(more precisely, “pseudoclassical”) only in the sense that it borrowed form from ancient satirists, borrowed character, sometimes its themes, but the most significant thing is content- was free from any restrictions and rules, was always alive and mobile, since, in its essence, it was doomed to always be in contact with reality. Boileau, translated into Latin language, would only very slightly affect the life of Rome. It was not the same with the “ode” - due to its isolation from life, it was easier to succumb to other people’s influences. These influences conquered not only its forms, but also its contents “ commonplace" That is why most of the odes are completely international and stereotyped, equally applicable to France, Germany, and Russia.
Classicism as a movement in art and literature
The “classical” ode received all its specific features at the court of Louis XIV. This court enslaved not only the aristocracy, finally turning them into courtiers, but also attracted poets, artists, and scientists to Paris. Previously, singers lived in the castles of nobles and glorified their feats of valor and hospitality - now, after the centralization of mental life, they crowded into the capital. The "Sun King", who copied Emperor Augustus, became a sovereign for them Patron of the arts, distributed awards and pensions. And so, from the hangers-on of the knight’s castle, they became the king’s pensioners: “enlightened absolutism” sheltered them, they grew stronger under its protection - and became the masters and legislators of the then pan-European Parnassus; they glorified the king and their patrons, spreading their glory throughout Europe.
These writers formed the first corporation French Academy. She was placed along with the highest government agencies France and received high right to offer congratulations to the king on special occasions along with the parliament. Since then, getting into this Academy has become cherished dream any French writer.
The “duty” of academic poets to praise the sovereign Patron of the Arts created typical features French ode. The odes of Pindar and Horace became models for her. Of course, the most sincere creator of odes was Pindar, known for his songs of praise in honor of contemporary events and heroes. These songs were sung to the accompaniment of the lyre. The singer's lively, sincere attitude towards the event, the sympathy of the listeners - these are the indispensable companions of this primitive ancient ode. Horace's ode was more artificial - it was already flattering poetry in honor of a benefactor, without the participation of the people, without singing and the lyre, without faith in the gods, although with traditional address to the gods and the lyre, and the mention of the word: “I sing.”
The pseudo-classics of the New Age borrowed form and techniques from Pindar and Horace - this is how the theory developed false-classical odes. Boileau, as always, successfully, in a few words, defined the theory of this ode - and his theory became the law for all subsequent ode writers.
The main feature of this ode is “pathos”, lifting the poet to heaven, to the heights of pagan Olympus, where, in a fit of delight, the poet beholds the gods themselves; in such chants in honor of the winner, in praise of victories, the swiftness of the style, carrying the poet away from calm, flowing speech to appeals, retreats, promotions resulting from his excitement, created that “beau désordre”, “beautiful disorder”, which is inherent in a sincerely inspired feeling , but in theory Boileau addressed himself as “effet de l"art” (beautiful literary device). For many false classicists, writers of odes, this reception covered up a deficiency or insincerity of feeling.
False-classical odes were successful in Germany, where they were usually composed in honor of various German princes who sat in their castles and towns and pretended to be “little Louis XIV" It is no wonder that the grandiosely flattering French ode here took on the character of a crude lie. What in the setting of Versailles was elevated, inflated, but still had a basis in the enchanting theatrical grandeur of the era and culture, then in the wilderness of virtuous Germany, in the atmosphere of beer and junkers, it was a direct untruth: the same appeals to the gods of antiquity, the same likenings heroes of antiquity, the same pathos - only instead of the grandiose personality of Louis - a pompous, ponderous figure of a German, “enlightened by French light”!
However, the Germans also had poets whose sincere feelings sometimes broke through the conventions of ready-made, hackneyed forms. This was, for example, Gunther, who died young. For us Russians, he is valuable as a writer, highly respected
In the Middle Ages there was no genre of ode as such. This genre originated in European literature during the Renaissance and developed in the system literary movement classicism. In Russian literature it begins its development with national tradition eulogies.
