Felitsa main characters. Literary analysis of the ode "Felitsa"

Date of creation: 1782. Source: G.R. Derzhavin. Poems. Petrozavodsk, “Karelia”, 1984. For the first time - “Interlocutor”, 1783, part 1, page 5, without signature, under the title: “Ode to the wise Kyrgyz princess Felitsa, written by the Tatar Murza, who has long settled in Moscow, and living in business in St. Petersburg. Translated from Arabic 1782."

FELICA

‎ Godlike Princess
Kirghiz-Kaisak horde!
Whose wisdom is incomparable
Discovered the right tracks
5 To Tsarevich young Chlorus
Climb that high mountain
Where does a thornless rose grow?
Where virtue lives, -
She captivates my spirit and mind,
10 Let me find her advice.

Give it to me, Felitsa! instruction:
How to live magnificently and truthfully,
How to tame passions and excitement
And be happy in the world?
15 Your voice excites me,
Your son is accompanying me;
But I am weak to follow them.
Disturbed by the vanity of life,
Today I control myself
20 And tomorrow I am a slave to my whims.

‎ Without imitating your Murzas,
You often walk
And the food is the simplest
Happens at your table;
25 Not valuing your peace,
You read and write in front of the lectern
And all from your pen
You shed bliss on mortals;
Like you don't play cards,
30 Like me, from morning to morning.

‎ You don’t like masquerades too much,
And you can’t even set foot in the club;
Keeping customs, rituals,
Don't be quixotic with yourself;
35 You cannot saddle the horse of Parnassus,
You don’t enter a gathering of spirits,
You don’t go from the throne to the East;
But walking the path of meekness,
With a charitable soul,
40 useful days of conducting current.

‎ And I, having slept until noon,
I smoke tobacco and drink coffee;
Transforming everyday life into a holiday,
My thoughts are spinning in chimeras:
45 Then I steal captivity from the Persians,
Then I direct arrows towards the Turks;
Then, having dreamed that I was a sultan,
I terrify the universe with my gaze;
Then suddenly, seduced by the outfit,
50 I’m off to the tailor for a caftan.

‎ Or am I at a rich feast,
Where do they give me a holiday?
Where the table glitters with silver and gold,
Where are thousands of different dishes:
55 There is a glorious Westphalian ham,
There are links of Astrakhan fish,
There are pilaf and pies there,
I wash down the waffles with champagne;
And I forget everything in the world
60 Among wines, sweets and aroma.

‎ Or among a beautiful grove
In the gazebo where the fountain is noisy,
When the sweet-voiced harp rings,
Where the breeze barely breathes
65 Where everything presents me with luxury,
To the pleasures of thought he catches,
It languishes and revitalizes the blood;
Lying on a velvet sofa,
The young girl feels tender,
70 I pour love into her heart.

‎ Or a magnificent train
In an English carriage, golden,
With a dog, a jester or a friend,
Or with some beauty
75 I'm walking under the swing;
I go to taverns to drink mead;
Or, somehow I’ll get bored,
According to my inclination to change,
With my hat on one side,
80 I'm flying on a fast runner.

‎ Or music and singers,
Suddenly with an organ and bagpipes,
Or fist fighters
And I make my spirit happy by dancing;
85 Or, taking care of all matters
I leave and go hunting
And I am amused by the barking of dogs;
Or over the Neva banks
I amuse myself with horns at night
90 And the rowing of daring rowers.

‎ Or, sitting at home, I’ll play a prank,
Playing fools with my wife;
Then I get along with her at the dovecote,
Sometimes we frolic in blind man's buff;
95 Then I have fun with her,
Then I look for it in my head;
I like to rummage through books,
I enlighten my mind and heart,
I read Polkan and Bova;
100 Over the Bible, yawning, I sleep.

‎ That’s it, Felitsa, I’m depraved!
But the whole world looks like me.
Who knows how much wisdom,
But every person is a lie.
105 We do not walk in the paths of light,
We run debauchery after dreams.
Between a lazy person and a grumbler,
Between vanity and vice
Did anyone accidentally find it?
110 The path of virtue is straight.

