History of creation
Derzhavin's poem, written in 1795, refers to the mature period of the poet's work (from the second half of the 1790s to the early 1800s). It was a time of summing up the results of life and work, when the poet persistently strives to comprehend the path he has traveled, to determine his place in the history of society and literature. The poems he created at that time become a kind of poetic manifesto. These, in addition to the "Monument", include the poems "My idol" (1794), "Swan" (1804), "Recognition" (1807), "Eugene. Zvanskaya Life "(1807).
It is significant that the time of summing up Derzhavin's poetic life was marked by a free translation of the ode of the Roman poet Horace "To Melpomene". Before him, another Russian poet, Lomonosov, had already addressed this work, having made the first translation of the poem into Russian. Lomonosov's translation was quite accurate, reflecting the main ideas and images of the original. In the further history of Russian literature, Horace's poem most often was not translated into Russian, but served as the basis for creating his own "monument" poem. It was such a free translation-arrangement that was first made by Derzhavin, who brilliantly continued the work of Lomonosov.
Genre features
According to its formal features, Derzhavin's poem, like Lomonosov's, is an ode. But this is a special genre version of the ode, which takes its origins from Horace's poem and gets the name "Monument".
Quintus Flaccus Horace- the greatest poet of antiquity, whose name has passed through the centuries and became known in many countries. He was born in 65 and died in 8 BC. During these years, Ancient Rome experienced a major turning point in its historical development - the fall of the republic and the establishment of an empire. Many of Horace's poems glorify statesmen and express the poet's pride in the achievements that made the Roman Empire the largest and most developed in all respects state of the ancient world of that era. Such poems were created by him in the genre of an ode and made up three whole books that became widely known to readers. Reflecting on the poetic fame that came to him and on the further fate of his work, Horace devotes many works included in his collection of odes to the theme of poetry and poetic immortality. Not all of Horace's odes have come down to us, but the most famous among them was the ode "To Melpomene". In ancient Greek mythology, Melpomene is one of the nine muses, the patroness of tragedy. This ode was included in the last of the three books of the collection of odes at number 30 and thus ended not only the third book of odes, but the entire collection, since it was a kind of poetic result of the poet's work.
Subsequently, this ode became widely known not only in ancient Roman literature, but became widespread in many European countries, where it was translated into national languages. This is how the tradition of the poetic “monument” genre began to take shape. Russian literature did not bypass it either. After all, it is difficult to imagine a poet who would not dream of poetic immortality, who would not try to evaluate his work and determine what was his most important, most significant contribution to the development of literature and culture and his own people, and the peoples of the world.
The first translation of Horace's ode into Russian, made by Lomonosov, quite accurately conveys its content and style features. Of course, Derzhavin knew him and, creating his poem, relied on the experience of his great predecessor. But Derzhavin's "Monument" is an original work in which the writer puts forward his own criteria for evaluating poetic creativity.
Main themes and ideas
The main theme of the poem is the glorification of true poetry and the affirmation of the high purpose of the poet. It is a true hymn to poetry. The main theme of the poem is set already in the first stanza: creativity becomes a kind of monument to its creator, and this “wonderful” monument is stronger and more durable than any “man-made monuments” - such is the power of poetic art. It should be noted that this idea is a continuation of the Horatian image. Let's compare these lines (the text of Horace is given in the translation of S. Shervinsky):
I created a monument, cast bronze is stronger,
The royal pyramids rose higher.
Neither consuming rain, nor dashing Aquilon
They won't destroy it, won't crush a row
Endless years - running time.
(Horace. "To Melpomene")
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.
(Derzhavin. "Monument")
Both authors note that the poetic monument is unusually durable (“cast bronze is stronger” and “harder than metals”), and the forces of poetry turn out to be even more powerful than the laws of nature (“Neither scorching rain nor dashing Aquilon will destroy it”, Aquilon- among the ancient Romans, this was the name of the strong north or northeast wind, as well as the deity personifying this wind; "Neither its whirlwind, nor thunder will break the fleeting"). This "monument" is higher than the pyramids - the traditional image of the power of the creative force. But more importantly, it turns out to be timeless.
