"Ode: the evolution of the genre. Features of the laudatory lyrics of M.V. Lomonosov." What is ode? Ode is a song of praise Elements of an ode

Introduction 3

1. Features of the development of the ode genre 4

2. Ode in the works of M.V. Lomonosova 6

Conclusion 15

References 16

Introduction

Poetry M.V. Lomonosova grew up on a strong folk foundation. An extraordinary sense of the Russian national language, in all its shades, allowed Lomonosov to clear and renew the paths of Russian poetry and point it in the right direction.

Lomonosov managed to find in the Russian folk language many precise and apt words that turned out to be suitable for denoting scientific concepts. Lomonosov correctly grasped the historical necessity of using different poetic vocabulary in different genres or types of poetry. This explains the relevance of the chosen topic.

Lomonosov introduced the oratorical element of ancient Russian preaching art into a new direction. He seemed to secularize rhetoric, putting it in the service of secular, civil eloquence. Lomonosov's laudatory words were an example of new, secular eloquence, almost unknown before.

Of all the poetic genres cultivated and developed in the literature of that time, the ode genre was most suitable for Lomonosov to solve the problems facing him. Scientific reasoning was written in Latin, and only a few were familiar with it.

Journalism in the Russian press was just beginning to take its first steps. Handwritten poetry dealt with love experiences; it did not touch upon social topics.

The purpose of our work is to study Lomonosov’s creativity, namely his innovation and traditions in the ode genre.

To do this, it is necessary to set the following tasks:

1. Features of the development of the ode genre

Ode is a lyrical poem dedicated to the praise of a heroic event, human feat, majestic natural phenomena.

The odic genre is associated with the category of the sublime; it is characterized by solemnity and pathos in the expression of feelings. Receiving embodiment in all elements of the poetic structure.

In its “classical version,” the ode is a product of the era of classicism. Ode (from Greek - song) is a poetic genre that developed in the era of classicism.

Historically, the genre is associated with the solemn choral lyrics of Ancient Greece (among the Dorians), which combined religious hymns with chants in honor of individuals.

In Pindar’s “epinicia”, myths and family traditions are used to glorify the hero (winner at the Olympics); the thematic parts are arranged in disorder, obeying the figurative structure of the song, which, combined with the solemn tone, reflected the poet’s priestly self-awareness.

The praise of an individual was woven into the complex fabric of mythological tales and poetic associations, which disrupted the harmony of the chant and introduced “lyrical disorder” into it.

Even in ancient times, the name “Ode” was assigned to Horace’s lyrics, characterized by a parting address to a specific person; the Epicurean motifs prevailing in it formed the basis of the future Horatian Ode. There was no grandiloquence in his odes.

Thematically they are very diverse. Horace, the chronicler, deals with not only political, but also everyday issues.

Many of his odes are addressed to the Gods - Venus, Bacchus, or to specific individuals - Lydia, Chloe. Horace's odic poems often deviate from the norms of description.

In European literature, Ode appeared as high-style poetry associated with the establishment of a national absolutist state.

In the “Odes” of P. Ronsard (1550-1552), which gave the genre its name, the features of Pindar’s songs are artificially stylized in relation to the task of glorifying official representatives of the state.

An abundance of mythological images, logical disorder, and an affected tone have since become attributes of Ode.

In Italy, G. Chiabrera writes Odes, in England - A. Cowley (“Pindaric Odes”), J. Dryden; The ode was introduced into German literature by G.R. Weckerlin (“Odes and Songs”, 1618).

The ode receives a classicistic expression from Malebrae, who contrasted Ronsard’s ode (criticism of “Pindarization”) with a rationalistic poetic system, consistent in style and language, permeated with a single lyrical aspiration.

This is answered:

Avoiding Epic Retreats

Single strophic division (3-part: stanza, antistrophe, epod)

Regulation of verse (up to the prohibition of transfer)

Lyrical disorder is allowed as a manifestation of art, and not the willfulness of the creator. The ode informed about events in political life (military victories, diplomatic receptions, etc.) and was intended for solemn pronouncement.

Rhetoricism, due to the narrow-word nature of the content, finally wins in the Ode by the mid-18th century (after J.B. Rousseau), depriving it of poetic meaning.

The founder of the Russian ode was Lomonosov, although its first examples belong to the pen of Kantemir and Trediakovsky.

In Russia, the Ode (the term was introduced by V.K. Trediyakovsky - “Solemn Ode on the Surrender of the City of Gdansk,” 1734) is less associated with classicist traditions; it carries out a struggle of contradictory stylistic trends, on the outcome of which the direction of lyric poetry as a whole depended.

Both Trediakovsky and Lomonosov were innovators. Their theoretical and practical activities played a big role in the development of Russian poetry.

But Trediakovsky’s poetry remained a kind of “laboratory experiment” that stretched over a long life.

2. Ode in the works of M.V. Lomonosov

During the time of Lomonosov, the nascent Russian poetry was cluttered with elements of “Slavonic” - the bookish Church Slavonic outdated language.

Solemn Ode by M.V. Lomonosova (her origins in Russia are laudatory verses, known since the end of the 16th century) developed a metaphorical style with a distant associative connection of words; the opposite school is A.P. Sumarokova, striving for the “naturalness” of the syllable, put forward an Anacreontic Ode, close to a song.

Lomonosov justified the titanic images of his odic lyrics by citing the example of ancient poetry.

However, the ancient tradition itself, used in the ode, goes back not only to the poetics of classicism, but also has a more ancient basis, and is to some extent the result of an independent national reception of the ancient heritage through Byzantium and the ancient rhetoricians beloved in Rus'.

And what was previously known from the same poetry and rhetoric, from ancient authors, learned in the schools of Peter the Great’s time, passed into the new Russian poetry more easily and most likely.

The poetics of classicism dominated minds. The very genre demands placed on Lomonosov pushed him to move closer to classicism. This applies primarily to the composition of odes.

The poetics of the solemn ode is associated with Russian panegyrics (praise speeches), as well as with the traditions of ancient and Western European odes. The solemn ode became the leading genre in Russia in the 18th century, which is associated with the personality of Peter 1 and his reforms.

“It is impossible for human power to exceed the incomparable deeds of Peter the Great,” wrote M.V. Lomonosov.

Solemn odes were dedicated to Elizabeth and Catherine 2. In whom contemporaries wanted to see worthy followers of the great king. Educated people of the 18th century dreamed of the speedy cultural self-affirmation of Russia in Europe.

Ode, pathetically commenting on the successes of science and military victories. As if ahead of history, she broadcast about the celebrations taking place before our eyes.

The solemn ode in 18th century Russia is not only a literary test. Not only a word, but an action, a special ritual. It is similar to fireworks or illumination that accompanied ceremonial events in the life of the state in St. Petersburg.

The theme required special imagery and style: loud splendor and speed, due to which allegorical pictures in a solemn ode would not be combined smoothly and consistently, but in lyrical disorder.

In the ode, the absence of precise semantic connections did not create nonsense and did not violate the main thing - the unity of the impression of pathetic, oratorical speech.