‎ I found it, - but why not be mistaken?
To us, weak mortals, on this path,
Where does reason itself stumble
And one must follow passions;
115 Where are the learned ignoramuses for us,
Like the darkness of travelers, their eyelids are dark?
Seduction and flattery live everywhere,
Pasha oppresses everyone with luxury.-
Where does virtue live?
120 Where does a rose without thorns grow?

‎ You alone are only decent,
Princess! create light from darkness;
Dividing Chaos into spheres harmoniously,
The union will strengthen their integrity;
125 From disagreement to agreement
And from fierce passions happiness
You can only create.
So the helmsman, sailing through the show-off,
Catching the roaring wind under sail,
130 Knows how to steer a ship.

‎ You just won’t offend the only one,
Don't insult anyone
You see through your fingers the tomfoolery
The only thing you cannot tolerate is evil;
135 You rule over misdeeds with leniency,
Like a wolf, you don’t crush people,
You know right away their price.
They are subject to the will of kings, -
But God is more just,
140 To him who lives in their laws.

‎You think sensibly about merit,
You give honor to the worthy,
You don't consider him a prophet,
Who can weave rhymes,
145 What crazy fun is this
Honor and glory to the good caliphs.
You condescend to the lyrical mode:
Poetry is dear to you,
Pleasant, sweet, useful,
150 Like delicious lemonade in summer.

‎ There are rumors about your actions,
That you are not at all proud;
Kind in business and in jokes,
Pleasant in friendship and firm;
155 Why are you indifferent to adversity,
And in glory she is so generous,
That she renounced and was considered wise.
They also say it’s not false,
It's like it's always possible
160 You should tell the truth.

‎ It’s also unheard of,
Worthy of you alone
It’s like you’re bold to the people
About everything, and show it and at hand,
165 And you allow me to know and think,
And you don’t forbid about yourself
To speak both true and false;
As if to the crocodiles themselves,
All your mercies to Zoilas,
170 You are always inclined to forgive.

‎ Pleasant rivers of tears flow
From the depths of my soul.
ABOUT! when people are happy
There must be their destiny,
175 Where is the meek angel, the peaceful angel,
Hidden in the porphyry lightness,
A scepter was sent down from heaven to wear!
There you can whisper in conversations
And, without fear of execution, at dinners
180 Don’t drink to the health of kings.

‎ There with the name Felitsa you can
Scrape out the typo in the line,
Or a portrait carelessly
Drop it on the ground.
185 There are no clownish weddings,
They are not fried in ice baths,
They don’t click on the nobles’ mustaches;
Princes don't cluck like hens,
Favorites don't want to laugh at them
190 And they don’t stain their faces with soot.

‎ You know, Felitsa! are right
And men and kings;
When you enlighten morals,
You don't fool people like that;
195 Take a break from your work
You write lessons in fairy tales
And you repeat to Chlorus in the alphabet:
"Don't do anything bad,
And the evil satyr himself
200 You will make a despicable liar.”

‎ You are ashamed to be considered great,
To be scary and unloved;
The bear is decently wild
Tearing animals and shedding their blood.
205 Without extreme distress in the heat of the moment
Does that person need lancets?
Who could do without them?
And how nice it is to be a tyrant,
Tamerlane, great in atrocity,
210 Who is great in goodness, like God?

‎ Felitsa glory, glory to God,
Who pacified the battles;
Which is poor and wretched
Covered, clothed and fed;
215 Which with a radiant eye
Clowns, cowards, ungrateful
And he gives his light to the righteous;
Equally enlightens all mortals,
He comforts the sick, heals,
220 He does good only for good.

‎ Who gave freedom
Jump into foreign regions,
Allowed his people
Seek silver and gold;
225 Who allows water
And it does not prohibit cutting down the forest;
Orders to weave, and spin, and sew;
Untying the mind and hands,
Tells you to love trading, science
230 And find happiness at home;

‎Whose law, right hand
They give both mercy and judgment.-
Prophecy, wise Felitsa!
Where is a rogue different from the honest?
235 Where does old age not wander around the world?
Does merit find bread for itself?
Where revenge does not drive anyone?
Where do conscience and truth live?
Where do virtues shine? -
240 Isn’t it yours at the throne!

‎ But where does your throne shine in the world?
Where, branch of heaven, do you bloom?
In Baghdad? Smyrna? Cashmere? -
Listen, wherever you live, -
245 I have noted my praises to you,
Don’t think about hats or beshmetya
For them I wanted from you.
Feel the good pleasure
This is the wealth of the soul,
250 Which Croesus did not collect.