This theme of the poet's immortality is developed in the next stanza, and again Derzhavin's image is similar to that of Horatian: "No, not all of me will die, the best part of me will escape burial" (Horace); "So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ... ”(Derzhavin).
But then there is a significant difference. Horace emphasizes that the guarantee of his poetic immortality is in the power and steadfastness of Rome. Derzhavin sees the strength of his glory in respect for his fatherland, skillfully playing on the common root in the words “glory” and “Slavs”: “And my glory will increase without fading, as long as the universe will honor the Slavs.” In this regard, it is also interesting to note that writing about himself, a poet and courtier of Catherine's Russia, Derzhavin organically transfers the Horatian image of the breadth of the distribution of poetic glory ("I will be named everywhere - where the frantic Aufid murmurs", Awfid - river in southern Italy, where Horace was born) to Russian realities:
The rumor will pass about me from the White Waters to the Black ones,
Where is the Volga, Don, Neva, the Urals pour from the Riphean ...
Horace takes credit for the fact that he was a reformer of the national system of versification: for the first time he began to use the achievements of ancient Greek in Latin poetry (“I was the first to attach the song of Aeolia to Italian verse”, Aeolian- Greece). For Derzhavin, something else is more important: he not only notes his innovation, especially in the field of poetic language and genres, but also poses the problem of the relationship between the poet and power:
That I was the first to dare in a funny Russian syllable
Proclaim the virtues of Felitsa,
Talk about God in simplicity of heart
And tell the truth to kings with a smile.
Derzhavin sees his merits in the fact that he made the Russian syllable "funny", that is, simple, cheerful, sharp. The poet "dared ... to proclaim" not about exploits, not about greatness - about the virtues of the Empress, that is, to talk about her as a simple person - that's why the word "dared" sounds.
The last stanza of the poem, like that of Horace, is the traditional appeal to the Muse:
O Muse! be proud of just merit,
And whoever despise you, despise those yourself;
With a leisurely, unhurried hand
Crown your forehead with the dawn of immortality.
These lines testify to the fact that Derzhavin does not hope for the unanimous approval of his contemporaries, but retains the traits of dignity and greatness on the threshold of immortality.
In general, we can conclude that we have a completely original interpretation, based on the Lomonosov ode that arose half a century before it, but at the same time developing a pan-European cultural tradition. At the same time, it is interesting to note the fact that, although Derzhavin's version did not claim to be a literal translation, but, on the contrary, flaunted his autobiographical attitude, in terms of semantic orientation it is closer to the Horatian source. In comparison with Lomonosov's poem, Derzhavin strikes with the originality of poetic images, starting from the original source - Horace's ode. It is rather a free arrangement, in which there are certain reminiscences, common poetic motifs and images are used, but filled with the specific realities of one's own life.
Artistic originality
Derzhavin's poem, created in the genre of an ode, or rather its special variety, corresponds to this high genre in terms of style. It is written in iambic with pyrrhic, which gives its sound a special solemnity. The intonation and vocabulary here are very solemn, the rhythm is slow, majestic. It is helped to create numerous rows of homogeneous members, syntactic parallelism, as well as the presence of rhetorical exclamations and appeals. Selection also contributes to the creation of high style. lexical means. The author makes extensive use of lofty epithets ( miraculous, eternal, fleeting, among innumerable peoples, be proud of the just merit). There are many Slavic and archaisms in the poem, which also emphasizes its solemnity ( erected, decay, how long, dared, glorifyingnew generation, despise the forehead and etc.).
The meaning of the work
Derzhavin's poem continued the tradition of the poet's comprehension of his work and summing up, laid down by Lomonosov. At the same time, Derzhavin approved the genre canon of the memorial poem. Then he received a brilliant development in the work of Pushkin, who also turned to the Horatian primary source, but based on Derzhavin's poem. After Pushkin, poems in the genre of "monument" were continued by leading Russian poets, for example, such a magnificent and original lyricist as A.A. Fet. This tradition did not disappear in subsequent eras. At the same time, each of the authors in his own way defines the role of the poet and the purpose of poetry, relying not only on the literary tradition, but also on his own creative discoveries. And whenever any poet, including our contemporary, comprehends his contribution to poetry and his relationship with society, he again and again turns to this wonderful tradition, conducting a lively dialogue with his great predecessors.
