All works by A.S. Pushkin’s works perfectly convey the palette of feelings that the brilliant poet experienced throughout his life. Freedom-loving poetry always came first for him, especially in his early work. Even during his youth at the Lyceum, Pushkin noted to himself that every person has the right to freedom. However, the ruling political circles create conditions for the people that will certainly burden and make their existence unbearable.

Freethinking

Pushkin’s ode “Liberty” entered precisely the early period of the work of this great poet. At that time, he was too naive and could not even guess that censorship existed. Pushkin expressed his thoughts too openly and thought that he had every right to do so.

Pushkin’s work “Liberty” was written by him immediately after graduating from the Tsarskoye Selo Lyceum in 1817. By that time, he no longer doubted his destiny in fiction and most of all dreamed of universal freedom, which he often sang in his poems.

Already in the first lines of Pushkin’s ode “Liberty,” one hears a call and readiness to sacrifice everything he has, even his talent, for the sake of freedom. The poetic lines sound like a spell: “Come, tear off my crown...” In this work there is a predetermination of his fate as a citizen and as a poet. He is convinced: since the Lord has gifted him with extraordinary literary talent, then there is no need to waste it on all sorts of trifles. Pushkin considers his goal necessary, noble and calls: “Tyrants of the world! Tremble!... arise, fallen slaves!”

Ode “Liberty” Pushkin: analysis

But be that as it may, the still very young Pushkin understands that it will be very difficult to achieve changes for the better in the world. He regrets that “the disastrous disgrace of laws” reigns all around and all classes of society have to put up with them. And if high-ranking authorities take all this for granted, then for the poor serfs, corvee and serfdom are all the same as shackles.

Pushkin defines two main forces of society in the 19th century: glory and slavery. The valiant Russian people were able to glorify their homeland with great victories and exploits. However, the other side of this coin was slavery and terrible beggary.

The poet is interested in what modern society will look like when it becomes truly free? For this, he turns to the archives of the history of the Zaporozhye Sich, where a lot was said about equality and freedom. It was then that Pushkin matured to his revolutionary ode. “Liberty” is a poem that is the result of the perception of the existing system that he hates.

Condemnation of autocracy

In his reasoning about the purpose of man, Pushkin comes to the conclusion that state power should not be inherited, it should be given to the one who is most worthy of it. Therefore, Pushkin becomes an opponent of autocracy; he sees both great darkness and silent submission of the people. The poet notes that not only contemporaries, but also ordinary people of Europe, where lawlessness was also happening, were “shamefully silent.” He predicts reward for the rulers and unfailing life according to the law.

Pushkin’s work “Liberty” was never published during his lifetime, only then Herzen published it in the second book of the collection “Polar Star” from 1856.

Faith in the best

Continuing this topic, it must be said that the poet to some extent understood the impossibility of changing the autocratic system. And then he himself admitted that he never called for bloodshed and revolution. But at the same time, he never abandoned his dreams of a bright future for the people. Pushkin believed, like a child, that the world would change someday anyway and his priorities would be justice, equality and freedom.

This work, of course, did not remain without attention and reaction from the government, and therefore in 1820 Pushkin was sent to Southern exile, away from the capital.

Ode “Liberty”, Pushkin: genre

The ode also influenced the socialist revolution of 1917 to some extent. The theme of protest against the absolute monarchy found a response in Bolshevik circles. After all, her lines: “Automatic villain, I hate you, your throne!” - were still very relevant a hundred years later.

Pushkin’s ode “Liberty” is written in the form of a lyrical monologue with highly colored vocabulary. All this creates dynamic text and a clear rhythm. The poet's thoughts and feelings can be traced through the strict composition. Various artistic means in the form of epithets: “noble trace”, “fatal passion”, “unjust Power”, etc., and personifications: “The Law is silent” help to make the text brighter and more colorful. Verbs and gerunds are repeated more often than other parts of speech: “run, break, take courage, listen, rise.”

