New time. Features of poetry of past eras. Ode in literature is its wealth Ode as a literary genre genre features
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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 language 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 in his songs usually glorified the winners of Olympic Games. 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 oratory speech: introductions, sentences, expositions 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 sometimes it is 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 Ancient world. Originally 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 ceremonial choral lyrical poems Ancient Greece (among the Dorians), who 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 ancient ideology, this “poetic eloquence” gave way to prosaic eloquence, and social function The ode proceeded to a eulogy (“enkomiya”). 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 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 it as fiction external forms. 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 literary movement 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 the 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 different ways and through the means of artistic expression to fight against outdated forms of the Middle Ages. They all stood up for further development culture, science, literature, believed that progressive historical development can only be carried out as a result of the educational activities of the king, vested 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 new system versification, which we call syllabic-tonic. At the same time, above all poetic sizes Lomonosov used iambic, considering it the most sonorous and giving the verse 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. Church Slavonic and outdated words, but only those of them that were “intelligible to the 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.
From the “Sumarokovites” highest value in the history of the genre has M.M. 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 of two groups of the feudal nobility: one - politically leading, the most stable and socially “healthy”, and the other - moving away from social activities, 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.
Social orientation, which is characteristic feature odes 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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Information for students
The ode was written in 1783 and was addressed to Catherine. Not long before, in a moral tale, Catherine portrayed herself under the name of Princess Felitsa. The poet addresses Princess Felitsa, and not the Empress.
IV. Reading an ode
The teacher explains unclear words: Felitsa, Murza, in front of the leash, you can’t donkishon, chimeras, in a train, in shinki, show-off, path, lzya, vezhdy, pile, chaos, caliph, right hand, Parnasian horse.
Students' reflection on the question: does the wayward and independent Derzhavin follow the canons of the ode genre in the material and the form of its presentation? The analysis is based on comparison with the studied odes of Lomonosov, as examples of classical odes. When reasoning, use the table “The originality of the ode to classicism.”
Determine the theme of the ode. (Singing of the enlightened monarch.)
What is the difference from Lomonosov’s ode?
(Derzhavin’s ode is structured as a dialogue with Felitsa, while Lomonosov used a monologue. Felitsa appears in movement, in action, there are many verbs in her characterization. Unlike Lomonosov, who said nothing about the behavior of Elizaveta Petrovna, Derzhavin reveals Felitsa’s human qualities, describes her habits and activities.)
Who else is Felitsa compared to in the ode? What qualities of the heroine are revealed in this comparison?
(Felitsa is contrasted with her predecessors on the Russian throne, and their names are not named, but bright, apt characteristics suggest who we are talking about. In comparison with the Murzas, the poet revealed Felitsa’s personal “virtues”; comparing the heroine with the tsars, Derzhavin emphasized the virtues of an enlightened ruler Here the poet uses the particle “not” to emphasize what Felitsa does not do and what, on the contrary, her predecessors did: “clowns’ weddings are not soared, they are not fried in ice baths, nobles’ mustaches are not clicked, princes do not cluck as hens” and etc.)
The poet, praising Felitsa, “let slip” in comparisons: “like a wolf, you don’t crush people; You are ashamed to be considered great so that you can be terrible and unsociable; It is proper for a bear to tear wild animals and bleed five of them.” Derzhavin gives examples of the tsars abusing the power given to them. This was impossible in a classic laudatory ode.
Is there a positive program for the ideal enlightened ruler in the ode?
(Stanzas of the ode, where the poet presents as reality his dreams with a just and enlightened monarch - “When you enlighten morals, // You don’t fool people like that”; “And you give your light to the righteous, // Equally enlightens all mortals...”; the queen creates “out of disagreement, harmony and out of fierce passions, happiness.” According to Derzhavin, the empress should manage the state as skillfully as the helmsman of a ship.)
What is the role of descriptions of everyday life in Derzhavin’s ode?
