300 years since the birth of V. K. TREDIAKOVSKY.

The son of a provincial Astrakhan priest, Vasily Kirillovich Trediakovsky (1703 - 1769), solely because of his talent and love of science, became one of the most educated and famous people of his time. After the Slavic-Greek-Latin Academy, he went to Holland at the end of 1725, where there was complete freedom of the press. There he got acquainted with the richest book and magazine literature, banned in France, which was published in Holland and distributed throughout Europe. In 1727-1730, Trediakovsky studied at the Sorbonne, where he adopted the idea of the priority of the national language over the language of the church and scholastic scholarship, French over Latin, Russian over Church Slavonic. Translating the well-known novel by P. Talman "Riding to the Island of Love", he tried to do it "almost in the simplest Russian syllable, that is, what we say among ourselves" (Trediakovsky V. K. Soch. SPb., 1849. Vol. Sh. P. 647).

Soon Trediakovsky becomes the court "piit" of Anna Ioannovna. In addition to translations from Latin and French, he creates Russian versions of odes by German court poets.

Comparing different poetic systems, he comes to the conclusion that the poem should be built in accordance with the nature of the Russian language. A number of Trediakovsky's articles are devoted to the issues of poetic art: "Opinion on the beginning of poetry and poems in general", "On the ancient, Middle and new Russian poem", "Reasoning on the Ode in general", etc., as well as the treatise "A new and brief way to add Russian poems with the definition of proper titles" (and its corresponding titles). a later, expanded version of 1752 - "A way to add Russian poems").

The concepts of "poetry" and" verse "are related to him as" content "and" form", as" second reality "and the means of its expression in speech:" In poetry, in general, two things must be noticed. First: the matter or business that Piita will undertake to write. Second: versification, i.e. the method of adding verses..."(Trediakovsky V. K. Izbr. proc., Moscow-L., 1963. p. 366).

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Trediakovsky's understanding of the essence of poetry is vividly illustrated by an example from the article "Reasoning about Odes in General": "Psalms are nothing but tokmo Odes, although they are not translated into Russian by verses... here is the nobility of matter, and the richness of decoration, and the splendor of images; an amazing ascension of the syllable" (Trediakovsky, Soch. Vol. I. P. 280).

Its genre classification is based on a hierarchical principle: the highest level is occupied by epic poetry, followed by lyrical poetry. It "goes back to the hymns that the priests invented to honor and glorify the supreme Being. This inako is called an Ode, which consists of stanzas and sings of the highest, noblest, and sometimes most delicate matter " (Ibid., p. 167).

In his work" Opinion on the Beginning of poetry and poetry in general", Trediakovsky, quoting Rollin, limits the" matter " of the ode: its task is "to glorify the deeds of great people", and writes about the educational significance of this genre: "through this, encourage all others to imitate them" (Ibid., p.200). It is V. K. Trediakovsky who makes the literary concept of "odes" widely used. Dramatic poetry " embraces tragedy and comedy "(Ibid., p. 167). But the genre of tragedocomedy, borrowed by Prokopovich from Plautus, is absent in the aesthetics of Trediakovsky: the principle of classicism, which is imbued with the latter's work, provided for a strict hierarchy and purity of genres, while tragedocomedy combined the features of the sublime and low, and "did not fit" into the system of the "classical"method.

The characteristics of other poetic genres are given in accordance with the" matter", i.e. with the subject of poetry and the goal that the creator sets for himself. Thus, the bucolic poem " presents various pastoral and rural conversations... Her faces: Shepherdesses, Reapers, Haymakers, Gardeners, Gardeners, Hunters, Gatherers of grapes and fruits... Matter: these people's affairs, troubles, disputes, songs, conversations, praises and excuses. Things: forests, sheep, flocks... fruits, places of beauty in the field, shade bushes, caves, rivers flowing, springs, streams and love; also the sun, moon and stars. Virgil presented bucolic poetry in Eclogues, in Theocritus in Idylls" (Ibid., p. 168).

If we compare the definitions of Prokopovich and Trediakovsky, we can see that the former sought to give bucolics a comic-allegorical character and thereby emphasize the role of fiction in a work of fiction, while the latter based its description on the principle of "imitation of nature". Trediakovsky clarified the figurative system of bucolic poetry and indicated its new variety: in addition to eclogues, the poet calls idyll, and in addition, the subject of bucolic poetry is love. By entity-

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This marked the beginning of a new stage in Russian poetry - the discovery of personality, the destruction of the usual idea of a person as a "mask" of a particular social type.