G. R. Derzhavin. Poem "Monument"
History of creation
Derzhavin has long been compared with the ancient Roman poet Horace. Derzhavin knew Horace from German translations already in the seventies. Among Derzhavin's poems, one can count at least fifteen transcriptions and translations from Horace. Two significant works of Derzhavin are associated with Horace, in which he expressed self-esteem, confidence in his poetic vocation and the hope for immortality based on it: The Swan and The Monument. With the poem "The Swan" Derzhavin concluded the second volume of his collected works of 1808, just as Horace's ode XX ended the second book of his odes. At the end of the first volume, Derzhavin put the poem "Monument" (1796). His original in Horace was also finishing the third book of odes.
The first translation into Russian of this wonderful ode, called “To Melpomene” by Horace, was made by Lomonosov.
Style Features
"Funny Russian syllable" - a new stylistic manner introduced by Derzhavin into Russian literature. The two central such works are “Felitsa” and “God”, in which poetic sincerity, the absence of posture and affectation are emphasized - “cordial simplicity”, as well as civil courage and love of truth. Derzhavin did not forget to add that he spoke the truth to the tsars "with a smile," that is, softening the harshness of moralizing with a playful tone, but not at the expense, as we know, of the depth of objections and disagreements.
This "smile" should not be confused in any way with the demand for "smiling satire", which was written by the magazine "Vsyachnaya Knit" in 1769. Derzhavin distinguished weaknesses from vices well, and his satire always had a public character. Derzhavin valued in his poetry service to the common good. Horace says: "I consider myself worthy of fame for writing poetry well"; Derzhavin notes this in a different way: "I consider myself worthy of glory for speaking the truth to both the people and the kings."
Thus, starting from the thought of Horace, sometimes retelling it in verse, Derzhavin then began to write about his own, painful, about what worried him most at the time. Therefore, in the 1770s and 1790s, in his poems, there are separate images, comparisons, themes of Horace, but there are no translations of him, no arrangements in the accepted sense of the word. Derzhavin is only “charged” by Horace in order to attack the shortcomings of modern society and its individual representatives with greater force, backed by the authority of a classical poet.
In the formation of Derzhavin's literary and aesthetic views, a certain, and, moreover, considerable role was played by Horace's work The Epistle to the Pisons, or The Science of Poetry.
Horace advised to work hard on the expressiveness of the language. The lessons of the Epistle to the Pisons were useful to Derzhavin, who managed to find his own style and establish it “So that it could seem easy to everyone at first, / But so that another imitator sweats over him ...” This was soon well understood by numerous imitators of Derzhavin.
Themes, motives
Derzhavin considers the basis of art, its content, the truth, the explanation of which is the mission of poets and artists. The poet for Derzhavin is a special, significant being. Belief in the power of the word, in its omnipotence, was widespread among the enlighteners of the 18th century. A writer who speaks the truth is a courageous citizen and a faithful son of the fatherland, he will not die in the memory of people, while thrones can fall and kingdoms be destroyed: “The universe will not forget the heroes and singers; / I will be in the grave, but I will speak.
Derzhavin's "Monument" breathes with the poet's confidence in his immortality, because the human word is immortal. This thought runs through a number of Derzhavin's poems; in the new "Monument" it is the main theme and is expressed especially clearly. It is important to note that Derzhavin considers himself a national poet: “And my glory will increase, unfading, / As long as the universe honors the Slavic race ...”
In the poem, Derzhavin speaks of the people's memory: "Everyone will remember that among the innumerable peoples ..." He saw the memory of the people, from generation to generation passing on stories about great people, composed by poets, whose word is immortal.
Derzhavin lists his merits concisely and precisely: “That I was the first to dare in a funny Russian syllable / To proclaim Felitsa’s virtues, / To talk about God in simplicity of heart / And speak the truth to kings with a smile.”
The ability to abandon the pompous solemnity of a laudatory ode, to introduce biting satire into verses in rough colloquial expressions, constituted Derzhavin's individual manner, thanks to which he opened a new page in the history of Russian literature.
The theme of the role and vocation of the poet was touched upon by many authors more than once, but it was G.R. Derzhavin was the first Russian writer who chose his own uniqueness and the uniqueness of his work as a theme for his work.