(Descriptions of the dinner table, Murza's home activities, on the one hand, serve as a means of exposing Murza, but, on the other hand, they express the feelings of the lyrical hero, his taste and visual perceptions, his ability to admire and enjoy life. Such descriptions are innovative in nature. In "Felitsa" made an important poetic discovery: for poetry there are no low objects unworthy of depiction. The concreteness of everyday paintings; prosaic vocabulary adjacent to the high; elements of autobiography (the poet described his home activities and passions) transformed the classicist ode.)
Conclusion: In this ode, Derzhavin traditionally praises the monarch, but not in the proper way, and not for what is traditionally customary to praise. The poet is interested in telling stories about himself. The peculiarity of the style is the combination of classic solemnity and everyday life, rough vernacular and lightness, elegance of verse.
2. Think about the question: in what ways does Derzhavin’s ode correspond, and in what ways does it deviate from the strict canons of the classicism genre?
Lomonosov entered the history of Russian literature primarily as a poet-writer. Contemporaries called him the Russian Pindar. Ode is a lyrical genre. It passed into European literature from ancient poetry. In Russian literature of the 18th century. The following types of ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, ode belonged to the “high” genres, which depicted “exemplary” heroes - monarchs, generals who could serve as role models.
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1. The place of the ode in the system of genres of classicism, the genre characteristics of the ode.
Lomonosov entered the history of Russian literature primarily as a poet-writer. Contemporaries called him the Russian Pindar . Oh yeah- lyrical genre. It passed into European literature from ancient poetry. In Russian literature of the 18th century. The following types of ode are known: victorious-patriotic, laudatory, philosophical, spiritual and anacreontic. In the system of genres of Russian classicism, ode belonged to the “high” genres, which depicted “exemplary” heroes - monarchs, generals who could serve as role models. In most cases, the ode consists of stanzas with a repeated rhyme pattern. In Russian poetry, the ten-line stanza proposed by Lomonosov most often took place.
Oh yeah- lyrical genre. In it, according to Trediakovsky, “describes... matter that is noble, important, and rarely tender and pleasant in very poetic and magnificent speeches.” Its origins are choral lyrics ancient Greeks. Solemn odes were created glorifying a great event or a great hero; Anacreontic - named after the ancient Greek poet Anacreon, who sang the joys and pleasures of earthly existence; spiritual - “translations” of psalms; at the end of the 18th century. moralizing, philosophical, satirical, message-odes and elegiac odes appeared. But the main place among all types is occupied by solemn odes.
The solemn ode in Russia has a special fate. Her poetics are connected with the domestic tradition of panegyrics (eulogizing 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 I and his reforms. "The incomparable deeds of Peter the Great human strength it is impossible to exceed,” wrote M.V. Lomonosov in one of his odes.
Solemn ode in Russia in the 18th century. - this is not only a literary text, 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 odes were ordered by the government, and their reading formed part of the festive ceremony.
M.V. Lomonosov wrote odes dedicated to Anna Ioannovna, Ioann Antonovich, Elizaveta Petrovna, Peter III and Catherine II. However, the content and meaning of Lomonosov’s laudatory odes are immeasurably broader and more important than their official court role. A laudatory ode seemed to Lomonosov the most convenient form of conversation with the kings. In each of them, the poet developed his ideas and plans related to the fate of the Russian state. Most of the odes were addressed to Elizaveta Petrovna. This is explained not only by the fact that twenty years of the poet’s life coincided with her reign, but also by the fact that she was the daughter of Peter!, who, in Lomonosov’s opinion, should, first of all, continue her father’s work.
RUSSIAN ODE. - Elements of solemn and religious O. 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 first attempts to introduce the genre of “classical” O. into Russian poetry belonged to Kantemir, but the term itself was first introduced by Tredyakovsky in his “Solemn Ode on the Surrender of the City of Gdansk.” Subsequently, Tredyakovsky 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” (“New and a short way to compose Russian poetry", St. Petersburg, 1735). However, the true founder of Russian poetry, who established it as the main lyrical genre of feudal-noble literature of the 18th century, was Lomonosov. 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 reverence.
