History of creation

Derzhavin's poem, written in 1795, refers to the mature period of the poet's work (from the second half of the 1790s to the early 1800s). It was a time of summing up the results of life and work, when the poet persistently strives to comprehend the path he has traveled, to determine his place in the history of society and literature. The poems he created at that time become a kind of poetic manifesto. These, in addition to the "Monument", include the poems "My idol" (1794), "Swan" (1804), "Recognition" (1807), "Eugene. Zvanskaya Life "(1807).

It is significant that the time of summing up the results of Derzhavin's poetic life was marked by a free translation of the ode of the Roman poet Horace "To Melpomene". Before him, another Russian poet, Lomonosov, had already addressed this work, having made the first translation of the poem into Russian. Lomonosov's translation was quite accurate, reflecting the main ideas and images of the original. In the further history of Russian literature, Horace's poem most often was not translated into Russian, but served as the basis for creating his own "monument" poem. It was such a free translation-arrangement that was first made by Derzhavin, who brilliantly continued the work of Lomonosov.

Genre features

According to its formal features, Derzhavin's poem, like Lomonosov's, is an ode. But this is a special genre version of the ode, which takes its origins from Horace's poem and gets the name "Monument".

Quintus Flaccus Horace – greatest poet antiquity, whose name passed through the centuries and became known in many countries. He was born in 65 and died in 8 BC. During these years, Ancient Rome experienced a major turning point in its historical development - the fall of the republic and the establishment of an empire. Many of Horace's poems glorify statesmen and express the pride of the poet for the achievements that made the Roman Empire the largest and most developed state in all respects ancient world of that era. Such poems were created by him in the genre of an ode and made up three whole books that became widely known to readers. Reflecting on the poetic fame that came to him and on the further fate of his work, Horace devotes many works included in his collection of odes to the theme of poetry and poetic immortality. Not all of Horace's odes have come down to us, but the most famous among them was the ode "To Melpomene". In ancient Greek mythology, Melpomene is one of the nine muses, the patroness of tragedy. This ode was included in the last of the three books of the collection of odes at number 30 and thus ended not only the third book of odes, but the entire collection, since it was a kind of poetic result of the poet's work.

Subsequently, this ode became widely known not only in ancient Roman literature, but became widespread in many European countries, where it was translated into national languages. This is how the tradition of the poetic “monument” genre began to take shape. Russian literature did not bypass it either. After all, it is difficult to imagine a poet who would not dream of poetic immortality, who would not try to evaluate his work and determine what was his most important, most significant contribution to the development of literature and culture and his own people, and the peoples of the world.

The first translation of Horace's ode into Russian, made by Lomonosov, quite accurately conveys its content and style features. Of course, Derzhavin knew him and, creating his poem, relied on the experience of his great predecessor. But Derzhavin's "Monument" is an original work in which the writer puts forward his own criteria for evaluating poetic creativity.

Main themes and ideas

The main theme of the poem is the glorification of true poetry and the affirmation of the high purpose of the poet. It is a true hymn to poetry. The main theme of the poem is set already in the first stanza: creativity becomes a kind of monument to its creator, and this “wonderful” monument is stronger and more durable than any “man-made monuments” - such is the power of poetic art. It should be noted that this idea is a continuation of the Horatian image. Let's compare these lines (the text of Horace is given in the translation of S. Shervinsky):

I created a monument, cast bronze is stronger,

The royal pyramids rose higher.

Neither consuming rain, nor dashing Aquilon

They won't destroy it, won't crush a row

Endless years - running time.

(Horace. "To Melpomene")

I erected a wonderful, eternal monument to myself,

It is harder than metal and higher than pyramids;

Neither his whirlwind, nor thunder will break the fleeting,

And time will not crush him.

(Derzhavin. "Monument")

Both authors point out that poetic monument unusually durable (“cast bronze is stronger” and “harder than metals”), and the forces of poetry turn out to be even more powerful than the laws of nature (“Neither the scorching rain nor the dashing Aquilon will destroy it”, Aquilon- among the ancient Romans, this was the name of the strong north or northeast wind, as well as the deity personifying this wind; "Neither its whirlwind, nor thunder will break the fleeting"). This "monument" is higher than the pyramids - the traditional image of the power of the creative force. But more importantly, it turns out to be timeless.

This theme of the poet's immortality is developed in the next stanza, and again Derzhavin's image is similar to that of Horatian: "No, not all of me will die, the best part of me will escape burial" (Horace); "So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ... ”(Derzhavin).

But then there is a significant difference. Horace emphasizes that the guarantee of his poetic immortality is in the power and steadfastness of Rome. Derzhavin sees the strength of his glory in respect for his fatherland, skillfully playing on the common root in the words “glory” and “Slavs”: “And my glory will increase without fading, as long as the universe will honor the Slavs.” In this regard, it is also interesting to note that writing about himself, a poet and courtier of Catherine's Russia, Derzhavin organically transfers the Horatian image of the breadth of the distribution of poetic glory ("I will be named everywhere - where the frantic Aufid murmurs", Awfid - river in southern Italy, where Horace was born) to Russian realities:

The rumor will pass about me from the White Waters to the Black ones,

Where is the Volga, Don, Neva, the Urals pour from the Riphean ...

Horace takes credit for the fact that he was a reformer of the national system of versification: for the first time he began to use the achievements of ancient Greek in Latin poetry (“I was the first to attach the song of Aeolia to Italian verse”, Aeolian- Greece). For Derzhavin, something else is more important: he not only notes his innovation, especially in the field of poetic language and genres, but also poses the problem of the relationship between the poet and power:

That I was the first to dare in a funny Russian syllable

Proclaim the virtues of Felitsa,

Talk about God in simplicity of heart

And tell the truth to kings with a smile.

Derzhavin sees his merits in the fact that he made the Russian syllable "funny", that is, simple, cheerful, sharp. The poet "dared ... to proclaim" not about exploits, not about greatness - about the virtues of the Empress, that is, to talk about her as a simple person - that's why the word "dared" sounds.

The last stanza of the poem, like that of Horace, is the traditional appeal to the Muse:

O Muse! be proud of just merit,

And whoever despise you, despise those yourself;

With a leisurely, unhurried hand

Crown your forehead with the dawn of immortality.

