From this work of the words: Murzam without imitating yours, You often walk on foot. Felitsa

"Felitsa" (its original full name: "An ode to the wise Kirghiz-Kaisak princess Felitsa, written by some Murza, who has long lived in Moscow, and who lives on business in St. Petersburg. Translated from the Arabic language in 1782") was written with the installation on the usual laudatory ode. In its external form, it seems to be even a step back from "Poems for Birth ..."; it is written in ten-verse iambic stanzas, traditional for a solemn ode ("Poems for the birth ..." are not at all dismembered into stanzas). However, in reality "Felitsa" is an artistic synthesis of an even wider order.
The name of Catherine Felitsa (from the Latin felicitas - happiness) is suggested by one of her own literary works - a fairy tale written for her little grandson, the future Alexander I, and recently published in a very limited number of copies. The Kirghiz Khan visits the Kiev prince Chlorus, who, in order to test the rumor about the boy's exceptional abilities, orders him to find a rare flower - "a rose without thorns." On the way, Murza Lentyag beckons the prince, trying to deflect him from a too difficult enterprise with the temptations of luxury. However, with the help of the khan's daughter Felitsa, who gives her son Reason to Chlorus, Chlorus reaches a steep rocky mountain; having climbed with great difficulty to the top of it, he finds there the sought-after "rose without thorns", that is, virtue. Using this simple allegory, Derzhavin begins his ode:

Godlike princess
Kirghiz-Kaisatsky hordes,
Whose wisdom is incomparable
Has discovered the right traces
Young Tsarevich Chlorus
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 travesty replace the 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, sharply different from the traditionally laudatory odesa. Instead of the solemnly heavy, long stamped and therefore little expressive image of the "earthly goddess", the poet, with great enthusiasm and hitherto unprecedented poetic skill, portrayed Catherine in the person of an active, intelligent and simple "Kirghiz-Kaisak princess":

Without imitating your murzas,
You often walk on foot
And the food is the simplest
Happens at your table;
Do not value your peace,
You read, write in front of the tax
And all from your pen
Shedding bliss on mortals
You don't play cards like this
Like me, from morning to morning.

A similar opposition to the "virtuous" image of Felitsa of the contrasting image of the vicious "murza" is then carried out through the entire poem. This determines the exceptional genre originality of "Felitsa", unprecedented in our country until now. 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 more sharply than in "Poems for the Birth of a Porphyry Child in the North", the posture of the singer in relation to the subject of his chanting also changes here. Lomonosov signed his odes to the empresses - "the most obedient slave." Derzhavin's attitude to Yekaterina-Felitsa, traditionally endowed with him at times with "godlike" attributes, for all the respectfulness, is not devoid at the same time, as we see, a certain playful shortness, almost familiarity.
The image, opposed to Felice, is characteristically doubled throughout the ode. In satirical passages, this is a kind of collective image that includes the vicious features of all Catherine's nobles, ridiculed here by the poet; to a certain extent, Derzhavin, who is generally prone to auto-irony, introduces himself into this circle. In high pathetic places - this is the lyrical author's "I", again endowed with specific autobiographical features: Murza - and indeed the real descendant of Murza Bagrim, the poet Derzhavin. The appearance in "Felitsa" of the author's "I", the living, concrete personality of the poet, was a fact of tremendous artistic, historical and literary significance. Lomonosov's laudatory odes also sometimes begin in the first person:

Is it not Pindus underfoot?
I hear pure sisters music.
I burn with Permesian heat,
Teku hastily to these faces.