Basic signs: glorification of the monarch and the power of his homeland, sublime vocabulary (i.e. all sorts of pretentious expressions), severity, almost no personal emotions.
The ode is not so much a compliment to power as it is an instruction. An ode, especially one reflecting the accession of a sage to the throne, is always somewhat utopian. It advocates change for the better, while elegy focuses on the eternal and repeated from generation to generation. The elegy introduces a dose of skepticism into the optimistic mood of the ode.
Written by M.V. Lomonosov in 1747 “ode on the day of Elizabeth Petrovna’s accession to the throne” became a canonical example of the genre. Resorting to the hyperboles and mythologies inherent in the genre, the poet glorifies the future services of the queen to the fatherland, among which the most important are the humaneness of laws, peacefulness, generous patronage of the arts, crafts and sciences:
Be silent, fiery sounds,
And stop shaking the light:
Here in the world to expand science
Elizabeth deigned
You impudent whirlwinds, don’t dare
Roar, but meekly divulge
Our times are wonderful.
In silence, listen to the universe:
The lyre walks in admiration
The names are great to say.
The ode is written in iambic tetrameter, female and male rhymes alternate, the ten-line stanza is divided into two katrans, in the first there is a cross rhyme, in the second there is a ring rhyme, and between them there is a distich.
On Russian soil, the ode acquired a number of distinctive features. The traditional ode to classicism was of an impersonal nature, it was devoid of an individual beginning, and the lyrical hero was practically absent from it. In the Russian ode, the poet, glorifying victories on the battlefield, welcoming the accession to the throne of a new empress or the birth of a porphyry-bearing youth, is involved in what is happening. The event concerns him personally; he connects state events with his own biography, for even promotion or resignation directly depended on big politics.
Report 7th grade.
Ode is a genre of lyric poetry; solemn, pathetic, glorifying work. In literature, there are odes of laudatory, festive, and lamentable. By their nature, Lomonosov's odes are works intended to be spoken aloud. 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 ode stated a specific theme - a historical incident or an event of national scale. Lomonosov began writing ceremonial odes in 1739, and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn. In 1764, Lomonosov wrote his last ode. Over the entire creative period, he created 20 examples of this genre - one per year, and these odes are dedicated to such major events as the birth or marriage of the heir to the throne, the coronation of a new monarch, the birthday or accession to the throne of the empress. The very scale of the odic “occasion” provides the solemn ode with the status of a major cultural event, a kind of cultural culmination in the national spiritual life.
The ode is characterized by a strict logic of presentation. 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. Compositionally, the ode consists of three parts:
Part 1 - poetic delight, praise to the addressee, description of his services to the Fatherland;
Part 2 - glorification of the past successes of the country and its rulers; a hymn to modern educational successes in the country;
Part 3 - glorification of the monarch for his deeds for the benefit of Russia.
All of Lomonosov's solemn odes are written in iambic tetrameter. An example of a solemn ode is “Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elizabeth Petrovna 1747.” The ode genre allowed Lomonosov to combine lyrics and journalism within one poetic text and to speak out on issues of civil and social significance. The poet admires the innumerable natural resources of the Russian state:
Where, in the luxury of cool shadows In the pasture of galloping fir trees, the catching cry did not disperse; The hunter did not aim his bow anywhere; The farmer did not frighten the singing birds with his axe.
The abundance of natural resources is the key to the successful development of the Russian people. The central themes of the ode are the theme of labor and the theme of science. The poet appeals to the younger generation to devote themselves to the service of science:
Dare now, encouraged by your zeal, to show that the Russian land can give birth to its own Platos And quick-witted Newtons.
Lomonosov writes about the benefits of science for all ages. The ode creates an ideal image of a ruler who cares about the people, the spread of education, and the improvement of economic and spiritual development. The high “calm” of the ode is created by the use of Old Slavonicisms, rhetorical exclamations and questions, and ancient mythology.
