Metaphors in the ode to the felitsa. Allegorical meaning of the ode "felitsa"

The title of the poem, translated from Latin, means happiness and is dedicated to great Catherine II.

From the first lines of the work, the poet extols his empress and creates traditional painting god-like princess, which embodies the author's concept of the ideal of the Right Reverend Monarch. Idealizing the real empress, the poet at the same time believes in the image he depicts. Catherine appears as a smart and active princess, but the poems are not oversaturated with excessive pathos, since the poet uses a mixture of poetic genres (ode and satire), breaking the traditions of Russian classicism, a rare skill for those years. Moving away from the rules for writing a laudatory ode, the author introduces colloquial vocabulary into the poem, depicting the empress ordinary person. Even to her, the poet dares to give advice on the implementation of the laws adopted by the kings together with his subjects.

The poem sounds about the wisdom of the autocrats, and about the negligence of the courtiers, striving only for their own benefit. In a satirical form, the author makes fun of the environment of the princess. This method is not new for the poetry of that time, but behind the images of the courtiers depicted in the work, the features of existing people (the favorites of Empress Potemkin, Orlov, Panin, Naryshkin) clearly appear. Satirically describing their images, the poet shows great courage, because he could pay for it with his life. The author was saved only by Catherine's favorable attitude towards him.

In the course of the poem, the poet manages not only to dissemble and portray delight, but also to become angry. That is, the author behaves like a normal living person, an individual personality with the features of the people, and this is an unprecedented case for the genre of poetic ode.

The poet defined the style of his own poems as a mixed ode, arguing that the poet has the right to talk about everything, and not just sing laudatory hymns. Thus, Derzhavin made an innovative act in poetry, creating individual characters of non-fictional people against the backdrop of a colorful everyday environment.

Analysis of the Ode by Felitsa Derzhavin

Derzhavin is an outstanding poet who had his own style and his own vision of what was happening. Recognition came to the poet after he wrote the ode "Felitsa". It was in 1782, when Felitsa was published, that its author became famous. This poem was written to Catherine II. She liked the work of the poet very much, and for this the ruler generously rewarded Derzhavin. The poet worked on a work at a time when such a genre as an ode was no longer popular. But this did not stop Derzhavin.

The author of "Felitsa" simply broke all the stereotypes of that time. Many writers and critics were a little taken aback. Derzhavin disregarded all the rules of the literature of that time and wrote his own work. The works of writers and poets of those times were simply overflowing beautiful words. In turn, Derzhavin decided to use rather ordinary words to show how he felt about Catherine. Derzhavin also wrote about his attitude to the close people of the Empress.

Derzhavin's early work, namely "Felitsa", of course, has lines in which there is an exaltation of the empress. The poet considered her a kind and intelligent ruler. In total, there are 26 ten lines in Felitsa. More than half of them, the poet dedicated to Catherine, and he stretched all his feelings a lot. In addition, you can see that some compliments and praises are repeated in the work "Felitsa".

It was a difficult time for Derzhavin, especially the period of writing Felitsa. It was a time when society was going through certain changes. People began to hold their own opinions less and went with the flow. The super-personality and thinking of people in the country was lost. There was a so-called crisis in which there was a struggle current government with the old society. This is what influenced the fact that the ode genre began to be perceived by people. The poet just at that moment wrote "Filitsa". Overnight became famous and also a pioneer, innovator this genre. Readers were amazed, and critics did not know how to evaluate the work of the author. Derzhavin was able to introduce humor into the ode genre, which concerns everyday life for everyone.

After the ode was released to the people, the author himself was able to determine the genre in which he wrote the work. He called his work a mixed ode. Derzhavin was of the opinion that in an ordinary ode the poet praises only high-ranking people, but in the genre in which Derzhavin writes, one can write about everything.

The poet makes it clear that the ode is a kind of precursor to the novel. It can embody many thoughts concerning Russian life.

Analysis of Felitsa's poem according to plan

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In 1782, not very famous poet Derzhavin wrote an ode dedicated to the "Kyrgyz-Kaisak princess Felitsa." The ode 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,

Often you walk

And the food is the simplest

It happens at your table.

Strengthening the impression of simplicity and naturalness, Derzhavin ventures on bold comparisons:

Like you don't play cards

Like me, from morning to morning.

And, moreover, he is frivolous, introducing into the ode indecent, 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 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,

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 amuse myself with the barking of dogs”), etc. In the genre of a solemn laudatory ode, this has never been written before. The poet E. I. Kostrov expressed a general opinion and at the same time slight annoyance about a successful rival. 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 out of fashion

Soaring odes have already hatched;

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 “The 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.

