History of creation. Derzhavin's poem, written in 1795, refers to the mature period of the poet's work (from the second "half of the 1790s to the early 1800s). It was a time to sum up the results of life and work, when the poet persistently strives to comprehend the path he has traveled ., to determine their place in the history of society and literature. The poems created by him at that time become a kind of poetic manifesto. In addition to the "Monument", these include the poems "My idol" (1794), "Swan" (1804), "Confession" ( 1807), "Eugene. Life of Zvanskaya" (1807).
It is significant that the time to sum up Derzhavin's poetic life was marked by a free translation of the Roman poet's ode Horace "To Melpomene" ("Exegi monumentum.,"). Before him, another Russian poet, Lomonosov, had already addressed this work, having made the first translation of the poem into Russian. Lomonosov's translation was quite accurate, reflecting the main ideas and images of the original. AT further history In Russian literature, Horace's poem most often was not translated into Russian, but served as the basis for creating his own "monument" poem. It was such a free translation-arrangement that was first made by Derzhavin, who brilliantly continued the work of Lomonosov.
genre features. According to its formal features, Derzhavin's poem, like Lomonosov's, is an ode. But this is a special genre version of the ode, which takes its origins from Horace's poem and gets the name "monument".
Quipt Flaccus Horace - the greatest poet of antiquity, whose name has passed through the centuries and became known in many countries. He was born in 65 and died in 8 BC. During these years Ancient Rome experienced a major turning point in his historical development- fall of the republic and establishment of the empire. Many of Horace's poems glorify statesmen and express the pride of the poet for the achievements that made the Roman Empire the largest and most developed state in all respects ancient world of that era. Such poems were created by him in the genre of an ode and made up three whole books that became widely known to readers. Reflecting on the poetic fame that came to him "and on the further fate of his work, Horace devotes many of the works included in his collection of odes to the theme of poetry and poetic immortality. Not all of Horace's odes have come down to us, but the most famous among them was the ode" To Melpomene". In ancient Greek mythology, Melpomene is one of the nine muses, the patroness of tragedy. This ode was included in the last of the three books of the collection of odes at number 30 and thus ended not only the third book of odes, but the entire collection, since it was a kind of poetic the result of the poet's work.
In the future, 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. main topic poems are the glorification of true poetry and the affirmation of the high purpose of the poet. "It is a true hymn to poetry. The main theme of the poem is set already in the first stanza: creativity becomes a kind of monument to its creator, and this "wonderful" monument is stronger and more durable than any "man-made monuments" - such is the power of poetic art. It should be noted that this idea is a continuation of the Horatian image.Let us compare these lines (the text of Horace is given in the translation of S. Shervinsky):
I created a monument, cast bronze is stronger,
The royal pyramids rose higher.
Neither consuming rain, nor dashing Aquilon
They won't destroy it, won't crush a row
Endless years - running time.
(Horace. "To Melpomene")
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.
(Derzhavin. "Monument")
Both authors note that the poetic monument is unusually durable (“cast bronze is stronger” and “harder than metals”), and the forces of poetry turn out to be even more powerful than the laws of nature (“Neither the consuming rain nor the dashing Aquilon will destroy it”, Aquilon - among the ancient Romans a strong north or northeast wind was called, as well as a deity personifying this wind; “Neither its whirlwind, nor thunder will break the fleeting one”). This "monument" is higher than the pyramids - traditional image 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 Horatian's: “No, not all of me will die, the best part I will escape the funeral ”(Horace); "So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ... ”(Derzhavin).
But then there is a significant difference. Horace emphasizes that the guarantee of his poetic immortality is in the power and steadfastness of Rome. Derzhavin sees the strength of his glory in respect for his fatherland, skillfully playing on the common root in the words “glory” and “Slavs”: “And my glory will increase without fading, as long as the universe will honor the Slavs.” In this regard, it is also interesting to note that writing about himself, a poet and courtier of Catherine's Russia, Derzhavin organically transfers the Horatian image of the breadth of the distribution of poetic glory (“I will be named everywhere - where the frantic Aufid grumbles”, Aufid is a river in southern Italy, where Horace was born) to Russian realities:
The rumor will pass about me from the White Waters to the Black ones,
Where is the Volga, Don, Neva, the Urals pour from the Riphean ...