However, the "I" referred to here is not an 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 widespread and significant genre of poetry in the 18th century. The difference in this respect between odes and satyrs is only in the fact that in odes the singer always plays on one single string - "sacred delight", while in satyrs one single but indignantly accusatory string sounds also. 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, dubious.
In Derzhavin's "Felitsa", instead of this conventional "I", there appears a genuine living personality of a human poet in all the concreteness of his individual being, in all the real diversity of his feelings and experiences, with a complex, "multi-string" attitude to reality. The poet here is not only delighted, but also angry; praises and at the same time blasphemes, denounces, slyly ironic, and it is extremely important that this first declares itself in odic poetry of the 18th century. the individual personality also carries the undoubted traits of a nationality.
Pushkin said about Krylov's fables that they reflect in themselves a certain "distinctive feature in our morals - a cheerful slyness of mind, mockery and a picturesque way of expressing ourselves." From under the conventionally "Tatar" guise of "Murza", for the first time this feature appears in Derzhavin's ode to Felitsa. These glimpses of nationality are reflected in the language of "Felitsa". In accordance with the new character of this work, there is also its "funny Russian syllable", 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 ...
Derzhavin also continues to traditionally call his poems Odes, theoretically linking them with the classical example, which is obligatory for classicism - the odes of Horace. But in fact he makes them a genuine genre revolution... In the poetics of Russian classicism, there were no poems "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 youth in the north" and, in particular, from "Felitsa", completely breaks the framework of the traditional genre categories of classicism, merges into one organic whole ode and satire, in his other things, like "On the Death of Prince Meshchersky" - an ode and an elegy.
In contrast to the one-sided genres of classicism, the poet creates complex and full-life, polyphonic genre formations that anticipate not only the "colorful chapters" of Pushkin's "Eugene Onegin" or the highly complex genre of his "Bronze Horseman", but also the tone of many of Mayakovsky's works.
"Felitsa" had tremendous success at its appearance ("everyone who knows how to read Russian found it in their hands," a contemporary testifies) and generally became one of the most popular works of Russian literature of the 18th century. This tremendous success clearly proves that Derzhavin's ode, which made a kind of revolution in relation to Lomonosov's poetics, fully corresponded to the main literary tendencies of the era.
In "Felice" two opposite principles of Derzhavin's poetry- positive, affirmative, and incriminating, - critical. The chanting of the wise monarch - Felitsa - is one of the central themes of Derzhavin's work, to whom both contemporaries and later critics have appropriated the nickname "The Singer of Felitsa". Felitsa was followed by the poems "Thanks to Felitsa", "The Image of Felitsa", finally, glorified almost as much as "Felitsa", the ode "The Vision of Murza" (started in 1783, finished in 1790).

Read also: Belarusian art of the 18th century. Graphic artist Gershka Leibowicz, carver Jan Schmitt, artists Heskie. Slutsk belts and other works of decorative and applied art of this era. In good literary works, reactions are emphasized. The duty is to provide for this conditions and implement Question 11. Heroes of the romantic poems of M. Yu. Lermontov (for example, one work). Question 8. Heroes of the romantic poems of Alexander Pushkin (for example, one work). Q35. Limit of a Function at a point and at infinity. Geometric illustration of definitions. Constant limit. Limit of the amount, private, work. Limit of elementary functions. Induce depression. Don't commit this violence. Your prayer will be depressing.

1. "Felitsa"

3. "Frol Silin"

4. "To my mind"

142. The protagonist of "Travel from St. Petersburg to Moscow":

1.Officership

2.the merchants

4.nobility

5.bureaucracy

143. The features of these literary trends were manifested in "Journey from St. Petersburg to Moscow":

1.classicism and sentimentalism

2.Romanticism and Sentimentalism

3.realism and classicism

4.classicism and modernism

5.social realism

144. In this chapter of "Travels ..." A.N. Radishchev brings his reader to the idea of ​​the revolutionary action of the people:

1. "Zaytsovo"

2. "Sacrum"

3. "Spasskaya Polest"

4. "Lyubani"

5. "Yedrovo"

145. Catherine II said about this work of A. Radishchev: "A rebel, worse than Pugachev":

1. "Liberty"

2. "Travel from St. Petersburg to Moscow"

3. "An excerpt from the journey"

4. "Letter to a friend"

5. "Letters to Falalei"

146. This work of A. Radishnva contains the ode "Liberty":

1. "Brigadier"

2. "Travel from Pererburg to Moscow"

3. "Minor"

5. "Waterfall"

147. For his book he was arrested, sentenced to death, which was later replaced by exile to Siberia:

1. A. Sumarokov

2.A. Kantemir

3.G. Derzhavin

4. A. Radishchev

5. M. Lomonosov

148. In this book of the XVIII century. the epigraph is taken from the words: "The monster bastard, mischievous, huge, hundred-zeal and bark":

1. "Poor Lisa"

2. "Minor"

3. "Inspector"

5. "Yabeda"

"I looked around me - my soul became wounded by human suffering":

1. "Poor Lisa"

2. "Minor"

3. "Inspector"

4. "Travel from St. Petersburg to Moscow"

5. "Yabeda"

