Convinced of Grinev’s innocence, Masha Mironova considers it her moral duty to save him. She travels to St. Petersburg, where her meeting with the Empress takes place in Tsarskoe Selo.
Catherine II appears to the reader as a benevolent, gentle and simple woman. But we know that Pushkin had a sharply negative attitude towards Catherine II. How can one explain her attractive appearance in the story?
Let's look at the lifetime portrait of Catherine II, painted by the artist V.L. Borovikovsky in 1794. (In 1827, an engraving of this portrait appeared, made by the outstanding Russian engraver N.I. Utkin.) Here is how V. Shklovsky compares the portraits of Catherine II made by V.L. Borovikovsky and the narrator in the story “The Captain’s Daughter”: “In the portrait of Catherine depicted in a morning summer dress, in a night cap; near her feet there is a dog; behind Catherine there are trees and the Rumyantsev Obelisk. The Empress's face is full and ruddy. The meeting with Marya Ivanovna should take place in the fall. Pushkin writes: “The sun illuminated the tops of the linden trees, which had turned yellow under the fresh breath of autumn ". Further, Pushkin reports: “She [Ekaterina] was in a white morning dress, a night cap and a shower jacket." The shower jacket made it possible not to change Catherine’s clothes, despite the cold weather... The dog from Borovikovsky’s painting also ended up in “The Captain’s Daughter”, this She was the first to notice Marya Ivanovna." There are discrepancies between the text and the image - the empress is 20 years younger, dressed in white, not blue. The second version of the portrait is described - with the Rumyantsev Obelisk; most likely, Pushkin was inspired by the engraving, and not by the original, which Rumyantsev had and was difficult to view.
And here are the words from P.A. Vyazemsky’s article “On Karamzin’s Letters,” which V. Shklovsky cites: “In Tsarskoe Selo, Catherine must not be forgotten... The monuments of her reign here tell about her. Having laid the crown from her head and the purple from her shoulders, "Here she lived as a homely and kind housewife. Here, it seems, you meet her in the form and attire in which she is depicted in the famous painting by Borovikovsky, even more famous from the beautiful and excellent engraving by Utkin."
We see that the portrait of V.L. Borovikovsky, the engraving of N.I. Utkin and the words of P.A. Vyazemsky express a noble, tender and admiring attitude towards the “gracious hostess” of Tsarskoe Selo.
Now let's turn to the story. As we know, Pushkin writes on behalf of the narrator, and the narrator - Grinev - narrates the meeting of Marya Ivanovna with the Empress from the words of Marya Ivanovna, who, of course, recalled the meeting that shocked her many times in her later life. How could these people devoted to the throne talk about Catherine II? There is no doubt: with naive simplicity and loyal adoration. “According to Pushkin’s plan,” writes literary critic P.N. Berkov, “obviously, Catherine II in “The Captain’s Daughter” should not be shown realistically, like a real one, historical Catherine“: Pushkin’s goal, in accordance with the form he chose for the notes of the hero, a loyal nobleman, was to portray Catherine precisely in the official interpretation: even Catherine’s morning disabiliy was designed to create a legend about the empress as a simple, ordinary woman.”
However, let’s see if in the episode of Masha Mironova’s meeting with Ekaterina and in the description of the previous circumstances there is still an author’s attitude towards them. Let us recall the facts that took place from the moment Grinev appeared in court. We know that he stopped explaining to the court about the true reason for his unauthorized absence from Orenburg and thereby extinguished the “favor of the judges” with which they began to listen to him. Sensitive Marya Ivanovna understood why Grinev did not want to justify himself before the court, and decided to go to the queen herself to tell everything sincerely and save the groom. She succeeded. Now let's turn to the episode of the queen's meeting with Marya Ivanovna.
Grinev’s innocence became clear to Catherine from Marya Ivanovna’s story, from her petition, just as it would have become clear to the investigative commission if Grinev had finished his testimony. Marya Ivanovna told what Grinev did not say at the trial, and the queen acquitted Masha’s groom. So what is her mercy? What is humanity?
The Empress needs Grinev's innocence more than his guilt. Each nobleman who went over to Pugachev’s side harmed the noble class, the support of her throne. Hence Catherine’s anger (her face changed while reading the letter and became stern), which after Marya Ivanovna’s story “changes to mercy.” The queen smiles and asks where Masha is staying. She apparently makes a decision favorable to the petitioner and reassures the captain’s daughter.
Pushkin, giving the right to tell Grinev, forces him at the same time to report facts that allow us to draw our own conclusions. Ekaterina speaks kindly to Marya Ivanovna and is friendly with her. In the palace, she picks up the girl who has fallen at her feet, shocked by her “mercy.” She utters a phrase, addressing her, her subject, as her equal: “I know that you are not rich,” she said, “but I'm in debt in front of the daughter of Captain Mironov. Don't worry about the future. I take it upon myself to arrange your fortune." How could Marya Ivanovna, who from childhood was brought up in respect for the throne and royal power, perceive these words?
Pushkin wrote about Catherine that “her... friendliness attracted her.” In a small episode of Masha Mironova’s meeting with the Empress through the lips of Grinev, he speaks about this quality of Catherine, about her ability to charm people, about her ability to “take advantage of the weakness of the human soul.” After all, Marya Ivanovna is the daughter of the hero, Captain Mironov, whose feat the queen knew about. Catherine distributed orders to officers who distinguished themselves in the war against the Pugachevites, and also helped orphaned noble families. Is it any wonder that she took care of Masha too. The Empress was not generous to her. The captain's daughter did not receive a large dowry from the queen and did not increase Grinev's wealth. Grinev's descendants, according to the publisher, i.e. Pushkin, “prospered” in a village that belonged to ten landowners.
Catherine valued the attitude of the nobility towards her and understood perfectly well what impression the “highest pardon” would make on the loyal Grinev family. Pushkin himself (and not the narrator) writes: “In one of the master’s wings they show a handwritten letter from Catherine II behind glass and in a frame,” which was passed down from generation to generation.
This is how “the legend of the empress was created as a simple, accessible to petitioners, an ordinary woman,” writes P.N. Berkov in the article “Pushkin and Catherine.”
The images of Emelyan Pugachev and Empress Catherine II are symbols of power. We can say that these historical figures are at different poles, they are radically opposite.
Pushkin gave a real portrait of the empress in this episode: “She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and rosy, expressed importance and calmness, and Blue eyes and the light smile had an inexplicable charm.”
The image of Catherine II, fair, merciful, grateful, was written by Pushkin with undisguised sympathy, fanned with a romantic aura. This is not a portrait real person, but a certain generalized image. Catherine is the shrine that the nobles defended in the war with Pugachev.