Horace takes credit for being a reformer national system versification: for the first time he began to use, in Latin poetry, the achievements of ancient Greek ("The first I attached the song of Aeolia to Italian verses", Aeolia - Greece). For Derzhavin, something else is more important: he not only notes his innovation, especially in the field of poetic language and genres, but also raises 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 speak of her as common man That's why the word "dared" sounds.
The last stanza of the poem, like that of Horace, - traditional address to the Muse:
O Muse! be proud of just merit,
And whoever despise you, despise those yourself; With an unconstrained unhurried hand Crown your forehead with the dawn of immortality.
These lines testify that Derzhavin does not hope for the unanimous approval of his contemporaries, but retains the traits of dignity and greatness on the threshold of immortality,
In general, we can conclude that we have a completely original interpretation, based on the Lomonosov ode that arose half a century before it, but at the same time developing a pan-European cultural tradition. At the same time, it is interesting to note the fact that, although Derzhavin's version did not claim to be a literal translation, but, on the contrary, flaunted his autobiographical attitude, in terms of semantic orientation it is closer to the Horatian source. In comparison with Lomonosov's poem, Derzhavin strikes with the originality of poetic images, starting from the original source - Horace's ode. It is rather a free arrangement, in which there are certain reminiscences, common poetic motifs and images are used, but filled with the specific realities of one's own life.
Artistic originality. Derzhavin's poem, created in the genre of an ode, or rather its special variety, corresponds to this high genre in style. It is written in iambic with pyrrhic, which gives its sound a special solemnity. The intonation and vocabulary here are very solemn, the rhythm is slow, majestic. It is helped to create numerous rows homogeneous members, syntactic parallelism, as well as the presence of rhetorical exclamations and appeals. The selection of lexical means also contributes to the creation of a high style. The author widely uses lofty epithets (wonderful, eternal, fleeting, among innumerable peoples, be proud of a just merit). There are many Slavic and archaisms in the poem, which also emphasizes its solemnity (raised, decayed, how long, dared, the Slavic race, despise the forehead, etc.).
The value of the work. Derzhavin's poem continued the tradition of the poet's comprehension of his work and summing up, laid down by Lomonosov. At the same time, Derzhavin approved the genre canon of the "monument" poem. Then he received a brilliant development in the work of Pushkin, who also turned to the Horatian source, but based on Derzhavin's poem. After Pushkin, poems in the genre of "monument" were continued by leading Russian poets, for example, such a magnificent and original lyricist as A.A. Fet. This tradition did not disappear in subsequent eras. At the same time, each of the authors in his own way defines the role of the poet and the purpose of poetry, relying not only on the literary tradition, but also on his own creative discoveries. And whenever any poet, including our contemporary, comprehends his contribution to poetry and his relationship with society, he again and again turns to this wonderful tradition, conducting a lively dialogue with his great predecessors.
The poem "Monument" by Gabriel Derzhavin was written in 1795. At this time, the 52-year-old author was acting president of the Commerce Collegium in St. Petersburg. The conscientious Gavriila Romanovich devoted much time to his new position, but he did not forget his literary work either. "Monument" was created during the period of new creative pursuits poet.
Following the poets Horace and Mikhail Lomonosov, Derzhavin decided to create his own version "monument wonderful, eternal". In the poem, he threw an inquisitive "Derzhavinsky" look at poetry and the person who creates it. The author strove with his passionate lines to protect the right of the poet to the respect of his compatriots. The theme of his "Monument" is the truthful and lasting poetry of an honest poet. Only such poetry, according to Derzhavin, will not break "neither thunder nor wind". Only can live forever poetic lines who are morally strong. The themes of memory, perpetuation of true, imperishable merits to the Fatherland are also clearly traced in the poem: “... all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ...”.
