The main features of the ode genre and received the best answer
Answer from [expert]
Ode - (from the ancient Greek oide - song) is the oldest genre of European poetry. IN Ancient Greece Odes were originally called choral songs on various topics, accompanied by music and dancing. Gradually, first in ancient poetry, and then in the works of European classic poets, the ode became one of the most widespread and strict genres of “high”, solemn lyricism in terms of content and form. The famous odoscribers of antiquity were Pindar and Horace, who sang the praises of gods and heroes.
The classic ode was a solemn, oratorical genre in which powerful emotions were combined with prudence, “piitic” delight - with cold logic. The most important meaningful feature of an ode is a “high” subject (monarch, commander, event of national importance, public virtue, religious morality). The formal features of the genre required the use of iambic tetrameter and a stanza consisting of ten poetic lines divided into three parts: the first part consisted of four lines, the second and third - of three lines. All ten verses in the odic stanza were united by a strict rhyme system: abab ccd eed.
An important aspect of the ode’s form is composition, which gives the poem harmony, semantic completeness and persuasiveness. As a rule, the ode began with an introduction (one or two stanzas), in which the poet spoke about the subject that served as the source of his poetic delight. The first stanzas could also contain an appeal to the muse. Then came the central, largest in volume and most important in terms of content, part of the ode. The poem ended with a final moralizing stanza-conclusion. In it, the poet expressed a generalizing judgment, often directly related to the “hero” of the ode.
The pathos of the ode required a special style. It was achieved by using high, bookish vocabulary, primarily archaisms, metonymic periphrases, and allegories. Intonation and syntactic means played a huge role: exclamations and rhetorical questions, inversions, unusual syntactic constructions.
Answer from Yovetlana Alferova[newbie]
yes
The ode as a genre of high solemn poetry receives predominant development in the literature of classicism during its heyday. This is due to the fact that the era with which the development of classicism was associated proclaimed the triumph of general interests over personal interests, therefore the genre of the high ode was more consistent with the tasks of the era than, for example, the genre of a love or drinking song. Human experiences caused by love, separation from loved ones, and their death were relegated to the background. Only those experiences of the poet that reflected events of a national, national scale could arouse general interest.
Ode in classicism was a genre of strict form. Like oratorical speech, it was built from three obligatory parts: an “attack”, i.e. an introduction of the topic, a discussion where this topic was developed with the help of example images, and a short but emotionally strong conclusion. Each of the three parts had its own design features, but Lomonosov believed that the arguments in favor main idea should have been positioned “so that the strong were in front, the weaker were in the middle, and the strongest were at the end.”
The poet's delight did not exclude careful consideration of its main motives and the corresponding compositional parts. He did not rule out thinking about ways to influence the listener in order to evoke reciprocal feelings in him. However, all this had to remain outside the scope of the ode. The ode itself, addressed to the listeners, retained (or should have retained) the character of free improvisation, when one thought evoked another.
The predecessors of the ode genre in Russian literature were the "Rhythmologion" of Simeon of Polotsk, the cants and "vivata" of the Petrine era and the work of Feofan Prokopovich, who praised major events era and introduced in literature the theme of Peter I as an enlightened monarch, builder and hero, which will be picked up by Kantemir, Lomonosov and others right up to Pushkin with his poems “Poltava” and “The Bronze Horseman”.
One of the most important features of Lomonosov's solemn ode is the colorfulness and expressiveness of the descriptions. Thus, the lyrical plot in “Ode to the Capture of Khotin” is based on the broad inclusion of epic elements. It begins with a description of the “delight”, “Permesian heat” (inspiration) that gripped the poet at the news of the glorious victory of the Russian army over the Turks and Tatars, won in 1739. The central part consists of the poet’s story about the battle itself and his thoughts in connection with this event.
Answer from Evgen[guru]
The social function of the ode becomes direct service to the growing absolutism.
Answer from Sonya Katkova[newbie]
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 rhetorical questions and answers, the alternation of which is due to two parallel operating attitudes: 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
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 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:
Be of good cheer now
It’s your kindness to show
What can Platonov's own
And the quick-witted Newtons
Russian land gives birth.
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, 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 full.
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 first of all 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 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
In his 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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Briefly:
Ode (from gr. ode - song) is a genre of lyric poetry, a solemn poem written in honor of a person or historical event.