Therefore, a seemingly chaotic and disordered combination of contrasting concepts, “distant ideas,” subject and predicate arose.

Paired, according to Lomonosov, “in some strange or unnatural way.”

Such combinations constitute “something lofty and pleasant” that cannot be translated into everyday language or explained in terms of everyday logic.

With the accession of Peter's daughter Elizaveta Petrovna to the throne, it seemed to many Russian people that the period of the onset of reaction was over. The leading part of Russian society hoped for further development of the “Petrov case.”

This inspired optimism and set Russian poetry in a positive mood. Kantemir's satires were replaced by Lomonosov's odes.

The ode genre made it possible to combine lyricism and journalism in a large poem, to speak out on issues of national importance, and to do it powerfully, beautifully, and figuratively.

The ode turned out to be the most efficient means of communication between the poet and his readers: there were no literary magazines yet, but Lomonosov’s odes were published in large editions for that time (from 200 to 2000 copies).

Using genres accepted and cultivated in classicism, Lomonosov in practice often breaks with the poetics and stylistics of this movement and takes his poetry beyond its boundaries.

Topical in content, posing issues of great social and national significance, Lomonosov’s odes were addressed not only to crowned heads, but also through their heads were supposed to attract the hearts of the people.

The theme of the homeland was central to Lomonosov's odes. He never tires of praising the greatness of Russia, the vastness and vastness of its territory, the abundance of its natural resources.

Thus, in the ode “On the day of the accession to the throne of Her Majesty the Empress Elisaveta Petrovna, 1748,” a grandiose image of Russia is created:

She touched the clouds

He sees no end to his power,

The thundering glory is full.

Resting among the meadows,

In fields filled with fruits,

Where are the Volga, Dnieper, Neva and Don,

With your pure streams

Noisy herds induce sleep,

Sits and stretches out his legs

To the steppe, where Hina separates

A spacious wall from us;

Turns his cheerful gaze

And around the contentment he counts,

Reclining lactem to the Caucasus.

And in the ode “On the day of the accession to the All-Russian throne of Her Majesty the Empress Elisaveta Petrovna, 1747,” Lomonosov admires the innumerable natural resources of the Russian state.

These are the “treasures” “of which India boasts.” These are virgin “deep forests”, “crowded in density for animals”:

Nature creates miracles,

Where the density of animals is cramped

There are deep forests

Where in the luxury of cool shadows

On the flock of galloping fir trees

The cry did not disperse the catchers;

The hunter did not aim his bow anywhere;

The farmer knocks with an ax

Didn't frighten the singing birds.

The abundance of natural resources is the key to the future well-being of the Russian people, and Lomonosov more than once, starting from his early odes, creates tempting pictures of the contentment of Russian citizens.

In the same ode from 1747, descriptions of Russian abundance are equally attractive:

Flowers are colorful around you,

And the fields in the fields turn yellow;

The ships are full of treasures

They dare to follow you into the sea;

You sprinkle with a generous hand

Your wealth on earth.

However, in these pictures the “should” and not the “real” were depicted, the desired and not the actual state of affairs. Lomonosov was well aware of the true state of the Russian people.

But what needs to be done for the homeland to become truly prosperous, and for its people to live in contentment and prosperity? For this, first of all, persistent, intense work of all segments of the population is necessary. And the theme of labor becomes one of the central ones in Lomonosov’s odes.

Already in the first victorious “Ode for the Capture of Khotin” (1739), Lomonosov shows that the victory over Turkey was won “through the labor of our chosen people.” In later odes, labor for Lomonosov is the source of all kinds of national abundance.

And Lomonosov calls for active work, putting this call into the mouth of the “gentleman” for greater persuasiveness (in an ode of 1757):

In the seas, in the forests, in the bowels of the earth

Throw away your hard work,

I will reward you generously everywhere

Fruits, flock, shine of ores.

Lomonosov is haunted by the desire to make this “hard work” easier, to make it more productive, to ensure that industry develops faster, the depths of the earth reveal their riches, and the “ratai” is able to reap a “hundred-fold fruit” - a harvest.

Here science and enlightenment should come to the rescue, which will give the people not only new material conquests, but also enrich them spiritually. And quite naturally, in Lomonosov’s odes, the theme of science, concern for the training of domestic scientists, took one of the leading places.

The poet’s appeal (in an ode of 1747) to the younger generation to devote themselves to the service of science, replacing foreign scientists, sounds like a passionate appeal:

O you who await

Fatherland from its depths

And he wants to see them,

Which ones are calling from foreign countries,

O blessed are your days!

Be of good cheer now

It’s your kindness to show

What can Platonov's own

And the quick minds of the Newtons

Russian land gives birth.

In an ode from 1750, the poet calls on his compatriots to creative research, to scientific discoveries covering all sectors of the country’s economic life:

Cross the earth and the abyss,

And the steppes and the deep forest,

And the interior of Riphean, and the top,

And the very height of heaven.

Explore everywhere all the time,

What is great and beautiful

What the world has never seen before;

Surprise your eyelids with your labors...

Lomonosov could no longer leave the genre of the laudatory ode unchanged: he included an accusatory beginning in its composition. In this direction, Lomonosov becomes Derzhavin's predecessor.

Thus, in an ode of 1762 dedicated to Catherine the Second, Lomonosov angrily condemned the anti-national policy of Peter the Third, who concluded a shameful peace for Russia with the Prussian king Frederick, reducing to zero the victories of the Russian troops in the bloody war:

Has anyone born into the world ever heard,

So that the triumphant people

Surrendered into the hands of the vanquished?

Oh shame, oh strange turn!

The high, civil content of Lomonosov's odes corresponded to their compositional and stylistic structure.

Both the construction of the ode and its solemn and pathetic style, which included hyperbolic descriptions, comic comparisons, metaphorical language, rhetorical figures - all this enhanced the emotional impact on the reader.

Lomonosov often managed to give the ode a tonality that corresponded to its main theme with the introduction.

Lomonosov’s means of creating a solemn, high syllable ode are varied. For example, an ode from 1747.

Here, as in other odes, the loftiness of the syllable is achieved by using Slavicisms: rattling - strikes the strings, zizhditel - builder, founder, packs - again, flock - pasture, terrible - amazing, etc.

The truncated forms of adjectives also serve this purpose: divine sciences, heavenly daughter; Slavic mythological forms: clothes of tender spring; special spelling norms, supported by rhyme: blessed - encouraged; exclamations, rhetorical questions, the use of ancient mythology: Minerva, Mars, Neptune, muses.

The artistic impact of Lomonosov's odes was also facilitated by the developed verse (iambic tetrameter), the harmonious ten-line stanza, and the brightness of the painting.

With the decline of classicism, the destruction of the ode as a normative genre begins. In Russian poetry, Derzhavin introduces humorous motifs into the ode, words of “low calm” (ode “Felitsa”). The ode becomes the target of caustic criticism from sentimentalists and is readily parodied by them.

However, the stylistic traditions of the ode of classicism still turn out to be fruitful in the civil ode of Radishchev, Pushkin, and in the lyrics of the Decembrist poets.