These lines testify to the fact that Derzhavin does not hope for the unanimous approval of his contemporaries, but retains the traits of dignity and greatness on the threshold of immortality.

In general, we can conclude that we have a completely original interpretation, based on the Lomonosov ode that arose half a century before it, but at the same time developing a pan-European cultural tradition. At the same time, it is interesting to note the fact that, although Derzhavin's version did not claim to be a literal translation, but, on the contrary, flaunted his autobiographical attitude, in terms of semantic orientation it is closer to the Horatian source. In comparison with Lomonosov's poem, Derzhavin strikes with the originality of poetic images, starting from the original source - Horace's ode. It is rather a free arrangement, in which there are certain reminiscences, common poetic motifs and images are used, but filled with the specific realities of one's own life.

Artistic originality

Derzhavin's poem, created in the genre of an ode, or rather its special variety, corresponds to this high genre in terms of style. It is written in iambic with pyrrhic, which gives its sound a special solemnity. The intonation and vocabulary here are very solemn, the rhythm is slow, majestic. It is helped to create numerous rows homogeneous members, syntactic parallelism, as well as the presence of rhetorical exclamations and appeals. Selection also contributes to the creation of high style. lexical means. The author makes extensive use of lofty epithets ( miraculous, eternal, fleeting, among innumerable peoples, be proud of the just merit). There are many Slavic and archaisms in the poem, which also emphasizes its solemnity ( erected, decay, how long, dared, glorifyingnew generation, despise the forehead and etc.).

The meaning of the work

Derzhavin's poem continued the tradition of the poet's comprehension of his work and summing up, laid down by Lomonosov. At the same time, Derzhavin approved the genre canon of the memorial poem. Then he received a brilliant development in the work of Pushkin, who also turned to the Horatian primary source, but based on Derzhavin's poem. After Pushkin, poems in the genre of "monument" were continued by leading Russian poets, for example, such a magnificent and original lyricist as A.A. Fet. This tradition did not disappear in subsequent eras. At the same time, each of the authors in his own way defines the role of the poet and the purpose of poetry, relying not only on the literary tradition, but also on his own creative discoveries. And whenever any poet, including our contemporary, comprehends his contribution to poetry and his relationship with society, he again and again turns to this wonderful tradition, conducting a lively dialogue with his great predecessors.

MONUMENT

It is harder than metal and higher than pyramids;

Neither his whirlwind, nor thunder will break the fleeting,

And time will not crush him.

So! - all of me will not die, but a large part of me,

Fleeing from decay, after death he will live,

And my glory will grow without fading,

How long will the universe honor the Slavs?

The rumor will pass about me from the White Waters to the Black ones,

Where the Volga, Don, Neva, the Urals pour from the Riphean;

Everyone will remember that among innumerable peoples,

How from obscurity I became known for that,

That I was the first to dare in a funny Russian syllable

Proclaim the virtues of Felitsa,

Talk about God in simplicity of heart

And tell the truth to kings with a smile.

O muse! be proud of just merit,

And whoever despise you, despise those yourself;

With a leisurely, unhurried hand

Crown your forehead with the dawn of immortality.

1795

Analysis:There are three "Monuments" in Russian literature - this is a poem by Garatsia, Derzhavin and Pushkin.

Topic - about the appointment of the poet and poetry awareness of his contribution to literature

Direction - classicism

Genre - ode

Derzhavin was an innovator in his course of classicism - a mixture of styles.

Representative of classicism

"Felitsa" - Catherine II

Innovation - he combined ode (high) and satire (low). Solemn praise and laughter (not evil). Not only praises, but also speaks of her as an ordinary person.

Size - 6 iambic

Vasily Andreevich Zhukovsky

SEA

I stand enchanted over your abyss.

You are alive; you breathe; confused love,

You are filled with anxiety.

Silent sea, azure sea,

Reveal to me your deep secret.

What moves your vast bosom?

How does your tight chest breathe?

Or pulls you out of earthly bondage

Far, bright sky towards you? ..

Mysterious, sweet full of life,

You are pure in the presence of his pure:

You pour its luminous azure,

You burn with evening and morning light,

You caress his golden clouds

And joyfully shine with its stars.

When dark clouds gather

So that clear sky take away from you

You fight, you howl, you raise waves,

You tear and torment the hostile darkness...

And the darkness disappears, and the clouds go away,

But, full of past anxiety,

You raise frightened waves for a long time,

And the sweet gleam of returned skies

Not at all silence returns you;

Deceiving your immobility look:

You hide confusion in the abyss of the dead,

You, admiring the sky, tremble for him.

1822

Analysis:direction - romanticism

genus - lyrics

genre - elegy

year of writing 1822

the elegy contrasts the sky and the sea.

sea ​​- real world, the sky is perfect.

the poet's soul is closer to the sea. the sea in romanticism is a symbol of freedom and struggle.

The main figurative and expressive means is personification. with its help, the author revives the sea. The sea is a living, feeling, thinking being.

The most characteristic work of Vasily Zhukovsky, sustained in the spirit of early romanticism, is the poem "The Sea" written in 1822. However, already in this work one can trace the author's desire not only to admire the beauty of nature, but also to compare it with a living being. Therefore, the sea at Vasily Zhukovsky “breathes” and seems deceptively calm, like a person who knows how to perfectly mask his true feelings. However, the poet compares the sea element with a passionate woman who knows how to keep her own secrets and does not rush to reveal them to everyone she meets. It looks serene and calm, inside it resembles a bubbling volcano. Passions rage in her soul, but not everyone can guess this.

The poem "Sea" has its own background, no less romantic than the work itself.. Researchers of the life and work of Vasily Zhukovsky are convinced that the poet dedicated this work to his beloved Maria Protasova, who reciprocated the poet, but did not dare to go against the will of her parents, who were against marriage, considering it unequal. It is this girl that the author compares with the sea, which is changeable, and at any moment can turn into an unbridled element, tormenting the “hostile darkness”. In this poem, one can also find an allegorical portrait of the author, who imagined himself in the form of the sky, which is forever connected with the sea element. These are two halves of one whole, which not only complement each other, but also create a surprisingly harmonious union. This is how Vasily Zhukovsky imagined his relationship with his beloved, which, unfortunately, turned out to be very short. Anticipating the parting, in the poem “The Sea”, the poet very clearly outlined his position, noting that he would not fight for personal happiness, because it was impossible to reach the sky to the sea. But the raging waves are able to touch the azure clouds. But - only during a strong storm that sweeps away everything in its path in order to resist those who want to "take away the clear sky from you."