Pushkin has the talent to quite easily convey very important issues and problems to the masses.

Pushkin's ode "Liberty" is divided into three parts. In the first, he turns to his muse. Then he expresses his dissatisfaction with the ruling authorities. And he ends it all with an appeal to the king.

In his ode, Pushkin talks about slavery and how autocrats are indifferent to their slaves. The poet opposes serfdom. Slavery for him is the personification of a formidable genius, and fame is like a fatal passion. He is trying to prove to the rulers that they are not in power because of their ambitions and desires; their patronage is accompanied by the law. The poet somewhat humiliates the powerful kings, believing that they have not done anything good for the people. He says about the army that although the army may seem ruthless and daring at first glance, there is fear in their eyes.

At the very end of the ode, the poet calls on the kings to respect the will of the people and act first of all according to the law, without trampling on it.

Let the slave sing your praises.

Fill my heart with your warmth,

In it your strong muscles blow

Turn darkness into the light of slavery,

Yes, Brutus and Tell will still wake up,

Let them sit in power and be confused (*)

From your voice kings.

I came into the light, and you are with me;

There are no rivets on my muscles;

With my free hand I can

Take the bread given for food.

I place my feet where it pleases me;

I will listen to what is clear to me;

I say what I think.

I can love and be loved;

By doing good, I can be honored;

My law is my will.

(*He who sits in power... - let those sitting on the throne be seized with confusion. (Hereinafter, editor's notes.))

But what harms my freedom?

I see the limit to desires everywhere;

A common power arose among the people,

The conciliar destiny of all authorities.

Society obeys her in everything,

Everywhere there is unanimous agreement with her;

There are no obstacles to the common benefit.

I see my share in the power of everyone,

I do my own thing, doing everyone’s will:

This is what law is in society.

In the middle of the green valley,

Among the fields laden with harvest,

Where tender krins flourish,

Among the peaceful shades of olive trees,

Parian marble is whiter,

The brightest rays of the day are brighter,

There is a temple transparent everywhere;

There the deceitful victim does not smoke,

There is a fiery inscription:

"The end of innocence to troubles."

Crowned with an olive branch,

Sit on a hard stone,

Ruthless and coldly

Deaf deity, judge

Whiter than snow in a chlamys

And always in an unchanged form;

Mirror, sword, scales in front of him.

Here the truth cuts the gums,

There is justice here:

This temple of the Law is clearly visible.

Raises strict eyes,

Joy and awe flow around you,

The faces look at everything equally,

Neither hating nor loving;

He is alien to flattery, partiality,

Breed, nobility, wealth,

Disdaining sacrificial aphids;

Knows no kinship, no affection,

He shares bribes and executions equally;

He is the image of God on earth.

And this monster is terrible,

Like a hydra, having a hundred heads,

Touchingly and in tears all the time,

But the jaws are full of poison,

He tramples upon earthly authorities,

The head reaches the sky,

“His homeland is there,” it says.

Ghosts, spreading darkness everywhere,

He knows how to deceive and flatter

And he tells everyone to believe blindly.

Covering the mind in darkness

And spreading creeping poison everywhere,

Three surrounded with a wall

Sensitivity of the nature of children;

Dragged into the yoke of enslavement,

Clothed them in the armor of delusion,

He ordered us to fear the truth.

“This is God’s law,” the king says;

“Holy deception,” the sage cries,

The people are pushing what they invented."

Let us look into the vast region,

Where the dim throne is worth slavery,

The city authorities there are all peaceful,

The king has in vain the image of a deity.

The Tsar's power preserves the faith,

The power of the Tsar's faith asserts,

Union society is oppressed:

One strives to fetter the mind,

Another seeks to erase the will;

“For the common good,” they recite.

Slave's peace under the canopy

The fruits of gold will not increase;

Where everything in the mind is filled with striving,

Greatness will not languish there.