Catherine listens carefully to Masha Mironova and promises to look into her request, although the empress’s attitude towards the “traitor” Grinev is sharply negative. Having learned all the details of the case and being imbued with sincere sympathy for the captain’s daughter, Catherine has mercy on Masha’s fiancé and promises to take care of him. material well-being girls: “... but I am indebted to the daughter of Captain Mironov. Don't worry about the future. I take it upon myself to arrange your condition.”
The Empress needs Grinev's innocence more than his guilt. Each nobleman who went over to Pugachev’s side harmed the noble class, the support of her throne. Hence Catherine’s anger (her face changed while reading the letter and became stern), which after Marya Ivanovna’s story “changes to mercy.” The queen smiles and asks where Masha is staying. She apparently makes a decision favorable to the petitioner and reassures the captain’s daughter.
Pushkin, giving the right to tell Grinev, forces him at the same time to report facts that allow us to draw our own conclusions. Ekaterina speaks kindly to Marya Ivanovna and is friendly with her. In the palace, she picks up the girl who has fallen at her feet, shocked by her “mercy.” She utters a phrase, addressing her, her subject, as her equal: “I know that you are not rich,” she said, “but I am indebted to the daughter of Captain Mironov. Don’t worry about the future. I take it upon myself to arrange your fortune " How could Marya Ivanovna, who from childhood was brought up in respect for the throne and royal power, perceive these words?
Pushkin wrote about Catherine that “her... friendliness attracted her.” In a small episode of Masha Mironova’s meeting with the Empress through the lips of Grinev, he speaks about this quality of Catherine, about her ability to charm people, about her ability to “take advantage of the weakness of the human soul.” After all, Marya Ivanovna is the daughter of the hero, Captain Mironov, whose feat the queen knew about. Catherine distributed orders to officers who distinguished themselves in the war against the Pugachevites, and also helped orphaned noble families. Is it any wonder that she took care of Masha too. The Empress was not generous to her. The captain's daughter did not receive a large dowry from the queen and did not increase Grinev's wealth. Grinev's descendants, according to the publisher, i.e. Pushkin, “prospered” in a village that belonged to ten landowners.
Catherine valued the attitude of the nobility towards her and understood perfectly well what impression the “highest pardon” would make on the loyal Grinev family. Pushkin himself (and not the narrator) writes: “In one of the master’s wings they show a handwritten letter from Catherine II behind glass and in a frame,” which was passed down from generation to generation.
But Pugachev’s help to Grinev was much more real - he saved his life and helped save Masha. This is a striking contrast.
In order to describe the image of Catherine II, you will need to refer to the work. As we already know, the narrator is Grinev, and he tells us about Marya Ivanovna’s meeting with the empress. His narration is based on Marya’s words, and she, of course, remembered this event for a very long time. What could she say about the great empress?
“According to Pushkin’s plan,” wrote P.N. Berkov, “probably the queen in “The Captain’s Daughter” should not have been depicted realistically, as a true ruler. The author wanted to show her the official interpretation: after all, even the early disabiliy of the empress was calculated on the creation of a legend about Catherine, as a simple and most ordinary person.
It is necessary to think whether there is still an author’s attitude towards them in the interaction of Masha Mironova with Ekaterina and in the description of previous events. It is necessary to recall the facts that have taken place since Grinev answered in court. It is known that he interrupted his speech in court about the real circumstances of his departure from Orenburg and this prevented favor in court.. It was clear to Marya why Grinev did not want to justify himself to the judge, and she dared to go to the empress to honestly tell her everything and save your loved one. She did it.
The queen understood from her conversation with Marya that Grinev was completely innocent of anything. She initiated her into what Grinev kept secret, and the queen returned good name to the petitioner's beloved.
It was beneficial to her that Greene was innocent. Every nobleman who sided with Pugachev harmed the noble class, the pillar of her rule. Because of the discontent of the ruler, which after a conversation with Marya changed to mercy. Catherine smiles and finds out where the girl is staying. She probably makes a good decision for the girl and gives her hope.
The author wrote that the empress’s friendliness attracted people. In a short meeting between Mironova and Ekaterina, through the mouth of Grinev, he talks about this quality of the queen, that she is able to charm any person, about her ability to take advantage of the weakness of a person’s soul. After all, Marya is the daughter of the hero, Captain Mironov, she knew everything about his merits. She did not spare the order for those who distinguished themselves in the battle with the Pugachevites, and also provided assistance to the orphaned families of nobles. What is amazing is that she treated Masha with care, and besides, she did not show generosity towards her.
The Empress appreciated the attitude of the nobles towards her and was well aware of the impression her “greatest mercy” would make on the Grinevs.
Essay about Catherine II
One of the most famous novels Alexander Sergeevich Pushkin - “The Captain's Daughter” is historical, so many of the actions described in it actually happened, of course, with the author’s changes and modifications.
Throughout the entire work, the narrative is told from the perspective of the main character - the elderly officer Pyotr Grinev. Therefore, the image of Catherine II, the Great, plays an important role, which shows the attitude of the common people towards the empress. In communication with Marya Ivanovna, she appears as a good-natured, calm woman, without arrogant and arrogant behavior, and is easy to communicate with. And the fact that she was walking in the garden was just nightgown, without security, also shows that the woman is not trying to appear “higher” than others just because of her social status. She listens to Grinev’s wife completely, does not rush or interrupt.
Of course, Pushkin is not describing the real empress. According to his plan, he wanted to present Catherine the Great not as a formidable ruler, but as a simple, ordinary person. The image of the benefactor is a disguise of the author's real attitude towards the ruler. And besides, the narrator of this story is Grinev, a simple military man who saw the empress exactly like that and felt a kind of adoration for her.
The queen is courteous towards Maria, even independently helping a girl who had fallen at her feet due to shock to get up. She talks to Maria as an equal, with respect, and not as a subject. By showing mercy, the empress showed her caring attitude towards the problem of a poor military family. Yes, even if she did not provide Grinev’s wife with a rich dowry, she still tried to help them.
Of course, Catherine II could not do otherwise, because the girl’s father tried to resist the uprising, heroically fought with Pugachev’s army and died in the process. Pugachev and his army were enemies of autocratic power, and, consequently, opponents of Catherine II herself.
Pushkin's true attitude towards Catherine II is expressed only in his notes on Russian history XVIII century. And it was radically different from the “Grinev” attitude.
Several interesting essays
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The painting “Winter” stands out from all the author’s creative works. A narrow path divided the canvas into two parts. On the left, a dense forest and a couple of trees by the side of the road open to our attention. On the right there are only two lifeless birches.
In Pushkin's novel The Captain's Daughter, the images of Emelyan Pugachev and Empress Catherine II are symbols of power. We can say that these historical figures are at different poles, they are radically opposite.