Ode appeared in Ancient Greece, like most lyrical genres. But it gained particular popularity in the era of classicism. The ode appeared in Russian literature in the 18th century. in the works of V. Trediakovsky, M. Lomonosov, V. Petrov, A. Sumarokov, G. Derzhavin and others.
The themes of this genre were not very diverse: the odes talked about God and the Fatherland, the virtues of a high-ranking person, the benefits of science, and so on. For example, “Ode of blessed memory to Empress Anna Ioannovna for the victory over the Turks and Tatars and for the capture of Khotin in 1739” by M. Lomonosov.
Odes were composed in a “high style”, using Church Slavonic vocabulary, inversions, pompous epithets, rhetorical appeals and exclamations. The pompous style of classic verses has become simpler and closer to spoken language only in Derzhavin’s odes. Starting with A. Radishchev, solemn poems acquire a different semantic meaning; the motif of freedom and a call for the abolition of serfdom appear in them. For example, in Pushkin’s “Liberty” or Ryleev’s “Civil Courage”. In the works of the authors of the second half of the 19th century and 20th centuries ode is rare. For example, “To the City” by V. Bryusov, “Ode to the Revolution” by V. Mayakovsky.
Source: Student's Handbook: grades 5-11. - M.: AST-PRESS, 2000
More details:
The path of the word “ode” is much shorter than that of such concepts as “elegy” or “epigram”, which were mentioned from the 7th-6th centuries. BC e. Only half a millennium later, Horace begins to affirm it, and from the middle of the last century it already sounds completely archaic - like the pyit who composed this healthy chant. However, the evolution of the phenomenon is not limited to the history of the term in this case.
Ode: history of the genre
Even in Ancient Greece, numerous hymns and dithyrambs, paeans and epinikias were created, from which the ode subsequently grew. The founder of odic poetry is considered to be the ancient Greek poet Pindar (VI-V centuries BC), who composed poems in honor of the winners of Olympic competitions. Pindar's epics were distinguished by their pathetic glorification of the hero, whimsical movement of thought, and rhetorical construction of poetic phrases.
The most talented successor of Pindar in Roman literature is Horace, who glorified “valor and righteousness” and “Italic power.” He develops, but by no means canonizes the odic genre: along with Pindaric ones, Epicurean motifs also sound in the poet’s odes; civic pride in his nation and power does not obscure the delights of intimate existence for Horace.
Opening the next page of the odic anthology, you almost don’t feel the centuries-old pause that separated the ode to antiquity and the late Renaissance: the Frenchman P. Ronsard and the Italian G. Chiabrera, the German G. Weckerlin and the Englishman D. Dryden consciously started from classical traditions. At the same time, Ronsard, for example, drew equally from the poetry of Pindar and from Horatian lyricism.
Such a wide range of standards could not be acceptable to practitioners and theorists of classicism. Already Ronsard's younger contemporary F. Malherbe organized the ode, building it as a single logical system. He opposed the emotional chaos of Ronsard's odes, which made itself felt in composition, language, and verse.
Malherbe creates an odic canon, which could either be epigonically repeated or destroyed, developing the traditions of Pindar, Horace, Ronsard. Malherbe had supporters - and among them very authoritative ones (N. Boileau, in Russia - A. Sumarokov), and yet it was the second path that became the main road along which the ode then moved.
The ode genre in the works of Lomonosov
The title of “Russian Pindar” was established in the 18th century. behind M. Lomonosov, although we will find the first examples of Russian panegyric poetry in S. Polotsky and F. Prokopovich. Lomonosov understood the possibilities of the odic genre widely: he wrote both solemn and religious-philosophical odes, sang “ecstatic praise” not only to Empress Elizabeth Petrovna, but also to the entire God’s world, the starry abyss, and simple glass. Lomonosov's ode often resembles a state manifesto, and not only the content, but also the form of its odes is programmatic. It is constructed as an oratorical monologue of an author convinced of his rightness and expresses the prevailing emotional states: delight, anger, grief. His passion does not change, it grows according to the law of gradation.
Other characteristic Lomonosov's odes - “conjugation of far-flung ideas”, increased metaphoricality and paradoxicality. However, Lomonosov’s associations grow on rational basis. As Boileau wrote,
Let the Ode of fiery whimsical thoughts move,
But this chaos in it is the ripe fruit of art.
