27.11.2019

Who wrote the felitsa. Literary analysis of the ode "Felitsa". Gavriil Romanovich Derzhavin, ode to "Felitsa"

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

FELICA

‎ Godlike Princess
Kirghiz-Kaisatsky hordes!
Whose wisdom is incomparable
Discovered the right tracks
5 To Tsarevich young Chlor
Climb that high mountain
Where a rose without thorns grows
Where virtue dwells,
She captivates my spirit and mind,
10 Let me find her advice.

‎ Give it, Felitsa! instruction:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?
15 Your voice excites me,
Your son is escorting me;
But I am weak to follow them.
Reeling with the hustle and bustle of life,
Today I rule myself
20 But tomorrow I am a slave to whims.

‎ Not imitating your Murzas,
Often you walk
And the food is the simplest
Happens at your table;
25 Not cherishing your peace,
Reading, writing before laying
And all from your pen
Bliss you pour out on mortals;
Like you don't play cards
30 Like me, from morning to morning.

‎ Not too fond of masquerades,
And you won't even set foot in the clob;
Keeping customs, rituals,
Don't be quixotic with yourself;
35 You cannot saddle a Parnassian horse,
You don’t enter the assembly to the spirits,
You do not go from the throne to the East;
But meekness walking the path,
Benevolent soul,
40 Useful days you spend the current.

‎ And I, sleeping until noon,
I smoke tobacco and drink coffee;
Transforming everyday life into a holiday
I circle my thought in chimeras:
45 Now I steal captivity from the Persians,
I turn arrows to the Turks;
That, having dreamed that I am a sultan,
I frighten the universe with a look;
Then suddenly, seduced by the outfit,
50 I'm going to the tailor's caftan.

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

‎ Or in the midst of a beautiful grove
In the gazebo, where the fountain is noisy,
At the sound of a sweet-voiced harp,
Where the breeze barely breathes
65 Where everything presents me a luxury,
To the pleasures of thought catches,
Tomit and revitalizes the blood;
Lying on a velvet sofa
A young girl's feelings of tenderness,
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 walk under the swing;
I stop in taverns to drink honey;
Or somehow bored me
According to my inclination to change,
With a hat on one side,
80 I'm flying on a frisky runner.

‎ Or music and singers,
Organ and bagpipes suddenly
Or fist fighters
And dance amuse my spirit;
85 Or, take care of all matters
Leaving, I go hunting
And amuse myself with the barking of dogs;
Or over the Neva banks
I amuse myself at night with horns
90 And the rowing of the daring rowers.

‎ Or, sitting at home, I will show,
Playing fools with my wife;
Then I get along with her on the dovecote,
Sometimes we frolic in blindfolds;
95 Then I have fun in a pile with her,
I look for it in my head;
Then I like to rummage through books,
I enlighten my mind and heart,
I read Polkan and Bova;
100 At the Bible, yawning, I sleep.

‎ Such, Felitsa, I am depraved!
But the whole world looks like me.
Who, no matter how wise,
But every man is a lie.
105 We do not walk the paths of the light,
We run debauchery for dreams.
Between the lazy and the grouch,
Between vanity and vice
Did someone find it by chance
110 The path of virtue is straight.

‎ Found - but it’s easy not to be mistaken
We, weak mortals, in this way,
Where does the mind itself stumble
And he must follow the passions;
115 Where are the learned ignoramuses to us,
How is the haze of travelers, darken their eyelids?
Everywhere temptation and flattery lives,
Pasha depresses all 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,
Strengthen their integrity with a union;
125 Out of disagreement consent
And from ferocious passions happiness
You can only create.
So the helmsman, floating through the show,
Catching the roaring wind under sail,
130 Knows how to steer a ship.

‎ Only you will not offend,
Don't offend anyone
You see foolishness through your fingers,
Only evil cannot be tolerated alone;
135 You rule with indulgence,
Like a wolf of sheep, you don't crush people,
You know exactly the price of them.
They are subject to the will of kings, -
But God is more just,
140 Living in their laws.

You think sensibly about merit,
You honor the worthy
You don't call him a prophet
Who can only weave rhymes,
145 And what is this crazy fun
Caliphs good honor and glory.
You condescend to the lyre way:
Poetry is kind to you
Pleasant, sweet, useful,
150 Like delicious lemonade in summer.

‎ The rumor is 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 misfortunes,
And in glory so generous
What renounced and be reputed to be wise.
They also say it's easy
What seems to be always possible
160 Tell you the truth.

‎ Also unheard of,
Worthy of you alone
What if you boldly people
About everything, both awake and at hand,
165 And you allow to know and think,
And you don't forbid yourself
And the truth and fiction to speak;
As if to the most crocodiles,
Your all graces to zoila,
170 Always inclined to forgive.