There the fields will be desolate and fat,

The scythe and sickle are not handy there,

The lazy ox will fall asleep in the plow,

The shining sword will fade from glory,

The Minervin temple has become dilapidated,

A network of deceit has spread into the valley.

Raising your arrogant brow,

The king grabbed the iron scepter,

Sitting imperiously on the triple throne,

The people see only a vile creature.

Having the belly and death in hand:

“By will,” he said, I spare the villain,

I can give to power;

Where I laugh, everyone laughs;

I frown menacingly, everything is confused;

If you live then, I command you to live."

And we listen in cold blood,

Like the blood of our greedy reptile,

Always swore, no doubt

On happy days hell is brought upon us.

Everything around the throne is arrogant

They stand on their knees.

But the avenger, tremble, is coming.

He speaks, prophesying freedom,

And behold, rumor from edge to edge,

Giving freedom, it will flow.

Brann's army will appear everywhere,

Hope will equip everyone;

Married in the blood of the tormentor

Everyone is in a hurry to wash away their shame.

The sword is sharp, I see, it sparkles everywhere,

Death flies in various forms,

Soaring above the proud head.

Rejoice, riveted nations!

This is nature's avenged right

The king was put on the block.

And the night is a false veil

With a crash, powerfully torn apart,

Puffy power and obstinacy

The huge idol has been trampled,

Having bound the giant with his hundred hands,

Attracts him as a citizen,

To the throne where the people sat:

“Criminal of the power given by me!

Prophecy, villain, crowned by me,

How dare you rebel against me?

I clothed you in purple

Maintain equality in society

To look after the widow and the orphan,

To save innocence from troubles,

She should be a child-loving father;

But an irreconcilable avenger

Vice, lies and slander;

Merits are rewarded with honor,

A device to prevent evil,

Keep your morals pure.

I covered the sea with ships,

He built piers on the banks,

So that treasures can be traded

Flowed in abundance in the cities;

Golden harvest so that there are no tears

She was useful to the speaker;

He could broadcast behind the plow:

"I am not a mercenary of my reins,

I am not a captive in my pastures,

I prosper with you."

I have no mercy for my blood

He raised up a thundering army;

I sculpted copper masses,

External villains to punish;

I told you to obey

With you to strive for glory;

For the benefit of everyone, I can do anything.

I am tearing apart the bowels of the earth,

I extract shiny metal

For your decoration.

But you, having forgotten the oath given to me,

Forgetting that I chose you

To be married for your own pleasure,

I imagined that you are the Lord (*) - not me;

With the sword I dissolved my statutes,

He rendered all rights voiceless (**),

He ordered to be ashamed of the truth;

Cleared the way for abominations.

He began to cry not to me, but to God,

And he wanted to disdain me.

(* Lord - here: master.)

(** He has rendered all rights mute... - he has autocratically violated the laws.)

Bloody then getting

The fruit that I planted for food,

Sharing crumbs with you,

He did not spare his efforts;

All the treasures are not enough for you!

Well, tell me, they were missing,

What rags did you tear off me?

Giving a pet is full of flattery!

A wife who shuns honor!

Or did you recognize gold as God?

Excellent sign invented

You began to give impudence;

The villain's sword is my sophisticated one

You began to promise innocence;

Loaded shelves for protection

Are you leading a famous person to fight?

Punishment for humanity?

In bloody valleys you fight,

So that, having drunk in Athens,

"Iroy!" - yawning, they could say.

Villain, the fiercest of all villains!

Evil exceeds your head.

The foremost criminal of all!

Stand up, I call you to court!

I accumulated all the atrocities into one,

Not a single one will pass by

You are out of execution, adversary!

You dared to point a sting at me!

One death is not enough

Die! die a hundredfold!"

Great man, full of deceit,

A hypocrite, and a flatterer, and a blasphemer!

You are alone in such a beneficial light

Serfdom, the second face of the “monster,” is inextricably linked with autocracy in Russia. Radishchev exposes the inhuman essence, the irreparable, nationwide harm of serfdom in indissoluble unity both as an artist-publicist and as a political sociologist.