Lomonosov's odic cycle represents their author as a tireless champion of enlightenment and progress, a passionate fighter for the development of the national self-awareness of the people.

Lomonosov's poetic heritage is quite diverse in terms of genre.

In his work you can find works of all three “calms”:

Low “calm” includes his satirical and comic poems, as well as a few love songs and fables (“parables”);

To the middle - “inscriptions” (mainly about various events and episodes from state or court life), “Letter on the benefits of glass”;

To the lofty - solemn (“laudatory”) odes, prosaic “praiseworthy” or “thank you” speeches.

Lomonosov's theory of the “three calms” in its general outlines was not his discovery. This theory, which developed in Latin literature (Cicero, Horace, Quintilian), was revived in the era of the Renaissance and classicism.

It acquired unique national and specific historical features in different European countries. It was used by Russian writers of the 16th and 17th centuries, and then by M.V. Lomonosov, who was well acquainted with the rhetorical stylistic theories of the distant past and his era.

In this sense, Lomonosov was the largest representative of Russian classicism. He mastered the art of all three “calms”, but more often turned to the “lofty”, solemn, since he saw his main task in glorifying the great, heroic, worthy of imitation.

Conclusion

The purpose of our work was to study the work of Lomonosov, namely his innovation and traditions in the ode genre.

To do this, we set the following tasks:

1. trace the development of the ode genre

2. prove that tradition gave rise to innovation

Lomonosov's odes were written according to a strict plan, as required by the rules of classicism. Lyrical “disorders” are also subject to this plan, i.e. retreat. Associated with the poetics of classicism is the vivid metaphorism of Lomonosov’s style, the frequent use of hyperboles, allegories, and detailed personifications.

A characteristic feature of Lomonosov's odes can be considered their lyrical elation, often turning into a solemn and poetic tone.

Lomonosov canonized the genre of high, “Pindaric” ode - its language, poetic meter, solemn tone.

Everything Lomonosov did to create a new literary language and style, to enrich poetry with deeply ideological civic content was a key point in the development of Russian literature.

M.V. Lomonosov had a great influence on the development of not only Russian literature, but also culture in general. He forever went down in history as the founder of new literature, a passionate defender of progress and humanism. Bibliography

1. Gulyaev N.A. “Theory of Literature”, M.: Higher School, 1977, 278 p.

2. Brief literary encyclopedia, ed. Surkova A.A., M.: Soviet Encyclopedia, 1968, 976 p.

3. Lomonosov M.V. – Works, M., Leningrad: State Publishing House of Fiction, 1961, 591 p.

4. Timofeev L.I., Turaev S.V. “A brief dictionary of literary terms”, M.: Prosveshchenie, 1978, 223 p.

5. Fedorov V.I. – History of Russian literature of the 18th century, M.: Prosveshchenie, 1982, 335 p.

6. Shcheblykin I.P. “History of Russian Literature”, M.: Higher School, 1985, 511 p.

7. Encyclopedic dictionary of a young literary scholar, Novikov V.I., Shklovsky E.A., - M.: Pedagogy - Press, 1998, 424 p.

Brief Literary Encyclopedia, ed. Surkova A.A., M.: Soviet Encyclopedia, 1968. - 389s.

Encyclopedic dictionary of a young literary critic, Novikov V.I., Shklovsky E.A., - M.: Pedagogy - Press - 181p.

Fedorov V.I. – History of Russian literature of the 18th century, M.: Prosveshchenie, 1982. - 99s.

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Schoolchildren remember some literary terms from history lessons. One of them is ode.

Oda is a special genre of literature.

It is intended to sing something or praise someone, so another name for an ode is a solemn song. Historical research associates the appearance of the ode with ancient Greek times, and specifically with the poet of that time, Pindar. The exact dates of his life are unknown; historians give him only an approximate time, calling the 6-5th century BC. Despite many inaccuracies, Pindar is considered the creator of this laudable genre. The poems of this ancient Greek poet glorified the winners of the Olympic Games, which were already very popular in those days. All the poet’s works were created with the goal of exalting both the person himself and the events that occur around him. This principle became the basis of this new literary genre. Songs of praise were supported by subsequent generations of poets.

As you know, the first century AD is considered to be the beginning of the flowering of ode. It was then that Horace created. The ode took a central place in his work. The poet began to turn to other heroes of his time. He chose as the subject of the ode people who had power and significantly influenced the lives of others. Such people were called important and influential.

Then came the period of extinction of the era of ode. Many more poets would turn to it, but the ode no longer had great popularity. This slow decay of this literary genre continued for quite a long time. Only the 16th century of our era is called the second wind of the ode. By that time, the formation of a monarchy began in the main countries of Europe. An absolute monarchy, for the maintenance of which the support of poets, including, was critically necessary. It is not surprising that ode in these times is being turned into a state genre. Poets were simply obliged to exalt the monarch and create songs praising the ruler. Poets vied with each other to practice the style and elegance of their texts. Ronsard, the French poet, turned out to be incredibly successful in this genre of literature. His work flourished in the 16th century.

By what criteria is ode determined as a genre? First of all, this is vocabulary. She must be sublime. No colloquial or colloquial words are allowed. The ode does not allow poets to use territorially specific words, nor can they invent new words. The texts of the ode adhere only to high style. The ode is full of mythological images.

The ode came to Russia in the 18th century. Trediakovsky is considered the founder of the Russian ode. The following odes are considered his most famous odes: “Ode on the Impermanence of the World,” which dates back to 1730, and “Solemn Ode on the Surrender of the City of Gdansk,” created three years later. M.V. Lomonosov also had a favorable attitude towards this literary genre. “Ode on the day of the accession to the throne of Empress Elizabeth Petrovna” is widely known.

But the ode did not gain much popularity even in those centuries. And in the 19th century its rapid decline began. This was facilitated by changes in the life of society, when the praise of autocracy began to be considered “bad form” among writers. I. I. Dmitriev dealt a “deadly” blow to the genre by creating the satire “Someone else’s sense.” In the work, the poet harshly ridiculed the “penny” scribblers who are ready to sell talent for a piece of silver. Very few poets began to turn to this genre, although it did not completely disappear. In fairness, we can recall that “Ode to the Revolution”, written by Mayakovsky, was raised to the top in the 20th century.

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Essay

Ode and its place in the system of genres of Russian classicism

Introduction

An ode is a lyrical poem that expresses a feeling of delight caused by some important subject: the thought of God, grandiose events in people's lives, majestic natural phenomena, etc.

Ode is a genre of lyric poetry, which is a solemn poem dedicated to an event or hero, or a separate work of such a genre. This is a genre that developed in the era of classicism. In ancient times, the term “ode” did not define any poetic genre, but meant “song”, “poem” and translated from Greek means song (from the Greek shch?dzm).

Among the Greeks, ode was a song of praise in honor of gods, heroes and famous citizens. The best creator of odes among the Greeks was Pindar, who usually glorified the winners of the Olympic Games in his songs. The odes were sung by the poet to the accompaniment of the lyre. Hence the expression: “to sing of heroes.” The Roman poet of the time of Augustus, Horace Flaccus, wrote many odes.