The poem "Monument" was written in 1759. The poet compares his works with a monument "wonderful, eternal" and thus indicates that the poet is immortal in his works. He talks about the role poetry plays for future generations and contemporaries, how it affects them.
The main idea of the work is the author's idea that the purpose of art and literature is difficult to overestimate, because it is precisely it that brings up enlightenment, love for beauty and other qualities that are important for a worthy person. All of Derzhavin's works are remarkable for their amazing sincerity, and the Monument is no exception. He, without any hesitation or timidity, expresses his opinion about the authorities and explains exactly what his services to Russian literature are.
The poem is written very concisely and rhythmically (the first line from the third, the second from the fourth), so reading and learning it is quite simple. And also such writing allows you to feel the depth of the topic covered by the author.
Numerous use of various rich epithets (with a leisurely hand, sincere simplicity, fair merit) and "loud" words, such as - become proud, proclaim, uncountable, further root the idea in the mind of the reader that this work is important not only for the author himself, but also for each of us.
Of course, one cannot but pay attention to the exclamatory sentences that the author unusually harmoniously arranges throughout the poem (at the beginning and towards the end), which helps us to be in a kind of fighting mood throughout the reading. Derzhavin's lyrical hero immediately evokes quite strong emotions in the reader. Appears as a man strong, stubborn, confident in his rightness. This, as we understand it, helps him achieve his goals.
Analysis of the poem Monument to Derzhavin
In Derzhavin's poem "Monument", the reader is presented with some reasoning about his merits and their significance. It is striking in its depth and scale. In part, the poet appears in the image of a man who, with his poetic instructions, expresses the feelings and thoughts of higher powers, being a kind of mediator between man and the divine principle. Many critics considered the writing of this poem as a manifestation of arrogance and excessive arrogance, but it is worth noting that Derzhavin speaks not only about himself, but also about creativity in general.
The theme of immortality is also relevant. Any creativity lives forever. He repeats this repeatedly in his poem. Creativity is not threatened with disappearance after physical death, it is something ephemeral and unshakable, it is something that cannot be understood or analyzed, only relying on feelings and sensations, one can comprehend what is being discussed.
The topic of higher order knowledge is also touched upon. Derzhavin, literally, between the lines, says that everything external is too insignificant, and the truth and the real depth of feelings, motives and actions are hidden from a person, not everyone can get to the bottom of real understanding, only poetry, connected by an invisible thread with God, can help a person to make sense.
For a brighter perception, the author uses a large number of artistic techniques in his work. These are epithets (“eternal monument”, “wonderful monument”, “high vocabulary”), and personifications (“a part will live”, “glory will increase”), the author also repeatedly uses metaphor, gradation and other artistic techniques.
Despite the fact that the poem was repeatedly criticized, many spoke of some immodesty and attributing non-existent qualities to oneself, the poem has been living for more than a year. The most significant indicator of a talentedly written poem is time. Indeed, this poem touches on topics that never lose their relevance. Even today, this topic provides food for thought. It is an occasion to think about the immortality of the soul, about creativity, about its purpose and the meaning of existence. Today, many of us forget that the meaning is not in financial well-being, not in stability, and not in something material, but in what Derzhavin tells us about - in creativity and spirituality, which are inextricably linked.
Option 3
The monument to Derzhavin is a program work, from which many even begin the study of Russian classical lyrics. Derzhavin was, as the Americans say, a self-made man, that is, he achieved everything himself, with his own efforts. He rose from the very bottom and reached significant peaks, which he often wrote about in his own works.
As you know, this lyrics is largely autobiographical and Gavrila Romanovich was the pioneer and standard of the genre here. The Monument itself is a reflection on the eternity of the poet, which he achieves through his own poetry.
Indeed, the thought is not new, and what is written cannot be turned back and cut down with an ax, the word has always been one of the most powerful tools available to man. In turn, the poet, as a kind of master of handling the word, is able to influence people, the world, to create certain ideas. At the same time, Derzhavin also speaks of a “wonderful, eternal” monument, which he erects to himself with the help of poetry, he creates a creation that is perhaps even stronger than palaces and empires.