If in a solemn ode Lomonosov very often replaces the author’s personal pronoun “I” with its form plural- “we”, then this does not indicate the impersonality of the author’s image in the ode, but that for a solemn ode only one facet of the author’s personality is significant - precisely the one in which he does not differ from all other people, but is closer to them. In a solemn ode, what is important is not the individual-private, but the national-social manifestation of the author’s personality, and in this regard, Lomonosov’s voice in the solemn ode is in the full sense the voice of the nation, the collective Russian.
Another thing is the spiritual and anacreontic ode, which occupies in Lomonosov’s poetic heritage not as significant as the solemn ode, but still a very important place. The spiritual and anacreontic odes are brought together in Lomonosov and express the author’s personal emotion, which is reflected in the productivity of the author’s personal pronoun. In these texts, Lomonosov’s “I” becomes a full-fledged lyrical embodiment of the author’s individual emotion. Only the lyrical emotions themselves, which determine the genre content of the spiritual and anacreontic ode, are different. If we use classic terminology, a spiritual ode is a form of expression of high lyrical passion. As for the Anacreontic ode, this is a form of expression of private, everyday lyrical passion.
In the 18th century, spiritual odes were called poetic transcriptions of psalms - lyrical texts of a prayerful nature that make up one of the books of the Bible - the Psalter. For the Russian reader of the 18th century, the Psalter was a special book: any literate person knew the Psalter by heart, because they were taught to read from the texts of this book. Therefore, transcriptions of psalms (actually, a poetic Russian translation of Old Church Slavonic texts) as a lyrical genre were very popular. All of Lomonosov's spiritual odes were written between 1743 and 1751. This is the time when Lomonosov had to establish himself and assert his scientific views at the St. Petersburg Academy of Sciences, where the majority of scientists and administrative posts were occupied by scientists from European countries, mainly Germans. The process of Lomonosov’s self-assertion in science was far from simple. Therefore, in spiritual odes the pathos of self-affirmation sounds. For example, in the transcriptions of Psalms 26 and 143:
In anger, devour my flesh
Disgusted, they rushed;
But it’s bad advice to even start,
Having fallen, they were crushed.
Even if a regiment rises up against me:
But I'm not horrified.
Let the enemies raise a battle:
I trust in God (186).
I was embraced by a strange people,
I'm deep in the abyss,
Stretch your hand high from the firmament,
Save me from many waters.
The tongue of enemies speaks lies,
Their right hand is strong in enmity,
The lips are full of vanity;
They hide an evil cob in the heart (197-198).
Questions about the report:
1) What are the features of the ode genre?
2) What types of ode can you name?
3) List the main parts of a traditional ode. What should you write about in each part?
4) Name the most famous ode to M.V. Lomonosov.
5) Did M.V. write? Lomonosov spiritual odes? What are they about?
Oda M.V. Lomonosov. The place of the ode in the system of genres of classicism. Analysis of the ode “To the Capture of Khotin”.
Lomonosov entered the history of Russian literature primarily as a poet-writer.
Contemporaries called him the Russian Pindar. Ode is a lyrical genre. She
passed into European literature from ancient poetry. In Russian literature
XVIII century The following types of ode are known: victorious-patriotic,
laudable, philosophical, spiritual and anacreontic. In the genre system
Russian classicism, ode belonged to the “high” genres, in which
“exemplary” heroes were depicted - monarchs, generals who could serve
an example to follow. In most cases, the ode consists of stanzas with
repeating rhyme. In Russian poetry most often took place
ten-line stanza proposed by Lomonosov.
Lomonosov began with the victorious and patriotic “Ode for the Capture of Khotin.” It's written
in 1739 in Germany, immediately after the capture by Russian troops
Turkish fortress Khotyn, located in Moldova. The fortress garrison along with
its chief Kalchakpasha was taken prisoner. This brilliant victory produced
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, image
military actions and glorification of the victors. Pictures of the battle are given in typical
Lomonosov in a hyperbolic style with a lot of detailed comparisons and metaphors
and personifications that embodied the tension and heroism of battle scenes.
The moon and snake symbolize the Mohammedan world; eagle soaring over Khotyn -
Russian army. The Russian soldier, “Ross”, was brought out as the arbiter of all events.
admiration:
Love strengthens the fatherland
Sons of Russian spirit and hand:
Everyone wants to shed all the blood,
The sound invigorates the menacing sound.