Much later, in imitation of the classical odes, a false-classical ode appeared. It was compiled according to certain rules, which were strictly observed by the odographers of that time.

The ancient Greek poet actually sang his ode. Poets of the 17th-18th centuries did not sing them, but wrote and read them. Ancient odoscribers often turned to the lyre, which was quite natural, since they had it in their hands. The imitators also turned to the lyre, although they had a pen or pencil in their hands. The ancient poet appealed to the Olympians in his ode because he believed in them. The imitators also turned either to Zeus or to Apollo, although they did not allow their existence.

The ancient Greek poet composed his ode under the vivid impression of the events that he sang and really admired, and therefore, under a strong influx of feelings, he could not be consistent in his presentation everywhere, that is, he allowed the so-called lyrical disorder. The imitators also considered disorder in the presentation of thoughts and feelings, moreover, in certain places, to be an attribute. The ancient Greek poet, glorifying the winner, at the same time glorified his ancestors and fellow citizens, that is, he touched on strangers and events. Imitators also considered it necessary to introduce extraneous elements into their odes. Finally, the pseudo-classical ode had to consist of the same parts as an oratorical speech: introduction, sentences, exposition with various episodes or deviations from the main theme, lyrical disorder (pathetic part) and conclusion.

It goes without saying that in poetic works of this kind, with few exceptions, there was no sincere feeling: they were imbued with artificial delight, feigned inspiration, which was expressed, on the one hand, by lyrical disorder, on the other, by an abundance of tropes and figures, which made them unnatural, pompous.

In Russia, false-classical odes were written by V.K. Trediakovsky,

M.V. Lomonosov, G.R. Derzhavin and many others. However, readers soon appreciated these odes, and the poet I.I. Dmitriev cruelly ridiculed them in his satire “Someone else’s sense.”

The ode of modern times, which rejected all the rules of artificial construction, has the character of a natural expression of the real, genuine delight of the poet. The very name “ode” is now rarely used and is replaced by the names “song”, “hymn”, “thought”.

Gabriel Romanovich Derzhavin defined the ode as follows:

“Ode, a Greek word, like psalm, signifies song in our language. Due to some differences, in ancient times it bore the name of Hymn, Paean, Dithyramb, Scolia, and in modern times it is sometimes the same as Cantata, Oratorio, Romance, Ballad, Stanza and even a simple song. It is composed in stanzas, or couplets, in measured syllables, of different types and number of verses; but in the deep distance of centuries, no uniform stanzas are noticeable in it. In ancient times it was transmitted by a simple melody; it was sung with the lyre, with the psalter, with the harp, with the harp, with the zither, and in recent times with other instruments, but more, it seems, with strings. By its lyre, or by its composition, which is capable of music, the Ode is called lyric poetry.”

1. Antiquity

The development of the ode and its genre features began in the Ancient world. Initially, in Ancient Greece, any form of poetic lyric intended to accompany music was called an ode, including choral singing. Ancient philologists used this term in relation to various kinds of lyric poems and divided them into “praiseful”, “lamentable”, “dancing”, etc.

The ode is historically associated with the solemn choral lyric poems of Ancient Greece (among the Dorians), which combined religious hymns with chants in honor of individuals.

The odes of Pindar and the Roman poet Horace became widespread. Since the time of Pindar, an ode has been a choral song-epic with emphasized solemnity and pomp, usually in honor of the winner of sports competitions: - a commissioned poem “for the occasion”, the task of which is to excite and encourage the will to victory among the Dorian aristocracy. In Pindar’s “epinicia”, myths and family traditions are used to glorify the hero (winner at the Olympics); the thematic parts are arranged in disorder, obeying the figurative structure of the song, which, combined with the solemn tone, reflected the poet’s priestly self-awareness.

Local and personal elements obligatory for epinikia (praise of the winner, his clan, city, competition, etc.) receive their “illumination” in relation to myth as the basis of the ideology of the ruling class and aristocratic ethics. The ode was performed by a dancing choir accompanied by complex music. It is characterized by rich verbal ornamentation, which was intended to deepen the impression of solemnity, emphasized grandiloquence, and a weak connection of parts. The poet, who views himself as a “sage”, a teacher, only with difficulty puts together the elements of traditional doxology. Pindar's ode is characterized by sharp, unmotivated transitions of the associative type, which gave the work a particularly difficult, “priestly” character. With the collapse of the ancient ideology, this “poetic eloquence” gave way to prosaic eloquence, and the social function of the ode switched to eulogy (“encomium”). The archaic features of Pindar's ode in the era of French classicism were perceived as "lyrical disorder" and "lyrical delight."

Even in ancient times, the name “ode” was assigned to Horace’s lyrics, which were characterized by a parting address to a specific person; the Epicurean motifs prevailing in it formed the basis of the future Horatian ode. Horace used the meters of Aeolian lyric poetry, primarily the Alcaean stanza, adapting them to the Latin language. The collection of these works in Latin is called Carmina - “songs” (they began to be called odes later).

Horace (1st century BC) dissociates himself from “Pindarization” and seeks to revive the melic lyric poetry of the Aeolian poets on Roman soil, preserving its external forms as fiction. Horace's ode is usually addressed to some real person, on whose will the poet allegedly intends to influence. The poet often wants to create the impression that the poem is actually being spoken or even sung. In fact, Horatian lyrics are of book origin. Capturing a wide variety of topics, Horace’s odes are very far from any “high style” or overexertion of means of expression (the exception is the so-called “Roman” odes, where Horace appears as the ideologist of Augustus’s policies); his odes are dominated by a secular tone, sometimes with a slight admixture of irony. The term “ode,” applied by ancient grammarians to the lyrics of Horace, was the source of a number of difficulties for theorists of classical poetics, who built the theory of the odic genre simultaneously on Pindaric and Horatian material.

2 . New time

In the Middle Ages there was no genre of ode as such. This genre arose in European literature during the Renaissance and developed in the system of the literary movement of classicism. In Russian literature, it begins its development with the domestic tradition of panegyrics.

Elements of a solemn and religious ode are already present in the literature of southwestern and Moscow Rus' at the end of the 16th-17th centuries. (panegyrics and verses in honor of noble persons, “greetings” of Simeon of Polotsk, etc.). The appearance of the ode in Russia is directly related to the emergence of Russian classicism and the ideas of enlightened absolutism. In Russia, ode is less associated with classicist traditions; it carries out a struggle of contradictory stylistic trends, on the outcome of which the direction of lyric poetry as a whole depended.

The first attempts to introduce the genre of “classical” ode into Russian poetry belonged to A.D. Kantemir, but the ode first entered Russian poetry with the poetry of V.K. Trediakovsky. The term itself was first introduced by Trediakovsky in his “Solemn Ode on the Surrender of the City of Gdansk” in 1734. This ode glorifies the Russian army and Empress Anna Ioannovna. In another poem, “Praise to the Izhera land and the reigning city of St. Petersburg,” for the first time a solemn praise of the northern capital of Russia is heard. Subsequently, Trediakovsky composed a series of “praiseworthy and divine odes” and, following Boileau, gave the following definition to the new genre: the ode “is a high pyitic kind... consists of stanzas and glorifies the highest noble, sometimes even tender matter.”