According to the canons of romanticism, the struggle between the sea and darkness in Zhukovsky's poem ends with the victory of the water element.. However, the waves continue to bubbling for a very long time, hiding in the “quiet abyss” confusion, although the storm has already passed, and the azure sky again merges with the sea, forming a single whole. In life, everything turned out to be much more prosaic, and the lovers were forced to part forever. However, the last line of the poem is addressed to the one that won the heart of the poet. “You, admiring the sky, tremble for him,” says Vasily Zhukovsky, believing that his chosen one has no less strong feelings for him.

The poem "Sea" is written in the form of an elegy- light, sensual, filled with sadness and unrealizable dreams, but at the same time, with grace and impeccability of style. However, Vasily Zhukovsky, deciding to tell readers such a romantic story, resorts to allegory, which makes the work acquire a special beauty and sophistication.

size - four-foot amphibrach and blank verse. this combination made it possible to convey the sounds of the sea.

Alexander Sergeevich Pushkin

VILLAGE

I greet you, desert corner,

A haven of peace, work and inspiration,

Where the invisible stream of my days flows

In the bosom of happiness and oblivion.

I am yours - I traded the vicious court for Circe,

Luxurious feasts, fun, delusions

To the peaceful noise of oak trees, to the silence of the fields,

To free idleness, a friend of thought.

I am yours - I love this dark garden

With its coolness and flowers,

This meadow, lined with fragrant stacks,

Where bright streams rustle in the bushes.

Everywhere in front of me moving pictures:

Here I see two lakes azure plains,

Where the fisherman's sail sometimes turns white,

Behind them are a row of hills and striped fields,

Scattered houses in the distance,

Herds roaming on wet shores,

Smoky barns and krylat mills;

Everywhere traces of contentment and labor ...

I am here, freed from vain shackles,

I am learning to find bliss in truth,

With a free soul to idolize the law,

Murmuring do not listen to the unenlightened crowd,

Participation to answer a shy plea

And do not envy fate

A villain or a fool - in greatness is wrong.

Oracles of the ages, here I ask you!

In majestic solitude

Hear your joyful voice.

He drives laziness a gloomy dream,

To works gives rise to heat in me,

And your creative thoughts

In the spiritual depths ripen.

But a terrible thought darkens the soul here:

Among flowering fields and mountains

A friend of mankind sadly remarks

Everywhere ignorance is a murderous shame.

Not seeing the tears, not heeding the groan,

Chosen by fate for the destruction of people,

Here nobility wild, without feeling, without law,

Appropriated by a violent vine

And labor, and property, and the time of the farmer.

Leaning on an alien plow, submitting to whips,

Here skinny slavery drags along the reins

Relentless owner.

Here, everyone drags a burdensome yoke to the grave,

Hopes and inclinations in the soul not daring to feed,

Here young maidens bloom

For the whim of an unfeeling villain.

Sweet support of aging fathers,

Young sons, comrades of labor,

From the native hut they go to multiply

Yard crowds of exhausted slaves.

Why in my chest a fruitless heat burns

And the fate of ornate has not given me a formidable gift?

I see, my friends! an unoppressed people

And slavery, fallen at the behest of the king,

And over the fatherland of enlightened freedom

Will the beautiful dawn finally rise?

1819

Analysis : In the poem "The Village" Pushkin opposes serfdom. In order to more clearly and sharply emphasize all the injustice and cruelty of serfdom, Pushkin resorts to the method of opposition in the construction of the poem. In the first part of the poem, a bright, peaceful picture of the village is given. With great love and warmth, Pushkin speaks here of rural nature, of the silence that disposes him to engage in science and poetry, causes a surge of creative energy in him, his moral
cleans. This is followed by a sharp transition to the second part of the poem, where the poet indignantly points out the powerless position of the peasantry oppressed by the feudal lords.
Calling himself a "friend of mankind", Pushkin speaks of "wild nobility", which, through violence, "appropriated for itself both labor, and property, and the time of the farmer." The economy and well-being of the ruling class of the feudal serf state was based on the merciless exploitation of the peasantry.
All this revolts the poet to the depths of his soul, and bitter words break from his lips: “Oh, if only my voice could disturb hearts!” His fiery desire is to see the "unoppressed people" and the "beautiful dawn of enlightened freedom" rising over his country.
In its composition and language, the poem "Village" represents the passionate speech of a poet-citizen, expressing the views and feelings of the progressive people of his time. This is achieved next poetic devices. The poem begins with an appeal to the village, as it should be in oratory. The second and third stanzas have the same construction: “I am yours: I have exchanged ... I am yours: I love this dark garden ...” In the second part of the poem, the same oratorical technique of repetition: “Here is a wild nobility ... Here is slavery skinny ... Here is a painful yoke ... Here are young virgins ... ”An oratorical device is the presence of exclamatory and interrogative sentences at the end of it.
The different content of the two parts of the poem determined the different figurative means of the poet's language.
The intonation of speech in the first part of the poem is calm, even, friendly. The poet carefully selects epithets, conveying the beauty of rural nature. The village for the poet is "a haven of tranquility, work and inspiration." He loves the "peaceful noise of oak trees", "the silence of the fields", "the dark garden with its coolness and flowers", "the meadow lined with fragrant stacks", "the azure plains of two lakes". Every epithet is accurate. It is either colorful (“azure plains of two lakes”; “striped fields”), or emotionally evaluative (“free idleness”, “free soul”).
In the second part, the intonation is different. Speech becomes agitated. The poet selects well-aimed epithets, gives an expressive speech characteristic: “wild nobility”, “chosen by fate to the destruction of people”, “relentless owner”.
The peasantry is “skinny slavery”, doomed to drag out a “burdensome yoke to the grave”, these are “yard crowds of tortured slaves”.
The influence of classicism, which was still felt at that time in Russian poetry, is also visible in the poem "The Village", it manifests itself in the tone of speech - upbeat, oratorical, in the use of Slavicisms (this, the bosom, the fisherman, the painful yoke, etc.), ancient images (“Court of the Circes”, “Oracles of the Ages”).
The poem "Village" was used by members of the secret political societies to promote their ideas.