It is known that in The Captain's Daughter Pushkin contrasted the people and the authorities. The main reason He considered the Pugachev rebellion to be the isolation of power from the people, the ignorance and unwillingness of those in power to know the needs of the common man. Hence the national tragedies, one of which, according to Pushkin, is the revolt led by Emelyan Pugachev.
Pugachev is a national hero. He imagines people's power, people's choice. It is not for nothing that ordinary Cossacks are ready to give their lives for him. The image of Pugachev is based on - real prototype. Romanny Pugachev is a Cossack, an impostor, the leader of the rebel Cossacks, who called himself Tsar Peter III. To emphasize the historicism of his work, the writer introduces some events and details that took place in reality. Thus, in the chapter “Pugachevshchina” there is a government order for the capture of Pugachev, which actually existed. In addition, the novel contains authentic historical facts: the capture and execution of Pugachev, for example.
But, of course, the figure of Pugachev in “The Captain’s Daughter” is not equated with his historical prototype. In the novel, this is one of the most complex and multidimensional images, representing a fusion of historical, everyday, symbolic and folklore elements. In the work, the figure of Pugachev develops into a symbolic image, personifying history and fate.
The appearance of Emelyan Pugachev is concrete, through the eyes of Grinev we see his portrait, we know about his origin. But, at the same time, Pugachev’s realism is only apparent. With his appearance, an atmosphere of something mystical and mysterious enters the novel. Pugachev resembles a werewolf, whose essence no one can comprehend. From a tramp, this hero easily turns into a “sovereign emperor.” In Pugachev, the traits of a roguish man are manifested, then the wisdom, strength and greatness of a people's leader. In such chapters of the novel as “The Uninvited Guest”, “Rebel Settlement”, “The Orphan”, Pugachev’s metamorphoses follow one after another: now he is an imperious and formidable sovereign, now a just and merciful savior, now a cruel and quick to kill man, now a wise and prudent statesman.
The image of Pugachev in the novel is tragic. Moreover, the hero himself is aware of this tragedy. This is emphasized both in the Cossack song that he sings and in the Kalmyk fairy tale so beloved by him. The appearance of Emelyan Pugachev is largely covered with a heroic aura. Let us remember that he rejects the possibility of mercy from the empress towards him, while he himself has mercy on his opponents. For him, mercy is an unacceptable insult.
The image of Emelyan Pugachev in the novel is given in a folklore vein. In Grinev’s mind, he is closely connected with the phenomenon of a miracle, with fate itself. At the beginning of the novel, Pugachev emerges from a snowstorm, then he will become the main character of Pyotr Grinev’s prophetic dream. In it, the false sovereign appears in the guise of a counselor, a leader who involuntarily opened the memoirist’s eyes to the laws of life, history, and fate.
Thus, Pugachev in The Captain's Daughter is both real and fantastic. It connects two layers: external, vital, and mystical, the layer of fate and history. The image of Emelyan Pugachev is the central image of the novel. Pushkin’s thoughts about history and fate, about the relationship privacy and historical life.
The image of Pugachev is connected by invisible threads with the image of another “man of power” - Catherine II, the official empress. In the novel, semantic and compositional parallels arise that connect these two heroes. The main one: the meeting of Grinev with Pugachev in the Belogorsk fortress - the meeting of Masha Mironova with Catherine II in St. Petersburg.
Pushkin gave a real portrait of the empress in this episode: “She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and ruddy, expressed importance and calmness, and her blue eyes and light smile had an inexplicable charm.”
The image of Catherine II, fair, merciful, grateful, was written by Pushkin with undisguised sympathy, fanned with a romantic aura. This is not a portrait of a real person, but a generalized image. Catherine is the shrine that the nobles defended in the war with Pugachev.
Catherine listens carefully to Masha Mironova and promises to look into her request, although the empress’s attitude towards the “traitor” Grinev is sharply negative. Having learned all the details of the case and being imbued with sincere sympathy for the captain’s daughter, Ekaterina has mercy on Masha’s fiancé and promises to take care of the girl’s material well-being: “... but I am indebted to the daughter of Captain Mironov. Don't worry about the future. I take it upon myself to arrange your condition.”
In my opinion, Pushkin did not have any “claims” against Catherine II personally. It is known that the writer was a monarchist in his political beliefs. All transformations, in his opinion, should have been carried out only within the framework of this system. But Pushkin had no doubt that reforms were necessary.
Thus, "The Captain's Daughter" - historical novel, in which there are two main historical figures: Emelyan Pugachev and Catherine II. Getting into the fabric work of art, these real figures acquired many fictional features and turned into artistic images, serving to express the author’s position, Pushkin’s views on history, the problem of power and people, fate. Fiction and the author's will were superimposed on the real basis of these characters, as a result of which one of the best Russian historical novels was created.
Sadykov Linar
The study analyzes the image of Catherine II, depicted in the novels by Valentin Savvich Pikul “The Favorite”, A. S. Pushkin “The Captain’s Daughter”, the ode “Felitsa” by G. R. Derzhavin, the book by A. N. Radishchev “Journey from St. Petersburg to Moscow” and in modern cinema.
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Municipal budgetary educational institution Alekseevskaya secondary school No. 3 named after. G. S. Borovikova Alekseevsky municipal district of the Republic of Tatarstan
Catherine II's image
The works of her contemporaries, in the historical novels of A. S. Pushkin “The Captain’s Daughter” and V. S. Pikul “The Favorite” and in modern cinema
Scientific adviser:
Evlanova Alexandra Fedorovna,
Literature teacher
To write this research work I was prompted by a trip to Peterhof during the autumn holidays, reading the historical novel by V. S. Pikul “The Favorite” and watching the series “Catherine the Great”, where my cousin Rinal Mukhametov starred in the role of Count Saltykov. I plunged into the past and began to study the history of our state with interest.
Teaching history in modern conditions, in my opinion, should be aimed at showing actual history in all its complexities and contradictions, with its bright and tragic sides, strictly observing objectivity and historical truth. Only this approach can correct the evils of the past and give an idea of true historical events and phenomena.Therefore, today it is especially important when books by real classics fall into our hands. historical genre, by reading which you learn about how the formation and development of the Russian state actually took place.
Such works, in my opinion, include the historical novels of Valentin Savvich Pikul. They have always been popular. Reading his books, we are immersed in the history of our country, with all its victories and defeats. We're reliving palace coups, Great Patriotic War, hard life on the borders of the Russian Empire. The heroes of novels appear before us with all their positive and negative sides. A special place, in my opinion, among the works that came from the pen of V. S. Pikul, is occupied by the novel “The Favorite,” which takes us to the 18th century. This is the century of the reign of Catherine II, the century of the Russian Enlightenment, the century of the heyday of Russian culture.