The plot of the "Monument" is a passionate monologue in which the following compositional steps can be considered:
- The affirmative word of the author that he created a monument to himself is a poetic legacy.
- Confidence in his eternal inviolability and glory ( "...time's flight won't crush him.").
- The conviction that the people will never forget Derzhavin's "funny Russian syllable" nor his courage to speak freely about the truth with kings, nor his reflections on God.
- Pride in the grandeur of true poetry.
To determine the size of a poem, we divide it into syllables:
[I- pa-mint- Nick-se- be-air- Whig-chu- des-ny- vech-ny] - the stress falls on 2, 4, 6, 8, 10, 12 syllables (even). Size - iambic. Interestingly, the fourth syllables in each line of the "Monument" are in a weaker stressed position. Rhyme - cross, female and male (alternately).
To give the poem solemnity and importance, Derzhavin uses the words "high" (bookish) style. What is the epithet "fast-flowing whirlwind" worth! In it - strength, assertiveness, speed. The metaphor "flight of time" vividly shows the speed of life, its immediacy in the vastness of the Universe. To beautiful Slavic and Old Russian words “raised”, “dared”, “proclaim”, “virtue”, “despise” “brow”, “crown” you can pick up more modern synonyms: created, made, molded, built, decided, dared, forehead, to say, to convince, despises, responsiveness ... But Derzhavin's words sound more capacious and multifaceted.
There are hyperbolas in the "Monument" ( “The rumor will pass about me from the White Waters to the Black…”, "Everyone will remember...", . They help the reader to understand the scale of the poet's merits. The hidden comparison emphasizes the author's unbending faith in the immortality of talent and the power of its influence on people: "... it is harder than metal and higher than the pyramids ..."
Gavriil Derzhavin picked up interesting figurative definitions (epithets) for subjects that greatly excite him. His hand unhurried, laid-back; syllable funny; peoples countless.
Metaphor "dawn of immortality" good and graceful. It has eternal rising Sun and "life after death" appear as one. Just to see this "dawn" possible only for the chosen and stubborn.
Derzhavin's poem "Monument" can be called both a solemn hymn (ode) and an appeal to posterity (dedication, message). Lyrical hero ode-messages can be called the "old man" Derzhavin himself, and any other nameless, but very talented poet.
Analysis of the poem
"Monument" Derzhavin G.R.
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 their place in the history of society and literature. The poems created by him at that time become a kind of poetic manifesto. In addition to the "Monument", these include the poems "My idol" (1794), "Swan" (1804), "Confession" ( 1807), "Eugene. Life of Zvanskaya" (1807).
It is significant that the time to sum up Derzhavin's poetic life was marked by a free translation of the Roman poet's ode Horace "To Melpomene" ("Exegi monumentum.,"). Before him, another Russian poet, Lomonosov, had already addressed this work, having made the first translation of the poem into Russian. Lomonosov's translation was quite accurate, reflecting the main ideas and images of the original. In the further history of Russian literature, Horace's poem most often was not translated into Russian, but served as the basis for creating his own "monument" poem. It was such a free translation-arrangement that was first made by Derzhavin, who brilliantly continued the work of Lomonosov.
genre features. According to its formal features, Derzhavin's poem, like Lomonosov's, is an ode. But this is a special genre version of the ode, which takes its origins from Horace's poem and gets the name "monument".
Quipt Flaccus Horace - the greatest poet of antiquity, whose name has passed through the centuries and became known in many countries. He was born in 65 and died in 8 BC. During these years, Ancient Rome experienced a major turning point in its historical development - the fall of the republic and the establishment of an empire. Many of Horace's poems glorify statesmen and express the poet's pride in the achievements that made the Roman Empire the largest and most developed in all respects state of the ancient world of that era. Such poems were created by him in the genre of an ode and made up three whole books that became widely known to readers. Reflecting on the poetic fame that came to him "and on the further fate of his work, Horace devotes many of the works included in his collection of odes to the theme of poetry and poetic immortality. Not all of Horace's odes have come down to us, but the most famous among them was the ode" To Melpomene". In ancient Greek mythology, Melpomene is one of the nine muses, the patroness of tragedy. This ode was included in the last of the three books of the collection of odes at number 30 and thus ended not only the third book of odes, but the entire collection, since it was a kind of poetic the result of the poet's work.