The size of the poem is iambic six-foot. Rhyme - both male and female, both cross and ring:

PRISONER

I am sitting behind bars in a damp dungeon.

A young eagle bred in captivity,

My sad comrade, waving his wing,

Bloody food pecks under the window,

Pecks, and throws, and looks out the window,

As if he thought the same thing with me;

He calls me with his eyes and his cry

And he wants to say: "Let's fly away!

We are free birds; it's time, brother, it's time!

There, where the mountain turns white behind the cloud,

There, where the sea edges turn blue,

There, where we walk only the wind ... yes, I! .. "

1822

Analysis: From the first lines, Alexander Pushkin paints a very sad picture, comparing Southern City with a damp dungeon. He was free in his actions and quite often ignored official duties, however, the lack of the opportunity to return to St. Petersburg or Moscow caused the poet to feel impotent anger. Therefore, he associated the sultry south with a prison cell, and work in the office with imprisonment.

The imagery with which Pushkin characterizes this period of life is reinforced by many metaphors. So, in the poem "Prisoner", in order to emphasize the hopelessness of his situation, the poet draws a parallel with an eagle fed in captivity, which is his brother in misfortune. At the same time, the author notes that the proud bird, which has never experienced an intoxicating feeling of freedom, is much stronger and more freedom-loving than he, because with her cry and look she seems to “... want to say: “Come on, let's fly away!”.

^ Poet size: tetrameter amphibrach, adjacent rhyme

* * *

In the depths of Siberian ores

Keep proud patience

Your mournful work will not be lost

And doom high aspiration.

Unfortunately faithful sister,

Hope in the dark dungeon

Wake up cheerfulness and fun,

The desired time will come:

Love and friendship up to you

They will reach through the gloomy gates,

Like in your hard labor holes

My free voice is coming.

Heavy chains will fall

The dungeons will collapse - and freedom

You will be gladly received at the entrance,

And the brothers will give you the sword.

1827

Analysis: Among the Decembrists there were many friends of A.S. Pushkin. He took the news of the defeat and arrests as a personal tragedy.
The message is written in a high style, it has a lot of abstract images: Misfortune, Hope, Freedom, Love, Friendship.
The author draws a gloomy space in which the characters found themselves: "gloomy dungeon", "convict holes", "heavy fetters", "dungeons". These images create a tragic atmosphere of misfortune that befell the poet's friends.
However, the lyrical hero is sure that misfortune always has a faithful sister - hope. And he hopes, he believes in a man, in a fighter, who is able, in the most difficult conditions, to preserve in himself "proud patience", fidelity to his ideals, "thought high aspiration." The hero is sure that “love and friendship”, “free speech” of a like-minded person are able to support the exiles, help them endure all the hardships of hard labor. He is also sure that sooner or later justice will prevail, and this makes him rejoice:
heavy chains will fall, prisons will collapse -
and Freedom will meet you joyfully at the entrance,
and the brothers will give you the sword.
The finale of the poem sounds optimistic, it is full of hope and faith.
It is known that the Decembrists received the poet's message, and it really supported them very much, it was one of the few joyful events of their hard labor life.

^ Poetic size: iambic tetrameter.

POET

Until it requires a poet

To the sacred sacrifice of Apollo,

In the cares of vain light

He is cowardly immersed;

His holy lyre is silent;

The soul tastes a cold dream,

And among the children of the insignificant world,

Perhaps he is the most insignificant of them all.

But only the divine word

It touches the sensitive ear,

The soul of the poet will tremble,

Like an awakened eagle.

He yearns in the amusements of the world,

Human is alienated by rumors,

At the feet of the national idol

Does not bow a proud head;

He runs, wild and stern,

And full of sounds and confusion,

On the shores of desert waves

In the noisy oak forests...

Analysis:"Poet" fully reflects the author's position regarding the purpose of poetry, the mission of the poet. This poem contains an important idea. According to Pushkin, poetry consists in retelling one's ordinary feelings and thoughts in verse. From the very first lines Pushkin defines the highest goal of the poet-creator. Pushkin says that poetry is something other than "sacred

victim",gift poet - "holy lyre." Pushkin does not hide the fact that he himselfpoet, being only a herald, a messenger of Apollo, is not the master of his talent. He is just a puppet in the hands of the gods.

Compositionally, the poem is clearly divided into two parts. The first part describes the "insignificant" life of the poet "in the cares of the vain world." A poet in life can be no different from ordinary people and "among the children of the insignificant world, perhaps he is the most insignificant of all." But this is because his special properties as a poet, that his "soul" is sleeping, and therefore "his holy lyre is silent."

However, the poet is not able to cause inspiration, he cannot write poetry when he wants to. And the poet sacrifices his fate, his life. The reader sees that the routine and dullness of the surrounding world "transform" the poet. And before us is already someone "cowardly" and "insignificant", incapable of great and beautiful.

Further in the poem, the union of conditions “but” follows. The next quatrain is “transitional” and “vain light” into the world of poetry. In fact, we are witnessing the inspiration coming to the poet.

^ But only the divine word

It touches the sensitive ear,

The soul of the poet will tremble,

Like an awakened eagle.

Pushkin again shows the inconstancy of the poet, he does not control himself and, at the first call, obeys the “divine verb.” On the other hand, it is from this moment that the “dynamic life” of the poet begins. Before inspiration came, he "tasted a cold sleep", was inactive. But the poet is still a slave, only a conductor between the world of the gods and the world of people.

All that he possesses is "a sensitive ear." The task of the poet is to hear and convey to people the "verb" of the gods. So, the reader sees a description of a completely different poet than in the first part of the poem. He yearns "in the amusements of the world, eschews human rumors." The sleeping "soul of the poet" wakes up, and here only his enormous possibilities, his high qualities, not only poetic, but also human, are manifested: wisdom, permeability, depth of feeling, nobility .

^ He yearns in the amusements of the world,

Human is alienated by rumors,

At the feet of the national idol

Don't bow your proud head

He runs, wild and stern ...

In the poet-creator we also see features romantic hero, "confused", longing for freedom.