150. They say about him that his life is a feat in the name of the liberation of the Russian peasant:

1.A. Sumarokov

2. A. Radishchev

3.G. Derzhavin

4. I. Krylov

1. A. Radishchev

2. M. Lomonosov

3.G. Derzhavin

4. I. Krylov

5. F. Prokopovich

152. Theme of the ode "Liberty":

3.revolutions

4.happiness

1. M. Lomonosov

2. I. Krylov

3. F. Prokopovich

4.A. Kantemir

5. A. Radishchev

154. He is considered the pioneer of Russian revolutionary aesthetics:

1. I. Krylov

2. A. Radishchev

3. N. Karamzin

4. I. Dmitriev

5.I. Krylov

155. This line in literature was headed by A. Radishchev:

3.the romantic-heroic

4. historical and patriotic

5. romantic-historical

156. Liza belonged to this class ("Poor Liza" by N. Karamzin):

1.to the peasantry

2.to the merchants

3.to philistinism

4.to the nobility

5.to the pillar nobility

157. N.M. Karamzin adhered to these political views:

1.was a democrat

2.was a supporter of an enlightened monarchy

3.was a supporter of liberal views

4.supported autocracy

5. was an opponent of autocracy.

158. A prominent representative of Russian sentimentalism:

1. M. Lomonosov

2.G. Derzhavin

3.D. Fonvizin

4. V.Kapnist

1. A. Radishchev

2. M. Lomonosov

3. N. Karamzin

4. D. Fonvizin

5.G. Derzhavin

160. Historical composition of N. Karamzin:

1. Bornholm Island

2. Sierra Morena

4. Foreman

5. Undergrowth

161. The work of N. Karamzin:

1. Message to my servants Shumilov, Vanka and Petrushka

2. Dmitry the Pretender

3. History of the Russian state

4. Foreman

5. Undergrowth

162. A well-known almanac published by N. Karamzin:

1. "Aglaya"

2. "Vladlena"

3. "Tatiana"

4. "Elena"

5. "Marina"

163. In these works of N. Karamzin pre-romantic tendencies are visible:

1. "Poor Liza", "Martha Posadnitsa"

2. "Bornholm Island", "Sierra - Morena"

3. "Frol Silin", "The Knight of Our Time"

4. "Letters of a Russian Traveler", "Felitsa"

5. "History of the Russian State", "Brigadier"

164. The name of the protagonist of Poor Lisa:

165. The problem of the story "Martha the Posadnitsa":

2.education

3.love and friendship

4.war and peace

5.monarchy or republic

166. Chief theorist of the 18th century:

1. M. Lomonosov

2. F. Prokopovich

3. A. Pushkin

4. M. Lermontov

5.A. Kantemir

167. The fabulist of the XVIII-XIX centuries:

1.V. Trediakovsky

2. M. Lomonosov

3. N. Karamzin

4. I. Krylov

5.D. Fonvizin

168. For his book he was arrested, sentenced to death, which was later replaced by exile to Siberia:

1. A. Sumarokov

2.A. Kantemir

3.G. Derzhavin

4. A. Radishchev

1.D. Fonvizin

2. N. Karamzin

4. A. Radishchev

5.I. Krylov

170. Subject "Letters from Ernest and Doravra":

1.About the love of an aristocrat and a poor nobleman

2.about friendship between people

3.about justice

4.about the peasantry

5.about freedom

171. "Letters from Ernest and Doravra" - sample:

1.classic novel

2.historical novel

3.adventure romance

4.Household novel

172. He managed to show the world of love experiences:

1. K. Istomin

2.A. Kantemir

3. M. Lomonosov

4. F. Prokopovich

1. M. Chulkov

2.D. Fonvizin

3. M. Lomonosov

4. V. Trediakovsky

5. A. Radishchev

174. The novel "The Good-Looking Cook" should be attributed to:

1.historical

2. to the rogue

3. documentary

4.adventure

1.A. Kantemir

2.D. Fonvizin

3. I. Bogdanovich

4. I. Krylov

5.G. Derzhavin

| | | | | 6 |

1. In 1781, it was printed, in a small number of copies, written by Catherine for her five-year-old grandson, Grand Duke Alexander Pavlovich, The Tale of Tsarevich Chlorus... Chlorine was the son of a prince, or tsar of Kiev, during the absence of his father, kidnapped by the khan of Kirghiz. Wanting to believe the rumor about the boy's abilities, the khan ordered him to find a rose without thorns. The prince went on this errand. On his way, he met the daughter of the khan, cheerful and amiable Felitsa... She wanted to go to see off the prince, but her stern husband, the Sultan of the Grump, prevented her from doing that, and then she sent her son, Reason, to the child. Continuing on the way, Chlor was subjected to various temptations, and among other things, he was invited into his hut by Murza Lentyag, who, with the temptations of luxury, tried to divert the prince from an enterprise that was too difficult. But Reason forcibly carried him further. Finally they saw in front of them a steep rocky mountain on which a rose without thorns grows, or, as one young man explained to Chlorus, virtue. With difficulty climbing the mountain, the prince plucked this flower and hurried to the khan. The khan sent him along with the rose to the Kiev prince. "This one was so delighted with the arrival of the prince and his successes that he forgot all the longing and sadness .... Here the tale will end, and whoever knows more will say another."