For Radishchev, the question of the peasant revolution includes two problems: the justice of popular indignation and its inevitability. Radishchev also gradually leads the reader to the idea of ​​the justice of the revolution. It is based on the Enlightenment theory of the “natural” human right to self-defense, without which no living creature can do. In a normally structured society, all its members should be protected by the law, but if the law is inactive, then the right of self-defense inevitably comes into force. This right is discussed, but still briefly, in one of the first chapters (“Lyubani”).

The ode “Liberty” was written in the period from 1781 to 1783, but work on it continued until 1790, when it was published with abbreviations in “Journey from St. Petersburg to Moscow”, in the chapter “Tver”. Its full text appeared only in 1906. The ode was created at a time when the American Revolution had just ended and the French Revolution had begun. Its civic pathos reflects the inexorable desire of peoples to throw off feudal-absolutist oppression.

Radishchev begins his ode with the glorification of freedom, which he considers a priceless gift of nature, the “source” of “all great deeds.” In a country where the overwhelming majority of the population was in serfdom, this very thought was a challenge to the existing order. Freedom is given to every person by nature itself, the author believes, and therefore in the “natural state” people did not know any constraint and were absolutely free: “I came into the light, and you are with me; // There are no rivets on my muscles...” (T. 1. P. 1). But in the name of the common good, people united into society, limited their “will” to laws beneficial to everyone, and elected an authority that must ensure their strict implementation. Radishchev draws the good consequences of such a device: equality, abundance, justice. Religion surrounded the power of the ruler with a divine aura and thereby freed him from responsibility to the people. The monarch turns into a despot:

The loss of freedom has a detrimental effect in all areas of society: fields become empty, military valor fades, justice is violated, but history does not stand still, and despotism is not eternal. Discontent among the people is growing. The herald of freedom appears. Outrage breaks out. Here Radishchev differs sharply from European enlighteners. Rousseau in his book “The Social Contract” limits himself to only a brief remark that if the monarch elected by society violates the laws, the people have the right to terminate the social contract previously concluded with him. In what form this will happen, Russo does not disclose. Radishchev finishes everything. In his ode, the people overthrow the monarch, try him and execute him:

Not content with speculative evidence of the inevitability of revolution, Radishchev seeks to rely on the experience of history. It recalls the English Revolution of 1649, the execution of the English king. Attitudes towards Cromwell are contradictory. Radishchev glorifies him for the fact that he “executed Karl at trial” and at the same time severely condemns him for the usurpation of power. The poet's ideal is the American Revolution and its leader Washington.

Humanity, according to Radishchev, goes through a cyclical path in its development. Freedom turns into tyranny, tyranny into freedom. Radishchev himself, retelling the contents of the 38th and 39th stanzas in the chapter “Tver”, explains his thought as follows: “This is the law of nature; from torment freedom is born, from freedom slavery is born...” (Vol. 1, p. 361). Addressing the peoples who have thrown off the yoke of a despot, Radishchev calls on them to cherish their won freedom like the apple of their eye:

Despotism still triumphs in Russia. The poet and his contemporaries “weigh” the “unbearable burden of shackles.” Radishchev himself does not hope to live to see the day, but he firmly believes in its impending victory, and he would like his compatriot to say this when he comes to his grave.

In its style, the ode “Liberty” is a direct heir to Lomonosov’s laudable odes. It is written in iambic tetrameter, ten-line stanzas with the same rhyme scheme. But its content is strikingly different from Lomonosov’s odes. Radishchev does not believe in enlightened monarchs and therefore freedom and the indignation of the people against the tsar become the objects of his praise.

Before us is a variety of the odic genre of the 18th century. - a revolutionary-educational ode as one of the phenomena of educational classicism.

The purpose of the ode is to comprehend the lessons of history. The ode “Liberty” was created during the rise of the revolutionary movement in America and France. She is filled with firm faith in the triumph of liberation ideas.

