Dialogical Intentions in Gavriil Derzhavin's Lyric Poetry

The article is a detailed substantiation of S.G. Bocharov's thesis of about the dialogical basis of the author's consciousness of Gavriil Derzhavin. It is noted that in the structure of Derzhavin's lyric subjectivity, the form of the second person, assuming the obligatory presence of the interlocutor, has an extremely high degree of frequency. On the material of the collection of lyric poems (“God”, “Storm”, “On the capture of Warsaw”, “To N. A. Lvov”, etc.), it is shown that Derzhavin's communicative situation, which involves the actualization of someone else's consciousness or the direct addressing of a lyric statement, has a meta-genre nature. The wide range of recipients of Derzhavin's literary discourse demonstrates the author's desire to give variability to the potentially monological world of the lyric character, and the heterogeneity of the status of these recipients gives the effect of stylistic diversity in the text and enhances its communicative suggestiveness. A number of Derzhavin's poetic works clearly demonstrate the possibility of coexistence of different values mediated by different speech forms within one lyric text, which contributes to the dramatization of the lyric plot and creates preconditions for subjective polyphony. The dialogical potential of Derzhavin's poetry reaches its climax in the genre of a friendly message. Examples of this genre, as a rule, are inherent in the elements of personalism in M. Bakhtin's sense, which implies the ability of the author of the statement to penetrate into the subjective sphere of another Self. When a lyric work, along with the main subject of speech, has another subject-object instance (addressee), value multiplicity occurs and its dialectical unity determines the value position of the author. And it is this type of the subjective structure that can be seen in a number of Derzhavin's poetic messages. As a result, it is concluded that dialogism is an important feature of the author's consciousness of Derzhavin. It appears as a special literary ideology in his works, and as a constructive factor in his poetics. Trying to comprehend the multifaceted and contradictory nature of man, the poet seeks to capture it in the perspective of formation and self-determination, which is impossible without the establishment of truly dialogical contacts with various elements of life. This approach to man as a possessor of a full autonomous consciousness anticipated the artistic discoveries of the Russian literature of the 19th century.

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