Elements of solemn and religious odes are already present in the literature of southwestern and Moscow Rus' late XVI-XVII 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 involves a struggle between contradictory stylistic trends, on the outcome of which the direction depended lyric poetry generally.
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 Russian army and Empress Anna Ioannovna. In another poem, “Praise to the Izhera land and the reigning city of St. Petersburg,” solemn praise is heard for the first time Northern capital Russia. 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 correct alternation drums and unstressed syllables, which he noticed in the Russians folk songs. 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, which had already come into use in many European countries the ode genre 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 the following prominent figures literature, like 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, she walked in Russian clothes constant struggle between two literary trends: close to the Baroque traditions, 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 covered mighty spirit love of freedom, imbued with love for their native land, for native people, breathe an incredible thirst for life. Russians poets XVIII centuries have strived different ways and means artistic word fight against outdated forms Middle Ages. They all stood up for further development culture, science, literature, believed that progressive historical development can only be achieved as a result educational activities king, clothed autocratic power and therefore capable of carrying out necessary transformations. This faith found its artistic embodiment in such works as “Poems commendable Russia" Trediakovsky, "Ode on the Day of the Ascension to all-Russian throne Her Majesty Empress Elisaveta Petrovna, 1747" 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 in poetry the enormous patriotic and public content. Writers and poets of the 18th century were looking for new art forms, means, 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, acquires 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 state power and its carriers.
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 by the Russian army Turkish fortress Khotin. In addition, having distributed all vocabulary“Slavic-Russian language” in 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 responded to to a certain extent the demands put forward by him for clarity, naturalness and simplicity. The struggle between the traditions of Lomonosov and Sumarokov’s “Odes” spanned a number of decades, especially intensifying in the 50s and 60s years XVIII V. 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 fight has come literary expression 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 on at this stage won. 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 its 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. Special meaning have his accusatory odes (“Nobleman”, “To Rulers and Judges”, etc.), in which he is the founder of Russian civil poetry.
Heroics of time, 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 privacy people, paints pictures of nature sparkling with all colors.
Social processes in Russia XVIII centuries had a significant influence 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 to early stage her education to use this genre for her own purposes. Poets actively picked up revolutionary wave, recreating vibrant social and public events in his work. And the ode genre perfectly reflected the mood that prevailed among leading artists.
In Radishchev’s “Liberty,” the main social function odes: instead of an enthusiastic chanting of “kings and kingdoms,” the ode was 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 of the 18th century became the main literary genre, capable of expressing the moods and emotional 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.
WITH late XVII In the 1st 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 some time. for a long time. The ode correlates with “high” archaic poetry, mainly. civil content (V.K. Kuchelbecker in 1824 contrasts it romantic elegies). The features of the odic style are preserved in philosophical lyrics 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 ode in creativity 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. Individual attempts to revive it, which took place in the works of the Symbolists, were carried out in best case scenario the nature of more or less successful stylization (for example, Bryusov’s ode to “Man”). Consider some poems as an ode modern poets, at least the so-called ones themselves (for example, “Ode to the Revolution” by Mayakovsky), can only be done by way of a very distant analogy.
ode poem lyrics classicism
In Russian poetry there is a large number of genres, many of which are actively used modern writers, others are a thing of the past and are used by authors extremely rarely. The second one is ode. In literature, this is already an outdated genre, which was in demand in the era of classicism, but gradually fell out of use by wordsmiths. Let's take a closer look at this term.
Definition
In literature? The definition can be formulated in the following way: This lyrical genre poetry, a solemn song dedicated to a person with the aim of exalting him or praising him. Also, in some cases it is not a person who is praised, but a certain an important event. The first author of odes in literature is the poet of ancient Hellas, Pindar, who in his pompous verses honored the winners of sports competitions.
In Russia, the genre flourished in the era of classicism, when the great classics Derzhavin and Lomonosov created their immortal works. TO XIX century the genre has lost its relevance, giving way to easier-to-understand lyrics.