TICKET 13
1. Solemn ode to M.V. Lomonosov: problematics and poetics.
By its nature and the way it exists in the cultural context of our time, Lomonosov’s solemn ode is . an oratorical genre to the same extent as a literary one. Solemn odes were created with the intention of reading aloud in front of the addressee; the poetic text of a solemn ode is designed to be a sounding speech perceived by ear. The typological features of oratorical genres in ceremonial dress are the same as in the sermon and the secular oratorical Word. First of all, this is the attachment of the thematic material of the solemn ode to a specific “occasion” - a historical incident or event of national scale.

The composition of the solemn ode is also determined by the laws of rhetoric: each odic text invariably opens and ends with appeals to the addressee. The text of the solemn ode is constructed as a system of rhetorical questions and answers, the alternation of which is due to two parallel operating settings: each individual fragment of the ode is designed to have the maximum aesthetic impact on the listener - and hence the language of the ode is oversaturated with tropes and rhetorical figures. As for the sequence of development of the odic plot (the order of individual fragments and the principles of their relationship and sequence), it is determined by the laws of formal logic, which facilitates the perception of the odic text by ear: the formulation of the thesis, proof in a system of successively changing arguments, a conclusion repeating the initial formulation. Thus, the composition of the ode is subject to the same mirror-cumulative principle as the composition of satire and their common proto-genre - sermon. Lomonosov managed to determine the relationship between the addressee and the addressee. *In classic. ode lyrical the hero is weakly expressed according to the laws of the genre. The addressee is expressed only nationally (i.e. I am Lomonosov - a Russian poet), one of the subjects of the monarch. Such static lyre. the hero is not satisfied with the author, because there is no movement here. Lomonosov, in order to evaluate the entire act of the monarch, the addressee must be the embodiment of reason, i.e. instead of static lyrical. "I", Lomonosov offers duality; a subject mind that can soar above everyone and evaluate the deeds of the monarch. Lomonosov structures the composition by changing the position of the addresser's point of view. The change of point of view is lyrical. At the same time, the hero allows him to combine specificity and delight. The description of actions is associated with the sphere of the floating mind, hence the presence of strong metaphors, hyperboles, and other images, the interweaving of tropes, the conjugation of the past, present and future. The monarch almost arrives in heaven, but the mind is lyrical. The hero may also be a monarch of a vertically structured space. Lomonosov's ode to the celebration, from the point of view of content, has classicist features, and the elements of its form are Baroque heritage. The movement of the “floating mind” suggests a complex relationship of stanzas in which the movement of thought is observed. The odic stanza has a trace. type: AbAbCCdede- (1 part – quatrain, 2 part – couplet, 3 part – quatrain). The sizes of each of these parts do not always coincide, but often predetermine the division into 2 main thoughts and one additional one. The connections between stanzas are not always immediately visible, sometimes they are images or parallels, but often you can catch the author’s movement of thought from stanza to stanza.

As odic characters, Russia, Peter I and Divine Science are united by their one and only common property: they are characters of the ode insofar as they are ideas expressing a common concept. Not a specific historical person and monarch Peter I, but the idea of ​​an Ideal Monarch; not the state of Russia, but the idea of ​​the Fatherland; not a specific branch of scientific knowledge, but the idea of ​​Enlightenment - these are the true heroes of the solemn ode.

Problems of the ode “Liberty”

But A.N. Radishchev was not only a prose writer, but also a poet. A generalization of Radishchev’s historical and political concepts was the ode “Liberty,” which was the first classical monument of Russian revolutionary poetry. “Liberty” is included in “Journey from St. Petersburg to Moscow”, in the chapter “Tver”.

The ode is based on general educational theories of the natural equality of people, natural law and social contract, rethought by Radishchev in a revolutionary spirit. In the ode “Liberty,” Radishchev further deepened his criticism of the autocracy and expressed the idea that the church is a reliable support for the autocracy.