The unexpectedness of metaphors is always balanced here by the desire to develop, demonstrate, and clarify them.
A. Sumarokov fiercely fought against Lomonosov’s interpretation of the genre, who instilled moderation and clarity in the ode. His line was supported by the majority (Vas. Maikov, Kapnist, Kheraskov and others); but among Lomonosov’s followers there was not only the pompous Vasily Petrov, but also the brilliant Derzhavin.
The ode genre in Derzhavin’s work
He was the first to snatch ode from the clutches of abstraction. The life of his heroes consists of more than one civil service- there is a lot of everyday vanity in it: everyday life and leisure, troubles and entertainment. However, the poet does not castigate human weaknesses, but, as it were, recognizes their naturalness.
That's it, Felitsa, I'm depraved!
But the whole world looks like me, -
he makes excuses. In “Felitsa” a collective image of a nobleman of Catherine’s times is drawn, his portrait is predominantly an everyday one. The ode here comes close not to satire, but to an outline of morals. Accordingly, the images become worldly - and not only in “Felitsa” statesmen. The praise for “And there was a nobleman” according to Derzhavin’s rating scale is almost the highest (“On the birth of a porphyry-bearing youth in the North”, “On the return of Count Zubov from Persia”, “Snigir”).
Of course, Derzhavin’s traditional odic image descended from heaven to earth, however, immersed in everyday life, his hero feels his involvement in God and eternal nature. His man is great as an earthly reflection of a deity. In this impulse towards eternal ideals, and not in transient lusts, the poet finds the true purpose of people - this is how the fervor of odic pathos is maintained (“On the Death of Prince Meshchersky”, “God”, “Waterfall”).
Further development of the Russian ode
In Derzhavin's work, the development of the classical ode is completed. But, according to Yu. Tynyanov, it “as a direction, and not as a genre, does not disappear,” and here not only Katenin and Kuchelbecker, but also Mayakovsky were meant.
Indeed, for two centuries, odic traditions have been among the most influential in Russian and Soviet poetry. They become especially active when drastic changes are planned or made in history, when the need for such verses arises in society itself. Such are the era Patriotic War 1812 and the Decembrist movements, revolutionary situations of the second half of the 19th - early 20th centuries, the period of the Great Patriotic War and the middle of the last century.
Odic lyrics are a form of the poet establishing a connection between his moods and general ones. What is alien becomes ours, what is mine becomes ours. It is not surprising that odic poets - these “knights of immediate action” - are interested in the widest possible publicization of their creations and intensifying their dialogue with people. During times of social upheaval - “in days of celebration and troubles of the people” - poetry always appears in the stands, squares and stadiums. Let us remember the moral resonance of the siege poems (odic and neodic) by O. Berggolts, with which she spoke on Leningrad radio. The poet takes on the guise of a people's herald in odic lyric poetry; he not only formalizes the experiences of many - general premonitions receive from him the power of confidence. In this sense, we can talk about the ideological and even visionary nature of odic lyrics.
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 plural form - “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 - namely one in which he is not different from all other people, but gets 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?
Classicism as an art movement originated in France at the end of the 17th century. In his treatise “Poetic Art” Boileau outlined the basic principles of this literary movement. He believed that literary work is created not by feelings, but by reason; Classicism in general is characterized by a cult of reason, caused by the conviction that only an enlightened monarchy, absolute power, can change life for the better. Just as in the state there must be a strict and clear hierarchy of all branches of power, so in literature (and in art) everything must be subject to uniform rules and strict order.
In Latin, classicus means exemplary or first-class. The model for classic writers was ancient culture and literature. The French classics, having studied the poetics of Aristotle, determined the rules of their works, which they subsequently adhered to, and this became the basis for the formation of the main genres of classicism.
Classification of genres in classicism
Classicism is characterized by a strict division of literary genres into high and low.
- Ode is a work glorifying and praising in poetic form;
- Tragedy is a dramatic work with a harsh ending;
- A heroic epic is a narrative account of past events that shows the whole picture of time.
The heroes of such works could only be great people: kings, princes, generals, nobles who devote their lives to serving the fatherland. What comes first for them is not personal feelings, but civic duty.