‎ Pleasant rivers strive for tears
From the depths of my soul.
ABOUT! as long as people are happy
There must be their own destiny,
175 Where is the meek angel, the peaceful angel,
Hidden in porphyry lordship,
A scepter was sent down from heaven to carry!
There you can whisper in conversations
And, without fear of execution, at dinners
180 Do not drink for the health of kings.

‎ There with the name of Felitsa you can
Scrape the typo in the line,
Or a portrait carelessly
Drop her on the ground.
185 There are no clownish weddings,
They are not fried in ice baths,
Do not click in the mustache of the nobles;
Princes don't cackle with hens,
Lovers in reality they do not laugh
190 And they don't stain their faces with soot.

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

‎ You are ashamed to be known as that great
To be terrible, unloved;
Bear decently wild
Animals to tear and their blood to pour.
205 Without extreme distress in a fever
That lancet needs funds,
Who could do without them?
And is it nice to be that tyrant,
Great in atrocity Tamerlane,
210 Who is great in goodness, like God?

‎ Glory to Felitsa, glory to God,
Who pacified the battles;
Which is orphaned and wretched
Covered, clothed and fed;
215 Who with a radiant eye
Jesters, cowards, ungrateful
And gives his light to the righteous;
Equally enlightens all mortals,
The sick rests, heals,
220 Good works only for good.

‎ Who gave freedom
Jump into foreign areas
Allowed his people
Look for silver and gold;
225 Who permits water
And the forest does not prohibit cutting;
Orders and weave, and spin, and sew;
Untying the mind and hands,
Commands to love trades, science
230 And find happiness at home;

‎ Whose law, right hand
They give both mercy and judgment.-
Tell me, wise Felitsa!
Where is the rogue different from the honest?
235 Where does old age not roam the world?
Does he find bread for himself?
Where revenge does not drive anyone?
Where do conscience and truth dwell?
Where do virtues shine?
240 Is it your throne!

‎ But where does your throne shine in the world?
Where, heavenly branch, do you bloom?
In Baghdad? Smyrna? Cashmere? -
Listen, where do you live, -
245 Accepting my praises to you,
Don't think that hats or beshmetya
For them I wished from you.
Feel the goodness
Such is the wealth of the soul,
250 Which Croesus did not collect.

I ask the great prophet,
Let me touch the dust of your feet,
Yes, your sweetest current words
And enjoy the sight!
255 Heavenly I ask for strength,
Yes, their outstretched safir wings,
Invisibly you are kept
From all diseases, evils and boredom;
Yes, your deeds in the offspring sounds,
260 Like stars in the sky, they will shine.

Appendix to the ode: "Felitsa".

SKETCH OF THE ORIGINALLY INTENDED ODE TO CATHERINE.

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

Great Empress, if, out of prudence, I have so far remained in respectful silence and have not praised you, it is not because my heart hesitated to burn you the due incense; but I know little how to praise, and my trembling Muse flees from such an excessive burden and, not being able to speak worthily about your great deeds, is afraid, touching your laurels, so as not to dry them.

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

I do not dare to defame in them the desire to please you; but why, having no strength, to work without profit and, without praising you, only dishonor yourself?

To weave praise, it must be Virgil.

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

But when I see you with a noble fervor working in the performance of your office, bringing to shame the sovereigns, who tremble with labor and whom the burden of the crown oppresses; when I see you enriching your subjects with reasonable orders; the pride of the enemies trampling underfoot, opening the sea for us, and your brave warriors - helping your intentions and your great heart, conquering everything under the power of the Eagle; Russia - under your power that controls happiness, and our ships - Neptune of despising and reaching places from where the sun stretches its run: then, without asking if Apollo likes it, my Muse warns me in the heat and praises you.

Commentary by J. Groth

In 1781, it was printed, in a small number of copies, written by Catherine for her five-year-old grandson, Grand Duke Alexander Pavlovich, The Tale of Tsarevich Chlor. Chlor was the prince's son, or king Kyiv, during the absence of his father, kidnapped by Khan Kyrgyz. Wanting to believe the rumor about the boy's abilities, the khan ordered him to find a rose without thorns. The prince went with this assignment. 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 the journey, Chlorine was subjected to various temptations, and among other things, his Murza called him into the hut. Lazybones, who, with the temptations of luxury, tried to divert the prince from an enterprise too difficult. But Reason forcibly dragged him further. At last they saw in front of them a steep rocky mountain, on which grows rose without thorns, or, as one youth explained to Chlorus, virtue. Climbing the mountain with difficulty, the prince plucked this flower and hurried to the khan. Khan sent him along with the rose to Kyiv prince. “This one was so happy about the arrival of the prince and his successes that he forgot all the longing and sadness .... Here the fairy tale ends, and whoever knows more will tell another.”

