Alpine mountains”, “On victories in Italy” High pathos, solemnity of style, abundance of hyperbole, allegories, rhetorical conventions of images - all connected with classicism . (see ticket 35 for details).
Last period of creativity: Since the mid-90s, the poet has increasingly turned to themes of private life, to the chanting of the earthly joys of life, private life, free from the responsibilities imposed by the entire state system. hierarchy. Escaping the bustle of the world brings D. closer to sentimentalists. Poem ʼʼTo yourselfʼʼ- D. is ready to resign from his official duties, because... his fight against the abuses of officials is ineffective. Derzhavin's Anacreontics acquires biographical character(The Gift, The Nightingale in a Dream, To the Lyre, The Desire, The Grasshopper, The Silence) (see ticket 35 for more details). Until the end of his days, D. took an active part in literature. life. He constantly writes poems, turns to new genres, even drama (although he does not succeed here). In general, the man is a genius and influenced everyone and everything.
57. Radishchev’s creative path.
Alexander Nikolaevich Radishchev (1749-1802)
The first Russian writer to connect literature with the liberation movement and revolutionary thought. He put forward the idea of a popular revolution, for which Catherine II considered him a “rebel worse than Pugachev.” During R.’s life and after his death, until 1905, his famous “Travel” was banned.
Brief biography: born into a wealthy noble family. For the first seven years he was raised at home (taught by serf Pyotr Mamontov). He studied at the Corps of Pages in St. Petersburg, then for special merits at the age of 17 he was sent to the Leipzig University of Law. At the university, Russian students fought with the official Bokum (who was assigned to them by Catherine), which led R. to the conclusion that “the oppression of a private tyrant” should cause indignation against the main tyrant *such a subtle hint* 1771-1773. - service in the Senate department, where he knew the horror of lawlessness, etc., 1773-1775 - service in the headquarters of the Finnish division of Count Bruce. Left because did not want to participate in the reprisal of the leaders of the Pugachev rebellion. 1777 - service in the Commerce Collegium. In 1788 he was transferred to serve in the St. Petersburg customs. Radishchev was brought to the Ilimsk prison (for “Travel”) in January 1792 and stayed there until the end of the reign of Catherine II. After the accession of Alexander I, Radishchev received complete freedom (decree dated March 15, 1801); he was summoned to St. Petersburg and hired as a member of the Commission to draw up laws. “Committed suicide” in 1802ᴦ.
Derzhavin's creative path. - concept and types. Classification and features of the category "Derzhavin's creative path." 2017, 2018.