‎ I ask the great prophet,
May I touch the dust of your feet,
Yes, your words are the sweetest current
And I will enjoy the sight!
255 I ask for heavenly strength,
Yes, their sapphire wings spread out,
They keep you invisibly
From all illnesses, evils and boredom;
May the sounds of your deeds be heard in posterity,
260 Like the stars in the sky, they will shine.

Appendix to the ode: “Felitsa”.

SKETCH OF THE ORIGINALLY CONCERNED ODE TO CATHERINE.

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

Great Empress, if until now, out of prudence, I remained in respectful silence and did not praise you, it was not because my heart hesitated to burn the proper incense for you; but I know little how to praise, and my trembling Muse runs away from such excessive burdens and, not being able to speak worthily about your great deeds, is afraid to touch your laurels, lest they dry up.

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

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

To weave praises, 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, if in this my heart did not agree with my lips, then there would be no reward and no reasons I would have snatched from me not a word of your praise.

But when I see you working with noble ardor in the performance of your office, bringing to shame the sovereigns who tremble at their labor and who are oppressed by the burden of the crown; when I see you enriching your subjects with reasonable orders; the pride of the enemy, trampling underfoot, opening the sea to us, and your brave warriors - promoting your intentions and your great heart, subduing everything under the power of the Eagle; Russia - under your power, ruling happiness, and our ships - Neptune despising and reaching the places from where the sun stretches its run: then, without asking whether Apollo likes it, my Muse warns me in the heat and praises you.

Commentary by J. Grot

In 1781, a small number of copies written by Catherine for her five-year-old grandson, Grand Duke Alexander Pavlovich, was published. The Tale of Prince Chlorus. Chlorus was the son of a prince, or king Kyiv, kidnapped by the Khan during his father's absence Kyrgyz Wanting to believe the rumor about the boy’s abilities, the khan ordered him to find a rose without thorns. The prince set off on this errand. On the way, he met the Khan’s daughter, cheerful and amiable. Felitsa. She wanted to go see off the prince, but her stern husband, the Sultan, prevented her from doing so. Killjoy, and then she sent her son to the child, Reason. Continuing his journey, Chlor was subjected to various temptations, and by the way, he was invited to his hut by his Murza Lazy guy, who, with the temptations of luxury, tried to divert the prince from an undertaking that was too difficult. But Reason forcibly carried him further. Finally they saw in front of them a steep rocky mountain on which grows rose without thorns, or, as one young man explained to Chlorus, virtue. Having climbed the mountain with difficulty, the prince picked this flower and hurried to the khan. The Khan sent him along with the rose to the Kyiv prince. “This one was so happy about the arrival of the prince and his successes that he forgot all the melancholy and sadness.... Here the fairy tale will end, and whoever knows more will tell another.”

This fairy tale gave Derzhavin the idea to write an ode to Felitsa(to 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. But Derzhavin was afraid to give voice to these poems, on which his friends, N.A. Lvov and V.V. Kapnist, agreed with him. The ode became famous due to the immodesty of O.P. Kozodavlev, who, living in the same house with the poet, one day accidentally saw her and begged for short time(See details in Explanations Derzhavin). Soon after, Princess E. R. Dashkova, as director of the Academy of Sciences, undertook the publication Interlocutor for lovers of the Russian word and opened it Derzhavin I book of this magazine, published on May 20, 1783, Saturday ( St. Petersburg Led. that year No. 40). There, on pp. 5-14, this ode is printed without any signature, under the title: An ode to the wise Kyrgyz princess Felitsa, written by some Tatar Murza, who had long settled in Moscow and lived on business in St. Petersburg. Translated from Arabic 1782. To the words: from Arabic the editors made a note: “Although the name of the author is unknown to us; but we know that this ode was definitely composed in Russian.” Let us add that it was written at the end of 1782.

IN Explanations The poet notes that he called Catherine the Kyrgyz-Kaisak princess also because he had villages in the then Orenburg region, adjacent to the Kyrgyz horde, subject to the empress. Nowadays these estates are located in the Buzulut district of the Samara province.