This tale gave Derzhavin the idea to write an ode to Felice(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 close associates. But Derzhavin was afraid to give way to these verses, in which his friends, N. A. Lvov and V. V. Kapnist, agreed with him. The ode became famous for the indiscretion of O.P. Kozodavlev, who, living in the same house with the poet, once accidentally saw her and begged for a short time (For details, see Explanations Derzhavin). Shortly thereafter, Princess E. R. Dashkova, as director of the Academy of Sciences, undertook the publication Interlocutor lovers Russian word and opened an ode to Derzhavin I book of this magazine, published on May 20, 1783, on Saturday ( St. Petersburg Vedom. of that year No. 40). There, on pages 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 has long settled in Moscow, and lives on business in St. Petersburg. Translated from Arabic 1782. To the words: from Arabic a callout was made by the editors: “Although the name of the writer is unknown to us; but what we do know is that this ode was accurately composed in Russian.” Let us add that it was written at the end of 1782.

IN Explanations The poet notices of his own that he called Catherine the Kirghiz-Kaisat princess also because he had villages in the then Orenburg region, next to the Kirghiz horde, subject to the empress. Now these estates are located in the Buzuluk district of the Samara province.

Ode to Felice delivered to Derzhavin a rich gift from the Empress (a golden snuff-box with 500 gold pieces) and the honor of presenting it to her in winter palace; but at the same time, she initiated a persecution against him by his then boss, the Prosecutor General Prince. Vyazemsky. In general, this work had a decisive influence on the entire further fate poet.

The new ode made a lot of noise at the court and in St. Petersburg society. Catherine sent it (of course in separate prints) to her close associates and in each copy emphasized what was more directly related to the person to whom he was appointed. Derzhavin's fame was established; she responded and Interlocutor, where since then they have been talking about him both in prose articles and in verse, calling him Murza, Arabic translator etc. In the following books of the magazine there were four poems addressed to him, between which there are three messages: V. Zhukov, Sonnet to the composer of the 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 distinguished by special merit, Derzhavin is praised not so much for good poetry, but for the fact that he wrote without flattery” ( Op. Dobrolyubov, vol. I, p. 74). Moreover, Felitsa and her writer 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 commendable poems to Derzhavin that appeared after Felicia Mr. Galakhov defines the meaning of this ode in our literature in this way: “The poem, signed with the letters O.K. new way to Parnassus

... except for lush odes,
In poetry there is "a different, good kind."

signs of this new kind of poetry indicated by its opposite sumptuous odes. Odes, notices Companion in one article filled with the names of fabulous gods, bored and serve as food for mice and rats; Felitsa is written in a completely different style, as previously such poems were written. In another poem, Kostrova, Derzhavin is also recognized for the glory of finding new and untrodden path: because while our hearing was deafened by loud tones, Derzhavin managed to sing Felitsa's deeds in a simple syllable without a lyre and Pegasus; he was given the ability and it is important to sing and play the whistle .... Calling Derzhavin singer Felitsa, his contemporaries let it be known “that his peculiarity as a poet came out clearly in this play. A fair name has not yet lost its strength: for us, Derzhavin too Felitsa singer; he will remain the singer of Felitsa for further time ”(Preface to Historical Christomathy is new. Russian period. Literature, vol. I, p. II).

As an example of the opinion of contemporaries about Felice, let us cite Radishchev’s judgment: “Suggest many stanzas from the ode to Felice, and especially where Murza describes himself, ... almost the same poetry will remain without poetry ”( Op. Radishchev, part IV, p. 82).

In all likelihood, an ode to Felitsa, when she appeared in Interlocutor, printed in separate prints. In the 1798 edition (p. 69) it still bears the old long title; in the edition of 1808 (parts I, XII) it is already entitled simply: Felitsa.

The meaning of the drawings (Deer.): 1) Felitsa shows the prince a mountain on which a rose without thorns grows; 2) the subject is the last verse of the 8th stanza: "I'm flying on a frisky runner."

This sketch was found by us in Derzhavin's papers and written on a special piece of paper by his own hand; judging by the nature of the handwriting, it dates back to the seventies (cf. above, p. 147, note 34 to Felice). Quite remarkable is the view of Derzhavin expressed in it on his attitude, as a poet, to Catherine and on the duty of sincerity in praise of the strong. It's like an author's confession singer Felitsa. Let us enumerate here all those poems by Derzhavin that were written by him before Felitsy in honor of Catherine II:
1767 Inscription on her procession to Kazan.
" Inscription. . Interlocutor (part XVI, p. 6).

"Felitsa" Derzhavin G.R.