Subsequently, this ode became widely known not only in ancient Roman literature, but became widespread in many European countries, where it was translated into national languages. This is how the tradition of the poetic “monument” genre began to take shape. Russian literature did not bypass it either. After all, it is difficult to imagine a poet who would not dream of poetic immortality, who would not try to evaluate his work and determine what was his most important, most significant contribution to the development of literature and culture and his own people, and the peoples of the world.
The first translation of Horace's ode into Russian, made by Lomonosov, quite accurately conveys its content and style features. Of course, Derzhavin knew him and, creating his poem, relied on the experience of his great predecessor. But Derzhavin's "Monument" is an original work in which the writer puts forward his own criteria for evaluating poetic creativity.
Main themes and ideas. The main theme of the poem is the glorification of true poetry and the affirmation of the high purpose of the poet. "It is a true hymn to poetry. The main theme of the poem is set already in the first stanza: creativity becomes a kind of monument to its creator, and this "wonderful" monument is stronger and more durable than any "man-made monuments" - such is the power of poetic art. It should be noted that this idea is a continuation of the Horatian image.Let us compare these lines (the text of Horace is given in the translation of S. Shervinsky):
I created a monument, cast bronze is stronger,
The royal pyramids rose higher.
Neither consuming rain, nor dashing Aquilon
They won't destroy it, won't crush a row
Endless years - time running.
(Horace. "To Melpomene")
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.
(Derzhavin. "Monument")
Both authors note that the poetic monument is unusually durable (“cast bronze is stronger” and “harder than metals”), and the forces of poetry turn out to be even more powerful than the laws of nature (“Neither the scorching rain nor the dashing Aquilon will destroy it”, Aquilon - among the ancient Romans a strong north or northeast wind was called, as well as a deity personifying this wind; “Neither its whirlwind, nor thunder will break the fleeting one”). This "monument" is higher than the pyramids - the traditional image of the power of the creative force. But more importantly, it turns out to be timeless.
This theme of the poet's immortality is developed in the next stanza, and again Derzhavin's image is similar to that of Horatian: "No, not all of me will die, the best part of me will escape burial" (Horace); "So! - all of me will not die, but a large part of me, having escaped from decay, will begin to live after death ... ”(Derzhavin).
But then there is a significant difference. Horace emphasizes that the guarantee of his poetic immortality is in the power and steadfastness of Rome. Derzhavin sees the strength of his glory in respect for his fatherland, skillfully playing on the common root in the words “glory” and “Slavs”: “And my glory will increase without fading, as long as the universe will honor the Slavs.” In this regard, it is also interesting to note that writing about himself, a poet and courtier of Catherine’s Russia, Derzhavin organically transfers the Horatian image of the breadth of the distribution of poetic glory (“I will be named everywhere - where the frantic Aufid grumbles”, Aufid is a river in southern Italy, where Horace was born) to Russian realities:
The rumor will pass about me from the White Waters to the Black ones,
Where is the Volga, Don, Neva, the Urals pour from the Riphean ...
Horace takes credit for the fact that he was a reformer of the national system of versification: he first began to use, in Latin poetry, the achievements of ancient Greek ("The first I attached the song of Aeolia to Italian verses", Aeolia - Greece). For Derzhavin, something else is more important: he not only notes his innovation, especially in the field of poetic language and genres, but also raises 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, - the traditional appeal to the Muse:
O Muse! be proud of just merit,
And whoever despise you, despise those yourself; With an unconstrained unhurried hand Crown your forehead with the dawn of immortality.