By the way, Derzhavin also speaks of power and the poet's privileged position in relation to power: "and tell the truth to kings with a smile." Here, a rather significant word is truth, which indicates not so much a denunciation as an indication of the right path, because truth is a kind of uncompromising ideal that brings good. In addition to this, Derzhavin also speaks of the reverence of the people, who should not only respect the poet, but also highly appreciate his role.
In many ways, Derzhavin praises himself in his own creation, but there is no pomposity here, for the most part only nobility, which is emphasized by many epithets and words like: wonderful and eternal, fair merit, be proud, dare. In general, Derzhavin speaks not only about his own greatness, but also about the greatness of the poet as such, the lyrical hero is not only Derzhavin, but also the general ideal of the poet, who is ready to defend his own opinion, knows how to achieve goals and in a certain sense rises above everyday reality, watching eternity.
Literary analysis
This poem was first recorded on paper in 1795, when Derzhavin was fifty-two years old and already in the mature period of his work. At this age, he already acquired poetic and office success, and also began to analyze his role in Russian poetry and culture.
Genre of the poem- Oh yeah. But not quite an ordinary ode, Derzhavin was the first of the Russian poets, although indirectly, but dedicated an ode to himself. It can be called a slightly selfish ode; but from another country, the talent, scale and influence of the poet's personality deserve it.
Poem size: iambic six-meter. Type of rhyme: cross rhyming.
The main idea and theme of the poem- this is a belief in the immortality of both poetry in particular and art in general. Derzhavin tells us that a person does not have to build cities, perpetuate himself in granite or be the center of attention of his era, but he only needs to create art and then he will be remembered without unnecessary attributes.
But in addition to everything else, Derzhavin also puts forward several conditions for future poets: First, to be absolutely honest always and everywhere and with anyone. Let the king be in front of you, or the emperor, but if you are a poet, you are obliged not to flatter, but to cut with truth like a sword. Secondly, they are not shy and even proud of their own successes and merits. Derzhavin shows by his own example that if you really did well in the struggle for glory and achieved something grandiose, then there is nothing shameful in boasting about it. Thirdly, like the example of the poet from his last stanza, boundlessly, aimlessly, but permanently, briskly and vehemently glorify, praise. The very condescending in creativity, but at the same time the elusive poetic muse.
To maintain the majesty and pomp of his poem, in order to highlight its exorbitant importance, Gabriel uses many different artistic techniques. Epithets: a monument (what) wonderful, eternal; whirlwind (which) fleeting; funny syllable. Etc. Hyperbole: Metals are harder and also taller than pyramids. Metaphors: time is flight; dawn of immortality. Avatars: no thunder can break; ; flight will not crush time. It is also worth noting the general choice of words for this poem, many of which are considered very sublime and rare. The poem abounds in exclamation and the spirit of high poetry.
Analysis of the poem Monument according to plan
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Gavriil Romanovich Derzhavin is a great Russian poet of the 18th century. In his work, he illuminated all the problems that were present in the high society of Russia.
In 1795, he wrote the poem "Monument", in which he proclaimed his right to immortality.
Initially, the poem was titled "To the Muse". Which is the result of an extraordinary ideological awareness of the "eternal theme" of the memory of a person, and it has always been a topic of excitement for many lyricists, since the birth and formation of the ancient Egyptian poetic culture.
The main difference between Derzhavin's subtle poetry is sincerity. Felice Derzhavin called Catherine II. Back in 1783, praise was published, which Derzhavin dedicated to the empress with the same name, which brought the author national fame. And when he praised the empress, he did not flatter, but wrote the truth, and believed that all the attributed virtues were characteristic of her in reality. In verse, he absolutely accurately defined his poetic principles. And "Monument" - in this sense, is a very important aesthetic document. Relying on tradition, the poet discovered the essence of his artistic innovation, and it was precisely this that was supposed to ensure Derzhavin's "immortality". The poem also contains some moments from the personal life of the author himself.
The poem is based on the image of the monument. In Derzhavin's work, he is a memory of talent and art. With the greatest warmth, the writer treated his Muse, believed that only she moved his pen.
In the "Monument" Derzhavin argued the eternity of his literary work, defining his undoubted merits to the motherland. But the poet was no less proud of his people. Thus, in the "Monument" the poet is presented as an instrument of higher powers, which was directed to destroy the vices acting at the behest from above.