History of creation. Ode "Felitsa" (1782), the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a vivid example of a new style in Russian poetry. The subtitle of the poem specifies: “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsky Murza, who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic. Own unusual name this work received on behalf of the heroine "Tales of Tsarevich Chlorus", the author of which was Catherine II herself. This name, which in Latin means happiness, is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings.

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, close empress, was published in the journal Interlocutor of Lovers of the Russian Word, in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem so touched the empress that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she was depicted so accurately. In gratitude to the author, she sent him a golden snuffbox with five hundred chervonets and an expressive inscription on the package: "From Orenburg from the Kirghiz Princess to Murza Derzhavin." From that day on, Derzhavin gained literary fame, which no Russian poet had known before.

Main themes and ideas. The poem "Felitsa", written as a playful sketch of the life of the Empress and her entourage, at the same time raises a very important issues. 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, Felitsa, guidance:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?

On the other hand, in the poet's verses, the thought sounds not only about the wisdom of power, but also about the negligence of performers who are concerned about their own benefit:

Everywhere temptation and flattery lives,
Luxury oppresses all pashas.
Where does virtue live?
Where does a rose without thorns grow?

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

In these images, the poet's contemporaries easily recognized the favorite of the Empress Potemkin, her close associates Alexei Orlov, Panin, Naryshkin. Drawing their vividly satirical portraits, Derzhavin showed great courage - after all, any of the nobles offended by him could do away with the author for this. Only the favorable attitude of Catherine saved Derzhavin.

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

You alone are only decent,
Princess, create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
From disagreement to agreement
And from ferocious passions happiness
You can only create.

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

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

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

Not imitating your Murzas,
Often you walk
And the food is the simplest
It happens at your table.

The “God-like” Felitsa, like other characters in his ode, is also shown in everyday life (“Not cherishing your peace, / You read, you write under a veil ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from nature. Reading the poem "Felitsa", you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people boldly taken from life or created by the imagination, shown against the background of a colorfully depicted everyday environment. This makes his poems vivid, memorable and understandable.

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 the ode. Subsequently, the poet himself defined the genre of "Felitsa" as a mixed ode. Derzhavin argued that, in contrast to the traditional ode for classicism, where statesmen, military leaders were praised, solemn events were sung, in a "mixed ode" "a poet can talk about everything." Destroying the genre canons of classicism, with this poem he opens the way for a new poetry - "poetry of the real ™", which received a brilliant development in Pushkin's work.

The value 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 syllable." As rightly pointed out by the researcher of the poet V.F. Khodasevich, Derzhavin was proud "not that he had discovered the virtues of Catherine, 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 germ of our novel. And, perhaps, - Khodasevich develops his thought, - had "old Derzhavin" lived at least until the first chapter of Onegin, he would have heard echoes of his ode in it.

"Felitsa" Gavriil Derzhavin

godlike princess
Kirghiz-Kaisatsky hordes!
Whose wisdom is incomparable
Discovered the right tracks
Tsarevich young Chlor
Climb that high mountain
Where a rose without thorns grows
Where virtue dwells,
She captivates my spirit and mind,
Let me find her advice.

Come on Felicia! instruction:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?
Your voice excites me
Your son is escorting me;
But I am weak to follow them.
Reeling with the hustle and bustle of life,
Today I rule myself
And tomorrow I'm a slave to whims.

Not imitating your Murzas,
Often you walk
And the food is the simplest
Happens at your table;
Don't value your peace
Reading, writing before laying
And all from your pen
Bliss you pour out on mortals;
Like you don't play cards
Like me, from morning to morning.

Don't like masquerades too much
And you won't even set foot in the clob;
Keeping customs, rituals,
Don't be quixotic with yourself;
You can't saddle a Parnassian horse,
You don’t enter the assembly to the spirits,
You do not go from the throne to the East;
But meekness walking the path,
Benevolent soul,
Useful days spend the current.

And I, sleeping until noon,
I smoke tobacco and drink coffee;
Transforming everyday life into a holiday
I circle my thought in chimeras:
Then I steal captivity from the Persians,
I turn arrows to the Turks;
That, having dreamed that I am a sultan,
I frighten the universe with a look;
Then suddenly, seduced by the outfit,
I'm going to the tailor on the caftan.

Or in a feast I'm rich,
Where they give me a holiday
Where the table shines with silver and gold,
Where thousands of different dishes:
There is a glorious Westphalian ham,
There are links of Astrakhan fish,
There are pilaf and pies,
I drink champagne waffles;
And I forget everything in the world
Among wines, sweets and aroma.

Or in the midst of a beautiful grove
In the gazebo, where the fountain is noisy,
At the sound of a sweet-voiced harp,
Where the breeze barely breathes
Where everything represents luxury to me,
To the pleasures of thought catches,
Tomit and revitalizes the blood;
Lying on a velvet sofa
A young girl's feelings of tenderness,
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
I walk under the swings;
I stop in taverns to drink honey;
Or somehow bored me
According to my inclination to change,
With a hat on one side,
I'm flying on a fast runner.