The theme of love, which reflects an interest in the spiritual world of the individual, is also found in the definition of the elegy: "Elegiac poetry... describes especially things deplorable and love complaints... It is divided into Creative and Erotic. Greek literature describes sadness and unhappiness, while Erotic literature describes love and all its consequences" (Ibid., p. 168). It is important that Trediakovsky writes about the full role of love at a time when a woman was perceived and portrayed as a "vessel of sin". In Russian literature, unlike medieval and Renaissance poetry in Western Europe, there was no "lyric poem" (the term of D. S. Likhachev) that celebrates the feeling of love. What are the most vivid female images we can find in ancient and medieval Russian literature? Yaroslavna and Fevronia Muromskaya... Marital fidelity, God's gift to heal people and perform miracles, "holy wisdom" - these are the qualities that medieval Russian authors valued in a woman. Ancient Russian literature gave preference to the moral virtues of a person.

Trediakovsky is a poet who absorbed the spirit of Peter's time, which was marked by the "discovery" of originality, versatility, depth and unsolved personality. He is an encyclopedic artist who spoke many foreign languages, read the original works of ancient, Medieval and Renaissance writers, and was familiar with the achievements of Western European aesthetic theory and modern poetic practice. It is not surprising, therefore,that in his literary theory and work there is a theme of love and worship of a woman. However, citing the elegy "To Ilidora" as an illustration of the genre, Trediakovsky "asks the virtuous Russian reader for forgiveness" and declares to him that " he describes... not a shameful love, but a legitimate one." Probably, without such an introduction, the Russian reader simply would not have perceived this work. The poet reinforces the "propriety" of this theme by referring to the image of "Cupid - here he is not accepted as a filthy Venus of a fictional son, but for the passion of the heart, which, in legitimate love and for its great fervor, has never deserved to be a bully anywhere else" (Trediakovsky. Selected proc. p. 395). The image of Cupid is an allegory of the "heartbreak" of a man pining for a spouse who has passed away prematurely into another world, it shows the reader an emotional and moral model and "should not lead to the temptation to give reasons for cruel virtue to a Christian... "(Trediakovsky, Soch. Vol. I. P. 169).

Trediakovsky gives the broadest definition of the subject of poetic representation, explaining in a 1752 Treatise the term "Epigram": "Everything that is understood by external senses and internal-

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It is thought, the substance of the Epigram may be revered." The epigram genre "includes inscriptions, as well as epitaphs, French madrigals and sonnets "(Ibid.).

In an earlier treatise, the "matter" of the epigram is not yet so broad: "... it is always either folk, or light, or low, or mocking, or... satirical" (Ibid., p. 415). From the point of view of A. S. Kurilov, in this work " 3 quarters of a century before our Romantics and a century and a half before the famous statement of Leo Tolstoy, the expression "folk thought" was first used, aiming domestic poets and writers-contemporaries of Trediakovsky at creativity in the folk spirit " (Kurilov A. S. Literary studies in Russia of the XVIII century Moscow, 1981, p. 132). This, undoubtedly, was the greatest merit of the poet - one of the founders of the Russian theory of literature.

Just like Prokopovich, Trediakovsky pays attention to satire, which " corrects human vices in a pleasant and mocking way. Its material is simply that of Fools, Idlers, Knaves, Motes, and Mischief-makers" (Trediakovsky, Soch. Vol. I. P. 170). Making fun of the human shortcomings embodied in these images, the poet asserts his aesthetic ideal, and this is the highest goal of artistic creativity. This is how his theory reflected the idea of classicism about improving reality with the help of art.

An apologetic "poem" is also a means of "correcting human morals": "This is the story of animals and soulless creatures talking to each other, for the sake of the soul... extermination and reproof of the wicked" (Ibid., p. 175).

Unlike satire and the apologist, "epidictic" or "panegyric" poetry gives us the image of a "perfect man." According to Trediakovsky ,the "vital qualities" worthy of praise are " noble virtues and glorious actions "(Ibid., p. 173). Heroic deeds, exploits, or "glorious actions", and high moral qualities of the individual are equally worthy of praise. The ethical tradition of ancient Russian literature, which " arouses successful passions, but does not favor our weaknesses "(Ibid., p. 199), is given here in agreement with the understanding of the role of poetry in the life of society: "...it teaches instructions about a virtuous life" (Ibid., p. 195). Art, therefore, not only depicts, but also creates an "ideal personality", performs an educational function.