Genre specifics
Ode in literature is a rather specific genre due to its following features:
- Use of iambic tetrameter.
- The presence of high, often outdated, archaic vocabulary, which often made it difficult to understand the text.
- The text has a clear structure; at the beginning and end there must have been an appeal to the addressee. True, some authors have moved away from this canon.
- Abundance rhetorical questions, lush tropes, long common sentences.
- Often in solemn poems one can find an amazing interweaving of lyrical and journalistic principles, which is especially inherent
- Most of the works are quite large in volume.
- The replacement of the pronoun “I” with “we” in the text (which is also characteristic of Lomonosov) indicates that the author does not express his personal opinion, but the position of the entire people.
Such works were intended to be spoken aloud; only loud, emotional reading could convey all the feelings that burned in the author’s soul. That is why many odes are learned by heart.
Subjects
The most commonly used ode themes in literature are heroic deeds, praise of monarchs. Thus, Lomonosov’s first solemn ode is dedicated to the capture of the Turkish A Derzhavin in his poetic work addressed Felitsa - this is what he calls Catherine the Second.
Ode is an interesting genre of Russian literature, in which we can look at the main events of Russian history from a different angle, find out the author’s perception of this or that historical figure, understand its role. That is why such complex at first glance, but actually quite fascinating works can and should be read.
4. The originality of Russian classicism.
The first literary movement in Russia - classicism - developed in the 30-50s. XVIII century. Classicism received its most vivid embodiment in the 17th century. in France in the works of Corneille, Racine, Moliere, Boileau.
Russian classicism (1730-1760) arose in similar historical conditions - its prerequisite was the strengthening of autocratic statehood and national self-determination starting from the era of Peter I. But at the same time, Russian classicism arose almost a century later than French: by the middle of the 18th century. Russian classicism, due to its strong connection with cultural reform, set before myselfeducational tasks, trying to educate their readers and instruct monarchs on the path of public good. That is why Russian classicism begins not with an ode, but with satire, and social-critical pathos is inherent in it from the very beginning.
Russian classicism reflected completely another type of conflict than Western European classicism. The central problem of Russian life in the 18th century. there was a problem of power and its continuity. The 18th century was a century of intrigue and palace coups, which too often led to uncontrolled power. Therefore, Russian classic literature immediately took a political-didactic direction. If the plots of French works of classicism are drawn from ancient literature, then some Russian works are written on the basis of chronicles and events of recent history.
Finally, Another specific feature of Russian classicism was that it did not rely on such a rich and continuous tradition of national literature. The normative acts of Russian classicism - the reform of Trediakovsky-Lomonosov's versification, the reform of style, the regulation of the genre system - were carried out between the mid-1730s and the end of the 1740s. - that is, mainly before a full-fledged literary process in line with classicist aesthetics.
Features of classicism:
1. Hierarchy and normativity. Within itself, literature was also divided into two hierarchical rows, low and high. To low genres were classified as satire, comedy, fable; to high- ode, tragedy, epic. In low genres, everyday material reality is depicted, and a private person appears in social connections. In high genres, a person is presented as a spiritual and social being, alone and along with the eternal fundamentals of questions of existence.. The hero of low genres is a middle-class person; the hero of the tall - a historical figure, mythological hero or a fictional high-ranking character - usually a ruler. In low genres, human characters are formed by base everyday passions (stinginess, hypocrisy, hypocrisy, envy, etc.); in high genres, passions acquire a spiritual character (love, ambition, vindictiveness, a sense of duty, patriotism, etc.).
2. The conflict between the reasonable and the unreasonable, duty and feelings, public and personal.
Character is one of the central aesthetic categories of classicism (character is the source of conflict). The main components of character are passions: love, hypocrisy, courage, stinginess, sense of duty, envy, patriotism, etc. It is by the predominance of one passion that a character is determined: “lover”, “miserly”, “envious”, “patriot”. All these definitions are precisely “characters” in the understanding of classicist aesthetic consciousness.