Enlightenment philosophy and ideology in Russia were focused on state and universal values, and the efforts of the Russian people were largely aimed at following the model ideal person- citizen. And now, assessing the fruits of the reign of Catherine II, we come to the conclusion that this was the era of glory and power of Russia, which secured its status as a great power. As Catherine II herself admitted in her “Notes,” that sooner or later she “will become the autocrat of the Russian empire.” She persistently walked towards this goal. Such a task was, perhaps, only within the power of her character, and she achieved this with her work and patience.
Explicit and hidden paradoxes of the enlightened Catherine's century, his internal duality has always intrigued the Russian public consciousness. Just remember A.S. Pushkin: Catherine for him, on the one hand, is “Tartuffe in a Skirt and Crown,” on the other, the wise mother - the empress in “The Captain's Daughter.”
In the literature of the 18th century, the dream of an ideal ruler was embodied in the image of a real monarch, a real person - Empress Catherine II. What should a great ruler of a great power be like? Wise and strong, brave and proud? Or maybe humane, modest, not alien to human weaknesses? These two views of the statesman coexisted at that time in the works of poets and artists, in the minds of their contemporaries. These two views still exist today.
Research objectives:
- through the image of Catherine II to show how objective the image is historical figure V different types artistic creativity? How do the features of the historical image of Catherine II correlate with the literary image?
- And how do my contemporaries and filmmakers perceive the image of Catherine II?
Research objectives:
- Get acquainted with the literature on this topic.
- Analyze the novels by Valentin Savvich Pikul “The Favorite”, A. S. Pushkin “The Captain’s Daughter”, the ode “Felitsa” by G. R. Derzhavin, who in 1791-1793 worked as Secretary of State under Empress Catherine II; A. N. Radishchev’s book “Journey from St. Petersburg to Moscow.”
- View and analyze the modern film “Catherine the Great”.
In order to find answers to the questions posed, let us turn to the biography of Catherine II.
It is known from history that she was born into the family of the Prussian general Christian August and Johanna Elisabeth from the Holstein-Gottorp family. At birth, her name was Sophia-Frederica-Augusta (after the names of her three aunts on her mother’s side) of Anhalt-Zerbst. Her family simply called her Fike. She received a French education.
Sofia came to Russia in 1744 at the invitation of Elizabeth Petrovna, since Sofia’s uncle wooed the Russian Empress, but died before the wedding. On August 28, 1744, 15-year-old Sofia married the 16-year-old heir to the Russian throne, Pyotr Fedorovich (the future Peter III), the son of Anna Petrovna (daughter of Peter I) and Karl Friedrich. Having converted to Orthodoxy, Sophia-Frederica is named Ekaterina Alekseevna. The marriage was unsuccessful, the husband had a mistress, Elizaveta Vorontsova.
On January 5, 1762, after the death of Empress Elizabeth Petrovna, Peter III ascended the throne. The latter pursued an unreasonable foreign and domestic policy, concluding an alliance with Prussia, abolishing a number of taxes and equalizing the rights of Orthodoxy and Protestantism, which led to an increase in discontent in Russian society and especially in the guard. On July 9, 1762, as a result of a coup d'etat, Catherine was proclaimed empress. The coronation took place on September 13 in Moscow.
Catherine the Great, following Peter I, pursued an active policy, striving to strengthen the Russian Empire and expand its borders. Diplomatic efforts led to the partition of Poland between Russia, Austria and Prussia (1772, 1793 and 1795). Belarus and Right-Bank Ukraine (1793), as well as Courland and Lithuania (1795) went to Russia. As a result Russian-Turkish wars(1768-1774 and 1787-1792) the lands of New Russia (1774) (now southern Ukraine), Crimea and Kuban were annexed to Russia. The cities of Sevastopol and Yekaterinoslav were founded. Suvorov was already waiting for the order to march on Istanbul, but Austria refused to help and the campaign was cancelled. An indirect result of the weakening Ottoman Empire became the annexation of Georgia (1783).
At the beginning of her reign, Catherine tried to carry out a general political reform, guided by the ideas of the Enlightenment. Senate reforms were carried out administrative reform; The Smolny Institute of Noble Maidens was opened; smallpox vaccination introduced; Freemasonry spread; paper money – banknotes – were introduced into circulation; secularization of church lands was carried out; an attempt was made to convene a legislative commission; The hetmanate in Ukraine was liquidated in the Zaporozhye Sich.
The era of Catherine was also marked by an uprising led by Emelyan Pugachev (1773-1774).
How is the Image of Catherine II depicted in the literature of her contemporaries and historians?
The image of Catherine the Second, an “enlightened monarch”, contained something (intelligence, energy, obsession) that potentially contributed to elevating her to the level of mythological character. Catherine the Second realized her thoughts through facts and actions, becoming known as a model of the era. Contemporaries wished with all their hearts for the advent of the “golden age” under Catherine. Distinctive feature The reign of Catherine the Second, in addition to its gradual, non-violent transformations, was, as the historian N.M. Karamzin wrote, that the consequence of the cleansing of autocracy from the “impurities of tyranny” was peace of hearts, successes in secular amenities, knowledge, and reason. Thus, the century of Catherine the Second became a period of the dawn of culture in all spheres of Russian life.
Monuments of architecture, sculpture, painting, literature, music are living witnesses of time, bringing to us the dream of an ideal world and an ideal person.
In the 18th century, two well-defined traditions of depicting Catherine II developed in Russian art - literature and painting. The first tradition is associated with idealization and exaltation of the empress. Artists and poets create an official, “ceremonial portrait” of Catherine, a wise monarch who spends her days working and caring for the good of the people.
In accordance with the second tradition of depicting Catherine II, the empress was presented as an ordinary earthly woman, not alien to human feelings and moods (chamber, intimate portraits).
The first tradition was reflected in the works of artists P. A. Antropov and D. G. Levitsky, poets G. R. Derzhavin and A. P. Sumarokov, M. M. Kheraskov.
In the literature of classicism with its dominant high genres of ode, tragedy and oratorical speech the heroes were mainly kings, politicians and generals. Classical poets depicted a ceremonial portrait of Catherine II in their works, depicting not specific person, and their dream of an ideal, enlightened sovereign, wise, fair, this is how Catherine seemed to them in the first years after her accession to the throne. The works of these poets are characterized by a solemn, sometimes even pretentious style, an enthusiastic, “kneeling”, abstract description of the empress, likened to the gods, devoid of a concrete image. Thus, M.M. Kheraskov, in a solemn ode to Catherine II (1763), mentions the “beautiful face of the goddess”; “Bring glory to the goddess above the sun at last!” - exclaims A.P. Sumarokov in his “Ode to Empress Catherine the Second on her namesake day, 1762 November 24 days.”