Other genres offered by Trediakovsky are devoted to various events in a person's life. The geneticist poem was composed for a birthday; the epithalamic one was congratulated on the "marriage union"; the apobateric one was dedicated to "those who remain in place"; and the propemptic poem "those who see them off", on the contrary, was intended for those who were waiting for a long road. They gave thanks with an epibateric poem

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Deity. Those who returned to their homeland were greeted with a syncharistic poem. The joy of liberation from the "grave illness" was expressed in a soteric work. If a magnificent feast was to be celebrated, a scholastic or sympathetic kind of poetry was used. "When they prayed to God for something or made vows to him," they embodied it in a proseutical poem. The same genre was intended for requests made to the highest people. For the ascension of "thanksgiving for benefactions", the eucharistic form was used. Finally, with the help of the aeonic poem, "they preached and described noble adventures, praised defenders and benefactors" (Ibid., pp. 171-175). Thus, the genres proposed by the poet had a functional character.

In his literary and critical articles, there are definitions of such genres as stanzas, rondo, madrigal, epigram, sonnet, which are widely used in European lyrics. Russian poetry owes its familiarity with these poetic forms to Trediakovsky.

He accompanies the description of genres of poetry with references to the best examples of creativity of Greek, Latin and French authors. However, for one kind of poetry - satire - the poet makes an exception, citing the example of the work of the Russian "glorious" writer A.D. Kantemir, orienting Russian poets to national patterns.

Many of the genres that Trediakovsky proposed were new to Russian poetry, and, therefore, were absent from the poetic practice of that time. That's why he illustrates them with his own poems. His first poetry collections served the same purpose.

The role of Trediakovsky in the history of Russian poetry of the XVIII century, in addition to the classification of literary genres, is determined by the fact that the poet proposed a new periodization of Russian poetry and the method of versification, which was called syllabic-tonic.

In the article "On the ancient, Middle and new Russian poem", he identifies several stages in the development of Russian poetry: "Ancient pokhotvorstvo - this is our primordial and natural, abiding and living in common folk, well-done and other contents, songs alive and whole" (Trediakovsky V. K. About the ancient, middle and new Russian poem / / Russian literary criticism of the XVII century. Moscow, 1978. p. 94). "Srednyj" sostav stikhov "...it passed from Belarusians and Poles to Little Russia, and from little Russia to us" and existed from 1663 to 1735 (Trediakovsky. Selected proc. p. 431).

The "new" versification began in 1735. As intermediate stages in the development of Russian poetry, the author names rhymed verses from the Ostrog Bible (1581) and the method of verse writing.-

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Meletius Smotritsky's works - "Greek and Latin in imitation of Ovid", i.e. taking into account "the length and brevity of syllables, measured by time" (Trediakovsky. Selected proc. pp. 432-433), describes in detail Trediakovsky's "Polish poems" presented in the literary-critical and poetic practice of Peter Mogila, professors of the Mogilev Kiev Academy and in the works of" great Russian poets " - Karion Istomin, Fyodor Polikarpov, Leonty Magnitsky, John Ilinsky, Peter Buslaev. Simeon Polotsky and Antioch Dmitrievich Cantemir, who also worked according to the laws of syllabics, stand apart in this row.

In his work "A new and concise way to add Russian poems with the definition of proper titles to this day", as well as in its corrected and supplemented version of 1752, Trediakovsky sets out the principles of "new" versification.

Trediakovsky's contribution to the theory of Russian poetry is enormous. This "hardworking philologist" introduced important metrical concepts into Russian poetry: stress as the basis for distinguishing alternating syllables by their stress/unstressed, as opposed to longitude/brevity in ancient metrics; stop - a repeating group of syllables; verse-a verse series, a poetic line; rhyme-male and female, accurate ("rich") and inaccurate ("semi - rich") and rhyming - paired and cross ("mixed"); stanza (4-10-verse, "correct" and "incorrect", with an even and odd number of lines, "equal" and "unequal" - with the same or different "gender" and "measure" in verse, as well as sapphic and Horatian. The sapphic stanza introduced into Russian poetry by Trediakovsky can later be found in poets of the XX century (for example, in the poem "Sappho" by Vyacheslav Ivanov, which consists of three sapphic and the fourth adonic verse).

The Trediakovsky hexameter is not an antique meter of ancient versification, based on the alternation of long and short syllables - "a 6-stop dactyl, in which the dactyl can be replaced by a spondee on the 1st - 4th feet, with a caesura that cuts the 3rd foot and divides the verse into 2 half-verses with a descending and ascending rhythm" (Literary encyclopedic dictionary, Moscow, 1987, p. 75). In Trediakovsky's case, the accent corresponds to longitude. In addition, the poet allows in the hexameter chorea, Iambic, pyrrhic, since 1752 - dactyl and anapest, and gives the name of its size by the number of feet, the same as in the Greek and Latin versions.