In his poem "The Poet" Pushkin expresses and confirms the idea of ​​the utilitarian nature of art, of the pure, highest purpose of the poet. The poet is shown as servants of spirituality, striving for perfection in everything. "The purpose of art is ideal, and not moralizing, ”this statement by A. S. Pushkin refers to the theme of the poet’s mission. In my opinion, in the poem "Poet" Pushkin seeks to show two "I" of the poet, two "I" of himself. However, Pushkin shows the same person in two different situations, in two hypostases, the poet appears before us. First, “among the children of the insignificant world […] he is the most insignificant”, then the creator turns into an “awakened eagle”. However, the gap between the poet's everyday behavior and the content of his work Pushkin is not at all justified. Greatness in poetry does not imply cowardice in Everyday life. Pushkin only states that such a gap is likely and one cannot judge a poet only by his worldly deeds. At the end of the poem, Pushkin depicts "broad-noisy! oak forests", "shores of desert waves." The poet seeks loneliness, he finds harmony only in unity with nature. Thus, in his poem "The Poet" Pushkin touches on the theme of unity and the inseparable connection between man and nature.

Size - 4 iambic

^ TO CHADAEV

Love, hope, quiet glory

The deceit did not live long for us,

Gone are the funs of youth

Like a dream, like a morning mist;

But desire still burns in us;

Under the yoke of fatal power

With an impatient soul

Fatherland heed the invocation.

We wait with longing hope

Minutes of liberty of the saint,

As a young lover waits

Minutes of true goodbye.

While we burn with freedom

As long as hearts are alive for honor,

My friend, we will devote to the fatherland

Souls wonderful impulses!

Comrade, believe: she will rise,

Star of captivating happiness

Russia will wake up from sleep

And on the ruins of autocracy

Write our names!

Analysis: The poem "To Chaadaev", written by Pushkin in 1818, is still considered the literary anthem of the Decembrists. This piece has quite unusual story because the author did not plan to publish it. However, written down from the words of the poet while reading in a narrow circle of friends, the poem "To Chaadaev" began to be passed from hand to hand until it was published with some distortions in the almanac "Northern Star" only in 1929. Nevertheless, it was thanks to this work that Alexander Pushkin, who was friends with many Decembrists, gained the fame of a freethinker, as a result of which the poet was twice in exile, where he was sent by Tsar Alexander I, who did not want the poet to “confuse minds” with his poems. high society.

Pyotr Chaadaev was an old friend of Pushkin, with whom the poet had not only warm and trusting relations, but also common aspirations. As a lyceum student, Pushkin liked to talk for a long time with Chaadaev, who by that time was already a student at Moscow University, discussing the political situation in Russia with a friend. With age, friendship only grew stronger, and Pyotr Chaadaev was one of the few whom Pushkin trusted with his most secret dreams and desires. An example of this is the poem "To Chaadaev", the first lines of which contain a hint of the carefree youth of two young people, intoxicated by their literary success and public recognition. In addition, between the lines in the first quatrain, there is clear disappointment with the reign of Alexander I, who proclaimed himself a liberal and a reformer, but the regime of his reign was marked by a harsh period of reaction, repression and subsequent suppression of the Decembrist uprising.

Further, the poet notes that imaginary glory and youthful maximalism could not kill in his soul the desire to change the world for the better and rid Russia of autocracy. At the same time, Alexander Pushkin focuses the attention of readers on the fact that the abolition of serfdom, which the tsarist regime proclaimed in words, has not yet happened. “We are waiting with languor for the moment of freedom of the saint,” the poet writes, implying that his generation has not yet lost hope for change. political system. At the same time, Pushkin understands that neither the tsar nor his entourage, mired in vices, will ever agree to voluntarily make concessions.

That is why the last lines of the poem "To Chaadaev" contain an open call for the overthrow of the autocracy. It is noteworthy that such an idea, voiced in Pushkin's work, was expressed so openly and boldly for the first time. The young poet, who by this time had already ceased to believe in the numerous promises of the king, was not going to advertise his point of view. And this fact is confirmed by many biographers of Pushkin, noting that the poem "To Chaadaev" was delivered to the addressee, and soon Pushkin himself simply forgot about the existence of this masterpiece of literary free-thinking. By that time, Pyotr Chaadaev was not only a member of the secret Masonic lodge, but also managed to join the society of future Decembrists called the Union of Welfare. The participants perceived Pushkin's poem as a call to action, believing that "our names will be written on the ruins of autocracy." Subsequently, when the conspiracy against the tsar was discovered, and many representatives of famous noble families went to Siberia, Alexander Pushkin repeatedly reproached himself for his negligence and regretted that he could not share the fate of people who were close to him in spirit, rightly believing that it was the poem "K Chaadaeva" forced the Decembrists to attempt a coup d'état. Therefore, the name of Pushkin is inextricably linked with the Decembrists, whom he inspired to an open struggle against the autocracy, later sung by many Russian poets.

Size - 4 iambic

^ THE SONG ABOUT THE PROPHETIC OLEG

How the prophetic Oleg is now going

Take revenge on the unreasonable Khazars:

Their villages and fields for a violent raid

He doomed swords and fires;

With his retinue, in Constantinople armor,

The prince rides across the field on a faithful horse.

From the dark forest towards him

There is an inspired magician,

Submissive to Perun, the old man alone,

The promises of the future messenger,

In prayers and divination spent the whole century.

And Oleg drove up to the wise old man.

"Tell me, sorcerer, favorite of the gods,

What will happen in my life?

And soon, to the delight of neighbors-enemies,

Will I cover myself with grave earth?

Tell me the whole truth, don't be afraid of me:

You will take a horse as a reward for anyone.

"Magi are not afraid of mighty lords,

And they do not need a princely gift;

Truthful and free is their prophetic language

And friendly with the will of heaven.

The coming years lurk in the mist;

But I see your lot on a bright forehead,

Now remember my word:

Glory to the Warrior is a joy;

Your name is glorified by victory;

Your shield is on the gates of Tsaregrad;

And the waves and the land are submissive to you;

The enemy is jealous of such a wondrous fate.

And the blue sea is a deceptive shaft

In the hours of fatal bad weather,

And a sling, and an arrow, and a crafty dagger

Spare the winner years ...