In the works of these poets we do not find descriptions of Catherine II’s appearance, her moral character, characteristic qualities; In their works, the authors praise the empress and openly express their admiration for her.
Several works were dedicated to Catherine II by our fellow countryman, poet, statesman G.R. Derzhavin, who in 1791-1793 worked as Secretary of State under Empress Catherine II. He dedicated odes to her: “Vision of Murza”, “Felitsa” and “Image of Felitsa”.
In this regard, I considered it necessary to turn to the memoirs of G.R. Derzhavin himself, which have reached us. Memoirs and notes of outstanding cultural figures of the past are not strictly literary and artistic works, but the memoirs of writers, in my opinion, represent a unique phenomenon, since at the same time they are both part of the literary process, and the study of this process, its historiography and criticism.
“Notes from well-known incidents and genuine cases containing the life of Gavrila Romanovich Derzhavin (1743–1812),” first published only in 1859, after the death of the poet, have a huge historical meaning, firstly, as a source of information about the era of the reign of Empress Catherine II, secondly, as a literary work, and thirdly, as a book telling about the history of writing poems by G. R. Derzhavin, which became classics of Russian poetry. As historians note, the notes contain some confusion and inaccuracy of presentation: the memoirs were written by the author without preparation, without preliminary notes. Therefore, Academician Y.K. Grot, publishing the poet’s “Notes” in 1871, considered it necessary to “check them against modern authentic evidence,” facts from Derzhavin’s correspondence, as well as historical documents. At the same time, philologists note that “Notes” “cannot be looked at as a strictly finished literary work.”
For a literary historian, Derzhavin’s memoirs represent special interest thanks to his, in Grotto’s words, “uncalculating frankness” with which the poet talks about how the ideas for his works arose, how they took on their final form, how they became known to the poet’s friends and were later published, how they attracted the highest favor or the Empress (or her favorites) discontent and even anger.
In the first place in the memoirs are the facts of Derzhavin’s career, the stages of his career: studying at the Kazan gymnasium, soldier’s service in St. Petersburg, participation in the suppression of the Pugachev uprising (1773–1775), governorship in the Olonets province, in Tambov and, finally, civil service in Petersburg at court.
The ode “Felitsa,” written in 1782, is the first poem that made the name of Gabriel Romanovich Derzhavin famous. It became a striking example of a new style in Russian poetry. The subtitle of the poem clarifies: “Ode to the wise Kyrgyz-Kaisak princess Felitsa, written by the Tatar Murza, who has long settled in Moscow, and lives on his business in St. Petersburg. Translated from Arabic" This work received its unusual name from the heroine of “The Tale of Prince Chlorus,” whose author wasCatherine II herself.She is also named by this name, which in Latin means “happiness,” in Derzhavin’s ode, glorifying the empress and satirically characterizing her environment.It is known that at first Derzhavin did not want to publish this poem and even hid the authorship, fearing the revenge of the influential nobles satirically depicted in it. But in 1783 it became widespread and, with the assistance of Princess Dashkova, a close associate of the Empress, was published in the magazine “Interlocutor of Lovers of the Russian Word,” in which Catherine II herself collaborated. Subsequently, Derzhavin recalled that this poem touched the empress so much that Dashkova found her in tears. Catherine II wanted to know who wrote the poem in which she was so accurately depicted. In gratitude to the author, she sent him a golden snuff box with five hundred chervonets and an expressive inscription on the package: “From Orenburg from the Kirghiz Princess to Murza Derzhavin.” From that day on, literary fame came to Derzhavin, which no Russian poet had known before.Derzhavin received many awards for his long and conscientious service, but one of them - the first from Empress Catherine II - played a special role in his fate. Here is how he talks about it in his “Notes”: “One day, when the author was having lunch with his boss, the postman brought him a paper scroll with the inscription: “From Orenburg from the Kirghiz Princess to Murza Derzhavin.” He was surprised and, having opened it, found in it a beautiful gold snuff box strewn with diamonds and in it 500 red notes. He could not and should not have accepted this secretly, without informing the boss, so as not to raise suspicions of bribes, and for this, he approached him and showed it. He, looking at first angrily, grumbled: “What kind of gifts from the Kyrgyz people?” Then, seeing the fashionable French work, he said with a sarcastic grin: “Okay, brother, I see it and congratulate you.” But from that time on, hatred and malice crept into his heart, so that he could not speak indifferently to the newly famous poet...” This was the royal gift for the ode “Felitsa.”
The history of this ode is interesting. As Derzhavin later explained, it contained ironic and very transparent hints about the weaknesses of the most influential nobles at court. So, for example, stanzas 5, 6, 7, 8 refer “to the whimsical disposition of Prince Potemkin, who was either getting ready for war, or practicing attire, feasts and all kinds of luxuries.” Stanza 9 contains a hint of Count N.I. Panin - a lover of hound hunting, the next stanza is on S.K. Naryshkin and so on.The poem "Felitsa", written as a humorous sketch from the life of the empress and her entourage, at the same time raises very important issues. On the one hand, in the ode “Felitsa” a completely traditional image of a “god-like princess” is created, which embodies the poet’s idea of the ideal of an enlightened monarch. Clearly idealizing the real Catherine II, Derzhavin at the same time believes in the image he painted.