This tale gave Derzhavin the idea to write an ode to Felitsa (the goddess of bliss, according to his explanation of this name): since the empress loved funny jokes, he says, this ode was written in her taste, at the expense of her entourage.

return)

18. Dividing Chaos into spheres harmoniously and so on - a hint of the establishment of provinces. In 1775, Catherine published the "Establishment of Provinces," according to which all of Russia was divided into provinces. ()

19. That she has renounced and reputed to be wise. - Catherine II with feigned modesty rejected from herself the titles "Great", "Wise", "Mother of the Fatherland", which were presented to her in 1767 by the Senate and the Commission for the development of a draft of a new code; she did the same in 1779, when the St. Petersburg nobility offered to accept her the title of "Great". (

FELITZA

Godlike princess Kirghiz-Kaysatsky hordes! Whose wisdom is incomparable Has discovered the right traces Young Tsarevich Chlorus 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, Felitsa! instruction: How to live magnificently and truthfully, How to tame the excitement of passions And be happy in the world? Your voice excites me Your son is escorting me; But I am weak to follow them. Restless with the vanity of life, Today I rule myself And tomorrow I'm a slave to whims. Without imitating your murzas, You often walk on foot And the food is the simplest Happens at your table; Do not value your peace You read, write in front of the tax And all from your pen Shedding bliss on mortals; You don't play cards like this Like me, from morning to morning. You don't like masquerades too much And you can't even step into the bed; Keeping customs, rituals, You don't donkishot yourself; You can't saddle a Parnassian horse, K spirit a m - you can't enter the assembly, Do not go from the throne to the East; But walking the path of meekness, With a beneficent soul Useful days you spend current. And I, having slept until noon, I smoke tobacco and drink coffee; Turning everyday life into a holiday, I circle my thought in chimeras: I kidnap captivity from the Persians, I turn arrows to the Turks; That, having dreamed that I am a sultan, I frighten the universe with my gaze; Then suddenly, seduced by the outfit, I will go to the tailor for a caftan. Or am I rich at a feast, Where they give me a holiday Where the table shines with silver and gold, Where there are thousands of different dishes; There is a glorious Westphalian ham, There are links of Astrakhan fish, There are pilaf and pies, I wash down the waffles with champagne; And I forget everything Amid wines, sweets and aroma. Or in the middle of a beautiful grove In the gazebo where the fountain is making noise, At the sound of a sweet-voiced harp, Where the breeze barely breathes Where everything represents luxury to me, He catches thoughts to the joys, Tumbles and revives the blood; Lying on a velvet sofa Young girls are tender feelings, 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 a beauty I walk under the swing; I drop into the shanks to drink honey; Or, as it bores me, According to my inclination to change, With a hat on one side, I'm flying on a high-spirited runner. Or muses NS coy and singers, Organ and bagpipes suddenly, Or fist fighters And I amuse my spirit with a dance; Or, take care of all matters Leaving, I go hunting And I amuse myself with the barking of dogs; Or over the Neva banks I amuse my horns at night And rowing of daring rowers. Or, sitting at home, I will leper, Playing fools with his wife; I get along with her on the dovecote, Sometimes we frolic in blind man's eyes; I'm having fun with her, I look for it in my head; Then I like to rummage in books, I enlighten my mind and heart, I read Polkana and Bova; I sleep behind the Bible, yawning. Such is, Felitsa, I am depraved! But the whole world looks like me. Whoever is noble in wisdom, But every person is a lie. We do not walk the light in ways, We run debauchery for dreams. Between a bummer and a grouch Between vanity and vice Did anyone find it by accident The path of virtue is straight. I found it - but I shouldn't be mistaken We, weak mortals, in this way, Where reason itself stumbles And he must follow the passions; Where are the learned ignoramuses for us, How is the darkness among travelers, darkening the eyelids? Everywhere temptation and flattery lives, Pasha oppresses everyone with