| Abstrakt: |
The theory of social treaty is one of the basic socio-political doctrines of the Enlightenment in Europe and in Russia. Different models of relations between the authorities and society are reflected in the treatises of European and Russian thinkers of the time. However, the concept of the social treaty represents the constantly changing ideological construct, "a tacit agreement", created, sought and spoken in various texts of culture. The author intents to observe the odic poetry of the XVIII century, the field of Russian culture, where the ideas of a mutually beneficial agreement of the parties - the monarch and his subjects were the most widespread and received the most vivid embodiment. The aim of this article is to identify the main stages in the history of the relationship between the monarch and his subjects, reflected in the poetry, and the basic principles on which those concepts are formed. To achieve this goal it is necessary to solve several problems. First of all, the conceptual paradigm of "social treaty" of Peter's I period, the sphere of its existence, and ways of its maintaining should be pointed out. Secondly, the reasons for the change of this paradigm in odic poetry of 1740-1760 must be analyzed, as well as the reasons for its renewal in the poetry of 1770-1790 and its destruction at the end of the age of Enlightenment should be explored. Thirdly, the way the odic poetics responds to the changes in the ideological guidelines of the epoch needs to be established. The author's conclusions indicate that the paradigm of "social treaty" was mainly formed in Peter the Great's time, when the "responsibilities" of the sovereign and his subjects were defined: the monarch despises the common good, and the subjects obey and serve. However, as well as all schemes, this formula simplifies even declarative by their nature regulations. In the first third of the XVIII century "revolution from above" carried out by Peter the Great, demanded implicit obedience, and the emphasis is on the subjects that have to honour and obey the monarch for "fear" and "conscience"; the absolute power of the monarch, even the evildoer, must not be criticized or questioned. Preaching, words and publicistic works of Theophanes introduce religious and ethical dimension in the relationship of father-monarch and his sons-subjects. After Peter's death, the situation changes: the genres of solemn odes and inscriptions to the illuminations and fireworks of Elizabethan times, keeping in general the dominant of "social treaty", transform the contours and contents of this paradigm. The solemn ode in the ideological field is replaced by the solemn words of Peter's time. The figure of the Empress, the ideal ruler and the enlightened monarchess, whose activities are aimed at achieving the bliss of Russia is put in the forefront. Bliss - the category, keeping the relationship with the religious sphere, distinct from public benefit, is associated with the secular dimension of life. The emotional motives of the "treaty" also take changes: love is declared to be the driving force of the monarchess's action as well as her subjects, canceling the immensity of the authority. Odopis' of these years shows an amicable agreement: "for kindness and generosity" of the Empress's subjects are ready to sacrifice themselves. Paternal-filial model of relationship of the authorities and citizens during the reign of Elizabeth had to change its gender and turn to maternal-filial one but it didn't happen. In the Lomonosov's solemn odes Elizabeth is not almost called the Mother of the Fatherland. The reason is the fact that the only legal basis for Elizabeth's accession to the throne was her relationship with Peter the Great, so her odic names, especially during the first years of her reign are directly linked to the Grand Parent - «Krov' Petrova» [the Peter's blood] (here and further translation by Kolesnikova O. ) and especially «Dshcher' Petrova» [Peter's Daughter]. The latter reason did not allow claiming the maternal core in Elizabeth's relation to her subjects. History defines poetic preferences; in its turn the odic poetics affects ideological constructs, in our case the declaration of Elizabeth and her subjects relationship. The concept of the social treaty changed its frames again in the late 1770-1790. The model of the maternal-filial relationship, popularized in the laudable discourse, was rarely questioned only in revolutionary works by nature. The development of the concept of "social treaty" is that the bliss of the subjects was declared as the necessary condition of the ruler's bliss. There is a constant tense search of the agreement, conditions of the bliss for the ruler as well as for his subjects. At this time, when literature is gradually emancipated from the authorities, there is another shift: the inability to criticize the monarch provokes the criticism of the nobles as a special group, related more to the power than to the people. If during the previous eras the lonely figure of the monarch on a throne ruled over society, at the end of the century "grandee" expanded the very concept of the power and assumed the arrows of the critical attitude to it. By the end of the century ceremonial ode had left the scene of poetry, but was in demand in moments of accession to the throne of Paul I and Alexander I. However, the first year of Alexander's reign did not meet the regular expectations of the citizens, and therefore 1802 witnessed the final disruption of the illusion and elimination of the "amicable agreement" between the monarch and his subjects. [ABSTRACT FROM AUTHOR] |