The main role in the Russian ceremonial ode of the 18th century is played by rhythm, which, according to Trediakovsky, is the “soul and life” of all versification. The poet was not satisfied with the syllabic verses existing at that time. He felt that only the correct alternation of stressed and unstressed syllables, which he noticed in Russian folk songs, could give a special rhythmicity and musicality to a verse. Therefore, he carried out further reforms of Russian versification on the basis of folk verse.

Thus, when creating a new genre, the poet was guided by the traditions of antiquity, the ode genre, which had already come into use in many European countries, and Russian folk traditions. “I owe French versification a sack, and ancient Russian poetry every thousand rubles,” he said.

The ode genre, introduced by Trediakovsky, soon gained many supporters among Russian poets. Among them were such outstanding literary figures as M.V. Lomonosov, V.P. Petrov, A.P. Sumarokov, M.M. Kheraskov, G.R. Derzhavin, A.N. Radishchev, K.F. Ryleev and others. At the same time, in Russian clothing there was a constant struggle between two literary trends: close to the traditions of the Baroque, the “enthusiastic” ode of Lomonosov and the “rationalistic” ode of Sumarokov or Kheraskov, adhering to the principle of “naturalness”.

School A.P. Sumarokova, striving for the “naturalness” of the syllable, put forward an anacreontic ode, close to a song. Synthetic odes to G.R. Derzhavin (ode-satire, ode-elegy) opened up the possibility of combining words of different stylistic origins, ceasing the existence of ode as a specific genre. With all their differences, supporters of both directions remained united in one thing: all Russian poets, creating works in the ode genre, adhered to the traditions of citizenship and patriotism (odes “Liberty” by Radishchev, “Civil Courage” by Ryleev, etc.).

The best Russian odes are covered with a powerful spirit of love of freedom, imbued with love for their native land, for their native people, and breathe an incredible thirst for life. Russian poets of the 18th century sought to fight against the outdated forms of the Middle Ages in various ways and means of artistic expression. All of them advocated for the further development of culture, science, literature, and believed that progressive historical development could only be achieved as a result of the educational activities of the king, invested with autocratic power and therefore capable of carrying out the necessary transformations. This faith found its artistic embodiment in such works as “Poems of Praise for Russia” by Trediakovsky, “Ode on the Day of the Accession to the All-Russian Throne of Her Majesty Empress Elisaveta Petrovna, 1747” by Lomonosov and many others.

The solemn ode became the new genre that the leading figures of Russian literature of the 18th century had been looking for for a long time, which made it possible to embody enormous patriotic and social content in poetry. Writers and poets of the 18th century were looking for new artistic forms, means, and techniques with the help of which their works could serve the “benefit of society.” State needs, duty to the fatherland should, in their opinion, prevail over private, personal feelings and interests. In this regard, they considered the most perfect, classical examples of beauty to be the wonderful creations of ancient art, glorifying the beauty, strength and valor of man.

But the Russian ode is gradually moving away from ancient traditions, acquiring an independent sound, glorifying, first of all, its state and its heroes. In “A Conversation with Anacreon” Lomonosov says: “The strings inevitably sound to me like a heroic noise. Do not disturb any more, Love thoughts, mind; Although I am not deprived of tenderness of heart In love, I am more delighted with the eternal glory of heroes.”

The reformation of Russian versification begun by Trediakovsky was completed by the brilliant Russian scientist and poet M.V. Lomonosov. He was the true founder of the Russian ode, who established it as the main lyrical genre of feudal-noble literature of the 18th century. The purpose of Lomonosov's odes is to serve every possible exaltation of the feudal-noble monarchy of the 18th century. in the person of its leaders and heroes. Because of this, the main type cultivated by Lomonosov was the solemn Pindaric ode; all elements of her style should serve to identify the main feeling - enthusiastic surprise, mixed with awe at the greatness and power of state power and its bearers.

This determined not only the “high” - “Slavic-Russian” - language of the ode, but even its meter - according to Lomonosov, iambic tetrameter without pyrrhic (which became the most canonical), for pure “iambic verses rise up to matter, nobility, splendor and height multiply." Solemn ode by M.V. Lomonosova developed a metaphorical style with a distant associative connection of words.

The brave innovator extended the tonic principle of his predecessor to all types of Russian verse, thus creating a new system of versification, which we call syllabic-tonic. At the same time, Lomonosov placed the iambic above all poetic meters, considering it the most sonorous and giving the verse the greatest strength and energy. It was in iambic that a laudatory ode was written in 1739, glorifying the capture of the Turkish fortress of Khotyn by the Russian army. In addition, having distributed the entire vocabulary of the “Slavic-Russian language” into three groups - “calms”, M.V. Lomonosov attached certain literary genres to each “calm”. The genre of ode was classified by him as “high calm”, thanks to its solemnity and elation, which stands out sharply from simple, ordinary speech. In this genre, Church Slavonic and obsolete words were allowed to be used, but only those that were “intelligible to Russians.” These words enhanced the solemn sound of such works. An example is “Ode on the Day of Ascension...”. “High” genres and “high calm,” state and heroic-patriotic themes prevailed in Lomonosov’s work, since he believed that the highest joy of a writer is to work “for the benefit of society.”

The rhetorically solemn odes of Lomonosov, proclaimed by his contemporaries as the “Russian Pindar” and “our countries’ Malherbes,” provoked a reaction from Sumarokov (parody and “nonsense odes”), who gave examples of a reduced ode that met to a certain extent the requirements of clarity and naturalness put forward by him and simplicity. The struggle between the traditions of Lomonosov and Sumarokov’s “Odes” spanned a number of decades, especially intensifying in the 50-60s of the 18th century. The most skillful imitator of the first is the singer of Catherine II and Potemkin - Petrov.

Of the “Sumarokovites”, M.M. is of greatest importance in the history of the genre. Kheraskov is the founder of the Russian “philosophical ode”. Among the “Sumarokovites” the Anacreontic ode without rhyme received particular development. This struggle was a literary expression of the struggle between two groups of the feudal nobility: one - politically leading, the most stable and socially “healthy”, and the other - retreating from public activity, satisfied with the achieved economic and political dominance.

In general, the “high” tradition of Lomonosov won at this stage. It was his principles that were most specific to the Russian ode genre as such.

It is significant in this regard that Derzhavin based his theoretical “Discourse on Lyric Poetry or Ode” almost entirely on the practice of Lomonosov. In his rules of dosage, Derzhavin entirely followed the code of Boileau, Batteux and their followers. However, in his own practice, he goes far beyond their limits, creating on the basis of the “Horatian ode” a mixed type of ode-satire, combining the exaltation of the monarchy with satirical attacks against the courtiers and written in the same mixed “high-low” language. Along with the high “Lomonosov”, the mixed “Derzhavin” ode is the second main type of the Russian ode genre in general.