luxury. - Where does virtue dwell? Where does a rose without thorns grow? You alone are only decent Princess! create light from darkness; Dividing Chaos into spheres harmoniously, Union to strengthen their integrity; Out of disagreement agreement And from the ferocious passions happiness You can only create. So the helmsman, sailing through the pont, Sailing the roaring wind Knows how to steer the ship. You just won't offend one, You don't offend anyone You see the foolishness through your fingers Only one cannot bear evil; You rule your misdeeds by condescension, Like a wolf of sheep, you don't crush people, You know directly their value. They are subject to the will of kings, - But God is more just more, Who lives in their laws. You think sensibly about merit, You give honor to the worthy, You don't count him as a prophet, Who can weave only rhymes, What is this crazy fun Good caliphs honor and glory. You condescend in a lyre mood; Poetry is kind to you Nice, sweet, useful, Like delicious lemonade in summer. Hearing and children about your actions, That you are not in the least proud; Amiable both in business and in jokes, Pleasant in friendship and firm; That you are indifferent in adversity, And in glory she is so magnanimous That she renounced and reputed wise. They also say falsely That if it is always possible Tell you the truth. It is also unheard of a thing, Worthy of you! one, As if you were brave to the people About everything, both manifest and at hand, And you allow to know and think, And you don't forbid about yourself And the story and fiction to speak; As if the most crocodiles, All your favors to the zoils You always tend to forgive. The tears of the pleasant rivers seek From the depths of my soul. O! if people are happy There must be their destiny, Where is the meek angel, the peaceful angel, Hidden in the porphyry lordship, From heaven sent down the scepter to wear! 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 slip of the line in the line, Or a portrait inadvertently Drop her to the ground, There are no buffoonery weddings, They are not fried in ice baths, They do not snap into the mustache of nobles; Princes do not cackle hens, Pets don't laugh at them And they don't smear the face with soot. You know, Felitsa! Right And men and kings; When you educate manners You don't fool people like that; In your rest from business You write lectures in fairy tales, And you repeat to Chlorine in the alphabet: “Don't do anything bad, And the wicked satyr himself You will make a despicable liar ”. Are you ashamed to be reputed to be that great To be scary, unloved; The she-bear is decently wild Vomit animals and drink their blood. Without extreme distress in a fever Tom lancets need money, Who could do without them? And it is glorious to be that tyrant, Great in atrocity Tamerlane, Who is great in goodness like God? Felitsa glory, glory to God, Who pacified the abuse; Who is sira and wretched Covered, clothed and fed; With a radiant eye Fools, cowards, ungrateful And gives its light to the righteous; Equally enlightens all mortals, It rests the sick, heals, Good creates only for good. Who granted freedom To jump into foreign areas, Let his people Silver and gold seek; Which permits water, And he does not prohibit cutting wood; Orders and weaving, and spinning, and sewing; Unleashing mind and hands Orders to love trading, science And find happiness at home; Whose law, right hand They give both mercy and judgment. - Broadcast, wise Felitsa! Where is the rogue different from the honest? Where does old age not roam the world? Finds the merit of bread? Where revenge does not drive anyone away? Where does conscience with truth dwell? Where do virtues shine? At the throne is it yours! But where does your throne shine in the world? Where, branch of heaven, do you bloom? In Baghdad, Smyrna, Cashmere? Listen, wherever you live - Taking my praises to you, Do not think that hats or beshmet For them I wished from you. Feel the goodness of the pleasantness Such is the wealth of the soul, What Croesus did not collect. I ask the great prophet Yes, I will touch the dust of your feet, Yes, your words are the sweetest current And I will enjoy seeing! Heavenly I ask for strength Yes, their winged sapphire wings, They keep you invisible From all diseases, anger and boredom; Yes, the sounds of your deeds in posterity, Like the stars in the sky, they will excite.

Notes (edit)