Or music and singers
Organ and bagpipes suddenly
Or fist fighters
And dance amuse my spirit;
Or, about all matters care
Leaving, I go hunting
And amuse myself with the barking of dogs;
Or over the Neva banks
I amuse myself at night with horns
And rowing daring rowers.

Or, sitting at home, I'll show you
Playing fools with my wife;
Then I get along with her on the dovecote,
Sometimes we frolic in blindfolds;
Then I have fun in a pile with her,
I look for it in my head;
Then I like to rummage through books,
I enlighten my mind and heart,
I read Polkan and Bova;
Behind the Bible, yawning, I sleep.

Such, Felitsa, I am depraved!
But the whole world looks like me.
Who, no matter how wise,
But every man is a lie.
We do not walk the paths of light,
We run debauchery for dreams.
Between the lazy and the grouch,
Between vanity and vice
Did someone find it by chance
The path of virtue is straight.

Found - but lzya eh not be mistaken
We, weak mortals, in this way,
Where does the mind itself stumble
And he must follow the passions;
Where are the ignorant scientists to us,
How is the haze of travelers, darken their eyelids?
Everywhere temptation and flattery lives,
Pasha depresses all luxury.-
Where does virtue live?
Where does a rose without thorns grow?

You alone are only decent,
Princess! create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
Out of disagreement, agreement
And from ferocious passions happiness
You can only create.
So the helmsman, floating through the show,
Catching the roaring wind under sail,
Knows how to steer a ship.

Only you will not offend,
Don't offend anyone
You see foolishness through your fingers,
Only evil cannot be tolerated alone;
You correct misdeeds with indulgence,
Like a wolf of sheep, you don't crush people,
You know exactly the price of them.
They are subject to the will of kings, -
But God is more just,
Living in their laws.

You think sensibly about merits,
You honor the worthy
You don't call him a prophet
Who can only weave rhymes,
And what is this crazy fun
Caliphs good honor and glory.
You condescend to the lyre way:
Poetry is kind to you
Pleasant, sweet, useful,
Like summer lemonade.

There are rumors about your actions
That you are not at all proud;
Kind in business and in jokes,
Pleasant in friendship and firm;
What are you indifferent to misfortunes,
And in glory so generous
What renounced and be reputed to be wise.
They also say it's easy
What seems to be always possible
You and tell the truth.

Also unheard of
Worthy of you alone
What if you boldly people
About everything, both awake and at hand,
And let you know and think,
And you don't forbid yourself
And the truth and fiction to speak;
As if to the most crocodiles,
Your all graces to zoila,
You always tend to forgive.

Aspire to tears of pleasant rivers
From the depths of my soul.
ABOUT! as long as people are happy
There must be their own destiny,
Where is the meek angel, the peaceful angel,
Hidden in porphyry lordship,
A scepter was sent down from heaven to carry!
There you can whisper in conversations
And, without fear of execution, at dinners
Do not drink for the health of kings.

There with the name of Felitsa you can
Scrape the typo in the line,
Or a portrait carelessly
Drop her on the ground.

They are not fried in ice baths,
Do not click in the mustache of the nobles;
Princes don't cackle with hens,
Lovers in reality they do not laugh
And they don't stain their faces with soot.

You know, Felitsa! right
And men and kings;
When you enlighten morals,
You don't fool people like that;
In your rest from work
You write teachings in fairy tales
And Chlorine in the alphabet you repeat:
"Don't do anything wrong
And the evil satyr himself
You will make a despicable liar."

You are ashamed to be known as that great
To be terrible, unloved;
Bear decently wild
Animals to tear and their blood to pour.
Without extreme distress in a fever
That lancet needs funds,
Who could do without them?
And is it nice to be that tyrant,
Great in atrocity Tamerlane,
Who is great in goodness, like God?

Felitsa glory, glory to God,
Who pacified the battles;
Which is orphaned and wretched
Covered, clothed and fed;
Who with a radiant eye
Jesters, cowards, ungrateful
And gives his light to the righteous;
Equally enlightens all mortals,
The sick rests, heals,
Doing good only for good.

who gave freedom
Jump into foreign areas
Allowed his people
Look for silver and gold;
Who allows water
And the forest does not prohibit cutting;
Orders and weave, and spin, and sew;
Untying the mind and hands,
Commands to love trades, science
And find happiness at home;

Whose law, right hand
They give both mercy and judgment.-
Tell me, wise Felitsa!
Where is the rogue different from the honest?
Where does old age not roam the world?
Does he find bread for himself?
Where revenge does not drive anyone?
Where do conscience and truth dwell?
Where do virtues shine?
Is it your throne!