3. Imitation of antiquity
Ancient literature for classicism is the already achieved pinnacle of aesthetic activity, an eternal and unchanging standard of art,
The uniqueness of Russian classicism lies in the fact that in its formation era it combined the pathos of serving the absolutist state with the ideas of the early European Enlightenment. In France in the 18th century. absolutism has already exhausted its progressive possibilities, and in Russia in the first decades of the 18th century. absolutism was still at the head of progressive transformations for the country. Therefore, at the first stage of its development, Russian classicism adopted some of its social doctrines from the Enlightenment. These include primarily the idea of enlightened absolutism, i.e. the state must be headed by a wise, “enlightened” monarch. Peter I was an example of such a ruler for Russian classicists.
Unlike French classicism of the 17th century. and in direct accordance with the Age of Enlightenment in Russian classicism of the 30s -50s a huge place was given to sciences, knowledge, enlightenment. Russia needed accurate knowledge useful to society.
In the purely artistic field to the share of Russian writers of the second third of the 18th century. the task was not only to create a new literary direction. They had to reform the literary language, master genres unknown until that time in Russia. Each of them was a pioneer. Kantemir laid the foundation for Russian satire, Lomonosov legitimized the ode genre, Sumarokov acted as the author of tragedies and comedies. In the field of literary language reform, the main role belonged to Lomonosov. The Russian classicists also faced such a serious task as the reform of Russian versification, the replacement of the syllabic system with a syllabic-tonic one.
As a result of persistent work, a literary movement was created that had its own program, creative method and harmonious system of genres.
The creative method of the classicists develops on the basis of rationalistic thinking. They seek to decompose human psychology into its simplest component forms. It is not social characters that are typified, but human passions and virtue. It was strictly forbidden to combine different “passions” and especially “vice” and “virtue” in one character. Genres were distinguished by exactly the same “purity” and unambiguity. A comedy was not supposed to include “touching” episodes. The tragedy excluded the showing of comic characters.
Russian classicism of the 18th century. went through two stages in its development. The first of them dates back to the 30-50s. This is the formation of a new direction, when genres in Russia, the literary language and versification are being reformed. The second stage falls on the last four decades of the 18th century. and is associated with the names of such writers as Fonvizin, Kheraskov, Derzhavin, Knyazhnin, Kapnist. In their work, Russian classicism most fully and widely revealed its ideological and artistic possibilities.
Solemn odes of M.V. Lomonosov.Poetic activity of M.V. Lomonosov took place in an era when all European literature was to a greater or lesser extent under the rule of classicism. And, of course, the poet could not help but submit to the influence of this powerful style. Lomonosov entered the history of Russian literature primarily as poetic writer. Oh yeah- lyrical genre. It passed into European literature from ancient poetry. In Russian XVIII literature V. 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. Odes in Russia in the 18th century. were ordered by the government, and their reading was part of the festive ceremony, but the content and meaning of Lomonosov’s laudatory odes are much broader and more important than their official court role. Endowed with topical content, his odes raised issues of great social and state significance. Lomonosov dedicated his odes to Anna Ioannovna, Ioann Antonovich, Elizaveta Petrovna, Peter III and Catherine II, and in each of them he developed his ideas and plans related to the destinies of the Russian people. But these odes were addressed not only to crowned heads, but also through their heads were supposed to “attract the hearts of nations.”
Genre of solemn ode- this is the central genre of Lomonosov’s poetic heritage, with which he had a powerful influence on Russian literature.