On the other hand, the poet’s poems convey the idea not only of the wisdom of power, but also of the negligence of performers concerned with their own benefit.This idea in itself was not new, but behind the images of nobles drawn in the ode, features clearly emerged real people- favorites of the Empress: Potemkin, Alexei Orlov, Panin, Naryshkin. Drawing their brightly satirical portraits, Derzhavin showed great courage - after all, any of the nobles he offended could deal with the author for this. Only Catherine’s favorable attitude saved Derzhavin.Ode “Felitsa” is a truly progressive work for its time, because the literary directionclassicism, firmly established at that time, forbade combining high ode and satire belonging to low genres in one work, but Derzhavin does not even simply combine them in his characterization different persons, written in the ode, he does something completely unprecedented for that time. Breaking the traditions of the laudatory ode genre, Derzhavin widely introduces colloquial vocabulary and even vernacular into it, but most importantly, he does not paint a ceremonial portrait of the empress, but depicts her human appearance. That is why everyday scenes appear in the ode. “God-like” Felitsa, like other characters in his ode, is also shown in everyday life (“Without valuing your peace, You read, write under the cover...”). At the same time, such details do not reduce her image, but make her more real, humane, as if exactly copied from life. Reading the poem “Felitsa”, you are convinced that Derzhavin really managed to introduce into poetry the individual characters of real people, boldly taken from life or created by the imagination, shown against the backdrop of a colorfully depicted everyday environment. This makes his poems bright, memorable and understandable.Thus, in “Felitsa” Derzhavin acted as a bold innovator, combining the style of a laudatory ode with the individualization of characters and satire, introducing elements of low styles into the high genre of ode. Subsequently, the poet himself defined the genre of “Felitsa” as a mixed ode. Derzhavin argued that, in contrast to the traditional ode for classicism, where government officials and military leaders were praised, and solemn events were glorified, in the “mixed ode” “the poet can talk about everything.” Destroying the genre canons of classicism, with this poem he opens the way for new poetry, which received brilliant development in Pushkin’s work.Derzhavin himself subsequently noted that one of his main merits was that he “dared to proclaim Felitsa’s virtues in a funny Russian style.” As the researcher of the poet’s work V.F. rightly points out. Khodasevich, Derzhavin was proud “not that he discovered Catherine’s virtues, but that he was the first to speak in a “funny Russian style.” He understood that his ode was the first artistic embodiment of Russian life, that it was the embryo of our novel in verse, and perhaps even a historical novel. And, perhaps, Khodasevich develops his thought, “if “old man Derzhavin” had lived at least to the first chapter of “Onegin,” he would have heard echoes of his ode in it.”
Around the same time as G. R. Derzhavin’s ode, V May 1790, a work by Alexander Nikolaevich appeared on the counter of one of the bookstores in the capitalRadishchev "Journey from St. Petersburg to Moscow",on which the writer worked for about ten years.The work was published without indicating the author, in it, with unprecedented courage and directness for that time, the “nameless traveler” dealt crushing blows to all the foundations of the then imperial Russia: serfdom, the dominant Orthodox Church, the authorities of Catherine II. appears before us real image"enlightened queen"
The Russian Empire in the second half of the 18th century grew stronger and stronger, becoming one of the most powerful world powers. At this time, education and industry were vigorously developing, literature, science and art were flourishing. However, against the backdrop of such prosperity, social contradictions in the country are intensifying, and serfdom is becoming more cruel. The peasant was at the complete disposal of the landowner, who had the right to send the serf to hard labor without any trial. Hard labor was also a punishment for peasant complaints against landowners. It was this position that Radishchev had in mind when he wrote in his work that “the peasant is dead in law.” There were no laws determining the size of peasant duties. Corvee - free peasant work for the landowner - and quitrent - the amount of money with which the peasant bought off such work, remaining the property of the landowner. Human trafficking was widespread. Serfs were sold with and without land, wholesale and retail, separating peasant families. Radishchev was outraged by this state of affairs. He noted that landowners look at peasants as their domestic animals, as an “ox in a yoke,” as a thing. Radishchev considered the entire system of autocracy and serfdom to be the cause of this boundless evil. Therefore, he unleashes his accusatory criticism on the foundations of contemporary Russia: royal power And serfdom, which is fully reflected in the work “Journey from St. Petersburg to Moscow.”
During the period when the idea for the book was maturing in Radishchev, Catherine II in the spring of 1787 went on a journey from St. Petersburg to Novorossiya andCrimea together with his favorite Grigory Potemkin. The journey was organized with extraordinary pomp, which entailed enormous costs, the burden of which fell on the peasantry. For the passage of the queen and her retinue, the peasants had to put up seventy-six thousand horses during the hottest times. By order of Novorossiysk Governor-General Potemkin, artificial villages were built along the entire route of the Empress, later called “Potemkin villages.” The purpose of creating such villages was to show the supposedly happy and abundant life of the Russian peasantry. The bribed writers reflected in their reports that the peoples of Russia were prospering under the leadership of the Empress.In “Journey from St. Petersburg to Moscow,” “prosperous villages” do not exist. From time to time they flash on the pages positive images"good nobles." However, their personal qualities are not able to change the existing state of affairs.
The theme of the uprising of the people, the enslaved peasantry against “greedy beasts, insatiable leeches” and “the most cruel villain of all villains” - the king runs through the entire work. Radishchev justifies the actions of the serfs against the landowners; moreover, he calls on them to resolutely fight against serfdom and autocracy.
Radishchev was extremely outraged by such deception. In his “Journey from St. Petersburg to Moscow,” which to a certain extent coincides with the route of Catherine II, the author shows a true, unembellished picture of serfdom reality. The purpose of this book is to open the eyes of the public to the boundless lack of rights of the enslaved peasantry, to the unbearable severity of autocratic oppression. The book is narrated on behalf of the traveler, through whose lips Radishchev expresses his views. The journey is made from St. Petersburg to Moscow by carriages; along the way, the narrator stops at twenty-four postal stations, where he changes horses. The traveler is inquisitive, attentive and sincere person, which encourages the people he meets to communicate in confidence. In each new chapter of “Journey from St. Petersburg to Moscow,” the reader is presented with various, but equally typical pictures of arbitrariness, deception and oppression committed with impunity in an autocratic serfdom country. The narrative about the grave peasant bondage unfolds already from the third chapter of “The Journey...” - “Lyuban”, with the description of the peasant plowing on Sunday. With a feeling of indignation and sorrow, the author paints pictures of serfdom and violence in all chapters of his work. In “Zaitsovo,” which describes the brutal attitude towards the peasants of a retired official who began his service as a court stoker and rose to the rank of nobility. In the chapter “Vyshny Volochok”, which tells the story of a landowner who achieved prosperity on his estate due to the complete ruin of the peasants. In the chapter “Copper” there is the tragedy of the sale of peasants at public auction, in “Gorodnya” there is the cruelty of recruitment, in “Pawns” there is a description of the impoverished peasant life, the wretched hut.
Radishchev realized that serfdom and autocracy are organically connected with each other. According to the writer, the king is “the foremost criminal of all,” who is the main culprit of the evil that is happening. Unable to directly speak out against Catherine II, Radishchev in the chapter “Spasskaya Polest” places an allegorical dream of a traveler - a very bold satire on the empress and her inner circle. In it, Radishchev notes that the tsar was known among the people as “a deceiver, a hypocrite and a pernicious comedian,” and draws attention to the discrepancy between the words and deeds of Catherine II: the ostentatious brilliance and splendor of the empire’s facade hides terrible pictures of the oppression of the people. The central place of the dream is occupied by the meeting of the king with the “unknown wanderer” Straight-View, the truth that removes the veil from the king’s eyes. After this, all things appear before the king in their natural form. Pryamozora addresses the king with words full of anger and contempt: “Know that you are... the foremost robber,... the fiercest enemy, directing your anger at the insides of the weak.”