In its style, “Liberty” is a direct heir to Lomonosov’s laudable odes. It is written in iambic tetrameter, ten-line stanzas with the same rhyme scheme. But its content is strikingly different from Lomonosov’s odes. Radishchev does not believe in enlightened monarchs and therefore freedom and the indignation of the people against the tsar become the objects of his praise.

A.N. begins his ode. Radishchev with the glorification of freedom, which he considers an invaluable gift of nature, the “source” of “all great things.” In a country where the overwhelming majority of the population was in serfdom, this very thought was a challenge to the existing order.

Freedom is given to every person by nature itself, the author believes, and therefore in the “natural state” people did not know any constraint and were absolutely free: “I came into the light, and you are with me; There are no rivets on my muscles...” But in the name of the common good, people united into society, limited their “will” to laws beneficial to everyone, and elected an authority that must ensure their strict implementation. A.N. Radishchev draws the good consequences of such a device: equality, abundance, justice. Religion surrounded the power of the ruler with a divine aura and thereby freed him from responsibility to the people: “The power of the tsar protects the faith, the power of the tsar affirms the faith, the Union oppresses society.” The monarch turns into a despot:

“Highly lifting up your arrogant brow, O king, seizing the iron scepter,

Having sat imperiously on the formidable throne, the people see only a vile creature.”

The loss of freedom has a detrimental effect on all areas of society: fields become empty, military prowess fades, and justice is violated. But history does not stand still, and despotism is not eternal. Discontent among the people is growing. The herald of freedom appears. Outrage breaks out. Here Radishchev differs sharply from European enlighteners. Thus, if Rousseau in the book “The Social Contract” limits himself to only a brief remark that if the monarch elected by society breaks the laws, the people have the right to terminate the social contract previously concluded with them (in what form this will happen, Rousseau does not disclose), then Radishchev talks to the end. In his ode, the people overthrow the monarch, try him and execute him:

“An army will arise everywhere, hope will arm everyone;

Everyone is in a hurry to wash their shame in the blood of the tormentor.

Rejoice, ye nations riveted;

It is nature’s avenged right that brought the king to the chopping block.”

Not content with speculative evidence of the inevitability of revolution, Radishchev seeks to rely on the experience of history. It recalls the English Revolution of 1649, the execution of the English king. Radishchev glorifies him for the fact that he “executed Karl at trial” and at the same time severely condemns him for the usurpation of power.

Humanity, according to A.N. Radishchev, goes through a cyclical path in its development. Freedom turns into tyranny, tyranny into freedom. Radishchev himself, retelling the contents of the 38th and 39th stanzas in the chapter “Tver”, explains his thought as follows: “This is the law of nature; From torment is born freedom, from freedom slavery...” Addressing the peoples who have thrown off the yoke of a despot, Radishchev calls on them to cherish their won freedom like the apple of their eye:

“Oh, you! happy nations, where chance has granted freedom!

Observe the gift of good nature, which the Eternal has written in your hearts.”

Despotism still triumphs in Russia. The poet and his contemporaries “weigh” the “unbearable burden of shackles.” A.N. himself Radishchev does not hope to live to see the day of freedom: “The hour has not yet arrived, Fate has not been fulfilled,” but he firmly believes in its impending victory, and he would like his compatriot, coming to his grave, to say:

“Under the yoke of power, this one born,

Mowing the shackles are gilded,

He was the first to prophesy freedom for us.”

The ode “Liberty” by the Russian writer and philosopher Alexander Nikolaevich Radishchev (1749 – 1802) is a vivid hymn to freedom and a call to defend it and fight tyranny, including through revolution. History is portrayed by Radishchev as a process of struggle between freedom and lack of freedom, which, however, can end either in the triumph of freedom or in its suppression

Freedom, in the terminology of the 18th century - liberty, lies at the basis of historical progress. However, this natural human right, given to him from birth, is often destroyed by the authorities seeking to enslave society and subordinate it to their will. The task of society (“the people” in Radishchev’s ode) is to defend its natural rights. Freedom is the highest, but very fragile value. You always have to fight for it. Otherwise, tyranny will destroy freedom - the light will turn “into darkness.”