By its nature and the way it exists, Lomonosov’s solemn ode is an oratorical genre to the same extent as a literary one (Tynyanov). Solemn odes were created with the intention of reading aloud in front of the addressee; poetic text a solemn ode is designed to be a sounding speech perceived by ear. Typological features oratorical genres in a solemn ode are the same as in a sermon and secular oratorical Word. First of all this is the attachment of thematic material a solemn ode to a certain “occasion” - a historical incident or event of national significance. Lomonosov began to write solemn odes since 1739. - and his first ode is dedicated to the victory of Russian weapons - the capture of the Turkish fortress of Khotyn "to capture Khotin". Where main defender native land, the winner on the battlefield is the Russian people. It was written after the capture by Russian troops of the Turkish fortress of Khotyn, located in Moldova. In Lomonosov's ode, three main parts can be distinguished: introduction, depiction of military operations and glorification of the victors. Pictures of the battle are presented in the hyperbolic style typical of Lomonosov with a lot of detailed comparisons, metaphors and personifications, embodying the tension and heroism of the battle scenes. The moon and snake symbolize the Mohammedan world; the eagle soaring over Khotyn is the Russian army. The Russian soldier, “Ross”, as the author calls him, was brought out as the arbiter of all events . The tension and pathetic tone of the narrative is enhanced by rhetorical questions and exclamations of the author, addressed either to the Russian army or to its enemy. The ode also refers to the historical past of Russia. The shadows of Peter I and Ivan the Terrible, who at one time won victories over the Mohammedans, appear over the Russian army: Peter - over the Turks near Azov, Ivan the Terrible - over the Tatars near Kazan. This kind of historical parallels will become, after Lomonosov, one of the stable features of the odic genre.
He created 20 solemn odes. The very scale of the odic “occasion” provides the solemn ode with the status of a major cultural event, a cultural culmination in the national spiritual life. Ode reveals a gravitation towards ideal spheres of existence, in contrast to satire, which is associated with everyday life.
Composition of a 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. As for sequence of development of the odic plot, then it is determined by the laws of formal logic, which facilitates the perception of the odic text by ear: the formulation of the thesis, proof in a system of successively changing arguments, a conclusion repeating the initial formulation. Thus, the composition of the ode is subject to the same mirror principle as the composition of satire and their common proto-genre - sermon.
All solemn odes of Lomonosov written in iambic tetrameter, and many are clean. All of them consist of ten-line stanzas, with a certain rhyme system: aBaBvvGddG.
The odic character is statuesque, devoid of physical appearance. 3 options for the hero: a person, an abstract concept (science) and a country. They are characters because... are ideas that express a general concept (Peter is the idea of an ideal monarch, Russia is the idea of the Fatherland, science is enlightenment). Therefore, solemn odes have specific characteristics. chronotope
“Ode on the day of accession to the throne of Empress Elizabeth Petrovna, 1747” written in a high style and glorifies the daughter of Peter 1. Having paid tribute to the virtues of the empress, her “meek voice”, “kind and beautiful face”, desire to expand science, the poet starts talking about her father, whom he called. “The type of man has not been heard of since ages.” P.1 is the ideal of an enlightened monarch who devotes all his strength to his people and state. L.'s ode gives an image of Russia with its vast expanses and enormous riches. This is how it arises Homeland theme and serving her - TV presenter L. Closely related to this topic science theme, knowledge of nature. It ends with a hymn to science, a call to young men to dare for the glory of Russian land. The main action of the characters in Lomonosov's ode is that they sing, shout, thunder, shout, proclaim, hold a speech, speak, say, raise their voice, sound, praise publicly etc. The space of the odic text is filled with figures standing, sitting, riding, and extending their arms, whose appearance fluctuates between the idea of human forms and an abstract concept.
The odic idea is placed in a boundless world, which only apparently has some geographical or landscape features, but in fact is a space through which the odic idea moves with freedom and speed of thought .
The remoteness of the ideal odic world image from material life is emphasized by the motif of spatial height (mountains, heavens, sun), its metaphorical motif of emotional uplift (delight, admiration, fun) and mythological symbols of poetic inspiration and divinity (Parnassus, Olympus)
The world image of the solemn ode consists of ideas associated with the concept of supreme state power in the highest, ideal and positive sense.
Lomonosov in his solemn odes gave a brilliant example of precisely high literary style.
