From which work is the excerpt of your Murzas taken? Felitsa. Derzhavin G.R. Analysis of the ode. Historical essay by N. Karamzin
Russian literature testXVIII century
(for 9th grade students)
OptionI
I. 1. In the thirties of the 18th century, the main direction in Russian art became...
2.Classicists began to turn to the images and forms of ancient art, because...
3. He was not a representative of Russian classicism in literature...
5. The central aesthetic category of sentimentalism is...
What was the basis for determining the “calm” of a work?
To whom is G. R. Derzhavin’s ode “Felitsa” addressed?
Who are the main characters of N. M. Karamzin’s story “Poor Liza”?
Russian literature testXVIII century
(for 9th grade students)
OptionII
I.Continue the statement by choosing the correct answer. 1.The origins of world classicism – ...
2. The main slogan of classicism of the 17th – 18th centuries. -...
3.Exemplary classic comedy is not characterized by...
4. The heroes of classic odes usually became...
5.The first children's magazine in Russia was called...
6. The subject of N. M. Karamzin’s works was ...
II. Match. Each number on the left can correspond to several answers on the right.
III. Choose the correct answer.
|
A) M. V. Lomonosov |
B) A. N. Radishchev |
|
B) G. R. Derzhavin |
D) N. M. Karamzin |
Specify the definition of the ode genre.
From which work is the following excerpt taken?
Indicate the genre of N. M. Karamzin’s work “Poor Liza”.
Which tree “witnessed” the development and completion of the relationship between Lisa and Erast?
(for 9th grade students)
Option I
In the thirties of the 18th century, the main direction in Russian art became...
Classicists began to turn to the images and forms of ancient art, because...
He was not a representative of Russian classicism in literature...
The central aesthetic category of sentimentalism is...
| 1) high genres | A) comedy |
| 2) low genres | B) satire |
| B) tragedy |
|
| D) epic |
|
| D) fable |
|
| E) ode |
Which public figure and educator achieved the opening of the first Russian university in Moscow?
To whom is G.R.’s ode addressed? Derzhavin "Felitsa"?
What artistic techniques does the author use in this passage? There may be several correct answers.
Who are the main characters of the story by N.M. Karamzin “Poor Liza”?
What moment in the story can be considered the beginning of the action?
Test on Russian literature of the 18th century
(for 9th grade students)
Option II
Continue the statement by choosing the correct answer.
The origins of world classicism -...
The main slogan of classicism of the 17th – 18th centuries. -...
Exemplary classic comedy is not typical...
The heroes of classic odes were usually...
The first children's magazine in Russia was called...
The subject of the works of N.M. Karamzin steel...
II. Match. Each number on the left can correspond to several answers on the right.
III. Choose the correct answer.
Which 18th-century author went down in the history of literature as a reformer of Russian versification?
| A) M.V. Lomonosov | B) A.N. Radishchev |
| B) G.R. Derzhavin | D) N.M. Karamzin |
Specify the definition of the ode genre.
From which work is the following excerpt taken?
What literary device does the author use in this passage? There can only be one answer.
Indicate the genre of the work by N.M. Karamzin "Poor Liza".
What does the author see as the reason for the tragic end of the story “Poor Liza”?
Which tree “witnessed” the development and completion of the relationship between Lisa and Erast?
Key to the test for the section “Russian Literature of the 18th Century”
(for 9th grade students)
Option I
I.
| 1 | 2 | 3 | 4 | 5 | 6 |
| A | IN | B | B | G | B |
II.
| 1 | 2 |
| B, G, E | A, B, D |
III.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| A | IN | A | G | A, B, C | A | G |
Option II
I.
| 1 | 2 | 3 | 4 | 5 | 6 |
| IN | A | G | G | IN | G |
II.
| 1 | 2 | 3 | 4 |
| E | A, B, F | B, G | D |
III.
| 1 | 2 | 3 | 4 | 5 | 6 | 7 |
| A | IN | A | A | B | IN | G |
Evaluation criteria
Option I
Maximum number – 21 points
Option II
Maximum amount – 20 points
“Felitsa” (its original full title: “Ode to the wise Kyrgyz-Kaisat princess Felitsa, written by some Murza, who has long lived in Moscow, and lives on his business in St. Petersburg. Translated from Arabic in 1782”) was written with a focus on the usual ode of praise. In its external form, it seems to even be a step back from “Birthday Poems...”; it is written in ten-line iambic stanzas, traditional for a solemn ode ("Poems for the birth..." are not at all divided into stanzas). However, in fact, “Felitsa” is an artistic synthesis of an even broader order.