Felitsa (p. 97). For the first time - "Interlocutor", 1783, part 1, p. 5, without a signature, under the title: "Ode to the wise Kyrgyz princess Felitsa, written by the Tatar Murza, who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic 1782 ". The editors gave a note to the last words: "Although we do not know the name of the composer, we know that this ode was definitely composed in Russian." Pecs by Ed. 1808, vol. 1, p. 36. Having written the ode in 1782, Derzhavin did not dare to publish it, fearing revenge from the noble nobles depicted in a satirical plan. The poet's friends, N. A. Lvov and V. V. Kapnist, were of the same opinion. By chance, the ode fell into the hands of one good friend of Derzhavin, adviser to the director of the Academy of Sciences, writer, figure in the field of public education, later Minister Osip Petrovich Kozodavlev (early 1750s - 1819), who began to show it to various people and Among them, he introduced her to Princess E.R. Dashkova, who had been appointed director of the Academy of Sciences in 1783. Dashkova liked the ode, and when in May 1783 the publication of "Interlocutor" was undertaken (Kozodavlev became the editor of the magazine), it was decided to open the first issue of "Felitsa" (Ob. D., 601). The publication of "Interlocutor" was conditioned by the political events of the early 1780s, the intensification of the struggle of Catherine with the noble opposition, the desire of the empress "to use journalism as a means of influencing the minds, as an apparatus for disseminating interpretations of the internal political life of the country favorable to her" (P N. Berkov. History of Russian journalism of the 18th century. M. - L., 1952, p. 332). One of the ideas persistently pursued by Catherine in the huge "Notes on Russian history" was the idea, noted by Dobrolyubov, that the sovereign "is never the fault of civil strife, but always a resolver of strife, a peacemaker of princes, a defender of the right, if only he follows the suggestions of his own hearts. As soon as he does injustice, which cannot be hidden or justified, then all the blame is laid on the evil advisers, most often on the boyars and the clergy "(N. A. Dobrolyubov. Works, vol. 1. L., 1934, p. 49) ... Therefore, "Felitsa", panegyrically portraying Catherine and satirically - her nobles, fell into the hands of the government, Catherine liked. Derzhavin received a gold snuffbox with 500 ducats as a gift from the Empress and was personally presented to her. The high merits of the ode brought it success in the circles of the most advanced contemporaries, and widespread popularity for that time. A. N. Radishchev, for example, wrote: "Transfer many stanzas from the ode to Felitsa, and especially, where Murza describes himself, almost the same poetry will remain without poetry" (Poln. Sobr. Soch., Vol. 2, 1941, page 217). “Everyone who can read Russian found it in their hands,” Kozodavlev testified (“Interlocutor”, 1784, part 16, p. 8). Derzhavin took the name "Felitsa" from "The Tale of Tsarevich Chlorus", written by Catherine II for her grandson Alexander (1781). “The author called himself Murza because ... he descended from a Tatar tribe; and the empress - Felitsa and the Kyrgyz princess so that the late empress composed a fairy tale under the name of Tsarevich Chlorus, whom Felitsa, that is, the goddess of bliss, accompanied to the mountain where the rose without thorns blooms, and that the author had his own villages in the Orenburg province in the vicinity from the Kyrgyz horde, which was not listed as a subject ”(Ob. D., 593). In the manuscript of 1795 (see above, p. 363), the interpretation of the name "Felitsa" is somewhat different: "wisdom, grace, virtue" (Manuscript Department of the State Public Library, F. XIV. 16, p. 408). This name was formed by Catherine from the Latin words "felix" - "happy", "felicitas" - "happiness".

Your son is accompanying me. In the fairy tale of Catherine, Felitsa gave her son Reason to guide the prince Chlorus.

Without imitating your murzas - that is, courtiers, nobles. Derzhavin uses the word "murza" in two ways. When Murza speaks about Felitsa, the author of the ode is meant by Murza. When he speaks, as it were, of himself, then the murza is a collective image of the noble-courtier.

You read, write before the deposit. Derzhavin has in mind the empress's legislative activity. Naloy (obsolete, vernacular), more precisely "lectern" (church) - a high table with a sloping top, on which icons or books are placed in the church. Here it is used in the sense of "table", "desk".

You can't saddle a Parnassian horse. Catherine did not know how to write poetry. Arias and poems for her literary works were written by her secretaries of state Elagin, Khrapovitsky and others. Parnassian horse - Pegasus.

You do not enter the spirits in the assembly, You do not go from the throne to the East- that is, you do not attend Masonic lodges, meetings. Catherine called the Masons "a sect of spirits" (Khrapovitsky's Diary. M., 1902, p. 31). Masonic lodges were sometimes called "East" (Grotto, 2, 709-710). Freemasons in the 80s. XVIII century - members of organizations ("lodges") that professed a mystical-moralistic doctrine and were in opposition to Catherine's government. Freemasonry was divided into different streams. One of them, Illuminatiism, belonged to a number of leaders of the French Revolution of 1789. In Russia, the so-called "Moscow Martinists" (the largest of them in the 1780s were N.I. Novikov, a remarkable Russian educator, writer and publisher, his assistants on publishing, the case of I.V. Lopukhin, S.I. Gamaley, and others) were especially hostile towards the empress. They considered her the invader of the throne and wanted to see on the throne the "legitimate sovereign" - the heir to the throne, Pavel Petrovich, the son of Emperor Peter III, deposed from the throne by Catherine. Paul, while it was to his advantage, was very sympathetic towards the "Martinists" (according to some testimonies, he even adhered to their teachings). Masons have become especially active since the mid-1780s, and Catherine composes three comedies: "Siberian Shaman", "Deceiver" and "Seduced", writes "The Secret of an Anti-Stupid Society" - a parody of the Masonic charter. But she succeeded in crushing Moscow Freemasonry only in 1789-1793. with the help of police measures.