Radishchev’s denunciation of autocracy and serfdom is distinguished by unprecedented sharpness and strength for that time. For him, evil and oppression are not an exception in life, as for his literary predecessors, but exist, as a rule, prevailing in the autocratic-serf system. Describing particular examples of violence, deception and arbitrariness, Radishchev invariably points to their main cause - autocratic power and serfdom.
Directed against tsarism and the landowner-serf system, this book caused an angry reaction from the then reigning Catherine II. After reading “The Journey,” the empress became indignant and wrote in the notes: “She places her hopes in the rebellion of the men... He threatens the kings with the scaffold... He is a rebel worse than Pugachev.” Radishchev was arrested and imprisoned shortly after the book was published. Peter and Paul Fortress, and then exiled to Siberia, to the Ilimsk prison. This was the price for the truth.
Despite the fact that the work was published more than two hundred years ago, many of Radishchev’s accusations are still relevant in our time. “And we will call the land of devastation blessed... where a hundred proud citizens are drowning in luxury, and thousands have no reliable food, no shelter from the heat and filth?” Isn't this about us?!
Image Catherine II in Pushkin’s novel “The Captain’s Daughter”
“The Captain's Daughter” by the great Russian writer Alexander Sergeevich Pushkin marked the beginning of the Russian historical novel.Determining the genre of The Captain's Daughter should provide the key to understanding the novel as a whole. In 1830, Pushkin himself, reflecting on the genre, wrote: “In our time, by the word novel we mean historical era, developed in a fictional narrative."The novel “The Captain's Daughter” tells the story of the dramatic events of the 70s of the 18th century, when the discontent of peasants and residents of the outskirts of Russia resulted in a war led by Emelyan Pugachev. But the novel is not limited to only this topic; it is one of many raised in this multifaceted and philosophical work. In parallel, in the novel, Pushkin poses and solves a series important issues: about patriotic education, about love and fidelity, honor and dignity of a person. The form and language of the work were brought to perfection by Pushkin. Behind the apparent simplicity and ease, the most serious questions of existence are hidden.
In the episode, which can be called “Meeting of Masha Mironova with Catherine II,” Pushkin laconically and at the same time expressively describes Catherine’s appearance, her behavior, character traits, style of conversation and manner of communication. Let's turn to the content. Trying to help her loved one, the daughter of Captain Mironov goes to St. Petersburg to beg forgiveness from the Empress herself. “The next day, early in the morning, Marya Ivanovna woke up, got dressed and quietly went into the garden. The morning was beautiful, the sun illuminated the tops of the linden trees, which had already turned yellow under the fresh breath of autumn. Suddenly a white dog of the English breed barked and ran towards her. Marya Ivanovna got scared and stopped. At that very moment there was a pleasant female voice: “Don’t be afraid, she won’t bite.” And Marya Ivanovna saw a lady sitting on a bench opposite the monument. Marya Ivanovna sat down at the other end of the bench. The lady looked at her intently; and Marya Ivanovna, for her part, casting several indirect glances, managed to examine her from head to toe. She was in a white morning dress, a nightcap and a shower jacket. She seemed to be about forty years old. Her face, plump and rosy, expressed importance and calmness, and her blue eyes and light smile had an inexplicable charm...”
Historians believe that in Pushkin’s novel, as in the portrait of V. L. Borovikovsky “Catherine II on a walk in Tsarskoye Selo Park,” the idea for the portrait was suggested by G. R. Derzhavin,” who worked as the empress’s secretary of state at that time, “we see a middle-aged lady (“about forty,” writes the author), in home attire – “in a white morning dress, a nightcap and a shower jacket,” walking in the garden with a dog. Pushkin introduces into the episode a description of the landscape, which is close to the landscape background on which Catherine II is depicted in the painting by V. Borovikovsky: yellowed linden trees, bushes, a wide lake, a beautiful meadow, “where a monument had just been erected in honor of the recent victories of Count Pyotr Alexandrovich Rumyantsev." Catherine has a “full and ruddy” face, “pleasant and calm,” expressing “tenderness and calmness,” with blue eyes and a slight smile. The writer emphasizes the empress’s pleasant and affectionate voice, her sympathetic manner of communication and conversation: she was the first to break the silence and talk with Masha; she spoke affectionately with a smile, “lifted her up and kissed her,” “caressed the poor orphan,” and promised to take care of her future. Pushkin reveals the peculiarities of Catherine’s character, emphasizes the ambiguity of her image: she can be strict, cold when it comes to her enemies, quick-tempered at the sight of disagreement, contradiction to her words and opinions (how she “flashed up” when Masha did not agree that Grinev “an immoral and harmful scoundrel” who sided with Pugachev!). At the same time, it is dominated, and Pushkin emphasizes this, by such character traits as responsiveness, mercy, and the ability to be grateful (“... I am indebted to the daughter of Captain Mironov.... I take upon myself to arrange your fortune”). The writer notes the simplicity of Catherine II (the empress listened to the orphan, the daughter of a simple commandant of a distant fortress), her willingness to help the poor girl and Grinev, her attentiveness (she listened carefully to Masha, understood her, sent her home not on foot, but in a court carriage). In this episode of the story, Pushkin openly expresses his attitude towards Catherine: “...blue eyes and a light smile had an inexplicable charm,” “Everything attracted the heart and inspired confidence,” he writes. The very style of description, the calm manner of narration, the vocabulary chosen by the writer emphasize his attitude towards Catherine II: words such as “smile” (three times), “pleasant” (voice, face), “affectionate” (voice), “kindly” (addressed), “caressing” (the poor orphan).
A.S. Pushkin values in a historical figure, a monarch, the ability to show “human independence”, human simplicity.
These features of Catherine’s spiritual appearance were reflected in A. S. Pushkin’s novel “The Captain’s Daughter.” In the image of Catherine II, the dream of the brilliant Russian writer about a truly human relations. “The Empress cannot forgive him (Grinev), says Catherine II to Masha Mironova. However, she is not only an empress, but also a person, and this saves the hero.”