These lines testify that Derzhavin does not hope for the unanimous approval of his contemporaries, but retains the traits of dignity and greatness on the threshold of immortality,
In general, we can conclude that we have a completely original interpretation, based on the Lomonosov ode that arose half a century before it, but at the same time developing a pan-European cultural tradition. At the same time, it is interesting to note the fact that, although Derzhavin's version did not claim to be a literal translation, but, on the contrary, flaunted his autobiographical attitude, in terms of semantic orientation it is closer to the Horatian source. In comparison with Lomonosov's, Derzhavin's poem strikes with the originality of poetic images, starting from the original source - Horace's ode. It is rather a free arrangement, in which there are certain reminiscences, common poetic motifs and images are used, but filled with the specific realities of one's own life.
Artistic originality. Derzhavin's poem, created in the genre of an ode, or rather its special variety, corresponds to this high genre in style. It is written in iambic with pyrrhic, which gives its sound a special solemnity. The intonation and vocabulary here are very solemn, the rhythm is slow, majestic. It is helped to create numerous rows of homogeneous members, syntactic parallelism, as well as the presence of rhetorical exclamations and appeals. The selection of lexical means also contributes to the creation of a high style. The author widely uses lofty epithets (wonderful, eternal, fleeting, among innumerable peoples, be proud of a just merit). There are many Slavic and archaisms in the poem, which also emphasizes its solemnity (raised, decayed, how long, dared, the Slavic race, despise the forehead, etc.).
The value of the work.
Derzhavin's poem continued the tradition of the poet's comprehension of his work and summing up, laid down by Lomonosov. At the same time, Derzhavin approved the genre canon of the "monument" poem. Then he received a brilliant development in the work of Pushkin, who also turned to the Horatian source, but based on Derzhavin's poem. After Pushkin, poems in the genre of "monument" were continued by leading Russian poets, for example, such a magnificent and original lyricist as A.A. Fet. This tradition did not disappear in subsequent eras. At the same time, each of the authors in his own way defines the role of the poet and the purpose of poetry, relying not only on the literary tradition, but also on his own creative discoveries. And whenever any poet, including our contemporary, comprehends his contribution to poetry and his relationship with society, he again and again turns to this wonderful tradition, conducting a lively dialogue with his great predecessors.
The writing
Gavriil Romanovich Derzhavin is a great Russian poet of the 18th century. In his work, he covered the problems of Russian high society. The poet noted how the good side life (the activity of the empress), and negative (the destructive activity of the nobles). Also, Derzhavin's lyrics included his own life.
The distinctive features of the poet's work can be easily traced on the example of the poem "Monument", which was written in 1775. This work contains some information from the life of Derzhavin himself. His hero is not fictional, he breathes and acts. That is why the verses begin with the personal pronoun "I": "I erected a wonderful, eternal monument to myself." And then the story about myself continues: "... the first I dared to proclaim in a funny Russian syllable About the virtues of Felitsa."
Felice Derzhavin called Catherine II. As early as 1783, an ode dedicated to the Empress with the same title was published, which brought literary fame to Derzhavin.
Another one distinguishing feature Derzhavin's poetry is a combination of "high" and "low" words. By this the poet achieves a very great expressiveness:
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than pyramids...
Rumors will spread about me from the White Waters to the Black Waters...
And next to these simple and understandable lines for everyone, there are verses in the "Monument" filled with high vocabulary. Especially revealing is the last quatrain, filled with heroic enthusiasm and faith in one's destiny:
O muse! be proud of just merit,
And whoever despises you, despise those yourself.
The poem is based on the image of the monument. In Derzhavin's work, he becomes a memory of talent and art. The artistic device underlying the poem is a metaphor.
Another favorite technique of the poet is gradation. For example:
In the simplicity of the heart to talk about God
And tell the truth to kings with a smile.
Along with these techniques, Derzhavin also used animation. Here is a quatrain, consisting entirely of animations:
So! - all of me will not die, but a large part of me,
Fleeing from decay, after death he will live,
And my glory will grow without fading,
How long will the universe honor the Slavs?