Ode to Felice delivered Derzhavin a rich gift from the Empress (a golden snuff box containing 500 chervonets) and the honor of being presented to her in the Winter Palace; but at the same time she instigated persecution against him by his then boss, Prosecutor General Prince. Vyazemsky. In general, this work had a decisive influence on the entire future fate of the poet.

The new ode created a lot of noise at court and in St. Petersburg society. Catherine sent it (of course in separate prints) to her close associates and in each copy emphasized what directly related to the person to whom it was assigned. Derzhavin's fame was established; she responded to Interlocutor, where since then they started talking about him both in prose articles and in poetry, calling him Murza, Arabic translator etc. B next books the magazine contained four poems addressed to him, between which were three messages: V. Zhukov, Sonnet to the author of an ode to Felitsa (part III, p. 46); M. Sushkova, Letter from a Chinese to a Tatar Murza (Part V, pp. 5-8); O. Kozodavleva, Letter to the Tatar Murza (part VIII, pp. 1-8); E. Kostrova, Letter to the creator of an ode composed in praise of Felitsa (part X, 25-30). “In all these poems, which are not particularly distinguished by their merit, Derzhavin is praised not so much for his good poetry as for the fact that he wrote without flattery” ( Op. Dobrolyubova, vol. I, p. 74). Moreover, Felitsa and its author are mentioned with praise in poems Interlocutor: Princess E. R. Dashkova(Part VI, p. 20) and To my friend(Part VII, p. 40).

Regarding the poems of praise to Derzhavin that appeared after Felice, Mr. Galakhov defines the meaning of this ode in our literature as follows: “The poem, signed with the letters O.K. (Osip Kozodavlev), “says that Derzhavin laid new way to Parnassus, that

...except for lush odes,
There is a “different, good kind” in poetry.

Signs of this a new poetic kind indicated by its opposite lush ode. Odes, notices Companion in one article, filled with the names of fabulous gods, they get bored and serve as food for mice and rats; Felitsa is written in a completely different style, as poems of this kind were written before. In another poem, Kostrova, Derzhavin also recognizes the glory of finding a new and untrodden path: for while our hearing was deaf from the loud tones, Derzhavin managed to sing in a simple syllable the deeds of Felitsa without a lyre and Pegasus; he was given the ability and it is important to sing and play the whistle.... Having named Derzhavin singer Felitsa, his contemporaries made it known “that his peculiarity as a poet clearly emerged in this play. The fair name has not yet lost its power: for us, Derzhavin too singer Felitsa; he will remain Felitsa’s singer for further time” (Preface to Historical Christomathy new. Russian period Literature, vol. I, p. II).

As an example of the opinion of contemporaries about Felice, Let us quote Radishchev’s judgment: “Add many stanzas from the ode to Felice, and especially where Murza describes himself... almost the same poetry will remain without poetry" ( Op. Radishcheva, Part IV, p. 82).

In all likelihood, an ode to Felitsa, when she appeared in Interlocutor, was also printed in separate copies. In the 1798 edition (p. 69) it bears the same long title; in the 1808 edition (part I, XII) it was simply entitled: Felitsa.

The meaning of the drawings (Olen.): 1) Felitsa points out to the prince a mountain on which a rose grows without thorns; 2) the subject is the last verse of the 8th stanza: “I’m flying on a fast runner.”

We found this sketch in Derzhavin’s papers and wrote it on a special piece of paper in his own hand; judging by the nature of the handwriting, it dates back to the seventies (cf. above, p. 147, note 34 to Felice). Derzhavin’s view of his attitude as a poet towards Catherine and the duty of sincerity in praising the powerful is very remarkable. It's like the author's confession singer Felitsa. Let us count here all those poems by Derzhavin that were written by him before Felitsa in honor of Catherine II:
1767 Inscription for her procession to Kazan.
" Inscription. . Interlocutor (Part XVI, p. 6).

“Felitsa” by G.R. Derzhavin

History of creation. Ode “Felitsa” (1782), the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a striking example of a new style in Russian poetry. The subtitle of the poem specifies: “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by the Tatar Murza, who has long settled in Moscow, and lives on his business in St. Petersburg. Translated from Arabic." This work received its unusual name from the name of the heroine of “The Tale of Prince Chlorus,” the author of which was Catherine II herself. She is also named by this name, which in Latin means happiness, in Derzhavin’s ode, glorifying the empress and satirically characterizing her environment.