Derzhavin's work, which marked the highest flowering of this genre on Russian soil, is distinguished by its exceptional diversity. Of particular importance are his accusatory odes (“Nobleman,” “To Rulers and Judges,” etc.), in which he is the founder of Russian civil poetry.

The heroics of the time, the brilliant victories of the Russian people and, accordingly, the “high” genre of the solemn ode are reflected in the poetry of G.R. Derzhavin, who most of all valued in a person the “greatness” of the spirit, the greatness of his civil and patriotic feat. In such victorious odes as “To the capture of Izmail”, “To victories in Italy”, “To the crossing of the Alpine mountains”, the writer gives the brightest examples of grandiose battle lyrics, glorifying in them not only the wonderful commanders - Rumyantsev and Suvorov, but also ordinary Russian soldiers - “in the light of the first fighters.” Continuing and developing the heroic motifs of Lomonosov's poems, he at the same time vividly recreates the private life of the people, paints pictures of nature sparkling with all colors.

Social processes in Russia in the 18th century had a significant impact on literature, including poetry. Particularly significant changes occurred after Pugachev’s uprising, directed against the autocratic system and the class of noble landowners.

The social orientation, which is a characteristic feature of the ode as a genre of feudal-noble literature, allowed bourgeois literature at the very early stage of its formation to use this genre for its own purposes. Poets actively picked up the revolutionary wave, recreating vibrant social and public events in their work. And the ode genre perfectly reflected the mood that prevailed among leading artists.

In Radishchev’s “Liberty,” the main social function of the ode changed diametrically: instead of an enthusiastic chanting of “kings and kingdoms,” the ode became a call to fight the kings and glorify their execution by the people. Russian poets of the 18th century praised monarchs, but Radishchev, for example, in the ode “Liberty,” on the contrary, praises the tyrant fighters, whose free calling voice terrifies those who sit on the throne. But this kind of use of someone else's weapons could not give significant results. The ideology of the Russian bourgeoisie differed significantly from that of the feudal nobility, which underwent significant changes under the influence of the growth of capitalism.

The solemn ode in Russia in the 18th century became the main literary genre capable of expressing the moods and spiritual impulses of the people. The world was changing, the socio-political system was changing, and the loud, solemn, calling forward voice of Russian poetry invariably sounded in the minds and hearts of all Russian people. Introducing progressive educational ideas into the consciousness of the people, igniting people with high civic-patriotic feelings, the Russian ode became increasingly closer to life. She never stood still for a minute, constantly changing and improving.

From the end of the 18th century, along with the beginning of the fall of Russian classicism as the literary ideology of the feudal nobility, the ode genre began to lose its hegemony, giving way to the newly emerging verse genres of elegy and ballad. The satire of I.I. dealt a crushing blow to the genre. Dmitriev’s “Someone else’s sense”, directed against poets-odopists who “prank” in their yawn-inducing poems for the sake of “a reward with a ring, a hundred rubles, or friendship with a prince.”

However, the genre continued to exist for quite a long time. The ode correlates with “high” archaic poetry, mainly. civil content (V.K. Kuchelbecker in 1824 contrasted it with romantic elegies). The features of the odic style are preserved in the philosophical lyrics of E.A. Baratynsky, F.I. Tyutchev, in the 20th century. - from O.E. Mandelstam, N.A. Zabolotsky, as well as in the journalistic lyrics of V.V. Mayakovsky, for example. "Ode to the Revolution".

Dmitriev himself wrote solemn odes. This was the beginning of the activities of Zhukovsky and Tyutchev; We find the ode in the works of the young Pushkin. But basically the genre increasingly passed into the hands of mediocre epigones like the notorious Count Khvostov and other poets grouped around Shishkov and “Conversations of Lovers of the Russian Word.”

The latest attempt to revive the genre of “high” ode came from a group of so-called “younger archaists.” Since the late 20s. The ode almost completely disappeared from Russian poetry. Some attempts to revive it that took place in the work of the Symbolists were, at best, in the nature of more or less successful stylization (for example, Bryusov’s ode to “Man”). It is possible to consider some poems of modern poets, even so-called by them themselves, as odes (for example, “Ode to the Revolution” by Mayakovsky), only as a very distant analogy.

ode poem lyrics classicism

Bibliography

1. “A new and short way to compose Russian poems”, 1735;

2. Works of Derzhavin, vol. VII, 1872;

3. art. Kuchelbecker “On the direction of our poetry, especially lyrical, in the last decade” in “Mnemosyne”, part 2, 1824;

4. Ostolopov N., Dictionary of ancient and new poetry, part 2, 1821;

5. Gringmut V., A few words about the rhythmic structure of Pindar’s odes, in the book: A brief Greek anthology of the poems of Sappho, Anacreon and Pindar, 1887;

6. Pokotilova O., Predecessors of Lomonosov in Russian poetry of the 17th and early 18th centuries, in the book: Lomonosov, Collection of articles, 1911;

7. Gukovsky G., From the history of Russian ode of the 18th century. Experience in the interpretation of parody, “Poetics”, 1927.

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And now with a crimson hand

The dawn opened the gates to the world,

The robe casts a rosy light

To the fields, to the forests, to the city, to the seas

Lomonosov's famous ode of 1747, dedicated to Elizaveta Petrovna, is replete with vivid metaphorism and hyperbole:

Kings and kingdoms of the earth are a delight

Beloved silence,

The bliss of the villages, the city fence,

How useful and beautiful you are!

The flowers around you are full of flowers

And the fields in the fields turn yellow,

The ships are full of treasures

They dare to follow you into the sea

You sprinkle with a generous hand

Your wealth on earth.

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There are horses with stormy legs

Thick ashes flutter to the sky,

There is death between the Gothic regiments

Runs, furious, from formation to formation,

And my greedy jaw opens,

And he stretches out his cold hands

Their proud spirit is snatched away...

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A very bright victorious patriotic ode to Lomonosov - “ Ode to the capture of Khotin" It was written in 1739 in Germany, immediately after the capture by Russian troops of the Turkish fortress of Khotyn, located in Moldova. The garrison of the fortress, together with its commander Kalchakpasha, was captured. This brilliant victory made a strong impression in Europe and raised Russia’s international prestige even higher.

In Lomonosov's ode, three main parts can be distinguished: introduction, depiction of military operations and glorification of the victors. The battle scenes are presented in Lomonosov's typical hyperbolic style with a lot of detailed comparisons, metaphors and personifications that embody the tension and heroism of the battle scenes. The moon and snake symbolize the Mohammedan world, the eagle soaring over Khotin - the Russian army. The Russian soldier, “Ross”, as the author calls him, was brought out as the arbiter of all events. L. writes with admiration about the feat of this nameless hero. The tension and pathetic spirit of the narrative is enhanced by rhetorical questions and exclamations of the author, addressed either to the Russian army or to its enemy. The ode also refers to the historical past of Russia. The shadows of Peter I and Ivan the Terrible, who at one time won a victory over the Mohammedans, appear over the Russian army: Peter - over the Turks near Azov, Grozny - over the Tatars near Kazan. This kind of historical parallels will become, after Lomonosov, one of the stable features of the odic genre.