The same varieties of foot can be found in the Russian pentameter.

A number of provisions of the treatise of 1735 are devoted to the issues of metrics, phonics, melodics, syntactic division of a literary text: the semantic and metrical division of lines must correspond to

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each other; unjustified repetition of sounds and syllables leads to dissonance of the verse; you can not rhyme the syllable "stop" with the final syllable of the line; you can not allow consonance of the penultimate and last word in the line; you must follow the rules of "falling" in the verse: "every foot" or" most of the feet "should be" 1st syllable long contain"; sounds and syllables should not be repeated often, otherwise there will be "monotony" in the verse; "every foot" or "most of the feet" should be connected with each other (Trediakovsky. Selected proc. p. 375).

Along with these restrictions, Russian versification also allows some "liberties": you can change the stress in accordance with the rhythm of the verse ("flowers" and "flowers"); it is permissible to replace some vowels with others for the purpose of euphony ("camera-camora"), and also omit consonants if there are the same "letters in the text". oratory " ("million-million", "charming-charming"); "to use sometimes in verse, for the sake of measure, such words, which in prose can by no means be tolerated."

However, Trediakovsky restricts the use of author's neologisms to the requirement of clarity and "similarity" to the Russian language: "... so that the speech is freely posited, so that it can be recognized that it is direct Russian, so that it is somewhat in use " (Ibid., pp. 379-380). This remark is a direct echo of the poet's classic idea of rhyme, for the sake of which it is not necessary to distort the meaning of the verse: "Rhyme in our poems is not something important, without which the verse cannot be called a verse and differ from prose; however, it is something necessary that without it the verse will lose its best decoration. Our people are so prone to rhyme, and in simple proverbs... the ear likes to enjoy them" (Ibid., p. 409). The scientist's reflections on the need for rhyme in literary works are a consequence of his approach to Russian versification: "I took all the power of this new poem from the very innards of the proper quality of our verse... then the poetry of our common people brought me to this... "(Ibid., p. 383). The use of poetic forms that have lived for centuries in the culture of the Russian people is a serious merit of the Russian poet.

Trediakovsky and Lomonosov were the main theorists, thanks to whom Russian poetry received a syllabic-tonic form and existed in this form until our days. When creating a new method of versification, Trediakovsky used the metric of Russian folk poetry and the terminology of French. "I owe the French version a bag, and the old Russian poetry all of a thousand rubles," the poet confessed (Ibid., p. 384).

Important for Russian poetry was its genre classification. She introduced Russian poets to the best examples of ancient and European poetry. In the profile

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The classical principles of the hierarchy of genres and the requirements for matching such levels of organization of a poetic text as idea, style, form, and metric are also reflected in poetic genera. In addition, the system of restrictions and "liberties" developed by Trediakovsky also contributed to the improvement of Russian verse in stylistic, metrical and musical terms.

However, in his work, he did not always follow these restrictions. Thus, the stylistic diversity of the poem "Tilemahida" led to the fact that "Trediakovsky became an easily accessible target for criticism, ridicule and mockery" (History of Russian Poetry: In 2 vols., 1968. Vol. 1. p. 71).

As Yu shrewdly pointed out. Nagibin, "Trediakovsky was inferior in poetic talent and simply in the ability to compose poems to both Lomonosov and Sumarokov, but in him alone of all his contemporaries there was an aching lyrical note" (Nagibin Yu.M. Literature teacher. Moscow, 1998, p. 128).

The fate of Trediakovsky was not smooth and prosperous: the rest of his life he lived in poverty, "he was trampled by nobles and palace lackeys, the sarcastic monarch's laughter was given out to be mocked by his worst enemies" (Ibid.).

Over time, his descendants appreciated his services to Russian poetry. Already A. S. Pushkin in his" Journey from Moscow to St. Petersburg " remarked:: "His philological and grammatical research is very remarkable. He had a broader concept of Russian versification than Lomonosov and Sumarokov. His love for Fenelon's epic does him credit, and the idea of translating it in verse and the very choice of verse proves an extraordinary sense of the elegant. In the "Tilemahide" there are many good poems and happy turns... In general, the study of Trediakovsky brings more benefits than the study of our other old writers" (Pushkin A. S. Poly, collected works: In 16 Moscow-Leningrad, 1949. Vol. XI. pp. 253-254).

Here is an example from Trediakovsky's transcription of Psalm 70, which shows how free, independent of the boundaries of the verse line, his word arrangement was. This technique was widely used in the XX century by I. Brodsky and his numerous followers.

May praise be abundant
In my mouth, to sing
I love your glory ...

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