Ode "Felitsa" (1782) - the first poem that made the name of Gavrila Romanovich Derzhavin famous, becoming an example of a new style in Russian poetry.
The ode got its name from the name of the heroine "Tales of Tsarevich Chlorine", the author of which was Catherine II herself. By this name, which in Latin means happiness, she is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings.
The history of this poem is very interesting and revealing. It was written a year before publication, but Derzhavin himself did not want to print it and even hid the authorship. And suddenly, in 1783, news spread around St. Petersburg: an anonymous ode “Felitsa” appeared, where the vices of famous nobles close to Catherine II, to whom the ode was dedicated, were deduced in a comic form. Petersburg residents were quite surprised by the courage unknown author. They tried to get the ode, read it, rewrite it. Princess Dashkova, close to the Empress, decided to publish an ode, and in the very magazine where Catherine II herself collaborated.
The next day, Dashkova found the Empress all in tears, and in her hands was a magazine with Derzhavin's ode. The Empress asked who wrote the poem, in which, as she herself said, she portrayed her so accurately that she was moved to tears. This is how Derzhavin tells this story.
Indeed, violating the traditions of the genre of laudatory ode, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he draws not formal portrait 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.
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. "Godlike" Fe-persons, like other characters in his ode, is also shown in an ordinary way (“You often walk on foot ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from nature.
But not everyone liked this poem as much as the Empress. It puzzled and alarmed many of Derzhavin's contemporaries. What was so unusual and even dangerous about him?
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 the Right Reverend Monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted:
Give, Felitsa, guidance:
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 clearly appeared real people:
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, shuffling attire,
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 vividly 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;
From disagreement - consent
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, 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.
Thus, in Felitsa, Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing into high genre ode elements of low styles. Subsequently, the poet himself defined the genre of "Felitsa" as a "mixed ode". Derzhavin argued that, in contrast to the traditional ode for classicism, where statesmen, military leaders were praised, a solemn event was sung, in a "mixed ode", "a poet can talk about everything."
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 not only for people of his time. And now we can read with interest the poems of this remarkable poet, separated from us by a huge distance of two and a half centuries.

D.'s first most original work is a poem. 1779 "Ode to a Birth in the North"

porphyry child (dedicated to the grandson of Catherine 11 - Alexander 1)

In this verse. D. changed almost all the canonical signs of a solemn high

ode, created an original ode in which the high began to connect with the image

being, everyday life, high style is connected with the average.

A) rejection of the 4-foot iambic, replacing the 4-foot trochaic.

B) rejection of the odic stanza, wrote in "solid text"

C) an ode turning into a kind of song, folk. stylization inherent in trochee (dance size).

D) D. refused the images characteristic of the ode, lyric. confusion, odic hovering.

Lined up. into verse. novelistic plot, which is deployed. against a recognizable background

(Russian winter)

e) principle. the image of the destination changes. He refuses to portray the addressee as

Supreme Being. For him, the monarch is "a man on the throne", having the usual, but

positive traits. The power of the monarch is based on the fact that he knows how to manage his

passions.

The development of this theme is also present in other odes (“Felitsa”, ode “Nobleman”)

Even the image of Peter, traditionally deified in Russian literature of the 19th century. comprehended. D. in

human scale, depicted as a "worker on the throne." This was developed by Pushkin.

D., summing up his thin. searches, gave the definition of his own ode as "the ode of the hostel." (poem. “Discourse on lyric poetry or on an ode” Such an ode is open

all the impressions of being, lets in life. pictures, sings of openness to the world, skill

appreciate life in all its manifestations. There is no distinction between high and low. First word

Analysis of the ode "Felitsa". (1782) Used the characters of a fairy tale invented by Ek. 11to his grandson Alru. At first glance, an ode dedicated to the empress is laudatory.

Felitsa - an image of Catherine 11, murza - a collective image of court nobles from her

environment (both specific persons and an autobiographer are guessed. features of the author himself.).

the objects of praise (Ecat.) and satire are her nobles. Departure from the traditions of the classics, especially

perceptible in the show Felitsa- Ek. eleven . Instead of the image of the "earth goddess, we find a portrait real person. The portrait is not official, ceremonial, but drawn. other

paints. D. saw in Ek. 11 the ideal of a human ruler, an example of all kinds of

virtues. He wanted to see a wise, enlightened empress on the throne of a Man.

However, she is shown in her daily worries. At home, ordinary life she

behaves very modestly, not differing from others, except perhaps for love of poetry, indifference

“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...

In "Felitsa" D. overcame another tendency of the classics: in addition to praise and enthusiastic. in relation to Ek. , there is no less satire and irony in relation to

nobles., ridiculing their vices. It was also unusual that there was a departure from the high syllable and style required for this genre, there were many colloquial, colloquial words and expressions: "slept until noon", "to the tailor on the caftan", "having a hat on one side" ... ..

The whole ode is written in that “funny Russian style”, the invention of which D. considered one

of his main services to Russian poetry, i.e. a combination of jokes, gaiety, irony with the seriousness and importance of the topics raised in this work.

"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 own way external form it even seems to be a step backwards from "Birth Poems ..."; 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 that 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 causes an exceptional, hitherto unheard-of genre originality"Felice". 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", alive, specific person poet, was a fact of great artistic and historical-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 satire - also a common and significant genre. poetry of the XVIII V. 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 in the highest degree it is important that this for the first time declaring itself in the odic poetry of the XVIII century. individual personality bears in itself the undoubted features of nationality.
Pushkin spoke of Krylov's fables, that they reflect a certain " distinguishing feature in our morals there is 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 the nationality are also reflected in the language of "Felitsa". In accordance with the new character of this work is 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-fledged, polyphonic genre formations, anticipating not only the "variegated chapters" of Pushkin's "Eugene Onegin" or the highly complex genre of his own " Bronze Horseman", but also the tone of many things by Mayakovsky.
“Felitsa” was a colossal success when it appeared (“everyone who knew how to read Russian found herself in her hands,” a contemporary testifies) and generally became one of the most popular works Russian literature XVIII V. 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".