Freedom is given to man from birth. This is his autonomous will, his right to think and express his thoughts freely, to realize himself the way he wishes. Here is what Radishchev writes, referring to liberty:

I have come into the light, and you are with me;
There are no rivets on your muscles;
With my free hand I can
Take the bread given for food.
I place my feet where it pleases me;
I listen to what is clear;
I broadcast what I think;
I can love and be loved;
I do good, I can be honored;
My law is my will.

Radishchev portrays freedom as a source of progress, a vector of history that gives people enlightenment and destroys the oppression that exists in society.

So the spirit of freedom, ruining
The ascended bondage oppresses,
Flying through towns and villages,
He calls everyone to greatness,
Lives, gives birth and creates,
Doesn't know the obstacles on the way
We lead with courage in the paths;
The mind thinks with him tremblingly
And the word is considered property,
Ignorance that will scatter the ashes.

But here Radishchev points to the threat to freedom, which is embodied in the supreme power. Rulers through their laws suppress freedom and enslave society. Tsar

...Dragged into the yoke of enslavement,
Clothed them in the armor of delusion,
He ordered us to fear the truth.
“This is the law of God,” the king says;
“Holy deception,” the sage cries, “
People will crush what you have gained."

Power in the person of kings and rulers usurps freedom. Relying on priests, they dictate their own will to society.

Let us look into the vast region,
Where a dim throne is worth slavery.
The city authorities there are all peaceful,
The king has in vain the image of the Divine.
The royal power protects the faith,
Faith asserts the power of the Tsar;
Union society is oppressed:
One strives to fetter the mind,
Another will seeks to erase;
For the common good, they say.

However, the logic of history inevitably leads to the overthrow of tyranny. The law of nature and society is the desire for freedom. Tyranny destroys itself. According to Radishchev, the greater the oppression, the greater the likelihood of uprising and revolution, a vivid description of which he gives in his ode.

This was and is the law of nature,
Never changeable
All nations are subject to Him,
He always rules invisibly;
Torment, shaking the limits,
The poisons are full of their arrows
Without knowing it, it will pierce itself;
Equality will be restored to execution;
One power, lying down, will crush;
Insult will renew the right.

Freedom is the logic of history. It's aimed at infinity. But at the same time, Radishchev warns about the dangers that can threaten freedom and that come from the authorities.

You will reach the point of perfection,
Having jumped over obstacles in the paths,
You will find bliss in cohabitation,
Having eased the unfortunate lot,
And you will shine more than the sun,
Oh liberty, liberty, may you die
With eternity you are your flight;
But the root of your blessings will be exhausted,
Freedom will turn into arrogance
And the authorities will fall under the yoke.

Freedom needs to be protected, otherwise it will turn into tyranny. Radishchev's genius is that he pointed out not only the progressive development of history, but also the danger of the reverse process - social regression, which is associated with tyranny. Therefore, Radishchev calls for protecting freedom and fighting for it.

ABOUT! you happy peoples,
Where chance granted freedom!
Cherish the gift of good nature,
What the Eternal has written in the hearts.
Behold the gaping abyss, flowers
Strewn, underfoot
You are ready to swallow you.
Don't forget for a minute,
That the strength of strength is fierce in weakness,
That light can be transformed into darkness.

In his ode, Radishchev also gives examples of political and spiritual progress in history, which led to the gains of greater freedom. This is the English Revolution led by Cromwell. This is the religious reformation of Luther, the geographical discoveries of Columbus, the scientific achievements of Galileo and Newton. Finally, Radishchev writes about the contemporary American Revolution and its hero Washington.

Nikolai Baev, libertarian movement “Free Radicals”