In literature, classicism originated and spread in France in the 17th century. Nicolas Boileau is considered a theorist of classicism, who formed the basic principles of the style in the article “Poetic Art.” The name comes from the Latin “classicus” - exemplary, which emphasizes the artistic basis of the style - the images and forms of antiquity, which they began to cherish special interest at the end of the Renaissance. The emergence of classicism is associated with the formation of principles centralized state and the ideas of “enlightened” absolutism in it.
Classicism glorifies the concept of reason, believing that only with the help of the mind can one obtain and organize a picture of the world. Therefore, the main thing in a work becomes its idea (that is, the main idea and the form of the work must be in harmony), and the main thing in the conflict of reason and feelings is reason and duty.
The basic principles of classicism, characteristic of both foreign and domestic literature:
- Forms and images from ancient (ancient Greek and Roman) literature: tragedy, ode, comedy, epic, poetic odic and satirical forms.
- A clear division of genres into “high” and “low”. The “high” ones include ode, tragedy and epic, the “low” ones, as a rule, are funny - comedy, satire, fable.
- A distinctive division of heroes into good and bad.
- Compliance with the principle of the trinity of time, place, action.
Classicism in Russian literature
XVIII century
In Russia, classicism appeared much later than in European countries, since he was “brought” along with European works and enlightenment. The existence of style on Russian soil is usually placed within the following framework:
1. The end of the 1720s, the literature of Peter the Great’s time, secular literature, different from the church literature that had previously dominated in Russia.
The style began to develop first in translated works, then in original works. The names of A. D. Kantemir, A. P. Sumarokov and V. K. Trediakovsky (reformers and developers) are associated with the development of the Russian classical tradition literary language, they worked on poetic forms - on odes and satires).
- 1730-1770 - the heyday of the style and its evolution. Associated with the name of M.V. Lomonosov, who wrote tragedies, odes, and poems.
- The last quarter of the 18th century saw the emergence of sentimentalism and the beginning of the crisis of classicism. The time of late classicism is associated with the name of D. I. Fonvizin, the author of tragedies, dramas and comedies; G. R. Derzhavin ( poetic forms), A. N. Radishchev (prose and poetic works).
(A. N. Radishchev, D. I. Fonvizin, P. Ya. Chaadaev)
D. I. Fonvizin and A. N. Radishchev became not only developers, but also destroyers of the stylistic unity of classicism: Fonvizin in comedies violates the principle of the trinity, introducing ambiguity in the assessment of heroes. Radishchev becomes the harbinger and developer of sentimentalism, providing psychologism to the narrative, rejecting its conventions.
(Representatives of classicism)
19th century
It is believed that classicism existed by inertia until the 1820s, but during late classicism the works created within its framework were classical only formally, or its principles were used deliberately to create a comic effect.
Russian classicism of the early 19th century is moving away from its breakthrough features: affirmation of the primacy of reason, civic pathos, opposition to the arbitrariness of religion, against its oppression over reason, criticism of the monarchy.
Classicism in foreign literature
Initial classicism was based on the theoretical developments of ancient authors - Aristotle and Horace (“Poetics” and “Epistle to the Piso”).
In European literature, with identical principles, the style ends its existence in the 1720s. Representatives of classicism in France: Francois Malherbe ( poetic works, reformation poetic language,), J. Lafontaine ( satirical works, fable), J.-B. Moliere (comedy), Voltaire (drama), J.-J. Rousseau (late classicist prose writer, harbinger of sentimentalism).
There are two stages in the development of European classicism:
- The development and flourishing of the monarchy, promoting positive development economics, science and culture. At this stage, representatives of classicism see their task as glorifying the monarch, establishing her inviolability (Francois Malherbe, Pierre Corneille, leading genres - ode, poem, epic).
- The crisis of the monarchy, the discovery of shortcomings in political system. Writers do not glorify, but rather criticize the monarchy. (J. Lafontaine, J.-B. Moliere, Voltaire, leading genres - comedy, satire, epigram).