Under formidable armor you know no wounds;

An invisible guardian is given to the mighty.

Your horse is not afraid of dangerous labors:

He, sensing the master's will,

That meek stands under the arrows of enemies,

It rushes across the battlefield,

And the cold and cutting him nothing.

But you will accept death from your horse.

Oleg chuckled - but the forehead

And the eyes were clouded with thought.

In silence, hand leaning on the saddle,

He gets down from his horse sullen;

And a true friend with a farewell hand

And strokes and pats on the neck steep.

"Farewell, my comrade, my faithful servant,

It's time for us to part:

Now rest! no more footsteps

In your gilded stirrup.

Farewell, be comforted - but remember me.

You lads-friends, take a horse!

Cover with a blanket, shaggy carpet;

Take me to my meadow by the bridle:

Bathe, feed with selected grain;

Drink spring water."

And the youths immediately departed with the horse,

And the prince brought another horse.

The prophetic Oleg feasts with the retinue

At the ringing of a cheerful glass.

And their curls are white as morning snow

Above the glorious head of the barrow...

They remember days gone by

And the battles where they fought together...

“Where is my friend? - said Oleg, -

Tell me, where is my zealous horse?

Are you healthy? still lie down about to his run?

Is he still the same stormy, playful?

And listens to the answer: on a steep hill

He had long since passed into a sleepless sleep.

Mighty Oleg bowed his head

And he thinks: “What is fortune-telling?

Magician, you deceitful, mad old man!

I would despise your prediction!

My horse would carry me to this day."

And he wants to see the bones of the horse.

Here comes the mighty Oleg from the yard,

Igor and old guests are with him,

And they see: on a hill, near the banks of the Dnieper,

Noble bones lie;

The rains wash them, their dust falls asleep,

And the wind excites the feather grass above them.

The prince quietly stepped on the horse's skull

And he said: “Sleep, lonely friend!

Your old master has outlived you:

At the funeral feast, already close,

It's not you who will stain the feather grass under the ax

And drink my ashes with hot blood!

So that's where my death lurked!

The bone threatened me with death!”

From dead head coffin snake

Meanwhile, hersing crawled out;

Like a black ribbon wrapped around the legs:

And suddenly the stung prince cried out.

Ladles are circular, being lazy, hissing

At the feast of the deplorable Oleg:

Prince Igor and Olga are sitting on a hill;

The squad is feasting at the shore;

Fighters commemorate past days

And the battles where they fought together.

^ 1822

Analysis: genre - ballad

"The Song of the Prophetic Oleg" was written in 1822. Genre- legend.

Plot basis "Songs about the prophetic Oleg" served as a legend about the death of Oleg, the prince of Kyiv, recorded in the "Tale of Bygone Years". The Kyiv prince Oleg, nicknamed by the people "prophetic" for his wisdom, the sorcerer, "magician", predicts: "you will accept death from your horse." Frightened by a terrible prophecy, the prince parted with his faithful fighting horse friend. A lot of time passes, the horse dies, and Prince Oleg, remembering the prediction, decides with anger and bitterness that the sorcerer deceived him. Arriving at the grave of an old fighting friend, Oleg regrets that they had to part so early. However, it turns out that the magician did not slander, and his prophecy came true: a poisonous snake that crawled out of the horse's skull stung Oleg.

In the legend of Prince Oleg and his horse, Pushkin was interested in

History of creation. Derzhavin's poem, written in 1795, refers to the mature period of the poet's work (from the second "half of the 1790s to the early 1800s). It was a time to sum up the results of life and work, when the poet persistently strives to comprehend the path he has traveled ., determine their place in the history of society and literature. The poems created by him at that time become a kind of poetic manifesto. In addition to the "Monument", these include the poems "My idol" (1794), "Swan" (1804), "Confession" ( 1807), "Eugene. Life of Zvanskaya" (1807).

It is significant that the time to sum up Derzhavin's poetic life was marked by a free translation of the Roman poet's ode Horace "To Melpomene" ("Exegi monumentum.,"). Before him, another Russian poet, Lomonosov, had already addressed this work, having made the first translation of the poem into Russian. Lomonosov's translation was quite accurate, reflecting the main ideas and images of the original. In the further history of Russian literature, Horace's poem most often was not translated into Russian, but served as the basis for creating his own "monument" poem. It was such a free translation-arrangement that was first made by Derzhavin, who brilliantly continued the work of Lomonosov.

genre features. According to its formal features, Derzhavin's poem, like Lomonosov's, is an ode. But this is a special genre version of the ode, which takes its origins from Horace's poem and gets the name "monument".

Quipt Flaccus Horace - the greatest poet of antiquity, whose name has passed through the centuries and became known in many countries. He was born in 65 and died in 8 BC. During these years, Ancient Rome experienced a major turning point in its historical development - the fall of the republic and the establishment of an empire. Many of Horace's poems glorify statesmen and express the poet's pride in the achievements that made the Roman Empire the largest and most developed in all respects state of the ancient world of that era. Such poems were created by him in the genre of an ode and made up three whole books that became widely known to readers. Reflecting on the poetic fame that came to him "and on the further fate of his work, Horace devotes many of the works included in his collection of odes to the theme of poetry and poetic immortality. Not all of Horace's odes have come down to us, but the most famous among them was the ode" To Melpomene". In ancient Greek mythology, Melpomene is one of the nine muses, the patroness of tragedy. This ode was included in the last of the three books of the collection of odes at number 30 and thus ended not only the third book of odes, but the entire collection, since it was a kind of poetic the result of the poet's work.

Subsequently, this ode became widely known not only in ancient Roman literature, but became widespread in many European countries, where it was translated into national languages. This is how the tradition of the poetic “monument” genre began to take shape. Russian literature did not bypass it either. After all, it is difficult to imagine a poet who would not dream of poetic immortality, who would not try to evaluate his work and determine what was his most important, most significant contribution to the development of literature and culture and his own people, and the peoples of the world.

The first translation of Horace's ode into Russian, made by Lomonosov, quite accurately conveys its content and style features. Of course, Derzhavin knew him and, creating his poem, relied on the experience of his great predecessor. But Derzhavin's "Monument" is an original work in which the writer puts forward his own criteria for evaluating poetic creativity.