But where does your throne shine in the world?
Where, heavenly branch, do you bloom?
In Baghdad? Smyrna? Cashmere? -
Listen, where do you live, -
Accepting my praises to you,
Don't think that hats or beshmetya
For them I wished from you.
Feel the goodness
Such is the wealth of the soul,
Which Croesus did not collect.

I ask the great prophet
Let me touch the dust of your feet,
Yes, your sweetest current words
And enjoy the sight!
Heavenly I ask for strength,
Yes, their outstretched safir wings,
Invisibly you are kept
From all diseases, evils and boredom;
Yes, your deeds in the offspring sounds,
Like stars in the sky, they will shine.

Analysis of Derzhavin's poem "Felitsa"

In 1781, the Tale of Tsarevich Chlorus appeared in print, which Empress Catherine II composed for her grandson, the future Emperor Alexander I. This instructive work influenced not only little Alexander Pavlovich, but also on Gavriil Romanovich Derzhavin (1743–1816). It inspired the poet to create an ode to the empress, which he called “Ode to the wise Kyrgyz princess Felitsa, written by a Tatar murza who has long settled in Moscow, and who lives on their business in St. Petersburg. Translated from Arabic 1782.

The poem was first published in 1783 in the journal Interlocutor. The poet did not leave a signature under the work, but like the entire text of the ode, the title is full of hints. For example, the “Kyrgyz-Kaisak princess” refers to Catherine II, who was the mistress of the Kyrgyz lands. And under the Murza is the poet himself, who considered himself a descendant of the Tatar prince Bagrim.

The ode contains many allusions to various events, people and statements related to the reign of Catherine II. Take, for example, the name given by its author. Felitsa is the heroine of The Tale of Prince Chlorine. Like the empress, she has a husband who prevents her from carrying out her good intentions. In addition, Felitsa, according to Derzhavin, is the ancient Roman goddess of bliss, and it was with this word that many contemporaries characterized the reign of Catherine II, who favored the sciences, arts and adhered to rather free views on the social structure.

These and other numerous virtues of the empress are praised by Gavriil Romanovich. In the first stanzas of the ode, the poet walks through the environment of the empress. The author allegorically describes the unworthy behavior of the courtiers, speaking as if about himself:
With a hat on one side,
I'm flying on a fast runner.

In this passage we are talking about Count Alexei Orlov, who wants fast races.

Another fragment speaks of the idle Prince Potemkin, hovering in the clouds:
And I, sleeping until noon,
I smoke tobacco and drink coffee;
Transforming everyday life into a holiday
I circle my thought in chimeras.

Against the background of these playboys, the figure of the wise, active and fair empress acquires an aura of virtue. The author rewards her with the epithets “generous”, “amiable in deeds and jokes”, “pleasant in friendship”, “wise”, metaphors “branch of heaven”, “meek angel”, etc.

The poet mentions the political successes of Catherine II. Using the metaphor "Dividing Chaos into spheres harmoniously", he points to the establishment of the province in 1775 and the annexation of new territories to Russian Empire. The author compares the reign of the empress with the reign of her predecessors:
There are no clownish weddings,
They are not fried in ice baths,
Do not click in the mustache of the nobles ...

Here the poet alludes to the reign of Anna Ioannovna and Peter I.

Admires Gavriil Romanovich and the modesty of the queen. In the lines:
You are ashamed to be known as that great
To be terrible, unloved ...

indicates the renunciation of Catherine II from the titles "Great" and "Wise", which were offered to her by Senate nobles in 1767.

As an artist, the poet is especially captivated by the empress's attitude to freedom of expression. The author is fascinated by the queen’s love for lyrics (“Poetry is kind to you, Pleasant, sweet, useful ...”), approved by her ability to think and speak as you like, travel, organize enterprises, etc.

Catherine II herself highly appreciated the skill of the poet. The ode "Felitsa" fell in love with her so much that the empress gave Derzhavin a richly decorated snuffbox, and she herself sent it to her close associates. Contemporaries also reacted very favorably to the poem. Many reviews noted not only the truthfulness and lack of flattery in the lines of the ode, but also its elegant composition and poetic style. As the Russian philologist J.K. Grot wrote in his commentary, this ode gave rise to a new style. "Felitsa" is deprived grandiloquent expressions, does not contain an enumeration of the gods, as was previously accepted.

Indeed, the language of the ode is simple but refined. The author uses epithets, metaphors, pictorial comparisons (“like stars in the sky”). The composition is strict but harmonious. Each stanza consists of ten lines. First comes a quatrain with a cross-rhyme of the form abab, then a couplet cc, after which a quatrain with a ring rhyme of the form deed. The size is iambic tetrameter.