The tension and pathetic tone of the narrative are enhanced by rhetorical
to the enemy. The ode also refers to the historical past of Russia. Above
Russian army appears the shadows of Peter I and Ivan the Terrible, who won their
time of victory over the Mohammedans: Peter - over the Turks near Azov, Grozny - over
Tatars near Kazan. These kinds of historical parallels will appear after
Lomonosov is one of the stable features of the odic genre.
Scientific and philosophical lyrics by M.V. Lomonosov (“Morning reflection...”,
“Evening reflection...”, Letter on the benefits of glass.
Lomonosov made his extensive knowledge in the field of science the subject of poetry. His
“scientific” poems are not a simple translation of achievements into poetic form
Sciences. This is truly poetry born of inspiration, but only in
Unlike other types of lyrics, here poetic delight was aroused by inquisitive
thought of a scientist. Lomonosov dedicated poems with scientific themes to phenomena
nature, especially the space theme. Being a deist philosopher, Lomonosov
saw in nature a manifestation of the creative power of the deity, but in his poems he
reveals not the theological, but the scientific side of this issue: not comprehension
God through nature, but the study of nature itself, created by God. This is how they appeared
two closely related works: “Morning reflection on God
majesty" and "Evening reflection on God's majesty on occasion of great
Northern Lights." Both poems were written in 1743.
In each of the “Reflections” the same composition is repeated. At first
phenomena that are familiar to a person from his daily impressions are depicted. Then
the poet-scientist lifts the veil over the invisible, hidden region of the Universe,
introducing the reader to new, unknown worlds. So, in the first stanza
“Morning Reflection” depicts the sunrise, the onset of morning,
awakening of all nature. Then Lomonosov begins to talk about physical
structure of the Sun. A picture is drawn, accessible only to the inspired gaze
a scientist capable of speculatively imagining what he cannot see
The “perishable” human “eye” is the hot, raging surface of the sun.
Lomonosov appears in this poem as an excellent popularizer
scientific knowledge. Complex phenomena occurring on the surface of the Sun, he
reveals with the help of ordinary, purely visible “earthly” images: “walls of fire”,
“fiery whirlwinds”, “burning rains”.
In the second, “evening” reflection, the poet turns to the phenomena that appear
to a person in the firmament at nightfall. At first, just like in
In the first poem, a picture is given that is directly accessible to the eye. This
the majestic sight awakens the inquisitive thought of the scientist. Lomonosov writes about
the infinity of the universe, in which a person looks like a small grain of sand in
bottomless ocean. For readers who are accustomed, according to the Holy Scriptures,
the world around him. Lomonosov raises the question of the possibility of life on others
planets, offers a number of hypotheses about the physical nature of the northern lights.
Lomonosov's scientific interests have always been closely connected with his practical
activities. One evidence of such unity is the famous
organization of a glass factory in Ust-Ruditsa, near Oranienbaum. Production
glass in Russia was just beginning, its necessity had to be proven.
Therefore, the “Letter” lists in detail the various cases of application
glass, from jewelry to optical instruments. From specific
examples of the use of glass Lomonosov moves on to issues related to
the fate of advanced science. The names of the great naturalists Kepler are mentioned,
Newton, Copernicus, the mention of Copernicus gives Lomonosov the opportunity
reveal the essence of the heliocentric system.
“Letter on the Benefits of Glass” goes back to examples of ancient scientific poetry. One
one of Lomonosov's distant predecessors in this area was the Roman poet
Some researchers and “Letter on the benefits of glass” are also called a poem, not
Taking into account the genre uniqueness of Lomonosov’s work, what we have before us is
a letter with a specific addressee - Ivan Ivanovich Shuvalov, a prominent
nobleman and favorite of Empress Elizabeth Petrovna. Shuvalov
patronized sciences and art. With his assistance, they opened
University in Moscow and the Academy of Arts in St. Petersburg. To his help
Lomonosov repeatedly applied to implement his plans. "Letter about
the benefits of glass" is a kind of parallel to Lomonosov’s odes, in which the poet
sought to convince government officials of the importance of education and science. But in
Unlike the solemn odes, the “Letter” was not intended for the palace
ceremonies and represented an unofficial appeal from the poet to Shuvalov, which
and this explains his strict, business-like manner, devoid of any rhetorical embellishment
Philological works of M.V. Lomonosov. Their significance in the development of Russian philology.