It is known that at first Derzhavin did not want to publish this poem and even hid the authorship, fearing the revenge of the influential nobles satirically depicted in it. But in 1783 it became widespread and, with the assistance of Princess Dashkova, a close associate of the Empress, was published in the magazine “Interlocutor of Lovers of the Russian Word,” in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem touched the empress so much that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she so accurately depicted her. In gratitude to the author, she sent him a golden snuff box with five hundred chervonets and an expressive inscription on the package: “From Orenburg from the Kirghiz Princess to Murza Derzhavin.” From that day on, literary fame came to Derzhavin, which no Russian poet had known before.

Main themes and ideas. The poem "Felitsa", written as a humorous sketch from the life of the empress and her entourage, at the same time raises very important problems. On the one hand, in the ode “Felitsa” a completely traditional image of a “god-like princess” is created, which embodies the poet’s idea of the ideal of an enlightened monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted:

Give me some advice, Felitsa:
How to live magnificently and truthfully,
How to tame passions and excitement
And be happy in the world?

On the other hand, the poet’s poems convey the idea not only of the wisdom of power, but also of the carelessness of performers concerned with their own profit:

Seduction and flattery live everywhere,
Luxury oppresses everyone.
Where does virtue live?
Where does a rose without thorns grow?

This idea in itself was not new, but behind the images of nobles drawn in the ode, features clearly emerged real people:

My thoughts are spinning in chimeras:
Then I steal captivity from the Persians,
Then I direct arrows towards the Turks;
Then, having dreamed that I was a sultan,
I terrify the universe with my gaze;
Then suddenly, I was seduced by the outfit.
I'm off to the tailor for a caftan.

In these images, the poet’s contemporaries easily recognized the empress’s favorite Potemkin, her close associates Alexei Orlov, Panin, and Naryshkin. Drawing their brightly satirical portraits, Derzhavin showed great courage - after all, any of the nobles he offended could deal with the author for this. Only Catherine’s favorable attitude saved Derzhavin.

But even to the empress he dares to give advice: to follow the law to which both kings and their subjects are subject:

You alone are only decent,
Princess, create light from darkness;
Dividing Chaos into spheres harmoniously,
The union will strengthen their integrity;
From disagreement to agreement
And from fierce passions happiness
You can only create.

This favorite thought of Derzhavin sounded bold, and it was expressed in simple and understandable language.

The poem ends with the traditional praise of the Empress and wishing her all the best:

I ask for heavenly strength,
Yes, their sapphire wings spread out,
They keep you invisibly
From all illnesses, evils and boredom;
May the sounds of your deeds be heard in posterity,
Like the stars in the sky, they will shine.

Artistic originality. Classicism forbade combining high ode and satire belonging to low genres in one work, but Derzhavin does not even simply combine them in his characterization different persons, written in the ode, he does something completely unprecedented for that time. Breaking the traditions of the laudatory ode genre, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not paint a ceremonial portrait of the empress, but depicts her human appearance. That is why the ode contains everyday scenes and still life;

Without imitating your Murzas,
You often walk
And the food is the simplest
Happens at your table.

“God-like” Felitsa, like other characters in his ode, is also shown in everyday life (“Without valuing your peace, / You read, write under the cover...”). At the same time, such details do not reduce her image, but make her more real, humane, as if exactly copied from life. Reading the poem “Felitsa”, you are convinced that Derzhavin really managed to introduce into poetry boldly taken from life or created by imagination individual characters real people shown against the backdrop of a colorfully depicted everyday environment. This makes his poems bright, memorable and understandable.

Thus, in “Felitsa” Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing elements of low styles into the high genre of ode. Subsequently, the poet himself defined the genre of “Felitsa” as a mixed ode. Derzhavin argued that, in contrast to the ode traditional for classicism, where they praised government officials, military leaders, solemn events were sung, in a “mixed ode” “the poet can talk about everything.” Destroying the genre canons of classicism, with this poem he opens the way for new poetry - “real poetry™”, which received brilliant development in the work of Pushkin.