Although the poem contains quite outdated expressions for today, and many hints may be incomprehensible, it is easy to read even now.

Gabriel Romanovich Derzhavin is a real Genius, who, however, achieved success in the literary field, already being an adult, an accomplished person. With his impudent sincerity, he knew how to conquer and destroy peace. Amazing honesty elevated him to the pinnacle of fame, and then just as quickly "thrown" the poet from Olympus.

A poor and humble nobleman, he honestly and sincerely served, as A.S. would later say. Pushkin in The Captain's Daughter, "honestly, to whom you swear allegiance." Derzhavin went through the difficult path of a simple soldier, having, however, achieved both recognition and an officer's rank without anyone's help. He participates in the suppression of the Pugachev uprising, and this brings him fame.

The intelligent officer, who had previously published entire collections of ambiguous poems written in an unusual language for that time, remained unnoticed as a writer until, subdued by the openness of Empress Catherine II, her deeds for the good of Russia, he creates a daring ode "Felitsa".

The names of the heroes were not chosen by chance: the young poet borrowed them from an instructive fairy tale, personally composed by the Empress for her grandson. This allusion will later lay the foundation for a whole cycle of odes dedicated to Felitsa, but it is with that one, the first and perhaps the most important in the poet's work, that a colossal breakthrough in the field of poetic art is connected.

As you know, G.R. Derzhavin lived at a time when the greatest figures in literature, the "Parnassian titans", adhered to the strict framework of classicism. Only in the second half of the 18th century did M. Lomonosov, A. Maikov, M. Kheraskov, and other writers begin to depart from these traditions, but they did not do so on such a grand scale, with such ease that Derzhavin succeeded.

He owns the expression "funny Russian syllable." Indeed, he will announce “the virtues of Felitsa” in the genre of an ode - in a high style, resorting to the help of high spiritual matter. And at the same time, the poet will tear apart the usual canons, as if tearing a piece of paper.

The theme of the ode is socio-political. Derzhavin, who participated in the suppression of the uprising of Yemelyan Pugachev, learned firsthand what a "senseless and merciless" Russian revolt is; he saw with his own eyes and felt with what aversion the people were disposed towards the Russian nobility. But the poet did not call for the liberation of the peasantry - he understood that Russia would choke in blood, especially the nobles, as yesterday's slaves would begin to take revenge on their oppressors. That is why Derzhavin sees salvation in enlightened absolutism, where there is strict and strict observance of laws, a government in which there will be no arbitrariness of the authorities. This is the only way to protect the Empire from new rebellions, from new senseless victims. The poet finds the image of such a ruler in Catherine II. The ode "Felitsa" is not the creation of a haze of the God-chosen empress, but a lively and sincere enthusiastic response to the activities of the empress.

On the one hand, this work is plotless, since the action does not develop in it. And at the same time, there is a certain swiftness, instantaneity in it: thus, with an abundance of images of feelings, images of events are found in it; the poet in chronological order describes the amusements of Catherine's courtiers, however, as well as the life of the Empress.

The composition of the ode is inconsistent; it creates a central image, the embodiment of which is the "god-like princess", and develops throughout the story, is considered from all sides. At the same time, the antithesis technique is used: the virtues of Felitsa are opposed to the idleness and meanness of her “murz”.

"Felitsa" is written in iambic tetrameter with the replacement of iambic stops with pyrrhic. Derzhavin refers to the classic odic ten-line stanza with complex rhyme (first cross, then in pairs, then ring); the poet alternates male and female rhymes.

The expressive means of the ode are distinguished by a stunning variety of imagination. The main poetic device is the antithesis mentioned above, as well as allusions - to Count Orlov, P. Panin, etc. Derzhavin refers to the sublime style, and therefore in the ode a huge place is given to Church Slavonic words. “Felitsa” is not rich in metaphors (“fry in ice baths”), but it is replete with epithets (“sweet-voiced harp”, “safir wings”, “despicable liar”), comparisons (“meek angel”, comparison of the empress with the feeder, “like a wolf of sheep , you don’t crush people”), hyperbole (typical of the poetic mood of the ode as a whole). Among the stylistic figures, inversion and gradation stand out especially (“pleasant, sweet, useful”). The reception of irony, turning into sarcasm, stands apart. They appear in stanzas where the lyrical hero describes his own amusements, pointing out that he, the hero, is depraved, but "the whole world is like that." This remark makes it possible to emphasize the greatness and virtue of the empress, whose subjects are unworthy to serve her.