Lomonosov entered literature at the moment when ancient Russian
writing associated with the Church Slavonic language, with an established system
genres, became a thing of the past, and was replaced by a new secular culture. Due
with the secularization of consciousness, the Russian language became the basis of the literary language.
Lomonosov wrote the first "Russian Grammar" (1757), which opened
an enthusiastic praise to the Russian language, comparing it with European languages
and highlighting its benefits.
Lomonosov was far from thinking of abandoning the use of
literary language of Church Slavonicisms. Trediakovsky in the preface to the novel
“Going to Love Island” wrote about incomprehensibility and even cacophony
Church Slavonic and resolutely avoided it in his translation. This
the solution to the issue was not accepted by Lomonosov.
The Church Slavonic language, due to its relationship with Russian, contained
certain artistic and stylistic possibilities. He gave speech
a shade of solemnity and significance. It's easy to feel if
put next to each other Russian and Church Slavonic words with the same meaning:
finger - finger, cheek - lanita, neck - neck, said - river, etc. Because of this
Church Slavonicisms, when used skillfully, enriched the emotional
expressive means of the Russian literary language. In addition, on
Church Slavonic language liturgical books were translated from Greek, into
first of all, the Gospel, which enriched the vocabulary of the Russian language with many
abstract concepts. Lomonosov believed that the use of Church Slavonicisms
in the Russian literary language it is necessary. He outlined his ideas in his work,
entitled “Preface on the benefits of church books in the Russian language”
(1757). Lomonosov divided all words of the literary language into three groups. TO
First he attributes words common to the Russian and Church Slavonic languages: god,
glory, hand, now, I honor, etc. For the second - only Church Slavonic
words understandable to “all literate people”: I open, Lord, planted,
I appeal. “Unusual” and “very dilapidated” Church Slavonicisms such as:
obavayu, ryasny, ovogda, svene - were excluded by him from the literary language. TO
the third group contains words only in the Russian language: I say, stream,
which, while, only, etc. The three groups of words mentioned above are
“material” from which three “calms” are “constructed”: high,
"mediocre" (i.e. average) and low. High "calm" is made up of
words of the first and second groups. Middle - from words of the first and third groups. Short
“calm” consists mainly of words of the third group. You can go here
enter the words of the first group. In the low calm, Church Slavonicisms are not
are used. Thus, Lomonosov made the basis of the literary language
Russian language, since of the three named groups the two most extensive are the first and
third, were presented in Russian words. Regarding Church Slavonicisms
(second group), then they are only added to the high and medium “calms” so that
give them some degree of solemnity. Each of Lomonosov's "calms"
associates with a specific genre. Heroic poems are written in a high style,
odes, prosaic speeches about “important matters”. Middle - tragedies, satires,
eclogues, elegies, friendly messages. Low - comedies, epigrams, songs.
In 1739, Lomonosov sent from Germany to the Academy of Sciences a “Letter on the Rules
Russian poetry", in which he completed the reform of Russian
versification, begun by Trediakovsky. Along with the “Letter” was sent “Ode
for the capture of Khotin" as a clear confirmation of the advantages of the new poetic
systems. Lomonosov carefully studied “A New and Brief Method...”
Trediakovsky and immediately noticed his strengths and weaknesses. After
Trediakovsky Lomonosov gives complete preference to the syllabic-tonic
versification, in which he admires the “correct order,” i.e., rhythm. IN
Lomonosov gives a number of new considerations in favor of syllabic tonics. To her
correspond, in his opinion, to the features of the Russian language: free stress,
falling on any syllable, which is how our language fundamentally differs from Polish
and French, as well as an abundance of both short and polysyllabic words, what else
more conducive to the creation of rhythmically organized poems.