The meaning of the work. Derzhavin himself subsequently noted that one of his main merits was that he “dared to proclaim Felitsa’s virtues in a funny Russian style.” As the researcher of the poet’s work V.F. rightly points out. Khodasevich, Derzhavin was proud “not that he discovered Catherine’s virtues, but that he was the first to speak in a “funny Russian style.” He understood that his ode was the first artistic embodiment of Russian life, that it was the embryo of our novel. And, perhaps,” Khodasevich develops his thought, “if “old man Derzhavin” had lived at least to the first chapter of “Onegin,” he would have heard echoes of his ode in it.”

History of creation

Ode “Felitsa” (1782) is the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a striking example of a new style in Russian poetry. The subtitle of the poem states: "Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsskiy Murza, who has long settled in Moscow, and lives on his businessthem in St. Petersburg. Translated from Arabic." This work received its unusual name from the name of the heroine of “The Tale of Prince Chlorus,” the author of which was Catherine II herself. This name, which translated from Latin means happiness, it is also named in Derzhavin’s ode, glorifying the empress and satirically characterizing her environment.

It is known that at first Derzhavin did not want to publish this poem and even hid the authorship, fearing the revenge of the influential nobles satirically depicted in it. But in 1783 it became widespread and, with the assistance of Princess Dashkova, a close associate of the Empress, was published in the magazine “Interlocutor of Lovers of the Russian Word,” in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem so moved the empress that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she so accurately depicted her. In gratitude to the author, she sent him a golden snuff box with five hundred chervonets and an expressive inscription on the package: “From Orenburg from the Kirghiz Princess to Murza Derzhavin.” From that day on, literary fame came to Derzhavin, which no Russian poet had known before.

Main themes and ideas

The poem "Felitsa", written as a humorous sketch from the life of the empress and her entourage, at the same time raises very important problems. On the one hand, in the ode “Felitsa” a completely traditional image of a “god-like princess” is created, which embodies the poet’s idea of the ideal of an enlightened monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted:

Bring it on, Felitsa! instruction:
How to live magnificently and truthfully,
How to tame passions and excitement
And be happy in the world?

On the other hand, the poet’s poems convey the idea not only of the wisdom of power, but also of the carelessness of performers concerned with their own profit:

Seduction and flattery live everywhere,
Luxury oppresses everyone. –
Where does virtue live?
Where does a rose without thorns grow?

This idea in itself was not new, but behind the images of the nobles depicted in the ode, the features of real people clearly emerged:

My thoughts are spinning in chimeras:
Then I steal captivity from the Persians,
Then I direct arrows towards the Turks;
Then, having dreamed that I was a sultan,
I terrify the universe with my gaze;

Then suddenly, seduced by the outfit,
I'm off to the tailor for a caftan.

But even to the empress he dares to give advice: to follow the law to which both kings and their subjects are subject:

You alone are only decent,
Princess! create light from darkness;
Dividing Chaos into spheres harmoniously,
The union will strengthen their integrity;

From disagreement to agreement
And from fierce passions happiness
You can only create.

This favorite thought of Derzhavin sounded bold, and it was expressed in simple and understandable language.

The poem ends with the traditional praise of the Empress and wishing her all the best:

I ask for heavenly strength,

Yes, their sapphire wings spread out,

They keep you invisibly

From all illnesses, evils and boredom;

May the sounds of your deeds be heard in posterity,

Like the stars in the sky, they will shine.

Artistic originality

Classicism forbade combining high ode and satire belonging to low genres in one work. But Derzhavin doesn’t even just combine them in the characterization of different persons depicted in the ode, he does something completely unprecedented for that time. Breaking the traditions of the laudatory ode genre, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not paint a ceremonial portrait of the empress, but depicts her human appearance. That’s why the ode contains everyday scenes and still life:

Without imitating your Murzas,

You often walk

And the food is the simplest

Happens at your table.

“God-like” Felitsa, like other characters in his ode, is also shown in an ordinary way (“Without valuing your peace, / You read, write under the cover...”). At the same time, such details do not reduce her image, but make her more real, humane, as if exactly copied from the drawing. Reading the poem “Felitsa”, you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people, boldly taken from life or created by the imagination, shown against the backdrop of a colorfully depicted everyday environment. This makes his poems bright, memorable and understandable. Thus, in “Felitsa” Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing elements of low styles into the high genre of ode. Subsequently, the poet himself defined the genre of “Felitsa” as mixed ode. Derzhavin argued that, in contrast to the traditional ode for classicism, where government officials and military leaders were praised, and solemn events were glorified, in the “mixed ode” “the poet can talk about everything.” Destroying the genre canons of classicism, with this poem he opens the way for new poetry - the “poetry of reality”, which received brilliant development in the work of Pushkin.