The name of Catherine Felice (from the Latin felicitas - happiness) was suggested by one of her own literary works - a fairy tale written for her little grandson, the future Alexander I, and shortly before published in a very limited number of copies. The Kyiv prince Chlorus is visited by the Kyrgyz khan, who, in order to verify the rumor about the boy’s exceptional abilities, orders him to find a rare flower - “a rose without thorns.” On the way, the prince is beckoned by Murza Lazy, who is trying to divert him from an overly difficult undertaking with the temptations of luxury. However, with the help of the Khan's daughter Felitsa, who gives Chlorus her son's Reason as a guide, Chlorus reaches a steep rocky mountain; Having climbed with great difficulty to its top, he finds there the sought-after “rose without thorns,” that is, virtue. Using this simple allegory, Derzhavin begins his ode:
Godlike princess
Kirghiz-Kaisak horde,
Whose wisdom is incomparable
Discovered the right tracks
To Tsarevich young Chlorus
Climb that high mountain
Where does a rose without thorns grow?
Where virtue lives!
She captivates my spirit and mind;
Let me find her advice.
Thus, conventionally allegorical images of a children's fairy tale travestically replace the traditional images of the canonical beginning of the ode - the ascent to Parnassus, the appeal to the muses. The very portrait of Felitsa - Catherine - is given in a completely new manner, sharply different from the traditional laudatory description. Instead of the solemnly heavy, long-cliched and therefore little expressive image of the “earthly goddess,” the poet, with great enthusiasm and hitherto unprecedented poetic skill, depicted Catherine in the person of the active, intelligent and simple “Kirghiz-Kaisak princess”:
Without imitating your Murzas,
You often walk
And the food is the simplest
Happens at your table;
Not valuing your peace,
You read and write in front of the lectern
And all from your pen
Shedding bliss to mortals,
Like you don't play cards,
Like me, from morning to morning.
A similar contrast between the “virtuous” image of Felitsa and the contrasting image of the vicious “Murza” is then carried out throughout the entire poem. This determines the exceptional, hitherto unprecedented genre originality of “Felitsa”. The laudatory ode in honor of the empress turns out to be at the same time a political satire - a pamphlet against a number of people in her inner circle. Even more sharply than in “Poems for the Birth of a Porphyry-Born Youth in the North,” the singer’s posture in relation to the subject of his chanting also changes here. Lomonosov signed his odes to the empresses - “the most submissive slave.” Derzhavin’s attitude towards Ekaterina-Felitsa, traditionally endowed by him with sometimes “god-like” attributes, while respectful, is not without at the same time, as we see, a certain playful shortness, almost familiarity.
The image contrasted with Felitsa characteristically doubles throughout the ode. In satirical places, this is a kind of collective image that includes the vicious features of all the Catherine’s nobles ridiculed here by the poet; to a certain extent, Derzhavin, who is generally prone to self-irony, introduces himself into this circle. In high pathetic places - this is the lyrical author's "I", again endowed with specific autobiographical features: Murza is indeed the real descendant of Murza Bagrim, the poet Derzhavin. The appearance in "Felitsa" of the author's "I", the living, concrete personality of the poet, was a fact of enormous artistic, historical and literary significance. Lomonosov’s odes of praise also sometimes begin in the first person:
Am I seeing Pindus under my feet?
I hear pure sisters' music.
I'm burning with the heat of Permes,
I flow hastily to their face.
However, the “I” that is being discussed here is not the individual personality of the author, but a certain conventional image of an abstract “singer” in general, an image that acts as an unchanging attribute of any ode of any poet. We encounter a similar phenomenon in satires, also a widespread and significant genre of poetry in the 18th century. The difference in this regard between odes and satyrs is only that in odes the singer always plays on one single string - “sacred delight”, while in satyrs one single, but indignantly accusatory string also sounds. Love songs of the Sumarokov school were equally “one-stringed” - a genre that, from the point of view of contemporaries, was considered generally semi-legal and, in any case, dubious.
In Derzhavin’s “Felitsa,” instead of this conventional “I,” the true living personality of the human poet appears in all the concreteness of his individual existence, in all the real diversity of his feelings and experiences, with a complex, “multi-stringed” attitude to reality. The poet here is not only delighted, but also angry; praises and at the same time blasphemes, denounces, slyly ironizes, and it is extremely important that this, first declaring itself in odic poetry of the 18th century. an individual personality also carries within itself the undoubted features of a nationality.
Pushkin said about Krylov’s fables that they reflect a certain “distinctive feature in our morals - a cheerful cunning of the mind, mockery and a picturesque way of expressing ourselves.” From under the conventionally “Tatar” guise of “Murza,” this feature first appears in Derzhavin’s ode to Felitsa. These glimpses of nationality are also reflected in the language of “Felitsa”. In accordance with the new character of this work is its “funny Russian style,” as Derzhavin himself defines it - borrowing its content from real everyday life, light, simple, playfully colloquial speech, directly opposite to the lushly decorated, deliberately elevated style of Lomonosov’s odes .