But accepting in principle the reform begun by Trediakovsky, Lomonosov noted that
Trediakovsky stopped halfway and decided to finish it. He
proposes to write all verses in a new way, and not just eleven and
thirteen syllables, as Trediakovsky believed. Along with disyllabic ones, Lomonosov
introduces three-syllable feet rejected by Trediakovsky into Russian versification.
Trediakovsky considered only female rhyme possible in Russian poetry.
Lomonosov offers three types of rhymes: masculine, feminine and dactylic. He
motivates this by the fact that stress in Russian can fall not only on
penultimate, but also on the last, as well as on the third syllable from the end. In contrast
from Trediakovsky, Lomonosov considers it possible to combine in one
poem of masculine, feminine and dactylic rhyme.
In 1748, Lomonosov published “A Brief Guide to Eloquence” (book.
1 "Rhetoric"). In the first part, called “Invention,”
the question of choosing a topic and related ideas. The second part - “About decoration” -
giving speech “exaltation” and “splendor”. In the third - “About location” -
talked about the composition of a work of art. In "Rhetoric" there were no
only rules, but also numerous examples of oratorical and poetic
art. It was both a textbook and at the same time an anthology.
A.P. Sumarokov. Personality. Socio-political views. Literary-aesthetic position. Epistle “On Poetry.”
The creative range of Alexander Petrovich Sumarokov (1717-1777) is very wide.
He wrote odes, satires, fables, eclogues, songs, but most importantly, what he enriched
The genre composition of Russian classicism is tragedy and comedy.
Sumarokov's worldview was formed under the influence of the ideas of Peter the Great
time. But unlike Lomonosov, he focused on the role and
duties of the nobility. Hereditary nobleman, pupil of the nobility
corps, Sumarokov did not doubt the legality of noble privileges, but
believed that high office and ownership of serfs needed to be confirmed
education and service useful to society. A nobleman should not humiliate
the human dignity of the peasant, to burden him with unbearable exactions. He
sharply criticized the ignorance and greed of many members of the nobility in
his satires, fables and comedies.
Sumarokov considered the monarchy to be the best form of government. But
the high position of the monarch obliges him to be fair, generous,
be able to suppress bad passions in yourself. In his tragedies the poet portrayed
the disastrous consequences resulting from monarchs forgetting their civil
According to their own philosophical views Sumarokov was a rationalist. Although he had
Locke's sensualist theory is familiar (see his article “On Understanding
human according to Locke"), but it did not lead him to abandon
rationalism. Sumarokov looked at his work as a kind of school
civic virtues. Therefore, they were put in first place
moralistic functions. At the same time, Sumarokov acutely felt and purely
artistic tasks that faced Russian literature, their
He outlined his thoughts on these issues in two epistles: “On the Russian Language” and
"About poetry." Later he combined them in one work under
entitled “Admonition to those who want to be writers” (1774). Sample for
The “Instructions” were inspired by Boileau’s treatise “The Art of Poetry”, but in the composition
Sumarokov feels an independent position, dictated by pressing
the needs of Russian literature. Boileau's treatise does not raise the question of
the creation of a national language, since in France in the 17th century. this problem is already
was decided.
The main place in the “Instructions” is given to the characteristics of new for Russian
literature genres: idylls, odes, poems, tragedies, comedies, satires, fables.
in poetry, know the difference between genders // And when you start, look for decent
words" (Part 1, p. 360). But Boileau and Sumarokov’s attitude to individual genres is not
always matches. Boileau speaks very highly of the poem. He even puts it
above tragedy. Sumarokov talks less about her, content only with
characteristic of her style. He never wrote a single poem in his entire life. His
talent was revealed in tragedy and comedy, Boileau is quite tolerant of small genres - to
ballad, rondo, madrigal. Sumarokov in the epistle “On Poetry” calls them
“trinkets”, but in the “Instructions” he passes over in complete silence.
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