Main themes and ideas. The main theme of the poem is the glorification of true poetry and the affirmation of the high purpose of the poet. "It is a true hymn to poetry. The main theme of the poem is set already in the first stanza: creativity becomes a kind of monument to its creator, and this "wonderful" monument is stronger and more durable than any "man-made monuments" - such is the power of poetic art. It should be noted that this idea is a continuation of the Horatian image.Let us compare these lines (the text of Horace is given in the translation of S. Shervinsky):

I created a monument, cast bronze is stronger,
The royal pyramids rose higher.
Neither consuming rain, nor dashing Aquilon
They won't destroy it, won't crush a row
Endless years - running time.

(Horace. "To Melpomene")

I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.

(Derzhavin. "Monument")

Both authors note that the poetic monument is unusually durable (“cast bronze is stronger” and “harder than metals”), and the forces of poetry turn out to be even more powerful than the laws of nature (“Neither the scorching rain nor the dashing Aquilon will destroy it”, Aquilon - among the ancient Romans a strong north or northeast wind was called, as well as a deity personifying this wind; “Neither its whirlwind, nor thunder will break the fleeting one”). This "monument" is higher than the pyramids - the traditional image of the power of the creative force. But more importantly, it turns out to be timeless.

This theme of the poet's immortality is developed in the next stanza, and again Derzhavin's image is similar to that of Horatian: "No, not all of me will die, the best part of me will escape burial" (Horace); "So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ... ”(Derzhavin).

But then there is a significant difference. Horace emphasizes that the guarantee of his poetic immortality is in the power and steadfastness of Rome. Derzhavin sees the strength of his glory in respect for his fatherland, skillfully playing on the common root in the words “glory” and “Slavs”: “And my glory will increase without fading, as long as the universe will honor the Slavs.” In this regard, it is also interesting to note that writing about himself, a poet and courtier of Catherine's Russia, Derzhavin organically transfers the Horatian image of the breadth of the distribution of poetic glory (“I will be named everywhere - where the frantic Aufid grumbles”, Aufid is a river in southern Italy, where Horace was born) to Russian realities:

The rumor will pass about me from the White Waters to the Black ones,
Where is the Volga, Don, Neva, the Urals pour from the Riphean ...

Horace takes credit for the fact that he was a reformer of the national system of versification: he first began to use, in Latin poetry, the achievements of ancient Greek ("The first I attached the song of Aeolia to Italian verses", Aeolia - Greece). For Derzhavin, something else is more important: he not only notes his innovation, especially in the field of poetic language and genres, but also poses the problem of the relationship between the poet and power:

That I was the first to dare in a funny Russian syllable
Proclaim the virtues of Felitsa,
Talk about God in simplicity of heart
And tell the truth to kings with a smile.

Derzhavin sees his merits in the fact that he made the Russian syllable "funny", that is, simple, cheerful, sharp. The poet "dared ... to proclaim" not about exploits, not about greatness - about the virtues of the Empress, that is, to talk about her as a simple person - that's why the word "dared" sounds.

The last stanza of the poem, like that of Horace, - traditional address to the Muse:

O Muse! be proud of just merit,

And whoever despise you, despise those yourself; With an unconstrained unhurried hand Crown your forehead with the dawn of immortality.

These lines testify that Derzhavin does not hope for the unanimous approval of his contemporaries, but retains the traits of dignity and greatness on the threshold of immortality,

In general, we can conclude that we have a completely original interpretation, based on the Lomonosov ode that arose half a century before it, but at the same time developing a pan-European cultural tradition. At the same time, it is interesting to note the fact that, although Derzhavin's version did not claim to be a literal translation, but, on the contrary, flaunted his autobiographical attitude, in terms of semantic orientation it is closer to the Horatian source. In comparison with Lomonosov's poem, Derzhavin strikes with the originality of poetic images, starting from the original source - Horace's ode. It is rather a free arrangement, in which there are certain reminiscences, common poetic motifs and images are used, but filled with the specific realities of one's own life.

Artistic originality. Derzhavin's poem, created in the genre of an ode, or rather its special variety, corresponds to this high genre in style. It is written in iambic with pyrrhic, which gives its sound a special solemnity. The intonation and vocabulary here are very solemn, the rhythm is slow, majestic. It is helped to create numerous rows of homogeneous members, syntactic parallelism, as well as the presence of rhetorical exclamations and appeals. The selection of lexical means also contributes to the creation of a high style. The author widely uses lofty epithets (wonderful, eternal, fleeting, among innumerable peoples, be proud of a just merit). There are many Slavic and archaisms in the poem, which also emphasizes its solemnity (raised, decayed, how long, dared, the Slavic race, despise the forehead, etc.).

The value of the work. Derzhavin's poem continued the tradition of the poet's comprehension of his work and summing up, laid down by Lomonosov. At the same time, Derzhavin approved the genre canon of the "monument" poem. Then he received a brilliant development in the work of Pushkin, who also turned to the Horatian source, but based on Derzhavin's poem. After Pushkin, poems in the genre of "monument" were continued by leading Russian poets, for example, such a magnificent and original lyricist as A.A. Fet. This tradition did not disappear in subsequent eras. At the same time, each of the authors in his own way defines the role of the poet and the purpose of poetry, relying not only on the literary tradition, but also on his own creative discoveries. And whenever any poet, including our contemporary, comprehends his contribution to poetry and his relationship with society, he again and again turns to this wonderful tradition, conducting a lively dialogue with his great predecessors.

]” (book III, ode 30). The closest translation to the original was made by Lomonosov in 1747.
In 1795, Derzhavin wrote the poem "Monument", which was destined to leave a noticeable mark in the history of Russian poetry. In this work, Derzhavin tried to comprehend his poetic activity, his place in Russian literature. Although the poem was written many years before the death of the poet, it is, as it were, a final character, it represents a kind of poetic testament of Derzhavin.

In terms of theme and composition, this poem goes back to the ode 30 of the Roman poet Horace “I created a monument ...” (“To Melpomene”) from the third book of his odes. However, despite this outward resemblance, Belinsky, in the article “Derzhavin’s Works” mentioned above, considered it necessary to note the originality of Derzhavin’s poem, its significant difference from Horace’s ode: “Although Derzhavin took the idea of ​​​​this excellent poem from Horace, he knew how to express it in such an original, the form peculiar to him alone, to apply it to himself so well that the honor of this thought belongs to him as well as to Horace.