“Ode to the Capture of Khotin” is an important milestone in the history of Russian literature. Not only in content, but also in form, it belongs to the new poetry of the 18th century. Lomonosov, in the “Khotyn” ode, was the first in Russian literature to turn to iambic tetrameter with male and female rhymes, that is, he created the meter in which the vast majority of odes of the 18th and early 19th centuries would be written, including Derzhavin’s “Felitsa” and Radishchev’s “Liberty.” Iambic tetrameter will become the favorite size of Pushkin, Lermontov, Blok and other authors of the 19th and 20th centuries.

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. And only occasionally this strict logical scheme is diversified by associative poetic transfer, the so-called “odic impulse” or, in the words of Lomonosov himself, “bringing together distant ideas”, which keeps the solemn ode within the boundaries of the lyrical genre with all its oratorical potential. The uniformity of the formal features that the solemn ode possesses as a poetic text - the so-called “odic canon” - also testifies to the close relationship of the solemn ode with oratorical genres, firmly subordinated to a system of purely formal regulations. The concept of “odic canon” includes stable meter and stable stanza.

All of Lomonosov's solemn odes are written in iambic tetrameter, and many are written in pure iambic tetrameter, i.e. without pyrrhic. All of them consist of ten-line stanzas with a certain, almost unchanged, rhyme system: aBaBvvGddG. The odic canon ensures the formal uniformity of the genre in its structural and content elements. By this, the solemn ode as a genre is likened to the equally stable genre structure of Cantemir’s satire, with which the ode turns out to be difficult to correlate in its poetics. By analogy, ode and satire are correlated as genres that have a common oratorical genesis and common oratorical formal-structural features, and also as “senior genres” that lie at the origins of new Russian literature. In contrast, ode and satire are correlated as genres that have opposite attitudes (negative in satire, affirmative in ode), associated with different spheres of reality (satire with material life, ode with ideal existence), and, finally, as the embodiment of the poles of genre-style hierarchy of classicism: satire is the standard of low style, ode is high. But this opposition also has points of intersection: opposite genre models are created at the same levels of poetics, which are the word and the peculiarities of word usage, the typology of artistic imagery, and the world image.

A product is a system of correlated factors. The correlation of factors is a function in relation to the system. A literary system is formed by the primacy and prominence of one fact (dominant).

Each work is part of the literary system and correlates with it in genre and style.

The literary system is related to speech. Setting is not only the dominant of a work (genre), functionally coloring the subordinate genres, but also the function of the work in relation to the speech series.

Stages.

1. The ode was composed of two interacting principles: from the beginning of the greatest action at any given moment and from the beginning of verbal development. The first determines the style of the ode, the second determines its lyrical plot.

In Lomonosov, the richness of each verse group distracts from the “backbone” of the structure – the “dry ode”. The associative concatenation of images is a “meaningless ode.”

The question of the intonation organization of the ode: the oratorical word should be organized according to the principle of greatest literary richness.

The canonical type of odic stanza: aАаАввВссВ (а, в, с – female rhymes, А, В – male). It was varied and changed by Lomonosov and Sumarokov.

Lomonosov. 3 types of periods: round and moderate (distribution of three syntactic wholes across three sections of the stanza: 4+3+3); unsteady (undistribution of syntactic wholes across three sections); detachable (distribution of syntactic integers across lines). Within one ode, the periods varied so that “their changes would be pleasant.” The first stanza received particular importance as a given intonation structure, then there was a gradual variation, an increase in variations and, at the end, a decline either to the beginning or to equilibrium. Ode to Elizaveta Petrovna: transition from an unsteady to a round formation.

The intonation meaning of “questions” and “exclamations” is important. The declamatory originality of the ode lies in the combination of the principle of changing interrogative, exclamatory and narrative intonations with the principle of intonational use of a complex stanza.

A(splendor, depth and height, sudden fear);

e, and,Ҍ , Yu(tenderness, deplorable or small things);

I(pleasantness, amusement, tenderness, inclination);

oh, uh, s(scary and strong things, anger, envy, fear);

k, p, t, b’, g’, d’(actions are dull, lazy, have a dull sound)

s, f, x, c, w, r(actions are great, loud, scary);

g’, h’, c, l, m, n, b(gentle and soft actions and things).

Lomonosov: meters have a stylistic function (iamb - for heroic verse, trochee - for elegiac verse).

Trediakovsky: the semantic structure depends only on the images presented in the essay.

In Lomonosov, each element of style has a declamatory, specific meaning.

In addition to grammatical intonation, oratorical intonation also played an important role in Lomonosov’s odes. He left gestural illustrations in application to poetry, i.e. the word received the meaning of a stimulus for a gesture.

The word departs from the main sign of meaning. Flowery speeches are born from “moving things to an indecent place.” At the same time, the ornate organization of the ode breaks with the nearest associations as the least influential. The connection or collision of the words “distant” creates an image. The usual semantic associations of the word are destroyed, and instead there is a semantic breakdown. The trope is recognized as a “perversion.” Lomonosov’s favorite technique is to combine words that are distant in lexical and subject terms (“A cold corpse and the cold stinks”).

The epithet is often transferred from a neighboring lexical series (“Victory sign, scorching sound”).

The predicate is hyperbolic and does not correspond to the main feature of the subject (“In the abyss his trace burns”).

The semasiologicalization of word parts is characteristic. The beginning of a speech is a combination of a consonant(s) with a vowel with which a word begins (wonderfulbottom). The word grows into a verbal group, the members of which are connected by associations arising from rhythmic proximity.

The word is surrounded by a related linguistic environment due to the semasiologiza- tion of individual sounds and groups of sounds and the application of the rule that an “idea” can develop in a purely sound way. Often sonically condensed lines turn into sound metaphors (“Only our regiments can be heard splashing”).

Rhymes are not sound similarities of final syllables, but sound similarities of final words (and it is the semantic brightness of the sounds that is important, and not the uniformity of the final syllables: “brega - trouble”).

Lomonosov's Ode is a verbal construction, subordinate to the author's instructions. Poetic speech is sharply separated from ordinary speech. The oratorical moment became decisive and constructive for Lomonosov’s ode.

2. Sumarokov is an opponent of “loudness” and “combining far-flung ideas.” The beginning of oratorical “ardor” is contrasted with “wit.” The virtues of the poetic word are its “stinginess,” “brevity,” and “precision.”

Sumarokov struggles with the metaphorism of the ode. “The conjugation of distant ideas” is contrasted with the requirement to conjugate close words (instead of “for beads, gold and purple” - “for beads, silver and gold”).

He also protests against the deformation of the verse structure of speech (for example, he does not accept “wrong accents”).

Sound metaphors are contrasted with the requirement of “sweet speech”, euphony. Still, Sumarokov is ready to sacrifice eloquence in favor of semantic clarity.

The “loud” ode is rejected, and a “medium” one is put in its place: if for Lomonosov the round structure is the canvas for intonation fluctuations, then for Sumarokov it is the norm.