And I, having slept until noon and so on. “Refers to the whimsical disposition of Prince Potemkin, like all three following couplets, who was either going to war or practicing attire, in feasts and all kinds of luxuries” (Ob. D., 598).

Zug- team of four or six horses in pairs. The right to drive in a train was the privilege of the upper nobility.

I'm flying on a high-spirited runner. This also applies to Potemkin, but “more to gr. Al. Gr. Orlov, who was a hunter before the horse race ”(Ob. D., 598). Several new breeds of horses were bred at Orlov's stud farms, of which the most famous breed of the famous "Orlov trotters".

Or fist fighters - also refers to A.G. Orlov.

And I am amused by barking dogs - refers to P.I. Panin, who loved hunting with dogs (Ob. D., 598).

I amuse my horns at night and so on. “Refers to Semyon Kirillovich Naryshkin, who was then a jägermeister, who was the first to start horn music” (Ob. D., 598). Horn music is an orchestra consisting of serf musicians, in which only one note can be extracted from each horn, and all together are like one instrument. Walks of noble nobles along the Neva, accompanied by a horn orchestra, were common in the 18th century.

Or, sitting at home, I will leper."This verse generally refers to the ancient customs and amusements of Russians" (Ob. D., 958).

I read Polkana and Bova.“Refers to the book. Vyazemsky, who loved to read novels (which often the author, serving in his team, read in front of him, and it happened that he and the other dozed and did not understand anything) - Polkana and Bovu and famous old Russian stories "(Ob. D., 599 ). Derzhavin is referring to the translated novel about Bove, which later turned into a Russian fairy tale.

But every man is a lie- a quote from the Psalter, from the 115 psalm.

Between a bummer and a grouch. Lentyag and the Grouse are characters from the tale of Prince Chlorus. “As far as is known, she meant the first book. Potemkin, and under another book. Vyazemsky, because the former, as mentioned above, led a lazy and luxurious life, and the latter often grumbled when, as the manager of the treasury, money was demanded from him ”(Ob. D., 599).

Dividing Chaos into spheres harmoniously and so on - a hint of the establishment of provinces. In 1775, Catherine published the "Establishment of Provinces," according to which the whole of Russia was divided into provinces.

That she renounced and reputed wise. Catherine II with feigned modesty rejected from herself the titles "Great", "Wise", "Mother of the Fatherland", which were presented to her in 1767 by the Senate and the Commission for the development of a draft of a new code; she did the same in 1779, when the St. Petersburg nobility offered to accept her the title of "Great".

And you allow to know and think. In the "Instruction" of Catherine II, compiled by her for the Commission for the development of a draft of a new code and which was a compilation of the works of Montesquieu and other philosophers and educators of the 18th century, there are indeed a number of articles, a summary of which is this stanza. However, it is not for nothing that Pushkin called the "Order" "hypocritical": a huge number of "cases" of people arrested by the Secret Expedition have come down to us precisely on charges of "speaking" "indecent", "obscene" and other words addressed to the Empress, the heir to the throne, book ... Potemkin, etc. Almost all of these people were severely tortured by the "whip-fighter" Sheshkovsky and severely punished by secret courts.

There you can whisper in conversations and so on, and the next stanza is an image of cruel laws and customs at the court of Empress Anna Ioannovna. As Derzhavin notes (Ob. D., 599-600), there were laws according to which two people, whispering among themselves, were considered malefactors against the empress or the state; who did not drink a large glass of wine, "for the health of the tsarina that was offered", who accidentally dropped a coin with her image, were suspected of malicious intent and ended up in the Secret Chancellery. A mistake, a correction, scraping, a mistake in the imperial title entailed the punishment of lashes, as well as the transfer of the title from one line to another. At court, rude buffoonery "amusements" were widespread, such as the famous wedding of Prince Golitsyn, who was a buffoon at court, for which an "ice house" was built; titled jesters sat in baskets and cackled chickens, etc.