It seems important to make some digression regarding the personal qualities of Catherine II. As historians note, she was an extraordinary person: smart, insightful, and sufficiently educated. Over the 17 years that passed from the moment of her arrival in Russia until her accession to the throne, she diligently studied the country in which she was destined to live and reign - its history, customs and traditions, culture; it is enough to recall Catherine’s persistent self-education before coming to power - diligently studying the Russian language, which was not her native language, diligently reading books - initially French novels, and then the works of philosophers - educators, historians, works of famous lawyers and economists. Gaining the reputation of the future Russian empress, Catherine showed remarkable intelligence, understanding of people, the ability to please them, the ability to find like-minded people and inspire confidence in them. Of interest are the “Autobiographical Notes” of Catherine II, which shed light on the personality and activities of the Empress. “Notes” were written by her in French and published in 1859 in London by A.I. Herzen. And, although one cannot but agree with the opinion of many critics that in these “Notes” the Empress was not completely sincere (even in early childhood life taught her to be cunning and pretend), nevertheless they give an idea of Catherine, who attracted many to her artists and poets. In this regard, we are especially interested in one of the fragments of the “Notes” - “The Moral Ideals of Catherine II”, which allows, with a certain degree of correction, to deepen our understanding of the extraordinary personality of Catherine II:
“Be gentle, philanthropic, approachable, compassionate and generous; Let your greatness not prevent you from being good-naturedly condescending to small people and putting yourself in their position, so that this kindness will never implore either your power or their respect. Listen to everything that is at least somewhat worthy of attention... Act in such a way that good people love you, evil people fear you and everyone respects you.
Keep within yourself those great spiritual qualities that make up the distinctive identity of an honest man, a great man and a hero...
I pray to Providence that it will imprint these few words in my heart and in the hearts of those who read them after me.”
The image of Catherine II in V. S. Pikul’s novel “The Favorite.”
"The Favorite" - historical novelValentina Pikulya . It chronicles the timesCatherine II . The novel consists of two volumes: the first volume is “His Empress”, the second is “His Tauris”.The novel “The Favorite,” like other literary masterpieces, was created by Valentin Pikul after a painstaking study of authentic historical archival materials. Despite great amount characters, the book is easy to read and captivates you literally from the first pages.Pikul masterfully chose the method of narration: Russia of the second half of the 18th century is described through the prism of the stages of life of the main character of the work, Prince Grigory Potemkin.The novel reflects the most important events national history second half18th century . In the center of the story is the image of the favorite of Empress Catherine II Alekseevna, commanderGrigory Potemkin . Many pages of the novel are also devoted to other major historical figures of that time.
Work on the first volume of the novel began in August 1976; the first volume was completed in November 1979. The second volume was written in just one month - in January 1982.
The novel “The Favorite” is a multifaceted work in which a huge layer of historical reality is raised and a broad canvas of the life of Russia in the second half of the 18th century is given.The work begins with the address “From the author”, in which V.P. Pikul writes that “Pushkin predicted: “... the name of the strange Potemkin will be marked by the hand of history,” and Herzen later wrote that “the history of Catherine the Great cannot be read in front of ladies.” The names of these people, welded together by a single passion and hatred, common victories and defeats, are indissoluble in Russian antiquity. Potemkin would never have become the “Prince of Tauride” if Catherine’s love had passed him by, but she would not have risked being titled “Great” if she had not been surrounded by Russian people like Potemkin!”
Slide captions:
“The image of Catherine II in the works of her contemporaries, in the historical novels of A. S. Pushkin “The Captain's Daughter” and V. S. Pikul “The Favorite” The work was completed by: Sadykov Linar Ramilievich, 11th grade student Alekseevskaya high school No. 3 named after G. S. Borovikova Head: Evlanova Alexandra Fedorovna
V. S. Pikul (July 13, 1928 - July 16, 1990) “The Favorite” is a historical novel-chronicle of the times of Catherine the Second.
Objectives of the study: 1) Show through the image of Catherine II how objective is the image of a historical figure in different types of artistic creativity? How do the features of the historical image of Catherine II correlate with the literary image? 2)And how do my contemporaries and filmmakers perceive the image of Catherine II?
Research objectives: 1) To get acquainted with the literature on this topic. 2) Analyze the novels by Valentin Savvich Pikul “The Favorite”, A. S. Pushkin “The Captain’s Daughter”, the ode “Felitsa” by G. R. Derzhavin, who in 1791-1793 worked as Secretary of State under Empress Catherine II; A. N. Radishchev’s book “Journey from St. Petersburg to Moscow.” 3) View and analyze the modern film “Catherine the Great”.
Catherine II the Great And is it glorious to be a tyrant, Who is great in goodness, like God? Derzhavin G.R.
How is the Image of Catherine II depicted in the literature of her contemporaries and historians? A distinctive feature of the reign of Catherine the Second, in addition to her gradual, non-violent transformations, was that the consequence of the cleansing of the autocracy from the “admixtures of tyranny” was peace of hearts, success in secular amenities, knowledge, and reason. N. M. Karamzin is the first Russian researcher and historian.
P. A. Antropov D. G. Levitsky Reflection of the image of Catherine in the works of artists and poets G.R. Derzhavin A.P. Sumarokov M. M. Kheraskov Raise glory to the goddess above the sun at last. A. P. Sumarokov
The image of Catherine in Radishchev’s book: “Journey from St. Petersburg to Moscow” The image of the “villain of all the fiercest villains” - the king - runs through his entire work.
The image of Catherine II in Pushkin’s novel “The Captain’s Daughter” “... blue eyes and a light smile had an inexplicable charm. Everything attracted the heart and inspired confidence. "A.S. Pushkin. V.L. Borovikovsky “Catherine II on a walk in Tsarsko-Selo Park”
“The Favorite” is a historical novel by Valentin Pikul. It uniquely describes the chronicle of the times of Catherine II. Pikul's main artistic principle is to show the era through specific historical figures.
The image of Catherine the Great in cinema
List of used literature: 1) E. A. Maimin. Pushkin. Life and art. Publishing house "Science". -M., 1981. 2) Anisimov E.V., Kamensky A.B. Russia in the 18th – first half of the 19th centuries: History. Historical documents. – M.: Miros, 1994. 3) Century of Enlightenment: Century XVIII: documents, memoirs, literary monuments. – M.: Nauka, 1986. 4) Derzhavin G.R. Odes. - L.: Lenizdat, 1985. 5) Derzhavin G.R. Works: Poems; Notes; Letters. – L.: Fiction, 1987. – 504 p. 6) Catherine II. Works of Catherine II. – M.: Sovremennik, 1990. 7) Pushkin A. S. The Captain’s Daughter. M., 1975. Russian literature. Textbook for 8th grade of secondary school. N.I. Gromov, N.A. Spitsyna, V.I. Korovin, N.K. Semenov. 1988 8)A. N. Radishchev “Journey from St. Petersburg to Moscow.” Literature textbook for 9th grade. V. I. Korovin. M., 2010 9) https://ru.wikipedia.org/wiki/Ekaterina 10) https://ru.wikipedia.org/wiki/Favorite (novel) 11) Textbook of Russian History of the 18th-19th centuries for educational institutions, Grade 10. N. I. Pavlenko, L. M. Dyashenko, V. A. Tvardovskaya. Bustard. M-2001 12) V. S. Pikul “Favorite”. In 2 books. Publisher: AST, M., 2007.