Meaning of the work

Derzhavin himself subsequently noted that one of his main merits was that he “dared to proclaim Felitsa’s virtues in a funny Russian style.” As the researcher of the poet’s work V.F. rightly points out. Khodasevich, Derzhavin was proud “not that he discovered Catherine’s virtues, but that he was the first to speak in a “funny Russian style.” He understood that his ode was the first artistic embodiment of Russian life, that it was the embryo of our novel. And, perhaps,” Khodasevich develops his thought, “if “old man Derzhavin” had lived at least to the first chapter of “Onegin,” he would have heard echoes of his ode in it.”

Ode "Felitsa" by Derzhavin, summary which is given in this article is one of the most famous works this Russian poet of the 18th century. He wrote it in 1782. After publication, Derzhavin’s name became famous. Moreover, the ode turned into clear example new style in Russian poetry.

Derzhavin's ode "Felitsa", a summary of which you are reading, received its name from the name of the heroine of "Tales of Prince Chlorus". The author of this work is Empress Catherine II.

In his work, Derzhavin calls the ruler of Russia herself by this name. By the way, it is translated as “happiness”. The essence of the ode boils down to the glorification of Catherine (her habits, modesty) and a caricature, even mocking depiction of her pompous surroundings.

In the images that Derzhavin describes in the ode “Felitsa” (a summary cannot be found on “Brifley”, but it is in this article), you can easily recognize some of the people close to the empress. For example, Potemkin, who was considered her favorite. And also Counts Panin, Orlov, Naryshkin. The poet skillfully depicts their mocking portraits, while demonstrating a certain courage. After all, if one of them was very offended, he could easily deal with Derzhavin.

The only thing that saved him was that Catherine II really liked this ode and the empress began to treat Derzhavin favorably.

Moreover, even in the ode “Felitsa” itself, a brief summary of which is given in this article, Derzhavin decides to give advice to the empress. In particular, the poet advises that she obey the law, the same for everyone. The ode ends with the praise of the empress.

Uniqueness of the work

Having read the brief content of the ode “Felitsa”, one can come to the conclusion that the author violates all the traditions in which such works were usually written.

The poet actively introduces colloquial vocabulary and does not shy away from non-literary statements. But the most important difference is that he creates the empress in human form, abandoning her official image. It is noteworthy that many were confused and disturbed by the text, but Catherine II herself was delighted with it.

Image of the Empress

In Derzhavin's ode "Felitsa", a brief summary of which contains the semantic quintessence of the work, the empress initially appears before us in the usual god-like image. For the writer, she is an example of an enlightened monarch. At the same time, he embellishes her appearance, firmly believing in the image depicted.

At the same time, the poet’s poems contain thoughts not only about the wisdom of power, but also about the dishonesty and low level of education of its executors. Many of them are only interested in their own benefit. It is worth recognizing that these ideas have appeared before, but never before real historical figures weren't that recognizable.

In Derzhavin’s ode “Felitsa” (Brifley cannot yet offer a summary), the poet appears before us as a brave and courageous discoverer. He forms an amazing symbiosis, complementing the laudatory ode with the individual traits of the characters and witty satire.

History of creation

It was Derzhavin’s ode “Felitsa”, a brief summary of which is convenient for a general acquaintance with the work, that made a name for the poet. Initially, the author did not think about publishing this poem. He did not advertise it and hid his authorship. He seriously feared the revenge of influential nobles who were not in better light depicted in the text.

Only in 1783 the work became widespread thanks to Princess Dashkova. A close ally of the empress published it in the magazine “Interlocutor of Lovers of the Russian Word.” By the way, the ruler of Russia herself contributed her texts to it. According to Derzhavin’s memoirs, Catherine II was so moved when she first read the ode that she even began to cry. It was in such moved feelings that Dashkova herself discovered her.

The Empress certainly wanted to know who the author of this poem was. It seemed to her that everything was depicted in the text as accurately as possible. In gratitude for Derzhavin’s ode “Felitsa,” a summary and analysis of which is given in this article, she sent the poet a golden snuff box. It contained 500 chervonets.