Odami continues to traditionally call his poems Derzhavin, theoretically linking them with the ancient model obligatory for classicism - the odes of Horace. But in reality he they make a genuine genre revolution. In the poetics of Russian classicism there were no poems “in general.” Poetry was divided into sharply demarcated, in no case mixed with each other, isolated and closed poetic types: ode, elegy, satire, etc. Derzhavin, starting with “Poems for the birth of a porphyry-born youth in the north” and, in particular, from "Felitsa", completely breaks the framework of traditional genre categories of classicism, merges ode and satire into one organic whole, in his other works, such as "On the Death of Prince Meshchersky", - ode and elegy.
In contrast to the one-dimensional genres of classicism, the poet creates complex and full-life, polyphonic genre formations that anticipate not only the “motley chapters” of Pushkin’s “Eugene Onegin” or the highly complex genre of his “Bronze Horseman,” but also the tone of many of Mayakovsky’s works.
“Felitsa” was a colossal success upon its appearance (“everyone who could read Russian found it in the hands of everyone,” a contemporary testifies) and generally became one of the most popular works of Russian literature of the 18th century. This enormous success clearly proves that Derzhavin’s ode, which produced a kind of revolution in relation to Lomonosov’s poetics, fully corresponded to the main literary trends of the era.
In "Felitsa" are united two opposite principles of Derzhavin’s poetry– positive, affirming, and revealing, – critical. The chanting of the wise monarch, Felitsa, is one of the central themes of Derzhavin’s work, to whom both his contemporaries and later criticism gave him the nickname “Felitsa’s Singer.” “Felitsa” was followed by the poems “Gratitude to Felitsa”, “Image of Felitsa”, and finally, almost as famous as “Felitsa”, the ode “Vision of Murza” (started in 1783, completed in 1790).
1. In 1781, it was published in a small number of copies, written by Catherine for her five-year-old grandson, Grand Duke Alexander Pavlovich, The Tale of Prince Chlorus. Chlorus was the son of the prince, or king of Kyiv, who was kidnapped by the Kirghiz khan during his father’s absence. Wanting to believe the rumor about the boy’s abilities, the khan ordered him to find a rose without thorns. The prince set off on this errand. On the way, he met the Khan’s daughter, cheerful and amiable. Felitsa. She wanted to go to see off the prince, but her stern husband, Sultan Grumpy, prevented her from doing so, and then she sent her son, Reason, to the child. Continuing his journey, Chlorus was subjected to various temptations, and among other things, he was invited to his hut by the Murza Lazy, who, with the temptations of luxury, tried to dissuade the prince from an undertaking that was too difficult. But Reason forcibly carried him further. Finally, they saw in front of them a steep rocky mountain, on which grows a rose without thorns, or, as one young man explained to Chlorus, virtue. Having climbed the mountain with difficulty, the prince picked this flower and hurried to the khan. The Khan sent him along with the rose to the Kyiv prince. “This one was so happy about the arrival of the prince and his successes that he forgot all the melancholy and sadness.... Here the fairy tale will end, and whoever knows more will tell another.”
This fairy tale gave Derzhavin the idea to write an ode to Felitsa (the goddess of bliss, according to his explanation of this name): since the empress loved funny jokes, he says, this ode was written in her taste, at the expense of her entourage.
return)
18. Dividing Chaos into spheres harmoniously etc. - a hint at the establishment of provinces. In 1775, Catherine published the “Establishment on the Provinces,” according to which all of Russia was divided into provinces. ()
19. That she renounced and was considered wise. – Catherine II, with feigned modesty, rejected the titles of “Great”, “Wise”, “Mother of the Fatherland”, which were presented to her in 1767 by the Senate and the Commission for developing a draft of a new code; She did the same in 1779, when the St. Petersburg nobility offered to accept the title of “Great” for her. (
Read also:
|
1. "Felitsa"
3. “Frol Silin”
4. “To your mind”
142. The main character of “Journey from St. Petersburg to Moscow”:
1. officership
2. merchants
4. nobility
5. bureaucracy
143. The features of these literary movements appeared in “Journey from St. Petersburg to Moscow”:
1. classicism and sentimentalism
2. romanticism and sentimentalism
3. realism and classicism
4. classicism and modernism
5. socialist realism
144. In this chapter of “Travel...” A.N. Radishchev leads his reader to the idea of a revolutionary uprising of the people:
1. "Zaitsovo"
2. “Sacrums”
3. “Spasskaya Polest”
4. "Lyubani"
5. "Edrovo"
145. About this work by A. Radishchev, Catherine II said: “Rebel, worse than Pugachev”:
1. "Liberty"
2. “Journey from St. Petersburg to Moscow”
3. “Excerpt from a trip”
4. “Letter to a Friend”
5. “Letters to Falaley”
146. This work by A. Radishchnva contains the ode “Liberty”:
1. "Brigadier"
2. “Journey from Pererburg to Moscow”
3. "Undergrown"
5. "Waterfall"
147. For his book, he was arrested and sentenced to death, which was later replaced by exile to Siberia:
1. A. Sumarokov
2. A. Cantemir
3. G. Derzhavin
4. A. Radishchev
5. M. Lomonosov
148. In this book of the 18th century. The epigraph takes the words: “The monster is loud, mischievous, huge, yawning and barking”:
1. “Poor Lisa”
2. "Undergrown"
3. "Inspector"
5. "Sneak"
“I looked around me - my soul became wounded by human suffering”:
1. “Poor Lisa”
2. "Undergrown"
3. "Inspector"
4. “Journey from St. Petersburg to Moscow”
5. "Sneak"
150. They say about him that his life is a feat in the name of the liberation of the Russian peasant:
1. A. Sumarokov
2. A. Radishchev
3. G. Derzhavin
4. I. Krylov
1. A. Radishchev
2. M. Lomonosov
3. G. Derzhavin
4. I. Krylov
5. F. Prokopovich
152. Theme of the ode “Liberty”:
3. revolution
4. happiness
1. M. Lomonosov
2. I. Krylov
3. F. Prokopovich
4. A. Cantemir
5. A. Radishchev
154. He is considered the founder of Russian revolutionary aesthetics:
1. I. Krylov
2. A. Radishchev
3. N. Karamzin
4. I. Dmitriev
5. I. Krylov
155. This line in literature was led by A. Radishchev:
3. romantic-heroic
4. historical and patriotic
5. romantic-historical
156. Liza (“Poor Liza” by N. Karamzin) belonged to this class:
1. to the peasantry
2. to the merchants
3. to philistinism
4. to the nobility
5. to the pillar nobility
157. N.M. Karamzin adhered to these political views:
1. was a democrat
2. was a supporter of an enlightened monarchy
3. was a supporter of liberal views
4. supported autocracy
5. was an opponent of autocracy.
158. A bright representative of Russian sentimentalism:
1. M. Lomonosov
2. G. Derzhavin
3. D. Fonvizin
4. V. Kapnist
1. A. Radishchev
2. M. Lomonosov
3. N. Karamzin
4. D. Fonvizin
5. G. Derzhavin
160. Historical essay by N. Karamzin:
1. Bornholm Island
2. Sierra Morena
4. Foreman
5. Minor
161. Work by N. Karamzin:
1. Message to my servants Shumilov, Vanka and Petrushka
2. Dmitry the Pretender
3. History of the Russian state
4. Foreman
5. Minor
162. The famous almanac published by N. Karamzin:
1. "Aglaya"
2. “Vladlena”
3. "Tatiana"
4. "Elena"
5. "Marina"
163. Pre-romantic tendencies are visible in these works by N. Karamzin:
1. “Poor Liza”, “Marfa Posadnitsa”
2. “Bornholm Island”, “Sierra Morena”
3. “Frol Silin”, “Knight of Our Time”
4. “Letters of a Russian Traveler”, “Felitsa”
5. “History of the Russian State”, “Brigadier”
164. Name of the main character of “Poor Lisa”:
165. The problem of the story “Marfa Posadnitsa”:
2. education
3. love and friendship
4. war and peace
5. monarchy or republic
166. Chief theorist of the 18th century:
1. M. Lomonosov
2. F. Prokopovich
3. A. Pushkin
4. M. Lermontov
5. A. Cantemir
167. Fabulist of the 18th-19th centuries:
1. V. Trediakovsky
2. M. Lomonosov
3. N. Karamzin
4. I. Krylov
5. D. Fonvizin
168. He was arrested for his book and sentenced to death, which was later replaced by exile to Siberia:
1. A. Sumarokov
2. A. Cantemir
3. G. Derzhavin
4. A. Radishchev
1. D. Fonvizin
2. N. Karamzin
4. A. Radishchev
5. I. Krylov
170. Theme of “Letters from Ernest and Doravra”:
1. about the love of an aristocrat and a poor nobleman
2. about friendship between people
3. about justice
4. about the peasantry
5. about freedom
171. “Letters from Ernest and Doravra” - sample:
1. classic novel
2. historical novel
3. adventure novel
4. everyday romance
172. He managed to show the world of love experiences:
1. K.Istomin
2. A. Cantemir
3. M. Lomonosov
4. F. Prokopovich
1. M. Chulkov
2. D. Fonvizin
3. M. Lomonosov
4. V. Trediakovsky
5. A. Radishchev
174. The novel “The Pretty Cook” should be classified as:
1. historical
2. picaresque
3. documentary
4. adventure
1. A. Cantemir
2. D. Fonvizin
3. I. Bogdanovich
4. I. Krylov
5. G. Derzhavin
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