3. The ode was important not only as a genre, but also as a certain direction in poetry. Unlike younger genres, ode was not closed and could attract new materials, enlivened by other genres, etc.

Derzhavin’s new path destroyed the ode as a canonical genre, but preserved and developed the stylistic features defined by the ornate beginning.

Elements of middle (and even low) style were introduced into the vocabulary of high style; the ode was focused on the prose of satirical magazines.

The verbal development of images has lost its significance, because the former semantic breakdown has become stylistically common. Therefore, introducing sharply different means of style into the ode was intended to maintain its value.

Derzhavin’s images are picturesque, their subject matter is specific.

“The lyrical sublime lies in the rapid soaring of thoughts, in the continuous presentation of many pictures and feelings.”

Lomonosov's intonation patterns are developed and sharpened. Diversifying the lyrical stanza, Derzhavin introduces the strophic practice of the Lomonosov canon into new versions (for example, an unsteady structure in an 8-line stanza of the type aАаА+вВвВ). Often stanzas like aАаА+в are used, where a 4-line stanza is followed by a non-rhyming verse => double intonation effect.

Derzhavin’s ideal is an “onomatopoeic” poem, subject to the general requirement of “sweet voice.”

4. Then the beginning of the spoken word and verbal image is contrasted with the subordinating musical beginning. The word is now “coordinated”, “simplified” (“artificial simplicity”). The intonation system obeys the verse melody. Small forms that arise from extraliterary series have acquired decisive importance (letters are interspersed with “quatrains”; the cultivation of burime and charades reflects an interest no longer in verbal masses, but in individual words. Words are “conjugated” according to the nearest subject and lexical series.

Zhukovsky uses a word that is isolated from large verbal masses, isolating it graphically into a personified allegorical symbol (“memory”, “yesterday”). Elegy, with its melodious functions of a fading word, resembles a semantic purification. A message appears justifying the introduction of conversational intonations into the verse.

But ode as a direction does not disappear. It emerges in the revolt of the archaists (Shishkov, then Griboyedov, Kuchelbecker). The ode is reflected in the lyrics of Shevyrev and Tyutchev (principles of oratorical position + melodic achievements of elegy.

The struggle for a genre is essentially a struggle for the function of the poetic word, its setting.

Alekseeva. Solemn odes of Lomonosov. General review.

All of Lomonosov's creative attention was focused on odes, epistles, and inscriptions. The odes, contrary to prevailing opinion, were written by Lomonosov of his own free will, and not by order. Returning to St. Petersburg from Germany in 1741 on June 8, he already wrote an ode to the birthday of Emperor John Antonovich on August 12, and a second two weeks later. Both odes were published in “Notes on the St. Petersburg Gazette”, the first signed by L., the second signed by his full name. In the 30s and 40s, odes presented by the Academy were addressed to its account and the title included “AN”. Indication of Lomonosov's name means that they were created on his initiative and presented on his behalf. The three best odes of L 1746-48 were presented to the Empress on behalf of the Academy of Sciences. The ode of 1759 “On a solemn holiday...” became the first ode by L, written by him on his behalf and published at the expense of the Academy of Sciences. The free creation of LODs changes the stable idea of ​​their rituality, of their obligatory role in court celebrations. The Russian ode was a free expression of fidelity. Dictated by free will, L’s odes appeared rarely and irregularly. 1743, then 1745, then 1748, etc. After the beginning of the St. Petersburg period, when five odes were written in two years, the second surge of odic delight was in 1746-48, the third in 1761-63. In each new period, L's odes appear in a recognizable, but strikingly new form. The panegyric develops in the odes of late L into a civic speech.

Form of the Pindaric solemn ode.

Pokotilova and Greshishcheva come to the conclusion that a number of expressions and themes in the odes of L and his followers are stable. Pokotilova showed that the main thematic formulas go back to Russian panegyric verses. A quarter of a century later, Pumpyansky approached the problem of the origin of L’s ode. He sought to consider L's poetry in the context of the European tradition; he almost did not take the Russian tradition into account. The works of Pumpyansky and Pokotilova showed that most of the verbal formulas coincide in the Russian and German traditions. Apparently, panegyric poetry contains a set of “commonplaces” and is impossible without them. This is a certain way of depicting. The very repetition of other people's words and images cannot indicate the secondary nature of the work in relation to the model; it is evidence of a certain attitude towards the world. In ode we are dealing with a special angle of reflection, refraction of the view of reality. In the 16th century, the panegyric took the form of a Pindaric ode, which became a panegyric ode, and the highest ode became a solemn ode.

The panegyric ode depicts the object not as it appears to the imperfect eye, but based on the highest knowledge about it. Higher knowledge is the result of comprehending the eidos of an object, its ideal essence. The poet must experience a state of enthusiasm in order to penetrate into the eid of the subject. The object appears not in a material form, but in the form of an ideal essence. The conductor between the internal form and the external is a description of odic delight. This description accompanies every Pindaric ode. Delight is not the theme of the ode, but its prerequisite. Delight is the mental contemplation of an object, examining it with intelligent eyes.

The poet’s mind’s eye opens to the whole world in its past, present and future, in all its enormity and vastness. Space is depicted from an ideal height, forming an odic horizontal, and time forms an odic vertical. The poet finds himself above time and space, outside of them.

Comprehension of ideal essences, it would seem, frees the poet from all rules and regulations, but at the same time, the depiction of pictures and feelings in the ode is based on commonplaces. A ready-made word expresses ready-made values, the immutability of which is determined by the idea of ​​the ideal essence of objects. Ready-made ideas and words serve as guides to the heavens. Rare poets are capable of experiencing genuine lyrical ecstasy. The terms (as I understand them, stable motives) express the basic values ​​of state well-being. They are divided into smaller representations, which can be called motives, and even smaller ones - this organizes the ode in a special way.

The composition of the ode is determined by several equal centers. The ode has not a linear, but a centric, rather even circular structure. The constant presence of terms-values ​​throughout the ode leads to its external immobility. The content of the ode is defined by a circle of themes and motifs around the terms. Oda does not know the development of thought and feeling. The verse and strophic organization of the ode brings the circular principle to possible concentration. The verbal period L coincides in the ode with a stanza that emphasizes the self-isolation of the period. The terms define a coordinate system within which repeatability is inevitable. Hence the monotony of the odes, but also their completeness and roundness.

The form of the solemn ode created by L was firmly established in the Russian liter for a long time. In its general form it was preserved throughout the history of Imperial Russia. But the expected surge in imitation and creativity did not happen in the 1840s. At this time, on the contrary, the number of ods drops sharply. Sumarokov was the first to accept the new type of ode. His first Pindaric odes date back only to 1743, i.e. It took him more than two le to master the new form. Next was Goleniewski, who wrote the first ode in 45, and then three more odes in the 50s. He was followed by Kheraskov - June 51. Then - Popovsky - April 52, and then 54. Only from the second half of the 50s can we talk about the mastery of Russian poetry by Lomonosov's ode. In addition to the difficulty of creating odes of a new type, their small number may be explained by the difficulty of publication.