In the "Monument" Derzhavin affirmed the eternity of his literary work, defined his undoubted merits to the Fatherland (Everyone will remember that among countless peoples, / How out of obscurity I became known for that). But the poet was no less proud of his people (As long as the universe honors the Slavic race).
With the greatest warmth, the poet treated his Muse, believing that it was she who moved his pen:
O muse! be proud of the just merit...
With a leisurely, unhurried hand
Crown your forehead with the dawn of immortality.
Thus, in the "Monument" the poet is presented as a tool higher power, aimed at the destruction of vices and acting at the behest from above.
It is harder than metal and higher than pyramids;
Neither his whirlwind, nor thunder will break the fleeting,
And time will not crush him.
The rumor will pass about me from the White waters to the Black ones,
Where the Volga, Don, Neva, the Urals pour from the Riphean;
Everyone will remember that in countless nations,
How from obscurity I became known for that,
What was the first thing I dared in a funny Russian syllable
Proclaim the virtues of Felitsa,
Talk about God in simplicity of heart
O Muse! be proud of just merit,
And whoever despise you, despise those yourself;
ANALYSIS
Gavriil Romanovich Derzhavin is a great Russian poet of the 18th century. In his work, he covered the problems of Russian high society. The poet noted both the good aspects of life (the activities of the empress) and the negative ones (the destructive activities of the nobles). Also, Derzhavin's lyrics included his own life.
The distinctive features of the poet's work can be easily traced on the example of the poem "Monument", which was written in 1775. This work contains some information from the life of Derzhavin himself. His hero is not fictional, he breathes and acts. That is why the verses begin with the personal pronoun "I": "I erected a wonderful, eternal monument to myself." And then the story about myself continues: "... the first I dared to proclaim in a funny Russian syllable About the virtues of Felitsa."
Felice Derzhavin called Catherine II. As early as 1783, an ode dedicated to the Empress with the same title was published, which brought literary fame to Derzhavin.
Another distinctive feature of Derzhavin's poetry is the combination of "high" and "low" words. By this the poet achieves a very great expressiveness:
I erected a wonderful, eternal monument to myself,
It is harder than metal and higher than the pyramids ...
Rumors will spread about me from White Waters to Black Waters...
And next to these simple and understandable lines for everyone, there are verses in the "Monument" filled with high vocabulary. Especially revealing is the last quatrain, filled with heroic enthusiasm and faith in one's destiny:
O muse! be proud of just merit,
And whoever despises you, despise those yourself.
The poem is based on the image of the monument. In Derzhavin's work, he becomes a memory of talent and art. The artistic device underlying the poem is a metaphor.
Another favorite technique of the poet is gradation. For example:
In the simplicity of the heart to talk about God
And tell the truth to kings with a smile.
Along with these techniques, Derzhavin also used animation. Here is a quatrain, consisting entirely of animations:
So! - all of me will not die, but a large part of me,
Fleeing from decay, after death he will live,
And my glory will grow without fading,
How long will the universe honor the Slavs?
In the "Monument" Derzhavin affirmed the eternity of his literary work, defined his undoubted merits to the Fatherland (Everyone will remember that among countless peoples, / How out of obscurity I became known for that). But the poet was no less proud of his people (As long as the universe honors the Slavic race).
With the greatest warmth, the poet treated his Muse, believing that it was she who moved his pen:
O muse! be proud of the just merit...
With a leisurely, unhurried hand
Crown your forehead with the dawn of immortality.
Thus, in the "Monument" the poet is presented as an instrument of higher power, aimed at the destruction of vices and acting at the behest from above.
WHO IS DERZHAVIN COMPARED TO: HORATIOUS
THE BASIS OF ART: TRUTH
FELICY IS CALLED: CATHERINE II
SIMILAR CREATIVITY: PUSHKIN, LOMONOSOV
NEW STYLISTIC MANNER: FUNNY RUSSIAN SYLLING