After such a generous royal gift, literary fame and success came to Derzhavin. No poet had known such popularity before him.

Thematic diversity of Derzhavin’s work

When characterizing Derzhavin’s ode “Felitsa,” it should be noted that the performance itself is a humorous sketch from the life of the Russian ruler, as well as the nobles especially close to her. At the same time, the text raises important issues at the state level. This is corruption, the responsibility of officials, their concern for statehood.

Artistic features of the ode "Felitsa"

Derzhavin worked in the genre of classicism. This direction strictly forbade combining several genres, for example, high ode and satire. But the poet decided on such a bold experiment. Moreover, he not only combined them in his text, but also did something unprecedented for the literature of that very conservative time.

Derzhavin simply destroys the traditions of the laudatory ode, actively using reduced, colloquial vocabulary in his text. He even uses frank vernacular, which, in principle, were not welcomed in literature in those years. Most importantly, he draws Empress Catherine II an ordinary person, abandoning its classical ceremonial description, which was actively used in similar works.

That is why in the ode you can find descriptions of everyday scenes and even literary still life.

Derzhavin's innovation

The everyday, everyday image of Felicia, behind whom one can easily discern the empress, is one of Derzhavin’s main innovations. At the same time, he manages to create the text in such a way as not to reduce her image. On the contrary, the poet makes it real and human. Sometimes it seems that the poet is writing it from life.

While reading the poem “Felitsa”, you can be sure that the author managed to introduce into the poetry the individual characteristics of real historical characters, taken from life or created by imagination. All this was shown against the backdrop of everyday life, which was depicted as colorfully as possible. All this made the ode understandable and memorable.

As a result, in the ode “Felitsa” Derzhavin skillfully combines the style of a laudatory ode with the individualization of real heroes, and also introduces an element of satire. Ultimately, an ode that belongs to a high style contains many elements of low styles.

Derzhavin himself defined its genre as a mixed ode. He argued: it differs from the classical ode in that in a mixed genre the author has unique opportunity talk about everything in the world. So the poet destroys the canons of classicism, the poem opens the way for new poetry. This literature is developed in the work of the author of the next generation - Alexander Pushkin.

Meanings of the ode "Felitsa"

Derzhavin himself admitted that it was a great merit that he decided to undertake such an experiment. A well-known researcher of his work, Khodasevich, notes that Derzhavin was most proud of the fact that he was the first of the Russian poets to speak in a “funny Russian style,” as he himself called it.

But the poet was aware that his ode would, in fact, be the first artistic embodiment of Russian life, and would become the embryo of a realistic novel. Khodasevich also believed that if Derzhavin had lived to see the publication of Eugene Onegin, he would undoubtedly have found echoes of his work in it.

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

From the first lines of the work, the poet extols his empress and creates a traditional picture of a god-like princess, which embodies the author’s concept of the ideal of the eminent monarch. While idealizing the real empress, the poet at the same time believes in the image he depicts. Catherine appears as an intelligent and active princess, but the poems are not oversaturated with excessive pathos, since the poet uses a mixture of poetic genres (ode and satire), breaking the traditions of Russian classicism, a skill rare for those years. Departing from the rules for writing an ode of praise, the author introduces colloquial vocabulary into the poem, portraying the empress as an ordinary person. Even to her, the poet dares to give advice on the implementation of the laws adopted by the kings together with their subjects.

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

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

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

Analysis of Ode by Felits Derzhavin

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

The author of “Felitsa” simply broke all the stereotypes of that time. Many writers and critics were a little taken aback. Derzhavin ignored all the rules of literature of that time and wrote his work. The creativity of writers and poets of those times was simply overflowing in beautiful words. In turn, Derzhavin decided to show in fairly ordinary words how he felt about Catherine. Derzhavin also wrote about his attitude towards the empress’s close people.

Derzhavin’s early works, namely “Felitsa,” of course have lines in which there is exaltation of the empress. The poet considered her a kind and intelligent ruler. In total, “Felitsa” has 26 tenth lines. The poet dedicated more than half of them to Catherine, and he extended all his feelings a lot. In addition, you can notice that some compliments and praises are repeated in the work “Felitsa”.

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

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

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

Analysis of Felitsa's poem according to plan