Low genres:
- Comedy is a dramatic work that ridicules the vices of society or a person;
- Satire is a type of comedy distinguished by its harshness of storytelling;
- A fable is a satirical work of an instructive nature.
The heroes of these works were not only representatives of the noble class, but also commoners and servants.
Each genre had its own rules of writing, its own style (the theory of three styles), mixing of high and low, tragic and comic was not allowed.
Students of the French classics, diligently adopting their standards, spread classicism throughout Europe. The most prominent foreign representatives are: Moliere, Voltaire, Milton, Corneille, etc.
Main features of classicism
- Classical authors drew inspiration from the literature and art of ancient times, from the works of Horace and Aristotle, so the basis was imitation of nature.
- The works were built on the principles of rationalism. Clarity, clarity and consistency are also characteristic features.
- The construction of images is determined by the general features of a time or era. Thus, each character is a thoughtful personification of a time period or segment of society.
- A clear division of heroes into positive and negative. Each hero embodies one basic trait: nobility, wisdom or stinginess, meanness. Often the heroes have “speaking” surnames: Pravdin, Skotinin.
- Strict adherence to the hierarchy of genres. Compliance of style with genre, avoiding mixing of different styles.
- Compliance with the rule of the “three unities”: place, time and action. All events take place in one place. The unity of time means that all events fit into a period of no more than a day. And the action - the plot was limited to one line, one problem that was discussed.
Features of Russian classicism
A. D. Kantemir Like European, Russian classicism adhered to the basic rules of direction. However, he did not simply become a follower of Western classicism - complemented by his national spirit of originality, Russian classicism became an independent direction in fiction with its unique features and characteristics:
- Classicist authors, instead of antiquity, took as a basis national-historical images of Russia (the tragedies of Sumarokov “Dmitry the Pretender”, “Mstislav”, Knyazhnin’s “Rosslav”, “Vadim Novgorodsky”);
- The presence of patriotic pathos in all works of this time;
- High level of development of ode as a separate genre (odes of Lomonosov, Derzhavin).
Satirical direction - such genres as comedy, fable and satire, telling about specific phenomena of Russian life (Kantemir’s satires, for example, “On those who blaspheme the teaching. To your mind”, Krylov’s fables);
The founder of Russian classicism is considered to be A.D. Kantemir with his famous satires, which had political overtones and more than once became the cause of heated debates.
V. K. Trediakovsky did not particularly distinguish himself in the artistry of his works, but he had a lot of work in literary direction generally. He is the author of such concepts as “prose” and “poetry”. It was he who conditionally divided the works into two parts and was able to give them definitions and substantiate the system of syllabic-tonic versification.
A.P. Sumarokov is considered the founder of the dramaturgy of Russian classicism. He is considered the “father of Russian theater” and the creator of the national theatrical repertoire of that time.
One of the most prominent representatives of Russian classicism is M. V. Lomonosov. In addition to his enormous scientific contribution, Mikhail Vasilyevich carried out a reform of the Russian language and created the doctrine of the “three calms”.
D.I. Fonvizin is considered the creator of Russian everyday comedy. His works “The Brigadier” and “The Minor” have not yet lost their significance and are studied in the school curriculum.
G. R. Derzhavin is one of the last major representatives of Russian classicism. He was able to incorporate vernacular language into strict rules in his works, thereby expanding the scope of classicism. He is also considered the first Russian poet.
Main periods of Russian classicism
There are several divisions into periods of Russian classicism, but, generalizing, they can be reduced to the main three:
- 90 years of the 17th century – 20 years of the 18th century. Also called the Peter the Great era. During this period, there were no Russian works as such, but translated literature was actively developing. This is where Russian classicism originates as a consequence of reading translated works from Europe. (F. Prokopovich)
- 30-50 years of the 17th century - a bright surge of classicism. A clear genre formation is taking place, as well as reforms in the Russian language and versification. (V.K. Trediakovsky, A.P. Sumarokov, M.V. Lomonosov)
- The 60-90s of the 18th century are also called the Catherine's era or the Age of Enlightenment. Classicism is the main one, but at the same time the emergence of sentimentalism was already observed. (D. I. Fonvizin, G. R. Derzhavin, N. M. Karamzin).