In this ode, for the first time, a mixture of styles occurs: in a solemn work, features of a "low" style - sarcasm - are suddenly revealed. In addition, this is the first ode in the history of Russian literature, where the image of the author is so clearly manifested, where his personal opinion is expressed. Derzhavin portrays himself as lyrical hero, unworthy of the honor to serve an enlightened empress, who shuns high titles, magnificent festivities, unworthy of a noble person of amusement, luxury; Felice is not characterized by cruelty and injustice. The poet portrays the empress as a God-fearing ruler who is interested in the well-being of her people - it is not without reason that the ode appears in comparison with an angel sent down to earth to rule the Russian state.

The impudent, individual, bright praise, which Gavriil Romanovich himself defined as a "mixed ode", was enthusiastically received by the empress. Derzhavin's innovation made it possible to discard the strict framework of classicism that was inaccessible to a wide range of readers. The originality of the work, its richest and most attractive language, will in the future receive the widest circulation; the trend will be developed in the work of first V. Zhukovsky, and then the main "reformer" of the Russian literary language A.S. Pushkin. Thus, Derzhavin's "Felitsa" anticipates the emergence of a romantic trend in Russian literature.

History of creation. Ode "Felitsa" (1782), the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a vivid example of a new style in Russian poetry. The subtitle of the poem specifies: “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by Tatarsky Murza, who has long settled in Moscow, and who lives on business in St. Petersburg. Translated from Arabic. This work received its unusual name from the name of the heroine of the “Tales of Tsarevich Chlorine”, the author of which was Catherine II herself. This name, which in Latin means happiness, is also named in Derzhavin's ode, which glorifies the empress and satirically characterizes her surroundings.

Main themes and ideas. The poem "Felitsa", written as a playful sketch of the life of the Empress and her entourage, at the same time raises very important issues. 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, Felitsa, guidance:
How magnificently and truthfully to live,
How to tame passions excitement
And be happy in the world?

On the other hand, in the poet's verses, the thought sounds not only about the wisdom of power, but also about the negligence of performers who are concerned about their own benefit:

Everywhere temptation and flattery lives,
Luxury oppresses all pashas.
Where does virtue live?
Where does a rose without thorns grow?

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

I circle my thought in chimeras:
Then I steal captivity from the Persians,
I turn arrows to the Turks;
That, having dreamed that I am a sultan,
I frighten the universe with a look;
Then suddenly, he was seduced by the outfit.
I'm going to the tailor on the caftan.

In these images, the poet's contemporaries easily recognized the favorite of the Empress Potemkin, her close associates Alexei Orlov, Panin, Naryshkin. Drawing their vividly satirical portraits, Derzhavin showed great courage - after all, any of the nobles offended by him could do away with the author for this. Only the favorable attitude of Catherine saved Derzhavin.

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

You alone are only decent,
Princess, create light from darkness;
Dividing Chaos into spheres harmoniously,
Strengthen their integrity with a union;
From disagreement - consent
And from ferocious passions happiness
You can only create.

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

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

Heavenly I ask for strength,
Yes, stretching their sapphire wings,
Invisibly you are kept
From all diseases, evils and boredom;
Yes, your deeds in the offspring sounds,
Like stars in the sky, they will shine.

Artistic originality. Classicism forbade combining a high ode and satire belonging to low genres in one work. But Derzhavin does not even just combine them in characterizing different people depicted in the ode, he does something completely unprecedented for that time. Violating the traditions of the genre of laudatory ode, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not draw a ceremonial portrait of the empress, but depicts her human appearance. That is why everyday scenes, a still life turn out to be in the ode;

Not imitating your Murzas,
Often you walk
And the food is the simplest
It happens at your table.

The “God-like” Felitsa, like other characters in his ode, is also shown in everyday life (“Not cherishing your peace, / You read, you write under a veil ...”). At the same time, such details do not reduce her image, but make her more real, humane, as if accurately written off from nature. Reading the poem "Felitsa", you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people boldly taken from life or created by the imagination, shown against the background of a colorfully depicted everyday environment. This makes his poems vivid, memorable and understandable.

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 the ode. Subsequently, the poet himself defined the genre of "Felitsa" as a mixed ode. Derzhavin argued that, in contrast to the traditional ode for classicism, where statesmen, military leaders were praised, solemn events were sung, in a "mixed ode" "a poet can talk about everything." Destroying the genre canons of classicism, with this poem he opens the way for new poetry - "poetry of the real ™", which received a brilliant development in Pushkin's work.

The value 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 syllable." As rightly pointed out by the researcher of the poet V.F. Khodasevich, Derzhavin was proud "not that he had discovered the virtues of Catherine, 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 germ of our novel. And, perhaps, - Khodasevich develops his thought, - had "old Derzhavin" lived at least until the first chapter of Onegin, he would have heard echoes of his ode in it.

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1767	Inscription on her procession to Kazan.
	" Inscription. . Interlocutor (part XVI, p. 6).