Derzhavin's "Monument" became a direct prototype of A.S. Pushkin "I erected a monument to myself not made by hands." It was the poem of Gavriil Romanovich Derzhavin that became the first poem in the history of Russian literature, which independently revealed the theme of the miraculous monument of the poet.
The first publication of the poem "Monument" (1795) Derzhavin came out under the title "To the Muse. Imitation of Horace." The author thus pointed to the Latin poet as a kind of source of his own poetic understanding of one of the eternal problems of literature: what remains in the memory of posterity after the poet or writer passes away? More broadly, this can be viewed as a problem of death and immortality, overcoming the mortality of all living things with the help of creativity and preserving in the memory of the descendants of the poet's soul, embodied in his works.
In the first stanza, the lyrical hero of Derzhavin's poem admits that it is something like summing up, comprehending the life path traveled, therefore the thought of a "monument" (that which will remain after you) is quite natural for him. And he claims that he "raised" a monument to himself, defining it as "wonderful, eternal." These epithets are very ambiguous, because not every "miracle" is ultimately able to survive time and become part of the universe, gaining "eternity", so from the very beginning of the poem there is a feeling of solemnity, elation, and it is even more enhanced by those comparisons with with the help of which the author affirms "eternity", the indestructibility of the monument he created: "It is harder than metals and higher than pyramids." These and other images of the first stanza confirm the greatness of the "poetic monument" created by the poet.
Further, the lyrical hero of the analyzed poem explains that poetry can overcome "decay" (the image of death), because it is the embodiment of all the best that is in the human soul, perhaps the very existence of a person is justified precisely by what is in him this "big part of me" - here, as it were, the bodily and spiritual principles are combined, and the dominant of the spiritual is obvious in preserving everything that a person wants and can leave to his descendants after himself. It is noteworthy that the lyrical hero connects his “glory” with his people, without which, obviously, his poetry itself would not exist: “And my glory will increase without fading, as long as the universe honors the Slavic race.” In this form, Derzhavin affirms the inseparable unity of the poet and the people, the unity of their destinies.
In the third stanza, a cursory outline of the country is given, in the vast expanses of which "innumerable" peoples live, in which a poetic "monument", the poet's work, will be in demand. But the lyrical hero considers his main achievement to be that "out of obscurity, I ... became famous." Bearing in mind the fate of Derzhavin, we must agree that such an "ascension" cannot but cause legitimate pride, especially since it did not happen by itself, but was the result of hard and honest work, high moral qualities, upholding one's understanding of good and evil in very difficult conditions.
The fourth stanza of Derzhavin's poem "Monument" is devoted to explaining what exactly the lyrical hero takes credit for. Here are the “virtues of Felitsa”, about which he “first ... dared to speak in a funny Russian style”, here is the “heartfelt simplicity”, with which he “talks about God”, but the most important thing is the final line of the stanza. "And tell the truth to the kings with a smile" - this is what Derzhavin's lyrical hero (or is it the author himself?) sees as his main merit, this is what was most important for him. As we remember, Derzhavin himself rarely talked to the tsars "with a smile," but the fact that he always tried to be honest in expressing his thoughts and feelings is undeniable. One can probably say that the requirement of absolute truthfulness was for Derzhavin the main one he presented to poetry and poets, and "truth" should be spoken openly to everyone, because it, the truth, is the same for all God's creatures ("Rulers and Judges" ), regardless of who they are on earth.
The last stanza is an appeal to the Muse, to poetry, which, according to the author, should first of all think not about how the results of her work will be perceived, but about the "dawn of immortality", about creativity itself, because it is not subject to human judgment, she lives in the world of "eternity" ... "Be proud of a just merit, And whoever despises you, despise those yourself" - these are what, according to Derzhavin, should be the relationship of poetry with contemporaries, because only the author creates himself in his works , creates its own "monument" that can survive the centuries.
Concluding the analysis of the poem "Monument" by Derzhavin, we note that in his interpretation of Horace's ode, Gabriel Romanovich is original, he asserts his own understanding of the role and place in the life of society of the poet and poetry, evaluating his own work from the standpoint of enlightenment, ascending to universal moral values.