As you know, this tradition of a peculiar understanding of the literary path traveled, the tradition coming from Horace and Derzhavin, was perceived and creatively developed in the poem “I erected a monument to myself not made by hands ...” (1836) A. S. Pushkin. But at the same time, Horace, Derzhavin and Pushkin, summing up their creative activity, assessed their poetic merits differently, formulated their rights to immortality in different ways.

Horace considered himself worthy of fame because he wrote poetry well, managed to convey in Latin the unique harmony, rhythms and poetic sizes ancient Greek lyricists - the Aeolian poets Alcaeus and Sappho: "I was the first to attach the song of Aeolia to Italian verses ..."

Derzhavin in the "Monument" emphasizes his poetic sincerity and civic courage, his ability to speak simply, clearly and accessible about the highest matters. It is in this, as well as in the originality of his "funny Russian style", that he sees the indisputable dignity of his poems, his highest merit to Russian poetry:

That I was the first to dare in a funny Russian syllable To proclaim the virtues of Felitsa, In hearty simplicity to talk about God And to speak the truth to kings with a smile.

Pushkin, on the other hand, argued that he deserved the right to popular love by the humanity of his poetry, by the fact that with his lyre he aroused "good feelings." Taking Derzhavin's "Monument" as the basis of his poem and specifically emphasizing this with a number of artistic details, images, motives, Pushkin thus made it clear how closely he was connected with Derzhavin by historical and spiritual continuity. This continuity, this enduring significance of Derzhavin’s poetry in the history of Russian literature, was very well shown in the article “The Works of Derzhavin” by Belinsky: “If Pushkin had a strong influence on contemporary poets and those who came after him, then Derzhavin had a strong influence on Pushkin. Poetry is not born suddenly, but, like all living things, it develops historically: Derzhavin was the first living verb of young Russian poetry. ()

3. ... How out of obscurity I became known for that, and so on. - "The author of all Russian writers was the first who wrote lyrical songs in a simple, funny, light style and, jokingly, glorified the Empress, which he became famous for" ("Explanations ..."). (

G. R. Derzhavin. Poem "Monument"

History of creation

Derzhavin has long been compared with the ancient Roman poet Horace. Derzhavin knew Horace from German translations already in the seventies. Among Derzhavin's poems, one can count at least fifteen transcriptions and translations from Horace. Two significant works of Derzhavin are associated with Horace, in which he expressed self-esteem, confidence in his poetic vocation and the hope for immortality based on it: The Swan and The Monument. With the poem "The Swan" Derzhavin concluded the second volume of his collected works of 1808, just as Horace's ode XX ended the second book of his odes. At the end of the first volume, Derzhavin put the poem "Monument" (1796). His original in Horace was also finishing the third book of odes.

The first translation into Russian of this wonderful ode, called “To Melpomene” by Horace, was made by Lomonosov.

Style Features

"Funny Russian syllable" - a new stylistic manner introduced by Derzhavin into Russian literature. The two central such works are “Felitsa” and “God”, in which poetic sincerity, the absence of posture and affectation are emphasized - “cordial simplicity”, as well as civil courage and love of truth. Derzhavin did not forget to add that he spoke the truth to the tsars "with a smile," that is, softening the harshness of moralizing with a playful tone, but not at the expense, as we know, of the depth of objections and disagreements.

This "smile" should not be confused in any way with the demand for "smiling satire", which was written by the magazine "Vsyachnaya Knit" in 1769. Derzhavin distinguished weaknesses from vices well, and his satire always had a public character. Derzhavin valued in his poetry service to the common good. Horace says: "I consider myself worthy of fame for writing poetry well"; Derzhavin notes this in a different way: "I consider myself worthy of glory for speaking the truth to both the people and the kings."

Thus, starting from the thought of Horace, sometimes retelling it in verse, Derzhavin then began to write about his pain, about what worried him most in given time. Therefore, in the 1770s and 1790s, in his poems, there are separate images, comparisons, themes of Horace, but there are no translations of him, no arrangements in the accepted sense of the word. Derzhavin is only “charged” by Horace in order to fall upon the shortcomings with greater force, backed by the authority of a classical poet. modern society and some of its representatives.

In the formation of Derzhavin's literary and aesthetic views, a certain, and, moreover, considerable role was played by Horace's work The Epistle to the Pisons, or The Science of Poetry.

Horace advised to work hard on the expressiveness of the language. The lessons of the Epistle to the Pisons were useful to Derzhavin, who managed to find his own style and establish it “So that it could seem easy to everyone at first, / But so that another imitator sweats over him ...” This was soon well understood by numerous imitators of Derzhavin.

Themes, motives

Derzhavin considers the basis of art, its content, the truth, the explanation of which is the mission of poets and artists. The poet for Derzhavin is a special, significant being. Belief in the power of the word, in its omnipotence, was widespread among the enlighteners of the 18th century. A writer who speaks the truth is a courageous citizen and a faithful son of the fatherland, he will not die in the memory of people, while thrones can fall and kingdoms be destroyed: “The universe will not forget the heroes and singers; / I will be in the grave, but I will speak.

Derzhavin's "Monument" breathes with the poet's confidence in his immortality, because the human word is immortal. This thought runs through a number of Derzhavin's poems; in the new "Monument" it is the main theme and is expressed especially clearly. It is important to note that Derzhavin considers himself a national poet: “And my glory will increase, unfading, / As long as the universe honors the Slavic race ...”

In the poem, Derzhavin speaks of the people's memory: "Everyone will remember that among the innumerable peoples ..." He saw the memory of the people, from generation to generation passing on stories about great people, composed by poets, whose word is immortal.

Derzhavin lists his merits concisely and precisely: “That I was the first to dare in a funny Russian syllable / To proclaim Felitsa’s virtues, / To talk about God in simplicity of heart / And speak the truth to kings with a smile.”

The ability to abandon the pompous solemnity of a laudatory ode, to introduce biting satire into verses in rough colloquial expressions, constituted Derzhavin's individual manner, thanks to which he opened a new page in the history of Russian literature.