You write lectures in fairy tales. Catherine II wrote for her grandson, in addition to "The Tale of Tsarevich Chlorus", "The Tale of Tsarevich Fevey" (see note on p. 378).

Don't do anything wrong. The "instruction" to Chlorus, translated into verse by Derzhavin, is in the appendix to the "Russian alphabet for teaching youth to read, printed for public schools at the highest command" (St. Petersburg, 1781), which was also composed by Catherine for her grandchildren.

Lancet remedies - i.e. bloodshed.

Tamerlane(Timur, Timurleng) - Central Asian commander and conqueror (1336-1405), distinguished by extreme cruelty.

Who pacified the abuse etc. “This verse refers to the time of peace, at the end of the first Turkish war (1768-1774 - V.Z.) flourished in Russia, when many philanthropic institutions were made empress, such as: an orphanage, hospitals and others ”(Ob. D., 600).

Who granted freedom etc. Derzhavin lists some laws issued by Catherine II, which were beneficial to the noble landowners and merchants: she confirmed the permission given by Peter III to the nobles to travel abroad; allowed landowners to develop ore deposits in their possessions for their own benefit; lifted the prohibition to cut wood on their lands without government control; "Allowed free navigation on the seas and rivers for trade" (Ob. D., 600), etc.

Appendix to the ode: "Felitsa".

SKETCH OF THE ORIGINALLY CONSIDERED ODE TO CATHERINE.

You, who alone, without the help of the minister, following the example of the gods, hold everything with your own hand and see everything with your own eyes!

Great Empress, if up to now, out of prudence, I have been in respectful silence and have not praised you, it is not because my heart hesitated to smoke the incense you owe you; but I know little to praise, and my trembling Muse runs away from such an excessive burden and, unable to speak with dignity about your great deeds, is afraid, having touched your laurels, so as not to dry them.

I am not blinded by vain desire and temper my flight according to my weak forces, and my silence is wiser than those brave mortals who desecrate your altars with an unworthy sacrifice; who, in this field, where their self-interest leads, without strength and spirit dare to sing your name and who every day in an ugly voice bore you, telling you about your own deeds.

I do not dare to discredit in them the desire to please you; but why, not having the strength, to work uselessly and, without praising you, only dishonor yourself?

To weave praise, it must be Virgil.

I cannot make sacrifices to gods who do not have virtue, and I will never hide my thoughts for your praise: and no matter how great your power, but if in this my heart did not agree with my lips, then there would be no reward and no reasons used to snatch not a word from me to your praise.

But when I see you with noble ardor working in the performance of your office, bringing to shame the sovereigns, trembling labor and who are oppressed by the burden of the crown; when I see you enriching your subjects with reasonable orders; the pride of enemies trampling underfoot, opening the sea to us, and of your brave warriors - advancing your intentions and your great heart, conquering everything under the authority of the Eagle; Russia is managing happiness under your power, and our ships are Neptune's despising and reachable places from which the sun extends its run: then, without asking if Apollo likes it, my Muse warns me in the heat and praises you.

Russian literature testXVIII century

(for grade 9 students)

OptionI

I. 1.In the thirties of the 18th century ...

2. The classicists began to turn to the images and forms of ancient art, since ...

3. The representative of Russian classicism in literature was not ...

5. The central aesthetic category of sentimentalism is ...

What was the basis of the definition of "calm" of the work?

To whom is G.R.Derzhavin's ode "Felitsa" addressed?

Who are the main characters of the story "Poor Liza" by N. M. Karamzin?

Russian literature testXVIII century

(for grade 9 students)

OptionII

I.Continue the statement by choosing the correct answer. 1.The origins of world classicism - ...

2. The main slogan of classicism of the XVII - XVIII centuries. - ...

3.Exemplary classic comedy is not typical ...

4. The heroes of classic odes were usually ...

5. The first children's magazine in Russia was called ...

6.The subject of N.M. Karamzin's works was ...

II. Establish correspondence. Each digit on the left can correspond to several answers on the right.

III. Choose the correct answer.

A) M.V. Lomonosov	C) A.N. Radishchev
B) G.R.Derzhavin	D) N. M. Karamzin

Indicate the definition of the genre of the ode.

Where is the passage below taken from?

Indicate the genre of the work of N. M. Karamzin "Poor Liza".

What tree witnessed the development and completion of the relationship between Lisa and Erast?